This section will be available this Autumn.
Snackers Antiques & Fine Art
Louis Philippe mantel clock Paris, circa 1835 Produced by the clockmaker Douyon Partially fire-gilt and partially patinated bronze H 70 x W 75.5 x D 27 cm The goddess Victoria is depicted seated on a cushion, leaning against the clock and holding a laurel wreath. At her feet lie a caduceus and an anchor. Beneath the clock are ears of corn and fruit. The ears of corn and fruit signify abundance; the anchor symbolises fidelity; and the laurel wreath represents victory.
Dries Criel
EOS Earrings Sandblasted 18kt yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. The earrings radiate a soft, sunlit warmth. Their matte surface captures light with subtlety, creating a gentle and enduring glow. At the heart of each piece rests a natural, white, step-cut diamond. Framed by flowing lines and delicate pavé diamonds, its architectural brilliance recalls the moment dawn first appears on the horizon: quiet, luminous and full of promise.
Douwes Fine Art b.v.
Jeronimus van Diest (The Hague, 1631-1684) Herring busses under the protection of 'Men of War', circa 1652-1654 Oil on canvas 105.5 x 161 cm Monogrammed ‘I VD’ on the barrel at bottom right Provenance: Baron van Dedem collection, The Netherlands; M. Wolff Gallery, Amsterdam, before 1940; private collection, The Netherlands; Hoogsteder Gallery, The Hague, 1991; Inder Rieden collection, since 1991 Literature: Gerlinde de Beer, 'The Golden Age of Dutch Marine Painting-The Inder Rieden Collection', edited by Charles Dumas, Primavera Pers, Leiden 2019, Catalogue II, n° 43, pp. 682-694; Charles Dumas, Gerlinde de Beer, 'In de ban van de zee-De Gouden Eeuw van de Nederlandse marineschilderkunst', De Inder Rieden Collectie, Museum Bredius, 2019, Wilco, Amersfoort, The Netherlands, n° 60, ill. in colour; E. Buijsen, in: Buijsen/Ekkart/Dumas 1998, p. 121, fig. 3 in colour Exhibitions: De Inder Rieden Collectie, Museum Bredius, 2019, n° 60, ill. colour
Dei Bardi Art
Daniel Mauch (Circle of) Saint Peter Upper Rhine, circa 1490 Walnut bust 39.2 x 49.5 x 26 cm (with base) Provenance: private Rhenish collection Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999-6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March-21 May 2000
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.
Van Herck-Eykelberg
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage, 1964 India ink on paper 22 x 17.5 cm Signed with the artist's monogram and dated 'Mars 64' Provenance: Galerie Beyeler, Basel; Artel Galerie, Geneva; private collection, France Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris 1966, p. 139, n° 283, ill b/w Exhibitions: Venice, Palazzo Grassi, Centro Internazionale delle Arti e del Costume, L'Hourloupe di Jean Dubuffet, 15 June-13 September 1964, n° 48; Amsterdam, Stedelijk Museum, Jean Dubuffet: Tekeningen, gouaches, 26 November 1964-11 January 1965, n° 192; Basel, Kunstmuseum, Jean Dubuffet, Zeichnungen, Aquarelle, Gouachen, Collagen, 6 June-10 August 1970, p. 133, n° 132
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
BOON GALLERY
Kim Tschang Yeul (North Korea, Maengsan County 1929-2021 Seoul) Water Drop, 1983 Oil and sand on canvas 24 x 19 cm Signed on reverse Certificate of authenticity by the Kim Tschang Yeul estate, Paris, 2026 The Poetry of Transparency, Matter & Memory Kim Tschang-Yeul’s Water Drop (1983) is an iconic work of modern Korean art. It transforms a simple droplet into a meditation on existence, memory, and time. Set against a rough, earthy surface, the transparent drop appears luminous and delicate. Its subtle golden reflections contrast with the dense texture beneath it. This opposition evokes the tension between permanence and impermanence. Kim Tschang-Yeul (1929–2021) devoted nearly five decades to painting water drops. His artistic vision was shaped by the Japanese occupation and the Korean War. These experiences inspired reflections on suffering, remembrance, and reconciliation. For Kim, the droplet symbolized purification, inner peace, and spiritual renewal. The meticulous act of painting became a form of meditation. The textured background represents the material world, while water suggests fragility. Its reflections and shadows create a remarkable illusion of reality. The surrounding emptiness enhances the composition’s silence and contemplative power. Kim’s work resonates with Buddhist and Taoist ideas of emptiness and impermanence. It also explores the interconnectedness and transience of all existence. By 1983, he had gained international recognition, particularly in Paris. His art bridges Eastern philosophical traditions and Western pictorial techniques. Although related to Dansaekhwa, his water drops express a distinctive artistic identity. Today, his paintings remain emblematic of Korean modernism. Ultimately, Water Drop transforms a fleeting moment into a timeless meditation on beauty, memory, and transcendence.
Argento Gallery
Master of the portrait of the Van Collen family Portrait of a family in a wood, circa 1660 Oil on canvas 95 x 108 cm Provenance: sale of the Dr F. Koser collection, Keller & Reiner, Berlin, 6-7 March 1906, lot 87; private collection, Stockholm, 1938; sale, Bukowskis, Stockholm, 19 April 1961, lot 136, ill. as Ferdinand Bol, signed and dated 1666; private collection Literature: Bukowskis, 100 Years, 1870-1970, Stockholm, 1970, pp. 36-37, ill. as Ferdinand Bol; Albert Blankert, Ferdinand Bol (1616-1680): Rembrandt’s Pupil, 1982, pp. 191-192, n° R276 (attribution to Bol rejected) Attributed to the unidentified artist known as the Master of the portrait of the Van Collen family, who also painted the portrait of Jeremias van Collen, Susanna van Uffelen and their children in the Rijksmuseum, Amsterdam. Probably painted around 1660, the present work shows the influence of Jan Mijtens in its arrangement of the family within a wooded landscape.
