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Galerijen Galeries AB & BA Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan Bailly Gallery Helene Bailly Baronian Barbara Bassi F. Baulme Fine Arts Galerie de la Béraudière Galerie Berès Bernier/Eliades Gallery Dr. Lennart Booij Fine Art & Rare Items Boon Gallery Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Galerie Van den Bruinhorst Cabinet of Curiosities-Honourable Silver Objects Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Claes Gallery Collectors Gallery Nicolás Cortés Gallery Cortesi Gallery Costermans & Pelgrims de Bigard Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Gallery Desmet DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Ralph Gierhards Antiques / Fine Art Gilden's Art Gallery Gokelaere & Robinson Galerie Hadjer Marc Heiremans Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize Galerie Jamar rodolphe janssen Francis Janssens van der Maelen Galerie Kaléidoscope Kunsthaus Kende Galerie Kevorkian Harold t’Kint de Roodenbeke Florian Kolhammer Alexis Lartigue Fine Art Galerie Bertrand de Lavergne Lemaire Francis Maere Fine Arts Galerie Marc Maison MARUANI MERCIER Galerie Mathivet Mearini Fine Art Meessen Montagut Gallery Galerie Montanari Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth kunsthandel + galerie Opera Gallery Osborne Samuel Gallery Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Galerie Alexis Pentcheff Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence QG Gallery Maison Rapin Stéphane Renard Fine Art Repetto Gallery Röbbig München robertaebasta Romigioli Antichità Rueb Modern and Contemporary Art Richard Saltoun Gallery Galerie Sophie Scheidecker Serge Schoffel - Art Premier Secher Fine Art & Design Segoura Fine Art Herwig Simons Fine Arts Stern Pissarro Gallery Studio 2000 Art Gallery Galerie Taménaga Galerie Theunissen & de Ghellinck Tobogan Antiques Galerie Patrice Trigano Univers du Bronze Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery Zebregs&Röell Fine Art and Antiques Zidoun-Bossuyt Gallery


david nash

David Nash (Esher, 1945) Red Slices, 2020 Redwood H 68 x W 66 x D 18 cm Exhibition: David Nash, 5 August-10 September 2023, Baronian, Knokke


A&R Fleury

alicia penalba

Alicia Penalba (1913-1982) Grande annonciatrice, 1965 Bronze with patina 90 x 140 x 70 cm Signed and numbered “APenalba 1/5” The work is referenced in the catalogue raisonné during the exhibition 'Alicia Penalba, escultora', MALBA, Buenos Aires, 2016-2017, under n° 48b p. 107


Bernier/Eliades Gallery

susan rothenberg

Susan Rothenberg (USA, 1945-2020) Untitled, 2002 Oil on paper H 56 x W 76 cm - framed: H 76 x W 96.5 cm


Collectors Gallery

Ettore Sottsass (Innsbruck 1917-2007 Milan) 'Scalinata' limited edition, 1983 18ct gold and diamonds (3.5 carats) Prototype Provenance: personal friend of the artist


Dr. Nöth kunsthandel + galerie

lotte laserstein

Lotte Laserstein (Preußisch Holland/Königsberg 1898-1993 Kalmar/Sweden) Young couple turned to the left (The Neumans), 1970 Oil on canvas 49 x 59 cm Signed and dated upper left: Lotte Laserstein 1970 Provenance: purchased directly from the artist by the present owner


