This section will be available this Autumn.
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This 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.
Edouard Simoens Gallery
Pierre Alechinsky (Brussels, 1927) Le trou du souffleur, 1997 Acrylic and ink on paper laid on canvas 146 x 113 cm Signed and dated on the back This work will be included in the forthcoming catalogue raisonné currently in preparation by Frédéric Charron under n° 3216 Provenance: 'Pierre Alechinsky: Oil, acrylic, watercolour, etching, lithograph...' Atelier 22, Schilde 2004
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Circular tabletop in coloured marbles, circa 1835-1845 Approximately 200 specimens of coloured pebbles, Bardiglio marble and bronze Tabletop: Ø 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
Harold t’Kint de Roodenbeke
Pol Bury (La Louvière 1922-2005 Paris) L’étourdie, 1945 Oil on canvas 60 x 70 cm Signed lower right and dated 1945 This work is listed in the catalogue raisonné of the Pol Bury paintings under n° PO 46 Provenance: collection C. Matisse, La Louvière; sale Horta, Brussels, 12 October 2009, lot 208; private collection, Liège Literature: José Vovelle, 'Le surréalisme en Belgique', Brussels, André De Rache éditeur, 1972, p. 248, ill. p. 308; Viviane Baras-Flament, 'Pol Bury, 2014', bibliographical reference, 1974, ill. pl III; Philippe Roberts-Jones, Naissance et triomphe du surréalisme en Wallonie', 1975, ill. p. 297; Robert Hoozee, Piet Boyens, Inge Henneman, Monique Tahon-Vanroose, Helke Lauwaert, Serge Goyens de Heusch, Ronny Gobyn, 'L’art moderne en Belgique 1900-1945', Antwerp, Fonds Mercator, 1992, ill. p. 312; Rosemarie E. Pahlke, 'Pol Bury', Ghent, Crédit communal, 1994, pp. 102-103, cat 45-6, ill. p. 103; Histoire de ne pas rire, le surréalisme en Belgique, Bozar et Fonds Mercator, 2024, ill. p. 152 Exhibitions: Galerie Lou Cosyn, Brussels, Pol Bury, Juin 1946, n° 9; Musée des Beaux Arts de Liège, 'L’apport Wallon au surréalisme', October-November 1955, ill. n° 4; La Louvière, 'Introduction au surréalisme en Belgique, community hall, April-May 1969, n° 8; Kunstverein Hamburg, 'René Magritte et le surréalisme en Belgique', January-March 1982, n° 3, ill. p. 229; Galleria Nazionale d’Arte Moderna, Rome, April-July 1982; Musées Royaux des Beaux-Arts de Belgique, September-December 1982; Château de Waroux, Alleur, 'Pol Bury, du surréalisme aux ramollissements', April-June 2010; Château de Waroux, Alleur, 'De Dali à Magritte, l’aventure surréaliste', March-July 2011 Pol Bury, an artist and sculptor known worldwide for his kinetic works, began his career in the late 1930s. He met the poet Achille Chavée, who introduced him to the Hainaut Surrealist Group: ‘Rupture’. He also spent time with René Magritte, whom he admired. He contributed to the journal 'L’invention collective', launched by Raoul Ubac and René Magritte around 1940. His surrealist works, in the spirit of his mentor Magritte, were exhibited in 1945 at the International Exhibition of Surrealism at the Galerie des éditions la Boétie in Brussels. This work is one of the most iconic of his Surrealist period.
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)
Galerie BG Arts
René Lalique (Ay 1860-1945 Paris) 'Bacchantes' vase, 1927 Opalescent glass with blue patina Original illuminated bronze base H 24.5 cm (without base) x Ø 19 cm Provenance: private collection, London Literature: Félix Marcilhac, René Lalique-Catalogue de l’Œuvre de Verre, Les Editions de l’Amateur, Paris, 2011, n° 997
Franck Anelli Fine Art
Secretary Charles Topino (1742-1803), master in 1773 Transition period Oak, Breccia marble top, bronze and marquetry in rosewood, amaranth, holly, sycamore, lemonwood, stained woods and tobacco wood H 139 x W 92 x D 38 cm Stamped TOPINO and bearing the Jurande hallmark 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.
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and brown ink, watercolour and gouache, heightened with white and red wash on paper 20 x 29.1 cm The gallery is grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasising the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery.
Ars Antiqua
Jan van den Hecke (Kwaremont 1620-1684 Antwerp) Still life of fruit and flowers with a boy and a monkey in a garden landscape Oil on canvas 107.5 x 141 cm 143 x 176 cm (framed) Published in RKD (n° 118274 (formerly as Jan van Huijsum)) Provenance: sale Charles Sedelmeyer, Paris, 25-28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; European private collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, n° 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, n° 195 (as Jan van Huysum)
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait of Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51.5 x 61.5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collée sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965 The subject of the self-portrait is a recurring theme throughout Rik Wouters’ artistic career. Throughout his life, he produced numerous paintings and sculptures depicting himself, offering insight into the evolution of his artistic style as well as changes in his physical appearance. These works range from one of his earliest self-portraits, characterised by its darker palette, to a painting from the final years of his life, when he had lost an eye as a result of his deteriorating health. The painting 'Portrait of Rik Wouters, Chemise Blanche' was created in 1912, the year of his artistic breakthrough, when he became the first Belgian painter to sign an exclusive contract with the renowned Galerie Georges Giroux. The painting depicts Wouters in a particularly serene setting, with little to no discernible emotion on his face. This sense of restraint is further emphasised by the Fauvist technique, which favours broad areas of colour over intricate details. Following Wouters’ death, the painting remained in Nel’s possession, reflecting the particular personal significance she attached to the work.
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze)' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
Galerie bei der Albertina ▪ Zetter
Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 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 Questions of furnishing remained an important subject for the architect Adolf Loos (1870–1933) throughout his entire creative output. The World’s Fair held in Chicago in 1893 was the reason for a trip to the USA, which resulted in a three-year stay. The engagement with modern lifestyle and Anglo-Saxon interior design culture were formative experiences for the aspiring architect. Today, Loos is widely seen as one of the most avant-garde architects of his generation and his work is presented in national and international collections, from the MAK – Museum of Applied Arts in Vienna, to the Musée d’Orsay in Paris and the Victoria and Albert Museum in London. Of this particular writing desk only two pieces are known to exist. It perfectly exemplifies Loos’ strict no-ornament policy, always putting functionality before aesthetic, and his high standards concerning materials and craftmanship. To ensure the latter he would often employ the traditional Viennese furnishings company Friedrich Otto Schmidt and its master carpenters as manufacturers for his interior designs. This model was shown in three separate museum exhibitions, in Paris 1983, Karlsruhe 1987 and Barcelona 2017.
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.
Stéphane Renard Fine Art
Jean-Auguste-Dominique Ingres (Montauban 1780-1867 Paris) Portrait of a Woman, 1802 Oil on canvas 29 x 21 cm 33 x 40.5 cm (framed) Provenance: purchased at a public auction in Asheville (North Carolina, USA) in January 2024 Exhibition: Museum Central des Arts (Salon de 1802), n° 719, Ingres, Portrait de femme This Portrait of a Woman by Jean-Auguste-Dominique Ingres is a discovery. The gallery would like to thank Mr. Eric Bertin, Mr. Sylvain Bédard, Lecturer at the University of Montreal, and Professor Andrew Carrington Shelton of Ohio State University, all three of whom confirmed the painting’s attribution to Jean-Auguste-Dominique Ingres after first hand examinations.