This section will be available this Autumn.
Dries Criel
EOS Earrings Crafted in sandblasted 18kt yellow gold, the earrings radiate a soft, sunlit warmth. Their matte surface captures light with subtlety, creating a gentle and enduring glow. At the heart of each piece rests a natural, white, step-cut diamond. Framed by flowing lines and delicate pavé diamonds, its architectural brilliance recalls the moment dawn first appears on the horizon - quiet, luminous and full of promise.
W. Apolloni - Laocoon Gallery
Leoncillo Leonardi (Spoleto 1915-1968 Rome) Plate with abstract design, circa 1950 Glazed ceramic Ø 28 cm Signed below on the edge 'Leoncillo' Literature: E. Mascelloni (text by), M. F. Apolloni and M. Cardarelli (edited by), Leoncillo. Le Ceramiche, De Luca Editori d’Arte, Rome 2018 Exhibition: Leoncillo: Earth, Fire and Colours. A retrospective exhibition 1939-1955, 2026-2027
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
Artimo Fine Art
Émile Jespers (Deurne 1862-1918 Antwerp) Reclining Female Nude on a Wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Galerie Capazza
Goudji (Georgia, Borjomi, 1941) Coupe ovale à l'oiseau bleu à la crinière verte, 2025 Sterling silver 925 (1,976 gr), sodalite, aventurine, serpentine, porphyry H 12 x W 70 x D 28 cm Total weight 2,980 gr Bears the master's mark Provenance: the artist's studio Exhibition: exhibited at galerie Capazza
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.
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Serge Schoffel - Art Premier
Pendant depicting a trophy head Konyak Naga Northeastern India 19th century Wood, glass beads H. 7 cm Provenance: - Alain Schoffel, Paris, France - Philipp Konzett, Vienna, Austria Published in: - Schoffel, Alain, Arts Primitifs de l'Asie du Sud-Est, Alain and Françoise Chaffin, eds., Meudon 1981, p. 30.
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
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 Accompanied by Art Loss Register certificate: 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; Sotheby’s London, European Works of Art and Sculpture, 8-9 December 1988, lot 137; Sotheby’s London, European Sculpture and Works of Art, 8 December 2006, lot 62 Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867 – Le Cannet 1947) Paysage, arbres fruitiers (1909) Oil on paper Dimensions : 18 ¾ x 24 ¾ in. (47.7 x 63 cm) – Framed : 27 3/8 x 33 in. (69.5 x 84 cm) Stamped with signature « Bonnard » (Lugt 3886, lower left) Provenance : The artist's estate Private collection, Paris Anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226 European private collection Literature : J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, no. 1949, p. 285 (illustrated)
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.
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.