Gioielleria Nardi

Letters from Venice ring Rose gold and 203 diamonds. The significance of this unique ring lies in the fact that it opens, containing a message. In fact it comes with two letters, one with a sentence by Virgil; Omnia Vincit Amor, whilst the second can be a personalised message by the customer

Richard Saltoun Gallery

Olga de Amaral (Colombia, 1932) Encalado en Laca azul [Whitewashed in Laca Azul], 1979 Wool and horsehair 122 x 71 cm Signed label on verso

Huberty & Breyne

gilles barbier

Gilles Barbier (France, 1965) Still Memory #4, 2023 Magazines, artificial plants, flocking, acrylic resin H 65 x W 57 x D 50 cm

Ars Antiqua

Bartolomeo Mendozzi (Leonessa, circa 1600-after 1644) Christ crowned with thorns and mocked Oil on canvas 98 x 128 cm Expertise by Prof Massimo Pulini

Florian Kolhammer

franz hagenauer

Franz Hagenauer (Vienna, 1906-1986) Pair of head sculptures, circa 1981 Designed by Franz Hagenauer and executed by Werkstatte Hagenauer Wien Cast, soldered, nickel-plated and polished brass H 46 x W 49.5 x D 11 cm Each sculpture is marked 'FRANZ', 'Handmade', 'HAGENAUER/WIEN', 'MADE IN/AUSTRIA' and 'wHw' in the circle Literature: Photograph of the female head in the Archiv Hagenauer in the Museum of Applied Arts Vienna, inv. n° HAF 1188

Nosbaum Reding

Manuel Ocampo (Philippines, 1965) Don't give them any puzzle, 2002 Oil on canvas 196 x 248 cm Provenance: the artist's studio Literature: Slow Paintings, ed. Markus Heinzelmann, Museum Morsbroich, Verlag für moderne Kunst Nürnberg, 2009; Manuel Ocampo. Fear of a Kitsch Existence, ed. Menene Gras Balaguer, Casa Asia, Barcelona, 2017, p. 215; Manuel Ocampo, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Munich, 2003, pp. 24-25 Exhibitions: Group exhibition, Slow Paintings, Museum Morsbroich, Leverkusen, Germany, 24.11.2009-7.2.2010; Solo exhibition, Sprüth Magers Projekte, Munich, Germany, 2003; Solo exhibition, Wunderkammer, Gesellschaft für Gegenwartskunst e. V., Augsburg, Germany, 7 May-15 June 2003

Rueb Modern and Contemporary Art

bram bogart

Bram Bogart (Delft 1921-2012 Sint Truiden) GeelBaanGroen, 1970 Cement and oil on panel H 101 x W 107 x D 12 cm Signed and dated: Juli 1970 twice Provenance: private collection, The Netherlands Exhibition: Sweden, Södertälje Konsthall, 28 March-18 April 1971, cat. ill. p. 2

Galerie Sophie Scheidecker

Justine Tjallinks (Netherlands, 1984) Vision, Jeweled series, 2016 Archival Pigment print 55 x 43 cm Ed. /7 + 2AP Signed, dated, titled and numbered on reverse

Galerie Taménaga

marie laurencin

Marie Laurencin (Paris, 1883-1956) Jeunes filles aux jeux, 1938 Oil on canvas 73 x 132 cm Provenance: Lady Duveen, London; Steve Banks Fine Arts, San Francisco Literature: J. Pierre, Marie Laurencin, Paris: Somogy, 1988, p. 10; D. Marchesseau, Marie Laurencin, Catalogue raisonné de l'oeuvre peint, Tokyo: Musée Marie Laurencin, 1999, vol. II, n° 1432, pp. 100 & 179

Galerie Jamar

Jan Fabre (Antwerp, 1958) Zwaarden, kruisen en dolken III, 1989 Bic ballpoint pen on paper 218 x 150 cm - framed: 238 x 165 cm Signed and dated Literature: Jan Fabre, The Years of the Hour Blue, Drawings and sculptures 1977-1992, p. 154

Galerie Bernard De Leye

Pendant Trapani (Italy), 17th century Gold, coral and enamel H 10.5 x W 6 cm

Meessen

thu van tran

Thu Van Tran (Vietnam, Ho Chi Minh City 1979) Colors of grey, 2023 Linen, plaster and lime, Cd orange, ultramarine blue pigments, Co blue, neon magenta, violet, phthalo green, Cd green, Ni green, earth green, Ti white 130 x 195 cm Provenance: the artist's studio

