This section will be available this Autumn.
Edouard Simoens Gallery
walter leblanc
Walter Leblanc (Antwerp 1932-1986 Silly) Torsions, 1977-1978 Black and white enamelled steel sculpture 200 x 130 cm Provenance: Walter & Nicole Leblanc Foundation; private collection; André Simoens Collection Literature: Linea Catalogue raisonné, 1997, Ludion, Brussels, CR 1271, p. 282 Exhibitions: Brussels, Tecno, Walter Leblanc Integratie, 1983; Gent, Floraliapaleis, Linea ’83, 1983
Laurent Schaubroeck
George Nakashima (USA, Washington 1905-1990 Pennsylvenia) Cushion chair with arms, 1960s Black American cherry, upholstery 77.5 x 74.3 x 86.4 cm Produced by George Nakashima Studio Includes a digital copy of the order card Provenance: Craighead family Produced by the Nakashima Studio in the 1960s, this lounge chair exemplifies George Nakashima’s refined craftsmanship and harmony between form and material. Its spindled back recalls Windsor traditions, while the tapered legs and clean geometry express his modern sensibility. Upholstered in white linen, the chair combines warmth and elegance, standing as a rare and timeless piece from one of the most influential American designers of the 20th century.
Brame & Lorenceau
julio gonzález
Julio González (Spain, Barcelona 1876-1942 Arcueil, France) Personnage au cornet, 1937 China ink and coloured pencil on paper 29 x 21 cm Signed and dated lower centre Provenance: private collection Literature: J. Gibert, Catalogue raisonné des dessins de Julio González, Projets pour sculptures personnages, Paris, 1975, vol. 9, p. 47 (ill.) Exhibition: New York, The Museum of Modern Art, Julio González, Drawings and Sculpture, February-April 1956, Minneapolis
Galerie Oscar De Vos
albijn van den abeele
Albijn Van den Abeele (Sint-Martens-Latem 1835-1918 Aldaar) Last rays of sunshine and rising moon, 1904 Oil on canvas 80.5 x 110.5 cm Signed lower right: Albijn Van den Abeele Provenance: A. Van den Abeele, Sint-Marten-Latem; P. De Rijckere, Ghent; R. Van den Abeele, Sint-Martens-Latem; E. Van den Abeele, Sint-Martens-Latem Literature: Boyens, P., Sint-Martens-Latem. Kunstenaarsdorp in Vlaanderen (1992), 176-177 (ill.); Boyens, P., In de voetsporen van de Latemse kunstenaars (2003), 76-77 (ill.); Devoghelaere, H., Albijn Van den Abeele (1935), 39, 45, no. 33; D'Haese, J. & H. Lampo, Albijn Van den Abeele en de schilders van de Leie (1973), cat. 28 (ill.); Haesaerts, P., Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst (1965), 76 (ill.); Hoozee, R., Veertig kunstenaars rond Karel Van den Woestijne (1979), 43-44, cat. 58 (ill.); Pauwels, H., De eerste groep van Sint-Martens-Latem 1899-1914 (1980), 96, 148, cat. 5 (ill.); Pauwels, P.J.H. & V. Van Doorne, Leie. Rimpeloze eenvoud (2010), 35, 106, cat. 8 (ill.); Van den Abeele, R., Albijn Van den Abeele. De stamvader van de Latemse kunstenaars (1993), 98-99, 135-138, 211, cat. 117 (ill.); Van den Abeele, E. e.a., Albijn Van den Abeele (2019), 34 (ill.); Van Doorne, V. e.a., Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918) (1985), 98-99, 211, 226, cat. 117 (ill.); Van Doorne, V. e.a., Sint-Martens-Latem - Worpswede 1880-1914. Twee kunstenaarskolonies (1996), 13, 65, 72, cat. 5 (ill.); Van Lerberghe, J., Belgische kunst van 1890-heden (1966), 21, cat. 7 Exhibitions: 1924, Ghent, Kunstgalerij Brabantdam, Albijn van den Abeele, cat. 8; 1966, Utrecht, Centraal Museum, Belgische kunst van 1890 tot heden, cat. 7; 1973, Venlo, Cultureel Centrum, Albijn Van den Abeele en de schilders van de Leie, cat. 28; 1974, Sint-Martens-Latem, Latemse Galerij, Kunstenaars zien Latem, cat. 156; 1976, Brussels, Passage 44, Tentoonstelling Oost-Vlaanderen, s.n.; 1978, Antwerp, AMVC Letterenhuis, Karel Van de Woestyne, s.n.; 1979, Brussels, Koninklijke Bibliotheek, Karel Van de Woestyne 1879-1929, cat. 183; 1979, Ghent, MSK, 40 Kunstenaars rond Karel Van de Woestyne, cat. 58; 1980, Ingelheim (Duitsland), Villa Schneider, Von Ensor bis Delvaux, cat. 9; 1985, Deinze, MuDeL, Retrospectieve tentoonstelling Albijn Van den Abeele (1835-1918), cat. 58; 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, cat. 8; 2019, Sint-Martens-Latem, Gemeentehuis, Albijn Van den Abeele, s.n.
