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Gallery Sofie Van de Velde
Victor Servranckx (Diegem 1897-1965 Vilvoorde) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Oil on canvas 146 x 81 cm Signed and dated lower left Provenance: Félix Carlier, Watermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929); Galerie J.-P. Alaerts, Brussels; London, Christie’s, 16 October 1990, lot n° 61 (ill.); Lokeren, De Vuyst, 6 October 2001, lot n° 489; private collection, Brussels; Galerie Ronny Van de Velde, Antwerp Literature: La Nation belge (Brussels), 12th year, n° 48, 17 February 1929, ill. p. 3; Le Peuple (Brussels), 5th year, n° 48, 17 February 1929, ill. p. 1 Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue); Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, n° 33; Brussels, Palais des Beaux-Arts, 1947, n° 45 '146 x 92 cm'; Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, n° 117; Brussels, Musée d’Ixelles/Museum van Elsene, 1965, n° 107; Hasselt, Provinciaal Begijnhof, 1970, n° 57 (ill.) Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Jacques Lipchitz (Lithuania, Druskininkai 1891-1973 Capri) Sitting figure, 1915 Bronze H 87 cm Signed 'JLipchitz' and numbered 2/7 (on base) Provenance: the estate of the artist; acquired from the above mentioned in 1989 by current owner Exhibition: Musée des Années 30, 'Lipchitz, Les Années Françaises de 1910 à 1940', 2005-2006, n° 10, pp. 16-17, ill. in colour
CKS Gallery
Sam Francis (San Mateo 1923-1994 Santa Monica) Composition, 1990 Acrylic and paper collage on paper 57.2 x 81.3 cm Stamped on the reverse with Sam Francis Estate logo stamp This work is registered in the archives of the Sam Francis Foundation under identification n° SF90-5PRS Provenance: private collection, the Netherlands; private collection, USA Exhibitions: St. Paul de Vence, Guy Pieters Gallery, Sam Francis, July-August 2003 (ill. in colour); Amsterdam, Museum Jan Van Der Togt, Sam Francis Remembering, November 2004-January 2005, pp. 138-139 (ill. in colour)
Repetto Gallery
Lucio Fontana (Rosario, Argentina 1899-1968 Varese, Italy) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
Galerie bei der Albertina ▪ Zetter
Vally Wieselthier (Vienna 1895-1945 New York) Female head with green flower, 1928 Red pottery, polychrome glaze H 28.5 x W 13.5 x D 14.5 cm Manufactured by the Wiener Werkstätte, model n° 494 Monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionnally restored Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3; cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, n° 77f and p. 286, WV-K 587 Exhibitions: Kaiserslautern, Museum Pfalzgalerie, 'Vally Wieselthier-Golden Girls n° 2', 2022/23; New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15 October 2025-9 February 2026
CKS Gallery
Jean Gabriel Domergue (Bordeaux 1889-1962 Paris) Grand Gala Oil on canvas 100 x 80 cm (unframed) 126 x 107 cm (framed) Signed, titled and inscribed 'A Madame G.' Inscriptions on the stretcher: A Jacky Grasseau 'Ce coin de la vie parisienne' Provenance: private collection Exhibition: Galerie Goya, 28 allées de Tourny, Bordeaux, Domergue n° 1
Galerie Nicolas Bourriaud
Emile Monier (Paris, 1883-1970) Bust of a Peulh woman, 1930 Fine Swedish granite H 65.5 x W 43 x D 30.5 cm Signed ‘EMILE MONIER’, dated ‘1930’ and titled ‘KOUMBO’ Unique piece Provenance: private collection, France Exhibitions: Société coloniale des artistes français, 1930, n° 101; Office privée des colonies, 34 rue Pasquier, Paris 8th arrondissement, until 19 December 1930
Jan Muller Antiques
Juriaen Jacobs (Hamburg 1624-1685 Leeuwarden) A mother and her children, 1659 Oil on canvas 151 x 113 cm Signed an dated 'J. Jacobs 1659' Inventoried on the RKD n° 216993 Provenance: Warberg collection, Oslo, 1948; Braunschweigh, Herzog Anton Ulrich-Museum n° 809 (1983) Literature: Henrik Lungagnini, 'Der Hamburger Maler Juriaen Jacobsz. 1624–1685: Leben und Werk' (PhD diss., 1970), pp. 232-33
Galerie Jean-François Cazeau
