25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galerijen
Galerijen Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI Costermans 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 Patrick Derom Gallery Desmet Fine Arts Virginie Devillez Fine Art 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 Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques 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 Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Barbara Bassi

mouboussin multicolor stone set

Maison Mauboussin Multicolour set of necklace and earrings, 1980s Diamonds, pearls and coloured precious stones mounted in 18 kt yellow gold Provenance: private collection, Italy

 

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

 

Galerie Hioco

yukiya izumita

Yukiya Izumita (Japan, 1966) Laminate, 2025 Iwate clay W 35 cm

 

robertaebasta

Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy

 

Patrick Derom Gallery

jean arp

Jean Arp (Strasbourg 1887-1966 Basel) Untitled, circa 1930 pencil and gouache on paper 30 x 25.8 cm Signed lower right on the reverse Certificate of authenticity of the Arp Foundation, Clamart, dated 24 March 2009 Provenance: Marguerite Arp-Hagenbach, Meudon (widow of the artist); Hans Arp and Sophie Taeuber-Arp Foundation, Remagen-Rolandswerth, Germany (since 1977); Galerie Mitchell-Innes & Nash, New York; private collection Exhibitions: 1990, Moscow, Puschkin Museum, Hans Arp 1886-1966: Sculpture, Reliefs, Drawings, Collages; 1994, Munich, Haus der Kunst, Elan Vital oder Auge des Eros; 1996, Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp, Hans Arp/Sophie Taeuber-Arp, cat. 41 1997-2000, Saint-Petersburg, Hermitage Museum, Thessaloniki, Altes Archäologisches Museum, Mantoue, Palazzo Te, Toyota, Municipal Museum of Art, Krakow, Galerie Bunkier Sztuki, Heino, Stichting Hannema-de Stuers, Hans Arp und Sophie Taeuber-Arp; 2003, Palma de Majorque, Fundacion Sa Nostra, Diverse Explorations: Hans Arp and Sophie Taeuber-Arp

 

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

 

Gallery de Potter d’Indoye

Pair of oil lamps Ormoulu and patinated bronze Embossed gilt bronze and patinated bronze, representing the allegory of Philosophy and Study, each seated on an antique oil lamp, with an edge in gadroon motif, on a square footed base France, Consulat period, circa 1800 H 31 x W 36 cm Based on a model by Louis-Simon Boizot Comparative literature: H. Ottomeyer et P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 294, fig. 4.17.1. I, p. 294, fig. 4.17.1. This pair of oil lamps is clearly designed in a neoclassical style, and, more specifically, in the 'Etruscan' style which came into vogue in the 1780s. This style draws its inspiration from antique forms rediscovered in archaeological digs, in particular those at Pompeii and Herculaneum, and manifested in the decorative arts by simple lines and ornamentation inspired by Antiquity. The allegorical figures of Philosophy and Study, which decorate these lamps, are taken from models created by Louis-Simon Boizot (1743-1809), then sculptor for the King. Boizot designed them for the first time in 1780 for a lamp in the antique style. He sold the model to the Sèvres factory, which then reproduced it in biscuit porcelain until 1786. These two figures were also used in the famous clock model, 'To Study and to Philosophy', created based on a drawing by François Rémond for the decorative arts merchant Dominique Daguerre. It is important to note that Pierre-Philippe Thomire (1751–1843), a reputed bronze worker, collaborated with Boizot in Sèvres beginning in 1783, the date when he succeeded Jean-Claude Thomas Duplessis (1730-1783) as the official bronze worker for the factory. The involvement of Thomire in the production of bronzes of this type is widely acknowledged. Comparable oil lamps include: - a pair kept at the J. Paul Getty Museum in Los Angeles (inv. 88.SB.113.1 et 88.SB.113.2), attributed to Thomire; - another from the former collection of Sir Robert Abdy, sold at Christie's London on June 9th, 1994, lot 65,; - a pair offered for sale at Christie's London on December 13th, 2001, lot 430. - finally, a pair presented in the Madame Simone Steinitz collection at Christie's in Paris on June 19th, 2025, Paris lot 126. A drawing attributed to Thomire, kept at the Museum of Decorative Arts in Paris, depicts a very similar lamp placed to the right of a fireplace (cf. J. Bourne et V. Brett, L’art du luminaire, Paris, 1992, p. 156, fig. 530). In addition, two sketches found in an album of drawings analysed by P. Rosenberg and B. Peronnet (Revue de l’Art, n° 142, 2003-2004) bear witness to the distribution and success of these models. They perfectly illustrate the taste for Antiquity, which dominated French decorative arts in the late eighteenth century.