Brame & Lorenceau
marie laurencin
Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W
Gilden's Art Gallery
Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan
De Zutter Art Gallery
corneille
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le rouge itinéraire de l'été, 1964 Oil on canvas 73 x 92 cm Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie's, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d'Elme and Daniel Templon), 1967, Paris
Romigioli Antichità
Pair of marble plates with semi-precious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (frames) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird's nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.
TEMPLON
Martial Raysse (Nice, 1936) Now, 2017 Acrylic on canvas 209 x 175.5 cm Unique Provenance: the artist’s studio Literature: exhibition catalogue Martial Raysse: œuvres récentes, Musée Paul Valéry, Sète, France: Ed. Loubatières 2023, ill. p. 151 Exhibition: Martial Raysse: œuvres récentes, Musée Paul Valéry, Sète France, 2023
Galerie Bernard De Leye
Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.
Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Galerie Florence de Voldère
jacob grimmer
Jacob Grimmer (Antwerp, 1525-1590) Winter landscape Oil on panel 37.3 x 51 cm Provenance: Antonie Palamedes Stevens (1601-1673), painter and collector; private collection, Austria; sale Versailles, 1937; private collection, Paris; sale Galliera, Paris, 29 November 1973 n° 20,21,22,23; private collection, Brussels Literature: R. de Bertier, Jacob et Abel Grimmer, 1991, ill. pp. 104-108 Received as a master of the Guild in 1547, Jacob Grimmer is amongst the great pioneering painters in the history of Northern painting. A contemporary of Pieter Bruegel the Elder, he shared with him a passion for nature; like him, he painted from life, and his works are filled with realism and genuine emotion. It is through the recurring theme of the seasons in his work that Jacob Grimmer expresses his innovative vision of the landscape, where shifting atmospheric moods adapt to everyday and secular scenes.
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., Serrurier-Bovy – un créateur précurseur – 1858–1910, Paris, Faton, 2008, p.166-167; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.
unforget Decorative Arts
ado chale
Ado Chale (Brussels, 1928-2025) Dining table, circa 1970 Resin top inlaid with carnelian agate stones H 71.5 cm - Ø 173 cm This work is accompanied by a certificate of authenticity issued by Ado Chale This table features a backlit tabletop that enhances its sculptural presence and creates a refined play of light and shadow.
Galerie von Vertes
tony cragg
Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)
Virginie Devillez Fine Art
rené magritte
René Magritte (Lessines 1898-1967 Brussels) Le Prince charmant, 1948 Gouache on paper 37 x 46 cm Signed lower left 'Magritte' Provenance: Willy van Hove-Cuche, Brussels; private collection; Galerie Motte, Geneva (auction 7 December 1973, lot 30); Margaret Krebs, Brussels; Christie’s, London (auction 27 June 1978, lot 145); Sotheby’s, London (auction 6 February 2001, lot 157); Beaux-Arts Auction, Brussels (auction 26 April 2005, lot 51); private collection, Belgium Literature: Ronny Van de Velde, René Magritte. Peintures et gouaches, Antwerp, 1994, ill. n. p.; David Sylvester (Ed.), René Magritte – Catalogue Raisonné. IV: Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Menil-Foundation/Fonds Mercator, 1994, CR 261 (ill. p. 102); Esther Schlicht & Max Hollein (Éd.), René Magritte 1948. La période vache, Frankfurt, Schirn Kunsthalle, 2008-2009, ill. p. 45; Paris, Galerie du Faubourg, Magritte: peintures et gouaches, 1948, cat. n° 24 ( ? or CR 1260); Rotterdam, Museum Boymans-van Beuningen, René Magritte: het mysterie van de werkelijkheid, 1967, cat. n° 97 (ill. p. 223); Stockholm, Moderna Museet, René Magritte, 1967, cat. n° 50; Paris, Fondation Dina Vierny – Musée Maillol, Magritte tout en papier, 2006, without cat. n° (ill. p. 160); Rotterdam, Museum Boymans-van Beuningen, Voici Magritte. Gouaches, collages, tekeningen, studies, schilderijen, 2006, without cat. n° (ill. p. 160); Paris, Centre Pompidou – Musée national d’Art moderne, Magritte. La Trahison des Images, 2016-2017, without cat. n° (ill. p. 152); Skärhamn, Nordiska Akvarellmuseet, Magritte. A Lab of Ideas. Works on paper, 2022, without cat. n° (ill. p. 135)
Virginie Devillez Fine Art
pierre-louis flouquet
Pierre-Louis Flouquet (Paris 1900-1967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right 'flouquet' Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, (ill. p. 56) Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published Born in Paris, Pierre-Louis Flouquet was nine years old when his family moved to Brussels. Mainly self-taught, he received a brief artistic education at the Académie des Beaux-Arts in Brussels, where he met, among others, Victor Servranckx and René Magritte. The latter soon shared a studio with Flouquet, who began producing geometric works that represented a true synthesis of Cubism and Futurism. Throughout the 1920s, Flouquet exhibited frequently on the international stage - in Paris, Madrid, New York, Chicago, Buenos Aires, and Berlin, at the Galerie Der Sturm. For the gallery’s eponymous magazine, Flouquet even designed a large number of covers. During this period, he developed an art that evolved primarily through distinct series: Paysage plastique, Féminités, Composition, Formes, and Construction. The large-scale painting Féminités belongs to the series of the same name, begun in 1922, which explores geometric variations on the morphology of the female body. The rigor and purity that Flouquet infused into these anthropomorphic stylizations - further emphasized by his distinctive sense of composition - reveal his fascination with the formal perfection of the new technological creations of the modern age. Yet, in Flouquet’s work, as in that of Fernand Léger, such faith in mechanical forms does not lead to a total rejection of figuration, but rather to a search for plastic correspondences between the human and the machine. The composition Féminités is particularly harmonious, achieving a balance between line and color, enhanced by a marble-like background that lends warmth to the work.
