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Galerie Sophie Scheidecker
Philip Pearlstein (USA, 1924-2022) Seated Models on red and orange drapes, 1968 153.5 x 184 cm Oil on canvas Signed and dated 'Pearlstein 68' Exhibitions: Allan Frumkin Gallery, New York (with two labels on stretcher); Georgia Museum of Art, Georgia 1970; Massachusetts Institute of technology, Heyden Gallery 1971 (with label on reverse); Galerie M. E. Thelen, Köln; Galleri Östergren, Malmö (also printed three times on reverse)
Galerie Florence de Voldère
pierre brueghel le jeune
Peter Brueghel the Younger (Brussels 1564-1638 Antwerp) Winter Landscape with Skaters - The Bird Trap Oil on panel 39 x 57 cm Among the strong, committed subjects that make up the oeuvre of Peter Brueghel the Elder, The Bird Trap is like a gift in the form of a poem all its own. The very different subject at the heart of this work is pure emotion. Whether provoked by the silence of nature, or by an awareness of the human scale in the macrocosm, or for any other reason, it remains a masterpiece out of time.
Klaas Muller
Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.
J. Baptista
'Minas Novas' necklace Silver and quartz Portugal, 18th century Weight 100.5 gr. 9.5 x 33.5 cm Articulated links studded with 'Minas Novas' (colourless quartz) with a large bow in the centre, applications of stylised botanical elements and a removable dove Literature: similar pieces illustrated in Orey, Leonor d'-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/Zwemmer, Lisbon/London, 1995, pp. 92-94
Pauline's Jewellery Box
Belle Epoque sapphire & diamond Chaumet bow brooch, circa 1910 Set with sapphires and diamonds. Estimated total sapphire weight 10.00 carats. Estimated total diamond weight 15.00 carats. The diamonds are bright and lively, mounted in platinum and 18kt yellow gold. Stamped with French hallmarks and maker’s marks: 280-470-4320 / 89834 Provenance: France
Giammarco Cappuzzo Fine Art
Jusepe Ribera (Jativa 1591-1652 Napoli) An Apostle, circa 1635-1638 Oil on canvas 76 x 62 cm With gratitude to Dr. Nicola Spinosa, Dr. Riccardo Lattuada and Dr. Viviana Farina, leading experts of Jusepe Ribera to have confirmed the attribution. Provenance: private collection, France; private collection, Italy This Apostle is part of the cycle of portraits of the Apostles by the same artist, housed in the Prado Museum in Madrid. Diagnostic analyses conducted on the canvas have confirmed its full compatibility with works executed around 1630 by the painter, also revealing the presence of preparatory drawing, a method he frequently employed.
De Brock
austin eddy
Austin Eddy (USA, Boston, 1986) Consolation, 2024 Oil on canvas 203.2 x 142.2 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Exhibitions: Austin Eddy: Still Life, 21 September-24 November 2024, Kunstverein Heilbronn, Heilbronn, Germany; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
Pauline's Jewellery Box
Belle Epoque diamond Boucheron tiara, circa 1915 Early 20th century diamond Boucheron tiara, set with three central pear-shaped diamonds weighing 3.14 carats each, with a colour grade of E and clarity grade of IF. The second pear-shaped diamond weighs 2.65 carats, with a colour grade of H and clarity grade of SI. The third pear-shaped diamond weighs 2.94 carats, with a colour grade of F and clarity grade of VS2. The estimated total diamond weight is 28.00 - 30.00 carats. The tiara is mounted in platinum. Each pear-shaped diamond is accompanied by a Lab certificate from GIA Provenance: France
Victor Werner
bert de leeuw
Bert De Leeuw (Antwerp, 1926-2007) Gedenksteen voor een Onbekende, 1955 Mixed media on canvas H 128 x W 96 cm Titled, signed and dated on reverse of canvas 'Gedenksteen voor een Onbekende 55' Literature: Bert De Leeuw, Monografie, Antwerpen, uitgeverij Pandora, 1997, ill. p. 51 Bert De Leeuw was a self-taught artist, excelling as a painter, draughtsman, sculptor, and engraver. He began his career in advertising but switched to art full-time in 1962. Known for his abstract and informal style, De Leeuw's early works used thick, textured materials to evoke interstellar spaces. He was a co-founder of the influential ‘G58’ artist group in Antwerp, which played a pivotal role in post-war abstract art. Over time, he transitioned from painting to sculpture, focusing on geometric forms and public art. De Leeuw exhibited internationally, including at the Paris and Tokyo Biennales, and won multiple awards, including a 2nd prize from 'De Beers' for jewellery design. He was later honoured as a 'Knight of the Order' by Leopold II.
Artimo Fine Arts
albéric collin
Albéric Collin (Antwerp, 1886-1962) Elephant of the Indies Bronze, reddish-brown patina with golden undertones H 37.5 x W 36.5 x D 18 cm Model created in 1924, lost-wax, signed 'Alberic Collin' and stamped in the wax 'Claude Valsuani foundry' in Paris Provenance: Van Weert family for three generations; acquired by Mrs. Magier in 2001
Segoura Fine Art
carlos schwabe
Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.
Galerie Cento Anni
edouard marcel sandoz
Edouard Marcel Sandoz (Basel 1881-1971 Lausanne) Fennec assis, circa 1922 Bronze H 13 cm Signed Ed. Sandoz, foundry stamp Susse frères, Paris Lost wax Provenance: private collection, Belgium Literature: Félix Marcilhac, Sandoz sculpteur figuriste et animalier, Les Éditions de l'Amateur, Paris, 1993. Model repr. p. 365
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86