This section will be available this Autumn.
Galerie Berès
Georges Lemmen (Brussels, 1865-1916) Vue sur l'église de Dadizele, circa 1891 Oil on panel 16 x 24 cm Monogram lower right GL This work will be included in the forthcoming catalogue raisonné being prepared by Olivier Bertrand Literature: Roger Cardon, Georges Lemmen 1865-1916, Brussels, 1997, 40 p. 104
MassModernDesign
pierre weckx lougne chair brazil 1950s
Low lounge chair designed by Pierre Weckx and manufactured in Brazil 1950s. This low lounge chair is an expressive example of Brazilian modernism, revealing Pierre Weckx’s refined understanding of structure, material, and repose. Designed in the 1950s, the chair embodies a period in which Brazilian designers began to reinterpret international modernist ideas through local materials, craftsmanship, and climate driven lifestyles. The low, reclining posture reflects a relaxed approach to seating, prioritising the body at rest while maintaining a sculptural presence within the interior. The frame is executed in solid caviuna wood, a dense and richly grained Brazilian hardwood prized for its durability and warm tonal depth. Weckx uses the material with confidence, shaping the structure into a continuous, angled silhouette that feels both grounded and fluid. The extended rear legs and subtly inclined seat create a dynamic profile that is visually light despite the solidity of the wood. The armrests are integrated seamlessly, reinforcing the sense of cohesion between form and function. A system of rope supports the original golden toned cowhide cushion, allowing the seat and back to respond gently to the body. This construction not only enhances comfort but also introduces a tactile contrast between the smooth wood, the tensioned rope, and the supple cowhide. The cushion, with its natural patina, contributes significantly to the character of the piece and speaks to its authenticity. This chair has been published several times in Casa e Jardim, underscoring its importance within the canon of mid century Brazilian design. Preserved in fully original condition, it stands as a rare and compelling example of Pierre Weckx’s work, where craftsmanship, material honesty, and an effortless sense of leisure converge into a timeless modern object.
Galerie Boulakia
Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144
Grusenmeyer-Woliner
Hariti, the Buddhist protectress of children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 Hariti, the Buddhist protectress of children Imbued with an aura of maternal guardianship, Hariti was originally a yakshi who devoured children to sustain her own large family. Converted by the Buddha into their protector, she is depicted in Graeco-Buddhist art of the ancient Gandhara region surrounded by children. Perhaps the most prominent female deity in Gandhara, Hariti embodies fertility, wealth, and maternal care. She assumes a commanding stance, offering protection to mothers and infants. Draped in a clinging tunic that reveals a robust, fecund body, she is accompanied by children at her feet and shoulders, while a fifth child once hung from her left breast, of which only fragments remain. Her distinctive headdress represents the fortified walls of a city, a motif also associated with Tyche/Fortuna, the Greco-Roman guardian of cities, thereby reflecting the syncretism of Buddhist and Greco-Roman iconography. A wealth-bestowing goddess, she is richly adorned with jewellery - a necklace, collar, substantial earrings, and a pair of coiled serpentine armlets, a favoured motif in Graeco-style ornamentation. The present large-scale figure is exceptionally rare in private hands and was published in the seminal Japanese study on Gandhara art, widely known within collectors’ circles as the Kurita, which adds significantly to its prestige and desirability.
Guy Pieters Gallery
yves klein
Yves Klein (Nice 1928-1962 Paris) La Terre Bleue, 1957 IKB Pigment H 41 x Ø 29 cm Provenance: Galerie Bonnier, Geneva; private collection, Sweden Literature: P. Wember, Yves Klein, Cologne, 1969, p. 109, n° RP7 (another example ill.); P. Restany, Yves Klein, New York, 1982, p. 226 (another example ill.); J.P. Ledeur, Yves Klein: Catalogue of Editions and Sculptures Edited, Belgium, 1999, p. 242 (another example ill.); N. Charlet, Yves Klein, Paris, 2000, p. 230 (another example ill.); H. Weitemeier, Yves Klein: International Klein Blue, Cologne, 2001, p. 83 (another example ill.) Exhibitions: Paris, Centre Georges Pompidou Musée National d'Art Moderne, Yves Klein, March-May 1983, p. 109, n° 56 (another example exh.); Nice, Musée d'Art Moderne et d'Art Contemporain and Museo Pecci Prato, Yves Klein: Long Live the Immaterial!, April 2000-January 2001, p. 184 (another example exh. and ill.); Musée des Beaux-Arts d'Angers, Marie Raymond, Yves Klein, November 2004-February 2005, p. 190 (another example exh. and ill.)