Galerie Kaléidoscope

antonio recalcati

Antonio Recalcati (Bresso 1938-2022 Milan) Slip, 1961 Oil on canvas 80 x 60 cm Provenance: estate Antonio Recalcati Literature: (non exhaustive list) Jouffroy Alain, Les empreintes de Recalcati 1960-1962, Christian Bourgois, 1975; Recalcati, Dall' impronta all'immagine, exhibition catalogue, Palazzo Reale, Comune di Milano, Gabriele Mazzotta, Milan, 1987; Antonio Recalcati, exhibition catalogue, Galleria d'Arte Moderna Farsetti, Milan, 1990; Antonio Recalcati, 1959/1999-Mano a Mano, exhibition cat., Villa Tamaris, La Seyne-sur-mer, 1999; Antonio Recalcati-La passione della libertà, exhibition catalogue, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Grafiche Aurora, Milan, 2004; Antonio Recalcati, exhibition catalogue, Guttklein Fine Art, Paris, 2018 Exhibitions: (non exhaustive list) 1976, Paris, Centre National d'Art Contemporain/Musée National d'Art Moderne, Recalcati, Empreintes; 1987, Milan, Palazzo Reale, Recalcati-Dall' impronta all'immagine; 1990, Milan, Galleria d'Arte Moderna Farsetti, Antonio Recalcati; 1999, La Seyne-sur-mer, Villa Tamaris, Antonio Recalcati, 1959/1999-Mano a Mano; 2004, Milan, Galleria Gruppo Credit Valtellinese, Refettorio delle Stelline, Antonio Recalcati-La passione della libertà; 2018, Paris, Guttklein Fine Art, Antonio Recalcati The Galerie Kaléidoscope stand is dedicated to three painters from the figurative avant-garde in Paris in the 1960s and 1970s. It will feature something exceptional in the history of art: the first Slip Print made in 1961 by Antonio Recalcati (1938-2022). After beginning to make prints of his own body in oil paint in 1960, the following year Antonio Recalcati placed traces of his own clothes (shirt, pants, socks, pants, T-shirt, etc.) at the centre of his paintings. At the same time, Yves Klein was producing his beautiful Anthropometries, done in public and using the bodies of naked women as paintbrushes. On the other side of the Atlantic, Pop Art artists were also incorporating everyday objects into their paintings. But the references and atmosphere of Recalcati's paintings are radically different. The fruit of a hand-to-hand encounter between the painter and his canvas, in the solitude of the studio, these works have a dramatic tension that is offset by a singular luminosity and a great deal of vitality. In 2022, Galerie Kaléidoscope and Antonio Recalcati decided to embark on an ambitious process of rediscovery in France and abroad. Since the artist's death a year ago, she has represented the Estate, and will shortly be contributing to the launch of a catalogue raisonné of 60 years of painting. Antonio Recalcati was at the forefront of the great figurative renewal of the second half of the twentieth century, while constantly engaging in dialogue with his elders: from Etruscan painting to Picasso, via of course the masters of the Italian Renaissance.


Artimo Fine Arts

jean de bay

Jean Baptiste Joseph De Bay (Nantes 1802-1862 Paris) Le Génie de la Marine, 1832 White Carrara marble, finely carved H 101 x W 48 x D 85 cm Signature engraved on the boat's anchor: JEAN DEBAY Executed in Rome in 1832 Provenance: 1832, Rome; 1832 (June, Paris, Exposition at Petits-Augustins; 1833, Paris, Exposition at Salon de Paris; 1833, Mr. Hoppe Collection, Amsterdam; 1833-2010, private collection Literature: S. Lami (1916). Dictionnaire des sculpteurs de l'école française au dix-neuvième siècle, Paris, Librairie Ancienne Honoré Champion Edouard Champion, tome 2, pp. 126-132; A. Lenormand (1981), La Tradition classique et l’Esprit romantique. Les Sculpteurs de l’Académie de France à Rome de 1824 à 1840, Rome, Edizioni dell'Elefante, 1981 Exhibitions: 1832, Rome; 1832 (June), Paris, Exposition at the Petits-Augustins; 1833, Paris, Exposition at the Salon de Paris This masterful work entitled 'Le Génie de la Marine' is the work of the talented French sculptor Jean Baptiste Joseph De Bay. An emblem of marine allegory, the sculpture depicts a daring Cupid, bravely sailing against the currents on a delicate shell-shaped craft. In a posture of determination, Cupid steers his boat with an oar while seated on a folded sail, which envelops an ink at his feet. This representation of the Cupid's determination to follow his own course and speed without wishing to stop may allude to the persistence of love against all odds. Designed in Rome in 1832, this exquisite marble sculpture was later exhibited, albeit unfinished, at the Petits-Augustins in Paris. It was finally presented in all its splendour at the Paris Salon the following year, where it attracted the attention of the famous Amsterdam banker, Monsieur Hoppe. Jean Baptiste Joseph De Bay, better known as Jean De Bay, was born in Nantes on 31 August 1802. The son of a renowned sculptor and a pupil of Baron Bosio, De Bay quickly established himself as an emblematic figure of nineteenth-century French sculpture. After training at the École des Beaux-Arts in 1820, where he won numerous awards including the prestigious Prix de Rome, the sculptor succeeded in establishing himself in the art of bas relief and ronde bosse. Equally at ease working in marble and bronze, Jean De Bay contributed to numerous national projects, notably for the Louvre Palace and the Hôtel de Ville in Paris. Several of his works are also preserved at the Musée de Versailles. Many of his works can be found in various French museums, testifying to his artistic genius. This great sculptor died a few years later at his home in Paris on 7 January 1862.


