This section will be available this Autumn.
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, bearing a uniquely spotless two-tone rose dial Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fecit' and 'Venezia 1873' This exceptional table is one of the most ambitious expressions of nineteenth-century Venetian micromosaic. Its distinction lies in the rare combination of monumental scale, extraordinary technical refinement, documented authorship and a fully integrated sculptural bronze base. Micromosaic is more often associated with small cabinet objects. Here, Enrico Podio expands the technique to a table, transforming a traditionally intimate art into a commanding architectural statement. The head of Medusa is modelled through minute glass tesserae with subtle changes of flesh tone, shadow, hair and serpent scales. The optical blending approaches the effects of painting while remaining unmistakably mosaic. The inscriptions 'ENRICO PODIO FECIT' and 'VENEZIA 1873' give the work unusual documentary precision, securely identifying the maker, place and date and anchoring the table within the mature Venetian revival of mosaic art. The patinated, cast and chased bronze pedestal is conceived as an integral part of the design. Its classical heads, masks, architectural members and zoomorphic details create a powerful counterpoint to the brilliant colour of the micromosaic top. The synthesis of rarity, scale, technical mastery, documented authorship and visual impact places this table among the most impressive examples of nineteenth-century Italian decorative arts.
Gallery de Potter d’Indoye
An Empire writing table Jacob Frères, Paris, circa 1796-1803 Mahogany and gilded bronze H 73 x W 86.5 x D 54 cm Stamped JACOB FRÈRES Provenance: Ségoura collection, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles 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.
Artimo Fine Art
Jean-Baptiste Auguste Clésinger (Besançon 1814-1883 Paris) Lucrèce mourante (The Death of Lucretia), 1868 White Carrara marble H 165 x W 206 x D 82 cm Signed and dated 'J. Clésinger Rome 1868' Provenance: Émile de Girardin (1802–1881), Paris; sale of the Émile de Girardin collection, Hôtel Drouot, Paris, December 1887, lot 176; private collection, Château de Vallière, Mortefontaine (Oise), France Literature: Catalogue des marbres, bronzes et terres cuites composant l’atelier de M. Clésinger, Paris, sale of 5 June 1868, lot 2, with a preface by Théophile Gautier; Catalogue de la vente des œuvres de M. Clésinger, Paris, Hôtel Drouot, 6 April 1870, lot 2; Catalogue de la vente de la Société des marbres et bronzes artistiques de Paris, 2-3 April 1883, lot 17 (mentioning the original marble belonging to M. de Girardin); Alexandre Estignard, Clésinger, sa vie, ses œuvres, Paris, 1900 Created in Rome between 1863 and 1867, Lucrèce mourante ranks among Jean-Baptiste Auguste Clésinger’s most ambitious monumental compositions. The sculptor depicts the Roman heroine at the moment when, having revealed the outrage committed against her, she has just taken her own life. Seated, her body abandoned, her eyelids half-open and her gaze turned upwards, Lucretia lets the dagger fall as her drapery reveals the fatal wound. Her loosened chignon, with several strands falling onto the nape of her neck, heightens the sense of abandonment that pervades the composition. The work combines a particularly sensitive observation of human anatomy with the nobility of a composition inspired by classical sculpture. In his preface to the 1868 sale catalogue, Théophile Gautier emphasised the expressive power of this figure, whose inner suffering is conveyed with remarkable restraint. Listed in the catalogues of the Clésinger sales of 1868 and 1870, the sculpture subsequently belonged to Émile de Girardin, the celebrated French journalist and politician. Its presence in his collection is confirmed by the 1883 catalogue devoted to Clésinger’s models, which explicitly states that the original marble belonged to M. de Girardin. The work reappeared in December 1887 at the Hôtel Drouot sale of the Girardin collection, before entering, at an as yet undetermined date, the collections housed at the Château de Vallière in Mortefontaine.
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1952 Oil on canvas 104 x 122 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' with dimensions Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming 'Catalogue Raisonné of Geer van Velde Painted Work' currently in preparation by Pierre François Moget, son of Piet Moget Provenance: private collection, Paris
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
Van Herck-Eykelberg
Léon Spilliaert (Ostend 1881-1946 Brussels) The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88.5 x 67.5 cm Signed and dated top right ‘L. Spilliaert / 1912’ The work will be included in the forthcoming catalogue raisonné currently in preparation by Ms. Anne Adriaens Pannier Provenance: Ms Madeleine Spilliaert, Brussels; Ms. Irmingarde van Rossum, Brussel (2000); De Vuyst, Lokeren, 2016, Moderne en Hedendaagse Kunst, n° 163, cat. 163; private collection, Belgium Exhibition: 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 6 May-18 June 2000; verlenging: 23 June-3 September 2000: cat. 41, ill. in colour p. 77
Galerie Haesaerts-le Grelle
‘Thebes’ stool Walnut London, 1900 H 36.5 x W 36.5 x D 31 cm Manufactured by Liberty & Co Liberty & Co. Regent Street label, with serial number beneath the seat Literature: Daryl Bennett, Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design, Antique Collectors’ Club, p. 97, pl. 4.16 A faithful copy of the original Egyptian version, this stool reflects the aesthetic influence of the colonies on British artistic production, and in particular on that of Liberty & Co. at the end of the nineteenth century. The name ‘Thebes’ derives from the identical stool discovered in a tomb dating from the 18th Dynasty in the region of the ancient city of Thebes (modern-day Luxor) by an English diplomat. Appointed British Consul-General in Cairo in 1815, Henry Salt developed a passion for ancient Egypt and undertook a series of archaeological excavations. Following his death in 1827, the archaeological works from his collection were sold at Sotheby’s in 1835. The stool was acquired by the British Museum on this occasion. The original is on permanent display at the British Museum.
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) Bust of a woman with anemones, 1905 White, lost-wax cast-molded glass with a grey patina H 14 cm Unique piece Not signed Provenance: David Weinstein collection, New York; private collection, London (acquired at the above) Literature: Félix Marcilhac, René Lalique-Catalogue de l'Œuvre de Verre, Les Editions de l'Amateur, Paris, 2011, CP4 for a similar model
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.
Maurice Verbaet Collection (MVC)
Marcel Mariën (Antwerp 1920-1993 Brussels) La Mire, circa 1981-83 Gelatin silver print on paper 18 x 12.5 cm (unframed) 33 x 43 cm (framed) Edition 2/6 Even before meeting the Brussels surrealists at the age of 17, Marcel Mariën (1920-1993) had taken his first steps in photography, having begun an apprenticeship with a photographer in Hoboken at the age of 15. During the 1940s, he began to use photography to create images with the bodies of the women he loved, but it was mainly from the 1980s onwards that he made frequent use of it. The photograph La Mire highlights the remarkable effectiveness of his creations, which, whilst appearing simple, reveal a wealth of meanings the moment one takes a closer look. It also demonstrates the extent to which photography enables Mariën to explore in greater depth the themes he develops in his objects, collages and writings. Indeed, his entire body of work is a reflection on the status of art. In this respect, he builds upon not only the concerns of the surrealists but also those of Marcel Duchamp. The Mona Lisa, the quintessential masterpiece of Western painting, was notably appropriated by Duchamp, who drew a moustache on it and added the inscription ‘L.H.O.O.Q.’ (‘Elle a chaud au cul’ or ‘She’s got a hot arse’) in 1919. Mariën takes this provocative critique of the mythicization surrounding this artwork a step further. The pubic hair encapsulates the moustache and inscription. It emphasizes the distance between the real woman and the painted one, whose identity has been forgotten whilst her depiction has become ubiquitous. The title refers to ‘la mire’ – that is, the image shown on television when channels were off the air –, an ever-present image that nobody looks at, much like the Mona Lisa, of which we have seen so many reproductions that we can no longer truly appreciate the real painting. But it also implies that ‘elle la mire’, which means ‘she is gazing at her’: it echoes Duchamp’s inscription, which can also be read as ‘look’. Furthermore, it plays on the belief that the Mona Lisa follows viewers with her gaze. Mariën presents the Mona Lisa as looking intently at the sex of the flesh-and-blood woman lying in front of her – in a perspective reminiscent of L’Origine du monde by Courbet. Perhaps his photograph enables us to better understand the reason behind the Mona Lisa’s famous mischievous smile?
Galerie Édouard Ambroselli
Artus Quellinus the Younger (Sint-Truiden 1625-1700 Antwerp) Virgin and Child, circa 1650-1665 Terracotta, stone H 81.2 x W 42.5 x D 34 cm Born into a dynasty of sculptors in the Southern Netherlands, Arthus Quellinus theYounger, became one of the leading artists of the region. He followed his cousin, Artus Quellinus the Elder, to work on the Amsterdam Town Hall, a landmark of European sculpture. Back in Antwerp, he ran a workshop that trained a successful generation of sculptors, and he exported his works across Europe. Our Virgin and Child, is a preparatory model for a larger statue. The Virgin’s elongated face and elaborate hairstyle, the Child’s plump belly and slender legs, and the crisp, flowing drapery are all hallmarks of the artist’s refined style. The throne is decorated with cherub heads and volutes that differ on each side, a way of offering the patron a choice between two decorative solutions. Spontaneous and intimate, this terracotta gives us the intimacy of a working model, a glimpse of the sculptor’s creative process.
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
