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Repetto Gallery
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Topographie, January 1959 Oil on paper collage applied on paper [assemblage d’empreintes (huile noire)] 47 x 59 cm Certificate of authenticity by Galerie de l’Ile-de-France, Paris Provenance: Galerie de l’Ile-de-France, Paris; private collection, Italy Literature: Max Loreau (Ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XIX : Célébration du sol II, texturologies, topographies, Weber éditeur, Paris, n° 173
Harold t’Kint de Roodenbeke
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Nid, 1965 Oil on canvas 130 x 91 cm Signed lower right Signed and titled on reverse Certificate of authenticity by Pierre Alechinsky dated 14 March 1995 Provenance: Lefebre Gallery, New York; private collection, Monaco
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Maisonjaune Studio
ingo maurer
Ingo Maurer (Germany, 1932-2019) Hana Chandelier (Uchiwa collection), 1970s Bamboo, Japanese paper Provenance: Japan The Hana chandelier belongs to Ingo Maurer’s Uchiwa collection, created in the 1970s. Handmade in Japan from bamboo and Japanese paper fans, it radiates lightness and poetry. Its sculptural presence blends tradition with refined modernity. Exceptionally rare today, it stands as one of Maurer’s most iconic creations.
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed 'soulages' Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie's, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l'œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)
Dr. Nöth kunsthandel
peter leftwich
Peter Leftwich (Great Britain, 1913-?) Bawilele, 1937 Oil and tempera on canvas 102 x 77 cm Signed and dated lower right: Peter Leftwich 37 Verso inscribed on the canvas: No 2 'Bawilele' by Peter Leftwich and on the stretcher Provenance: Otto Rasmussen, Danish director of the East Asiatic Company Exhibition: Capetown, South African National Gallery: Annual Exhibition of Contemporary Art 1937-38, n° 107
Galerie BA - Berthet Aittouarès
mark tobey
Mark Tobey (USA, Centerville 1890-1976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
Arte-Fact Fine Art
chen yanning
Chen Yanning (Guangzhou, 1945) Portrait of two cheerful girls, 1994 Oil on canvas 81 x 65 cm Provenance: commissioned via Portraits Inc., Park Avenue, New York; private collection, USA; private collection, Belgium Chen Yanning is internationally celebrated; his works have been shown at the Guggenheim, the Paris Salon and beyond. In 1999, he painted Queen Elizabeth II, a portrait so well-received that it was later chosen for a postage stamp to mark the Queen’s Golden Jubilee in 2002. This tender and joyful portrait of two young sisters, commissioned in New York, is rendered with sparkling realism and warmth. The painting illustrates Yanning’s extraordinary international career and ability to infuse his portraits with life: a Chinese-born artist building a global reputation, bringing his distinctive sensitivity to subjects across cultures.
Pron
fausto melotti
Fausto Melotti (Rovereto 1901-1986 Milan) Il meridiano delle campane, 1979 Brass H 97.5 x W 74 x D 38 cm Literature: Milan, Galleria Stendhal, Cascella Consagra Melotti, 1980; Padua, Stevenson Arte Contemporanea, Fausto Melotti. Sculture, tecniche miste e incisioni, 1982; Intra, Galleria Corsini, Fausto Melotti. Sculture e Acquarelli. Un'opera d'arte è un'oasi, 1982; Busto Arsizio, Galleria Il Punto Sette, Fausto Melotti, 1984; Parma, Galleria La Sanseverina, Fausto Melotti, 1986, pp. 29, 47, n° 29, ill. Exhibitions: Gianni Cavazzini, Poetiche sosprese di Fausto Melotti, in Gazzetta di Parma, May 23rd, 1986, ill.; Germano Celant, Melotti, Catalogo generale, Tomo secondo, Sculture 1973-1986 e Bassorilievi, Milan 1996, p. 512, 1979 n° 21, ill.
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Galerie Raf Van Severen
anne-pierre de kat
Anne-Pierre De Kat (The Netherlands, Delft 1881-1968 La Frette-sur-Seine, France) Femme à la cigarette, 1921 Oil on canvas 102 x 80 cm Signed bottom left Provenance: private collection, Knokke-Heist Literature: Paul Caso, Anne-Pierre De Kat, Une vive intelligence visuelle, Les Editeurs d'Art Associés Exhibition: Guillaume Campo, Meir 47-55 Antwerpen, Exposition n° 121 (label at the back)
Costermans
Slant-front desk in European red and gilt lacquer, veneered with kingwood and marquetry of satinwood, stained maple and ebonised wood, enriched with finely chased and gilt bronze mounts, Louis XV period Stamped DELORME, the fall-front decorated with a stag-hunting scene. Provenance: L. Morton, Partridge Fine Arts – Recent Acquisitions, London, 1997, pp. 92–97, n° 38 (ill); T. Wolvesperges, Le meuble français en laque au XVIIIe siècle, Paris, 1999, p. 119, n° 71 (ill.)
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Hooigang, September 1964 Mixed media on canvas, mounted on wooden panel 106 x 124 cm Signed, dated and titled on reverse Provenance: D & R Hughes, London, 1989; private collection, Belgium Literature: Bram Bogart, The early years, 1951-1965, D & R Hughes, 1989, ill. n° 49
Florian Kolhammer
louis c. tiffany
Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.
Claes Gallery
Dan 'deangle' Mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023 Originating from the northwest of Côte d’Ivoire, near the borders of Liberia and Guinea, the Dan are an agricultural people who primarily cultivate rice and cassava. Their way of life, complemented by hunting, fishing, and gathering, is rooted in a patrilineal society without a central authority, structured around clans led by chiefs chosen for their prestige, bravery, or agricultural success. Relations between clans, often marked by rivalries, gave rise to a rigorous social organization: young warriors ensured the group’s defense, while chiefs reinforced their influence through feasts and gifts. Local power rested on a balance between the chief, the council of elders, and the male associations, which upheld discipline, guided the initiation of young men, and preserved community cohesion. The Dan distinguish between two worlds: that of the village - a humanized and social space - and that of the forest, the realm of spirits and natural forces. It is within this duality that their art takes root, renowned for its independence and for the diversity of its styles from one village to another. In their pursuit of formal perfection, Dan artists express through their works an ideal of beauty that is both spiritual and harmonious. A symbol of this aesthetic quest, the Dan 'deangle' mask is characterized by its regular oval shape, polished surface, narrow eyes, short nose, and full, slightly parted lips. The raised scarifications emphasize the geometry and graphic strength of the composition. Of an elegance imbued with softness and femininity, it embodies the Dan ideal of beauty. Used within the Leopard secret society (go), associated with the pacifying spirit zlan, this mask served as an intermediary between young initiates and the village community. First exhibited and published for the general public in 1988, this exceptional work was most recently presented (in 2022) at the Chicago Museum. The mask’s deep gaze, highlighted by a fine band across the eyes, captures the viewer’s attention. Its patina, with warm brown reflections, and its concave form lend it a presence that is both powerful and serene.
Francis Maere Fine Arts
eugène dodeigne
Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Angèle | Hommage à Michel-Ange, 1964 Soignies stone H 210 x W 60 x D 60 cm Provenance: studio Eugène Dodeigne, Bondues (France); private collection, Basel Literature: G. Hirselj, B. Gaudichon & A. Massé; 'Eugène Dodeigne - une rétrospective'; Musée la Piscine, Roubaix, 2020
WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice