This section will be available this Autumn.
rodolphe janssen
sanam khatibi
Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.
_ChristoandJeanne-Claude_T638604210025431057.jpg?width=410&height=2000&qlt=90&scale=both&mode=max&format=jpeg)
Guy Pieters Gallery
christo and jeanne-claude .
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013 Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape Left part: H 165 x W 38 cm Right part: H 165 x W 106 cm
Galerie des Modernes
guillaume corneille
Corneille alias Guillaume Cornelis van Beverloo (Liege 1922-2010 Auvers-sur-Oise) The rocky soil has become a garden, 1961 Oil on canvas 73 x 92 cm Signed and dated lower left 'Corneille 61' Countersigned, dated and titled on the back 'Corneille 61 / the rocky soil has become a garden' Certificate of authenticity from the Guillaume Corneille Foundation, signed by Mrs Beverloo-Corneille Provenance: private collection, France Literature: Une nouvelle figuration, exh. cat. Galerie Mathias Fels, Paris, 1961, repr. in black and white, unpaginated Exhibition: Une nouvelle figuration, Galerie Mathias Fels, Paris, November-December 1961
Heutink Ikonen
In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood 33.5 x 29 cm Provenance: private collection, Germany A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn. This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: 'All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men' In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.
Galerie Sophie Scheidecker
Anton Henning (Berlin, 1964) Blumenstilleben n° 253 (AH 2004-196), 2004 Oil on canvas 220 x 189 cm Anton Henning, born in Berlin in 1964, is a contemporary German artist whose work includes painting, sculpture, photography and installations. A self-taught artist, he trained largely through direct observation of ancient and modern art during his travels in the United States and Europe in the 1980s. Henning is distinguished by a bold approach that fuses a variety of styles and influences, from the old masters to modern movements. He appropriated classic artistic genres such as still life, portraiture and landscape. His style is recognisable for its complex compositions, bright colours and taste for geometric and organic motifs. An important figure in contemporary European art, Anton Henning has exhibited in renowned galleries and museums in Europe, notably in Germany, Switzerland and the Netherlands, and his works are included in major public and private collections. In his series of paintings Blumenstilleben (Still Life of Flowers), Anton Henning explores the traditional theme of the floral still life with a singularly modern twist. Blumenstilleben No.253 (AH 2004-196), painted in 2004, is notable for its treatment of the floral motif with a palette of vibrant colours, interwoven with geometric motifs of exaggerated proportions, visible brushstrokes and juxtapositions of textures, giving it a particularly pop, modern feel. With this series, Henning also seems to be questioning the relationship between academic painting and contemporary art. He does not hesitate to break with the solemnity of traditional still lifes by introducing elements reminiscent of modern design, abstraction and even the aesthetics of comics. Inspired by the aesthetic codes of the old masters, Henning revisits the subject of flower bouquets and floral compositions in a style that oscillates between the abstract and the figurative.
Montagut Gallery
Ngon mask Bekom people Cameroon, 19th century Wood and ritual patina H 44 cm Provenance: Marcial Bronzi collection, Brussels; Didier Claes, Brussels; Rachel Montagut collection, Barcelona Ngon masks are one of the many types that appear at commemorative ceremonies held for deceased persons in the kingdoms of Cameroon. These sets of masks, in the possession of various lineages, can include more than twenty masks, most of which represent different figures. Some of the masks are obligatory, such as the kam, the male head mask, and the ngon, which represents the woman.
Victor Werner
luigi carrubba
Luigi Carrubba (Tunisia 1907-? Rome) Diana the Huntress, circa 1937 Bronze with black patina H 108 x L 100 x D 47 cm Signed 'Carrubba Luigi Roma Febbraio XV' Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in 'Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano', XLIV, 6, 1938, p. 750 Luigi Carrubba, a Tunis-born sculptor who later settled in Rome, rose to prominence in the late 1930s, gaining recognition through major Italian art exhibitions. His works, including bas-reliefs and sculptures, were featured in events such as the Venice Biennale and regional exhibitions, where they were celebrated for their quality and scale. One of his notable sculptures, The Hunt, which may correspond to the work presented here (based on the similarity of subject and date) highlights Carrubba's mastery of dynamic forms and stylised bodies. This work exemplifies his skill in capturing movement and emotion through simple, refined lines. Carrubba continued to display works like Maternità and L’estate at the Venice Biennale, where he earned recognition amongst the emerging talents of the time.