Galerie Hioco

Buddha head Thailand, Lopburi period, 13th-14th century Sandstone H 35 cm Provenance: Vérité collection, France

Galerie Oscar De Vos

emile claus

Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene) Return from school/Girls in the field, 1892 Oil on canvas 132 x 99 cm Signed lower left: Emile Claus Provenance: collection Mrs. G.C., Brussels; Galerie Georges Giroux, Brussels, 1929, n° 28; collection Mrs. F. Soethoudt, Brussels; auction Guillaume Campo, Antwerp, 1982, n° 25; Galerie Oscar De Vos, Sint-Martens-Latem; private collection, Belgium Literature: G. Giroux, Catalogue de la collection de Madame G.C. (Brussels: Galerie Georges Giroux, 1929), n° 28, ill. n° 12 (ill.); P. Eeckhout, Retrospectieve tentoonstelling Emile Claus 1849-1924, cat. (Gent: MSK, 1974), p. 49, n° 49; R. Bombeke, e.a., Schilders van het Leieland, cat. (Deinze: MuDeL, 1991), n° 144; P. Boyens, Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (Tielt: Lannoo, 1992), 535 (ill.); M. Ruyters, Campo 1897-1997 (Antwerpen: Stefan Campo, 1997), p. 85, n° 11 (ill.); J. De Smet, e.a., Emile Claus en het landleven, cat. (Gent: MSL, 2009), p. 145, p. 93 (ill.); R. Hoozee, e.a., Lights of Flanders. Images of a beautiful Belgian village, cat. (Tokyo: The Mainichi Newspapers, 2010), p. 71, n° 36 (ill.); J. De Smet, e.a., Emile Claus and Belgian Impressionism, cat. (Kobe: The Kobe Shimbun, 2013), p. 46, n° 6 (ill.) Exhibitions: 1929, Brussels, Galerie George Giroux, n° 28; 1974, Ghent, Museum voor Schone Kunsten, Retrospective Exhibition Emile Claus 1849-1924, n° 49; 1982, Antwerp, Guillaume Campo, 1982, n° 25; 1991, Deinze, Museum van Deinze en de Leiestreek, Schilders van het Leieland, n° 144; 2009, Ghent, Museum voor Schone Kunsten, Emile Claus and Rural Life, n° 93; 2010-2011, Himeji, City Museum of Art; Tokyo, The Bunkamura Museum of Art; Miyoshi, Okuda Genso Museum, Light of Flanders. Images of a beautiful Belgian village, n° 36; 2013, Himeji, City Museum of Art; Tokyo, Station Gallery; Ishikawa, Prefectural Museum of Art; Hekinan, City Tatsukichi Fuji Museum of Contemporary Art, Emile Claus and Belgian Impressionism, n° 6; 2021, Mechelen, Heilige Geestkapel, Het Kunstuur

