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Klaas Muller
Gerard Ter Borch (Zwolle 1617 - Deventer 1681) Portrait of a Man with a Black Hat Around 1650 Oil on Oval Panel 19.9 × 16.5 cm Gerard ter Borch (1617–1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. We are grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.
Anthony Short Antiques
Exceptional and Very Rare 18th-Century George III Thomas Chippendale Period Mahogany Bookcase *English, circa 1770 – all original and highly authentic* An outstanding and extremely rare 18th-century George III period mahogany bookcase, in the manner of Thomas Chippendale, a true statement piece that combines refined architectural design, exceptional craftsmanship and superb, entirely original condition. The upper section is crowned by an impressive broken arch pediment above a finely carved blind fret frieze, giving the bookcase great presence and elegance. Below, a pair of beautifully panelled cupboard doors, retaining their original brass escutcheons, key and fully working lock, open to reveal generous shelving, ideal for books or treasured objects. The lower section is equally distinguished, fitted with two short and three long graduated oak lined drawers, all retaining their original swan neck brass handles. The whole is raised on classic original blocked ogee bracket feet, which, together with the original panelled oak backboards, confirm the authenticity and integrity of this important piece. Made in England circa 1770, this bookcase displays a superb, rich mahogany colour and a warm, mellow patina developed over more than two centuries. The surfaces, proportions and details are all in remarkable original condition, clearly reflecting the skill of the Georgian cabinetmaker and the careful stewardship it has enjoyed throughout its life. Bookcases of this calibre, period and originality are exceptionally scarce on the market. A very fine example of Georgian library furniture in the Chippendale tradition, this piece offers a rare opportunity to acquire a genuinely period, all authentic masterpiece that unites grandeur, elegance and practicality. A superb focal point for a drawing room, library or study, and an ideal choice for any serious collector or refined interior seeking a museum quality statement piece of outstanding 18th?century craftsmanship. Height 197cm (77.6in) Width 108cm (42.5in) Depth 54cm (21.3in)
Mearini Fine Art
Corinthian capital. Variation on a Roman type from the 3rd - 4th Century Greek Marble Central-southern Italy, Late 12 th - Early 13 th Century Hight cm 52 x 50 x 50 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 Lowet de Wotrenge
NICOLAAS STRUYCK (AMSTERDAM 1686 - 1769) INSECT STUDIES bodycolour, watercolour and pencil on laid paper 445 x 282 mm PROVENANCE "Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior", 1719 (an album of drawings by Struyck, disassembled in the XIXth century); Private collection, Belgium.
Maison D'Art
SANTI DI TITO (Borgo San Sepolcro, 1536 - Florence, 1603) Holy Family with Saint Joseph Reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: Property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams Estate Sotheby's Old Master Paintings, 20th April 1994, as Florentine School, 16th Century, The Holy Family, lot 138.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
The last judgement Engraving after Pieter Bruegel de oude (1525-1569) Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hieronymus Cock (1517-1570) References: New Hollstein Dutch first state of two 22.5 x 29.4 cm Lex Antiqua, Antiquarian bookseller
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92,1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932–1937, 1996, pp. 238–39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935–1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78–79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987–88, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930–1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Laurent Schaubroeck
PAUL EVANS & PHILLIP LLOYD POWELL Monumental Wall Unit Unique piece ORIGIN: USA DATE: c. 1960 MATERIALS: Steel, wood, gold leaf DIMENSIONS: W236 × D51 × H282 cm PROVENANCE: Martin Brooks, Doylestown Extraordinary wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Mearini Fine Art
Master of Torcello Venetian Master active in the second half of the XV century. Crucifix. popolar wood with polychromy. Higth cm 40 x 38 x 3,5 An exceptional masterpiece of the Venetian Renaissance, this small, carved, polychrome wooden Crucifix is certainly attributable to the Master of Torcello, active in Venice in the second half of the 15th century. Work created for private use and devotion, certainly to be included in an "Altarolo", but absolutely similar to the larger known Crucifixes of the same manufacture, such as the one on the island of Torcello (Venice) in the Basilica of Santa Maria Assunta.
