This section will be available this Autumn.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
Kunsthaus Kende
Pair of Queen Anne Britannia silver tazze, John Bache, London, 1703 Engraved sterling silver Ø 23 cm, H 7 and 6.9 cm 513.1 g and 504.8 g Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
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.)
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 prive-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 prive-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
Thomas Deprez Fine Arts
franz binjé
Franz Binjé (Liège 1835 -1900 Bruxelles) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'
_GeorgesJEANCLOS_T638915587955330883.tif?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Galerie Capazza
georges jeanclos
Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov
Franck Anelli Fine Art
Marcellus Coffermans (active in Antwerp, 1549-1578) Deposition of Christ, circa 1570 Oil on panel 32.7 x 21 cm Provenance: anonymous sale, Amsterdam, Christie's, 15 May 2002, lot 97 (as Marcellus Coffermans); private collection, Europe; from 2020, private collection, California Literature: M. Leeflang, Gemaakt in Antwerpen, bestemd voor Spanje? in Catharijne, Magazine van Museum Catharijneconvent Utrecht 2 (2010), p. 11, repr. Exhibition: Utrecht, Museum het Catherijneconvent, long-term loan, 2010-2020 Marcellus Coffermans deserves credit for bringing together a unique composition, the great deposition and the descent from the cross.
De Jonckheere
master of the legend of saint lucy
Master of the Legend of St Lucy (active in Bruges 1480-1510) Virgin and Child in Majesty, Surrounded by two Musician Angels Oil on oak panel (2 panels) 44.5 cm x 34 cm Provenance: Arthur Sachs Collection (1880-1975), New York, c. 1928; F. Kleinberger Galleries, Paris - New York, 1929; Baron Joseph van der Elst collection, Vienna, 1930; van der Elst collection, Belgium; Sale, Sotheby’s, London, 12 July 2001, lot n° 12; De Jonckheere, Paris, 2002-2003; Richard Green Gallery, London, 2004; De Jonckheere, Paris, 2006; private collection, France Literature: Friedländer, M. J. Friedländer, Die Altniederländische Malerei, Leiden, 1928, vol. VI, p. 141, n° 152, pl.LXIII repr.; Sperling, H. G., Catalogue of a Loan Exhibition of Flemish Primitives in aid of Free Milk Fund for Babies, Inc. 'exhib. cat.', F. Kleinberger Galleries, New York 1929, p. 124, n° 39, repr.; Schöne, Wolfgang, Dirck Bouts und seine Schule, Berlin 1938, note 140b; Verhaegen, Nicole, Le Maître de la Légende de sainte Lucie. Précisions sur l'œuvre, in Bulletin de L'Institut royal du Patrimoine artistique, Brussels 1959, p. 80, n° 2; Schoute, Roger van, La Chapelle Royale de Grenade: Les Primitifs flamands, in Corpus de la Peinture des Ancien Pays-Bas méridionaux, Brussels 1963, vol. I , pp. 25-26; Friendländer, M. J., Early Netherlandish Painting, Leiden, 1971, vol. VI a, pp. 43, 63, n° 152, pl. 156, repr.; Mirimonde, A. P., La Musique chez les peintres de la fin de l'ancienne école de Bruges, in Jaarboek Koninklijk Museum voor Schone Kunsten te Antwerpen, Antwerp, 1976, pp. 52-53, repr.; Vos, Dirk de, Nieuwe toeschrijvingen aan de Meester van de Lucialegend, alias de Meester van de Rotterdamse Johannes op Patmos, in Oud Holland, 1976, Vol. 90, n° 3, p. 140; Roberts, Ann M., The Master of the Legend of Saint Lucy: A Catalogue and Critical Essay, doctoral dissertation, University of Pennsylvania, 1982, pp. 36-37, 100-101, p. 113, 232, cat. n° 16, fig. 33; Martens, Didier, La ‘Madone au trône arquée’ et la peinture brugeoise de la fin du Moyen Âge, in Jahrbuch der Berliner Museen, 1993, n° 35, pp. 140-142, 168, 173, fig. 13, repr.; Vrij, Mark Rudolph, Een Madonna van de Meester van de Lucia-Legende, in Jaarboek van het Koninjklijk Museum voor Schone Kunsten te Antwerpen, 1995, p. 19, note 20; Martens, Didier, Nouvelles recherches sur la 'Madone au trône arquée' attribuée à Dieric Bouts, in Jahrbuch der Berliner Museen, 1998, n° 40, pp. 58-59, 64, 66, fig. 13, repr.; De Jonckheere, Tableaux de Maîtres, Brussels, Spring 2002, n° 2, repr.; Zdanov, Sacha, Le Maître de la Légende de sainte Lucie, Révision critique de son catalogue de peintures, 2 vols, Master's thesis, Université libre de Bruxelles, Faculté de Philosophie et Lettres, 2010; Zdanov, Sacha, Assimilation et interprétation du style de Dirk Bouts dans l'oeuvre du Maître de la Légende de sainte Lucie, in Annales d'Histoire de l'Art et d'Archéologie, 34, 2012, p. 40, note 43 Exhibitions: New York, F. Kleinberger Galleries, Loan Exhibition of Flemish Primitives in aid of Free Milk Fund for Babies, Inc, 1929, n° 39; Antwerp, International Exhibition. Section d'Art Ancien, June-September 1930, n° 180bis (on loan from Baron van der Elst); Laren, Singer Museum, Nederlandse Primitiven, 1 July - 10 September 1961, n° 76, according to a label on the back
