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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
Samuel Vanhoegaerden Gallery
Pierre Alechinsky (Brussels, 1927) L’Or du Rien, 1967-1968 Acrylic on paper mounted on canvas, and border in China ink on paper mounted on wood 210 x 295 cm Signed and dated lower right Signed, dated and titled on the reverse Provenance: Stéphane Janssen collection, Beverly Hills, USA; Sotheby’s London, Contemporary Art Part I, 1996; private collection, Brussels; Sotheby’s Paris, 2011; Galerie Lelong, Paris, France; private collection, Brussels Exhibitions: Bruges, Stadshallen, Triennale voor Plastiche Kunsten in Belgie, 1968, n° 6; Charleroi, Palace of Fine Arts, Prix de la critique, 1968-1969, n° 29; Brême, Ausstellung Kunsthalle Bremen, Pierre Alechinsky, Gemälde, 1958-1968, 1969; Brussels, Palace of Fine Arts, Pierre Alechinsky, 1969; Humlebaek, Louisiana Museum & Düsseldorf, Kunstverein (travelling exhibition); Antwerp, ICC-Internationaal Cultureel Centrum, Prijs van de Kritiek, 1969-1970; Cagnes-sur-Mer, IIème Festival International de la Peinture, 1970; Prix du Lauréat 1970, Deuxième Palette d’Or; Venise, Biennale Internazionale d’Arte di Venezia, Pavillon Belge, 1972; Darmstadt, Mathildenhöhe Darmstadt, Pierre Alechinsky, 1974; Rotterdam, Museum Boymans van Beuningen, Alechinsky 1965-1974, 1974-1975; Paris, Musée d’Art Moderne de la Ville de Paris, 1975 (travelling exhibition); Zurich, Kunsthalle, 1975; Pittsburgh, Carnegie Museum of Art, International Series, Alechinsky, Paintings and writings, 1977-78; Toronto, Art Gallery of Ontario, 1978 (travelling exhibition); Scottsdale, Scottsdale Center for the Arts, A Museum in the Making: Alechinsky and Alquin From the Janssen Collection of Fine Art, 1996; Dunkerque, LAAC (Musée de Dunkerque), October 2012-March 2013
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) Beetle frieze vase, 1912 White, lost-wax cast-molded glass with a grey patina H 16 cm Unique piece Not signed Provenance: Georges Charbonneaux collection, Paris (acquired direclty from the artist for 1000 francs in 1912); David Weinstein, New York (acquired from the descendants); private collection, London (acquired from the above) Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, CP13ter
Kunsthaus Kende
Yasuyoshi Matsumoto (born 1982), a Shidō Vase “Kagiroi” (First Light of Dawn), Tōkyō 2018, Shidō (traditional Japanese copper alloy), H.: 28 cm, w.: 31 cm Signed at the bottom by the artist. From the artist´s collection. Shown at the 65th Exhibition of Japanese Traditional Crafts (2018). Shidō (紫銅) is a traditional Japanese copper material distinguished by its characteristic purplish-brown hue. Its subtle, rich coloration is achieved through traditional metallurgical processes and specialised surface treatments. Valued for its distinctive aesthetic qualities, Shidō has a long-standing place in the tradition of Japanese metal art. Yasuyoshi Matsumoto is a fourth-generation metal caster whose family tradition dates back to the Meiji era. His distinctive artistic approach combines traditional Japanese casting techniques with sophisticated heat-induced colouring processes, resulting in metalworks of exceptional depth, colour and refinement. Drawing on generations of inherited knowledge, he unites technical mastery with a refined contemporary sensibility, creating works that honour the heritage of Japanese metal craftsmanship while expressing his own artistic vision.
Univers du Bronze
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux antilopes Goudou or 'Deux Amis', circa 1911 Bronze, dark brown patina H 23.1 x L 43.2 x D 11.9 cm Signed 'R. Bugatti' Original cast and edition by 'A.-A. Hébrard cire perdue Paris' (seal and inscribed in the wax 'Fondu en 1925'), engraved '(13)' Edition cast in 1925 The years 1910–1911 were the most creative in Rembrandt Bugatti’s career. His art was flourishing, with his first major exhibition in Antwerp in 1910, followed by one organised by the foundryman Hébrard, for which the artist presented a magnificent collection of one hundred sculptures. The 'Deux antilopes goudou' were probably created in 1911, following a group of Trois antilopes goudou that Bugatti presented for the first time at the Salon d’Automne in 1911. From this group of three, the sculptor chose to retain only a pair of animals, adopting an even more sensitive approach, full of great tenderness, which the artist’s Impressionist touch renders here even more vibrant. To emphasise this intimate and ‘friendly’ character, Bugatti positions the antelopes – also known as Les deux amis – in a face-to-face interaction, with the head of one resting trustingly on the other’s large ear. The two heads come together harmoniously at the centre of the composition. At the same time, the sculptor modelled another, complementary group featuring similar antelopes, this time muzzle to muzzle, which he named 'Deux antilopes Goudou' or 'Caresse'. This cast, listed in the sculptor’s catalogue raisonné, bears the number '13', denoting the thirteenth cast produced from this model, and the casting date 'Fondu en 1925' – an extremely rare detail in Bugatti’s Oeuvre. The production run of these beautiful African antelopes was a great success for Hébrard, who cast thirty-two bronzes based on this subject. This bronze, with its deep brown patina, stands out from other known casts due to the high quality of the mould, which perfectly showcases the master’s characteristic and original treatment of the material.
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.
Dei Bardi Art
Kneeling donor figure South Netherlandish, second half of the 16th century Limestone 67 x 22 x 37 cm Provenance: ancient collector's label on the reverse This rare limestone portrait of a Renaissance donor, kneeling in prayer and remarkably well preserved. Carved in the Southern Netherlands in the second half of the 16th century, the figure combines exceptional quality of execution with a richly detailed costume. The woman wears a huik, the characteristic outer garment of the women of the Low Countries, over a ruff with figure-of-eight pleats. This combination places the work in the last decades of the 16th century, c. 1560-1590. Beneath, a bodice with a central busk and cuffs incised with fine ornament complete an ensemble rendered with great precision. Familiar from painted portraits, such dress is only rarely preserved in such detail in sculpture. The face, with its heavy eyelids and marked features, favours a faithful likeness over an idealized type and lends the figure a quiet gravity and a strong sense of individual presence. The sculptor worked the piece fully in the round, and the crispness of the ruff, the incised cuffs, the hands and the drapery points to an important private commission, most likely from a family of considerable means and standing. The figure bears witness to those families who, in the Renaissance, could commission skilled sculptors to perpetuate their memory. Such images also conveyed the power of their patrons. This secular tradition, so different in spirit from religious sculpture, helped shape the stylistic evolution of Renaissance art. An old collector’s label on the reverse attests to the figure’s long history in collections.
Gallery Sofie Van de Velde
Victor Servranckx (Diegem 1897-1965 Vilvoorde) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Oil on canvas 146 x 81 cm Signed and dated lower left Provenance: Félix Carlier, Watermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929); Galerie J.-P. Alaerts, Brussels; London, Christie’s, 16 October 1990, lot n° 61 (ill.); Lokeren, De Vuyst, 6 October 2001, lot n° 489; private collection, Brussels; Galerie Ronny Van de Velde, Antwerp Literature: La Nation belge (Brussels), 12th year, n° 48, 17 February 1929, ill. p. 3; Le Peuple (Brussels), 5th year, n° 48, 17 February 1929, ill. p. 1 Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue); Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, n° 33; Brussels, Palais des Beaux-Arts, 1947, n° 45 '146 x 92 cm'; Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, n° 117; Brussels, Musée d’Ixelles/Museum van Elsene, 1965, n° 107; Hasselt, Provinciaal Begijnhof, 1970, n° 57 (ill.) Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. As one of the leading pioneers of the abstract movement in Flanders, Servranckx explored the new possibilities of modern art with extraordinary intensity. Opus 20, (Calm Blocks Fallen from an Obscure Disaster), dating from 1927, can rightly be regarded as a pivotal work in his oeuvre. It represents a remarkable synthesis of geometric abstraction and the artist’s lyrical imagination, while also anticipating the emergence of Surrealism. Jacques Lipchitz (Lithuania, Druskininkai 1891-1973 Capri) Sitting figure, 1915 Bronze H 87 cm Signed 'JLipchitz' and numbered 2/7 (on base) Provenance: the estate of the artist; acquired from the above mentioned in 1989 by current owner Exhibition: Musée des Années 30, 'Lipchitz, Les Années Françaises de 1910 à 1940', 2005-2006, n° 10, pp. 16-17, ill. in colour
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fecit' and 'Venezia 1873' This exceptional table is one of the most ambitious expressions of nineteenth-century Venetian micromosaic. Its distinction lies in the rare combination of monumental scale, extraordinary technical refinement, documented authorship and a fully integrated sculptural bronze base. Micromosaic is more often associated with small cabinet objects. Here, Enrico Podio expands the technique to a table, transforming a traditionally intimate art into a commanding architectural statement. The head of Medusa is modelled through minute glass tesserae with subtle changes of flesh tone, shadow, hair and serpent scales. The optical blending approaches the effects of painting while remaining unmistakably mosaic. The inscriptions 'ENRICO PODIO FECIT' and 'VENEZIA 1873' give the work unusual documentary precision, securely identifying the maker, place and date and anchoring the table within the mature Venetian revival of mosaic art. The patinated, cast and chased bronze pedestal is conceived as an integral part of the design. Its classical heads, masks, architectural members and zoomorphic details create a powerful counterpoint to the brilliant colour of the micromosaic top. The synthesis of rarity, scale, technical mastery, documented authorship and visual impact places this table among the most impressive examples of nineteenth-century Italian decorative arts.
Lemaire
Japanese and Chinese porcelain potpourri Kangxi and Edo periods, circa 1760-1770 Porcelain mounted in gilt-bronze H 23 x Ø 16 cm The piece is composed of two distinct sections. The circular Japanese porcelain base is decorated with a vegetal motif and set within a finely chased gilt-bronze mount, from which rise three small feet. Above, three Chinese biscuit porcelain dogs support a globular potpourri vessel, surmounted by a flower-form finial in porcelain. This work is typical of the marchands-merciers active in Paris during the second half of the 18th century.
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021 Josef Hoffmann, one of the founders of the Wiener Werkstätte, hired the then 28 year old Dagobert Peche as a leading designer for the Wiener Werkstätte in 1915. With his finesse and elegance Peche fundamentally shaped the second decade of the Wiener Werkstätte, heading the Zurich branch of the Wiener Werkstätte from 1917 to 1919. Floral ornamentation and playful designs play a key role in his artistic works full of subtlety and imagination, which contrasted the strict geometric designs of Hoffmann and Koloman Moser. Before his untimely death he was involved in the opening of the ‘Wiener Werkstätte of America’ showroom on Fifth Avenue in Manhattan. According to the records of the MAK, Vienna’s Museum of Applied Arts, this table lamp was produced only twice, in 1923. It was part of the renowned Schedlmayer collection – a high-ranking collection bringing together prime examples of Austrian decorative arts and works of fine art from the first half of the 20th century. In 2021 this lamp was presented at the Leopold Museum’s exhibition 'The Schedlmayer collection. A discovery'.
Galerie Hurtebize
Henri Lebasque (Champigné 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54.3 cm Signed lower right Certificate of authenticity issued by Denise Bazetoux Painted in 1900, this remarkable composition reflects Henri Lebasque’s artistic explorations at the turn of the 20th century. Fascinated by the paintings of Renoir and Pissarro, the artist was part of the Post-Impressionist movement. Through his interactions with Maximilien Luce and Paul Signac, he developed a technique with Pointillist elements, particularly evident in this work. In the heart of a lush garden, an elegant young woman, wearing a flowered hat and a light blue dress, is shown from behind, immersed in an intimate scene. The richness of the brushwork, composed of small, juxtaposed touches of color, brings the vegetation to life and seems to animate the figure under the shifting effects of light. The particularly vibrant color palette creates a dialogue between the luminous blues of the dress, the deep greens of the garden, the brilliant yellows of the foliage, and the delicate pinkish hues of the background. This painting brings together several of Lebasque’s favorite themes: the female figure, the intimacy of everyday life, and lush nature. Through its rich color palette and sensitivity to light, it illustrates a pivotal period in his artistic evolution, foreshadowing the luminous style imbued with a gentle zest for life that would make him famous.
Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
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.
Bernardini Milano
Rolex, Bienne Rare yellow gold 'oyster chronograph', 1956 18k yellow gold, watch in prestine condition Provenance: previously unknown to the market Edition of 36 made in 18k yellow gold (edition of the late 50s) The untouched case and extensible bracelet host a perfect creamy silvered dial The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison. It is a benchmark in terms of rarity and conservation
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69 In the second half of the 16th century, Cardinal Ferdinando de’ Medici was one of the most renowned collectors in Rome. He created one of the greatest collections of Antiquities for his villa on the Pincian hill in Rome. When certain highly acclaimed sculptures ended up in the papal collection or other important collections which he couldn’t acquire, he contented himself with having copies made. These weren’t full-size copies, but rather fine statuettes on a reduced scale, intended for his studiolo. His passion for antiquity is mirrored in the collection of small bronzes he had. He kept in his service an artist called Pietro da Barga; a sculptor known to us only by the references in cardinal Ferdinando’s inventory. One of the main characteristics of his bronzes is the green all’antica patina he used to resemble the surface of the newly discovered ancient Roman bronze statues. Not only did he make reduced copies of ancient roman sculpture, he also used famed Renaissance models like Giambologna’s Mars or Michelangelo’s standing Christ.