This section will be available this Autumn.
Edouard Simoens Gallery
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, 1957 Mixed media (graffiti, holes, ink, aniline) on paper mounted on canvas 80 x 100 cm Provenance: Marlborough Gallery, Rome; Marlborough-Gerson Gallery New York; Gallerie Bonnier; Galerie Pierre, Stockholm; private collection Exhibitions: Hannover 1964; Buenos Aires 1966; Minneapolis 1966; Amsterdam 1967 Stockholm 1967 Publications: Crispoliti 1974 vol II
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Bernier/Eliades
Martin Margiela (Leuven, 1957) Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6.5 cm Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33
Marjan Sterk Fine Art Jewellery
Cartier A coral and diamond ring, circa 1960 Platinum, carved coral and diamonds Signed Cartier Paris and numbered Provided with the original case A platinum ring of bombé design, the upper part one half set with carved coral and the other half pavé set with briljant cut diamonds, on a ribbed shank.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7 November 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection, France (acquired from the above in 1956); Christie's London 7 February 2001, lot 127; private collection, Texas
Stéphane Renard Fine Art
Polidoro Caldara, detto Polidoro da Caravaggio (Caravaggio 1499 - Messina 1543) Adoration of the Sheperds (ca. 1540) Oil on poplar panel 61 1/4 x 33 1/8 in / 155.5 x 84 cm Provenance : Religious institution, Dublin (Ireland) Christie’s London, 9 april 2003 – lot 90 Ian Rosenfeld's collection (1952 – 2025) Litterature : Maurizio Marini - Polidoro Caldara da Caravaggio, L'invidia e la fortuna (Marsilio Editori september 2025). Reproduced in page 68
Caretto & Occhinegro
Lucas Gassel (Deurne circa 1488-1570 Brussels) Landscape with the penitent Saint Jerome, circa 1543-1545 Oil on oak panel 56 x 85 cm Signed with traces of the monogram LG (interlaced) lower left on the rock Expertise by Peter van den Brink and the gallery is grateful to Luc Serck for confirming the authorship of this work
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (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).
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the King of Portugal (Lisbon Palacio Nacional da Ajuda)
Douwes Fine Art b.v.
Andreas Schelfhout (The Hague, 1787-1870) A wooded winter landscape with figures on and along a frozen river, 1856 Oil on panel 37 x 50 cm Signed and dated lower right 'A. Schelfhout '56' Provenance: private collection, United Kingdom; MacConnal Mason, 2003 sold at TEFAF; private collection, The Netherlands; thence by descent
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
Floris van Wanroij Fine Art
Jacob Grimmer (Antwerp, 1525/6-1590) A Landscape with Travellers near a Castle or An Allegory of Spring Oil on panel H 27.3 x 37 cm Signed lower left GRIMMER FECIT The present picture is recorded at the RKD in The Hague under n° 102433 as by Jacob Grimmer Provenance: René Gilbert collection, Geneva; thence by descent until znonymous sale (the property of a Lady), Sotheby’s, London, 14 December 2000, lot 3 (179.500 GBP); private collection, United Kingdom; anonymous sale, Sotheby’s | London, Old Masters Evening Sale, 5 July 2017, lot 49; private collection, The Netherlands Literature: Mander, K. van (1603/4). Schilder-boeck. Haarlem, Vol. II, fol. 256V Bertier de Sauvigny, R. (1991). Jacob et Abel Grimmer. Brussels, p. 68, fig. 13; p. 81, fig. 28
Thomas Deprez Fine Arts
