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Laurent Schaubroeck
Jorge Zalszupin (Warsaw 1922-2020 São Paulo) Minimalist daybed, Brazil, 1963 Jacaranda, Brazilian rosewood, upholstery H 35 x W 191 x D 80 cm Provenance: Ina Zalszupin (sister of the artist) One of only two ever produced, this exceptionally rare daybed was crafted in 1963 as a personal gift for the designer’s sister, Ina Zalszupin. Its minimalist wooden frame displays a warm patina and supports a refined off-white mattress - an extraordinary example of mid-century Brazilian modernism.
Jan Muller Antiques
Netherlandish School, circa 1500 Triptych with the Crucifixion and scenes from the Passion Oil on panel 51 x 36.5 cm (closed) 51 x 73 cm (open) The gallery is grateful to Dr. Didier Martens for his expertise The Crucifixion with Saint Jerome and Saint Dominic and Scenes from the Passion, Original frame. This triptych depicts Christ on the Cross, flanked by the sorrowful figures of the Virgin Mary and Saint John the Evangelist. Kneeling at the foot of the Cross are Saint Jerome and Saint Dominic, the latter holding a rosary. In the landscape beyond unfold several scenes from Christ’s Passion, culminating in the Crucifixion. This version follows the composition preserved in the Scottish National Gallery, Edinburgh, which originally formed one half of a diptych. Its companion panel, depicting The Coronation of the Virgin, is held in the Museum Boijmans Van Beuningen, Rotterdam. The distinctive iconography is closely associated with the Dominican devotion to the Rosary. Surrounding the central Crucifixion are smaller narrative scenes illustrating key moments from the Passion of Christ: • Christ in the Garden of Olives: Following the Last Supper, Christ withdraws to the Garden of Gethsemane on the Mount of Olives. In deep anguish, he prays to be spared his suffering, while ultimately submitting to God’s will. • The Circumcision: According to the Gospel of Luke, this event occurred eight days after Christ’s birth, during the Brit Milah ceremony at which he received his name. • The Flagellation: This scene depicts the scourging ordered by Pontius Pilate, the customary prelude to crucifixion under Roman law. • Christ on the Cold Stone: The pensive Christ sits, crowned with thorns and bearing the marks of his scourging, his head resting in contemplation. This image reflects the influence of the Devotio Moderna, a movement that emphasized Christ’s human suffering as a model for personal devotion.
Pelgrims de Bigard
joachim beuckelaer
Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023
Grusenmeyer-Woliner
Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
Maison D'Art
Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)
Galerie AB - Agnès Aittouarès
jean-paul riopelle
Jean-Paul Riopelle (Montréal 1923-2002 Saint-Antoine-de-l'Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle. Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the exhibition 'Les Très riches heures de Jean Paul Riopelle', Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle. Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000
Guy Pieters Gallery
karel appel
Karel Appel (Amsterdam 1921-2006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels
Galerie Alexis Pentcheff
pierre bonnard
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Promenade à Paris, circa 1911 Oil on canvas 40 x 60 cm Estate stamp lower left Provenance: collection of Pierre and Marie-Françoise Vernon Literature: Dauberville Jean et Henry, Bonnard, Vol. IV, Paris, Bernheim-Jeune, 1974, repr. p. 312 under n° 01992 Exhibitions: Pierre Bonnard, A. Tooth & Sons, London, 17 June-12 July 1969, repr. in exh. cat. n° 8; Matisse e Bonnard. Viva la pittura!, Rome, 2006, repr. in exh. cat. (ed. Skira) p. 340 under n° 125; Bonnard, Le Cannet, une évidence, Musée Bonnard, Le Cannet, 2020, repr. in exh. cat. p. 42 The creation of this work by Pierre Bonnard reminds us that the artist was also a photographer, experimenting with daring compositions. Though his painting captures the fleeting moment, it shares little with the tentative realism of early photography. Made entirely of color and sensation, it constructs a fragile world of subtle harmony. Just before embracing the South - before letting the Mediterranean light burst into color across his canvases - Bonnard explored a quieter, more muted sensuality in the early 1910s, while working in a studio in Paris, not far from the avenue depicted here. The “very Japanese Nabi,” as his friends from the group of his youth liked to call him, knew how to let color whisper on the canvas, how to conjure the intimacy of a letter. On one side of the painting, cool tones — blues and violets placed side by side - contrast with the russet hues of this autumnal Parisian avenue, bringing to the foreground, beneath a hat bathed in light like a reinvented halo, the lowered face of a woman reading. Her eyes are hidden, absorbed in the text. Though she has removed her gloves, she surely no longer feels the sharp chill of that November afternoon… Elegant silhouettes glide through the landscape; yet they endure — along with this hat-wearing heroine - on our retinas and in our memories, as companions to a shared intimacy, lasting only the time it takes to read a love letter. Unseen on the art market since the 1960s, this painting has been shown in several museum exhibitions, the most recent in 2020 at the Musée du Cannet, dedicated to the artist.
