This section will be available this Autumn.
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Galerie Uzal
Jean Delville (Louvain 1867-1953 Forest) La Libération, 1936 Oil on canvas 188.5 x 240.5 cm (framed) Signed and dated Exhibition: Brussels, Salon de la Société des Beaux-Arts-Salon de Printemps 1936 In a letter addressed to the former owner and dated 1 July 1947, Jean Delville described the work as follows: 'Man, in flight, frees himself and escapes towards broader horizons and spaces of freedom, while the forces of evil hold him back in the lower spheres of the world, where the inert mass of beings remains imprisoned by their prejudices, desires, passions and selfishness.'
CKS Gallery
Edwin Lord Weeks (Boston 1849-1903 Paris) A game of chess on a Cairo street, 1879 Oil on canvas 72 x 100 cm (unframed) 110 x 137 cm (framed) Signed and dated lower left 'E.L. Weeks 1879' Letter of authentification issued by Mrs Ellen K. Morris, dated 20 May 2010 This painting will be included in the forthcoming catalogue raisonné of the artist currently in preparation by the Edwin Lord Weeks’ expert, Mrs Ellen K. Morris
LUDORFF
Heinz Mack (Lollar, 1931) Couleur et lumière, 2004 Acrylic on canvas 317 x 292 cm Signed and dated Signed, dated and titled on the reverse Provenance: the artist’s studio; Park Hyatt Zurich collection Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, p. 96; Heinz Mack, 'Ars urbana-Kunst für die Stadt: 1952-2008', München 2008, n° 276, p. 314
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 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.
Ars Antiqua
Santi di Tito (Florence, 5 December 1536 – 25 July 1603) Portrait of Domenico di Lorenzo Passerini with his son Lorenzo Oil on panel, 115 x 82.5 cm frame, 130 x 100 cm Passerini family seal on the reverse Publications Capolavori che si incontrano. Bellini, Caravaggio, Tiepolo e i Maestri della pittura toscana e veneta nella collezione della Banca Popolare di Vicenza, exhibition catalogue edited by Fernando Rigon, Geneva – Milan, 2014, pp. 168-69; 171-72. L. Scanu, Santi di Tito e l’arte del ritratto. Una nuova effige e una possibile serie dei senatori fiorentini, "Bollettino Telematico dell’Arte", 11 September 2025, no. 983. N. Bastogi, Due ritratti femminili di Santi di Tito, "Paragone Arte", 60, 2009, pp. 58-66.
Repetto Gallery
Carla Accardi (Trapini 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 629A Provenance: Soffiantino Arte Contemporanea, Turin; private collection Literature: Germano Celant (edited by), 'Carla Accardi. Catalogo ragionato', (Charta, Milano) 1999, p. 419, n° 1997 62 (B&N), ill.
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
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.
Gallery de Potter d’Indoye
An Empire writing table Jacob Frères, Paris, circa 1796-1803 Mahogany and gilded bronze H 73 x W 86.5 x D 54 cm Stamped JACOB FRÈRES Provenance: Ségoura collection, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
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.
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
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
De Zutter Art Gallery
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La clouleur spontanée', Le Mans, Musée de Tessé 2017-2018 and Musée de Pont-Aven 2018 Exhibition: CoBrA exhibition at the Royal Museum of Fine Arts of Belgium in Brussels 2008-2009
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
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, Waermael-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. 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 abovementioned 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
Snackers Antiques & Fine Art
Pair of candelabra depicting Mercury and Fortuna Empire period, 1820 Gilded and patinated bronze H 100 x W 27 x D 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255 These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolising trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet.
Repetto Gallery
Lucio Fontana (Santa Fe 1999-1968 Varese) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
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.
