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CKS Gallery
Edwin Lord Weeks (Boston 1849-1903 Paris) A game of chess on a Cairo street, 1879 Oil on canvas 72 x 100 cm (unframed) 110 x 137 cm (framed) Signed and dated lower left 'E.L. Weeks 1879' Letter of authentification issued by Mrs Ellen K. Morris, dated 20 May 2010 This painting will be included in the forthcoming catalogue raisonné of the artist currently in preparation by the Edwin Lord Weeks’ expert, Mrs Ellen K. Morris
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.
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
Repetto Gallery
Carla Accardi (Trapini 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 629A Provenance: Soffiantino Arte Contemporanea, Turin; private collection Literature: Germano Celant (edited by), 'Carla Accardi. Catalogo ragionato', (Charta, Milano) 1999, p. 419, n° 1997 62 (B&N), ill.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Woman portrait in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29.8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
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
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.
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882-1916 Amsterdam) Rik with a patch, 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse; Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, pp. 145, 242; De Pesseroey & Langui, Honderd zelfportretten, 1976, pp. 46-47; Van den Bussche et.al., Rik Wouters (1882-1916), pp. 20, 234; Hautekeete, Simon & De Nijn, Rik Wouters, De menselijke figuur, 1999, n° 74b, p. 100; Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, pp. 148-149 Exhibitions: Palais des Beaux-Arts, Exposition Rik Wouters, 1935, Brussels; Gemeentemuseum & Museum Boijmans, exhibition Rik Wouters, 1946, Den Haag & Rotterdam; Feestzaal, Retrospectieve Rik Wouters, 1946, Mechelen; KMSKA, Rik Wouters, 1947, Antwerp; Seconda Rassegna Internazionale di Scultura all'aperto, 1953, Varese; 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters; Musée National d'Art Moderne, Rétrospective Rik Wouters, 1957, Paris; Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), n° 61; 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, n° 74b
LUDORFF
Günther Uecker (Wendorf 1930-2025 Düsseldorf) Rose, 1963 Nails on canvas on wood 85 x 85 cm Signed and dated on the reverse Registered in the Uecker Archive under n° GU.63.115 and earmarked for inclusion in the forthcoming Uecker catalogue raisonné / Honisch catalogue raisonné 1983, n° 289 Provenance: the artist's studio (prior to 1974); private collection Nordrhein-Westfalen (directly acquired from the artist 1974-2026) Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Auckland City Art Gallery, 'Contemporary painting in Germany', May-August, Auckland 1965 Palazzo del Kursal, 'IV Biennale Internazionale d'Arte', 7 July-7 October, San Marino 1963 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, S. 162; Dieter Honisch, 'Günther Uecker. Werkverzeichnis', Stuttgart 1983, n° 289, S. 189; Queen Elizabeth II Arts Council (Hg.), 'Contemporary Painting in Germany', Ausst.-Kat. Auckland City Art Gallery, Auckland 1965
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
Waddington Custot
Barry Flanagan (Prestatyn 1941-2009 Santa Eulària des Riu) Large Troubador, 2004 Bronze, cast 2019 185 x 140 x 114 cm Edition of 8 + 3 AP (AP 2) Stamped with the artist’s monogram, casting date and edition number ‘f-/19 AP 2/3’ and foundry mark Provenance: Plubronze Limited (the Estate of Barry Flanagan) Literature: Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, n° 29 (rep. in colour p. 63) (1/8 catalogued); Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl 137) Exhibitions: ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June-24 September 2006, catalogue p. 160 (rep. in colour) (3/8 exhibited); ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February-31 March 2007 (3/8 exhibited); ‘Barry Flanagan: Sculptures 2001-2008’, Waddington Galleries, London, 30 April-23 May 2008, catalogue n° 7 (rep. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited); ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September-28 October 2012 (AP 1/3 exhibited); ‘Barry Flanagan’, IKON, Birmingham, 18 September-24 November 2019 (rep. in colour in catalogue on p. 2-3, 5, 88) (another edition exhibited outside); ‘Mayfair Sculpture Trail’, London, 1-31 October 2020, catalogue n° 8 (rep. in colour p. 41) (AP 2/3exhibited)
Galerie Perrin
Odilon Redon (Bordeaux 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Signed lower right 'Odilon Redon' This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute Provenance: collection Roger Imbert
Galerie Flak
Goli Glin Buffalo Mask Baule, Ivory Coast, early 20th century Carved wood and pigments H 65.5 cm Provenance: Frank Crowninshield collection, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York; Jacques Seligmann Gallery, New York; collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions: Jacques Seligmann Gallery, New York, 'Exhibition of Sculptures of Old African Civilizations', 4-22 January 1936; Brooklyn Museum, New York, 'African Negro Art from the Collection of Frank Crowninshield', 20 March-25 April 1937
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 x Ø 81 cm Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in 'Versailles, le Petit Trianon', by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l.
Galerie bei der Albertina ▪ Zetter
Dagobert Peche (Sankt Michael im Lungau 1887-1923 Mödling) Lamp, Design 1921 Manufactured by the Wiener Werkstätte, model number M 3494-M la 24 Brass, embossed, floral decoration, foot with beaded decoration, one flame, lamp shade renewed, new electrification H 87 cm - Ø 46 cm (lamp shade) Marks: WIENER / WERK / STÄTTE, monogram DP According to the MAK only two lamps were manufactured in the year 1923 Provenance: collection Schedlmayer Literature: cf. WW Archive, MAK Vienna, design sketch lamp base KI 12649-5-2, photo archive inventory n° WWF 98-116-1 as well as entry in the book of commissions of the Wiener Werkstätte model book WWKA 679; cf. Exhibition catalogue ‘Die Überwindung der Utilität. Dagobert Peche und die Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, ill. p. 221, n° 51; cf. Exhibition catalogue ‘Dagobert Peche and the Wiener Werkstätte’, ed. by Peter Noever, MAK, Vienna 1998, Neue Galerie, New York 2002, ill. p. 228, n° 45; Exhibition catalogue ‘Die Sammlung Schedlmayer. Die Entdeckung’, ed. by Ivan Ristic, Hans-Peter Wipplinger, Leopold Museum, Vienna 2021, ill. p. 72 Exhibition: Vienna, Leopoldmuseum, 'Die Sammlung Schedlmayer. Eine Entdeckung', 2021