Galerie Oscar De Vos
emile claus
Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)
Kunsthaus Kende
Takahiro Iede (Japan, 1962) Ayaori-gane vase 'Rhythm', Saitama 2019 Shakudo, Shibuichi, silver H 23 cm - Ø 27.3 cm The gracefully curved body widening towards the waved upper rim. The body composed of woven strips of shakudo, shibuichi and silver. Spectacular, large work by Japanese artist Takahiro Iede, crafted with brilliant skill using the so-called Ayaori-gane technique. “To set myself free, I test the limits of myself and metal.” – the Japanese artist metalsmith Takahiro Iede Born in Fukui Prefecture, Japan in 1962, the artist and metalsmith Takahiro Iede now lives and works in Saitama. The metal artworks of Takahiro Iede combine traditional craftsmanship with modern innovation. With every hammer stroke, he explores and expands the possibilities of his material. His works take a special status in Japanese art and are perceived as avant-garde, sculptural and transcending all formal limitations imposed by the technical feasibility of traditional metalworking. Takahiro Iede has enriched Japanese metalwork with a deeply impressive technique known as Ayaori-gane ('metal weaving'). This technique is characterised by various types of copper alloys with gold and silver, which are woven into patterns and then hammered and soldered together with silver. The braided creations of the Ajiro weaving technique in the bamboo craftsmanship of his home region and the woven tapestries of the Native Americans inspired the artist to develop this very difficult technique. In the Ayaori-gane technique, a plate is made by weaving metal strings. In the next step, the fine cavities within the pattern are filled with melted silver. This fills the individual metal strands of the pattern to form a coherent plate, and the resulting workpiece is shaped into three-dimensional forms using various metalworking techniques, primarily hammering. In some cases, the artist deliberately refrains from filling the spaces between the strands to leave the woven formation unfinished. There are no comparable techniques to the Ayaori-gane technique in Japanese art or other cultures that preceded it. For his outstanding achievement, Takahiro Iede received the highly prestigious Medal with Purple Ribbon for artistic merit in 2016, the awarding of which usually precedes a later designation as a future Living National Treasure.
Art et Patrimoine - Laurence Lenne
Reliquary 'in the form of a sarcophagus with a hinged roof' Limoges, mid-13th century Gilt copper plates, champlevé enamels H 11.8 x W 27.5 x D 9.5 cm Literature: Inventaire général des monuments et des richesses artistiques de la France. Emaux limousins du Moyen Age. Correze/Creuse/Haute-Vienne, under the direction of Paul-Édouard Robinne, Éditions de l’Inventaire, Images du Patrimoine, 1995; Emaux de Limoges XIIè-XIXè siècle, under the direction of Jacques Toussaint, Museum of Ancient Arts of Namur, 1996; Valérie & Thomas Becket, De l'influence des princes Plantagenêt dans l'Oeuvre de Limoges, Municipal Museum of the Bishop’s Palace-Museum of Enamel, Limoges, 1999 A reliquary, without a wooden core, taking the shape of a sarcophagus with a hinged roof. It is made of gilt copper plates and decorated with champlevé enamels depicting sixteen half-length angels emerging from clouds against a white enamel background. The decoration consists of two superimposed registers of three engraved gilt angels set within round medallions. The medallions stand out against a blue enamel ground adorned with gilded Gothic foliage and interlace patterns. This reliquary belongs to a series of standardised reliquaries known from the Limousin region, all dating from the 13th century. Its dimensions make it one of the largest examples of this 'sarcophagus with movable roof' type. It is closely related to the exceptional large reliquary of Saint-Yrieix-la-Perche, classified as part of the Treasure of the French Historic Monuments.
Galerie Berès
simon hantai
Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Étude en noir et blanc pour Pierre Reverdy, circa 1969 Oil on canvas 96 x 75.5 cm Certificate of authenticity n° 2024-16 from the archives Simon Hantai on October 12th, 2024 Provenance: gifted by the artist to Peter Stuyvesant Foundation in 1969 Exhibition: Tilburg, Kultureel Centrum, Peter Stuyvesant collectie, 1979