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Galerie Boulakia
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Lampe et Balance 1, 1964 Oil on canvas 97 x 130 cm Signed and dated bottom centre; signed, titled and dated 'juillet 64' on reverse Provenance: Dr. Jacqueline Porret-Forel, Paris (gift from the artist in 1966); collection in the United Arab Emirates; European collection Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris, 1966, cat. no. 367 (ill. p. 168). Exhibition: Jean Dubuffet, Galerie Georges Moss, Geneva, Nov. 1969-Jan. 1970, cat. n° 8
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna
Edouard Simoens Gallery
raoul de keyser
Raoul De Keyser (Deinze, 1930-2012) Untitled, 1967 Oil on canvas 120 x 150 cm Provenance: acquired from the artist; private collection Literature: 'Raoul De Keyser: early works. Catalogue of paintings 1964-1980', Publ. Walther König, Keulen 2024, n° RDK-67 ill. Exhibition: Beervelde 20 km: Roger Raveel, Lucassen, Raoul De Keyser, Elias Kaleidoskoop, Gent 1967; 'Raoul De Keyser', Gal. M.A.S., Deinze 1967
Hartford Fine Art - Lampronti Gallery
Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020
Gallery de Potter d’Indoye
Pair of oil lamps Ormoulu and patinated bronze Embossed gilt bronze and patinated bronze, representing the allegory of Philosophy and Study, each seated on an antique oil lamp, with an edge in gadroon motif, on a square footed base France, Consulat period, circa 1800 H 31 x W 36 cm Based on a model by Louis-Simon Boizot Comparative literature: H. Ottomeyer et P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 294, fig. 4.17.1. I, p. 294, fig. 4.17.1. This pair of oil lamps is clearly designed in a neoclassical style, and, more specifically, in the 'Etruscan' style which came into vogue in the 1780s. This style draws its inspiration from antique forms rediscovered in archaeological digs, in particular those at Pompeii and Herculaneum, and manifested in the decorative arts by simple lines and ornamentation inspired by Antiquity. The allegorical figures of Philosophy and Study, which decorate these lamps, are taken from models created by Louis-Simon Boizot (1743-1809), then sculptor for the King. Boizot designed them for the first time in 1780 for a lamp in the antique style. He sold the model to the Sèvres factory, which then reproduced it in biscuit porcelain until 1786. These two figures were also used in the famous clock model, 'To Study and to Philosophy', created based on a drawing by François Rémond for the decorative arts merchant Dominique Daguerre. It is important to note that Pierre-Philippe Thomire (1751–1843), a reputed bronze worker, collaborated with Boizot in Sèvres beginning in 1783, the date when he succeeded Jean-Claude Thomas Duplessis (1730-1783) as the official bronze worker for the factory. The involvement of Thomire in the production of bronzes of this type is widely acknowledged. Comparable oil lamps include: - a pair kept at the J. Paul Getty Museum in Los Angeles (inv. 88.SB.113.1 et 88.SB.113.2), attributed to Thomire; - another from the former collection of Sir Robert Abdy, sold at Christie's London on June 9th, 1994, lot 65,; - a pair offered for sale at Christie's London on December 13th, 2001, lot 430. - finally, a pair presented in the Madame Simone Steinitz collection at Christie's in Paris on June 19th, 2025, Paris lot 126. A drawing attributed to Thomire, kept at the Museum of Decorative Arts in Paris, depicts a very similar lamp placed to the right of a fireplace (cf. J. Bourne et V. Brett, L’art du luminaire, Paris, 1992, p. 156, fig. 530). In addition, two sketches found in an album of drawings analysed by P. Rosenberg and B. Peronnet (Revue de l’Art, n° 142, 2003-2004) bear witness to the distribution and success of these models. They perfectly illustrate the taste for Antiquity, which dominated French decorative arts in the late eighteenth century.
Jan Muller Antiques
cornelis kick
Cornelis Kick (Amsterdam, 1634-1681) Flowers in a glass vase Oil on canvas 62 x 49 cm 78 x 69 cm (framed) Authenticity and identification confirmed by Dr. Fred Meijer Provenance: Percey B. Meyer, London, 1953 (as Jacob van Walscapelle) Literature: Jan Kelch and Ingeborg Becker, Holländische Malerei aus Berliner Privatbesitz, Kaiser-Friedrich-Museums-Vereins und der Gemäldegalerie (Berlin, 1984), pp. 170-171 (as Jacob van Walscapelle); Royal Academy of Arts, London, 1952-53: Dutch pictures 1450-1750, catalogue p. 103, n° 563; Gemäldegalerie der Staatlichen Museen Berlin, 1984: Hollandische Malerei aus Berliner Privatsbesitz, pp. 170-171, pl. n° 84
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Hieronymus Bosch ('s-Hertogenbosch, circa 1450-1516) Parable of the two blind men, circa 1540-1570 Engraving by Pieter van der Heyden (circa 1530-1572) Published by Hieronymus Cock (Antwerp, 1518-1570) 22.2 x 22.5 cm References: New Hollstein Dutch 20 1(5), first state Lex Antiqua, Antiquarian printseller
Maison D'Art
Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)
Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Barbara Bassi
Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman 'Arman for Janadine' Sonia Delaunay (Ukraine, Hradyz'k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of catalogue 'Bijoux d'artistes de Calder à Koons' by Diane Venet (Flammarion), Musée d'Art Décoratif, Paris, 2018
Floris van Wanroij Fine Art
rombout ‘pauli’ pauwels
Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds. This exceptional Art Nouveau choker necklace by René Lalique (circa 1905, Paris) exemplifies his revolutionary use of glass in fine jewelry. The piece features six molded amber glass plaques decorated with intertwined thistle flowers, enhanced by diamonds and yellow and brown enamel on gold. The thistle flower motif, emblem of Lorraine and the Dukes of Lorraine, symbolizes courage and protection, reflecting the regional heritage of Nancy, where the original owner was a notable social figure likely to have commissioned it directly from Lalique. Created during the period when Lalique moved his shop to 24 Place Vendôme, the necklace illustrates his transition from Art Nouveau to early Art Deco, blending naturalistic design with modern aesthetics. Its autumnal hues, sunlit enamel details, and radiant diamonds evoke both poetic beauty and symbolic depth. Lalique drew inspiration from wild flora rather than cultivated blooms, favoring authenticity and imperfection as expressions of nature’s truth. This necklace, long preserved in a French private collection and once known only through drawings (including one published by Sigrid Barten), is a rare surviving example of Lalique’s innovation. It demonstrates his mastery in merging craftsmanship, symbolism, and modernity, affirming his reputation as the “inventor of modern jewelry.”
