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Artworks

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Galleries
Galleries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI Costermans Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Desmet Fine Arts Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Vagabond Antiques

Pair of carved Heraldic stone lions Central European, Hapsburg Territories, late 17th century Carved limestone H 90 x W 57 x D 77 cm A striking pair of limestone lions, carved in full relief and designed as true opposites. Each is seated upright, with bared teeth, strong haunches and tightly curled manes. Both wear a crown and hold an oval cartouche carved in bold relief with an interlaced monogram. They were made to flank the formal entrance of a major estate. The form and detailing are typical of high-status Baroque culture in Central Europe and the crown design is especially telling. Each features a repeating pattern of fleur-de-lis and crosses, closely following the design of imperial crowns used in Habsburg heraldry - particularly in the realms of Austria and Bohemia. A crucial distinction is the placement of such a crown directly on the animal - not merely above the cipher - which indicates an emblem of royal standing. Comparable examples can be seen on the monumental lions at Prince Eugene of Savoy's Upper Belvedere Palace in Vienna and others across Bavaria and Austria, where lions were used as heraldic supporters for noble or imperial arms. The monograms are hard to decipher but are almost certainly ciphers for the original owners or patrons. They likely stood at the gates of a major estate or seat of power under Habsburg rule or allegiance, marking out territories and status.

 

Axel Vervoordt

Ptah-Sokar-Osiris figure Egypt, Ptolemaic period, circa 332-30 BC Painted wood and gesso H 53 cm Provenance: private collection Jean Martin-Roch, France, acquired before 1936; thence by descent; Rouillac Cheverny, 13 June 2014, lot 15; Sotheby's, New York, 8 December 2015, lot 32

 

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

 

Virginie Devillez Fine Art

gustave de smet

Gustave De Smet (Ghent 1877-1943 Sint-Martens-Latem) Nu couché, 1928 Pencil, pastel and oil on paper 35 x 43 cm Signed lower right 'Gust. De Smet' Provenance: Walter Schwarzenberg, Brussels (Georges Giroux sale, Brussels, 1-2 February 1932, lot 43); Tony Herbert, Kortrijk; private collection, Belgium (by descent to the present owner) Literature: Piet Boyens, Gust. De Smet. Chronicle et Analysis of the Work, Antwerp, Fonds Mercator, 1989, CR 744 (p. 386); The Tony Herbert Collection, Deurle, Museum Dhondt-Dhaenens, 2011, p. 39 (ill.) Exhibitions: Brussels, Galerie Le Centaure, Gust. De Smet, 1928, cat. n° 69; Brussels, Galerie George Giroux, Gust. De Smet, 1929, cat. n° 160; Luxembourg, Musée d’Art et d’Histoire; Tony Herbert Collection, 1963-1964, cat. n° 38

 

De Wit Fine Tapestries

Tree of Life (fragment) Southern Netherlands, probably mid-16th century Wool and silk 230 x 195 cm

 

Galerie Patrice Trigano

césar

César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, São Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017- March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, July-September 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70

 

Galerie Alexis Pentcheff

maurice utrillo

Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)

 

Stone Gallery

Native Copper Map of Holland Weight: approx. 55 kg 38 x 28 x 18 cm Origin: Michigan, USA This large native copper specimen from Michigan shows a striking similarity with The Netherlands.

 

Heutink Ikonen

Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.

 

Martins&Montero

maria thereza alves

Jimmie Durham (Texas 1940-2021 Berlin) for Labinac PINO (model 3), 2019 Epoxy resin, glass, iron, and bronze 100.5 x 66 x 50 cm 2/15 + 5 AP

 

Galerie Capazza

georges jeanclos

Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov

 

Galerie de la Présidence

geer van velde

Geer van Velde (The Netherlands, Lisse 1898-1977 Cachan, France) Composition - atelier, circa 1951 Oil on canvas 134 x 148 cm Signed lower right with initials This work will be included in the forthcoming catalogue raisonné of Geer van Velde - Painted Work, currently in preparation by Pierre François Moget, son of Piet Moget Provenance: Galerie Hautefeuille, Paris; private collection, Brussels

 

Objects With Narratives

ben storms

Ben Storms (Ghent, 1983) Crushed cast glass coffee table, 2024 Cast Glass H 35 x W 150 x D 112 cm Provenance: the artist's studio Ben Storms’ recently developed method, which extends his already acclaimed In Hale series. The result is an idiosyncratic, sculptural entity that makes the applied force palpable, yet pauses and thus withdraws from it.

 

Galerie Capazza

éric antoine

Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October-7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, Eric Antoine uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols. These photographs without subjects challengethe very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process here is an emancipatory discipline. In an almost sculptural approach, Eric Antoine delivers true photograph-objects, shimmering and silvery.

