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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 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 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.
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 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
Herwig Simons Fine Arts
Memento Mori Northern Europe, 17th century Carved stone representing a laurel-crowned skull and bones D 30 x W 18 cm Provenance: previously in the collection of Christian de Bruyn, former chairman of the Royal Belgian Chamber of Art and Antique Dealers, now ROCAD; private collection, Paris An evocative and finely carved Memento Mori sculpture depicting a human skull crowned with a laurel wreath and accompanied by crossed bones. Executed in stone, the sculpture displays a richly weathered surface and a beautiful time-worn patina.
Dalton Somaré
Chokwe chair Angola, late 19th century Wood, metal, and leather H 68 x W 31 x D 38 cm Provenance: collection of Joyce and Donald Doyle, diamond mine directors for the Compagnie de la Forminière in the Belgian Congo in the 1920s. The majority of their collection was donated to the Princeton University Art Museum. Thence by descent to their daughter Suzanne "Sue" Miers, née Doyle (1922–2016), Africanist historian and professor at Ohio University. Thence by descent to her children Charles Miers and Caroline Farrington, New York Literature: Narrative Wisdom and African Arts (Exhibition catalogue), St. Louis Art Museum, 19 October-16 February, 2025, pp. 74, 75, 81 Exhibition: Narrative Wisdom and African Arts, St. Louis Art Museum, 19 October-16 February, 2025 This leather-seated chair belongs to a tradition of Chokwe seats of authority, commonly described as ngundja. Its refined decoration transforms a functional furnishing into a visual expression of chiefly prestige. Such seats formed part of a wider repertoire of objects associated with leadership, alongside ceremonial weapons, staffs and elaborately carved pipes. The combination of a backrest, a leather-covered seat and metal tacks reflects the adaptation of European furniture encountered through trade from the seventeenth century onward. Chokwe artists reworked these features within their own sculptural language, making the chair an expression of local political and spiritual values. At the centre of the back is a sculpted female face, which must be identified as Pwo. Pwo honours female ancestors and has particular significance within a society that traces descent through women. Her imagery also belongs to the wider world of masquerade and initiation. The lower stretchers carry small sculptural groups as musicians playing handheld drums and a slit drum, and a mounted pombeiro, or long-distance trader. It must be noted the unusual prominence of a female subject in these carved scenes. These scenes can be read within the broader Chokwe tradition of presenting ritual and everyday activities as aspects of the social world entrusted to a leader. Extremely sophisticated geometric carving and rows of metal studs enrich the back and supports, contrasting with the leather seat and the varied tones of the wood. The combination of carved figures, the monumentality of the composition and the rigour of the geometric decoration in high relief lend this sculpture the dignity and authority of a true throne.
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Herwig Simons Fine Arts
Blue John urn England, late 18th century Square base with alabaster and Ashford marble, pedestal clad in Blue John, foot partially clad in blackened brass, ovoid bowl with transverse fluting in Blue John H 40 cm Engraved on the base with inventory n° 890126-0821 and inscribed Hedvig Piper (1746-1812) Born Hedvig Katharina Ekeblad, she married Count Carl Gustaf Piper in 1769 and she held senior positions at the Swedish Royal Court, including chief Lady-in-waiting from 1795-1805.
Galerie Flak
U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138.5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28
Floris van Wanroij Fine Art
Saint John the Baptist England, Midlands, traditionally Nottingham Gothic, mid 15th century, circa 1420-1460 Alabaster carved in high relief with original polychrome and gilding H 41 cm Provenance: Jan Dirven Works of Art collection, Eindhoven, 1997; acquired by Dr. J. Smits collection, Valkenswaard, The Netherlands; thence by descent Literature: Cheetham, F. (2003), Alabaster images of Medieval England. Woodbridge: The Boydell Press, p. 48, n° 205 (reference literature)
Cabinet of Curiosities
Ivory engine-turned cup Probably Augsburg, 17th century H 18.5 cm Provenance: private collection, Southern Germany Lignum Vitae engine-turned wassail bowl with cover England, 17th century H 31 cm Pair of Lignum Vitae counter-spheres Germany, late 17th-early 18th century Ø 9.5 cm Ivory engine-turned cup with cover Attributed to Johann Eisenberg (1600-1640) Dresden, 17th century H 43 cm Provenance: TEFAF 2026 Ivory engine-turned lidded vessel Southern Germany, 17th century H 12 cm Provenance: private collection, Germany; Mühlbauer collection, TEFAF 2026
Anthony Short Antiques Ltd.
Burr walnut secretaire chest-on-chest or Tallboy England, George II period, circa 1760 Walnut and brass handles H 192 x W 103 x D 55 cm A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior.
