This section will be available this Autumn.
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980
CKS Gallery
Edwin Lord Weeks (Boston 1849-1903 Paris) A game of chess on a Cairo street, 1879 Oil on canvas 72 x 100 cm (unframed) 110 x 137 cm (framed) Signed and dated lower left 'E.L. Weeks 1879' Letter of authentification issued by Mrs Ellen K. Morris, dated 20 May 2010 This painting will be included in the forthcoming catalogue raisonné of the artist currently in preparation by the Edwin Lord Weeks’ expert, Mrs Ellen K. Morris
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
Galerie Ary Jan
Moïse Kisling (Kraków 1891-1953 Sanary-sur-Mer) Landscape of Sanary-sur-Mer, 1932 Oil on canvas 64 x 73.5 cm Signed lower left and dated 1932 Provenance: acquired directly from the artist in the 1930s; private collection, France; Christie's Paris, sale of 1 December 2009; private collection, France Literature: J. Kisling, Kisling, 1891-1953, Turin, 1982, ill. vol. II, p. 273, n° 70
Vagabond Antiques
Giocondo Albertolli (Bedano 1742-1839 Milan) (Attributed to) Milan, late 18th century Wall lights H 72 x W 45 x D 37 cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period.
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 This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
Galerie Lowet de Wotrenge
Nicolaas Struyck (Amsterdam, 1686-1769) Insect studies Bodycolour, watercolour and pencil on laid paper 44.5 x 28.2 cm Provenance: 'Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior', 1719 (an album of drawings by Struyck, disassembled in the XIXth century); private collection, Belgium
Galerie Alexis Bordes
Constant Montald (Ghent 1862-1944 Woluwe-Saint-Lambert) View of Houses in Spring, 1917 Gouache on paper laid down on cardboard 70 x 88.5 cm Signed and dated lower right 'C. Montald 17' Provenance: private collection, Belgium (acquired at public auction in 1993); private collection, France
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July-30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) Surprise nymph, 1925 (sketch) Bonze and marble base H 18 x W 15.5 x D 9 cm Signed 'Ph. Wolfers' Lost-wax casting, Wolfers Studio Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, p. 420, n° 306 Exhibitions: Brussels, 1925; Milan, 1926; Brussels, 1928; Antwerp, 1929; Brussels, 1972; Ghent, 1979
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; private European 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)
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
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.
