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Heutink Ikonen
‘Weep not for Me, Mother’ Russia, mid 17th century Egg tempera on gesso on linen-covered wood 31 x 26 cm Provenance: private collection, Belgium; Morsink Ikonen, Amsterdam Among the most moving images of Orthodox art is the icon known as ‘Weep Not for Me, Mother’. Its title is drawn from the liturgy of Holy Saturday, where Christ addresses his grieving mother from the tomb: 'Weep not for Me, O Mother... for I shall arise and be glorified…' The icon depicts a moment between the crucifixion and the Resurrection: the profound silence of Holy Saturday. Christ stands or rises from the tomb, whilst the Mother of God tenderly embraces him and mourns for him. The intensity of their encounter lends the image an extraordinary emotional power. Although the scene may remind Western viewers of the Pietà, its spiritual focus is different. Whilst the Pietà centres on the grief of the Blessed Virgin, ‘Weep Not for Me, Mother’ looks forward to Easter and the promise that death does not have the final say.
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Pron
Archizoom Associati (Florence, active 1966-1974) Armchair and ottoman, 'Mies' model, circa 1969 Chrome-plated steel, leather and cowhide Armchair: 76 x 74 x 130.5 cm Ottoman: 37 x 104.5 x 20 cm Poltronova edition Literature: G. Gramigna & P. Biondi, 'Il design in Italia per l'arredamento domestico', Umberto Allemandi & C., Turin, 1999, p. 30; The Museum of Modern Art, Italy: The New Domestic Landscape, New York, 1972, p. 103; P. C. Santini, Facendo Mobile con Poltronova, Artigraf-Firenze, Italy, 1966, pp. 18-19
Sceners Gallery
Marcel Kammerer (Vienna 1878-1959 Montreal) Set of one sofa, a pair of armchairs and a pedestal table, circa 1905 Stained beechwood, metal, and dyed winter cowhide Sofa: H 74 x W 165 x D 80 cm Armchairs: H 74 x W 88 x D 80 cm Pedestal table: H 77.5 x Ø 70 cm Signed Mundus For Gebrüder Thonet / Mundus
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 Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, ill. p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May-17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January-4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Galerie Florence de Voldère
Pieter Brueghel the Younger (Brussels circa 1564-1637/8 Antwerp) The wedding feast in the barn, 1622 Oil on panel 75 x 100 cm Signed and dated ‘P.BREVGHEL 1622’ Provenance: private collection, Belgium; Galerie Robert Finck, Brussels, 1976; private collection, Belgium, 1969; with John Mitchell, London, 1958; Lord Sperling, 1932 Literature: G. Marlier, Pierre Breughel le Jeune, Brussels, 1969, pp. 177-179, n° 2 (ill. n° 99-101); K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38), Die Gemälde mit Kritischem OeuvreKatalog, vol. 2, Lingen, 1988-2000, p. 709, n° E857, p. 646, pp. 652-653 (ill. in colour on these pages, figs. 524-525, and pp. 650-660); Kulturstiftung Ruhr Essen, ed., Pieter Breughel der Jüngere-Jan Brueghel der Ältere, Flämische Malerei um 1600, Tradition und Fortschritt, Lingen, 1997, pp. 398-400, n° 135 (ill. in colour on p. 399); Koninklijk Museum voor Schone Kunsten, ed., Pieter Brueghel le Jeune - Jan Brueghel l’Ancien, Une famille de peintres flamands vers 1600, Antwerp, 1988, p. 384, n° 140 (ill. in colour on p. 385) Exhibitions: Brussels, Galerie Robert Finck, Pieter Brueghel de Jongere in Belgische privécollecties, 1969; Essen, Kulturstiftung Ruhr, Villa Hügel, Brueghel-Brueghel, Pieter Brueghel d.J.-Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 16 August-16 November 1997, n° 135; Vienna, Kunsthistorisches Museum, Brueghel–Brueghel, Pieter Brueghel d.J. - Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 9 December 1997-14 April 1998, n° 135; Antwerp, Koninklijk Museum voor Schone Kunsten, Pieter Brueghel le Jeune-Jan Brueghel l’Ancien. Une famille de peintres flamands vers 1600, 3 May-26 July 1998, n° 140
Marjan Sterk Fine Art Jewellery
Cartier A coral and diamond ring, circa 1960 Platinum, carved coral and diamonds Signed 'Cartier Paris' and numbered Provided with the original case A platinum ring of bombé design, the upper part one half set with carved coral and the other half pavé set with briljant cut diamonds, on a ribbed shank.