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Femme dans un paysage, 1917 Oil on canvas 25.3 x 39.7 cm Stamped lower right: Renoir Provenance: the artist's estate; Palais Galliera, Paris, 18 March 1964, (titled 'Gabrielle au jardin'); Hôtel George V, Paris, 10 December 1996, (titled 'Paysage'); private collection, Italy Literature: Marc Elder, L'Atelier de Renoir, vol. II, L'Atelier de Renoir (n.p.: MM. Bernheim-Jeune, Editeurs d'Art, 1931), n° 59 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Albert André, Marc Elder, and Messrs. Bernheim-Jeune, Renoir's Atelier / L'Atelier de Renoir, Rev. ed. (Paris: MM. Bernheim-Jeune, Éditeurs d'Art, Paris; San Francisco: Alan Wofsy Fine Arts, 1989), n° 599, p. 243 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911-1919 (Paris: Éditions Bernheim-Jeune, 2014), no. 3981, p. 204 (ill. p. 204, present state, as "Paysage du Midi") Exhibitions: Paris, Galerie Jean Charpentier, Beautés de la Provence, 17 December 1947-7 March 1948, n° 129 (titled as "Gabrielle au jardin," dated circa 1915) This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné.
Galerie Alexis Pentcheff
maurice utrillo
Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)
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 Alexis Bordes
jacques-emile blanche
Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006
Victor Werner
carl johan bonnesen
Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner
Hoffmans Antiques
Chandelier in the 'Retour d’Égypte' style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm Provenance: private European collection This magnificent chandelier exemplifies the short-lived yet influential 'Retour d’Égypte' style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body spring twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliage motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.
Serge Schoffel - Art Premier
Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby's auction, Paris, collection Barbier-Mueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l'admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52
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)
Galerie Lowet de Wotrenge
frans pourbus the elder (bruges 1545/46 - 1581 antwerp)
Frans Pourbus the Elder (Bruges 1545-1581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left 'A°. 1562' and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.) In an era when wealth and power increasingly resided not in hereditary titles but in commerce and banking, Frans I Pourbus captured the self-assured gaze of the new elite. This striking portrait depicts Peeter van Panhuys - merchant, banker's agent, and future treasurer of Antwerp - at a pivotal moment in his rise through one of Europe's most dynamic commercial centers. The work's contemporary resonance is unmistakable. Van Panhuys embodies the entrepreneurial spirit that still defines global finance, yet his story also reflects our modern anxieties: barely two decades after this portrait was painted, religious conflict forced him to flee Antwerp as a refugee, abandoning everything he had built. His biography encapsulates the precariousness of prosperity in times of social upheaval - a theme that speaks powerfully to today's world of political instability and forced migration. Pourbus renders his subject with remarkable psychological acuity. The prominent gold chain and exquisitely detailed black doublet announce van Panhuys' status, while the crisp white ruff - painted with virtuosic precision - frames a face of penetrating intelligence. In his left hand, he holds a pair of gloves, a refined accessory that signals his gentlemanly aspirations and membership in Antwerp's sophisticated mercantile elite. Recently rediscovered from a Belgian private collection, the sitter's identity is confirmed through his appearance in Maerten de Vos's monumental family portrait at the Mauritshuis, where van Panhuys stands among the interconnected dynasties that dominated Antwerp's Golden Age. This painting invites us to reconsider the origins of our modern world - built not by kings and generals, but by ambitious merchants whose portraits demanded the same dignity once reserved for nobility.
Desmet Fine Arts
Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy) The pietra dura tabletop represents a symbiosis that evokes the rediscovery of the ancient world. The colored marbles used all originate from ancient Roman marble, brought to Rome from across the Roman Empire as early as the 3rd century BCE. In late 16th-century Rome, artists repurposed columns and all manner of these ancient Roman artifacts, reshaping them into sumptuous tabletops to decorate the grand palazzi. This work visualizes how 16th-century Rome sought to reclaim the identity and power of the great Roman Empire, and it must be fully understood within the context of the decoration of St. Peter’s Basilica, when Rome was once again regarded as the center of the world. The patterns are architecturally and geometrically designed to showcase the rarest marbles to their fullest effect. In this specific example, around 1800, the edge underwent restoration, during which the finest artists of the time added a black decorative band. Their aim was to frame what was already spectacular with a dignified restoration. Although created in the late 16th century, this piece radiates two millennia of superiority—politically, socially, artistically, and art historically.
Grusenmeyer-Woliner
flute stopper Wunear Biwat (Mundugumor), Yuat River, late 19th - early 20th century Papua New Guinea Wood, feathers, shell H. 64 cm ( 85 cm including the base) Provenance: Charles Ratton; Kamer Gallery, acquired in 1966 by Emiel Veranneman; Emiel Veranneman; Thence by descent Literature: Rotary Club Sint-Niklaas, Oude Kunst uit Afrika en Oceanie, Exhibition catalogue, Sint-Niklaas, May 5-20, 1979, n° 31; Veranneman Emiel, Visie & Passie, 2002, pp. 72-73 Exhibition: Oude Kunst uit Afrika en Oceanië, Ex-Libriscentrum, Sint-Niklaas, 5–20 May 1979, Rotary Club Sint-Niklaas