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait of Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51.5 x 61.5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collée sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69 In the second half of the 16th century, Cardinal Ferdinando de’ Medici was one of the most renowned collectors in Rome. He created one of the greatest collections of Antiquities for his villa on the Pincian hill in Rome. When certain highly acclaimed sculptures ended up in the papal collection or other important collections which he couldn’t acquire, he contented himself with having copies made. These weren’t full-size copies, but rather fine statuettes on a reduced scale, intended for his studiolo. His passion for antiquity is mirrored in the collection of small bronzes he had. He kept in his service an artist called Pietro da Barga; a sculptor known to us only by the references in cardinal Ferdinando’s inventory. One of the main characteristics of his bronzes is the green all’antica patina he used to resemble the surface of the newly discovered ancient Roman bronze statues. Not only did he make reduced copies of ancient roman sculpture, he also used famed Renaissance models like Giambologna’s Mars or Michelangelo’s standing Christ.
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
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
Thomas Deprez Fine Arts
Evariste Carpentier (Kuurne 1845-1922 Liege) Sous les rochers de Logne, 1908-1909 Oil on canvas 129.5 x 195.5 cm Signed lower right ‘Evte Carpentier’ Provenance: by descent in the family of the artist; anonymous sale, HdV Horta, Brussels, 4 December 2006, lot 110 as 'Sous les rochers de Logne'; private collection K.D., Belgium; thence by descent Literature: Annick Lemoine, Evariste Carpentier (1845-1922), Brussels: Mecenart, 1994, ill. p. 119, as 'Langs de rotsen van Logne-Sous les roches de Logne (circa 1906)'; Fritz Carpentier, quoted in: Jacques Goijen, L'École liégeoise du paysage: ma merveilleuse aventure, Stavelot, Éditions Chauveheid, 1991, p. 27 Exhibitions: Salon triennal de Gand, 1909, as 'Paisible hameau de Logne', cf. Sander Pierron; Exposition Evariste Carpentier & Armand Apol, Brussels, Cercle Artistique & Littéraire, 1909-1910, as 'Paisible hameau de Logne', cf. press; Exposition Evariste Carpentier, Huy, Cercle Artistique, 1910, as 'Paisible hameau de Logne', cf. press; Exposition M. Romiée, Evariste Carpentier & R. de Baugnies, Liège, Cercle des Beaux-Arts, February 1911, as 'Paisible hameau de Logne', cf. press; Esposizione Internazionale di Roma, 1911, Padiglione del Belgio, cat. n° 10, as 'La capanna pacifica'; Logne Autrefois: Sur les traces d’Evariste Carpentier et de l’École Liégeoise du Paysage, Musée du Château fort de Logne, 2019, p. 6, 24-25, ill. cat. n° 9, as 'Sous les rochers de Logne' Sander Pierron, 'Les Lettres et les Arts: Le Salon de Gand, II' in 'L'Indépendance Belge', 1 September 1909, p. 3. 'Evariste Carpentier nous oblige à quitter ce coin hivernal du Brabant, pour admirer l’estival et Paisible hameau de Logne ; ceci est une page radieuse, la meilleure qu’ait signé ce maître fécond et divers. En ce site, d’un pittoresque fermement établi, l’ombre transparente des premiers plans s’opposent à l’ardent et léger ensoleillement des fonds. L’observation interprétative est accusée par la vérité des plans, obtenus par la ligne des éléments aussi bien que par les valeurs du coloris et la distribution de la lumière, qui se répète dans l’onde vive d’un ruisseau dont deux vaches suivent le bord. Une impression heureuse se dégage de cette œuvre qu’on peut considérer comme un beau poème pastoral.' Related documents: Letter from the artist to the renowned art critic Sander Pierron, dated 28 October 1909, in which he thanks him for the praising article about his painting. (Algemeen Rijksarchief, Fonds Sander Pierron, inv. I286-73.)
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.
Pauline Janssen
Art Deco diamond bracelet, circa 1920 Set with old European cut diamonds. Estimated total diamond weight approximately 18.00-20.00 carats. Estimated centre diamond weight approximately 1.80 carats. Estimated weight of the two side diamonds approximately 1.50 carats each. Estimated total weight of the small diamonds approximately 0.75 carats. Estimated colour of the diamonds is K-L-M and estimated clarity is VS-SI. Diamonds are bright & lively.
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980 This work, composed of a series of collages incorporating gouache and pastel on paper and graph paper, was created during his stay with Robert Rauschenberg on Captiva Island, Florida, in 1974. At first glance, the composition evokes the image of a lotus. Behind this seemingly botanical representation, however, lies a more complex symbolism. Whether viewed as a herbarium or an album, the work’s ambiguity seems to point more towards an erotic interpretation than a purely botanical one.
De Jonckheere
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or The Village Lawyer Oil on panel 78.9 x 123.2 cm Signed and dated lower left P.BREVGHEL 1622 Provenance: private collection, Belgium; J. Leegenhoek Gallery, Paris, 1991; private collection, France Literature: K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38). Die Gemälde mit kritischem Oeuvrekatalog, Lingen, 1988/2000, Vol. I, p. 513, cat. E507, repr.; C. Currie, D. Allart (dir.), The Brueg(H)el Phenomenon. Paintings by Pieter Bruegel the Elder and Pieter Brueghel the Younger with a Special Focus on Technique and Copying Practice, 3 vols. in a box set, Scientia artis 8, Brussels, 2012, vol. III, pp. 1030-1031