Brame & Lorenceau

günther forg

Günther Förg (Germany, 1952-2013) Composition, 1993 Watercolour on paper 59.5 x 42 cm Signed et dated in the lower right: Förg 93 Provenance: Galerie Friedrich, Basel; private collection, Switzerland; private collection, Paris


Kunsthaus Kende

Josef Hoffmann (Czech Republic, Brtnice 1870-1956 Vienna, Austria) For the Wiener Werkstätte Decorative basket in 'Cloverleaf' pattern, Vienna, 1910 900 grade silver basket H 12.1 x W 18.7 x D 12.5 cm The design drawing for the object is in the inventory of the MAK, Vienna under the number KI 12031-26. According to the calculation book of the Wiener Werkstätte, seven examples of this basket were made in 1910 Provenance: American private collection


Galerie Ary Jan

léon spilliaert

Léon Spilliaert (Ostend 1881-1946 Brussels) Tree in the winter, 1943 Ink drawing 51.2 x 35.2 cm Signed lower right and dated lower left Provenance: Madeleine Spilliaert, sister of the artist and in her family by descent


Zebregs&Röell Fine Art and Antiques

Indo-Portuguese colonial mother-of-pearl veneered casket with silver mounts India, Gujarat, 2nd half of the 16th century, the silver mounts Goa or probably Lisbon H 16 x W 24.6 x D 16.1 cm An exceptional Gujarati casket with a rectangular box and truncated pyramidal lid (with slopes on each side and a flat top) made from exotic wood, probably teak (Tectona grandis), covered with a mother-of-pearl mosaic. The tesserae, cut from the shell of the green turban sea snail (Turbo marmoratus, a marine gastropod) in the shape of fish scales, are pinned to the wooden structure with silver ball-headed nails. The casket is set on bracket feet on the corners. The masterfully engraved decoration of the silver mounts follows the most refined and erudite Mannerist repertoire of rinceaux and ferroneries dating from the mid-sixteenth century. The high quality and refinement of the silver mounts and, likewise, the silver nails that replaced the original brass pins used to hold the mother-of-pearl tesserae in place indicate the work of a silversmith probably working in Lisbon in the second half of the sixteenth century. The Indian origin of this production, namely from Cambay (Khambhat) and Surat in the present state of Gujarat in north India, has been consensual and fully demonstrated for the last three decades, not only by documentary and literary evidence - such as descriptions, travelogues and contemporary archival documentation - but also by the survival in situ of sixteenth-century wooden structures covered in mother-of-pearl tesserae. A fine example is a canopy decorating the tomb (dargah) of the Sufi saint, Sheik Salim Chisti (1478-1572) in Fatehpur Sikri in Agra district in the state of Uttar Pradesh, north India. This is an artistic production, geometric in character and Islamic in nature, where usually the mother-of-pearl tesserae form complex designs of fish scales or, similar to the dishes also made using the same technique with thin brass sheets and pins, stylised lotus flowers. The truncated pyramidal shape corresponds, like their contemporary tortoiseshell counterparts also made in Gujarat, to a piece of furniture used in the Indian subcontinent within the Islamic world prior to the arrival of the first Portuguese. This shape is very old and specific to East-Asian caskets, chests or boxes used to contain and protect Buddhist texts, the sutras. A similar chest is the famous and large reliquary chest from Lisbon Cathedral that once contained the relics of the city's patron saint, Saint Vincent. Both match in shape, having the same kind of pedestal and bracket feet, and in their engraved silver mountings, featuring the same type of refined, erudite decoration. Their differences lie in the silver borders that frame the entire length of the edges of the chest (both the box and the lid), pinned with silver nails, and on the lock plate, shaped like a coat of arms in the Lisbon example. Given the exceptional dimensions of the reliquary casket from Lisbon Cathedral (48 x 65 x 42 cm), the goldsmith responsible for its mounting opted to place two bracket-shaped side handles instead of a top handle, as in our casket. Another similar example, probably mounted in the same Lisbon workshop as the other examples from this small group, belongs to the Seville Cathedral and still needs to be discovered. It shares many features in common with the one in the Lisbon cathedral, namely the use of engraved silver borders running along the edges, protecting the casket. An aspect that distinguished it from the others is the use of tesserae cut from Turbo marmoratus, which show a higher iridescence but also cut from the shell of the pearl oyster, probably Pinctada radiata or Pinctada maxima, given the whitish hue of the base colour. Nevertheless, the type of square-like lock plate is similar to our casket. Another example, slightly larger but with fewer silver mounts, is in the collection of the Kunstkammer Wien in the Kunsthistorischen Museums in Vienna (inv.no. GS Kap 5) and belonged to the Habsburger Family. The same type of large silver ball-headed nails seems to be characteristic of this small, rare and important group, of which the present example is the second known example in private hands, given that the others have been in their current place since the time they entered their collections in the late sixteenth century or the first years of the seventeenth century.


