This section will be available this Autumn.
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115 cm Signed and inscribed on the reverse Certificate of authenticity issued by Mr. Jean-Marie Cusinberche Provenance: Galerie Guy Pieters, Belgium; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe
Rueb Modern and Contemporary Art
Jan Sluijters ('s-Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35.5 x 42 cm Signed and dated Provenance: Salomon Beffie collection, Amsterdam; Willem Beffie collection, New York; Galerie van Voorst van Beest, The Hague; Reens collection, Amsterdam; A.J. van Hillegondsberg collection, Blaricum; private collection, Amsterdam Literature: online catalogue raisonné Jan Sluijters - www.rkd.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July-25 July 1915, n° 40
Francis Janssens van der Maelen
Ravinet d'Enfert Art Deco centrepiece, Paris, circa 1930 Sterling Silver 950 Jardinière: H 9 x W 35 x D 23 cm Mirrored plateau: H 3 x W 50 x D 38 cm Total net silver weight: 4,990 gr Total gross weight: 9,210 gr French Minerva hallmark Important sterling silver centrepiece comprising a jardinière and its mirrored plateau. The jardinière, of geometric canted rectangular form, has a plain body highlighted by stepped moulded borders around the rim and base. It rests on small rectangular feet. Removable silver-plated metal liner bearing the square Ravinet d’Enfert maker’s mark in full. The plateau, of matching rectangular form with canted corners, echoes the geometric lines of the jardinière. It consists of a solid silver frame with stepped geometric mouldings, raised on small feet and enclosing a mirrored glass panel.
Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, ill. p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May-17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January-4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135
Galerie Alexis Pentcheff
Carved wooden frame, gilded with gold leaf, fitted with its original mercury glass Spain, 17th century Symmetrical decoration featuring four cherubs, stylised scrolls, acanthus leaves and gemstones at the corners Provenance: Amedeo Montanari collection Literature: Amedeo Montanari and Roberto Lodi, Directory of European frales, editions Galleria Roberto Lodi, 2003, repr. n° 641, p. 323
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
Dries Criel
EOS Ring Sandblasted 18kt yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. She who brings the first light of day, casting a golden glow across the horizon before the world awakens. A symbol of renewal, radiance, and quiet transformation. Crafted in sandblasted 18kt yellow gold, the ring carries a serene warmth. Its matte surface evokes the first rays of morning light diffused through the atmosphere - gentle, luminous, and timeless. Rather than reflecting light sharply, the gold seems to hold it within, creating a subtle glow that feels both ancient and contemporary. At its centre rests an elongated, natural, step-cut diamond. Surrounding white diamonds accentuate the composition, enhancing the contrast between the softness of the gold and the crystalline purity of the central stone.
Galerie Tiago
Rectangular lacquered wooden suzuribako (writing box) Japan, Edo period (1603-1868) Wood, lacquer, silver, gold, hiramaki-e, takamaki-e, kirigane, gyōbu-nashiji, tsumemaki nashiji H 4.7 x W 27 x D 23.5 cm Decorated in gold lacquer with a continuous design depicting a pavilion set in a karst landscape dotted with pine and maple trees. Complete with an inkstone, a silver water dropper, a blade and a set of brushes.
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Galerie Uzal
Jean Delville (Louvain 1867-1953 Forest) La Libération, 1936 Oil on canvas 188.5 x 240.5 cm (framed) Signed and dated Exhibition: Brussels, Salon de la Société des Beaux-Arts-Salon de Printemps 1936 In a letter addressed to the former owner and dated 1 July 1947, Jean Delville described the work as follows: 'Man, in flight, frees himself and escapes towards broader horizons and spaces of freedom, while the forces of evil hold him back in the lower spheres of the world, where the inert mass of beings remains imprisoned by their prejudices, desires, passions and selfishness.'
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fecit' and 'Venezia 1873' This exceptional table is one of the most ambitious expressions of nineteenth-century Venetian micromosaic. Its distinction lies in the rare combination of monumental scale, extraordinary technical refinement, documented authorship and a fully integrated sculptural bronze base. Micromosaic is more often associated with small cabinet objects. Here, Enrico Podio expands the technique to a table, transforming a traditionally intimate art into a commanding architectural statement. The head of Medusa is modelled through minute glass tesserae with subtle changes of flesh tone, shadow, hair and serpent scales. The optical blending approaches the effects of painting while remaining unmistakably mosaic. The inscriptions 'ENRICO PODIO FECIT' and 'VENEZIA 1873' give the work unusual documentary precision, securely identifying the maker, place and date and anchoring the table within the mature Venetian revival of mosaic art. The patinated, cast and chased bronze pedestal is conceived as an integral part of the design. Its classical heads, masks, architectural members and zoomorphic details create a powerful counterpoint to the brilliant colour of the micromosaic top. The synthesis of rarity, scale, technical mastery, documented authorship and visual impact places this table among the most impressive examples of nineteenth-century Italian decorative arts.
Van Herck-Eykelberg
Léon Spilliaert (Ostend 1881-1946 Brussels) The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88.5 x 67.5 cm Signed and dated top right ‘L. Spilliaert / 1912’ The work will be included in the forthcoming catalogue raisonné currently in preparation by Ms. Anne Adriaens Pannier Provenance: Ms Madeleine Spilliaert, Brussels; Ms. Irmingarde van Rossum, Brussel (2000); De Vuyst, Lokeren, 2016, Moderne en Hedendaagse Kunst, n° 163, cat. 163; private collection, Belgium Exhibition: 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 6 May-18 June 2000; verlenging: 23 June-3 September 2000: cat. 41, ill. in colour p. 77