MassModernDesign
pierre weckx lougne chair brazil 1950s
Low lounge chair designed by Pierre Weckx and manufactured in Brazil 1950s. This low lounge chair is an expressive example of Brazilian modernism, revealing Pierre Weckx’s refined understanding of structure, material, and repose. Designed in the 1950s, the chair embodies a period in which Brazilian designers began to reinterpret international modernist ideas through local materials, craftsmanship, and climate driven lifestyles. The low, reclining posture reflects a relaxed approach to seating, prioritising the body at rest while maintaining a sculptural presence within the interior. The frame is executed in solid caviuna wood, a dense and richly grained Brazilian hardwood prized for its durability and warm tonal depth. Weckx uses the material with confidence, shaping the structure into a continuous, angled silhouette that feels both grounded and fluid. The extended rear legs and subtly inclined seat create a dynamic profile that is visually light despite the solidity of the wood. The armrests are integrated seamlessly, reinforcing the sense of cohesion between form and function. A system of rope supports the original golden toned cowhide cushion, allowing the seat and back to respond gently to the body. This construction not only enhances comfort but also introduces a tactile contrast between the smooth wood, the tensioned rope, and the supple cowhide. The cushion, with its natural patina, contributes significantly to the character of the piece and speaks to its authenticity. This chair has been published several times in Casa e Jardim, underscoring its importance within the canon of mid century Brazilian design. Preserved in fully original condition, it stands as a rare and compelling example of Pierre Weckx’s work, where craftsmanship, material honesty, and an effortless sense of leisure converge into a timeless modern object.
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Galerie Lowet de Wotrenge
frans pourbus the elder (bruges 1545/46 - 1581 antwerp)
Frans Pourbus the Elder (Bruges 1545-1581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left 'A°. 1562' and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.) In an era when wealth and power increasingly resided not in hereditary titles but in commerce and banking, Frans I Pourbus captured the self-assured gaze of the new elite. This striking portrait depicts Peeter van Panhuys - merchant, banker's agent, and future treasurer of Antwerp - at a pivotal moment in his rise through one of Europe's most dynamic commercial centers. The work's contemporary resonance is unmistakable. Van Panhuys embodies the entrepreneurial spirit that still defines global finance, yet his story also reflects our modern anxieties: barely two decades after this portrait was painted, religious conflict forced him to flee Antwerp as a refugee, abandoning everything he had built. His biography encapsulates the precariousness of prosperity in times of social upheaval - a theme that speaks powerfully to today's world of political instability and forced migration. Pourbus renders his subject with remarkable psychological acuity. The prominent gold chain and exquisitely detailed black doublet announce van Panhuys' status, while the crisp white ruff - painted with virtuosic precision - frames a face of penetrating intelligence. In his left hand, he holds a pair of gloves, a refined accessory that signals his gentlemanly aspirations and membership in Antwerp's sophisticated mercantile elite. Recently rediscovered from a Belgian private collection, the sitter's identity is confirmed through his appearance in Maerten de Vos's monumental family portrait at the Mauritshuis, where van Panhuys stands among the interconnected dynasties that dominated Antwerp's Golden Age. This painting invites us to reconsider the origins of our modern world - built not by kings and generals, but by ambitious merchants whose portraits demanded the same dignity once reserved for nobility.
Florian Kolhammer
louis c. tiffany
Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.
Giammarco Cappuzzo Fine Art
Giovanni Giacomo Sementi (Bologna 1584-1636 Rome) The Triumph of David, circa 1630 Oil on canvas 137 x 159 cm Provenance: private collection, Italy Literature: M. Francucci, Giovanni Giacomo Sementi, Un dipinto di soggetto insolito, in Arte Cristiana, n° 869, 2012, pp. 143-148; M. Pulini, Rimini per Simone Cantarini, opere da raccolte private, Rimini 2012, pp. 20-21, fig. 20; A. Pellicciari, I'Eredita’ di Guido Reni, in la pittura in Emilia e in Romagna. The Seventeenth Century, edited by Andrea Emiliani, Milano, 1992; G. Puglia, Il Bastaro, fig. 36, pag. 79; M. Francucci, il naturalismo classicizzato nella Roma di Urbano VIII, LibroCo Italy, Florence, 2013; Ariccia, Gian Giacomo Sementi, Quaderni del Barocco, 2021, p. 8 fig. 14
De Wit Fine Tapestries
victor vasarely
Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder. Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.
Galerie Flak
Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.
Galerie BG Arts
René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880