This section will be available this Autumn.
Univers du Bronze
Jean-Baptiste Carpeaux (Valenciennes 1827-1875 Courbevoie) Les trois Grâces (Trial example, variant), 1873-1874 Bacchant crowned with ivy, Bacchant with roses et Bacchant with laurels Terracotta with pinkish patina, 'Atelier-Dépôt à Auteuil, 71 rue Boileau, Paris' H 79.2 x W 44.5 x D 36 cm Trial example, earlier version prior to the final composition, signed ‘J B-te Carpeaux’ and dated '1873' with 'Propriété Carpeaux' seal : variations in the respective positioning of the Bacchantes with laurel and ivy, and a variation in the right leg of the latter; vibrations in the particularly subtle modelling of the figures; sketch-like modelling, rough indications in the central plant stem, the quiver, and the laurel, ivy and rose leaves crowning the Bacchants, with an improvised rose in a different position than the edited examples. Artist’s intervention. Kilned in 1873
Anthony Short Antiques Ltd.
Large Antler Coat Stand by J. Parker of Woodstock. England, circa 1850 A striking and rare antler and oak hall stand attributed to J. Parker of Woodstock, noted cabinetmaker and upholsterer active in the 1850s. The central pole bears a diamond registration plaque, dating the original design to 15 January 1852, when it would have been registered with the National Patent Office. Given the close proximity of Woodstock to the Blenheim Park Estate and its historic deer herd, it is highly likely that the antlers used in this piece originate from Blenheim. A closely related, documented example is held in the collection of the National Trust at Speke Hall, England. This wonderfully sculptural stand is composed of interlaced antlers and oak, forming an elegant rack for hats and coats. The lower section incorporates a basin for umbrellas and walking sticks, retaining its original tole liner, all raised on bun feet. The whole is mounted on a solid oak barley twist column, topped by a turned finial, lending both movement and architectural presence. Darkly toned with a rich, well developed patina, the stand embodies the lodge style aesthetic so prized in the late 19th-century. Robust hardwood construction and finely worked antlers demonstrate high quality craftsmanship and enduring stability. Antler furniture rose to prominence following the Great Exhibition of the Works of Industry of All Nations, London, 1851, where such pieces were presented as fashionable novelties of modern living. Designers such as the German horn carver and furniture maker H. F. C. Rampendahl helped to establish this distinctive genre, which was soon produced in series for an aspiring European middle class. Both practical and highly decorative, this unusual 19th-century antler and oak hall stand is ideal for an entrance hall, where it serves not only as a functional piece for coats, hats and umbrellas, but also as a true conversation piece and a statement of refined country house style. Height 210cm (82.7in) Diameter 57cm (22.4in)
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45.5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm Christ height: 32 cm Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A fine and large Portuguese Goa devotional Crucifix. The polychromed and gilded ivory of Christ crucified on a Coromandel wood cross, ornately embellished with Baroque silver mounts, stands on an integral Coromandel plinth. The agonising Christ on the cross has his head falling to his right, with closed eyes and mouth open in his call to God. His long hair is carved in undulating locks falling to his shoulders. The well-defined torso has flexed muscles and a pronounced rib cage, while the arms have veins threaded along their length. His hands and feet are pierced by silver nails, his wounds are polychromed red, and the edges of the perizonium are gilded.
Edouard Simoens Gallery
Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216
Franck Anelli Fine Art
Ecole Anversoise du 16 ème siècle (vers 1540) Marie Magdalène Huile sur panneau, 47,7 x 32,7 cm Portrait en buste, le visage légèrement tourné vers la gauche, tenant une coupe en or. Elle porte une robe rouge à manches bouffante et ruban vert, orné de pierre et de perles avec des rubans incrusté à l’encolure et un collier son chapeau bleu violet est bordé d’un ruban à motif de diadème
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Artimo Fine Arts
Émile Jespers (Deurne 1862-1918 Antwerp) Reclining Female Nude on a Wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strenght), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
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 on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882-1916 Amsterdam) Rik with a patch, 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse; Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, pp. 145, 242; De Pesseroey & Langui, Honderd zelfportretten, 1976, pp. 46-47; Van den Bussche et.al., Rik Wouters (1882-1916), pp. 20, 234; Hautekeete, Simon & De Nijn, Rik Wouters, De menselijke figuur, 1999, n° 74b, p. 100; Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, pp. 148-149 Exhibitions: Palais des Beaux-Arts, Exposition Rik Wouters, 1935, Brussels; Gemeentemuseum & Museum Boijmans, exhibition Rik Wouters, 1946, Den Haag & Rotterdam; Feestzaal, Retrospectieve Rik Wouters, 1946, Mechelen; KMSKA, Rik Wouters, 1947, Antwerp; Seconda Rassegna Internazionale di Scultura all'aperto, 1953, Varese; 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters; Musée National d'Art Moderne, Rétrospective Rik Wouters, 1957, Paris; Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), n° 61; 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, n° 74b
Marjan Sterk Fine Art Jewellery
Van Cleef & Arpels Lion brooch, 1972 18k yellow gold, green agates and onyx H 62 x W 43.3 mm Total weight 37.7 gr Signed Van Cleef & Arpels Manufactured in Paris, dated and numbered Provided with the original case An eighteen carat yellow gold brooch depicting a lion with wide-spreading mane, eyes of navette cabochon-cut green agates, and a nose carved from onyx.
