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Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52,3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the comité Marc Chagall Provenance: private collection, France
Thomas Deprez Fine Arts
Gabrielle MONTALD ♀ Née CANIVET, 1867 | 1942 Oiseau décoratif - Decorative bird - 1929 615 × 460 mm (sheet) | 64 × 48 cm (framed) Guoache and ink over gold ground on paper. Signed and dated l.r.: ‘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.
Francis Janssens van der Maelen
Philippr 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.
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
Spazio Nobile Gallery
Ann Beate Tempelhaug (Norway, Mosjøen, 1954) Like days, nights, years (Som dager, netter, ar), 2024 Stoneware porcelain, glaze 185 x 113 x 18 cm unique piece signed by the artist on the back Certificate of authenticity Literature: Ann Beate Tempelhaug, Nord, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Ann Beate Tempelhaug, Nord, Solo Exhibition, Spazio Nobile, Brussels, 2024; Ann Beate Tempelhaug, I Should Have Not Used Blue, Solo Exhibition, Fondazione Officine Saffi, Milan, 2025; Ann Beate Tempelhaug, Umbra, Solo Exhibition, Kunstnerforbundet, Oslo, 2026
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 × 165 cm Upper element: 38 x 165 cm; lower element 106,5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank Collection, Frankfurt (acquired from the above in 1985)
Victor Werner
Franz Barwig (Shönau, Nordmähren 1868-1931 Vienna) Group of Fauns, ca. 1900 Sculpted oak Signed 'F. BARWIG' on the base H. 94 x L. 99 x D. 18 cm This amazing, large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel
Klaas Muller
Gerard Ter Borch (Zwolle 1617-1681 Deventer) Portrait of a Man with a Black Hat, circa 1650 Oil on Oval Panel 19.9 x 16.5 cm Gerard ter Borch (1617-1681) was one of the most refined painters of the Dutch seventeenth century. Born in Zwolle, he received his first training from his father, Gerard ter Borch I, within a household where drawing and copying formed an essential part of daily artistic practice. Several of his siblings also became artists, contributing to a rich familial archive that documents the development of the Ter Borch workshop. After extensive travels through Amsterdam, Haarlem, London, Madrid and Münster, Ter Borch settled in Deventer, where he became a respected member of the city’s elite. Ter Borch is celebrated for his intimate genre scenes and portraits, distinguished by a subtle palette, delicate handling of light, and a keen sensitivity to gesture and expression. His paintings are marked by elegance, psychological depth, and exceptional technical skill, particularly in the rendering of skin and textiles. This portrait of a man wearing a black hat, painted on an oval panel, exemplifies these qualities. The sitter faces the viewer directly and meets our gaze with quiet self‑confidence, creating a sense of immediacy and silent dialogue. His restrained pose and understated attire suggest dignity without ostentation. The refined and harmonious colour scheme, composed of carefully balanced tones, is characteristic of Ter Borch’s portrait practice. The subtle fall of light gently models the face, giving the features clarity and depth without strong contrasts. The smooth surface of the panel enhances the precision of Ter Borch’s brushwork and contributes to the intimate character of the work. Rather than a display of status, the portrait becomes a concentrated study of presence and inner life. We are grateful to Marjorie Wieseman, who endorsed the attribution on the basis of a photograph, and to Guido Jansen, who confirmed the attribution after examining the painting in person.
Willow Gallery
André Lhote (Bordeaux 1885-1962 PAris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Provenance: Simone Lhote, Paris (wife of the artist); Suzanne Bermann, Paris (by descent from the above); Soufer Gallery, New York (acquired from the above, 1988); Acquired from the above by the late owner, March 1991; private collection, Chicago This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation. Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Van Pruissen Asian Art
Ban'ura Shogo (1901 - 1982) Paper and Writing Box with pea plant design Japan, 1950-1960 H 20.8 x W 32 x D Signature: Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail - 20th century Japanese lacquer from the Ben Janssens Collection, 2021 Exhibited at Japan museum SieboldHuis 2021
Finch & Co
Ancient Celtic Bust of a Radiate Deity ‘Sol Invicta’ Wearing a Halo of the Rays of the Sun Limestone British, 1st Century BC - 1st Century AD H 42 x W 40 x D 20 cm Provenance: private collection West Country UK; Finch and Co, item number 1, catalogue number 30, Summer 2018; private collection Comparative reference: Dr Anne Ross ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45,5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Galerie bei der Albertina ▪ Zetter
Adolf Loos Ladie´s Writing Desk, around 1903/04 Manufactured by Friedrich Otto Schmidt, Vienna Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 cm (with top), H 80 cm (without top) W 113 cm, D 67.5 cm Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenienz: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, no. 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983 Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987
Bernardini Milano
Vacheron & Constantin, Genève. Rare and elegant pocket watch in platinum, 1938 Exquisite evening pocket watch in platinum from the late 1930’s. The very simple and rational design of the case contrast with the spectacular avant-garde dial in various tones of grey with ivory indexes.
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, illustrated 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
Galerie Oscar De Vos
Frits Van den Berghe (Gent 1883 - 1939) The companions 1932 Oil on canvas 150 x 130 cm Signed lower right: FVBerghe 32 Provenance: Alla en Bénédict Goldschmidt, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr.1, 1940, p.4 Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp.99-110, cat. 55 Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, no. 5-6, 1948, pp.240-242, pl.55 Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, no. 689 Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), no. 396 Langui, Het Expressionisme in België, 1970, pl. 81, p.128 Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164 Boyens, Frits Van den Berghe, 1999, pp.161, 233, no. 132 Boyens, Frits Van den Berghe, 1999, p.290, no. 753 Pauwels, Als een fonkelenden spiegel, 2019, pp.296-297 Exhibitions: 1933, Ghent, Frits Van den Berghe en Joseph Cantré, no. 6 1934, Stockholm, Belgisk Konst, no. 204 1934, Oslo, Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, no. 204 1937, Moscow & Leningrad, Hedendaagse Belgische Kunst, no. 9 1938, Brussels, Les Compagnons de l'Art, no. 187 1997, Deurle, Deurle: 6 juli 1997 (The Deurle Conversation) 1999, Ostend, Retrospectieve Frits Van den Berghe, no. 132