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Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Portrait of a woman in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29.8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Kunsthaus Kende
Yasuyoshi Matsumoto (Tokyo, 1982) Shidō vase 'Kagiroi' (First Light of Dawn), 2018 Shidō (traditional Japanese copper alloy) H 28 x W 31 cm Signed at the bottom by the artist Provenance: the artist's personal collection Exhibition: shown at the 65th Exhibition of Japanese Traditional Crafts (2018) Shidō (紫銅) is a traditional Japanese copper material distinguished by its characteristic purplish-brown hue. Its subtle, rich coloration is achieved through traditional metallurgical processes and specialised surface treatments. Valued for its distinctive aesthetic qualities, Shidō has a long-standing place in the tradition of Japanese metal art. Yasuyoshi Matsumoto is a fourth-generation metal caster whose family tradition dates back to the Meiji era. His distinctive artistic approach combines traditional Japanese casting techniques with sophisticated heat-induced colouring processes, resulting in metalworks of exceptional depth, colour and refinement. Drawing on generations of inherited knowledge, he unites technical mastery with a refined contemporary sensibility, creating works that honour the heritage of Japanese metal craftsmanship while expressing his own artistic vision.
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
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise) White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 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, symbolised. 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.
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
Stoppenbach & Delestre
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Nu aux papillons, 1930 Watercolour on paper 26 x 51 cm Signed lower left Provenance: sale Paris, Hôtel Drouot, 28 February 1951, lot 31; thence by descent to the previous owner, France Literature: F. Guillon-Laffaille, Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Editions Louis Carré & Cie, Paris, 1982, n° 1853, repr. b/w
Galerie Nicolas Bourriaud
Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928-1929’ Batardy cast, edition of 3, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135 With this Yawning Leopard, Raymond de Meester, a leading figure of the Brussels School during the interwar period, once again demonstrates his exceptional ability to capture the anatomy and demeanour of animals with striking realism. While recalling Bugatti’s Reclining Lioness Yawning, which de Meester was probably inspired by, the feline is depicted here in a particularly original pose. An appealing and rare model, this sculpture was cast in an edition of only three examples. This example, numbered 1, is an artist’s proof, as confirmed by the engraved inscription, meaning that the artist personally oversaw its production. This is particularly evident in its beautiful, richly nuanced warm brown patina, to which the sculptor attached great importance, as well as in the high quality of the casting, executed by Batardy.
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92.1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932-1937, 1996, pp. 238-39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935-1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78-79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987-1988, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930-1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023 This work captures the playful lyricism characteristic of this period, as well as the artist’s distinctive approach to colour, form, and composition. 'Paysage animé' encapsulates the duality at the heart of Léger’s artistic vision: the dynamism of modern life, counterbalanced by figurative elements that reaffirm the importance of nature. His distinctive Tubist style evolves as the landscape becomes an increasingly important subject of exploration. Plant-like forms and bold colors interact in a dynamic composition that balances figuration and abstraction. Created during a particularly prolific year, 'Paysage animé' exemplifies Léger’s enduring contribution to twentieth-century art.
Gallery de Potter d’Indoye
An Empire writing table Jacob Frères, Paris, circa 1796-1803 Mahogany and gilded bronze H 73 x W 86.5 x D 54 cm Stamped JACOB FRÈRES Provenance: Ségoura collection, Paris Literature: Michel Beurdeley, Jacob et son temps, Saint-Rémy-en-l'Eau, 2002, p. 83, illustrated as belonging to the Ségoura collection The rectangular top is supported by four female caryatids in patinated and gilt bronze, modelled as canephorae, their bodies joined by an X-form stretcher. The table bears the stamp JACOB FRÈRES / RUE MESLÉE, used between 1796 and 1803 by the brothers Georges II Jacob (1768-1803) and François-Honoré-Georges Jacob, later known as Jacob-Desmalter (1770-1841). The brothers, sons of the celebrated Parisian menuisier Georges Jacob (1739–1814), took over their father's workshop in 1796 and produced furniture of marked neoclassical character, employing mahogany and richly chased gilt-bronze mounts in response to the developing Directoire and Consular taste.
Alexis Lartigue
Victor Vasarely (Pecs 1906-1997 Paris) Untitled, circa 1958, Oil on masonite 120 x 100 cm Signed lower center Provenance: private collection, USA; Christie’s sale, London; Lo Guidice Gallery, Chicago; Sotheby's sale, London; private collection, London; Christie’s sale, London; Galerie Zlotowski, Paris; private collection, Europe; Sotheby's sale, Paris; private collection, Switzerland Exhibition: Philadelphia, Philadelphia Museum of Art, Summer Loans, 1970
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Paravent, circa 1905 Padauk, brass and embroidered fabric H 146 x W 59 cm (each panel) Saint-Saëns series, produced by Serrurier et Cie Provenance: private collection, Liège Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy-un créateur précurseur-1858-1910, Paris, Faton, 2008 p. 200; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, p. 102; Art Nouveau Belge: Vers l’idéal (tome 3), 2024, Les Éditions du Musée Horta, pp. 163-164