Epoque Fine Jewels
Van Cleef & Arpels Pair of earrings (clip fittings), 1971 18k yellow gold, diamonds , corals and chrysoprase 8.5 x 1.87 cm Signed VAN CLEEF & ARPELS and numbered An exceptional pair of gem-set earrings by Van Cleef & Arpels, made in 18 karat yellow gold, each composed of a large coral cabochon at the top, surrounded by brilliant-cut diamonds and chrysoprase cabochons. Each earring suspends a striking tassel featuring a domed coral cap set with brilliant-cut diamonds, from which hang seven strings of chrysoprase beads interspersed with rose-cut diamond rondelles. The strings terminate with coral and gold beads. Total diamond weight: approximately 12 ct. These Van Cleef & Arpels earrings from 1971 are exceptionally rare, embodying unparalleled craftsmanship and luxury. The bold combination of coral, chrysoprase and diamonds is both exquisite and uncommon, while their intricate tassel design reflects the golden era of Haute Joaillerie. Signed and numbered by one of the most prestigious jewelry houses, they are true collector’s items, akin to owning a piece of history - ‘Elizabeth Taylor-level’ rare.
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
LUDORFF
Günther Uecker (Wendorf 1930-2025 Düsseldorf) Rose, 1963 Nails on canvas on wood 85 x 85 cm Signed and dated on the reverse Registered in the Uecker Archive under n° GU.63.115 and earmarked for inclusion in the forthcoming Uecker catalogue raisonné / Honisch catalogue raisonné 1983, n° 289 Provenance: the artist's studio (prior to 1974); private collection Nordrhein-Westfalen (directly acquired from the artist 1974-2026) Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Auckland City Art Gallery, 'Contemporary painting in Germany', May-August, Auckland 1965 Palazzo del Kursal, 'IV Biennale Internazionale d'Arte', 7 July-7 October, San Marino 1963 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, S. 162; Dieter Honisch, 'Günther Uecker. Werkverzeichnis', Stuttgart 1983, n° 289, S. 189; Queen Elizabeth II Arts Council (Hg.), 'Contemporary Painting in Germany', Ausst.-Kat. Auckland City Art Gallery, Auckland 1965
Samuel Vanhoegaerden Gallery
Pierre Alechinsky (Brussels, 1927) L’Or du Rien, 1967-1968 Acrylic on paper mounted on canvas, and border in China ink on paper mounted on wood 210 x 295 cm Signed and dated lower right Signed, dated and titled on the reverse Provenance: Stéphane Janssen collection, Beverly Hills, USA; Sotheby’s London, Contemporary Art Part I, 1996; private collection, Brussels; Sotheby’s Paris, 2011; Galerie Lelong, Paris, France; private collection, Brussels Exhibitions: Bruges, Stadshallen, Triennale voor Plastiche Kunsten in Belgie, 1968, n° 6; Charleroi, Palace of Fine Arts, Prix de la critique, 1968-1969, n° 29; Brême, Ausstellung Kunsthalle Bremen, Pierre Alechinsky, Gemälde, 1958-1968, 1969; Brussels, Palace of Fine Arts, Pierre Alechinsky, 1969; Humlebaek, Louisiana Museum & Düsseldorf, Kunstverein (travelling exhibition); Antwerp, ICC-Internationaal Cultureel Centrum, Prijs van de Kritiek, 1969-1970; Cagnes-sur-Mer, IIème Festival International de la Peinture, 1970; Prix du Lauréat 1970, Deuxième Palette d’Or; Venise, Biennale Internazionale d’Arte di Venezia, Pavillon Belge, 1972; Darmstadt, Mathildenhöhe Darmstadt, Pierre Alechinsky, 1974; Rotterdam, Museum Boymans van Beuningen, Alechinsky 1965-1974, 1974-1975; Paris, Musée d’Art Moderne de la Ville de Paris, 1975 (travelling exhibition); Zurich, Kunsthalle, 1975; Pittsburgh, Carnegie Museum of Art, International Series, Alechinsky, Paintings and writings, 1977-78; Toronto, Art Gallery of Ontario, 1978 (travelling exhibition); Scottsdale, Scottsdale Center for the Arts, A Museum in the Making: Alechinsky and Alquin From the Janssen Collection of Fine Art, 1996; Dunkerque, LAAC (Musée de Dunkerque), October 2012-March 2013