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Galerie Boulakia
Georges Mathieu Louis VII épouse Eléonore d'Aquitaine, 1958 oil on canvas 97 x 162 cm 38 3/16 x 63 3/4 in signed bottom left This artwork is referenced among the authentic artworks of the « Archives by Jean-Marie Cusinberche on Georges Mathieu ». An attestation of the « Archives by Jean-Marie Cusinberche on Georges Mathieu » will be provided to the buyer. Provenance Galerie Europe, Paris
Univers du Bronze
Jean-Baptiste Carpeaux (Valenciennes 1827-1875 Courbevoie) Les trois Grâces (Trial example, variant), 1873-1874 Bacchant crowned with ivy, Bacchant with roses et Bacchant with laurels Terracotta with pinkish patina, 'Atelier-Dépôt à Auteuil, 71 rue Boileau, Paris' H 79.2 x W 44.5 x D 36 cm Trial example, earlier version prior to the final composition, signed ‘J B-te Carpeaux’ and dated '1873' with 'Propriété Carpeaux' seal : variations in the respective positioning of the Bacchantes with laurel and ivy, and a variation in the right leg of the latter; vibrations in the particularly subtle modelling of the figures; sketch-like modelling, rough indications in the central plant stem, the quiver, and the laurel, ivy and rose leaves crowning the Bacchants, with an improvised rose in a different position than the edited examples. Artist’s intervention. Kilned in 1873
Galerie Jean-François Cazeau
Guillaume Cornelis van Beverloo dit Corneille (1922-2010) et Michel Macréau (1935-1995) "Vendredi 14 novembre - Nous allons Corneille et moi essayer de travailler ensemble - A toi Cérès" 1968 Oil on canvas, collaborative work Signed « Corneille 68 » and « Macréau. M ». 100 x 200 cm Provenance: Artist's studio Collection Cérès Franco, collector and curator of Brazilian origin and patron of the Art Brut and CoBrA mouvements. Succession Cérès Franco. Private collection, France, acquired from the former. Exhibitions: - "En grand format, exposition inaugurale La Coopérative Musée Cérès Franco", Montolieu, 1er juillet – 31 octobre 2015. - "La Peau et les mots", La Coopérative - Musée Cérès Franco, Montolieu, 1er mai – 31 octobre 2016.
De Zutter Art Gallery
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La clouleur spontanée', Le mans, Musée de Tessé 2017/2018 and Musée de Pont Aven 2018 Exhibition: CoBrA expositie Museum voor Schone Kunsten Brussel 2008/2009
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
Thomas Deprez Fine Arts
Gabrielle Montald (born Canivet) (Brussels, 1867-1942) Decorative bird, 1929 Gouache and ink over gold ground on paper 61.5 x 46 cm (sheet) 64 x 48 cm (framed) Signed and dated lower right ‘G. Montald 29’ Provenance: private collection, Belgium Related works: Among Gabrielle Montald’s most significant autonomous bodies of work, the so-called 'Oiseau décoratif series' occupies a central position. Although the motif appears as early as 1914, the majority of these works were produced between 1925 and the early 1930s. Following her international recognition at the 1925 'Exposition des Arts Décoratifs in Paris', where her imaginative bird drawings were prominently exhibited, the series expanded in both scope and refinement. In 1927, three of the works shown in Paris were acquired by the Belgian government, marking the beginning of an institutional recognition that endures to this day. Rarely appearing on the market, a large part of Gabrielle Montald’s known oeuvre, including her textiles and bookbindings, is now preserved in Belgian museum collections.
Desmet Fine Art
Egidius Van den Vliete, called Egidio della Riviera (Mechelen circa 1535-1602 Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th-early 17th century Marble H 25.4 x W 64.8 x D 59.7 cm Provenance: the estate of Stanley Moss, New York Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); formerly Giustiniani collection, Rome; formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence
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
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.
Harold t’Kint de Roodenbeke
René MAGRITTE ( 1898 - 1967 ) “Lilith” Original pencil drawing 146 x 98 mm Signed upper right Provenance Collection privée Paris Literature Les Lèvres nues, « Le cache sexe des anges », 1978, illustrated p.9 René Magritte, « A lab of ideas », 8th may – 4th sept 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, illustrated p. 123 Xavier Canonne, « René Magritte, La ligne de vie » , 15th nov 2025 – 22 feb 2026, KMSKA, Antwerp, Belgium, illustrated p. 103. Exhibitions René Magritte, « A lab of ideas », 8th may – 4th sept 2022, Nordiska Akvarellmuseet, Skarhamn, Sweden, n° 164, illustrated p. 123 Xavier Canonne, « René Magritte, La ligne de vie » , 15th nov 2025 – 22 feb 2026, KMSKA, Antwerp, Belgium, illustrated p. 103.
