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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 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
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.
Univers du Bronze
Antonin Mercié (Toulouse 1845-1916 Paris) Gloria Victis, circa 1880-1912 Bronze with richly shaded brown patina and gilt highlights H 187 x W 112 x D 91 cm Reduction n° 1 (3/5 from the original) Signed 'A.Mercié' and bears the founder's mark 'F. Barbedienne Fondeur' Presented as chief-model with assembly and mounting pins parts, like the one described in the Barbedienne catalogue raisonné (Rionnet, 2016): 'En janvier 1912, le sculpteur autorise l’éditeur à monter en épreuve et à mettre en vente le modèle n°1' (In January 1912, the sculptor authorised the publisher to produce a proof and put Model n° 1 on the market). A second example in this size is currently on display at the Musée des Augustins in Toulouse.
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 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 Josef Hoffmann, one of the founders of the Wiener Werkstätte, hired the then 28 year old Dagobert Peche as a leading designer for the Wiener Werkstätte in 1915. With his finesse and elegance Peche fundamentally shaped the second decade of the Wiener Werkstätte, heading the Zurich branch of the Wiener Werkstätte from 1917 to 1919. Floral ornamentation and playful designs play a key role in his artistic works full of subtlety and imagination, which contrasted the strict geometric designs of Hoffmann and Koloman Moser. Before his untimely death he was involved in the opening of the ‘Wiener Werkstätte of America’ showroom on Fifth Avenue in Manhattan. According to the records of the MAK, Vienna’s Museum of Applied Arts, this table lamp was produced only twice, in 1923. It was part of the renowned Schedlmayer collection – a high-ranking collection bringing together prime examples of Austrian decorative arts and works of fine art from the first half of the 20th century. In 2021 this lamp was presented at the Leopold Museum’s exhibition 'The Schedlmayer collection. A discovery'.
Virginie Devillez Fine Art
Théo Van Rysselberghe (Ghent 1862-1926 Saint-Clair) Baie de Saint-Brélade, 1907 OIl on canvas 65.5 x 81 cm Monogrammed and dated '07' lower left Titled on the stretcher Provenance: private collection, Belgium; thence by descent to the present owner Literature: Ronald Feltkamp, 'Théo Van Rysselberghe. Catalogue raisonné', les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363) Exhibitions: Paris, Bernheim-Jeune, 'Théo van Rysselberghe', 1908, cat. n° 43; Rotterdam, Rotterdamse Kunstkring, 'Théo van Rysselberghe', 1909, cat. n° 29; Groningen, Galerie Hofsteenge, 'Pictura Théo van Rysselberghe', 1910, cat. n° 24; Berlin, Ausstellungshaus Kurfürstendam, 'Sezession', 1912, cat. n° 231 (?)
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.
Galerie bei der Albertina ▪ Zetter
Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 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 Questions of furnishing remained an important subject for the architect Adolf Loos (1870–1933) throughout his entire creative output. The World’s Fair held in Chicago in 1893 was the reason for a trip to the USA, which resulted in a three-year stay. The engagement with modern lifestyle and Anglo-Saxon interior design culture were formative experiences for the aspiring architect. Today, Loos is widely seen as one of the most avant-garde architects of his generation and his work is presented in national and international collections, from the MAK – Museum of Applied Arts in Vienna, to the Musée d’Orsay in Paris and the Victoria and Albert Museum in London. Of this particular writing desk only two pieces are known to exist. It perfectly exemplifies Loos’ strict no-ornament policy, always putting functionality before aesthetic, and his high standards concerning materials and craftmanship. To ensure the latter he would often employ the traditional Viennese furnishings company Friedrich Otto Schmidt and its master carpenters as manufacturers for his interior designs. This model was shown in three separate museum exhibitions, in Paris 1983, Karlsruhe 1987 and Barcelona 2017.
Galerie Boulakia
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Louis VII épouse Eléonore d'Aquitaine, 1958 Oil on canvas 97 x 162 cm Signed bottom left Provenance: Galerie Europe, Paris This artwork is referenced as an authentic artwork in the 'Archives by Jean-Marie Cusinberche on Georges Mathieu' and an attestation will be provided to the buyer
Galerie des Modernes
Pierre Alechinsky (Brussels, 1927) Signes, 1951 Oil on canvas 19.5 x 30 cm Signed lower right, countersigned, dated and titled on stretcher A CoBrA-period work executed in May 1951 Certificate of authenticity by Myriam Prévot-Douatte, director of Galerie de France This document bears the following handwritten note by Pierre Alechinsky: 'P. Alechinsky, who would like to be able to borrow this small painting for a forthcoming retrospective' To be included in the Pierre Alechinsky catalogue raisonné, currently in preparation by the artist and Frédéric Charron, under n° 110 Provenance: Galerie de France, Paris; private collection, France
Galerie Hurtebize
Henri Lebasque (Champigné 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54.3 cm Signed lower right Certificate of authenticity issued by Denise Bazetoux Painted in 1900, this remarkable composition reflects Henri Lebasque’s artistic explorations at the turn of the 20th century. Fascinated by the paintings of Renoir and Pissarro, the artist was part of the Post-Impressionist movement. Through his interactions with Maximilien Luce and Paul Signac, he developed a technique with Pointillist elements, particularly evident in this work. In the heart of a lush garden, an elegant young woman, wearing a flowered hat and a light blue dress, is shown from behind, immersed in an intimate scene. The richness of the brushwork, composed of small, juxtaposed touches of color, brings the vegetation to life and seems to animate the figure under the shifting effects of light. The particularly vibrant color palette creates a dialogue between the luminous blues of the dress, the deep greens of the garden, the brilliant yellows of the foliage, and the delicate pinkish hues of the background. This painting brings together several of Lebasque’s favorite themes: the female figure, the intimacy of everyday life, and lush nature. Through its rich color palette and sensitivity to light, it illustrates a pivotal period in his artistic evolution, foreshadowing the luminous style imbued with a gentle zest for life that would make him famous.
Van Herck-Eykelberg
Paul Delvaux (Antheit 1897-1994 Veurne) Hôtel de Ville, 1953 Watercolour and pen and ink on paper mounted on board 69.5 x 50.5 cm Signed and dated 'P. Delvaux 4.53' Provenance: Albert and Georges Niels, Brussels; Galerie Isy Brachot, Brussels; private collection, Belgium Literature: Jean Stengers, Bruxelles: Croissance d'une capitale, Anvers, 1979, ill. in colour on the cover Exhibitions: Brussels, Le Cercle Royal Gaulois, Bruxelles vu par les artistes, 1959, n° 46, listed (titled L'Hôtel de Ville); Brussels, Galerie Isy Brachot and Paris, Galerie Isy Brachot, Paul Delvaux: dessins, aquarelles et encres de Chine, 1987-88, n° 48, ill. in colour (titled L'Hôtel de Ville de Bruxelles)
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026