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Kunsthaus Kende
Bikō Hayashi (Akita, 1937) Kin-Gin-Dō Mokume-gane vase 'Hyotan', 2024 Fine gold, fine silver, copper H 18 cm Signed by the artist below and on the accompanying tomobako (wooden box) Provenance: the artist's personal collection Exhibition: featured in April 2026 at the solo exhibition 'Bikō Hayashi-Gold, Silver, and Copper Mokume-gane: Cultural Property Exhibition' in Akita Japanese metal artist Bikō Hayashi is one of the foremost representatives of contemporary Japanese metalwork. Combining the centuries-old tradition of kōgei with a modern sculptural language, he is renowned for his mastery of tankin, the art of shaping metal through hammering. A defining achievement of his career is the rediscovery of Kin-Gin-Dō Mokume-gane (gold, silver and copper wood-grain metal), a highly complex technique dating back to the early Edo period. Once used to decorate samurai swords and armour, this craft was almost entirely lost with the decline of the samurai class. After more than four decades of research, Hayashi succeeded in reconstructing its traditional methods and metal compositions, bringing this remarkable art form back to life and adapting it for contemporary sculptures and vessels. In recognition of his contribution, he was designated a custodian of intangible cultural heritage by Akita Prefecture. The Hyōtan, or bottle gourd, is a traditional Japanese symbol associated with fertility, prosperity, longevity and protection. Its distinctive shape represents the preservation of happiness and positive energy.
Spazio Nobile
Pao Hui Kao (Taiwan, 1987) Urushi Black in Red Lacquer Leaf, 2023 Crepe paper, rice glue, Urushi lacquer, red and black pigments, gold kinstsugi 114 x 70 x 16 cm Unique piece Signed by the artist at the back Black Urushi Paper Pleats, 2023 Tracing paper, rice glue, Urushi lacquer, black pigment Sideboard H 70 x W 135 x D 33 cm Low stool H 45 x Ø 32 cm Low bench H 35 x W 130 x D 29 cm Side table H 60 x Ø 32 cm Unique pieces Signed and dated by the artist Certificates of authenticity Literature: Pao Hui Kao, 25 Seasons, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Fondation POC, Brussels, 2020; Jewish Museum, Brussels, 2021; LOEWE FOUNDATION Craft Prize Finalist, Seoul, 2022; Pao Hui Kao, 25 Seasons, Solo Exhibition, Spazio Nobile, Brussels, 2023-2024; Fondazione Dries Van Noten, Venice, 2026
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 couleur spontanée', Le Mans, Musée de Tessé 2017-2018 and Musée de Pont-Aven 2018 Exhibition: CoBrA exhibition at the Royal Museum of Fine Arts of Belgium in Brussels, 2008-2009
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise) White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Bernier/Eliades
Tony Cragg (Liverpool, 1949) Stand, 2025 Corten steel 115 x 36 x 108 cm He was a professor and the Universität der Künste Berlin (2001-2006), taught at the Kunstakademie Düsseldorf (1978-2001) before serving as its Director (2009-2013), and held the Chaire de Création Artistique at the Collège de France in Paris (2013-2014). Cragg was elected a Royal Academician in 1994, represented the United Kingdom at the Venice Biennale in 1988, and received the Turner Prize the same year. He was appointed Commander of the Order of the British Empire in 2002, received the Praemium Imperiale for Sculpture in Tokyo in 2007, was awarded the First Class Order of Merit of the Federal Republic of Germany in 2012, and was knighted in 2016. This year, Cragg is set to receive the European Culture Prize 2026 at the Royal Concertgebouw in Amsterdam. He is also the founder of Waldfrieden Sculpture Park in Wuppertal, where he exhibits works from different artists and different generations, such as Rebecca Horn, Berta Fischer, Anthony Caro, Heinz Mack, and Joseph Beuys, among others.
Galerie Raf Van Severen
Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Décor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV In 1936, the French-language premiere of the monodrama Erwartung by Arnold Schoenberg was organized in the Palais des Beaux Arts in Brussels. And it was Jean Brusselmans who was commissioned with the design of the sets. In “Decor for Erwartung” we see the study for the 4th scene of the drama. During this scene the female protagonist, who is desperately on search for her lover, encounters a road in the middle of the forest. To her horror, she can only discover his lifeless body by the edge of a lonely house. Brusselmans’ typical painting style, where he grabs back to simplicity and clearly alienated figures, remarkably makes it easier to visualize how the sets must have looked during the actual play. It gives the viewer an endless source of imagination. Together with the history behind the work it makes an absolute masterpiece of “Decor for Erwartung’.
Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, ill. p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May-17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January-4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
Dries Criel
EOS Earrings Sandblasted 18k 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.
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) La Force (Strength), 1987 Painted polyester resin 35 x 53.3 x 29.2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Paysage, arbres fruitiers (1909) Oil on paper 47.7 x 63 cm Stamped with signature 'Bonnard' (Lugt 3886, lower left) Provenance: the artist's estate; private collection, Paris; anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226; private collection, Europe Literature: J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, n° 1949, (ill.) p. 285
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres transforming the old woman’s son into a lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
Finch & Co
Devotional crucifix of Christ Portuguese Goa, 17th century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm Christ height: 32 cm Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A fine and large Portuguese Goa devotional Crucifix. The polychromed and gilded ivory of Christ crucified on a Coromandel wood cross, ornately embellished with Baroque silver mounts, stands on an integral Coromandel plinth. The agonising Christ on the cross has his head falling to his right, with closed eyes and mouth open in his call to God. His long hair is carved in undulating locks falling to his shoulders. The well-defined torso has flexed muscles and a pronounced rib cage, while the arms have veins threaded along their length. His hands and feet are pierced by silver nails, his wounds are polychromed red, and the edges of the perizonium are gilded.
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
Galerie Capazza
Goudji (Georgia, Borjomi, 1941) Coupe ovale à l'oiseau bleu à la crinière verte, 2025 Sterling silver 925 (1,976 gr), sodalite, aventurine, serpentine, porphyry H 12 x W 70 x D 28 cm Total weight 2,980 gr Bears the master's mark Provenance: the artist's studio Exhibition: exhibited at galerie Capazza
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse: Kallir WV n° D 2223 Provenance: the artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
Alexis Lartigue
Pablo Picasso (Malaga 1881-1973 Mougins) Le peintre et son modèle IV, 1970 Pencil on paper 31.6 x 49 cm Signed and dated upper right Provenance: Sala Gaspar, Barcelona; Galerie Louis Leiris, Paris; private collection, Barcelona Literature: Zervos, Christian. Pablo Picasso, Oeuvres de 1970. Vol. 32. Éditions Cahiers d’Art, París, p. 71, n° 214; Wofsy, Alan. The Picasso Project. Picasso’s Paintings, Watercolors, Drawings and Sculpture: The Final Years. 1970-1973. Alan Wofsy Fine Arts, San Francisco 2002, p. 71, fig. 70-245
Edouard Simoens Gallery
Lucio Fontana (Argentina, Rosario 1899-1969 Comabbio, Italy) Concetto spaziale, 1957 Mixed media (graffiti, holes, ink, aniline) on paper mounted on canvas 80 x 100 cm Provenance: Marlborough Gallery, Rome; Marlborough-Gerson Gallery New York; Gallerie Bonnier; Galerie Pierre, Stockholm; private collection Exhibitions: Hannover 1964; Buenos Aires, 1966; Minneapolis, Lucio Fontana: The Spatial Concept of Art, 1966; Amsterdam, Lucio Fontana: Concetti spaziali, 1967; Stockholm, Fontana: Idéer om rymden, 1967 Publications: Enrico Crispolti, Lucio Fontana: Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels: La Connaissance, 1974
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleau) Femme Libérée, 1949 Oil on canvas 60 x 73 cm Signed and dated 'Jane Graverol 1949' Provenance: collection of his friend and artist Tom Gutt Literature: Xavier Canonne, Le surréalisme en Belgique: 1924-2000, Fonds Mercator, 2006; Le surréalisme en Belgique, Bozar Books, Fonds Mercator, 2024 Exhibitions: Le surréalisme en Belgique, Musée de Mons, March-August 2007; Histoire de ne pas rire, Bozar, Brussels, February-June 2024, ill. p. 221 Created in 1949, the year Jane Graverol met René Magritte, this work is an important example of the artist’s exploration of female identity and confinement. Graverol depicts herself inside a cage. The image reflects on women’s position in the mid-20th century, when social expectations strongly limited women’s independence. Yet, the open door suggests the possibility of emancipation and a desire to break away from prescribed roles. The painting was also repeatedly selected by the press to illustrate coverage of the Bozar exhibition. This artwork embodies something larger: the tension between the restrictions of an era and a woman’s desire to claim a space of her own. Full press references available on request.
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on original canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
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