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Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Produced by the clockmaker Douyon Partially fire-gilt and partially patinated bronze H 70 x W 75.5 x D 27 cm 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.
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 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. 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.
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
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
Galerie Jean-François Cazeau
Armand Fernandez, known as ARMAN (1928–2005). ‘La grande nuit’, 1994 Acrylic and brushes on canvas, eight panels, signed on the edge, unique piece. Height: 292 – Width: 413 cm Provenance: Artist's studio Given by Arman to his daughter Anne Fernandez. Exhibitions: - Arman, "La Nuit Etoilée", Château Notre-Dame des Fleurs, Winter 1994/1995, Galerie Beaubourg, featured on the cover of the catalogue, illustrated across a double-page spread (pp. 28–29), illustrated on page 32 behind Arman. - "Arman s’installe aux Baux de Provence", 4 June to 16 October 2011, organised by the A.R.M.A.N Foundation, illustrated on page 22 of the catalogue. Bibliography: Illustrated in the Catalogue general of the official Arman website, Arman-Studio.
Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) 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, 20 April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Stéphane Renard Fine Art
Maerten de Vos (Antwerp 1532 – 1603) The Four Elements: Air, Earth, Water and Fire Pen and brown ink wash on laid paper 100 x 138 mm for each drawing The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon – France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529–532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV–XLVI, 1360–1364, copy d.).
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, 'Tasti Tondi', bearing a uniquely spotless two-tone rose dia Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
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
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: 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 Full press articles available on request.
Franck Anelli Fine Art
Jacob ROTIUS HOOM (1644-1681) Bouquet of Flowers Oil on canvas, 69 x 56 cm Tulipes, roses, une iris, une pivoine, un pavot, des framboises et d'autres fleurs dans un vase sur une corniche de pierre dans une niche, signé et daté en bas à gauche : R... FA°1674, Provenance: Private collection, Austria, since the late 19th century; thence by descent to the present owner
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.
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, Brussels; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe
F. Baulme Fine Arts
Nicolas Vleughels (Paris 1668-1737 Rome) King Solomon Sacrificing to the Idols, 1721 Oil on canvas 38 x 52.5 cm Monogrammed and dated lower left 'N.V.F 1721' Provenance: Paris, de Troy sale, 9 April 1764, n° 123; Pierre Rémy collection, 1764 Literature: Bernard Hercenberg, Nicolas Vleughels, directeur de l’Académie de France à Rome, 1668-1737, Paris, Léonce Laget, 1975 (cat. n° 93, p. 89; engraving, fig. 100, repr.) Related works: Edme Jeaurat, after Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1723, engraving; Nicolas Vleughels, King Solomon Sacrificing to the Idols, 1720, oil on panel, 21.5 x 30 cm, private collection; Nicolas Vleughels, Solomon and the Queen of Sheba, 1728-1729, oil on copper, 39 x 50.7 cm, Paris, Musée du Louvre (RF 1992 412)
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.
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
Dalton Somaré
Slit Drum, nedundu Uele Region, Northeastern D. R. of Congo Early 20th Century Wood with dark brown patina 52 x 122 cm Provenance: collection Monsieur H., (Agricultural Engineer), France, collected in situ before 1950; thence by descent; private collection, France; Sotheby’s, Paris, Arts d’Afrique et d’Océanie, 21 June 2017, Lot 29; private collection, New York