Osborne Samuel Gallery

bram bogart

Bram Bogart (Delft 1921-2012 Sint Truiden) Agglomeration, 1959 Homemade paint on canvas H 95.3 x W 158 x D 5 cm Signed and dated lower right Also signed, dated and titled verso Provenance: Arthur Tooth Gallery, UK (March 1959); Martin Summers Art Ltd, London-J P Cochrane Collection (2005); Fine Art Society, London (2006); Rosenfeld Porcini, London (2017); Vigo Gallery, London (2022); private collection Exhibitions: 1960, Matter Painting, ICA, London (Bram Bogart, Lucio Fontana, Nicolas De Stael, Antonio Tapies, Jean Dubuffet, Jean Fautrier) (21 Sep-22 Oct, 1960); 2013, The Continuation of Romance painting an Interrupted discourse, Rosenfeld Porcini, London; 2017, Bram Bogart. Zonzucht, Vigo Gallery, London


Studio 2000 Art Gallery

willem paerels

Willem Paerels (Delft 1878-1962 Eigenbrakel) Scheveningen boulevard, 1907 Oil on canvas 70 x 70 cm Signed lower right: Paerels Provenance: private collection, The Netherlands; private collection, Belgium; Galerij Jeanne Buytaert, Antwerp; collection M. Jefferys, Brussels (before 1924) Literature: André A. Moerman, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord, Brussel [etc.] 1978, p. 21, n° 11: dated ’1907’ by the artist in his notes Exhibitions: Brussels (Palais des Beaux-Arts de Bruxelles), Willem Paerels, 17 September 1968-1 October 1968 and Amersfoort (Zonnehof), 5 October 1968-4 November 1968; Brussels (Koninklijke Musea voor Schone Kunsten van België), 3 March 1978-16 April 1978 and Laren (Singer Museum), 30 April 1978-11 June 1978, Willem Paerels 1878-1962: retrospectieve tentoonstelling georganiseerd in het raam van het Nederlands-Belgisch Cultureel Akkoord


Ars Antiqua

adriaen van utrecht

Adriaen Van Utrecht (Antwerp, 1599-1653) Farmyard, 1647 Oil on canvas 115 x 161 cm Signed and dated in the center: Adriaen Van Utrecht/fec an 1647 Provenance: Angerstein collection (according to a letter from Carlo Sestieri); Carlo Sestieri, Rome, 1961


Galeria Jordi Pascual

antoni tàpies

Antoni Tàpies (Barcelona 1923-2012) Cap amb paper encolat, 1987 Paint, pencil and collage on canvas 54 x 65 cm Provenance: private collection, Barcelona Literature: Agustí, Anna. Tàpies. Obra completa, vol. 6, 1986-1990, Fundació Antoni Tàpies and Edicions Polígrafa S.A, 2000, p. 153, fig. 5465


Francis Janssens van der Maelen

Jean E. Puiforcat (Paris, 1897-1945) Art Deco Kettle, Paris 1925 Silver and rosewood 29 cm x 15cm


Thomas Deprez Fine Arts

willem paerels

Willem Paerels (Delft 1878-1962 Braine-l'Alleud) Dans un cabinet de toilette, circa 1910 Oil on canvas 72 x 53 cm Signed lower right: Paerels Provenance: former collection Anna Boch (1848-1936); by descent in the family, until; private collection, Belgium Literature: The present work figures in the 'inventaire mortuaire' established upon Anna Boch's death in 1936, as part of the prestigious stairwell hanging in her own home designed by Victor Horta (Liste Blondel, private archives, as transcribed in: Thérèse Thomas & Cécile Dulière, Anna Boch 1848-1936, Paris, La Renaissance du Livre, 2000, p. 147, n° 357


Galerie Patrice Trigano

jean dewasne

Jean Dewasme (Lille 1921-1999 Paris) Environnement Mythia I, 1971 Glycerophthalic lacquer on panel 75 x 98 cm Signed, dated and titled


Franck Anelli Fine Art

charles topino

Charles Topino (France, 1742-1803) Oval writing table with white marble top Table in quatrefoil marquetry with rosewood surrounds, opens with a drawer and a sliding shelf, resting on curved uprights joined by a notched brace; white marble top with gallery Louis XVI period Stamped by Charles Topino, a cabinetmaker who became a master in 1773 H 72 x W 60 x D 41 cm Provenance: Neuilly sale, étude Ionesco, 7 July 1993, lot 63 Literature: this model is reproduced in Sylvain Barbier Sainte Marie, p. 57, fig 26


