This section will be available this Autumn.
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu au papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F.Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol.II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, rep. b/w
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowski, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
Jan Muller Antiques
Juriaen Jacobs (Hamburg 1624-1685 Leeuwarden) A mother and her children, 1659 151 x 113 cm Signed an dated 'J. Jacobs 1659' Inventoried on the RKD n° 216993 Provenance: Warberg collection, Oslo, 1948; Braunschweigh, Herzog Anton Ulrich-Museum n° 809 (1983) Literature: Henrik Lungagnini, 'Der Hamburger Maler Juriaen Jacobsz. 1624–1685: Leben und Werk' (PhD diss., 1970), pp. 232-33
Bernardini Milano
Rolex, Bienne Rare yellow gold 'oyster chronograph', 1956 18k yellow gold, watch in prestine condition Provenance: previously unknown to the market Edition of 36 made in 18k yellow gold (edition of the late 50s) The untouched case and extensible bracelet host a perfect creamy silvered dial The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison. It is a benchmark in terms of rarity and conservation
Galerie Taménaga
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-surMer) Paysage de Cagnes, 1900 Oil on canvas 24 x 54 cm Signed with initials lower left 'AR' This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir currently in preparation by the Wildenstein Plattner Institute Provenance: Ambroise Vollard, Paris; private collection, Japan Literature: Ambroise Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, n° 612, 1185 and 1330, ill. pp. 155, 258 and 279
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Galerie Édouard Ambroselli
Jean-Baptiste Camille Corot (Paris, 1796-1875) Farm in Italy, circa 1843 Oil on paper mounted on canvas in a period gilt frame 18 x 24 cm Signed lower right ‘Corot’ Certificate of authenticity by Martin Dieterle and Claire Lebeau Provenance: Pottier collection, Paris; sale Artcurial, Paris, 19 June 2012, lot n° 81; private collection, Paris Literature: Martin Dieterle and Claire Lebeau, Sixième supplément à l'œuvre de Corot par A. Robaut et E. Moreau-Nélaton, Paris, 2018, repr. n° 46
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Gallery Sofie Van de Velde
Victor Servranckx (Diegem 1897-1965 Vilvoorde) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Oil on canvas 146 x 81 cm Signed and dated lower left Provenance: Félix Carlier, Watermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929); Galerie J.-P. Alaerts, Brussels; London, Christie’s, 16 October 1990, lot n° 61 (ill.); Lokeren, De Vuyst, 6 October 2001, lot n° 489; private collection, Brussels; Galerie Ronny Van de Velde, Antwerp Literature: La Nation belge (Brussels), 12th year, n° 48, 17 February 1929, ill. p. 3; Le Peuple (Brussels), 5th year, n° 48, 17 February 1929, ill. p. 1 Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue); Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, n° 33; Brussels, Palais des Beaux-Arts, 1947, n° 45 '146 x 92 cm'; Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, n° 117; Brussels, Musée d’Ixelles/Museum van Elsene, 1965, n° 107; Hasselt, Provinciaal Begijnhof, 1970, n° 57 (ill.) Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Jacques Lipchitz (Lithuania, Druskininkai 1891-1973 Capri) Sitting figure, 1915 Bronze H 87 cm Signed 'JLipchitz' and numbered 2/7 (on base) Provenance: the estate of the artist; acquired from the above mentioned in 1989 by current owner Exhibition: Musée des Années 30, 'Lipchitz, Les Années Françaises de 1910 à 1940', 2005-2006, n° 10, pp. 16-17, ill. in colour
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget, son of Piet Moget, under the n°118 059 Provenance: Michel Guy collection, Paris; private collection, Paris; private collection, France
Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31.8 cm Signed, dated and titled on the reverse Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 Provenance: Shinwa Auction, 23 November 2014, lot 145; private collection, Japan (acquired from the above); Bonhams, Hong Kong, 11 June 2016, lot 26; private collection, Asia (acquired from the above); Christie's, Hong Kong, 3 December 2020, lot 517; private collection, London (acquired from the above) Repetition or seriality would become her signature technique in everything that she created: 'Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.'