Almine Rech
Farah Atassi (b.1981, Brussels, Belgium), 'The Shadow,' 2026. Signed and dated on the back. Oil on canvas, 195.3 x 114.3 x 2.9 cm - 76 7/8 x 45 x 1 1/8 in. Provenance: Artist Studio. Exhibitions: Farah Atassi, 'Metamorphosis', Jun 26 — Jul 31, 2026 | Almine Rech New York. 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne– the nymph turned into a laurel tree to escape the god Apollo– comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolized. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
HELENE BAILLY MARCILHAC
PIERRE-AUGUSTE RENOIR (1841-1919) Les colettes à Cagnes Signed lower right: Renoir Oil on original canvas 27 x 46 cm / 10 5/8 x 18 1/8 in. This work will be included in the Digital Catalogue Raisonné currently being prepared by the Wildenstein Plattner Institute. Notice of inclusion dated March 14, 2000. © Julien Pépy
Galerie Raf Van Severen
Elena Laverón (1938, Ceuta) "Pareja Sentada" (Seating Couple), dated 1975 cast bronze with dark patina edition of 3 + 2 AP H 170 x W 193 x D 116 cm Reference: In 1993, Pareja Sentada was installed at UNESCO's Bonvin building Literature: Antonio Abad, "Elena Laverón, The flight of forms", 1987, 168p.; Juan Ibáñez Plaza (com.), "de Elena Laverón", Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, 115p.; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (Número 16), Real Academia de Bellas Artes de San Telmo, 2016, 389p.; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, "UNESCO : La collection d'art", 2017, 431p.;
Galerie de la Présidence
Sonia DELAUNAY (1885-1979) “Rythme couleur” Paris 1972 Gouache on paper 54,5 x 38 cm – 21.45 x 14.96 in. Signed lower right Provenance - Private collection, Paris Certificate of Jean-Louis Delaunay and Richard Riss This is one of the preparatory gouaches for the Album Les Illuminations, containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
Spazio Nobile Gallery
Ann Beate Tempelhaug, Like days, nights, years (Som dager, netter, ar), Ceramic wall sculpture, 2024, Stoneware porcelain, glaze, 185 x 113 x 18 cm, unique piece signed by the artist on the back Certificate of authenticity Bibliographical refererences: Ann Beate Tempelhaug, Nord, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Ann Beate Tempelhaug, Nord, Solo Exhibition, Spazio Nobile, Brussels, 2024 Ann Beate Tempelhaug, I Should Have Not Used Blue, Solo Exhibition, Fondazione Officine Saffi, Milan, 2025 Ann Beate Tempelhaug, Umbra, Solo Exhibition, Kunstnerforbundet, Oslo, 2026
Galerie von Vertes
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Repetition GL.A, 1996 Collage and acrylic on canvas 41 x 31,8 cm Signed, dated and titled on the reverse Provenance: Shinwa Auction, 23 November 2014, lot 145; private collection, Japan (acquired from the above); Bonhams, Hong Kong, 11 June 2016, lot 26; Private collection, Asia (acquired from the above); Christie's, Hong Kong, 3 December 2020, lot 517; private collection, London (acquired from the above) Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Repetition or seriality would become her signature technique in everything that she created: 'Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.'
Galerie Taménaga
Pierre-Auguste Renoir (1841–1919) Paysage de Cagnes 1900 Oil on canvas 24 x 54 cm Signed with initials lower left: “AR” This work will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir being prepared by the Wildenstein Plattner Institute. Provenance Ambroise Vollard, Paris Private Collection, Japan Bibliography Ambroise Vollard, Pierre-Auguste Renoir. Tableaux, pastels et dessins, Alan Wofsy Fine Arts, San Francisco, 1989, nos. 612, 1185 and 1330, illustrated pp. 155, 258 and 279.
Galerie Flak
U’u Club Marquesas Islands, Polynesia 18th or 19th century Carved wood and fibers Height: 138.5 cm – 54 ½ in. Provenance Collection David Petty, London Collection Pierre-Richard Royer, Paris Collection Alexandre Bernand, Paris Private collection, acquired from the above in September 2016 Exhibition TEFAF 2024, Maastricht, Serge Schoeffel, catalogue T3, p. 28