Yayoi Kusama (Matsumoto 1929-2026 Tokyo) Uchu/Universe, 1994 Acrylic on canvas 91 x 73 cm Signed, titled and dated in Japanese on the reverse 'Yayoi Kusama 1994' This work is registered in the Archives of Yayoi Kusama Studio as n° 1518 Provenance: Ota Fine Art, Tokyo; private collection Sotheby’s London, 2022, lot 318; acquired by the current owner at Sotheby’s London; private collection, France
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Pair of armchairs ('ouvrier' series), circa 1904 Oak, black-painted iron and woven straw H 93 x W 50 x D 50 cm Produced by 'Serrurier et Cie' Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy 'un créateur précurseur' 1858-1910, Paris, Faton, 2008 p. 150; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, pp. 88-89 A true manifesto of Gustave Serrurier-Bovy’s principles, this pair of armchairs, illustrated in Art Décoratif in 1904, embodies the foundations of the artist’s thinking. Functionality, clarity, simplicity of materials and lines - the use of oak and a backrest secured with simple iron screws, initially functional and subsequently decorative, together with a rush seat - are all characteristic of his approach. His commitment to serial production, allowing his work to reach a wider audience, further demonstrates his progressive vision. Together, these elements place Gustave Serrurier-Bovy at the forefront of modernity.
Waddington Custot
Jean Hélion (Couterne, Rives-d'Andaine 1904–1987 Paris) Homme au chapeau, 1943 Oil on canvas 58.1 x 43.1 cm Signed and dated on reverse ‘Hélion va 43’ This work is recorded in the online catalogue raisonné de l’oeuvre peint de Jean Hélion, no. 876 (http://www.helion-cat-rais.com/moteur/pop.php?id=1216) Provenance: John Ashbery, New York (directly from the artist); Connaught Brown, London Exhibitions: ‘Jean Hélion’, Spencer A. Samuels & Co., Ltd, New York, 7 April–22 May 1976, catalogue no. 8 (repro. In b&w); ‘Works from the Collection of John Ashbery’, Kasmin Gallery, New York, 1 November–22 December 2018; ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026
Pelgrims de Bigard
Anthonie Verstraelen (Gorinchem 1594-1641 Amsterdam) Winter landcape with ice skaters by the city edge Oil on panel 43 x 71 cm Provenance: with kunsthandel P. de Boer, Amsterdam, 1937-1938; collection Ir. J. Th. Berkemeijer, Rotterdam, 1938; collection F.N. Meuter, 1972 (according to the label of P. de Boer attached to the reverse); with kunsthandel Waterman, Amsterdam, by 1982; with Palm Court Galleries, Baarn, 1999; private collection, the Netherlands Literature: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938, cat. n° 160, ill. 57; Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32, ill. p. 149; and ill. in Tableau, 15 February 1982 Exhibitions: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938; Amsterdam, Kunsthandel P. de Boer, ‘Nederland water/land, de relatie tussen land en water in de Nederlandse schilderkunst van 1500 tot nu’, 13 January-19 February 1972, n° 38 (label attached to the reverse); Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Coco mangeant sa soupe, 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right 'Renoir' Provenance: Ambroise Vollard, Paris; private collection, Zurich, circa 1930; Fine Arts Gallery of San Diego, March 1942 (on loan from a private collection); Dalzell Hatfield Galleries, Los Angeles, 1943-1949; Van Diemen-Lilienfeld Galleries, New York, 1953; Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953; Worcester Art Museum, Massachusetts (inventory n° 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65; Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, n° 3415, p. 435 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, n° 269; San Diego, Fine Arts Gallery, 1942; Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, n° 5; Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel); Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016-22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February-15 May 2017)
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.
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
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.