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Snackers Antiques & Fine Art
Pair of candelabra depicting Mercury and Fortuna Empire period, 1820 Gilded and patinated bronze H 100 x W 27 x D 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255 These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolising trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet.
Samuel Vanhoegaerden Gallery
Karel Appel (Amsterdam 1921-2006 Zurich) People, Birds and Sun, 1951 Gouache and pastel on paper, mounted on canvas 65 x 100 cm Signed and dated lower right Provenance: the estate of the artist; Galerie Max Hetzler, London Exhibition: Karel Appel-Cobra/Non Cobra, Galerie Max Hetzler, London, January-February 2024
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33 Standing just 24.5 cm tall, this exceptional female nkisi from the Mayombe region of the Democratic Republic of the Congo possesses a presence far greater than its size suggests. Its piercing, wide-open eyes, finely modelled features and harmonious proportions reveal the remarkable quality of the carving, while the striking accumulation of black seeds surrounding the body adds to the intensity of its beautifully balanced composition. In Kongo tradition, nkisi figures were created to protect, heal and mediate between the visible and invisible worlds. Activated by a nganga, a ritual specialist and healer, they embodied spiritual forces believed to influence human life. This female figure, with her hands holding her breasts, evokes fertility, motherhood and the continuity of the lineage, while also fulfilling a protective function. At the centre of her abdomen, a mirror conceals a ritual cavity containing bilongo, a potent combination of plant, mineral and animal substances. The mirror establishes a symbolic connection with the spirit world, while the small cowrie shell adorning her forehead evokes prosperity and fertility. What makes this sculpture particularly compelling is the exceptional preservation of its ritual attributes. The abdominal receptacle, its mirror and ritual contents have survived, offering valuable insight into the figure's original spiritual function. Its richly layered, time-worn patina, thick and encrusted in places, bears witness to its ritual history. Equally fascinating are the numerous glossy black seeds, probably from a tropical vine of the Dioclea genus, which have survived along with the cords securing them. Combining sculptural refinement, spiritual significance and a rich assemblage of preserved ritual elements, this intimate yet commanding figure stands as a remarkable testament to the artistic traditions of the Mayombe region.
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm The gallery is 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 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.
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A landscape with travellers near a castle or an ALlegory of Spring Oil on panel 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters evening sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V; Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin This pastel will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); collection F., Paris
Vagabond Antiques
After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Château De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Paysage, arbres fruitiers (1909) Oil on paper 47.7 x 63 cm Stamped with signature 'Bonnard' (Lugt 3886, lower left) Provenance: the artist's estate; private collection, Paris; anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226; private collection, Europe Literature: J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, n° 1949, (ill.) p. 285
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Two subsequent versions were made: the first in 1862 for Baron Belper, Edward Strutt (Israele collection); the second one in 1865 for the then King of Portugal, Luis I, now kept in the collections of Lisbon’s Palacio Nacional da Ajuda (inv. n°179). This sculpture is the first version of Fantacchiotti’s most acclaimed sculpture, Musidora, realised in 1859. Drawing inspiration from James Thomson’s poem ‘Summer’, the monumental marble depicts the moment in which the nymph, bathing in a secluded stream, realises that she has been observed by her admirer Damon. Engaging both with the legacy of Neoclassicism and the emerging sensibilities of Romanticism, Fantacchiotti stands as one of the representatives of mid-nineteenth century Florentine academic sculpture, receiving high praise by his contemporaries. This version was commissioned by August Belmont, a central figure of New York’s social elite, and founder and director of one of the country’s leading private banking firms, reflecting the American appetite for Italian marble sculpture, and the enduring influence of Florentine sculpture in the transatlantic taste.
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship