This section will be available this Autumn.
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
Galerie Flak
Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022
Galerie Boulakia
jean dubuffet
Jean Dubuffet (Le Havre 1901-1985 Paris) Lampe et Balance 1, 1964 Oil on canvas 97 x 130 cm Signed and dated bottom centre; signed, titled and dated 'juillet 64' on reverse Provenance: Dr. Jacqueline Porret-Forel, Paris (gift from the artist in 1966); collection in the United Arab Emirates; European collection Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris, 1966, cat. no. 367 (ill. p. 168). Exhibition: Jean Dubuffet, Galerie Georges Moss, Geneva, Nov. 1969-Jan. 1970, cat. n° 8
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.
Art et Patrimoine - Laurence Lenne
Reliquary 'in the form of a sarcophagus with a hinged roof' Limoges, mid-13th century Gilt copper plates, champlevé enamels H 11.8 x W 27.5 x D 9.5 cm Literature: Inventaire général des monuments et des richesses artistiques de la France. Emaux limousins du Moyen Age. Correze/Creuse/Haute-Vienne, under the direction of Paul-Édouard Robinne, Éditions de l’Inventaire, Images du Patrimoine, 1995; Emaux de Limoges XIIè-XIXè siècle, under the direction of Jacques Toussaint, Museum of Ancient Arts of Namur, 1996; Valérie & Thomas Becket, De l'influence des princes Plantagenêt dans l'Oeuvre de Limoges, Municipal Museum of the Bishop’s Palace-Museum of Enamel, Limoges, 1999 A reliquary, without a wooden core, taking the shape of a sarcophagus with a hinged roof. It is made of gilt copper plates and decorated with champlevé enamels depicting sixteen half-length angels emerging from clouds against a white enamel background. The decoration consists of two superimposed registers of three engraved gilt angels set within round medallions. The medallions stand out against a blue enamel ground adorned with gilded Gothic foliage and interlace patterns. This reliquary belongs to a series of standardised reliquaries known from the Limousin region, all dating from the 13th century. Its dimensions make it one of the largest examples of this 'sarcophagus with movable roof' type. It is closely related to the exceptional large reliquary of Saint-Yrieix-la-Perche, classified as part of the Treasure of the French Historic Monuments.
Gilden's Art Gallery
Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour
Galerie de la Béraudière
jean fautrier
Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left 'Fautrier' Provenance: Jean Paulhan collection, France; Dominique Aury collection, France; private collection, France (by descent); Tajan, Paris, November 23rd, 2022, lot 44; private collection, Belgium Literature: Marie-José Lefort, Catalogue Raisonné de l'oeuvre peint de Jean Fautrier, Norma éditions, 2023, p. 293, n° 478 (ill.); Palma Bucarelli, Jean Fautrier, Pittura e materia, édition Il Saggiatore, Milan, 1960, ill. n° 107 p. 306 Exhibitions: 1974, Paris, Galeries nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. n° 563, p. 218
Guy Pieters Gallery
fernando botero
Fernando Botero (Medellin 1932-2023 Monaco) Man with walking stick, 1987 Bronze H 140 x W 48 x D 28 cm Provenance: Veranneman-Kruishoutem foundation, private collection, Belgium Literature: Galerie Beyeler-Basel, Botero (exh. cat.), Basel, 1988, ill. in colour of another cast from same edition; Marlborough Gallery, Botero: Recent Sculpture (exh. cat.), New York, 1990, n° 24, p. 49, ill. in colour of work from same edition; Vittorio Sgarbi, Botero, Dipinti, Sculture, Disegni, Milan, 1991, p. 103, ill. in colour of the monumental version; Botero al Forte Belvedere di Firenze (exh. cat.), Florence, 1991, p. 31, ill. of the monumental version
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.
Galerie des Modernes
mark tobey
Mark Tobey (USA, Centerville, Wisconsin, 1890-1976 Basel, Switzerland) Untitled (Abstract composition) or 'Tout le Monde', 1956 Tempera on paper 20.2 x 24.9 cm Signed and dated lower right 'Tobey 56' The Mark Tobey Project LLC, under the identification n° MT (456-05-15-25). Authentication letter signed by Achim Moeller for Moeller Fine Art Projects dated May 15th, 2025 Provenance: private collection, Belgium Exhibitions: Exhibited at Kunsthalle Basel under n° 0131 (label on back of montage annotated: ‘Tout le monde’)
Grusenmeyer-Woliner
Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97
Samuel Vanhoegaerden Gallery
Hans Hartung (Leipzig 1904-1989 Antibes) P1971-20, 1971 Crayon and acrylic on baryta board 50 x 73 cm Signed and dated lower right This work is registered in The Hans Hartung and Anna-Eva Bergman Foundation archive with number P1971-20 and will be included in the forthcoming catalogue raisonné of Hans Hartung Provenance: Galerie Ludorff, Germany; Sotheby's London, July 2020; private Collection, Brussels; acquired from the above by the present owner
Vagabond Antiques
Pair of carved Heraldic stone lions Central European, Hapsburg Territories, late 17th century Carved limestone H 90 x W 57 x D 77 cm A striking pair of limestone lions, carved in full relief and designed as true opposites. Each is seated upright, with bared teeth, strong haunches and tightly curled manes. Both wear a crown and hold an oval cartouche carved in bold relief with an interlaced monogram. They were made to flank the formal entrance of a major estate. The form and detailing are typical of high-status Baroque culture in Central Europe and the crown design is especially telling. Each features a repeating pattern of fleur-de-lis and crosses, closely following the design of imperial crowns used in Habsburg heraldry - particularly in the realms of Austria and Bohemia. A crucial distinction is the placement of such a crown directly on the animal - not merely above the cipher - which indicates an emblem of royal standing. Comparable examples can be seen on the monumental lions at Prince Eugene of Savoy's Upper Belvedere Palace in Vienna and others across Bavaria and Austria, where lions were used as heraldic supporters for noble or imperial arms. The monograms are hard to decipher but are almost certainly ciphers for the original owners or patrons. They likely stood at the gates of a major estate or seat of power under Habsburg rule or allegiance, marking out territories and status.
Maurice Verbaet Gallery
Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Hommage à Fontana, 1959 Oil, collage on canvas 50 x 60.5 cm Provenance: Hans Liechti, Grenchen; private collection, Switzerland Literature: Willy Van den Bussche and Léonore Verheyen, Retrospective Jef Verheyen 1932–1984 (Ostend/Bruges: PMMK – Provincial Museum of Modern Art / Stichting Kunstboek, 1994), p. 76 Exhibitions: Retrospektive Jef Verheyen 1932-1984, Josef Albers Museum Quadrat, Bottrop, 10 July-4 September 1994; Retrospectieve Jef Verheyen 1932-1984, PMMK Museum voor Moderne Kunst Ostende, 26 March-13 June 1994
CKS Gallery
nicolas de stael
Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024
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)
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
Herwig Simons Fine Arts
Wooden chef-d'oeuvre of the Compagnonnage France, 19th century Walnut, maple and mohogany wood H 185 cm Provenance: former private collection, France A fine, rare and large nineteenth-century wooden exhibition model, the chef-d'oeuvre of a master carpenter of the Compagnonnage. These models were made to show the technical expertise and skill of the master carpenter. The Compagnonnage is an old French guild with roots in the 12th century. In the eighteenth century, they incorporated symbols and rituals, many of which were borrowed from Freemasonry to create an initiatory progression for its members.
Edouard Simoens Gallery
raoul de keyser
Raoul De Keyser (Deinze, 1930-2012) Untitled, 1967 Oil on canvas 120 x 150 cm Provenance: acquired from the artist; private collection Literature: 'Raoul De Keyser: early works. Catalogue of paintings 1964-1980', Publ. Walther König, Keulen 2024, n° RDK-67 ill. Exhibition: Beervelde 20 km: Roger Raveel, Lucassen, Raoul De Keyser, Elias Kaleidoskoop, Gent 1967; 'Raoul De Keyser', Gal. M.A.S., Deinze 1967
Galerie Bernard De Leye
Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.