Thomas Deprez Fine Arts
pieter braecke
Pieter Jan Braecke (Nieuwpoort 1858-1938 Nossegem) L'Humanité, before 1906 Marble H 220 cm Unique piece Signed on the base 'P. Braecke' Provenance: created for the grand hall of the Hôtel Aubecq (1903) by Victor Horta (1861-1947); private collection Octave Aubecq, Brussels (industrialist and founder of Le Cresuet); by descent into the family; sold following the demolition of the Hôtel Aubecq in 1949; possibly bought with part of the furniture by Louis Wittamer-De Camps, Brussels (?); circa 1979, in the collection of Mme Vanderperre, Antoing; private collection, New Jersey; private estate, Queens, New York Literature: Braecke's masterpiece ‘L'Humanité’ has been widely published and discussed, both at the time in the press, as well as in more recent art historical and architecture related publications up to the present day. A full literature and press list are available on request Exhibitions: Salon triennal de Gand, 1906 (cf. version in plaster); Pour L'Art, XVe exposition annuel, Brussels, 1908 (cf. cat. p. 11, plaster); Exposition universelle de Gand, 1913 (cf. cat. p. 66, n° 574, Hall 20, plaster) Related works: A plaster cast of a first version of the sculpture was given by the artist to his hometown of Nieuwpoort, Belgium in 1925, and has now been confirmed as having been destroyed during the Second World War. A single plaster version of the sculpture in its final conception survives today, and was gifted by the artist's widow, Elodea Roméo-Braecke, from the artist's studio to the city of Nieuwpoort, after the Second World War. It is currently held at the city's district court. Related documents: The present sculpture can be identified on several photographs taken at the Hôtel Aubecq during its painstaking demolition in 1949. The building's façade was saved by the Belgian government and awaits its reconstruction, while the original furniture was dispersed and is currently held in private collections as well as important institutions such as the Musée d'Orsay and the Musée Horta.
Florian Kolhammer
georg klimt
Georg Klimt (Vienna, 1867-1931) Jugendstil panel 'Nymph at the fountain', circa 1900 Chased and patinated copper H 57 x W 29 cm Literature: comp. Belvedere Museum Vienna, inventory n° 10862 The inspiration of the Symbolist painter Franz von Stuck is particularly evident in this relief. Based on the motif compositions of the famous artist, Klimt created an antique scene. An homage to Symbolism and the influence of antiquity on the young, revolutionary art movement.
Objects With Narratives
maison jonckers
Maison Jonckers (Belgium, founded in 2015) Hypsometrique Bronze, 2015 H 28.5 x W 121 x D 78.5 cm Edition of 8. Signed, dated and numbered Provenance: Ateliers Zaventem Beyond any graphic, scientific or mathematical data, towards a line of arrhythmic curves symbolising a surface in relief, the engraving of this table is inspired by the art of cartography, created almost 8000 years ago. Cartography is an essential tool for mankind, helping to inform and specify our journeys, carrying us gradually further and further towards the unknown, towards the discovery of new worlds
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
Galeria Jordi Pascual
josé guerrero
José Guerrero (Granada 1914-1991 Barcelona) El Alba, 1967 Oil on canvas 146 x 114 cm Certificate of authenticity by Comité José Guerrero Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460 Exhibition: Galería Buchholz, Lisbon, 'José Guerrero', April 1967
Boon Gallery
günther uecker
