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Galerie des Modernes
Pierre Alechinsky (Brussels, 1927) Signes, 1951 Oil on canvas 19.5 x 30 cm Signed lower right, countrersigned, dated and titled on stretcher A CoBrA-period work executed in May 1951 Certificate of authenticity by Myriam Prévot-Douatte, director of Galerie de France This document bears the following handwritten note by Pierre Alechinsky: 'P. Alechinsky, who would like to be able to borrow this small painting for a forthcoming retrospective' To be included in the Pierre Alechinsky catalogue raisonné, currently in preparation by the artist and Frédéric Charron, under n° 110 Provenance: Galerie de France, Paris; private collection, France
Artimo Fine Arts
Antonio Alberto Nunes (Alcântara, Lisbon, 1838–1912) “La Primavera”(Spring), 1889 White Carrara marble H. 163 cm Signed and dated on the base: “Alberto Nunes / 1889” This important life-size marble figure represents Spring as a young woman crowning herself with flowers. With both arms raised, she ties the ribbon of a floral garland around her hair, while a finely carved drapery falls from her shoulder and is gathered around her waist. La Primavera was commissioned directly from Antonio Alberto Nunes by João Maria Correia Ayres de Campos, later 1st Count of Ameal (1847–1920), the distinguished Portuguese collector and humanist based in Coimbra. The circumstances surrounding the commission and the creation of the sculpture are documented in the contemporary Portuguese illustrated journal O Occidente. The article describes Ayres de Campos approaching Nunes to commission “a statue of a woman” and subsequently identifies the completed composition as Primavera. It describes “a beautiful young woman crowning herself with flowers”, with her arms raised as she ties the ribbon of the garland, and records the importance of the commission for the sculptor’s career. The sculpture subsequently remained in the Collection of the Count of Ameal, Coimbra. It is documented in the catalogue of the sale of the Ameal Collection in July 1921 as lot 1, under its French title Printemps, where it is described as a statue in Carrara marble by Alberto Nunes, measuring 1.63 metres in height. Provenance: Commissioned directly from the artist by João Maria Correia Ayres de Campos, later 1st Count of Ameal (1847–1920), Coimbra; Collection of the Count of Ameal, Coimbra; Sale of the Collection of the Count of Ameal, July 1921, lot 1 (Printemps). Literature: J. B. d’Oliveira, “Alberto Nunes – Esculptor portuguez”, O Occidente: Revista Illustrada de Portugal e do Estrangeiro, vol. XXXVI, nos. 1253–1255, Lisbon, 20 October–10 November 1913, pp. 332–347 Vente d’Objets d’Art – Collections “Comte d’Ameal”, July 1921, lot 1, Printemps.
Waddington Custot
Barry Flanagan (Prestatyn 1941-2009 Santa Eulària des Riu) Large Troubador, 2004 Bronze 185 x 140 x 114 cm (cast 2019) Edition of 8 + 3 AP (AP 2) Stamped with the artist’s monogram, casting date and edition number ‘f-/19 AP 2/3’ and foundry mark Provenance: Plubronze Limited (the Estate of Barry Flanagan) Literature: Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, n° 29 (rep. in colour p.63) (1/8 catalogued) Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl 137) Exhibitions: ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June-24 September 2006, catalogue p. 160 (rep. in colour) (3/8 exhibited); ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February-31 March 2007 (3/8 exhibited); ‘Barry Flanagan: Sculptures 2001-2008’, Waddington Galleries, London, 30 April-23 May 2008, catalogue n° 7 (rep. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited); ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September-28 October 2012 (AP 1/3 exhibited); ‘Barry Flanagan’, IKON, Birmingham, 18 September-24 November 2019 (rep. in colour in catalogue on p. 2-3, 5, 88) (another edition exhibited outside); ‘Mayfair Sculpture Trail’, London, 1-31 October 2020, catalogue n° 8 (rep. in colour p. 41) (AP 2/3exhibited)
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
Galerie Perrin
Eduard Gaertner (Berlin 1801-1877 Flecken Zechlin) Rue Neuve, Notre Dame in Paris, 1826 Oil on canvas 44 x 34.5 cm (unframed) 65 x 54 cm (framed) Signed, located and dated lower right 'E. Gaertner fec / Paris 1826' Provenance: collection Jérôme Carcopino; thence by descent (in the same family)
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Round table, circa 1835-1845 Various coloured pebbles and marbles Tabletop: ⌀ 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Galerie Uzal
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Pair of groups 'Panther and Serpent', circa 1900 Bronze, rich brown patina and ivory on one Griotte marble and one faux-marble base H 114.5 x W 104 cm Signed ‘Josuë Dupon' and bears foundry mark 'F. van Aerschodt Fondeur' Provided with the CITES document for both sculptures
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a young Koumbo girl, 1930 Black veined marble H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Possibly a Lobi girl from Burkina Provenance: public auction, Paris, 6 June 1984 Literature: E. Bénézit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 9, Paris, 1999, p. 756
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze).' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press (Full print available on request): René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922
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 Certificate of authenticity issued by the Yayoi Kusama Studio on 21 August 2012 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) 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.'
Harold t’Kint de Roodenbeke
René MAGRITTE ( 1898 - 1967 ) “Lilith” Original pencil drawing 146 x 98 mm Signed upper right Provenance Collection privée Paris Literature Les Lèvres nues, « Le cache sexe des anges », 1978, illustrated p.9 René Magritte, « A lab of ideas », 8th may – 4th sept 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, illustrated p. 123 Xavier Canonne, « René Magritte, La ligne de vie » , 15th nov 2025 – 22 feb 2026, KMSKA, Antwerp, Belgium, illustrated p. 103. Exhibitions René Magritte, « A lab of ideas », 8th may – 4th sept 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, illustrated p. 123 Xavier Canonne, « René Magritte, La ligne de vie » , 15th nov 2025 – 22 feb 2026, KMSKA, Antwerp, Belgium, illustrated p. 103.
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July - 30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54.5 x 38 cm Signed lower right Certificate of authenticity issued by Jean-Louis Delaunay and Richard Riss Provenance: private collection, Paris This is one of the preparatory gouaches for the 'Album Les Illuminations', containing 15 stencils, illustrating 9 poems by Arthur Rimbaud
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
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
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Partially fire-gilt and partially patinated bronze H 70 x W 75,5 x D 27 cm Produced by the clockmaker Douyon The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.