Evariste Carpentier (Kuurne 1845-1922 Liege) Sous les rochers de Logne, 1908-1909 Oil on canvas 129.5 x 195.5 cm Signed lower right ‘Evte Carpentier’ Provenance: by descent in the family of the artist; anonymous sale, HdV Horta, Brussels, 4 December 2006, lot 110 as 'Sous les rochers de Logne'; private collection K.D., Belgium; thence by descent Literature: Annick Lemoine, Evariste Carpentier (1845-1922), Brussels: Mecenart, 1994, ill. p. 119, as 'Langs de rotsen van Logne-Sous les roches de Logne (ca. 1906)'; Fritz Carpentier, quoted in: Jacques Goijen, L'École liégeoise du paysage: ma merveilleuse aventure, Stavelot, Éditions Chauveheid, 1991, p. 27 Exhibitions: Salon triennal de Gand, 1909, as 'Paisible hameau de Logne', cf. Sander Pierron; Exposition Evariste Carpentier & Armand Apol, Brussels, Cercle Artistique & Littéraire, 1909-1910, as 'Paisible hameau de Logne', cf. press; Exposition Evariste Carpentier, Huy, Cercle Artistique, 1910, as 'Paisible hameau de Logne', cf. press; Exposition M. Romiée, Evariste Carpentier & R. de Baugnies, Liège, Cercle des Beaux-Arts, February 1911, as 'Paisible hameau de Logne', cf. press; Esposizione Internazionale di Roma, 1911, Padiglione del Belgio, cat. n° 10, as 'La capanna pacifica'; Logne Autrefois: Sur les traces d’Evariste Carpentier et de l’École Liégeoise du Paysage, Musée du Château fort de Logne, 2019, p. 6, 24-25, ill. cat. n° 9, as 'Sous les rochers de Logne' Sander Pierron, 'Les Lettres et les Arts: Le Salon de Gand, II' in 'L'Indépendance Belge', 1 September 1909, p. 3. 'Evariste Carpentier nous oblige à quitter ce coin hivernal du Brabant, pour admirer l’estival et Paisible hameau de Logne ; ceci est une page radieuse, la meilleure qu’ait signé ce maître fécond et divers. En ce site, d’un pittoresque fermement établi, l’ombre transparente des premiers plans s’opposent à l’ardent et léger ensoleillement des fonds. L’observation interprétative est accusée par la vérité des plans, obtenus par la ligne des éléments aussi bien que par les valeurs du coloris et la distribution de la lumière, qui se répète dans l’onde vive d’un ruisseau dont deux vaches suivent le bord. Une impression heureuse se dégage de cette œuvre qu’on peut considérer comme un beau poème pastoral.' Related documents: Letter from the artist to the renowned art critic Sander Pierron, dated 28 October 1909, in which he thanks him for the praising article about his painting. (Algemeen Rijksarchief, Fonds Sander Pierron, inv. I286-73.)
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) La source, 1908 White marble and green marble for the base H 60 cm Signed 'Ph. Wolfers' Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, pp. 154 and 392, n° 223 Exhibitions: Brussels, 1908; Brussels, 1928; Ghent, 1979
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
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
Van Herck-Eykelberg
JEAN DUBUFFET (1901-1985) Personnage, 1964 India ink on paper 22 x 17.5 cm. Signed with the artist's monogram and dated Mars 64 Expositions Venise, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 juin - 13 septembre 1964, n°48 Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 novembre 1964 - 11 janvier 1965, n°192 Bâle, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 juin - 10 août 1970, p. 133, n°132 Bibliographie Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX : L'Hourloupe I, Paris 1966, p. 139, n°283, illustré en noir et blanc Provenance Galerie Beyeler, Bâle Artel Galerie, Genève Collection particulière, France
Galerie Patrice Trigano
Philippe Hiquily La Maja Délurée, 1987 Patined Bronze 50x46x14 cm Signed and numbered of an edition of 8 copies +1EA + 3 HC Bocquel Foundry Exhibitions : FIAC 89, du 7 au 15 octobre 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil, at Espace Art Brenne, Prigny-Concrémiers, Le Blanc, from June 8 to September 8 1991. Bibliography : Beaux-Arts n°72, October 1989 Le sculpteur Hiquily doit son succès aux américains, Georges Marti, Les Nouvelles de Tahiti, march 10, 1990 Hiquily-Bronzes et mobilier, Pierre Cabanne, ed. De la Différence, 2005, p 47 et p.32 Catalogue raisonné : Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze)' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
LUDORFF
Heinz Mack (Lollar, 1931) Couleur et lumière, 2004 Acrylic on canvas 317 x 292 cm Signed and dated Signed, dated and titled on the reverse Provenance: the artist’s studio; Park Hyatt Zurich collection Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, p. 96; Heinz Mack, 'Ars urbana-Kunst für die Stadt: 1952-2008', München 2008, n° 276, p. 314
