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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.
Douwes Fine Art b.v.
henri fantin-latour
Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937, p. 206
Galerie Lowet de Wotrenge
david vinckboons (mechelen 1576 - 1629 amsterdam)
David Vinckboons (Mechelen 1576-1629 Amsterdam) The Triumph of Bacchus Pen and brown ink and grey wash over black chalk, within brown ink framing lines on laid paper 68 x 114 mm Provenance: Dr. Einar Perman (1893-1976), Stockholm; by descent to the previous owners; sale, New York, Sotheby's, 31 January 2024, lot 104 Literature: Laren, Singer Museum, Oude Tekeningen uit de Nederlanden. Verzameling Prof. E. Perman, Stockholm, 1962, cat. n° 121 (as Adriaen van de Venne)
Galerie Nicolas Bourriaud
jacq orlande sinapi
Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France
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
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)
Desmet Fine Arts
Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)
Van Herck-Eykelberg
leon spilliaert
Léon Spilliaert (Ostende 1881-1946 Brussels) The stairs with yellow twilight, 1922 Watercolour and gouache on paper 78 x 59 cm Signed lower right The authenticity of this work is confirmed by Dr. Anne Adriaens-Pannier and will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Madeleine Spillaert, Brussels; Bounameaux Art Consultants, Brussels; private collection, Brussels; thence by descent
Beck & Eggeling International Fine Art
heinz mack
Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)
Hoffmans Antiques
A Gustavian console table Stockholm, circa 1790 Gilt wood, Carrara marble H 83.5 x W 110 x D 54 cm This console table belongs to a small yet exclusive group of furniture of the highest class, preserved mainly within the royal collections. The model relates to drawings by Louis Masreliez (Paris 1748-1810 Sweden). The table was likely made by his brother, Jean-Baptiste (Stockholm, 1753-1801), or possibly by Pehr Ljung (Stockholm, 1743-1819). The decoration is masterfully carved in wood with exceptional precision. A vine motif runs along the apron, while the frieze above the front legs is adorned with palmette leaves and volutes. The table rests on six tapering, fluted legs and is crowned with a Carrara marble top.
Galerie Perrin
gustave moreau
Gustave Moreau (Paris, 1826-1898) The triumph of Bacchus, circa 1875-1876 Oil on panel 23.2 x 17.8 cm Signed lower left, Gustave Moreau Provenance: Auguste Donatis, acquired directly from the artist with Arnold and Tripp, Paris; Louise Joséphine Amélie de Saint-Alary (1863-1922), Comtesse de Roederer, Paris; Georges Wildenstein (1892–1963), Paris; confiscated from the above when stored in vault 6, Banque de France, Paris, by the Einsatzstab Reichsleiter Rosenberg, ERR n° W166; transferred to the Devisenschutzkommandos, October 30th, 1940; transferred to the Jeu de Paume, Paris; transferred to Fussen, Germany, January 15th, 1943; recovered by the Monuments, Fine Art and Archives Section from the 'Large Peter' salt mines, Alt Ausse, Austria, n° 206/36; transferred to the Central Collecting Point, Munich, n° 212/36, June 20th, 1945; repatriated to France, April 18th, 1946; restituted to the Wildenstein Collection, Paris; Daniel Wildenstein (1917–2001), Paris, by descent; private collection, since 1974 Literature: P.-L Mathieu, Gustave Moreau: sa vie, son oeuvre; catalogue raisonné de l'oeuvre achevée, Fribourg, 1976, ill. p. 314, n° 149; P.-L Mathieu, Gustave Moreau: Complete edition of the finished paintings, watercolours and drawings, Oxford, 1977, ill. p. 320, n° 149; P.-L Mathieu, Gustave Moreau, Monographie et nouveau catalogue de l’oeuvre achevé, Paris, p. 327, n° 171, ill. as Triomphe de Bacchus (dans un char tiré par des panthères) A prominent Symbolist, Gustave Moreau painted fantastic and mythological subjects in a pictorial and sensual style. Moreau was influenced by the romanticism of Eugène Delacroix and Théodore Chassériau (his teacher) but focused on the femme fatales and virgins often associated with Symbolist painting. Salome dancing before Herod (1876), one of Moreau's most famous works (fig.2), took the artist seven years to paint, slowly building the rich and encrusted surface of the painting. Moreau was also known for his semi-abstract watercolours, and as a professor at the École des Beaux-Arts, where his students included Albert Marquet, Henri Matisse and Georges Rouault. André Breton considered Moreau an important precursor of Surrealism. In 1876, Gustave Moreau made his triumphant return to the Salon, having not exhibited his work there since 1869. In the intervening years Moreau had remained at his home and studio in Paris and also fought in the Franco-Prussian War, where he had seen the horrors of the War and the Siege of Paris, the sudden fall of the Second Empire and the violence of the Paris Commune and its bloody repression firsthand. An extremely patriotic man, Moreau was deeply shaken by both the speed and brutality of modern warfare and by the savage inhumanity that he felt had lain waste to his ‘noble France,’ and went several years during this period without painting anything. By the mid-1870s, an idealist bent had begun to creep back into the artist’s work, which he intended to represent and inspire a rebirth, both spiritual and moral, in France. The triumph of Bacchus, painted by Gustave Moreau during this same period of optimism and idealism, represented no smaller idea for the artist than this very rebirth.
