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Maison D'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams estate Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th Century, The Holy Family, lot 138
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92.1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932-1937, 1996, pp. 238-39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935-1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78-79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987-1988, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930-1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023
Laurent Schaubroeck
José Zanine Caldas (Belmonte 1919-2001 Vitória) Moveis Artisticos Z 2-21 Zeca Armchair, circa 1949 Leather, plywood, hardware H 87 x W 67 x D 77 cm An early 2-21 'Zeca' armchair by José Zanine Caldas for Móveis Artísticos Z. Introduced circa 1949, the 2-21 represents the first edition of the model, before Zanine later adapted the design with Airfoam cushioning and renumbered it 2-24. Its sculptural plywood structure and leather upholstery fully represent Zanine’s pioneering approach to Brazilian modern furniture.
Virginie Devillez Fine Art
René MAGRITTE (1898-1967) Le carrousel d’Esclarmonde [Esclarmonde’s roundabout] Oil on canvas Signed “Magritte” (top right) ; titled and dated “‘LE CARROUSEL D’ESCLARMONDE’ 1953” (on the reverse) 30 x 40 cm Painted in 1953 Provenance Alexander Iolas Private Collection, United States of America Private Collection, Belgium (by descent to the present owner) Exhibitions Brussels, Galerie La Sirène, Œuvres récentes de René Magritte, 1953, cat. no. 16 Paris, Galerie Cahiers d’Art, Exposition de peintures et gouaches de René Magritte,1955, cat. no. 10 Dallas, Museum for Contemporary Arts; Houston, Museum of Fine Arts, René Magritte in America, 1960-1961, cat. no. 46 Little Rock, Arkansas Art Center, Magritte, 1964, without cat. no. Knokke, Casino, Magritte, 2001, cat. no. 39 (ill. p. 64) Literature René Magritte, La Destination. Lettres à Marcel Mariën (1937-1962), Brussels, Les Lèvres Nues, 1977 (letter no. 264, 9 December [1952], p. 301) “Leçon de choses. Écrits et dessins de René Magritte”, in Rhétorique, [Tilleur-lez-Liège], no. 7, October 1962, p. 7 David Sylvester (Ed. by), René Magritte – Catalogue raisonné. III : Oil Paintings, Objects and Bronzes 1949-1930, Menil-Foundation/Fonds Mercator, 1993, CR 788 (p. 206-207)
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
Stéphane Renard Fine Art
Maerten de Vos (Antwerp 1532 – 1603) The Four Elements: Air, Earth, Water and Fire Pen and brown ink wash on laid paper 100 x 138 mm for each drawing The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon – France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529–532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV–XLVI, 1360–1364, copy d.).
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July-30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Artimo Fine Art
Émile Jespers (Deurne 1862-1918 Antwerp) Reclining Female Nude on a Wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleau) Oil on canvas L’École de la liberté, 1949 60 x 73 cm Signed and dated 'Jane Graverol 1949' Provenance: collection of his friend and artist Tom Gutt Literature: Xavier Canonne, Le surréalisme en Belgique: 1924-2000, Fonds Mercator, 2006; Le surréalisme en Belgique, Bozar Books, Fonds Mercator, 2024 Exhibitions: Le surréalisme en Belgique, Musée de Mons, March-August 2007; Histoire de ne pas rire, Bozar, Brussels, February-June 2024, ill. p. 221 Created in 1949, the year Jane Graverol met René Magritte, this work is an important example of the artist’s exploration of female identity and confinement. Graverol depicts herself inside a cage. The image reflects on women’s position in the mid-20th century, when social expectations strongly limited women’s independence. Yet, the open door suggests the possibility of emancipation and a desire to break away from prescribed roles. The painting was also repeatedly selected by the press to illustrate coverage of the Bozar exhibition. This artwork embodies something larger: the tension between the restrictions of an era and a woman’s desire to claim a space of her own. Full press references available on request.
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Marjan Sterk Fine Art Jewellery
Van Cleef & Arpels Lion brooch, 1972 18k yellow gold, green agates and onyx H 62 x W 43.3 mm Total weight 37.7 gr Signed Van Cleef & Arpels Manufactured in Paris, dated and numbered Provided with the original case An eighteen carat yellow gold brooch depicting a lion with wide-spreading mane, eyes of navette cabochon-cut green agates, and a nose carved from onyx.
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.'
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres Transforming the Old Woman’s Son into a Lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
Galerie Jean-François Cazeau
Victor Vasarely (Pecs 1908-1997 Paris) EG-2, 1965 Acrylic on canvas 160 x 160 cm Signed in the centre Counter-signed, titled and dated on the reverse Provenance: artist’s studio; Galerie Denise René, Paris; private collection, France Certificate of Authenticity by Pierre Vasarely dated 26 July 2020
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas 64 x 73.5 cm Signed lower left and dated 1932 Provenance: acquired directly from the artist in the 1930s; private collection, France; Christie's Paris, sale of 1 December 2009; private collection, France Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
Galerie von Vertes
Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30.8 x 6.4 x 7.9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by Fiorini Ltd, London This work is registered in the Henry Moore Foundation archives Provenance: Zabriskie Gallery, New York City; B.C. Deane collection, US; D.J. Rosenthal collection, US; Dr. Phillip Cohen collection, Washington, D.C.; private collection, Washington, D.C. (by descent from the above); Bonhams, New York, 20 November 2025, lot 119; private collection, Switzerland Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, 'a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the: Upright Motifs.'
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a man with a black hat, circa 1650 Oil on oval panel 19.9 x 16.5 cm Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. The gallery is grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.
