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WHITFORD
bram bogart
Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice
Repetto Gallery
valerio adami
Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025
Galerie Nathalie Obadia, Paris/Brussels
joris van de moortel
Joris Van de Moortel (Ghent, 1983) Music enjoys direct access to the soul, has an immediate echo of response since we have music within ourselves, 2025 Oil on linen and artist’s steel frame (3 panels) 200 x 220 cm Provenance: the artist's studio, Belgium Exhibition: Joris Van de Moortel, Le poids du ciel illumine la terre, Galerie Nathalie Obadia, Paris, France, 2025
Hartford Fine Art - Lampronti Gallery
Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208
Claes Gallery
Reliquary Figure 'Mbulu-ngulu' Kota Kota-Obamba People Gabon, presumed late 19th-early 20th century Wood, copper and brass H 43 cm Provenance: private collection, Los Angeles, until 1979; private collection, Geneva Literature: L’Art Kota. Les figures de reliquaire, Chaffin, Meudon, 1979, pp. 234-235, fig. 133 (written height: 43.5 cm)
Almine Rech
vivian springford
untitled
Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.
Galerie Florence de Voldère
frederik bouttats l'ancien
Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.
Heutink Ikonen
Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.
Victor Werner
carl johan bonnesen
Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner
Galerie Patrice Trigano
césar
César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, São Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017- March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, July-September 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70
Galerie Bernard De Leye
Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.
Van Pruissen Asian Art
nagai ikka
Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan Nagai Ikka (also known by the art names Zuiunan and Hanpo) was born in 1869 in Suibara, Niigata Prefecture, during the early Meiji period. He trained under leading masters of the Maruyama and Shijō schools, including Suzuki Shōnen, Nakano Kimei, and Hirafuku Hoan, and later absorbed stylistic influences from Kawanabe Kyōsai. This grounding in careful observation and naturalistic rendering provided the foundation for a personal style that balanced precision with expressive freedom. He began painting crow paintings after helping Ernest Francisco Fenollosa create 'One Hundred Crows', a painting he had commissioned from Kyosai. The late Meiji and Taishō periods were marked by profound change in Japanese art, as artists navigated between traditional aesthetics and the growing influence of Western naturalism. Ikka embraced this dialogue, drawing on classical ink painting techniques whilst expanding his horizons abroad. From 1903 to 1908, he lived in the United States, exhibiting at international events such as the Portland Expo, where he won a silver medal, and later at the Italian Expo. His crow paintings, admired both in Japan and overseas, earned him the affectionate nickname 'Doctor of Crows' from statesman Ōkuma Shigenobu. The crow (karasu) has a long symbolic tradition in Japanese culture, appearing in classical poetry, Buddhist imagery, and Shintō cosmology, most famously as Yatagarasu, the mythical three-legged crow. Ikka revitalised this motif, transforming it from a minor decorative element into the central subject of bold, dynamic compositions. This pair of six-panel folding screens demonstrates his command of movement and atmosphere. Painted in ink with sparing touches of colour, the crows appear in varied postures—perched, in flight, or interacting—creating a rhythm that guides the viewer’s eye across the expansive surface. Bold, calligraphic brushstrokes define wings and feathers, while softer washes evoke wind, mist, and shifting light. The result is a scene that is both naturalistic and poetic, combining the restraint of traditional ink painting with a striking modern vitality. Ikka’s crows are not static symbols but living presences, conveying alertness, intelligence, and social energy. His lifelong study of corvid behavior, informed by travels across Japan, Korea, China, Taiwan, and the United States, gave his work an observational depth rare among his contemporaries. At the same time, his art reflects a broader ambition: to elevate the ordinary into the emblematic, merging natural accuracy with expressive force. Today, Ikka’s crow paintings are prized by collectors and studied as important examples of Meiji-period nihonga, where fidelity to nature combines with enduring Japanese aesthetic ideals. These folding screens stand as a testament to his originality and his ability to transform a humble subject into a powerful symbol of vitality and freedom.
Serge Schoffel - Art Premier
Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby's auction, Paris, collection Barbier-Mueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l'admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52
Gallery Sofie Van de Velde
wassily kandinsky
Wassily Kandinsky (Moscow 1866-1944 Neuilly-sur-Seine) Kleine Welten, 1922 The Little Worlds consists of twelve prints, including six colour lithographs, four etchings (drypoint), and two woodcuts on Japanese paper, accompanied by a title page and a colophon page Each print is signed and numbered on the colophon page 30/30 (12 prints) 36.4 x 27.8 cm (sheet size) Produced in 1922, this is one of 30 deluxe copies on Japanese paper, published by Propyläen Verlag, Berlin, and printed at the Staatliches Bauhaus in Weimar Literature: Hans Konrad Roethel, 'Kandinsky: Das Graphische Werk', Dumont, Cologne, 1970, ill. pp. 164-175; Helmut Friedel et Annegret Hoberg, Kandinsky. 'Das druckgraphische Werk, Complete Prints, Städtische Galerie im Lenbachhaus und Kunstbau', Munich, 2008-2009, ill. pp. 225-23
Epoque Fine Jewels
rené lalique
René Lalique (Ay 1860-1945 Paris) Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds. This exceptional Art Nouveau choker necklace by René Lalique (circa 1905, Paris) exemplifies his revolutionary use of glass in fine jewelry. The piece features six molded amber glass plaques decorated with intertwined thistle flowers, enhanced by diamonds and yellow and brown enamel on gold. The thistle flower motif, emblem of Lorraine and the Dukes of Lorraine, symbolizes courage and protection, reflecting the regional heritage of Nancy, where the original owner was a notable social figure likely to have commissioned it directly from Lalique. Created during the period when Lalique moved his shop to 24 Place Vendôme, the necklace illustrates his transition from Art Nouveau to early Art Deco, blending naturalistic design with modern aesthetics. Its autumnal hues, sunlit enamel details, and radiant diamonds evoke both poetic beauty and symbolic depth. Lalique drew inspiration from wild flora rather than cultivated blooms, favoring authenticity and imperfection as expressions of nature’s truth. This necklace, long preserved in a French private collection and once known only through drawings (including one published by Sigrid Barten), is a rare surviving example of Lalique’s innovation. It demonstrates his mastery in merging craftsmanship, symbolism, and modernity, affirming his reputation as the “inventor of modern jewelry.”
Galeria Jordi Pascual
Serge Poliakoff (Moscow 1900-1969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, 'Serge Poliakoff – Catalogue Raisonné', Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101