This section will be available this Autumn.
Herwig Simons Fine Arts
Blue John urn England, late 18th century Square base with alabaster and Ashford marble, pedestal clad in Blue John, foot partially clad in blackened brass, ovoid bowl with transverse fluting in Blue John H 40 cm Engraved on the base with inventory n° 890126-0821 and inscribed Hedvig Piper (1746-1812) Born Hedvig Katharina Ekeblad, she married Count Carl Gustaf Piper in 1769 and she held senior positions at the Swedish Royal Court, including chief Lady-in-waiting from 1795-1805.
Franck Anelli Fine Art
Antwerp school of the 16th century Mary Magdalene, circa 1540 Oil on wooden panel 47.7 x 32.7 cm Provenance: private collection, France Bust-length portrait, the sitter’s face slightly turned to the left, holding a gold cup. She wears a red dress with puffed sleeves and a green ribbon, adorned with gemstones and pearls, with ribbons set into the neckline and a necklace. Her blue-violet hat is trimmed with a ribbon decorated with a diadem motif.
Marjan Sterk Fine Art Jewellery
Cartier A coral and diamond ring, circa 1960 Platinum, carved coral and diamonds Signed 'Cartier Paris' and numbered Provided with the original case A platinum ring of bombé design, the upper part one half set with carved coral and the other half pavé set with briljant cut diamonds, on a ribbed shank.
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.
Axel Vervoordt
William Turnbull (Dundee 1922-2012 London) Young Torso, 1981 Bronze 49 x 28.5 x 3 cm Edition of 6, AP 1/1 Provenance: the estate of the artist Literature: Amanda A. Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, 2005, cat. n° 205, ill. p. 154 William Turnbull (1922–2012) was one of the most distinctive sculptors and painters of post-war Britain. Throughout his career, he explored the enduring power of ancient and archaic art, seeking an elemental visual language that connects the distant past with the present. In Young Torso, Turnbull revisits the archetypal figures and totemic forms that fascinated him from the 1950s onwards. The simplified silhouette evokes prehistoric figurines and ancient idols, yet belongs to no specific culture or belief system. Both familiar and mysterious, the sculpture seems to speak a universal language whose meaning remains elusive. The warm brown patina and irregular surface suggest weathered stone, while delicate incisions recall tattoos or fragments of an unknown symbolic language. These markings animate the figure, hinting at lost rituals and traditions. Reflecting Turnbull’s sensitivity to surface, line and colour, the textured bronze combines tactile richness with formal simplicity. Neither an imitation of an ancient artefact nor a purely abstract form, Young Torso occupies a space between recognition and mystery. Through the encounter between archaic references and modern expression, Turnbull evokes humanity’s enduring desire to create forms that transcend time and preserve traces of our existence.
Virginie Devillez Fine Art
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Le chemin creux, 1936 Oil on canvas 80 x 70 cm Signed and dated lower left 'Jean Brusselmans 1936' Provenance: Galerie de la Madeleine, Brussels; Dr H. Morlon collection, Brussels (acquired in 1962 from the above); private collection, Belgium; thence by descent to the present owner Literature: Robert-L. Delevoy, 'Jean Brusselmans' (Catalogue raisonné established by Gita Brys-Schatan), Laconti, Brussels, 1972, CR 419, pp. 252 & 373 (ill.)
N. Vrouyr
Handknotted rug Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Univers du Bronze
Antonin Mercié (Toulouse 1845-1916 Paris) Gloria Victis, circa 1880-1912 Bronze with richly shaded brown patina and gilt highlights H 187 x W 112 x D 91 cm Reduction n° 1 (3/5 from the original) Signed 'A.Mercié' and bears the founder's mark 'F. Barbedienne Fondeur' Presented as chief-model with assembly and mounting pins parts, like the one described in the Barbedienne catalogue raisonné (Rionnet, 2016): 'En janvier 1912, le sculpteur autorise l’éditeur à monter en épreuve et à mettre en vente le modèle n°1' (In January 1912, the sculptor authorised the publisher to produce a proof and put Model n° 1 on the market). A second example in this size is currently on display at the Musée des Augustins in Toulouse.
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)
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) (After) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hiëronymus Cock (Antwerp, 1518-1570) 22.5 x 29.4 cm References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) and Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21
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)
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
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
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
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
