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Galerie Berès
Édouard Vuillard (Cuiseaux 1868-1940 La Baule-Escoublac) La couseuse, 1893 Gouache and watercolour on a lithographic background 19 x 23,8 cm Monogrammed lower left, EV Provenance: Thomas Justice, Dundee; the Lefevre gallery, London Literature: Les peintres graveurs 1890-1900, galerie Berès, Paris, 10 October - 14 December 2002, n° 222; Édouard Vuillard, Staatliche Kunsthalle Karlsruhe, 18 October 2008 - 25 January 2009, p. 59, n° 13; Vuillard et l'art du Japon, Fondation de l'Hermitage, Lausanne, 23 June - 29 October 2023, p. 60, n° 8
Spazio Nobile Gallery
Pao Hui Kao, 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 (70 x 33 x 135 cm), low stool (45 x ø 32 cm), low bench (35 x 130 x 29 cm), side table (60 x ø 32 cm), unique pieces, signed and dated by the artist Certificates of authenticity Bibliographical references: 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
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
Anthony Short Antiques
Stunning Pair of 19th-Century Victorian Walnut Colonial Reclining Armchairs, circa 1860 This rare and exceptional pair of 19th-century colonial Victorian walnut reclining armchairs beautifully encapsulates the luxury and craftsmanship of the period. Generously scaled and wonderfully comfortable, they combine refined design with the relaxed elegance of colonial campaign furniture. Each chair features a flat lath slatted back with turned outer uprights, sweeping shaped arms, and a leather seat with a loose, hand dyed buttoned leather cushion. The frames are crafted from richly figured walnut, finely shaped throughout and raised on elegant front and rear splayed legs joined by a turned stretcher, with a matching flat lath slatted footrest for full lounging comfort. Retaining their original deep brown leather buttoned cushions and superb patina, the chairs exude warmth, character, and authenticity. Leather squab cushions with float buttons enhance both comfort and style, while the original colour, leather seat, back, and cushions all speak to the quality and integrity of the piece. Seat height is a comfortable 55cm. Designed to recline smoothly to an almost fully horizontal position, these armchairs offer true relaxation. In excellent condition and crafted in England circa 1860, this magnificent pair is a striking representation of colonial Victorian design. Perfect for a library, drawing room, living room, covered garden terrace, or patio, they make a powerful statement wherever placed. A highly desirable pair of period armchairs, beautifully made, wonderfully comfortable, and even more impressive in person, with professionally hand dyed leather in a warm, deep brown tone that enhances their exceptional character. Height 126cm (49.6in) Width 67cm (26.4in) Depth 95cm (37.4in)
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
Bernier/Eliades
RATHER NOT BE USED FOR CATALOGUE JUST FOR PRESS / WEBSITE Martin MARGIELA Untitled, 2024 Carpet on canvas on wooden frame 102 x 72 x 6,5 cm Photo credits: Sebastiano Pellion di Persano Martin Margiela was born in 1957 in Leuven, Belgium. After attending the Sint-Lukas Kunsthumaniora art school in Hasselt, he entered the fashion department of the Royal Academy of Fine Arts in Antwerp in 1977. In 1988, he founded Maison Martin Margiela. Right after the twentieth anniversary of his eponymous brand in 2009, Martin Margiela decided to leave the fashion world. Ever since, he has devoted himself exclusively to the visual arts. Solo Exhibitions 2024 Martin Margiela, Gallery Bernier/Eliades Brussels, Martin Margiela, Gallery Bernier/Eliades Athens 2022 Martin Margiela, Lotte Museum, Lotte Museum of Art, Seoul, The Republic of Korea Martin Margiela, M WOODS Hutong, Beijing, China Martin Margiela: Self-Portraits Eenwerk, Amsterdam, The Netherlands 2021 Martin Margiela, Lafayette Anticipations, Paris, France Group Exhibitions 2025 Fashion & Interiors. A Gendered Affair., MOMu, Antwerp, Belgium 2024 The City Collection Antwerp: In/Sight, M HKA, Antwerp, Belgium 2023 Echo. Wrapped in Memory, MoMu, Antwerp, Belgium No Angels, Wilhelm Hallen, Berlin, Germany Man Ray en mode, MoMu, Antwerp, Belgium 2022 40 Years Zeno X Gallery – the two-thousands , Zeno X Gallery Antwerp South, Antwerp, Belgium 2019 L’homme qui marche / Verkorperung des sperrigen, Kunsthalle Bielefeld, Bielefeld, Germany Projects 2024 “Blinds” Permanent Public Artwork, Antwerp Public Art Collection, Antwerp, Belgium
Galerie Nicolas Bourriaud
BUGATTI Rembrandt (1884–1916) Small Elephant at Rest (1912) Bronze with a nuanced brown patina, signed ‘R. Bugatti’ Cast by Hébrard, numbered ‘11’, bears the mark ‘CIRE PERDUE A.A. HEBRARD’. H. 20.3 x W. 20.5 x D. 12.5 cm Circa 1923 Only twenty examples have been recorded to date. A certificate by Véronique Fromanger will be provided to the buyer Provenance: Cahier Hébrard inv. no. 3717, formerly in the collection of the Countess de V, Toulouse, acquired in 1923 or 1924; private collection, Marseille Bibliography: Véronique Fromanger, "Rembrandt Bugatti, Sculptor: A Monographic Catalogue: A Meteoric Career", Paris, Les éditions de l’Amateur, 2016, model listed under no. 300, p. 364.