 

Victor Werner

constant permeke

Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time

 

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.

 

Gilden's Art Gallery

Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan

 

De Zutter Art Gallery

christo

Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm Provenance: artist's studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91, Cologne, 1998, pp. 694-695 (illustrated)

 

Bernier/Eliades

thomas schütte

Thomas Schütte (Germany, 1954) Iroquois Double Head 7.10.24, 2024 Glazed ceramic, watercolours Sculpture: H 45 x W 28 x D 40 cm Framed watercolours: 49.5 x 38.5 cm Steel pedestal: H 120 x W 43 x D 30 cm

 

Virginie Devillez Fine Art

pierre-louis flouquet

Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.

 

Galerie Mathivet

maurice dufrene

Maurice Dufrene (Paris 1876-1955 Nogent-sur-Marne) Lamp with dahlias, circa 1913 Gilt bronze and glass H 70 cm - ∅ 49 cm Signed M DUFRENE

 

Galerie Cento Anni

Jean Després (Souvigny 1889-1980 Avallon) Pair of chandeliers, circa 1930-1935 Silver-gilt metal H 13.5 X W 33 cm Signed J.Deprés Master's mark JD Provenance: private collection, Belgium The model of this pair is the only one known to date

 

Almine Rech

tom wesselmann

Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist Courtesy of the Estate of Tom Wesselmann and Almine Rech / Photo: Thomas Barratt Smoker Study (For Smoker #11), 1972 belongs to Tom Wesselmann’s Smoker series, which the artist began in 1967. Born out of a desire to isolate and further investigate the representation of lips and the act of smoking, the Smoker series also found its origin in advertising, and stands as testament to the major role Wesselmann occupied in the birth and development of the Pop aesthetic. Today, Wesselmann’s Smoker paintings are among his most renowned works. The series began with Smoker, 1 (Mouth, 12), 1967, which is now held in the Museum of Modern Art in New York. Wesselmann found photography to be a useful medium to capture his models in poses he would later translate to larger scale works. On one occasion, his friend Peggy Sarno lit a cigarette during a modeling session. Wesselmann took some photographs of her as she inhaled, still posing in a reclined position. This moment inspired the Smoker series, which is characterised by the presence of vivid red lips juxtaposed with curling white smoke. Smoker Study (For Smoker #11) is both bold and intimate, capturing a single moment of pleasure in a complex and ambitious composition indicative of the artist’s experimentation with subject, form, and color. In mid-century America, cigarette advertisements were incredibly elaborate, among the most sophisticated forms of marketing. As well as standing as an example of Wesselmann’s fascination with popular culture and the female body, Smoker Study (For Smoker #11) also demonstrates the artist’s mastery of oil paint, attention to detail, and sophisticated compositional style. In the 1960s, Wesselmann had been developing his Great American Nudes series when he was inspired to focus on specific details of female figures. In an almost fetishistic act, he started isolating elements of the female figure, creating smaller preparatory pieces as well as larger scale works depicting hands, breasts, and lips. Out of this approach his Mouth paintings and Smoker Series, works such as Smoker Study (For Smoker #11) were born. Tom Wesselmann (1931–2004) was one of the leading American Pop artists of the mid-20th Century. Departing from Abstract Expressionism, he explored classical representations of the nude, still life, and landscape, while incorporating everyday objects and advertising ephemera. Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. He attended Hiram College in Ohio from 1949 to 1951 before entering the University of Cincinnati. In 1953, his studies were interrupted by a two-year enlistment in the army, during which time he began drawing cartoons. He returned to the university in 1954 and received a bachelor’s degree in psychology in 1956. During this time, he decided to pursue a career in cartooning and enrolled at the Art Academy of Cincinnati. After graduation he moved to New York City, where he was accepted into the Cooper Union and where his focus shifted dramatically to fine art.

 

COLNAGHI

Nicolaas Struyck (Amsterdam, 1686-1769) A rose with garden whites, circa 1715 With partial Fleur-de-lis watermark Bodycolour and watercolour on paper with period black and gold ruled beige card mount 23.8 x 19.2 cm Provenance: private collection, Germany until 2023

 

Galerie La Forest Divonne

ronan barrot

Ronan Barrot (France, 1973) Paysage Blessé, 2024 Oil on canvas 162 x 97 cm Provenance: the artist's studio

 

