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De Zutter Art Gallery
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La clouleur spontanée', Le mans, Musée de Tessé 2017/2018 and Musée de Pont Aven 2018 Exhibition: CoBrA expositie Museum voor schone kunsten Brussel 2008/2009
Thomas Deprez Fine Arts
Gabrielle MONTALD ♀ Née CANIVET, 1867 | 1942 Oiseau décoratif - Decorative bird - 1929 615 × 460 mm (sheet) | 64 × 48 cm (framed) Guoache and ink over gold ground on paper. Signed and dated l.r.: ‘G. Montald 29’. PROVENANCE Private collection, Belgium. RELATED WORKS Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called Oiseau décoratif series occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 Exposition des Arts Décoratifs in Paris, where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre — including her textiles and bookbindings — is now preserved in Belgian museum collections.
LUDORFF
Otto Piene (1928-2014) Ohne Titel (Feuergouache) 1965 Gouache, fire, soot on cardboard 68 × 95.4 cm | 26 3/4 × 37 9/16 in Signed and dated "65" Provenance: Galerie Heseler, Munich (1977); Private Collection Southern Germany (1977–2026) Exhibitions: Galerie Ludorff, "Neuerwerbungen Herbst 2024", 4. Okt. - 16. Jan., Düsseldorf 2026 Literature: Galerie Ludorff, "Neuerwerbungen Herbst 2026", Düsseldorf 2026, S. 134
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195,3 x 114,3 cm Signed and dated on the back Provenance: artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June - 31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne– the nymph turned into a laurel tree to escape the god Apollo– comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Desmet Fine Art
Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535-1602, Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th - early 17th century Marble H 25,4 x W 64,8 x D 59,7 cm Provenance: the Estate of Stanley Moss, New York; Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); Formerly Giustiniani collection, Rome; Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence
Epoque Fine Jewels
René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch, Paris circa 1903 18 k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.
Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Spazio Nobile Gallery
Pao Hui Kao (Taiwan, 1987) Urushi Black in Red Lacquer Leaf, 2023 Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi, 114 x 70 x 16 cm Unique piece, signed by the artist at the back Black Urushi Paper Pleats, 2023 Tracing paper, rice glue, Urushi lacquer, black pigment Sideboard H 70 x W 135 x D 33 cm Low stool H 45 x ø 32 cm Low bench H 35 x W 130 x D 29 cm Side table H 60 x ø 32 cm Unique pieces, signed and dated by the artist Certificates of authenticity Literature: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020; Jewish Museum, Brussels, 2021; LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022; Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024; Fondazione Dries Van Noten, Venice, 2026
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99,1 x 190,5 cm Signed and dated on the back Provenance: estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Francis Janssens van der Maelen
Philippr Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Galerie Perrin
ODILON REDON (1840 Bordeaux - 1916 Paris) FEMME DE PROFIL French school, 1901-1905 circa TECHNIQUE: oil on paper mounted on panel SIGNATURE: signed lower right: « Odilon Redon » DIMENSIONS WITHOUT FRAME: H. 52 cm (20 ½ in); W. 49,7 cm (19 ⅝ in) DIMENSIONS WITH FRAME: H. 71 cm (28 in); L. 68 cm (26 ¾ in) PROVENANCE: collection Roger Imbert BIBLIOGRAPHY: this work will be included in the next catalogue raisonné being prepared by the Wildenstein Plattner Institute
Galerie bei der Albertina ▪ Zetter
Adolf Loos Ladie´s Writing Desk, around 1903/04 Manufactured by Friedrich Otto Schmidt, Vienna Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 cm (with top), H 80 cm (without top) W 113 cm, D 67.5 cm Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenienz: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, no. 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983 Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987
Finch & Co
Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British, 1st Century BC - 1st Century AD H 42 x W 40 x D 20 cm Provenance: private collection West Country UK; Finch and Co, item number 1, catalogue number 30, Summer 2018; private collection Comparative reference: Dr Anne Ross ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Dr. Nöth kunsthandel
Armand Guillaumin (1841 Paris - 1027 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin. tThis pastel work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); Collection F., Paris
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse Estate Inventory Dia n° 385 Certificate of authenticity by Mme Joostens-Koob Provenance: the estate of the artist
Galerie Jean-François Cazeau
Niki de Saint Phalle (1930-2002) La Force (Strenght), 1987 Painted polyester resin 35 x 53,3 x 29,2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Engraving after Pieter Bruegel de oude (Brussels, 1525-1569) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) 22.5 x 29.4 cm Published by Hiëronymus Cock (Antwerp, 1518-1570) References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Univers du Bronze
François-Xavier Lalanne (Agen 1927-2008 Ury) Lampe pigeon, circa 1991 Copper with patinated bronze, polished glass H 21.1 x W 26.5 x D 13.5 cm Monogramed 'FXL' on the right side of the tail, stamped 'Artcurial' and numbered '539/900' on the left side of the tail Edition produced circa 2000
Gallery Sofie Van de Velde
Jacques Lipchitz Sitting figure, 1915 Signed 'JLipchitz' and numbered 2/7 (on base) Bronze H.: 870 mm Provenance: Estate of the artist; Acquired from the abovementioned in 1989 by current owner Exhibition: Musée des Années 30, "Lipchitz, Les Années Françaises de 1910 à 1940", 2005-2006, nr. 10, p. 16-17, ill. in colour