Zebregs&Röell Fine Art and Antiques

Jan van Mekeren (Tiel 1658-1733 Amsterdam) 't Blommenkabinet Dutch floral marquetry cabinet-on-stand Amsterdam, late 17th century H 206 x W 171 x D 61 cm The present and V&A cabinet were both possibly ordered by Jens Wijbergen, a Dutch merchant living in Copenhagen. According to the van Mekeren archives, an order was placed by Wijbergen in 1700, probably for two cabinets, because the price was comparable to other orders for a pair of van Mekeren cabinets. The previous owner of the present cabinet, living in Austria, is a descendant of a patrician family from Riga. Some members of the Danish Wijbergen family are known to have moved to Riga in the early eighteenth century. The cabinet and all its oak bases have been retained in their original state. The whole cabinet is covered with a floral marquetry veneer of various kinds of wood, including walnut, holly, laburnum, boxwood, satiné rubané, amaranth, tulipwood, barberry, elm, sycamore, olive wood, padouk and kingwood. A modest rectangular cornice over a frieze inlaid with marquetry of various flowers over two doors with marquetry depicting urns on a plinth issuing bouquets of tulips, bluebells, cornflowers, marigolds, irises, peonies, daffodils, crown imperials, roses, lilies, anemones, chrysanthemums and carnations; several different species of butterflies and moths, including Arctia caja, swallowtails, garden white, meadow brown, and a brimstone butterfly, at least three different bird species, including turtle dove, thrush, and warbler, and a garden snail, Cepaea hortencis. Jan van Mekeren, born in Tiel 1658, moved to Amsterdam in 1687, where he was recorded as ‘kabinetmaker’ or ‘kistenmaker’. Before moving to Amsterdam, he had been in London in 1682, where he had asked to be admitted to the Dutch Reformed Church. He apparently wanted to stay for some time in London, presumably to learn the art of furniture marquetry under Gerrit Jensen. In 1687, he was back and mentioned as a guildsman, a member of the St. Josef guild in Amsterdam. He was successful as a cabinetmaker because, in 1693, he bought a house in the expensive Kalverstraat and extended his business into the wood trade as well. Since the headquarters of the VOC was in Amsterdam, the city was the foremost European market for exotic woods in the seventeenth century. Despite a 1624 regulation stipulating that members of the Amsterdam cabinetmaker’s guild offer their wares for sale in the guild’s shop, furniture makers in seventeenth and eighteenth century Holland hardly ever marked their work. However, thanks to the inventory after Jan’s death, there is a good list of his workpieces with thorough descriptions, prices, and the names of his clientele. The estate included many finished and unfinished pieces of furniture, an extensive collection of cabinet woods, and, most interesting, a long list of claims with names of the debtors and the amounts due. Most debtors were well-known Amsterdam patricians; only a few were from outside Amsterdam, including Jens Wijbergen from Copenhagen, who still owed Jan van Mekeren fl. 33,13. Because of a very close resemblance, this cabinet possibly is the pendant of the Van Mekeren cabinet now in the Victoria & Albert Museum (W.5:1 to 14-1986). There are minor differences in the flower decorations on the doors and sides of the cabinet. Still, a pair of Van Mekeren cabinets in Amerongen Castle, ordered as a pair, look less like each other than the present cabinet and its possible pendant in the V&A. Only six other floral Van Mekeren cabinets are known: one in the Rijksmuseum Amsterdam (inv. R.B.K. 1964-12), one in the Metropolitan Museum New York (1995, 371a, b), one in the Victoria and Albert Museum, one in Charlecote Park, Warwickshire, and a pair in Amerongen Castle, the Netherlands.

Alexis Lartigue Fine Art

simon hantaï

Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Untitled, 1971 Watercolour on canvas 85 x 73 cm Monogrammed and dated Certificate from Daniel Hantaï Provenance: private collection, Paris This work on canvas is part of the series of watercolours presented by the Fournier gallery in 1971 in Paris. Simon Hantaï whitened the canvas beforehand with a filler, then he crumpled and pinched it. The visible parts were painted in several colours. Once deployed, we discover the whites held in reserve. The artist considered that the works must live, and undergo the onslaught of time and light, without particular protection and without frames. He went so far as to bury certain works in his garden, before taking them out and exhibiting them as they were, smeared with dust and organic waste. "The work exudes an aura of sensitive, sovereign light that is hard not to surrender rapturously to." Alain Delaunois

Victor Werner

camille marc sturbelle

Camille Marc Sturbelle (Brussels 1873-1944 Sint-Lambrechts-Woluwe) Pair of outdoor sculptures of shepherd dogs, 1925 Bronze with green patina The dog in a standing position is signed and dated Sturbelle, 1925 - H 88 x W 115 x D 37 cm The dog in a seated position is signed and dated Sturbelle, 1902 - H 113 x W 59 x D 37 cm Both sculptures bear the name of the foundry Fonderie Nationale Des Bronzes, St. Gilles Bruxelles Provenance: private collection Literature: Pas, W. & G., ARTO 2000 Biografisch Lexicon Plastische Kunst in België, p. 370; Museum: A bronze sculpture made by the same artist (depicting an English bulldog) can be found in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA)

Galerie Ary Jan

Félix Del Marle (Pont-sur-Sambre 1889-1952 Bécon-les-Bruyères) La naissance de Vénus, 1943 Oil on canvas 55 x 38 cm Signed lower right, countersigned, dated and situated on the back: Avril 1943, Pont-sur-Sambre Provenance: Pivate collection

Galerie La Patinoire Royale Bach

jan dries

Jan Dries (Belgium, 1925-2014) Meditation stones (Meditatiestenen), 1962 Marble 8 elements Provenance: the artist's studio

Dei Bardi Art

Relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta H 91 x W 85 x D 11.5 cm Provenance: private collection, Italy