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8 Painted on copper, signed and dated 1606 by Hans Rottenhammer, this work captivates through its delicate execution, distinctive palette and refined subject matter. It brings together two formative influences on the artist: the northern landscape tradition, absorbed through his association with Paul Bril and Jan Brueghel the Elder and evident in the finely delineated foliage and blue atmosphere of the distance; and Venetian culture, which provided the inspiration for the subject, notably through the work of Tintoretto. The subject of the painting, variously described in the sources as 'The Muses Tuning Their Instruments' or 'The Concert of the Muses', reflects Rottenhammer’s broad artistic culture and his familiarity with courtly life. The variety of instruments and the open mouth of the singing putto in the foreground convey the presence of sound within the image. Yet the painter also seems intent on suggesting his knowledge of music through the means proper to his own art: the harmonies and nuances of colour, the correspondences between the figures and the movements of their arms invite us to see the composition as a pictorial rendering of musical harmony. Rottenhammer frequently depicted the Muses and the arts, contributing to the development of an iconographic programme intended to elevate the status of artists.
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
De Jonckheere
Herri met de Bles (Dinant or Bouvignes-sur-Meuse circa 1510-active in Antwerp between 1533 and 1566) The Ascent to Calvary Oil on panel 41.5 x 69 cm Signed bottom right with the owl, the artist's symbol, on the drum of one of the peasants Provenance: Franz Haverda-Werlandt collection, Vienna; Count Filip Kolowrat-Krakowski collection, Vienna; Count Ernst Kolowrat-Krakowski collection, Vienna; Oscar Bondy collection, Vienna; confiscated in Vienna for the Kunstmuseum Linz, listed in the inventory of 31 July 1940; returned to the Republic of Austria on 25 April 1946; returned to Oscar Bondy in 1948; sold by Kende Galleries Inc, New York, 3 March 1949, n° 68; private collection, New York; Bob P. Habolt & Co., New York; De Jonckheere, Brussels-Paris, 1990; private collection, France Literature: M. J. Friedländer, Die Altniederlandische Malerei, Berlin, 1937, vol. XII, p. 131, n° 65; R. A. Koch, A Rediscovered Painting, 'The Road to Calvary', by Herri met de Bles, in Record of the Art Museum. Princeton University, 1955, vol. 14, n° 2, p. 37, note 4; M. J. Friedländer, Early Netherlandish Painting. Jan van Scorel and Pieter Coeck van Aelst, Leiden and Brussels, 1975, vol. XIII, p. 107; W. S. Gibson, 'Mirror of the Earth': The World Landscape in Sixteenth-Century Flemish Painting, Princeton, 1989, p. 101, n° 108, p. 103, n° 139; L. Serck, Henri Bles et la peinture de paysage dans les Pays-Bas méridionaux avant Bruegel, unpublished doctoral thesis, Université Catholique de Louvain, 1990, n° 33, p. 709, vol. II, p. 711, vol. III; De Jonckheere, Rencontre de Maîtres. XVIIIe exposition. Paysages et Natures mortes, spring 1992, n° 6; L. Serck, 'La Montée au Calvaire d'Henri Bles: Création et composition', in N. E. Muller (dir.), Herri met de Bles. Studies and Explorations of the World Landscape Tradition, exh. cat., Princeton University, 10 October 1995-10 November 1995], Princeton, 1998, p. 63, n° 5; J. Toussaint, Autour de Henri Bles, exh. cat., TreM.a-Musée des Arts anciens du Namurois, 13 May 2000-1 November 2000, Namur, 2000, p. 23, n° 23, repr.; C. Currie, L. Serck, La Montée au Calvaire d'Henri Bles du Musée de Namur, in Guide du visiteur, n° 11, TreM.a-Musée provincial des Arts anciens du Namurois, J. Toussaint (ed.), 2007, p. 39, fig. 23, repr.; B. Schwarz, Hitlers Museum. Die Fotoalben. Gemäldegalerie Linz, Horn, 2004, p. 97, album I/42a, p. 203 repr. Exhibition: New York, Colnaghi Gallery, in association with Alexander Gallery, New York, The Northern Renaissance: 15th and 16th Century Netherlandish Paintings, 6 April-14 May 1983, n° 13
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles Germany, 17th century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
VKD Jewels
Cartier Pair of Ladybird clip brooches France, circa 1935 Coral, diamonds and enamel Signed Cartier Paris French assay mark for 18k gold Each modelled as a ladybird, the wing cases are carved from coral and divided by a central line, set with bezel-set old-cut diamond 'spots'. The head, thorax and legs are in black enamel, the leg tips of the larger example accented with small diamonds. The brooches are in two sizes and fitted with clip mechanisms. The ladybird is a traditional good-luck symbol in Europe. Its old name, 'Our Lady’s bird', ties it to the Virgin Mary, and it has been a popular motif in charm and novelty jewelry since the 19th century. Cartier’s insect and animal jewels belong to its naturalistic repertoire. That tradition grew strongly in the 1930s and 1940s, when Jeanne Toussaint led Cartier’s high-jewelry design in Paris. Her best-known creations are the panther pieces and the fauna and flora brooches. Small, wearable lucky motifs in coral, enamel, onyx and diamonds were part of this range.
