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Artimo Fine Art
Émile Jespers (Antwerp, 1862-1918) Reclining female nude on a wave, circa 1907 Model created in 1907 Carrara marble H 36 x W 70 cm Signed on the base 'E. Jespers' This refined Carrara marble depicts a reclining female nude stretched across a dynamically carved rocky form evocative of a breaking wave. Resting on her forearms, her head gently raised and turned towards the viewer, the figure follows a long, sinuous movement from the shoulders through the waist and hips to the crossed legs. Jespers exploits the contrasting treatment of the marble to reinforce the composition. The smooth, highly polished surface of the female body emerges from the vigorously worked base, whose rougher texture and irregular contours suggest the movement of water. The sweeping silhouette of the figure follows the rhythm of the wave beneath her, closely associating the female body with the natural element. The composition belongs to the Symbolist and Art Nouveau exploration of the relationship between the female figure and nature that developed in Belgian sculpture around the turn of the twentieth century. It may notably be considered in relation to Charles Van der Stappen’s La Mer of 1902, conceived for Victor Horta’s Hôtel Solvay in Brussels, in which the female figure is similarly associated with the imagery of the sea. The plaster model is documented in 1907 through signed and dated versions of the composition, described as a reclining female nude and, more explicitly, as a nude woman reclining on a wave. The present Carrara marble corresponds closely in composition and dimensions to this documented example.
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze)' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Salomé Drapée, 1928 Bonze and marble base H 52.5 x W 49.5 x D 17.5 cm Signed 'Ph. Wolfers' Bears the foundry mark Montagutelli Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 426, n° 324 Exhibitions: Antwerp, 1929; Ghent, 1979
Willow Gallery
Eugène Boudin Honfleur 1824 – Deauville 1898 Bordeaux, le port Oil on canvas, signed, dated and inscribed 'E. Boudin 74 Bordeaux' Canvas size: 16 x 25in / 41 x 64cm Frame size: 22 x 31in / 56 x 79cm Provenance: Louis Bernard Collection; its sale, Me Chevallier, Paris, May 11, 1901, lot 19. Jules Chédeville, Paris and Honfleur. Michel Durnerin, Paris (by descent). Then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, no. 978. G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (illustrated). R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, no. 978 (illustrated)
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the King of Portugal (Lisbon Palacio Nacional da Ajuda)
Alexis Lartigue
Max Ernst (Brühl 1891-1976 Paris) Paysage, 1964 Tempera and pencil on paper 8.4 x 15.5 cm Signed ‘Max’ below right Provenance: estate of the artist; Galerie Bel’Art, Stockholm; Sotheby’s sale, London; private collection, New York; collection of Dr. Arthur Brandt, New York; Sotheby’s sale, New York; private collection, Paris Literature: Spies, Werner. Max Ernst Oeuvre-Katalog, Werke 1964-1969, Cologne, 2007, n° 4095, ill. p. 127 Exhibitions: Stockholm, Galerie Bel'Art, Max Ernst, Retrospective, 1979; Boone, Turchin Center for the Arts, The Omnipotent Dream: Man Ray, Confluences and Influences, 2003, ill. in the catalogue p. 23, listed p. 35; Ithaca, Herbert F. Johnson Museum of Art, A Private Eye: Dada, Surrealism and More from the Brandt Collection, 2006, illustrated in the catalogue p. 47
Stern Pissarro Gallery
Glenn Brown (Hexham, 1966) Drawing 2 (after Delacroix/Raphaël), 2019 Acrylic on polyester film laid down on cardboard 109.2 x 94 cm Signed and dated lower right 'Glenn Brown 2019' The work bears the artist's signed label on the reverse Provenance: Galerie Max Hetzler, Berlin; private collection, Belgium; acquired from the above Exhibitions: Paris, Musée national Eugène Delacroix, Glenn Brown, 10 October-9 December 2019; Berlin, Galerie Max Hetzler, And Thus We Existed, 30 October 2020-23 January 2021, n° 6, pp. 40-41, 43-44, 125, 152 (ill., p. 41, detail ill., p. 43, exhibition view ill., pp. 44, 125)
Galerie Nicolas Bourriaud
Rembrandt Bugatti (Milan 1884-1916 Paris) Small Elephant at Rest (1912), circa 1923 Bronze with a nuanced brown patina H 20.3 x W 20.5 x D 12.5 cm Signed ‘R. Bugatti’ Cast by Hébrard, numbered ‘11’, bears the mark ‘CIRE PERDUE A.A. HEBRARD’ Only twenty examples have been recorded to date. Certificate of authenticity by Véronique Fromanger Provenance: Cahier Hébrard inv. n° 3717, formerly in the collection of the Countess de V, Toulouse, acquired in 1923 or 1924; private collection, Marseille Literature: Véronique Fromanger, 'Rembrandt Bugatti, Sculptor: A Monographic Catalogue: A Meteoric Career', Paris, Les éditions de l’Amateur, 2016, model listed under n° 300, p. 364
Galerie Lowet de Wotrenge
Nicolaas Struyck (Amsterdam, 1686-1769) Insect studies Bodycolour, watercolour and pencil on laid paper 44.5 x 28.2 cm Provenance: 'Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior', 1719 (an album of drawings by Struyck, disassembled in the XIXth century); private collection, Belgium
Francis Janssens van der Maelen
Philippe Wolfers (Brussels, 1858-1929) Evocation, 1923 Granite H 39 cm Signed by engraving on the neck 'Ph. Wolfers.' Provenance: Wolfers family, created for the renowned Gioconda ensemble Art Deco bust of a woman with hair adorned with a diadem, sculpted in stone. Philippe Wolfers’ Evocation bust, created around 1923 in granite, was part of the emblematic Gioconda ensemble, designed for the 1925 International Exhibition of Decorative Arts in Paris. With this ensemble, Wolfers sought to create a true Gesamtkunstwerk - an integrated work of art in which sculpture, furniture, architecture, and silverware engage in dialogue around a unified aesthetic vision. Gioconda was awarded the prestigious Grand Prix at the exhibition.
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F. Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, repr. b/w
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
Galerie Uzal
Jean Delville (Louvain 1867-1953 Forest) La Libération, 1936 Oil on canvas 188.5 x 240.5 cm (framed) Signed and dated Exhibition: Brussels, Salon de la Société des Beaux-Arts-Salon de Printemps 1936 In a letter addressed to the former owner and dated 1 July 1947, Jean Delville described the work as follows: 'Man, in flight, frees himself and escapes towards broader horizons and spaces of freedom, while the forces of evil hold him back in the lower spheres of the world, where the inert mass of beings remains imprisoned by their prejudices, desires, passions and selfishness.'
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.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist © 2026 The estate of Tom Wesselmann / Artists Rights Society (ARS), New York Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Maison d'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams estate; sale Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th century, The Holy Family, lot 138