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Claes Gallery
Reliquary Figure 'Mbulu-ngulu' Kota Kota-Obamba People Gabon, presumed late 19th-early 20th century Wood, copper and brass H 43 cm Provenance: private collection, Los Angeles, until 1979; private collection, Geneva Literature: L’Art Kota. Les figures de reliquaire, Chaffin, Meudon, 1979, pp. 234-235, fig. 133 (written height: 43.5 cm)
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)
Desmet Fine Arts
giovanni & giacomo zoffoli
Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449
Galerie Cento Anni
philippe wolfers
Philippe Wolfers (Brussels, 1858-1929) Fiançailles (Engagement), circa 1911 Bronze with brown patina and original marble base H 50.5 cm Signed Ph. Wolfers Lost-wax cast n° 1 Provenance: private collection, France Literature: La Dynastie Wolfers–de l’Art nouveau à l’Art déco, Werner Adriaenssens & Raf Steel, p. 396
Claes Gallery
Dan 'deangle' Mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) P1971-20, 1971 Crayon and acrylic on baryta board 50 x 73 cm Signed and dated lower right Provenance: Galerie Ludorff, Germany; Sotheby's London, July 2020; private collection, Brussels; acquired from the above by the present owner
Art et Patrimoine - Laurence Lenne
Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between 5 March 1745 and 4 February 1749.
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Artimo Fine Arts
Paul Dubois (Nogent-sur-Seine 1829-1905 Paris) La Méditation (or Le Courage civil), circa 1880 Bronze with dark brown patina H 95 x W 38 x D 43.5 cm Signed P.DUBOIS Founder F.Barbedienne, Paris and stamped 'réducation mécanique A. Collas' Provenance: private collection, Belgium Literature: Florence Rionnet, Les Bronzes Barbedienne. L’oeuvre d’une dynastie de fondeurs, Paris, Arthena, 2016; Camille Lauqué, Les carnets de dessins de Paul Dubois (1829–1905) conservés au musée Camille Claudel: du motif à la création, research thesis, École du Louvre, 2ᵉ cycle, dir. François Blanchetière, September 2022, vol. II A fundamental element of the cenotaph of General de Lamoricière, commissioned by Pope Pius IX in 1865 and erected in the Cathedral of Nantes under the direction of architect Louis Boitte, La Méditation — or Civil Courage — is one of the four allegorical figures created by Paul Dubois for this major monument, alongside Faith, Charity, and Military Courage. It embodies Wisdom, an intellectual and moral virtue linked to the civil and spiritual commitment of the deceased. The figure represents an elderly man seated, absorbed in study: his legs crossed, one elbow resting on tablets of law, stylus in hand, his head bowed under the weight of thought. The concentrated expression, restrained pose, and refined treatment of the drapery all bear witness to a sculptural art imbued with rigour and depth. This composition echoes the figures of old men conceived by Michelangelo for the tomb of Julius II and for the Medici tombs at San Lorenzo — a lineage fully acknowledged by Dubois, as evidenced by numerous preparatory sketches preserved in Nogent-sur-Seine. In a letter to Count Henri Delaborde (August 30, 1866), Paul Dubois explained his intent: 'Civil Courage would be expressed by a man of mature age leaning on tablets of law; Charity by a woman nursing children and, as it were, enfolding them in her embrace.' He continues, reflecting on possible adjustments for the sculptural execution: 'The corner figures are no doubt not yet, even in conception, what their execution will make them: Military Courage will hold his sword in his right hand, Faith may gain more conviction through a movement of the hands and arms akin to Prayer; Civil Courage should perhaps, in contrast with the armour of the other, be at least partly draped.' (Delaborde Collection, Bibliothèque de l’Institut, Paris, Ms 2159, letter n° 30) The original plaster model, dated 1878, was presented at the Paris Universal Exposition that same year, where it was praised for its noble austerity and classical ideal. This plaster is now housed in the Musée Camille Claudel, where it is displayed amongst the artist’s neo-Florentine works; it entered the museum as a gift from Henriette Dubois in 1905, the year of the sculptor’s death. The bronze version was installed in 1879 for the official inauguration of the cenotaph. The present example, cast by the prestigious Ferdinand Barbedienne foundry using Achille Collas’ mechanical reduction process, demonstrates exceptional craftsmanship: a deep brown patina, precise chiselling, and a harmonious balance of volumes. The foundry’s catalogue lists five official sizes, the largest reaching 95 cm in height, corresponding to a one-third reduction of the original — this largest edition, the one offered here, is a rare and distinguished version. Through its powerful iconography, distinguished provenance, rarity, and impeccable casting quality, this example of La Méditation stands as a remarkable testament to 19th-century French sculpture, positioned at the crossroads of classical humanism and academic excellence.