Galerie von Vertes
Marino Marini (Pistoia 1901-1980 Viareggio) Composizione, 1956 (conceived and cast before 1970) Bronze with brown and green patina (6/6) 20 x 14 x 8.5 cm Stamped on the base plate 'MM' Casts: 6 + 1 A.P. Provenance: Dominion Gallery, Montréal (after 1970); private collection, Canada; Finartis Kunsthandels AG, Zug; collection Gerard Valkier (acquired June 2004 from the above); Christie's, Paris, 20 October 2021, lot 15; private collection, Switzerland (acquired from the above) Literature: Franco Russoli, Marino Marini, pitture e disegni, Milan, 1963, n° 5 (ill., titled 'Der Sturz (kleine Bronze)'; Abraham M. Hammacher, Marino Marini: Sculpture, Paintings, Drawings, London, 1970, n° 245; Patrick Waldberg, Herbert Read and Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, n° 337; C. Pirovano, Marino Marini, Scultore, Milan, 1972, n° 343; 'Hommage à Marino Marini', in XXe siècle, Paris 1974, pp. 56-57 (another cast is illustrated); Mercedes Precerutti-Garberi, Marino Marini Alla Galleria D'Arte Moderna Di Milano, Milan 1973, p. 31; Cat. Omaggio a Marino Marini, XX. Siecolo, Milan 1974, pp. 56-57; Mercedes Precerutti-Garberi, Marino Marini, Guida al Museo-Galleria d'Arte Moderna, Milan 1984, p. 32 (ill. p. 164); Mario Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan 1997, p. 227, n° 89 (ill.); M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano, Milan 1997, n° 30; Giovanni Carandente, Marino Marini, Catalogo ragionato della scultura, Milan 1998, p. 424, n° 422 (ill. p. 292)
Galerie Alexis Pentcheff
Henri Le Sidaner (Maurice, Port Louis 1862-1939 Paris) La maison sous l'église, neige, Gerberoy, circa 1935 Oil on canvas 80 x 66 cm Signed lower left This work will be included in the forthcoming catalogue raisonné of the artist currently in preparation by Yann Farinaux-Le Sidaner Provenance: given by Le Sidaner to Henri Martin in the summer of 1935, during the visit of Henri Martin in Gerberoy; Henri Martin succession
Kunsthaus Kende
Bikō Hayashi (Akita, 1937) Kin-Gin-Dō Mokume-gane vase 'Hyotan', 2024 Fine gold, fine silver, copper H 18 cm Signed by the artist below and on the accompanying tomobako (wooden box) Provenance: the artist's personal collection Exhibition: featured in April 2026 at the solo exhibition 'Bikō Hayashi-Gold, Silver, and Copper Mokume-gane: Cultural Property Exhibition' in Akita Japanese metal artist Bikō Hayashi is one of the foremost representatives of contemporary Japanese metalwork. Combining the centuries-old tradition of kōgei with a modern sculptural language, he is renowned for his mastery of tankin, the art of shaping metal through hammering. A defining achievement of his career is the rediscovery of Kin-Gin-Dō Mokume-gane (gold, silver and copper wood-grain metal), a highly complex technique dating back to the early Edo period. Once used to decorate samurai swords and armour, this craft was almost entirely lost with the decline of the samurai class. After more than four decades of research, Hayashi succeeded in reconstructing its traditional methods and metal compositions, bringing this remarkable art form back to life and adapting it for contemporary sculptures and vessels. In recognition of his contribution, he was designated a custodian of intangible cultural heritage by Akita Prefecture. The Hyōtan, or bottle gourd, is a traditional Japanese symbol associated with fertility, prosperity, longevity and protection. Its distinctive shape represents the preservation of happiness and positive energy.
Pauline Janssen
Diamond pendant necklace Belle Epoque, circa 1905 Bright and lively old cut diamonds, mounted in platinum and accompanied by a platinum chain set with natural seed pearls. Estimated centre diamond weight approximately 0.60 carats. Estimated total diamond weight approximately 5.00 - 6.50 carats. Estimated colour G-H-I on average. Estimated clarity VS on average.
LUDORFF
Serge Poliakoff (Moscow 1900-1969 Paris) Composition abstraite, 1964-1965 Oil on canvas 73 x 60 cm Signed lower left The authenticity of this work is confirmed by Thaddée Poliakoff and the works is registered in the Archives Serge Poliakoff, Paris 2026 Literature: Alexis Poliakoff, 'Serge Poliakoff-Catalogue Raisonné', vol. II, 1955-1958, Paris 2010, n° 64-68 Provenance: Galerie Cavalero, Cannes; private collection, Europe (-1996); Sotheby's, London (26 June 1996, Lot 38); private collection (1996-2025)
Finch & Co
Ancient Celtic bust of a radiate deity ‘Sol Invicta’ wearing a Halo of the Rays of the Sun Limestone England, 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 n° 1, catalogue n° 30, Summer 2018; private collection Comparative reference: Dr Anne Ross, ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'