De Zutter Art Gallery

asger jorn

Asger Jorn (Denmark, 1914-1973) The Awakening II, 1953 Oil on panel 152 x 121 cm This work is included in the Catalogue Raisonné under n° 799 Provenance: R. Dahlmann Olson, Copenhagen Exhibitions: 1953, Copenhagen, ‘spiralen’; 1964, Kunsthalle Basel, 'Asger Jorn-Dodeigne'; 1965, 'Jorn', Stedelijk Museum Amsterdam; Louisiana Museum of Modern Art, Humblebaek, 'Jorn'; 2001-2023 long-term loan to the CoBrA-museum Amstelveen

Galerie Florence de Voldère

Cornelis Van Cleve (et Atelier) (1527-Antwerp circa 1581) Adoration des Mages Oil on panel 101.5 x 77.5 cm Fils et élève du grand Maître Anversois Joos van Cleve (1485-1541), il a sans doute été très actif au sein de l’atelier paternel entre 1535 et 1540. Son style se rapprochant de celui de son père, il est encore difficile aujourd'hui pour certaines œuvres, de discerner la main du père de celle du fils. Maître à Anvers, il est doyen de la Gilde en 1541 au décès de Joos. Son caractère ombrageux et ses affinités protestantes le font quitter sa ville natale et émigrer en Angleterre où il recherche le patronage de Philippe II d’Espagne. Ses peintures sophistiquées et délicates témoignent aussi de l’influence de Léonard de Vinci. Cette composition dérive du tableau de Cornelis van Cleve aujourd’hui conservé au Musée des beaux-arts d’Anvers. MUSÉES: ANVERS, COLOGNE, DRESDE, PHILADELPHIE, ST P

Francis Maere Fine Arts

ossip zadkine

Ossip Zadkine (Vitebsk 1890-1967 Paris) L'homme et le cheval, 1936 Gouache on paper 47.5 x 68 cm Signed and dated lower right (19)36

Galerie Montanari

Antique frame Marquetry frame with original mirror Spruce core and fruitwood marquetry Italy, 17th century H 46 x W 32 cm

Harold t’Kint de Roodenbeke

Paul Delvaux (Belgium, Antheit 1897-1994 Veurne) La danse macabre, 1934 Watercolour and ink on paper 59.5 x 75 cm Signed and dated lower right: Spy 2-34 Provenance: Walter Delvaux, artist family; sale Sotheby's, 6 February 2014, lot 469; private collection Important and early composition from 1934, a key year for Delvaux's development of his surrealist world © Foundation Paul Delvaux, Belgium/SABAM, 2023-2024

Secher Fine Art & Design

asger jorn

Asger Jorn (Denmark, 1914-1973) Rasputnik, 1971 Oil on canvas 92 x 65 cm Title on the reverse Literature: Guy Atkins, Asger Jorn-The final Years 1965-1973, n° 1947; Otto van de Loo, Asger Jorn in München, n° 142

Röbbig München

johann joachim kaendler (1706-1775)

Johann Joachim Kaendler (Germany, 1706-1775) A pair of swans Porcelain models circa 1748, Meissen manufacture and decoration, circa 1750-1755 H 27.5 x W 23 cm and H 26.5 x W 22 cm Cobalt blue crossed swords mark Provenance: private collection With their majestic figure, swans were still considered royal animals in the eighteenth century and were modelled several times in the Meissen manufactory as table decorations, especially in connection with table fountains. They are also mentioned in the 1753 confectionery inventory of Count von Brühl, the Prime Minister of Saxony. In their timeless elegance, they may be seen as a design by the famous Meissen modeller Johann Joachim Kaendler, which he produced in porcelain together with his assistant Peter Reinicke around 1750. The minimalistic decoration of the reeds in a turquoise-green on-glaze colour suggests an early artistic style.

De Jonckheere

rené magritte

René Magritte (Lessines 1898-1967 Brussels) La Légende des Siècles, 1950 Pencil on paper 28.5 x 22 cm Provenance: private collection

Bernard Bouisset

Gold and platinum necklace entirely set with diamonds 'Antique Cut' (35 carats) Circa 1900

Galerie Dina Vierny

fernand léger

Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les nageurs or Les acrobates, 1950 Bronze H 49.5 x w 44 x D 7 cm Signed lower right: F.Léger, numbered 8/8 and stamped with the foundry mark 'C. Valsuani, fondeur cire perdue' Provenance: Dina Vierny, Paris; acquired directly from Nadia Léger; private collection, Paris Exhibitions: Tokyo, Malborough, Eighteen Bronzes by Fernand Léger, 1989-1990, n° 2, ill. of another cast p. 9; Saint-Tropez, Galerie Lucas Ratton; Saint-Tropez, XAIPE, 2023