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Douwes Fine Art b.v.
Andreas Schelfhout (The Hague, 1787-1870) A wooded winter landscape with figures on and along a frozen river, 1856 Oil on panel 37 x 50 cm Signed and dated lower right 'A. Schelfhout '56' Provenance: private collection, United Kingdom; MacConnal Mason, 2003, sold at TEFAF; private collection, The Netherlands; thence by descent
Kunsthaus Kende
Yasuyoshi Matsumoto (Tokyo, 1982) Shidō vase 'Kagiroi' (First Light of Dawn), 2018 Shidō (traditional Japanese copper alloy) H 28 x W 31 cm Signed at the bottom by the artist Provenance: the artist's personal collection Exhibition: shown at the 65th Exhibition of Japanese Traditional Crafts (2018) Shidō (紫銅) is a traditional Japanese copper material distinguished by its characteristic purplish-brown hue. Its subtle, rich coloration is achieved through traditional metallurgical processes and specialised surface treatments. Valued for its distinctive aesthetic qualities, Shidō has a long-standing place in the tradition of Japanese metal art. Yasuyoshi Matsumoto is a fourth-generation metal caster whose family tradition dates back to the Meiji era. His distinctive artistic approach combines traditional Japanese casting techniques with sophisticated heat-induced colouring processes, resulting in metalworks of exceptional depth, colour and refinement. Drawing on generations of inherited knowledge, he unites technical mastery with a refined contemporary sensibility, creating works that honour the heritage of Japanese metal craftsmanship while expressing his own artistic vision.
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Ars Antiqua
Santi di Tito (Florence, 1536-1603) Portrait of Domenico di Lorenzo Passerini with his son Lorenzo Oil on panel 115 x 82.5 cm 130 x 100 cm (framed) Passerini family seal on the reverse Literature: Capolavori che si incontrano. Bellini, Caravaggio, Tiepolo e i Maestri della pittura toscana e veneta nella collezione della Banca Popolare di Vicenza, exhibition catalogue edited by Fernando Rigon, Geneva-Milan, 2014, pp. 168-69, 171-72; L. Scanu, Santi di Tito e l’arte del ritratto. Una nuova effige e una possibile serie dei senatori fiorentini, 'Bollettino Telematico dell’Arte', 11 September 2025, n° 983; N. Bastogi, Due ritratti femminili di Santi di Tito, 'Paragone Arte', 60, 2009, pp. 58-66
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (each drawing) The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon, France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529-532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364).
Sceners Gallery
Pierre Legrain (Levallois-Perret 1888-1929 Paris) Rothschild chair, circa 1920 Painted linden wood and plywood H 76 x W 44.5 x D 54 cm Seating height: 39 cm Provenance: Pierre and Marie Legrain collection, Paris; private collection, France; acquired from the above by the present owner; private collection, France Literature: Laurence Salmon, Pierre Legrain: Reliures, meubles, cadres, Paris 2019, repr. as a sketch of the model p. 318
La Galerie URBAN
Maurice Denis (Granville 1870-1943 Saint-Germain-en-Laye) Bucolique d’Automne or L’Heureux Verger Pouldu, 1906 Oil on canvas 82 x 117 cm Signed and dated lower left 'MAVRICE DENIS 1906' This work is listed in the artist’s catalogue raisonné under n° 906.0016 Provenance: Baron Eberhard von Bodenhausen, Berlin (acquired from the artist, 1906-1908); Bernheim-Jeune, Paris (1908-1919); Miss Edwards (1919); Brooklyn Museum, New York (1927); Galerie Philippe Reichenbach, Paris; Walter P. Chrysler Jr., New York (1960); Stuart Pivar, New York (2004-2021); private collection, Switzerland; La Galerie URBAN, Paris Exhibitions: Salon de la Société Nationale des Beaux-Arts, Paris, Grand Palais, 15 April-30 June 1906, p. 19, n° 389 (ill.); Fünfzehnten Ausstellung der Berliner Secession, Berlin, spring 1908, n° 46; Internationale Kunstschau, Vienna, Gebäude der Secession, May-October 1909, n° 15; Nus, Paris, Galerie Bernheim-Jeune, 17-28 May 1910, n° 30; Ausstellung Französischer Kunst des 18., 19. und 20. Jahrhunderts, Leipzig, Leipziger Kunstverein, October-November 1910, n° 55; Internationale Kunstausstellung der Münchener Secession, Munich, Kgl. Kunstausstellungsgebäude am Königsplatz, 16 May-31 October 1911, n° 36; Exposition d'Art contemporain, Paris, Galerie Manzi-Joyant, 12-31 October 1912, n° 44; Ausstellung französischer Kunst, Zurich, Zürcher Kunsthaus, 16 February-26 March 1913, n° 93; A XIX. Szàzad nagy francia mesterei, Budapest, Ernst-Muzeum, September 1913, n° 78; Le Paysage du Midi, Paris, Galerie Bernheim-Jeune, 8-16 June 1914, n° 26; Exposition de peinture, série C, Paris, Galerie Bernheim-Jeune, 19-30 June 1916, n° 13; French Paintings 1789-1929 from the collection of Walter P. Chrysler Jr., Dayton Art Institute, 25 March-22 May 1960, p. 102, n° 94 (ill.) Painted in 1906, Bucolique d’Automne is one of the most eloquent expressions of Maurice Denis’s vision of a modern Golden Age. Set in an orchard at Le Pouldu, on the Breton coast so closely associated with the Nabis, the composition brings together a nursing mother, a reclining nude and a group of children gathering fallen apples beneath a laden tree. Beyond the foliage, a glimpse of the sea opens onto a landscape bathed in golden light. The painting belongs to Denis’s so-called ‘classical moment’, a period marked by increasingly rigorous compositions and a more luminous, vibrant palette, at times recalling the intensity of Matisse’s Fauvist colours. Here, ochres, vermilions and deep greens combine in a