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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.
Harold t’Kint de Roodenbeke
Pol Bury (La Louvière 1922-2005 Paris) L’étourdie, 1945 Oil on canvas 60 x 70 cm Signed lower right and dated 1945 This work is listed in the catalogue raisonné of the Pol Bury paintings under n° PO 46 Provenance: collection C. Matisse, La Louvière; sale Horta, Brussels, 12 October 2009, lot 208; private collection, Liège Literature: José Vovelle, 'Le surréalisme en Belgique', Brussels, André De Rache éditeur, 1972, p. 248, ill. p. 308; Viviane Baras-Flament, 'Pol Bury, 2014', bibliographical reference, 1974, ill. pl III; Philippe Roberts-Jones, Naissance et triomphe du surréalisme en Wallonie', 1975, ill. p. 297; Robert Hoozee, Piet Boyens, Inge Henneman, Monique Tahon-Vanroose, Helke Lauwaert, Serge Goyens de Heusch, Ronny Gobyn, 'L’art moderne en Belgique 1900-1945', Antwerp, Fonds Mercator, 1992, ill. p. 312; Rosemarie E. Pahlke, 'Pol Bury', Ghent, Crédit communal, 1994, pp. 102-103, cat 45-6, ill. p. 103; Histoire de ne pas rire, le surréalisme en Belgique, Bozar et Fonds Mercator, 2024, ill. p. 152 Exhibitions: Galerie Lou Cosyn, Brussels, Pol Bury, Juin 1946, n° 9; Musée des Beaux Arts de Liège, 'L’apport Wallon au surréalisme', October-November 1955, ill. n° 4; La Louvière, 'Introduction au surréalisme en Belgique, community hall, April-May 1969, n° 8; Kunstverein Hamburg, 'René Magritte et le surréalisme en Belgique', January-March 1982, n° 3, ill. p. 229; Galleria Nazionale d’Arte Moderna, Rome, April-July 1982; Musées Royaux des Beaux-Arts de Belgique, September-December 1982; Château de Waroux, Alleur, 'Pol Bury, du surréalisme aux ramollissements', April-June 2010; Château de Waroux, Alleur, 'De Dali à Magritte, l’aventure surréaliste', March-July 2011
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
Mearini Fine Art
Corinthian capital (variation of a Roman type from the 3rd/4th century) Central-southern Italy, late 12th-early 13th century Greek Marble H 52 x W 50 x D 50 cm 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.
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale, Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; European private collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)
Marjan Sterk Fine Art Jewellery
Claude Lalanne (Paris 1925-2019 Fontainebleu) 'Entrelacs' hinged bangle bracelet Paris, circa 1980-1990 18k yellow gold Signed Claude Lalanne Numbered 19/50 and bears the signature of Artcurial, Paris An eighteen carat yellow gold hinged bangle ‘Entrelacs’ designed as organically curling branches between which seven hydrangea flowers, with hinge and catch lock hidden in one of the flowers.
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Cabinet of Curiosities
Ivory engine-turned cup Probably Augsburg, 17th century H 18.5 cm Provenance: private collection, Southern Germany Lignum Vitae engine-turned wassail bowl with cover England, 17th century H 31 cm Pair of Lignum Vitae counter-spheres Germany, late 17th-early 18th century Ø 9.5 cm Ivory engine-turned cup with cover Attributed to Johann Eisenberg (1600-1640) Dresden, 17th century H 43 cm Provenance: TEFAF 2026 Ivory engine-turned lidded vessel Southern Germany, 17th century H 12 cm Provenance: private collection, Germany; Mühlbauer collection, TEFAF 2026
Lemaire
Bust depicting Honoré-Gabriel Riqueti de Mirabeau Manufacture of the Comte d’Artois in Paris Paris, circa 1792 Hard-paste porcelain H 27 cm Honoré-Gabriel Riqueti de Mirabeau (1749-1791), was a French writer, diplomat, journalist, and politician, and a prominent figure of the French Revolution
Floris van Wanroij Fine Art
Anna Ruysch (The Hague 1666-1754 Amsterdam) Flowers in a Glass Vase on a partly draped Marble Ledge Oil on canvas 47 x 37.5 cm Signed Anna Ruysch lower left The present picture is recorded at the RKD in The Hague under n° 194147 as by Anna Ruysch Provenance: sale Piasa, Paris, 27 July 2008, Lot 16; Kunsthandel P. de Boer, Amsterdam, 2008; Kunsthandel Xaver Scheidwimmer, Munich, 2009; private collection, Ohé en Laak, The Netherlands; thence by decent Exhibitions: Kunsthandel Xaver Scheidwimmer, TEFAF Maastricht, 13-22 March 2009; Rachel Ruysch. Artist, Naturalist and Pioneer (traveling exhibition) Munich, Alte Pinakothek, 26 november 2024-16 March 2025; Toledo OH, Toledo Museum of Art, 13 April-27 July 2025; Boston, Museum of Fine Arts, 23 August-7 December 2025 Literature: Schindler, R., Ebert, B. & Knaap, A. C. (2025). Rachel Ruysch. Nature into Art. Boston: MFA Publications, exh. cat., p. 24, ill. n° 12, identified as by Anna Ruysch
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
Virginie Devillez Fine Art
Théo Van Rysselberghe (Ghent 1862-1926 Saint-Clair) Baie de Saint-Brélade, 1907 OIl on canvas 65.5 x 81 cm Monogrammed and dated '07' lower left Titled on the stretcher Provenance: private collection, Belgium; thence by descent to the present owner Literature: Ronald Feltkamp, 'Théo Van Rysselberghe. Catalogue raisonné', les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363) Exhibitions: Paris, Bernheim-Jeune, 'Théo van Rysselberghe', 1908, cat. n° 43; Rotterdam, Rotterdamse Kunstkring, 'Théo van Rysselberghe', 1909, cat. n° 29; Groningen, Galerie Hofsteenge, 'Pictura Théo van Rysselberghe', 1910, cat. n° 24; Berlin, Ausstellungshaus Kurfürstendam, 'Sezession', 1912, cat. n° 231 (?)
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138.5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
Maison D'Art
Karel van Vogelaer called Carlo dei Fiori (Maastricht 1653-1695 Rome) Still life with flowers Oil on canvas 64.5 x 46 cm Literature: From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, n° 30, pp. 114-116, 150 Exhibition: From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12-17 November 2005
Willow Gallery
Bernard Buffet Paris 1928 - Tourtour 1999 Deux pots de geraniums Oil on canvas, signed and dated 1978. Canvas size: 36 x 25.5in / 92 x 65cm Frame size: 44 x 33.5in / 112 x 85cm Provenance: Marisa del Re Gallery, New York Private Collection, Japan Literature: This painting is sold with a photo-certificate of authenticity from the Galerie Maurice Garnier, Paris
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas 64 x 73.5 cm Signed lower left and dated 1932 Provenance: acquired directly from the artist in the 1930s; private collection, France; Christie's Paris, sale of 1 December 2009; private collection, France Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
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.
Artimo Fine Art
Antonio Alberto Nunes (Lisbon, 1838-1912) 'La Primavera'(Spring), 1889 White Carrara marble H 163 cm Signed and dated on the base 'Alberto Nunes / 1889' Provenance: commission 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, n° 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 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.