COLNAGHI
Attributed to the Menzies group Red-figure epichysis in terracotta with Hermaphroditos and a woman Greek, Apulian, circa 330-310 B.C. H 21 cm Provenance: Eugène Piot collection (1812-1890); his sale, 3 May 1870, lot n° 21; private collection, France; purchased from the above, 2022 Literature: F. Lenormand, Collection d’Antiquités Grecques recueillies dans la Grande-Grèce, l’Attique et l’Asie Mineure par M. Eug. P., Paris 1870, p. 16, n° 21 This epichysis is noteworthy for its provenance, as it was once part of the prestigious collection of Eugène Piot (1812–1890) - the French art critic, journalist, publisher, collector, and photographer - and it still bears his collection label. The present example also stands out for its above-average size and exceptional quality. It is in excellent condition and is typical of 4th-century BC Apulian Greek pottery. This vessel, characterized by its elegant neck surmounting a coiled body, was probably used to contain precious liquids intended for sparing use. Its delicate mouth seems ill-suited for serving wine, as has sometimes been suggested in the past, with some even describing such vases as “low-shaped oinochoai with flat bottoms.” Rather, they were most likely used for oil or perfume. The dropper-like mouth is flanked by two small, stylized masks in relief. The wide, disc-like shoulder of the vase has been decorated with particular attention to detail and form. The border is adorned with a frieze of eggs. A hermaphroditic Eros kneels and presents a mirror to a seated young woman, who also holds a mirror and a crown. On the reverse, an elegant arrangement of palmettes unfolds from the base of the handle and frames the central scene. The concave sides of the body are decorated with a vegetal frieze, overpainted in white and incised. Comparable examples are held at the Getty Museum in Malibu and the Musée Saint-Raymond in Toulouse; both have been attributed to the Menzies Group, active during the third quarter of the 4th century BC.
Hoffmans Antiques
Pair of side cabinets Paris, circa 1800 Walnut, mahogany, and mahogany veneer with gilt-bronze mounts, grey Bardiglio marble tops H 88 x W 45 x D 44 cm In the manner of Luigi and Antonio Manfredini, Paris Provenance: private European collection This pair of neoclassical cabinets reflects the refined elegance of early 19th-century Parisian design. Each cabinet combines function with ornament, comprising drawers, a cupboard, and a concealed drawer. The gilt-bronze mounts feature central lion masks and Egyptian-inspired motifs, a reference to the vogue sparked by Napoleon’s Egyptian campaign. Topped with slabs of grey Bardiglio marble, the cabinets blend practicality and decorative sophistication.
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
Pelgrims de Bigard
joachim beuckelaer
Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023
robertaebasta
Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy
Francis Janssens van der Maelen
Saint Cosmas bust in gold, rock crystal, skull Flamboyant Gothic, in the style of Viollet-le-Duc, circa 1845–1870 H. 27 × W. 20 × D. 8 cm Weight: 1.468 g Provenance: private collection Solid gold reliquary bust in 22-carat yellow gold with a movable headdress opening onto a rock crystal cabochon magnifying glass covering fragments of cranial calvaria. Work in the Flamboyant Gothic style (Viollet-le-Duc), set with quartz and garnet cabochons. On the front, a cartouche bears a Latin inscription engraved on two lines: “Sanctus Cosmas Ora pro nobis” (“Saint Cosmas, pray for us”), surmounted by an oval rock crystal cabochon surrounded by eight alternating quartz and garnet cabochons. The piece is unhallmarked, which is not unusual for a reliquary. Beneath the base, an old label bears the handwritten inscription in ink: “No. 1”.
Galerie Taménaga
marie laurencin
Marie Laurencin (Paris, 1883-1956) Deux fillettes et chien, 1942 Oil on canvas 46 x 55 cm Signed and dated lower left 'Marie Laurencin 1942' Provenance: private collection Literature: Beaux-Arts, Paris, 24-30 July 1952; Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l'œuvre peint, Tokyo: Marie Laurencin Museum, 1986, vol. I, n° 804, repr. p. 327
Giammarco Cappuzzo Fine Art
Giovanni Giacomo Sementi (Bologna 1584-1636 Rome) The Triumph of David, circa 1630 Oil on canvas 137 x 159 cm Provenance: private collection, Italy Literature: M. Francucci, Giovanni Giacomo Sementi, Un dipinto di soggetto insolito, in Arte Cristiana, n° 869, 2012, pp. 143-148; M. Pulini, Rimini per Simone Cantarini, opere da raccolte private, Rimini 2012, pp. 20-21, fig. 20; A. Pellicciari, I'Eredita’ di Guido Reni, in la pittura in Emilia e in Romagna. The Seventeenth Century, edited by Andrea Emiliani, Milano, 1992; G. Puglia, Il Bastaro, fig. 36, pag. 79; M. Francucci, il naturalismo classicizzato nella Roma di Urbano VIII, LibroCo Italy, Florence, 2013; Ariccia, Gian Giacomo Sementi, Quaderni del Barocco, 2021, p. 8 fig. 14