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DIE GALERIE
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from March 19, 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948 1951 , exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015 , p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
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.
Gallery Desmet
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
Florian Kolhammer
hans bolek
Hans Bolek (Vienna 1890-1978) Jugendstil ensemble, Gentleman's study, 1913 Solid spruce wood, solid oak (armchair), swamp oak veneer Provenance: bought on 06.11.1913 by the minister of public works, Freiherr Ottokar Trnka von Laberon; private collection Austria Literature: Interior from the winter exhibition 1913/14 at MAK; photograph of a room design by Hans Bolek, executed by August Ungethüm, Möbelfrabrik August Ungethüm, MAK Inv.nr. KI 7905-13; 'Innendekoration: mein Heim mein Stolz', Heft 25, 1914, S. 110; 'Kunst & Handwerk', Vol. 12, 1913, p. 629; 'Deutsches Volksblatt' 11. November 1913, S. 6; 'Neues Wiener Tagblatt', 22. November 1913, p. 33 / yearly report 1913 Austrian Museum of Art and Industry (ÖMKI), p. 4 Designed in 1913 by Hans Bolek, a student of Josef Hoffmann, and executed by August Ungethüm, this study was presented at the 1913/1914 Winter Exhibition of the Austrian Museum of Art and Industry and acquired on November 6, 1913, by Baron Ottokar Trnka von Laberon. This rare Jugenst unites elegant geometry, floral elements, and exceptional craftsmanship. The study consists of a representative desk with elegant fittings and a matching armchair made of solid oak, an impressive cabinet display case, and a stylish table display case or humidor. All pieces of furniture, except for the chair, are made of solid spruce wood and covered with high-quality swamp oak veneer.
Galerie des Modernes
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the Archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis. 'Serge Poliakoff – Catalogue Raisonné'. Volume V, 1966-1969. Munich 2016. p. 236, No. 67-101
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Certificate of authenticity by Archivio Valerio Adami n° 878 Exhibition: Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March–17 May 2025
Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; Private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937 on page 206
Maurice Verbaet Gallery
paul van hoeydonck
Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025
Galerie BA - Berthet Aittouarès
henri michaux
Henri Michaux (Namur 1899-1984 Paris) 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d'art moderne, Paris, 1965 This work is registered in the Henri Michaux's Archives under the number HM5891
Hoffmans Antiques
Chandelier in the 'Retour d’Égypte' Style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm This magnificent chandelier exemplifies the short-lived yet influential “Retour d’Égypte” style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body springs twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliate motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.
Ars Antiqua
viviano codazzi and jan miel
Viviano Codazzi (Italy, 1604-1670) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti
Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Bordeaux, le port, 1874 Oil on canvas 41 x 64 cm, framed 56 x 79 cm Signed, dated and inscribed 'E. Boudin 74 Bordeaux' Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19; Jules Chédeville, Paris and Honfleur; Michel Durnerin, Paris (by descent); then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, n° 978; G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (ill.); R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, n° 978 (ill.)
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège, 1858-1910) Library bench, circa 1895 Oak, model from the 'Chambre d’Artisan' H 178 x W 203 x D 59.5 cm Literature: Françoise Bigot du Mesnil du Buisson et Etienne du Mesnil du Buisson, 'Serrurier-Bovy, un créateur précurseur 1858-1910', Éditions Faton, Dijon, 2008, p. 31; Jacques-Grégoire Watelet, "Gustave Serrurier-Bovy", Éditions Beaunord, Paris, 1989. p. 18 In 1894, Gustave Serrurier-Bovy was invited by Octave Maus to take part in the first Libre Esthétique salon in Brussels. The opening of this salon marked an important milestone in the artist’s career, introducing his work into one of the most vibrant international cultural circles at the end of the 19th century. On this occasion, he created for the first time a complete furniture ensemble, which he called the Cabinet de travail. The following year, he presented at the salon the Chambre d’Artisan, which had a real impact. This Artisan Room ensemble is in fact permanently exhibited at the Musée d’Orsay. The term artisan here refers to Gustave Serrurier-Bovy’s desire to create furniture for the greatest number, with a social dimension. The pieces were designed in oak, according to the principles of functionality, solidity, and clarity of construction that were dear to the artist.
Galerie Hadjer
fernand léger
Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) 'The Great Parade' Designed in 1975 Wool 280 x 400 cm Tapestry number 1/1 - Unique Piece Woven by Yvette Cauquil-Prince in Paris Provenance: Yvette Cauquil-Prince; Paul Haim Collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien February 10 - May 14, 2000, Vienna
Alexis Lartigue
victor vasarely
Victor Vasarely (Pecs 1908-1997 Paris) Dell-Yell, 1972 Acrylic on panel 48 x 48 cm (in square) 68 x 68 cm (in diamond shape) Signed lower center, signed, dated and titled at the back Provenance: succession from the Paris region (in their collection since the early 70s) Authenticity confirmed by the Vasarely Foundation
Galerie de la Présidence
serge poliakoff
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1962 Oil on canvas 48 x 28 cm Monogrammed lower right, signed on the reverse Provenance: A.V.V. Aldo private collection, Venice; Galleria del Naviglio, Milan; private collection, Paris Literature: Alexis Poliakoff, Serge Poliakoff - Catalogue Raisonné, 1959-1962, vol. III, n° 62-55, p. 303
Galeria Jordi Pascual
Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photo-certificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy
Thomas Deprez Fine Arts
george minne
George Minne (Ghent 1866-1941 Sint-Martens-Latem) « Baigneuse, I » 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’. Provenance: private collection by family descent, Belgium Literature: Arthur ROESLER, George Minne, in : Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo VAN PUYVELDE, George Minne, Bruxelles : Editions des “Cahiers de Belgique", 1930, cat. rais. n° 31, p. 78, ill. pl. 31; Robert HOOZEE et al., George Minne en de kunst rond 1900, Gent : Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 138 & 139, as : ‘Figure de femme.’ (bronze & boxwood [this version]); Berliner Secession V, Berlin, 1902, cat. 319, as : ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285, marble version; Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as : ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as : ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as:’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble) RELATED WORKS It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. It's appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. NOTE ON VERSIONS Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry VAN DE VELDE (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood to be precise, it is likely a unique piece in the material, and can therefore be identified as entry nr. 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' would have been exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marks the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.
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 Exhibitions: Paris, Galerie du Faubourg, Magritte: peintures et gouaches, 1948, n° 24 (? or CR 1260); Rotterdam, Museum Boymans-van Beuningen; Stockholm, Moderna Museet, René Magritte : het mysterie van de werkelijkheid; René Magritte, 1967, n° 97 (ill. p. 223); n° 50; Paris, Fondation Dina Vierny – Musée Maillol, Magritte tout en papier, 2006, n° (ill. p. 160); Rotterdam, Museum Boymans-van Beuningen, Voici Magritte. Gouaches, collages, tekeningen, studies, schilderijen, 2006, n° (ill. p. 160); Paris, Centre Pompidou – Musée national d’Art moderne, Magritte. La Trahison des Images, 2016-2017, n° (ill. p. 152); Skärhamn, Nordiska Akvarellmuseet, Magritte. A Lab of Ideas. Works on paper, 2022, n° (ill. p. 135)
Stern Pissarro Gallery
maurice estève
Maurice Estève (Culan, 1904-2001) Untitled, circa 1953-1955 Gouache, watercolour and charcoal on paper 52.6 x 69.3 cm (20 ³/₄ x 27 ¹/₄ inches) Signed lower left 'Estève' Provenance: private collection, UK This work is registered in the archives of Mrs Monique Prudhomme-Estève under no. A.78.