Günther Uecker (Germany, Wendorf 1930) Wind, 2005 Nails and oil on canvas laid down on wood 200 x 160 cm Signed on reverse This artwork is registered in the Uecker Archive with the number GU.05.011 and will be included in the forthcoming catalogue raisonné Günther Uecker has for six decades developed his reliefs comprising dynamic arrangements of nails. Born in 1930 in Wendorf, Germany, Uecker studied at the Kunsthochschule Berlin Weissensee and Kunstakademie in Düsseldorf, where he lives and works today. In the 1950s, influenced by Eastern philosophy and Gregorian chanting, he began a ritual of hammering nails. These materials signify protection and creation to the artist, who remembers nailing planks over the windows of his home to deter Soviet troops after the Second World War. By 1957, he was hammering nails onto canvas to achieve a 'sundial' optical effect, casting light and shadow in ephemeral patterns. In 1961, Uecker joined Heinz Mack and Otto Piene in the anti-expressionist movement Group Zero, which prioritised expanding beyond the traditional dimensions of the canvas into kinetic, serial, and participatory realms. After the group's dissolution in 1966, Uecker's work incorporated aspects of conceptual and land art, and he began designing stage sets for operas. Uecker's work has been the subject of solo exhibitions at museums worldwide. Retrospectives of his work have been organised by the Central House of Artists, Moscow (1988) and Kunsthalle München (1993), and he participated in Documenta (1964, 1968, 1977) and the 1970 Venice Biennale. His work resides in such collections as the Art Institute of Chicago; Guggenheim and MoMa in New York; Museum Ludwig in Cologne; Centre Pompidou in Paris; Stedelijk Museum in Amsterdam; and Tate Modern in London.
Galerie Berès
maurice denis
Maurice Denis (Granville 1870-1943 Paris) Les Fées, circa 1891 Oil on cardboard 23 x 30.3 cm Signed lower left 'MAVD'; titled upper right 'LES FEES' Provenance: Arthur Huc Literature: Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 Exhibitions: Au temps des Nabis, Paris, Huguette Berès, 29 May-20 July 1990, n° 46; Maurice Denis, Paris, Huguette Berès, 4 June-22 July 1992, n° 14; Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42 1891 was a pivotal year in the life of the young French painter Maurice Denis. Painted in 1891, Les fées dates from the key moment when Denis's art was becoming more synthetic. He belonged to the young Nabis group, which was mainly concerned with decorative paintings. This scene, which is the 2nd version of the subject, is considered to be one of the most faithful to the spirit of Pont-Aven. The emerald of the meadow, the black of the forest edge, their counterpoint of ochres and yellows of the path, the black of four silhouettes, are they not echoes of Gauguin saying: ‘of colour alone as the language of the listening eye...’? In this painting, executed in Brittany, Maurice Denis illustrates the tradition according to which ‘The Fairies’ made wishes when a child was born. The scene, set on the edge of the forest, their domain par excellence, shows, on the right, the young mother dressed in red and the nannies dressed in black and white presenting a small child to a group of four fairies dressed in black; two of them are wearing white headdresses. By using pure colours in large flat areas, Maurice Denis put into practice the theories he had made his own, ... the watchword, the common principle is to exalt colour and simplify form. Arthur HUC, a French politician and journalist, was director of La Dépêche du Midi and organised the famous Nabis exhibition in Toulouse in 1894. In 1892, Maurice Denis produced the only advertising poster he ever did for his newspaper.
Giammarco Cappuzzo Fine Art
Bartolomeo Manfredi (Ostiano 1582-1622 Rome) The Denial of Saint Peter, circa 1618-1620 Oil on canvas 125 x 183 cm Provenance: private collection, Belgium This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.
