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Kunsthaus Kende
Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.
Galerie Capazza
Goudji (Georgia, Bordjomi 1941) Oryx à la robe diaprée, 2025 Silver 1st title, serpentine, pyrite, crystal, Armour stone H 49 x W 38 x D 10 cm Provenance: the artist's studio Exhibition: Goudji, L'or du temps, 5 July-28 September 2025, Galerie Capazza (France) This oryx, with its serpentine goatee and crystal-adorned tail, is an African antelope. It sports horns and a coat draped in Armour stone, and wears a silver bell around its pyrite neck, ready to ring. 'When viewing Goudji's works, one is overcome by a disturbing feeling, that of being faced with original, powerful, dazzling masterpieces that delicately resonate with so many symbols that shape our visual culture and our common heritage, from Persia to Athens, from Babylon to Rome, from the Tigris to the Danube, winged griffins of malachite and lapis lazuli, birds with bold and daring beaks, reassuring ex-votos, kantharoi and cups worthy of banquets of the gods. Modest, always secretive, born into goldsmithing because he ardently wanted to be, constantly devoted to his craft, constantly exploring forms, constantly telling stories, Goudji has definitely entered into history.' by Olivier Gabet, 2025 (General Curator of Heritage and Art Historian - Director of the Department of Decorative Arts at the Louvre Museum)
Galerie von Vertes
pierre soulages
Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed 'soulages' Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie's, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l'œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)
Stone Gallery
Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.
HELENE BAILLY MARCILHAC
raoul dufy
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Pêcheur, 1907 Oil on canvas 46 x 55 cm Dedicated and signed lower right, to André Robert, Raoul Dufy Certificate of authenticity issued by Madame Fanny Guillon-Laffaille, dated December 17th, 2003 Provenance: private collection Literature: M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, vol. I, Geneva, 1972, ill. n° 152, p. 136
MassModernDesign
jorge zalszupin
Jorge Zalszupin (Warsaw 1922-2020 São Paulo) Guanabara table and Senior chairs, 1960 Rosewood, leather, velvet upholstery H 75 x W 400 x D 130 cm (table) Produced by l'Atelier, Brazil Provenance: private collection, São Paulo Literature: Jorge Zalszupin, Modern Design in Brazil Maria Cecilia Loschiavo dos Santos 2014, pp. 142-143
Barbara Bassi
afro, berrocal, bury, cesar
Afro: Bracelet in yellow gold 18 kt, red coral, diamonds and rubies, unique piece 1960's Miguel Berrocal: Microdavid - 1969/71 - Pendant/sculpture in bronze - Signed and numbered 17388 - cm. 6,5 x 2 Pol Bury: Ring hexagonal in silver - 2005 - Signed and numbered 3/8 - Silver 925 - gr. 20 ca - cm. 3 x 3,5 César: Brooch/pendant in yellow and white gold 18 kt - 1980's - Signed and numbered 1/4 PA - gr. 19 - cm. 5,3 x 4,5
Samuel Vanhoegaerden Gallery
Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.
Galerie Greta Meert
carla accardi
Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.
Galerie BG Arts
jean dunand
Jean Dunand (Lancy 1877-1942 Paris) Cobra vase, circa 1913 Patinated and hammered copper, patinated bronze, wrought iron and lacquered wood base H 28.5 cm Signed Provenance: property of Bernard Laurent, France Literature: Art et Décoration, July 1914-December 1919, p. 121
Galerie Alexis Pentcheff
Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.
Francis Janssens van der Maelen
Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.