 

Galerie la Ménagerie

edouard-marcel sandoz

Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Duckling, circa 1925 Brown-green patinated bronze Bears the inscription of the foundry Susse Frères Paris H 9.5 x W 9 x D 6 cm Signed 'Ed M Sandoz' on the base Literature: Model with the reference 862 from the catalogue raisonné of the artist, Félix Marcilhac, Sandoz, sculpteur figuriste et animalier, Les éditions de l'amateur, 1993

 

Carlucci Gallery

Roman Cabinat, circa 1780 Ebony veneered, marble and various polychrome stones H 208 x W 105 x D 62 cm Provenance: private collection Cabinet veneered in ebony, marble, and polychrome stones, with an architectural design. The upper section features a tympanum surmounted by Hercules holding the globe in flowering alabaster. A pierced balustrade is crowned with figures of a winged lion bearing a heraldic shield. The façade is articulated with a central door and two lateral doors, each concealing interior disappearing drawers. Materials include jasper, lapis lazuli, breccia, alabaster, and antique green marble.

 

CKS Gallery

nicolas de stael

Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024

 

Gallery Sofie Van de Velde

Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Chandelier sur fond jaune, 1950 Gouache on paper 23 x 31 cm Certificate of Authenticity by the Comité Léger dated 24 March 2021

 

Heutink Ikonen

Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.

 

Hartford Fine Art - Lampronti Gallery

Pietro Paolini (Italy, Luccia 1603-1681) Portrait of an artist at the easel Oil on canvas 59.4 x 68.5 cm Expertise by M. Pulini, 2023 Exhibition: Roma Pittrice. Artiste al lavoro tra XVI e XIX secolo, Museo di Roma, Palazzo Braschi, 2024-2025

 

Douwes Fine Art b.v.

rembrandt van rijn

Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.

 

Ars Antiqua

pieter van lint

Pieter van Lint (Antwerp, 1609-1690) Allegory of Labor rewarded by Peace and Abundance, in the presence of Minerva and Time Oil on copper 104 x 130 cm Authenticated by Professor Carlotta Venegoni Published on RKD

 

Pauline's Jewellery Box

Belle Epoque diamond tiara necklace, circa 1905 Platinum and diamonds Provenance: private collection, London An important Belle Epoque diamond tiara necklace, set with old European & rose cut diamonds. The estimated total diamond weight is approximately 12.00 carats. Estimated colour H-I on average. Estimated clarity VS-SI on average. The diamonds are bright & lively, mounted in platinum.

 

Galerie Nathalie Obadia, Paris/Brussels

laure prouvost

Laure Prouvost (France, Croix 1978) We Will Keep Cool (Theatre Cornwall), 2025 Tapestry, thread (Provenance : Flanders Tapestries BVBA) 215 x 290 cm Edition of 3 + 1 AP Provenance: the artist's studio, Belgium

 

The old Treasury

puppo di puma

Puppo di Puma brooch with moveable wings 18k yellow and white gold, enamel and circa 2.5ct brilliant-cut diamond Alessandria, Italy, circa 1990

 

Galerie La Forest Divonne

christian renonciat

Christian Renonciat (Paris, 1947) Carton Paysage, 2024 Sculpture in lime wood H 80 x W 118 x D 6 cm Provenance: the artist's studio

 

Galerie Ary Jan

Jean-Pierre Cassigneul (Paris, 1935) Se voir dans un regard, 1990 Oil on canvas 130 x 97 cm Signed lower left and titled on reverse Authenticity confirmed by Jean-Pierre Cassigneul

 

Bernier/Eliades

thomas schütte

Thomas Schütte (Germany, 1954) Iroquois Double Head 7.10.24, 2024 Glazed ceramic, watercolours Sculpture: H 45 x W 28 x D 40 cm Framed watercolours: 49.5 x 38.5 cm Steel pedestal: H 120 x W 43 x D 30 cm

 

Thomas Deprez Fine Arts

jean delville

Jean Delville (Leuven 1867-1953 Brussels) Aveugle, 1888 Oil on canvas 65 x 81 cm Signed and dated l.l.: 'Jean Delville / 1888' Relined, with a fair amount of retouching Provenance: private collection, Brussels, since three generations. Exhibitions: Salon de Gand, XXXIVe Exposition Triennale, Ghent, 1889, cat. n° 166, as: 'Aveugle'; L'Essor, XIIIe exposition annuelle, Brussels, 1889, cat. n° 4, as: 'Aveugle' PRESS F.N., 'Chronique Artistique', dans: Journal de Bruxelles, 24/03/1889, p. 5 (Supplément au Journal de Bruxelles du 24 mars 1889): 'L'Aveugle, la femme si visiblement plongée en des pensées lourdes et étroites, qui se chauffe [...]'

 

Mearini Fine Art

Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Italy, 16th century Polychrome sculpture of stucco and paper mache constructed around a wooden core H 70 cm Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005

 
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