shimmering, almost mosaic-like interplay. The garden becomes an emblem of fertility and motherhood: the fruit-bearing tree echoes the nurturing female body, while the children reinforce the image of nature as a source of life and renewal. Modelled by Denis’s wife Marthe, the nude combines quiet sensuality with a vision of feminine beauty, lending the scene an atmosphere of serenity. First exhibited at the 1906 Salon de la Société nationale des Beaux-Arts in Paris, alongside Denis’s monumental Baigneuses au petit temple or Plage au bonnet rouge (Pouldu), now in Lausanne, Bucolique d’Automne subsequently featured in some of the most significant international exhibitions of its time: the 15th Exhibition of the Berlin Secession (1908), the Internationale Kunstschau in Vienna (1909), and the International Art Exhibition of the Munich Secession (1911). Its provenance is equally distinguished. Acquired directly from the artist in 1906 by Baron Eberhard von Bodenhausen, co-founder of the influential art journal PAN and a prominent collector of contemporary French painting, the work later passed through the galleries of Bernheim-Jeune and Philippe Reichenbach before entering the collection of Walter P. Chrysler Jr. A remarkable synthesis of Nabi modernity and classical idealism, Bucolique d’Automne marks a defining moment in Denis’s career, bringing together the decorative freedom of his early years and his enduring pursuit of compositional harmony and timeless beauty.
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021
Repetto Gallery
Lucio Fontana (Rosario, Argentina 1899-1968 Varese, Italy) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
Franck Anelli Fine Art
Antwerp school of the 16th century Mary Magdalene, circa 1540 Oil on wooden panel 47.7 x 32.7 cm Provenance: private collection, France Bust-length portrait, the sitter’s face slightly turned to the left, holding a gold cup. She wears a red dress with puffed sleeves and a green ribbon, adorned with gemstones and pearls, with ribbons set into the neckline and a necklace. Her blue-violet hat is trimmed with a ribbon decorated with a diadem motif.
Epoque Fine Jewels
René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch Paris, circa 1903 18k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18k gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.
Van Herck-Eykelberg
Léon Spilliaert (Ostend 1881-1946 Brussels) The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88.5 x 67.5 cm Signed and dated top right ‘L. Spilliaert / 1912’ The work will be included in the forthcoming catalogue raisonné currently in preparation by Ms. Anne Adriaens Pannier Provenance: Ms Madeleine Spilliaert, Brussels; Ms. Irmingarde van Rossum, Brussel (2000); De Vuyst, Lokeren, 2016, Moderne en Hedendaagse Kunst, n° 163, cat. 163; private collection, Belgium Exhibition: 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 6 May-18 June 2000; verlenging: 23 June-3 September 2000: cat. 41, ill. in colour p. 77
Marty de Cambiaire
Denys Calvaert (Antwerp circa 1540-1619 Bologna) Holy Family with Saint Jerome and the Infant John the Baptist Oil on copper 50.4 cm x 39.6 cm Signed and dated CALVA ... T ... / ... CIT / 158 ? ... lower centre Provenance: Von Planta Family, Samedan, acquired in the 1920s according to the family tradition (although it could have been acquired earlier); London, Sotheby’s, 3 December 2014, lot 18; private collection, Brussels Flemish by birth, Calvaert settled in Bologna in 1562, where he became a leading artist and played a central role in training the foremost painters of the Bolognese school. Guido Reni, Francesco Albani and Domenichino were among his most celebrated pupils. A specialist in religious subjects, Calvaert excelled both in large altarpieces and in small, refined paintings for private devotion. This exquisite Holy Family, painted in the 1580s, belongs to the latter category. Conceived as a sacra conversazione, it invites meditation on Christ’s future sacrifice. In response to the scroll bearing the words “Ecce Agnus Dei”, which the young Saint John the Baptist fervently holds up, the Christ Child expresses gentle acceptance, raising his right hand in blessing and holding in his left an apple, a symbol of the redemptive purpose of the Passion to come. The Virgin and the two saints contemplate this symbolic dialogue in quiet adoration. Few works by Calvaert combine so successfully the elegance and refinement of Mannerism with the clarity of religious expression advocated by the Counter-Reformation. The poetic vista of landscape and architecture in the background lends depth to the composition and reflects Calvaert’s Flemish taste for an airy atmosphere and a sense of recession achieved through gradations of blue and green rather than geometry. It contributes to the gentleness, calm and balance that pervade the scene.
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse: Kallir WV n° D 2223 Provenance: the artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd-4th century) Central-southern Italy, late 12th-early 13th century Greek marble H 52 x W 50 x D 50 cm In this unusual variation of the Corinthian capital, three tiers of acanthus leaves, finely detailed with visible drill holes, extend to the top of the kalathos. This type of capital was already being exported to Aquileia (Udine) in antiquity. The city was destroyed by Attila in 452 and temporarily abandoned following the arrival of the Lombards in 568, as evidenced by a fragmentary example dating from the 3rd-4th century, now preserved in the National Archaeological Museum.