Galerie Ary Jan
Moïse Kisling (1891–1953) Landscape of Sanary-sur-Mer Oil on canvas Signed lower left and dated 1932 Dimensions: 64 x 73.5 cm Provenance: Acquired directly from the artist in the 1930s. Private collection, France Christie's Paris, sale of December 1, 2009 Private Collection, France Bibliography: J. Kisling, Kisling, 1891–1953, Turin, 1982, illustrated vol. II, p. 273, under no. 70
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882 - 1916 Amsterdam) Rik with a patch 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, p. 145, 242 De Pesseroey & Langui, Honderd zelfportretten, 1976, p. 46-47 Van den Bussche et.al., Rik Wouters (1882-1916), p. 20, 234 Hautekeete, Simon & De Nijn, Rik Wouters. De menselijke figuur, 1999, no. 74b, p. 100 Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, p. 148-149 Exhibitions: 1935, Brussels, Palais des Beaux-Arts, Exposition Rik Wouters 1946, Den Haag & Rotterdam, Gemeentemuseum & Museum Boijmans, Expositions Rik Wouters 1946 Mechelen, Feestzaal, Retrospectieve Rik Wouters 1947, Antwerp, KMSKA, Rik Wouters 1953, Varese, Seconda Rassegna Internazionale di Scultura all'aperto 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters 1957, Paris, Musée National d'Art Moderne, Rétrospective Rik Wouters 1961, Washington, Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), no. 61 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, no. 74b
Gallery de Potter d’Indoye
An Empire bronze carousel automaton clock, circa 1815 This rare clock, entirely composed of chased and fire gilded bronze, takes the form of a hexagonal pedestal with chamfered corners, housing a movement with a circular white enamel dial on its front. A rich repertoire inspired by antiquity adorns this pedestal: winged griffins, musical putti, cornucopias, scrolled palmettes and rosettes, and, flanking the short sides, two horse heads, chased in the round, each supporting a "pike" enriched at the base with a corolla of lanceolate water leaves, and punctuated by a ringed tablet for one, and a laurel wreath. An imposing carousel, structured around a richly chased central column ending in a ball, distinguishes the clock. Three putti riding swans—one winged, the second wearing Mercury's helmet, and the third dressed as a court jester—each attempt to grasp the tablet's ring with a curved object. The clock rests on a projecting hexagonal base decorated with a frieze of alternating stylized palmettes and fleurons. A spring mechanism, wound with a key accessible on the rear right-hand chamfered edge of the pedestal, sets the carousel in motion. This mechanism is activated either when the clock strikes or, at other times, by operating a small lever visible beneath the keyhole. Height: 51 cm, Width: 26 cm, Depth 17 cm A very similar model is held in the clock collection of the François Duesberg Museum in Mons, Belgium. It differs only in its dial and, most notably, in the inscription "Nicolas Esterhazy, SOUVENIR D’ENFANCE" (Nicolas Esterhazy, Childhood Memory), visible on the front of the base. Also noteworthy is a clock of the same type, signed VAILLANT A PARIS, which was part of the collection of Countess Valtesse de La Bigne Ville d’Avray (1859-1910) and is now in private hands. Another similar example was presented at Drouot on September 15, 2016 (Mac-Arthur Kohn lot 83). It came from the former collection of the Marchioness of Tweeddale.
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 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; Private collection, Paris This work is registered in the Archives of the 'Fondation Hans Hartung & Anna-Eva Bergman' under number : T 1966-E40
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus, Antwerp 1770 Carved wood and ivory H 57,5 x W 27 x D 11 cm Signed Comes with CITES document Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple. With CITES document.
Galerie Hurtebize
Maurice Utrillo (Paris 1883-1955 Dax) Commune de Maixe (Meurthe-et-Moselle), 1924 Oil on canvas 98,4 x 131,3 cm Signed and dated lower left Certificate by Hélène Bruneau, President of the Utrillo-Valadon Committee Provenance : private collection, France Literature : P. Pétridès, L’Œuvre complet de Maurice Utrillo, Paris, 1974, vol V, p. 238, n° 2720 (ill. p.239)
Dr. Nöth kunsthandel
Armand Guillaumin (1841 Paris - 1027 Orly) Les hauteurs de la Sedelle, Crozant, 1910 Pastel on paper 48 x 63 cm Signed lower left Certificate of authenticity from the Comité Guillaumin. tThis pastel work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. Provenance: Galerie Marcel Bernheim, Paris (label on the reverse); Collection F., Paris
Klaas Muller
Maarten Rijckaert (Antwerp 1587 - Antwerp 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.
Laurent Schaubroeck
PAUL EVANS & PHILLIP LLOYD POWELL Monumental Wall Unit Unique piece ORIGIN: USA DATE: c. 1960 MATERIALS: Steel, wood, gold leaf DIMENSIONS: W236 × D51 × H282 cm PROVENANCE: Martin Brooks, Doylestown Extraordinary wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
HELENE BAILLY MARCILHAC
PIERRE-AUGUSTE RENOIR (1841-1919) Les colettes à Cagnes Signed lower right: Renoir Oil on original canvas 27 x 46 cm / 10 5/8 x 18 1/8 in. This work will be included in the Digital Catalogue Raisonné currently being prepared by the Wildenstein Plattner Institute. Notice of inclusion dated March 14, 2000. © Julien Pépy
Repetto Gallery
Carla Accardi (Trapini 1924-2014 Rome) Carminio su tela grezza, 1997 Vinyl on raw canvas 50 x 70 cm Signed lower right; signed, titled, dated and archive number on the reverse Certificate of authenticity on b/w photograph signed by the artist, n° 18/98 Registered at Studio Accardi, Rome, archive n° 629A Provenance: Soffiantino Arte Contemporanea, Turin; private collection Literature: Germano Celant (edited by), 'Carla Accardi. Catalogo ragionato', (Charta, Milano) 1999, p. 419, n° 1997 62 (B&N), ill.
