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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.
Galerie Florence de Voldère
Pieter Brueghel the Younger (Brussels circa 1564-1637/8 Antwerp) The wedding feast in the barn, 1622 Oil on panel 75 x 100 cm Signed and dated ‘P.BREVGHEL 1622’ Provenance: private collection, Belgium; Galerie Robert Finck, Brussels, 1976; private collection, Belgium, 1969; with John Mitchell, London, 1958; Lord Sperling, 1932 Literature: G. Marlier, Pierre Breughel le Jeune, Brussels, 1969, pp. 177-179, n° 2 (ill. n° 99-101); K. Ertz, Pieter Brueghel der Jüngere (1564-1637/38), Die Gemälde mit Kritischem OeuvreKatalog, vol. 2, Lingen, 1988-2000, p. 709, n° E857, p. 646, pp. 652-653 (ill. in colour on these pages, figs. 524-525, and pp. 650-660); Kulturstiftung Ruhr Essen, ed., Pieter Breughel der Jüngere-Jan Brueghel der Ältere, Flämische Malerei um 1600, Tradition und Fortschritt, Lingen, 1997, pp. 398-400, n° 135 (ill. in colour on p. 399); Koninklijk Museum voor Schone Kunsten, ed., Pieter Brueghel le Jeune - Jan Brueghel l’Ancien, Une famille de peintres flamands vers 1600, Antwerp, 1988, p. 384, n° 140 (ill. in colour on p. 385) Exhibitions: Brussels, Galerie Robert Finck, Pieter Brueghel de Jongere in Belgische privécollecties, 1969; Essen, Kulturstiftung Ruhr, Villa Hügel, Brueghel-Brueghel, Pieter Brueghel d.J.-Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 16 August-16 November 1997, n° 135; Vienna, Kunsthistorisches Museum, Brueghel–Brueghel, Pieter Brueghel d.J. - Jan Brueghel d.Ä., Flämische Malerei um 1600, Tradition und Fortschritt, 9 December 1997-14 April 1998, n° 135; Antwerp, Koninklijk Museum voor Schone Kunsten, Pieter Brueghel le Jeune-Jan Brueghel l’Ancien. Une famille de peintres flamands vers 1600, 3 May-26 July 1998, n° 140
Galerie Édouard Ambroselli
Georges Aubert (Paris, 1866-1961) and Odilon Redon (Bordeaux 1840-1916 Paris) The Shadow, circa 1896-1900 Carved, engraved and painted wood H 25 x W 18.5 x D 2 cm Provenance: Ambroise Vollard collection (1866-1939) Plate for The Shadow, illustration from Gustave Flaubert’s Tentation de Saint Antoine, Paris, Éditions Ambroise Vollard, 1938, p. 21
Sceners Gallery
Pierre Legrain (Levallois-Perret 1888-1929 Paris) Rothschild chair, circa 1920 Painted linden wood and plywood H 76 x W 44.5 x D 54 cm Seating height: 39 cm Provenance: Pierre and Marie Legrain collection, Paris; private collection, France; acquired from the above by the present owner; private collection, France Literature: Laurence Salmon, Pierre Legrain: Reliures, meubles, cadres, Paris 2019, repr. as a sketch of the model p. 318
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 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 This pastel 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
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.
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Paysage, arbres fruitiers (1909) Oil on paper 47.7 x 63 cm Stamped with signature 'Bonnard' (Lugt 3886, lower left) Provenance: the artist's estate; private collection, Paris; anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226; private collection, Europe Literature: J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, n° 1949, (ill.) p. 285
Willow Gallery
Bernard Buffet (Paris 1928-1999 Tourtour) Deux pots de geraniums, 1978 Oil on canvas 92 x 65 cm - framed 112 x 85 cm Signed and dated Provenance: Marisa del Re Gallery, New York; private collection, Japan Literature: This painting is sold with a photo-certificate of authenticity from the Galerie Maurice Garnier, Paris
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 79, 80, 82 and 83; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles Germany, 17th century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
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 The gallery is 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 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.
COLNAGHI
Robert Mapplethorpe (New York 1946-1989 Boston) Female torso, 1978 Silver gelatin photograph 50.8 x 40.6 cm Made in 1978, the photograph belongs to a life-long dialogue in Mapplethorpe’s work between photography and sculpture. The subject would later serve as the opening image of his 1989 volume Some Women, where its classical reference establishes a point of comparison for the contemporary women portrayed in the book. The photograph was produced in an edition of ten. Impressions of the image are held in major public collections, including the J. Paul Getty Museum and the Los Angeles County Museum of Art. The documented provenance of this impression begins with the Robert Mapplethorpe Foundation in New York, from which it passed into a private collection in Belgium.
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
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Verdini Antiques
Enrico Podio (Active 1840-1890 between Rome and Venice) Micromosaic centre table, 1873 Polychrome micromosaic, patinated, cast and chased bronze H 100 x Ø 125 cm Signed and dated 'Enrico Podio fecit' and 'Venezia 1873' This exceptional table is one of the most ambitious expressions of nineteenth-century Venetian micromosaic. Its distinction lies in the rare combination of monumental scale, extraordinary technical refinement, documented authorship and a fully integrated sculptural bronze base. Micromosaic is more often associated with small cabinet objects. Here, Enrico Podio expands the technique to a table, transforming a traditionally intimate art into a commanding architectural statement. The head of Medusa is modelled through minute glass tesserae with subtle changes of flesh tone, shadow, hair and serpent scales. The optical blending approaches the effects of painting while remaining unmistakably mosaic. The inscriptions 'ENRICO PODIO FECIT' and 'VENEZIA 1873' give the work unusual documentary precision, securely identifying the maker, place and date and anchoring the table within the mature Venetian revival of mosaic art. The patinated, cast and chased bronze pedestal is conceived as an integral part of the design. Its classical heads, masks, architectural members and zoomorphic details create a powerful counterpoint to the brilliant colour of the micromosaic top. The synthesis of rarity, scale, technical mastery, documented authorship and visual impact places this table among the most impressive examples of nineteenth-century Italian decorative arts.