Patrick Derom Gallery
léon spilliaert
Léon Spilliaert (Ostend 1881-1946 Brussels) Wall-Mounted Cabinet with Cup and 'Le Carillon,' 1908 Indian ink, brush, watercolour, wax crayon on paper 73.4 x 52.2 cm (day) Signed and dated bottom left: LSpilliaert / 08 This work will be included in the forthcoming Léon Spilliaert catalogue raisonné currently being prepared by Dr. Anne Adriaens-Pannier Provenance: Madeleine Spilliaert collection; Frederik van Rossum collection; private collection Literature: Anne Adriaens-Pannier, Spilliaert. Le regard de l’âme, Ludion, Ghent, 2006, ill. 61, pp. 51-52; Anne Adriaens-Pannier, Léon Spilliaert. From the Depths of the Soul, Ludion, Antwerp, Brussels, 2019, ill. 61, p. 52; Anne Adriaens-Pannier, Léon Spilliaert: A Discerning Eye, London, 2020, ill., p. 16; Anne Adriaens-Pannier, Solitude féminine, intérieurs insolites, in Léon Spilliaert. Avec la mer du Nord… Snoeck, Lausanne, Ghent, 2023, p. 7, ill. p. 81; Norbert Hostyn, Léon Spilliaert, Museum voor Schone Kunsten, Ludion, Flammarion, Ghent, 1996, ill. 44a, p. 93; Fr.-Cl. Legrand, Léon Spilliaert et son époque, Fonds Mercator, Antwerp, 1981, cat. 68, ill., p. 67 Exhibitions: 1972, Brussels, Royal Museums of Fine Arts of Belgium, Hommage à Léon Spilliaert / Hulde aan Léon Spilliaert, cat. 28; 2006, Brussels, Royal Museums of Fine Arts of Belgium, Léon Spilliaert, Un esprit libre / Een vrije geest / A free spirit, cat. 79 (ill.); 2016, Ostend, Het Spilliaert Huis, Ontmoetingen met Spilliaert / Rencontres avec Spilliaert / Encounters with Spilliaert, cat. 1; 2019-2020, Lodève, Musée de Lodève, Ensor, Magritte, Alechinksy… Chefs-d’oeuvre du Musée d’Ixelles, cat. 44 (ill.); 2023, Lausanne, Fondation de L’Hermitage, Léon Spilliaert. Avec la Mer du Nord… cat. 43 (ill.), p. 81; 2023-2024, Neuss, Clemens Sels Museum, Gewagte Visionen. George Minne und Léon Spilliaert. Vom Symbolismus bis Expressionismus, cat. 45 (ill.), p. 43
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Galerie BG Arts
rené lalique
René Lalique (Ay 1860-1945 Paris) Necklace 'Couple of Dragonflies', circa 1905 Yellow gold, tourmalines, diamonds, enamel and plique-a-jour Provenance: Sotheby's sale, London, 3 December 1998, lot 102; private collection, London; Galerie BG Arts, Paris Literature: For a similar model: Sigrid Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill. p. 344, n° 733
Stone Gallery
Pallasite meteorite slice on metal base Weight: 3.030 gr. H 56 x W 32 x D 7 cm Provenance: from outer space, found in Seymchan, Russia Pallasites are a rare type of stony/iron meteorite, widely considered to be the most beautiful known otherworldly substance. Extraterrestrial olivine and peridot are suspended in the highly-polished iron-nickel matrix originating from an asteroid’s core. This complete slice of a Seymchan meteorite is delimited by the meteorite’s external surface. The combination of part iron and part iron with olivine crystals in this specimen are a superior example of a transitional pallasite. Modern cutting. Classified as a pallasite, it is composed of dark crystals of the silicate mineral olivine in a spongelike network of nickel-iron alloy. Meteorites are pieces of stone or iron that fell to Earth from outer space. They are often small chunks of planetoids, but sometimes can be pieces up to kilometres in diameter. Like the planets, the planetoids orbit around our Sun. While meteorites are among the rarest substances on Earth — all the world’s meteorites weigh less than the world’s annual output of gold — pallasites are rarer still as they represent less than 0.2% of all known meteorites. Pallasites formed at the core-mantle boundary of an asteroid when some of the mantle’s olivine, which is in proximity to the molten metallic core, crystallised. As a result of the asteroid having been shattered following a collision with another asteroid, inner sections of this asteroid became liberated with a bit of it having found its way to Earth. Gem-quality olivine or peridot (the August birthstone) is found in some pallasites — including the current offering. About Meteorites in general: A typical meteorite hits the surface of the Earth at a rate of approximately 100 metres per second (about 350 km per hour). Obviously even a small meteorite at such a speed may cause great damage. Depending on its size and where the meteorite falls, it might cause an impact crater with a depth of between a few centimetres and up to many metres deep.