Galerie BG Arts

Georges Clairin (Paris 1843-1919 Clohars-Carnoët) Portrait of Suzanne Lalique Oil on canvas 140 x 80 cm Signed 'Á Suzanne Lalique son ami G. Clairin' Provenance: property of Suzanne Lalique-Haviland; private collection, France Literature: Maritch-Haviland, N. de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Limoges, 2009, p. 29, ill. in a group photograph, taken at Cours-la-Reine in Paris, showing Suzanne Lalique wearing this same dress for a costume ball to mark her birthday in about 1913 Georges Clairin is best remembered as an orientialist and portrait artist. He was a close friend and advisor to René Lalique. They regularly had dinner together and shared an interest in oriental objects, as well as travelling together to Venice. Clairin belonged to the bohemian world and painted Sarah Bernhardt, the celebrated actress of the day, in her different roles on numerous occasions. He also introduced her to Lalique, and she became one of Lalique’s most significant patrons for whom he designed jewellery. For both men, women were a constant theme of their work. As a family friend it is not surprising that Clairin should have painted Suzanne, René Lalique’s daughter, in costume for her birthday ball in 1913.

 

Galerie Hadjer

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, Circa 1965 Wool Aubusson tapestry by the Maurice Chassagne workshop 225 x 300 cm Unique piece Provenance: atelier Maurice Chassagne; private collection, Switzerland

 

Galerie Nicolas Bourriaud

emile gilioli

Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971

 

Galerie Mathivet

François-Xavier Lalanne (Agen 1927-2008 Ury) Lamp sculpture 'Grand Echassier', 1990 Glass, patinated copper and bronze H 68 x W 61 x D 35 cm Monogrammed FXL, numbered 60/900 Figini foundry stamp and Artcurial publisher's mark

 

Galerie La Patinoire Royale Bach

Erró (Ólafsvík, Iceland, 1932) Le Wall, 1975 Acrylic on canvas 99 x 67 cm

 

Galerie Bernard De Leye

Enamel basin 'Adam and Eve Mourning the Death of Abel' L 47.5x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery 'à la Façon de Venise', Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art. They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie. Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves. Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersbourg, five plates, mid-16th century by Jean Miette in Limoges enamel

 

Galerie de la Présidence

Nicolas de Staël (Saint Petersbourg 1913-1955 Antibes) Composition, 1949 Oil on canvas 38 x 46 cm Signed lower left Provenance: Henriette Gomès collection, Paris; private collection, Paris; private collection, Luxembourg Literature: J-P Jouffroy, Nicolas de Staël, p. 161; Jacques Dubourg and Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Le temps, Paris, n° 195, p. 121; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, n° 189, p. 259; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, revised and expanded by Marie du Bouchet and Gustave de Staël, n° 189, p. 209 Exhibition: Nicolas de Staël, Musée Réattu, Arles, June-September 1958, n° 18 The year 1949 was a crucial period for Nicolas de Staël: he continued to explore and refine his style, marking an important transition towards painting that would become more fluid and expressive. Among his notable works this year is this 'Composition', which reflects his continued use of thick layers of paint and his extensive play with materials, moving from impasto to knife painting. For Nicolas de Staël, although abstract his paintings are 'images of life', his coloured masses generate vibrations. Lastly, this painting has always been kept in private hands until now, and was never presented at auctions.

 

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

 

VKD Jewels

Tank bracelet 18k yellow and rose gold French, circa 1940s Makers mark and French assay mark for 18k gold Total weight 113.8 gr

 

Carlucci Gallery

Francesco Albotto (Venice, 1721-1757) Piazza San Marco, Venice Oil on canvas 134 x 88 cm Authenticated by Dr. Federica Spadotto Provenance: private collection

 

Galerie Florence de Voldère

jacob grimmer

Jacob Grimmer (Antwerp, 1525-1590) Winter landscape Oil on panel 37.3 x 51 cm Provenance: Antonie Palamedes Stevens (1601-1673), painter and collector; private collection, Austria; sale Versailles, 1937; private collection, Paris; sale Galliera, Paris, 29 November 1973 n° 20,21,22,23; private collection, Brussels Literature: R. de Bertier, Jacob et Abel Grimmer, 1991, ill. pp. 104-108 Received as a master of the Guild in 1547, Jacob Grimmer is amongst the great pioneering painters in the history of Northern painting. A contemporary of Pieter Bruegel the Elder, he shared with him a passion for nature; like him, he painted from life, and his works are filled with realism and genuine emotion. It is through the recurring theme of the seasons in his work that Jacob Grimmer expresses his innovative vision of the landscape, where shifting atmospheric moods adapt to everyday and secular scenes.

 

Brame & Lorenceau

marie laurencin

Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W

 
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