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Artimo Fine Art
Jean-Baptiste Auguste Clésinger (Besançon 1814-1883 Paris) Lucrèce mourante (The Death of Lucretia), 1868 White Carrara marble H 165 x W 206 x D 82 cm Signed and dated 'J. Clésinger Rome 1868' Provenance: Émile de Girardin (1802–1881), Paris; sale of the Émile de Girardin collection, Hôtel Drouot, Paris, December 1887, lot 176; private collection, Château de Vallière, Mortefontaine (Oise), France Literature: Catalogue des marbres, bronzes et terres cuites composant l’atelier de M. Clésinger, Paris, sale of 5 June 1868, lot 2, with a preface by Théophile Gautier; Catalogue de la vente des œuvres de M. Clésinger, Paris, Hôtel Drouot, 6 April 1870, lot 2; Catalogue de la vente de la Société des marbres et bronzes artistiques de Paris, 2-3 April 1883, lot 17 (mentioning the original marble belonging to M. de Girardin); Alexandre Estignard, Clésinger, sa vie, ses œuvres, Paris, 1900 Created in Rome between 1863 and 1867, Lucrèce mourante ranks among Jean-Baptiste Auguste Clésinger’s most ambitious monumental compositions. The sculptor depicts the Roman heroine at the moment when, having revealed the outrage committed against her, she has just taken her own life. Seated, her body abandoned, her eyelids half-open and her gaze turned upwards, Lucretia lets the dagger fall as her drapery reveals the fatal wound. Her loosened chignon, with several strands falling onto the nape of her neck, heightens the sense of abandonment that pervades the composition. The work combines a particularly sensitive observation of human anatomy with the nobility of a composition inspired by classical sculpture. In his preface to the 1868 sale catalogue, Théophile Gautier emphasised the expressive power of this figure, whose inner suffering is conveyed with remarkable restraint. Listed in the catalogues of the Clésinger sales of 1868 and 1870, the sculpture subsequently belonged to Émile de Girardin, the celebrated French journalist and politician. Its presence in his collection is confirmed by the 1883 catalogue devoted to Clésinger’s models, which explicitly states that the original marble belonged to M. de Girardin. The work reappeared in December 1887 at the Hôtel Drouot sale of the Girardin collection, before entering, at an as yet undetermined date, the collections housed at the Château de Vallière in Mortefontaine.
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
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
Argento Gallery
Jacob Fransz. van der Merck ('s-Gravendeel circa 1610-1664 Leiden) Portrait of a man with a skullcap, 1646 Oil on panel 72.5 x 56.5 cm Signed and dated upper right Provenance: private collection; Chorley’s Auctioneers, Cotswolds, 26 November 2025, lot 993 A portrait of an older man with a grey moustache, goatee and a skullcap. The painting is identified as a work by Jacob van der Merck on the basis of its style and signature. It closely resembles his signed male portraits from 1642-1648, painted during the period when he was principally based in The Hague.
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
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
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.
Heutink Ikonen
Year Icon (Menologion) Russia, late 19th century Egg tempera on gesso on linen-covered wood 35.5 x 30.5 cm Provenance: private collection, Germany This beautifully painted year icon (menologion) brings together the entire Orthodox liturgical year in a single composition. The twelve months are divided into separate sections, each depicting the saints and feast days commemorated throughout the calendar year. At the centre of the composition is the Anastasis (the Resurrection of Christ), surrounded by scenes relating to the Church’s movable feasts, including the Ascension and Pentecost, as well as scenes from Christ’s Passion. Along the edge are numerous venerated images of the Mother of God - each associated with its own feast day in the church year. This icon stands out for its unusually compact size. Despite its modest dimensions, the painter has succeeded in incorporating an exceptionally extensive iconographic programme without compromising on clarity or refinement. Hundreds of figures, scenes and inscriptions are depicted with remarkable precision and virtuosity. Thanks to its good preservation, even the smallest of details remain clearly visible.
Mulier Mulier Gallery
Erwin Wurm (Austria, 1954) Envy Bumps, 2007 Bronze, nickel-plated 167 x 66 x 54 cm Edition 1/3 + 2AP In Envy Bumps (2007), Austrian artist Erwin Wurm gives sculptural form to one of the most intangible aspects of human experience: emotion. The life-size, headless figure, dressed in ordinary clothes, is marked by bumps that seem to emerge from within the body itself. What initially appears absurd or humorous gradually reveals a more unsettling proposition: what if an emotion such as envy could physically alter the human form? The sculpture belongs to a series in which Wurm explores the relationship between psychological states and bodily transformation. Throughout his career, the artist has challenged conventional definitions of sculpture, particularly through his investigations into volume, mass and the human body. In Envy Bumps, these concerns take on a distinctly psychological dimension. The grotesque bulges become physical manifestations of inner tensions, suggesting that the body might express what remains concealed beneath the surface. The sculpture's highly polished, nickel-plated bronze surface adds another dimension to the work. Its reflective finish contrasts with the distorted human figure, creating a tension between the familiar and the unsettling. Its reflective surface draws the viewer into the sculpture, while the absence of a head removes any individual identity, allowing the figure to suggest a more universal human condition. Balancing humour with unease, and the familiar with the grotesque, Envy Bumps exemplifies Wurm's distinctive approach to sculpture, in which the human body becomes a means of exploring psychological and emotional states. While the figure remains recognisably human, its distorted proportions suggest a body shaped not only by its physical anatomy, but also by the emotions it carries.
Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115 cm Signed and inscribed on the reverse Certificate of authenticity issued by Mr. Jean-Marie Cusinberche Provenance: Galerie Guy Pieters, Belgium; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, lot 93; private collection, Europe
Galerie Flak
Goli Glin Buffalo mask Baule, Ivory Coast, early 20th century Carved wood and pigments H 65.5 cm Provenance: Frank Crowninshield collection, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York; Jacques Seligmann Gallery, New York; collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions: Jacques Seligmann Gallery, New York, 'Exhibition of Sculptures of Old African Civilizations', 4-22 January 1936; Brooklyn Museum, New York, 'African Negro Art from the Collection of Frank Crowninshield', 20 March-25 April 1937
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
Caretto & Occhinegro
Lucas Gassel (Deurne circa 1488-1570 Brussels) Landscape with the penitent Saint Jerome, circa 1543-1545 Oil on oak panel 56 x 85 cm Signed with traces of the monogram LG (interlaced) lower left on the rock Expertise by Peter van den Brink and the gallery is grateful to Luc Serck for confirming the authorship of this work