Floris van Wanroij Fine Art
rombout ‘pauli’ pauwels
Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121
Hoffmans Antiques
Pair of side cabinets Paris, circa 1800 Walnut, mahogany, and mahogany veneer with gilt-bronze mounts, grey Bardiglio marble tops H 88 x W 45 x D 44 cm In the manner of Luigi and Antonio Manfredini, Paris Provenance: private European collection This pair of neoclassical cabinets reflects the refined elegance of early 19th-century Parisian design. Each cabinet combines function with ornament, comprising drawers, a cupboard, and a concealed drawer. The gilt-bronze mounts feature central lion masks and Egyptian-inspired motifs, a reference to the vogue sparked by Napoleon’s Egyptian campaign. Topped with slabs of grey Bardiglio marble, the cabinets blend practicality and decorative sophistication.
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
Galerie de la Présidence
Victor Vasarely (Hungary 1906-1997 Paris) Syrom, 1956 Flash on cardboard (Quick-drying vinyl paint) 46 x 36 cm Certificate of M. Vasarely Provenance: collection du Musée de Gordes, France; private collection, Paris The work ‘Syrom’ (1956) comes from Vasarely's ‘Homage to Malevich’ period (1952-1958), celebrating the principles of geometric abstraction and its precursor Kazimir Malevich. Also at the heart of his ‘Black-White’ cycle (1954-1960), the artist challenges our own perception with the geometry of ‘Syrom’, playing with contrasts and lighting effects, giving the impression that the composition moves or changes depending on the angle of view. Through this juxtaposition of simple, organized forms and a compositional method that is both rigorous and poetic, Vasarely develops a refined visual language aimed for universality. ‘Syrom’ questions the viewer's ability to perceive and interpret the world, transforming the gaze into a dynamic experience, on the border between illusion and reality. Technically and historically, the work is part of the post-war period, a time of experimentation linking art, science and technology. Last, two variations of ‘Syrom’ are preserved at the Hirshhorn Museum in Washington DC (USA) and the National Gallery of Denmark in Copenhagen.
Collectors Gallery
ettore sottsass
Ettore Sottsass (Austria, Innsbruck 1917-2007 Milan, Italy) 18ct gold ring, 1984-1986 Ring with a long rectangular table featuring a black onyx disc and diamonds Designed by Sottsass for Cleto Munari, Milan Produced in an edition of 9 Provenance: private collection, London Literature: Radice 1987, p. 78; Vezzosi 1990, p. 105
Gilden's Art Gallery
pablo picasso
Pablo Picasso (Malaga 1881-1973 Mougins) Le bain de pieds, 1960 Brush and India ink drawing on wove paper 20.9 x 26.9 cm This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday, January 26th, 1960. Provenance: Forum Fine Art, Zurich; private collection, Switzerland; Christie's, London, February 10th, 2005, lot 685 Literature: C. Zervos (1968), Pablo Picasso - Œuvres de 1959 à 1961, Paris, vol. 19, reference n° 137 (ill., pl. 32)
Galerie Berès
louis marcoussis
Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on December 4th, 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5
Galerie Flak
Yipwon hook figure Carved wood Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) 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
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller
Galerie BA - Berthet Aittouarès
henri michaux
Henri Michaux (Namur 1899-1984 Paris) Untitled, 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right This work is registered in the Henri Michaux archives under the number HM5891 Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d'Art Moderne, Paris, 1965
