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Spazio Nobile Gallery
Ann Beate Tempelhaug, Like days, nights, years (Som dager, netter, ar), Ceramic wall sculpture, 2024, Stoneware porcelain, glaze, 185 x 113 x 18 cm, unique piece signed by the artist on the back Certificate of authenticity Bibliographical refererences: Ann Beate Tempelhaug, Nord, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Ann Beate Tempelhaug, Nord, Solo Exhibition, Spazio Nobile, Brussels, 2024 Ann Beate Tempelhaug, I Should Have Not Used Blue, Solo Exhibition, Fondazione Officine Saffi, Milan, 2025 Ann Beate Tempelhaug, Umbra, Solo Exhibition, Kunstnerforbundet, Oslo, 2026
Galerie Lowet de Wotrenge
NICOLAAS STRUYCK (AMSTERDAM 1686 - 1769) INSECT STUDIES bodycolour, watercolour and pencil on laid paper 445 x 282 mm 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.
Finch & Co
A Fine and Large Portuguese Goa Devotional Crucifix the Polychromed and Gilded Ivory of Christ Crucified on a Coromandel Wood Cross Ornately Embellished with Baroque Silver Mounts standing on an integral Coromandel plinth The agonising Christ on the cross his head falling to his right with closed eyes mouth open in his call to God long hair carved in undulating locks to his shoulders the well defined torso with flexed muscles and rib cage the arms with veins threaded along their length his hands and feet pierced by silver nails his wounds polychromed red the edges of the perizonum gilded Fine condition 17th Century Size: 32cm high, 26cm wide / 107cm high (cross and base) Provenance: Ex Irish Private collection Belgium CITES: 2025/BE01024/CE
Galerie Raf Van Severen
Rik Wouters (1882, Mechelen - 1916, Amsterdam) "Portrait de Rik Wouters, Chemise Blanche", dated 1912 oil on canvas on panel, 51.5 x 61.5 cm Annotated at the back: "Nr 99 Portrait de Rik Wouters par lui même toile collee sur panneau"; "Mme V: Rik Wouters"; "Portret van Rik Dhr Mevr. De Carnière" Provenance: Private collection, Brussels; Collection Leten, Ghent; Anc. collection Nel Wouters Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity from ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; Private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue Raisonné, paintings, volume IV: 1959–1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Snackers Antiques & Fine Art
Cross with Ivory corpus, Walter Pompe, Antwerp 1770 Cross with ivory corpus Crafted by Walter Pompe, Antwerp 1770, Signed Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings The Calvary richly decorated, also featuring ivory bones, skull, and the snake with apple. With CITES document. H. 57.5 cm W. 27 cm D. 11 cm
Gallery Sofie Van de Velde
Victor Servranckx (1897 Diegem BE – 1965 Vilvoorde BE) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Signed and dated lower left: SERVRANCKX 1927 Oil on canvas 146 × 81 cm Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929) Galerie J.-P. Alaerts, Brussels London, Christie’s, 16 October 1990, lot no. 61 (illus.) Lokeren, De Vuyst, 6 October 2001, lot no. 489 Private collection, Brussels Galerie Ronny Van de Velde, Antwerp Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue) Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, no. 33 Brussels, Palais des Beaux-Arts, 1947, no. 45 “146 × 92 cm” Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, no. 117 Brussels, Musée d’Ixelles/Museum van Elsene, 1965, no. 107 Hasselt, Provinciaal Begijnhof, 1970, no. 57 (illus.) Literature: La Nation belge (Brussels), 12th year, no. 48, 17 February 1929, p. 3 (illus.) Le Peuple (Brussels), 5th year, no. 48, 17 February 1929, p. 1 (illus.)
Mearini Fine Art
Master of Torcello Venetian Master active in the second half of the XV century. Crucifix. popolar wood with polychromy. Higth cm 40 x 38 x 3,5 An exceptional masterpiece of the Venetian Renaissance, this small, carved, polychrome wooden Crucifix is certainly attributable to the Master of Torcello, active in Venice in the second half of the 15th century. Work created for private use and devotion, certainly to be included in an "Altarolo", but absolutely similar to the larger known Crucifixes of the same manufacture, such as the one on the island of Torcello (Venice) in the Basilica of Santa Maria Assunta.
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
Spazio Nobile Gallery
Didi Ng Wing Yin, Pleats Vase Cinnabar Red #19, 2026, Sculptural vessel, Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac, unique piece, signed by the artist Certificate of authenticity Bibliographical references: 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
Almine Rech
Farah Atassi (b.1981, Brussels, Belgium), 'The Shadow,' 2026. Signed and dated on the back. Oil on canvas, 195.3 x 114.3 x 2.9 cm - 76 7/8 x 45 x 1 1/8 in. Provenance: Artist Studio. Exhibitions: Farah Atassi, 'Metamorphosis', Jun 26 — Jul 31, 2026 | Almine Rech New York. 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne– the nymph turned into a laurel tree to escape the god Apollo– comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolized. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 a 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.
Willow Gallery
Georges Mathieu Boulogne-sur-Mer, France 1921 - Boulogne-Billancourt, France 2012 Forêts attentives Alkyd on canvas, signed. Inscribed verso. Painted 1989 Canvas size: 58 x 45in / 147 x 115cm Frame size: 63 x 50in / 160 x 128cm Provenance: Galerie Guy Pieters, Brussels Private Collection, Brussels Private Collection, Savoie Sale, Maison R&C, France, 17 July 2021, Lot 93 Private Collection, Europe This painting is accompanied by a certificate of authenticity from Mr. Jean-Marie Cusinberche
Stern Pissarro Gallery
PIERRE-AUGUSTE RENOIR (1841 – 1919) Coco mangeant sa soupe Executed in 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right, Renoir. Provenance: Ambroise Vollard, Paris Private collection, Zürich, circa 1930 Fine Arts Gallery of San Diego, March 1942 (on loan from a Private collection) Dalzell Hatfield Galleries, Los Angeles, 1943-1949 Van Diemen-Lilienfeld Galleries, New York, 1953 Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953 Worcester Art Museum, Massachusetts (inventory no. 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65 G.-P & M. Dasuberville, Renoir: Catalogue raisonné des tableaux pastels, dessins et aquarelles, no. 3415 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, no. 269 San Diego, Fine Arts Gallery, 1942 Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, no. 5 Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel) Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016 - 22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February - 15 May 2017)
Galerie bei der Albertina ▪ Zetter
Adolf Loos Ladie´s Writing Desk, around 1903/04 Manufactured by Friedrich Otto Schmidt, Vienna Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 cm (with top), H 80 cm (without top) W 113 cm, D 67.5 cm Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenienz: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, no. 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
Mearini Fine Art
Corinthian capital. Variation on a Roman type from the 3rd - 4th Century Greek Marble Central-southern Italy, Late 12 th - Early 13 th Century Hight cm 52 x 50 x 50 In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4Th century.
Galerie von Vertes
Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30,8 x 6,4 x 7,9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by Fiorini Ltd, London Provenance: Zabriskie Gallery, New York City; B.C. Deane Collection, US; D.J. Rosenthal Collection, US; Dr. Phillip Cohen Collection, Washington, D.C.; Private collection, Washington, D.C. (by descent from the above); Bonhams, New York, 20 November 2025, lot 119; Private collection, Switzerland This work is registered in the Henry Moore Foundation archives. Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, 'a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the : Upright Motifs.'