A&R Fleury

geer van velde

Geer Van Velde (1898-1977) Composition bleue, circa 1951 Oil on canvas 71.5 x 62 cm Signed 'GvV' lower right Certificate of authenticity established by Pierre François Moget


Galerie Flak

Tatuana Mask (Malagan) New Ireland, Bismarck Archipelago, late 19th or early 20th century Carved wood, natural pigments, fiber and shell H 32 cm Provenance: collection Robert Rousset (1901-1981), Paris; acquired between 1920 and 1930; by descent


Dr. Lennart Booij Fine Art & Rare Items

emile gallé

Emile Gallé (Nancy, 1846-1904) Vase, circa 1895 Aquamarin enamelled and hand etched vase with applied handles H 25 cm Provenance: private collection, France Literature: Alistair Duncan, The Paris Salons 1895-1914, vol. IV, p. 228 for a similar model


Galerie Jamar

Jan Fabre (Antwerp, 1958) Zwaarden, kruisen en dolken III, 1989 Bic ballpoint pen on paper 218 x 150 cm - framed: 238 x 165 cm Signed and dated Literature: Jan Fabre, The Years of the Hour Blue, Drawings and sculptures 1977-1992, p. 154



Gilt-bronze mounted Meissen porcelain group Scene representing four figures involved in making perfume with still, cauldron and stove Circa 1750-1760 H 14.3 x W 12.5 x D 12.5 cm


d'Arschot & Cie

Perfume flask Yellow gold and rock crystal Probably Germany, circa 1680-1720 H 8.5 cm Engraved coat of arms under the base


Stern Pissarro Gallery

pierre-auguste renoir

Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) La Cueillette des fruits, circa 1905 Oil on canvas 46 x 56 cm Signed lower left: Renoir This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné Provenance: Dr. Fritz and Barbara Thurneyssen, Germany, acquired from the artist; Dr. Fritz Thurneyssen, Germany; Karl Levi, Berlin, 1927; Galerie Thannhauser, Berlin, 1929, acquired from above; Henry Lévy, Strasbourg,1933, acquired from above; Hélène Lucie Lévy, France, by descent, 1937; Bertrand-Charles Leary, France, by descent; private collection, Paris, by descent from the above Literature: Julius Meier-Graefe, Renoir, Leipzig, 1929, p. 300, n° 307; Guy-Patrice and Michel Dauberville, Renoir: Catalogue raisonné des Tableaux, Pastels, Dessins et Aquarelles, 1903-1910, Vol. 4, Éditions Bernheim-Jeune, Paris, n° 3066 (ill. p. 222 as 'Vendanges (Cagnes)') Exhibitions: Berlin, Galerie Thannhauser at Berliner Künstlerhaus, Erste Sonderausstellung in Berlin, January-February 1927, n° 204, p. 136 (ill. 'Obsternte')


Galerie Boulakia

georges mathieu

Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt)  Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed lower left Work accompanied with a certificate of authenticity Provenance: Galerie Europe, Paris


Francis Maere Fine Arts

fernando botero

Fernando Botero (Medellin 1932-2023 Monaco) Lying nude, 1985 Bronze H 35 x W 60 x D 23 cm Signed and numbered: Botero 3/6 Provenance: collection Emile Veranneman, Kruishoutem; private collection, Belgium Literature: Exhibition catalogue, Botero, Emile Veranneman, Kruishoutem, 1990 Exhibition: 1990 Kruishoutem, Stichting Emile Veranneman, Fernando Botero


Galerie Boulakia

karel appel

Karel Appel (Amsterdam 1921-2006 Zurich) Untitled, 1960 Oil on canvas 81 x 116 cm Signed and dated lower right Written confirmation of the work's authenticity Provenance: private collection Karel Appel was a Dutch painter, avid sculptor, and one of the founders of the avant-garde CoBrA movement in 1948. Born in the Netherlands, he began painting at the age of fourteen. Recognised for his ironic imagery, bold brushstrokes and energetic use of colour, Appel’s work received both broad critical acclaim and unfavourable criticisms. Known for his figurative abstractions and expressive colours, Appel found inspiration in the artwork of children and the rejection of sophisticated aesthetic tastes. He was drawn to the animated, primitive style of Jean Dubuffet in the years following the isolated, repressive environment of WWII in Amsterdam. In a childlike manner, painted in thick, black lines against a background of primary colours, Appel's unique style is immediately discernible in Untitled, 1960.


Galerie Patrice Trigano

geneviève claisse

Geneviève Claisse (Quiévy 1935-2018 Dreux) Grande Covalence Ternaire, 1997 Oil on canvas 195 x 114 cm