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
Almine Rech
tom wesselmann
Tom Wesselmann (USA, Ohio 1931-2004 New York) 'Smoker Study (For Smoker #11)', 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI's Wesselmann committee on 13 December 2023, for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist Courtesy of the Estate of Tom Wesselmann and Almine Rech / Photo: Thomas Barratt Smoker Study (For Smoker #11), 1972 belongs to Tom Wesselmann’s Smoker series, which the artist began in 1967. Born out of a desire to isolate and further investigate the representation of lips and the act of smoking, the Smoker series also found its origin in advertising, and stands as testament to the major role Wesselmann occupied in the birth and development of the Pop aesthetic. Today, Wesselmann’s Smoker paintings are among his most renowned works. The series began with Smoker, 1 (Mouth, 12), 1967, which is now held in the Museum of Modern Art in New York. Wesselmann found photography to be a useful medium to capture his models in poses he would later translate to larger scale works. On one occasion, his friend Peggy Sarno lit a cigarette during a modeling session. Wesselmann took some photographs of her as she inhaled, still posing in a reclined position. This moment inspired the Smoker series, which is characterised by the presence of vivid red lips juxtaposed with curling white smoke. Smoker Study (For Smoker #11) is both bold and intimate, capturing a single moment of pleasure in a complex and ambitious composition indicative of the artist’s experimentation with subject, form, and color. In mid-century America, cigarette advertisements were incredibly elaborate, among the most sophisticated forms of marketing. As well as standing as an example of Wesselmann’s fascination with popular culture and the female body, Smoker Study (For Smoker #11) also demonstrates the artist’s mastery of oil paint, attention to detail, and sophisticated compositional style. In the 1960s, Wesselmann had been developing his Great American Nudes series when he was inspired to focus on specific details of female figures. In an almost fetishistic act, he started isolating elements of the female figure, creating smaller preparatory pieces as well as larger scale works depicting hands, breasts, and lips. Out of this approach his Mouth paintings and Smoker Series, works such as Smoker Study (For Smoker #11) were born. Tom Wesselmann (1931–2004) was one of the leading American Pop artists of the mid-20th Century. Departing from Abstract Expressionism, he explored classical representations of the nude, still life, and landscape, while incorporating everyday objects and advertising ephemera. Wesselmann was born in Cincinnati, Ohio, on February 23, 1931. He attended Hiram College in Ohio from 1949 to 1951 before entering the University of Cincinnati. In 1953, his studies were interrupted by a two-year enlistment in the army, during which time he began drawing cartoons. He returned to the university in 1954 and received a bachelor’s degree in psychology in 1956. During this time, he decided to pursue a career in cartooning and enrolled at the Art Academy of Cincinnati. After graduation he moved to New York City, where he was accepted into the Cooper Union and where his focus shifted dramatically to fine art.
Harold t’Kint de Roodenbeke
pierre alechinsky
Pierre Alechinsky (Brussels, 1927) Le Nid, 1965 Oil on canvas 130 x 91 cm Signed lower right Signed and titled on reverse Certificate of authenticity by Pierre Alechinsky dated 14 March 1995 Provenance: Lefebre Gallery, New York; private collection, Monaco
Galerie Oscar De Vos
frits van den berghe
Frits Van den Berghe (Ghent, 1883-1939) Ooidonk alley, 1923 Oil on canvas 48.5 x 55 cm Signed lower right: FVBerghe Provenance: Galerie Campo, Antwerp Literature: Boyens, P., Frits Van den Berghe 1883-1939 (1999), 396, n° 309 (ill.); Servaes, W., V. Van Doorne & R. Van Lerberghe, 1924 Honderd jaar later, exh. cat. (2024), 56-57 (ill. & cover) Exhibition: 2024, Sint-Martens-Latem, Latemse Kunstkring/ Gemeentehuis, 1924 Honderd jaar later, s.n. Ooidonk Alley belongs to the key works of Van den Berghe’s short but decisive stay in Bachte-Maria-Leerne (1922–1923). He lived there at the entrance of the quadruple beech-lined avenue leading directly to Ooidonk Castle. That place was an actual re-grounding – a breakthrough towards a new way of painting that no longer records, but constructs. Here, the Lys landscape is no longer seen ‘from the outside’, but becomes an inner building site. The trunks become cylindrical volumes, the soft bend of the road becomes a carrier of rhythm. The colour language definitively abandons the sombre earth tones of his Ostend years: a new clarity emerges, a ‘new spring’, in which light assumes a plastic role. Ooidonk Alley is thus a document of the moment in which Van den Berghe finds his modernity: pure form, condensed space, a landscape as architecture. This work shows how, at the end of 1922–1923, Van den Berghe redefined the Lys region: as an ordered space of line, colour and spirit – rather than a piece of nature.
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.’
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Chevalier d'Henri III, 1998 Oil on canvas 130 x 89 cm Signed and dated This painting is sold with a photo-certificate of authenticity from the Galerie Maurice Garnier, Paris Provenance: Galerie Maurice Garnier, Paris; private collection, Germany (acquired from the above 2000); sale, Christie's London, 21 June 2012; private collection, Hong Kong Literature: Y. Le Pichon & M. Garnier, Bernard Buffet, 1982-1999, vol. III, 2007, Switzerland, n° 1261 (ill. p. 552)