Almine Rech
tom wesselmann
Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist 'Smoker Study (For Smoker #11)', 1972 belongs to Tom Wesselmann’s Smoker series, which he started working on in the late 1960s. Wesselmann had been developing his 'Great American Nudes' series when he was inspired to focus on specific details of female figures. In a somewhat fetishising act, he started making both smaller preparatory pieces and larger scale works depicting hands, breasts and lips. Out of this approach his 'Mouth' paintings and preparatory works were born.
Galerie Nicolas Bourriaud
emile gilioli
Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971
Galerie AB - Agnès Aittouarès
Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988
Galerie von Vertes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Site avec deux personnages, 10 September 1982 Acrylic and collage on paper, mounted on canvas 67 x 100 cm Monogrammed and dated lower right 'J.D. 82' Verso numbered on the stretcher 'F146' Provenance: Waddington Galleries, London (verso with label); James Corcoran Gallery, Santa Monica (verso with label); Karsten Greve Galerie, Cologne (verso with label); private collection, Switzerland (acquired from the above) Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, vol. XXXV: Sites aléatoires, Paris 1986, p. 73, n° 142 (ill.) Exhibition: London, Waddington Galleries, Jean Dubuffet. A retrospective, October 1983, n° 46 (ill.)
Vagabond Antiques
Monumental Carved Marble Sundial Portuguese, Oporto Region, mid 18th Century H 357 x W 130 x D 62 cm Provenance: Commissioned by Antonio de Vasconcelos Carvalho e Menezes, a wealthy Portugese nobleman Portugal has a rich tradition of country houses and manors indigenously known as solares or quintas. Some were modelled on the great 18th century gardens of Le Notre and other landscape architects in France. Under King Joao, himself a great patron of the arts, began the great 18th century period of Portuguese baroque. The previous austere architectural style albeit heavily influenced by renaissance Italy was replaced with exuberance. With great profits from its colonies and most especially gold and precious stones from Minas Gerias and the Sertao of Sao Paulo in Brazil, it was the golden era of Portuguese architecture and ornament. From it there emerged a new artistic language. Named the Joanine, in honour of the king, it was an architectural style that transformed quintas not only in Portugal but also in the nation’s Atlantic provinces and overseas colonies. This spectacular sundial , monumental in scale incorporates many architectural elements synonymous with the baroque architecture of the mid 18th century. It was a highly creative Italian who created a style of this style of architecture perfectly suited to Northern Portugal. Born in 1691 and trained in Sienna Nicolau Nasoni arrived in Oporto in 1725. Having established his reputation modernising the city’s cathedral, he was commissioned by Jeronimo de Tavora e Noronha to build the Church of Clerigos, one of Oporto’s great 18th century churches. Commissions for other churches and quintas followed of which the most well known is the grand solar de Mateus, known all over the world for the rose wine bearing its name. The architectural composition of this sundial probably owes more to the façade of the Cas dos Porto Carreiro. Commissioned by Antonio de Vasconcelos Carvalho e Menezes, a wealthy Portugese noble who made part of his wealth in Brazil it was constructed by a Spanish architect but heavily influenced by Nasoni’s work. The volute scrolls and the foliate elements as well as the stylized lambrequins all echo Nasoni’s designs for the gilt woodwork of Oporto churches.
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, Genève (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)
Kunsthaus Kende
Pair of George I Britannia silver tea caddies John Farnell, London, 1720 Engraved sterling silver H 12.5 cm 240.3 g and 237.4 g Provenance: private collection, North America The smooth, octagonal body merging into the correspondingly smooth shoulder. The lid finished with a twisted baluster. The base, which can be pulled out for filling, is only marked with a maker’s mark, the lid is unmarked. The bodies are hallmarked on the underside of the back. The contemporary coat of arms engraved on the front commemorates the marriage of a gentleman of the Dove family (who were based in East Burgholt in the county of Suffolk) and a lady of the Pierse family (whose family was based in Alston in the county of Warwickshire). An attractively preserved, early Britannia silver pair of tea caddies with a beautifully preserved, original surface.
Finch & Co
Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum A fine and large late Renaissance turned standing cup and cover on knopped foot of impressive size The Milanese master instructor of turning Giovanni Ambrogio Maggiore visited Bavaria on various occasions between 1574 and 1593 to teach the Duke Wilhelm this newly invented form of art, creating marvellous objects from natural substances. Maggiore also trained the artist Georg Wecker who went on to become Dresden’s ‘court turner for life’ to the elector Augustus of Saxony in 1578. Regarded at the time as a form of advanced mechanical technology, the art of turning in ivory, ebony and rhinoceros horn became a princely pastime for ‘Drechselnder souverän’. Rhinoceros horn objects were regarded as items of great rarity and prestige in Renaissance Europe, but they had been seen as objects of great value with inherent magical properties for well over one thousand years before this time in China, and by the early 17th century Chinese cups and vessels of carved rhino horn were being exported to Europe to meet the demand for exotic curiosities for the cabinets of wealthy collectors.
