This section will be available this Autumn.
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Marc Heiremans
anzolo fuga
Anzolo Fuga (Italy, 1914-1998) For Arte Vetraria Muranese (AVEM) Murano, Italy, 1956 Bandierine (model 13480) Fused glass canes cased in colourless, free-formed glass H 42 x Ø 14.5 cm Literature: Heiremans M. AVEM-Arte Vetraria Muranese, artistic production 1932-1972. Stuttgart 2020
Gallery Desmet
Head of Goddess Marble Roman, 1st century AD H 21 x W 14 x D 15 cm Certificat d'un bien culturel: 242734 Accompanied by Art Loss Register certificate: S00236852 Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023
Harold t’Kint de Roodenbeke
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Régate sur la Marne, 1925 Watercolour on paper 50 x 65 cm Signed lower right Provenance: collection of the Belgian artist Jean Milo; acquired in 1943 Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63 Exhibition: Brussels, 1943, n° 72
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
Galeries AB & BA
jean degottex
Jean Degottex (Sathonay-Camp 1918-1988 Paris) Gidayu III, 1961 Oil on cardboard mounted on canvas 120 x 80 cm Signed and dated lower right Signed, dated and titled at the back Certificate of authenticity issued in 2021 Provenance: private collection Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282 © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès
Galerie Sophie Scheidecker
Philip Pearlstein (USA, 1924-2022) Seated Models on red and orange drapes, 1968 153.5 x 184 cm Oil on canvas Signed and dated 'Pearlstein 68' Exhibitions: Allan Frumkin Gallery, New York (with two labels on stretcher); Georgia Museum of Art, Georgia 1970; Massachusetts Institute of technology, Heyden Gallery 1971 (with label on reverse); Galerie M. E. Thelen, Köln; Galleri Östergren, Malmö (also printed three times on reverse)
d'Arschot & Cie
Molenbeker Engraved silver Maker’s mark: IM in a shield Flanders, circa 1610-1620 H 22 cm These curious mill cups were very fashionable in Flanders in the early 17th century. They were also produced by German silversmiths. The tall, flared goblet is topped by a windmill with a ladder climbed by two millers to give the whole a more realistic look. At the bottom, a tube, also known as a blowpipe, is used to set in motion the four wings of the windmill and a small needle turning around a numbered circular dial. The ingenious mechanism consists of toothed wheels that are cleverly concealed inside the mill itself. At a time when banquets were particularly long, these table games were designed to entertain guests. Each guest took it in turns to blow into the blowpipe and the needle, once stopped, told them how many glasses they had left to drink. Many Kunstkammer included an object of this type, and this type of windmills can be found in many still-life paintings from this period. Fragile by nature, few of these goblets have survived. Remarkably, this example is in perfect working order. An engraved silver goblet by the same master silversmith is in the Tienen municipal museum. It is reproduced in: Zilver uit de gouden eeuw van Antwerpen, Rockoxhuis, 1988, n° 105
Galerie Ary Jan
Anto Carte (Mons 1886-1954 Bruxelles) L'homme au poulain Oil on canvas 140.8 x 110 cm Signed lower left Literature: The 1935 International exhibition of paintings, Carnegie Institute, Pittsburgh, repr. on plate 17, listed under n° 135; Anto Carte, monographie de l'art belge, published by the Ministère de l'Instruction Publique, 1950. Reproduced under n° 15; 'The Blue Sky Book, prose and poetry' repr. to illustrate ‘Man with colt’ p. 217 Exhibition: International Exhibition at Carnegie Institute 1935 Provenance: Private collection, Philadelphia Acquired directly from the artist by John H. Fraser in the early 1930s. Fraser was head of the art department at Marietta College, near Pittsburgh, Pennsylvania H 75 cm
Herwig Simons Fine Arts
Manierist Mascaron Italy, mid 16th century Istrian marble H 50 x W 40 cm An expressive Mascaron in Istrian marble of a lion's head holding a ring in his mouth. Istrian marble was widely used during the Renaissance, particularly in Venetian architecture, and its soft tones beautifully complement the intricate details of the lion's face and ring. This design is symbolic: lions represented strength, protection, and authority and gave the building grandeur, serving as a sculptural accent that elevates the aesthetic quality of the entrance or facade.
Van Herck-Eykelberg
leon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Le rêve. Femmes dansantes et oiseaux, 1916 Pencil and chinese ink on paper 25 x 25 cm Signed and dated lower right This work will be included in the forthcoming catalogue raisonné being prepared by Dr. Anne Adriaens-Pannier
Pauline's Jewellery Box
Belle Epoque sapphire & diamond Chaumet bow brooch, circa 1910 Set with sapphires and diamonds. Estimated total sapphire weight 10.00 carats. Estimated total diamond weight 15.00 carats. The diamonds are bright and lively, mounted in platinum and 18kt yellow gold. Stamped with French hallmarks and maker’s marks: 280-470-4320 / 89834 Provenance: France
HELENE BAILLY Paris-Genève
kees van dongen
Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo) Bouquet de fleurs, circa 1950 Oil on canvas 55 x 38 cm Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024 Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above
Maurice Verbaet Gallery
louis van lint
Louis Van Lint (Brussels, 1909-1986) Mirage marin, 1957 Oil on hardboard 109 x 274.5 cm Provenance: Belgian Nuclear Research Center (SCK-CEN), Mol, Belgium Literature: Delevoy, Robert L. Association pour la Diffusion Artistique et Culturelle. Quadrum 6: Revue Internationale d'Art Moderne (Brussels) 6 (1959), n° 1, ill. in b/w p. 141 Exhibitions: Centre for Fine Arts, Brussels, Belgium, Louis Van Lint, 1958; Palais des Beaux-Arts, Charleroi, Belgium, Hommage à Louis Van Lint; 32e Salon du Cercle Artistique et Littéraire, 8 March 1958-27 March 1958
Philippe Heim
abie loy kemarre
Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.
Galerie Flak
Outrigger canoe model Wuvulu (formerly Maty Island) Bismarck Archipelago, Papua New Guinea, Micronesia, Oceania, early 20th century Carved wood, fibre and pigments L 87 cm Provenance: former collection Serge Schoffel, Paris / Brussels; former collection Claude Meyer, Paris; Pierre Bergé & Associés, Paris, April 2nd, 2012, lot 78; former princely collection, acquired at the above sale