Pauline's Jewellery Box
Belle Epoque diamond tiara necklace, circa 1905 Platinum and diamonds Provenance: private collection, London An important Belle Epoque diamond tiara necklace, set with old European & rose cut diamonds. The estimated total diamond weight is approximately 12.00 carats. Estimated colour H-I on average. Estimated clarity VS-SI on average. The diamonds are bright & lively, mounted in platinum.
Stéphane Renard Fine Art
Workshop of Benedetto da Maiano (Maiano 1442-1497 Florence) Bas-relief of the Virgin and Child with Saint John the Baptist as a child Polychrome and gilded stucco in its original carved and gilded wooden frame H 76 x W 64 x D 13 cm (framed) Provenance: Coat of arms with the alliance arms of two Florentine families: the Compagni (on the left) and the Tornaquinci (on the right) We can estimate that around thirty copies of this bas-relief were probably made, half of which are in public collections (including the Bode Museum in Berlin (Germany – Inv. 1581), the Victoria & Albert Museum in London (United Kingdom – two copies), the Bargello and Stefano Bardini Museums in Florence (Italy), and the Hermitage Museum in Saint Petersburg (Russia) but this one is the only one bearing the coat of arms of its commissioners.
Galeria Bessa Pereira
Abraham Palatnik (Brasil, Natal 1928-2020 Rio de Janeiro) Cupboard, 1950s Iron, wood and painted glass H 90 x W 150 x D 49 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, pp. 244-245; Vasconcellos, M., Móvel brasileiro moderno (1st edition), Rio de Janeiro: Aeroplano, 2012, p. 193
Patrick Derom Gallery
günther förg
Günther Förg (Füssen 1952-2013 Freiburg) Untitled, 2003 Acrylic on canvas 140.5 x 160.5 cm Signed and dated upper right ‘Förg 03’ This work is registered in the archives of the Günther Förg Estate under number WVF.03.B.0242 Provenance: Alcalá Subastas, Madrid, 12 May 2011; private collection, Madrid; private collection; sale Christie’s Amsterdam, 8 April 2014, lot n° 74; private collection, Belgium Exhibition: 2003-2004, Galerie Heinrich Ehrhardt, Madrid, 18 November 2003-30 January 2004, Günther Förg
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
Galerie BA - Berthet Aittouarès
pierre tal coat
Pierre Tal Coat (Clohars-Carnoët 1905-1985 Saint-Pierre-de-Bailleul) Untitled, 1968-1969 Oil on paint tube lid H 18.5 x W 9.5 x D 4.5 cm This work is listed in Tal Coat's online catalogue raisonné under number XD-1969-017 Provenance: private collection Literature: Rodari Florian, Pierre Tal Coat Biographie commentée par les textes, edited by the Domaine de Kerguéhennec, Département du Morbihan, 2017; Marc Donnadieu, Anne de Staël, Pierre Tal Coat - Surgissement de la peinture, exhibition's catalogue, Galerie Berthet-Aittouarès, 2023 Exhibitions: Pierre Tal Coat - Surgissement de la peinture, Galerie Berthet-Aittouarès, Paris, 2023; Tal Coat - L'image est émergence, 21 bis Mirabeau, espace culturel départemental, Aix-en-Provence, 2025
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.
Galerie Jean-François Cazeau
martial raysse
Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013
DIE GALERIE
andré masson
André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat. Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat. Musées de la Cour d'Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43. Exhibitions: Masson: Massaker, Metamorphosen, Mythologien. Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d'Or, Metz, 1999; André Masson. Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Chevalier d'Henri III, 1998 Oil on canvas 130 x 89 cm Signed and dated This painting is sold with a photo-certificate of authenticity from the Galerie Maurice Garnier, Paris Provenance: Galerie Maurice Garnier, Paris; private collection, Germany (acquired from the above 2000); sale, Christie's London, 21 June 2012; private collection, Hong Kong Literature: Y. Le Pichon & M. Garnier, Bernard Buffet, 1982-1999, vol. III, 2007, Switzerland, n° 1261 (ill. p. 552)
