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Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Romigioli Antichità
Pair of marble plates with semi-precious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (frames) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird's nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.
Martos Gallery
keith haring
Keith Haring (USA, Pennsylvania 1958-1990 New York) Untitled, May 23, 1981 Marker on plastic 53.3 x 57.3 cm Provenance: Ellen Meyer collection, acquired directly from the artist; New York; Christie’s Auction, 1 May 1991, lot 313; private collection, Italy; Martos Gallery, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May–25 July 2025
Victor Werner
thierry van ryswyck
Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., Serrurier-Bovy – un créateur précurseur – 1858–1910, Paris, Faton, 2008, p.166-167; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.
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, Möbelfabrik 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 6th, 1913, by Baron Ottokar Trnka von Laberon. This rare Jugenstil ensemble combines 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 the pieces of furniture, except for the chair, are made of solid spruce wood and covered with high-quality swamp oak veneer.
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
Barbara Bassi
Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman 'Arman for Janadine' Sonia Delaunay (Ukraine, Hradyz'k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of catalogue 'Bijoux d'artistes de Calder à Koons' by Diane Venet (Flammarion), Musée d'Art Décoratif, Paris, 2018
Galeria Bessa Pereira
Carlo Hauner (Brescia 1927-1996 Salina) & Martin Eisler (Vienna 1913-1977 São Paulo) Coffee table, 1960s Jacarandá wood and glass H 46 cm - Ø 89 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection, 2025 Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 231
Willow Gallery
Eugène Boudin (Honfleur 1824-1898 Deauville) Bordeaux, le port, 1874 Oil on canvas 41 x 64 cm 56 x 79 cm (framed) Signed, dated and inscribed 'E. Boudin 74 Bordeaux' Provenance: Louis Bernard collection; its sale, Me Chevallier, Paris, 11 May 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 Flak
Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242
Finch & Co
Ivory crucifix figure of Christ South Netherlandish, circa 1690-1700 Rosewood cross, carved ivory, silver halo, giltwood Small chips to fabric of hanging Perizonium, old smooth creamy patina H 109 x W 41.5 x D 22 cm (cross) H 40 x W 24 x D 6 cm (Christ) Belgium CITES: 2025/BE00989/CE Provenance: Finch and Co, circa 2005; English private collection; Irish collection Comparative reference: a similar example in the collections of the Victoria and Albert Museum inv. n° A.73-1920 A finely carved ivory figure of Christ mounted on a rosewood cross, adorned with a silver halo and a sacred motto. The cross is embellished with giltwood details and set on its original scallop-shaped rosewood base. At Christ’s feet rests an ivory skull and crossbones, symbolising Golgotha. His legs remain uncrossed, with hands and feet affixed by iron nails. In this image of the Passion, Christ is shown alive, his eyes open looking upwards to his right, his teeth visible with his mouth open in his call to God. Imagery based on the Passion of Christ became increasingly popular from the 13th century. The mix of emotions which well up in the devout upon looking at such a human image, a blend of guilt and gratitude, sorrow and sympathy, is a very powerful combination. The Carthusian monk, Ludolph of Saxony (died 1378) expressed this attraction, without seeking to explain it, in his ‘Life of Christ’: ‘I know not for sure…. how it is that you are sweeter in the heart of one who loves you in the form of flesh than as the word…. It is sweeter to view you as dying before the Jews on the tree, than as holding sway over the angels in Heaven, to see you as a man bearing every aspect of human nature to the end, than as God manifesting divine nature, to see you as the dying Redeemer than as the invisible Creator.’
Heutink Ikonen
Anastasis Russia, circa 1600 32.5 x 26.5 cm The Anastasis (resurrection) of Christ and the victory over the realm of death are central to this icon. Christ, surrounded by a radiant mandorla, tramples the gates of the underworld and pulls Adam up from a stone coffin by his wrist. Behind Adam stands John, pointing to Christ with his hand and addressing a group of Old Testament prophets and forefathers. To the right of Christ are Eve, Kings David and Solomon, and the prophet Daniel, amongst others. At the bottom right, Christ can be seen rising from his own tomb
De Brock
ethan cook
Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)
Galerie Taménaga
Maurice Denis (Granville 1870-1943 Paris) Les Bergers, à la chèvre noire, circa 1918 Oil on canvas 45.2 x 62.2 cm Signed lower left 'Maurice Denis' Provenance: Lang; Galerie Druet; Hirschler; private collection Literature: Paris, Galerie Druet, Exposition Maurice Denis, 1918, n° 27; Ploëzal, Château de la Roche-Jagu, Maurice Denis et la Bretagne. Les étés de Silencio, 2009, n° 59, repr. p. 157
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Edouard Simoens Gallery
christo and jeanne-claude
Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall) Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167
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N. Vrouyr
mekhitar garabedian
Mekhitar Garabedian (Syria, Aleppo 1977) I copied this in a hurry and wrote in large letters (carpet) Pile: wool and silk, warp and weft: cotton 120 x 120 cm Provenance: handmade in Nepal For the design of this carpet, and the edges of the image in particular, Mekhitar Garabedian has reinterpreted Armenian medieval miniatures. The decorative patterns were the monks’ preferred place to improvise and deviate from the norm. By appropriating various visual and textual sources, Garabedian explores the fragility of heritage. Biography Deploying a variety of media such as drawing, video, photography and installation, many of Mekhitar Garabedian’s works draw from his experience as an immigrant and play on the humour and poetic qualities he finds between languages, cultures and histories. Just as his personal diasporic history is layered, his work echoes with a multiplicity of references to literature, music, philosophy and visual arts. Mekhitar Garabedian (°1977) was born in Aleppo and lives and works in Antwerp. In 2022, he was commissioned by Middelheimmuseum/Kunst in de Stad to create a public sculpture in the Antwerp Stadspark. Previously he had solo exhibitions at BOZAR in Brussels, S.M.A.K. in Ghent, Beursschouwburg in Brussels, BE-Part in Waregem and KIOSK in Ghent. In 2015 he was invited to present several works at the Venice Biennale in the Armenian pavilion, which was awarded with the Golden Lion. Garabedian participated in group exhibitions that were held at the New Museum in New York, Hamburger Kunsthalle, WIELS in Brussels, 5th Thessaloniki Biennial, Marta Herford, Villa Empain in Brussels, Gulbenkian Museum in Lisbon, Argos in Brussels, Haifa Biennial, BAM in Mons, M HKA in Antwerp, Drawing Room in London, Museum M in Leuven and Kunsthaus in Dresden, amongst many others.
WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice
Galerie Alexis Bordes
jacques-emile blanche
Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006