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.
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' 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, under the n°118 059 Provenance: Michel Guy collection, Paris; private collection, Paris; private collection, France
Mearini Fine Art
Corinthian capital (variation on a Roman type from the 3rd/4th century) Central-southern Italy, late 12th - early 13th century Greek Marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.
Galerie Nicolas Bourriaud
André Bizette-Lindet (Savenay 1906-1998 Sèvres) Diane the Huntress, circa 1937-1938 Bronze with a nuanced brown-green patina, on a blackened wooden base H 64 x W 70 x D 20 cm Signed ‘Bizette-Lindet’ Cast by Susse, bears the foundry’s mark ‘SUSSE Fres / PARIS / CIRE PERDUE’ and the inscription ‘BRONZE’ Literature: Amandine Delcourt, Bruno Gaudichon and Fanny Legru, 'Faire le Beau. Le bestiaire de La Piscine', Ghent, Snoeck, 2017, p. 57 A similar example is held at the Musée de la Piscine in Roubaix (Inv.: FNAC 6463)
Franck Anelli Fine Art
Transition period secretary in wardrobe stamped Charles TOPINO (1742-1803) and Jurande hallmark Rectangular in shape, the front uprights with cut sides, the front legs arched, the hind legs straight, the oak frame, it opens with a drawer, two leaves and a flap revealing a compartmentalized interior of seven drawers and four compartments. Top of breccia marble from Aleppo. Inlaid decoration in rosewood, amaranth, holly, sycamore, lemon tree, stained wood, tobacco wood, drawing lattices on the uprights and the upper drawer, those of the latter, embellished with flowers, and trompe-l'oeil on the front and on the sides, a decoration of garlands of oval cartouches of stylised acanthus leaves uniting the panels of the toilet seat and the leaves, each also presenting, in the upper part, a leafy garland that can be found on the side panels. The latter are decorated with two gadrooned urns close to the flowered vases of the leaves. The toilet seat has a trompe-l'oeil perspective decoration, an orangery whose open shutters give a glimpse of a wooded landscape in the distance, a perspective accentuated by the checkerboard paving, also present on the leaves. Eight boxes of fruit trees are spread around a table on which are placed two flowered vases and under which is a watering can. The interior reveals six side drawers in three rows, inlaid with a floral vase pattern, as well as a central drawer. Stamped TOPINO and hallmark of Jurande Charles TOPINO received master in 1773 The art of marquetry The bronzes are discreet on our desk and this is intended to give pride of place to marquetry, qualified as wooden painting. If it is possible and tempting - rightly to link a cabinetmaker to his marquetry and this is regularly the case for Topino whose utensil marquetry inspired by the borders of Chinese Coromandel lacquer screens of the time is a characteristic of the artist - it turns out that the models circulated and that inlaid panels could be used by the same circle of cabinetmakers. If the vases, potiches, flowers, utensils reproduced, invented, associated, allow us to recognize Topino's art, it should be noted that the framing motif made up of oval reserves with quartefeuilles and spandrels can be found on secretaries, a chest of drawers and a dressing table stamped Jacques Bircklé. By this same cabinetmaker, a secretary also presents the same vases present on our furniture. Very similar marquetry panels. both in their compositions and in their frames can be found on a chest of drawers attributed to Jacques Bircklé, illustrated in the book by Pierre Kjellberg, who also defines the paving pattern as Bircklé's "almost exclusiveness". our secretary thus witnessed the circulation of drawn or engraved models -
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne - the nymph turned into a laurel tree to escape the god Apollo - comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Franck Anelli Fine Art
Jacob ROTIUS HOOM (1644-1681) Bouquet of Flowers Oil on canvas, 69 x 56 cm Tulipes, roses, une iris, une pivoine, un pavot, des framboises et d'autres fleurs dans un vase sur une corniche de pierre dans une niche, signé et daté en bas à gauche : R... FA°1674, Provenance: Private collection, Austria, since the late 19th century; thence by descent to the present owner