This section will be available this Autumn.
J. Baptista
Silver salver Portugal, late 16th century Weight 1050 gr. Ø 33 cm Literature: Reynaldo Dos Santos; Irene Quilho. Ourivesaria portuguesa nas colecções particulares. Lisbon: 1974. pp. 139-140; Gonçalo Vasconcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55 This concave silver salver is a remarkable example of Portuguese silverwork from the late 16th century, often serving a utilitarian function in the households of prominent families of the time. Pieces like this, richly decorated with geometric elements, volutes, and shell motifs, demonstrate the artistic sophistication and craftsmanship of Portuguese artisans during that period. The base of the piece is divided into eight dotted trapezoidal frames adorned with floral elements, while the engraved central medallion features a stylized open flower, highlighting the intricate ornamentation. The historical and artistic value of this salver is further attested by its presence in the collections of prestigious museums such as the Museu Nacional de Arte Antiga in Lisbon (Legado de Barros e Sá), the Lázaro Galdiano Foundation in Madrid (inventory n° 2484, room 11), and the Metropolitan Museum of Art in New York (accession n° 13.23.1), as well as in the private collection of Dr. Miguel Pereira de Abreu in Oporto. These pieces not only represent the excellence of Portuguese silverwork but also illustrate the cultural and social roles that utilitarian objects played in the households of important families during this period.
Gilden's Art Gallery
rene magritte
René Magritte (Lessines 1898-1967 Brussels) Le Bouchon d'Epouvante from 'L'Aube à l'Antipode', 1966 Etching on wove paper Paper size: 38.4 x 28.6 cm Image size: 17.8 x 13 cm Hand signed in pencil lower right margin 'Magritte' and numbered in pencil lower left margin, edition of 17 This work was printed in 1966 at the studio of J. Rigal, Paris and published in a limited edition of 17 hand signed and numbered impressions for the series 'L'Aube à l'Antipode' (Dawn of the Antipode). It is from the rare suite of 17 hand signed etchings. There is also a suite of 77 where only two of the etchings (La Comtesse de Monte Cristo and Les Deux Mystères (Ceci n'est pas une pipe) are signed in pencil Literature: Gilbert E. Kaplan & Timothy Baum, 1982. The Graphic Work of René Magritte. New York: II Editions Reference: Kaplan & Baum 11
Florian Kolhammer
Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.
HELENE BAILLY Paris-Genève
henri martin
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La Pergola de la cuisine à Marquayrol, un matin d'automne, circa 1920 Oil on canvas 67 x 99 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming Catalogue Raisonné which is being prepared by Madame Marie-Anne Destrebecq-Martin. Notice of inclusion dated 26 March 2024
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Univers du Bronze
rembrandt bugatti
Rembrandt Bugatti (Milan 1884-1916 Paris) Deux grands léopards, circa 1913-1914 Bronze, richly shaded black brown patina H 32.5 x W 108.7 x D 16.7 cm Bronze signed 'R.Bugatti', cast by Albino Palazzolo for 'A.A Hébrard cire perdue, Paris' (seal), second example inscribed (2) from an identified edition at 8 examples (circa 1914-1934) Cast in 1918 This model is typical of Bugatti’s way of depicting couples in a peaceful attitude, insisting on the fluidity of the line and the delicacy of the modelling: the first Leopard's barely raised left foreleg – a hesitation to walk ? – and the tail of the second, extending the scene to the rear, are the signatures of his work. The group belongs to the sculptor’s so-called Cubist period, when volumes become as if mathematised; and finally, of the patinas known for this model, the naturalistic red-brown colour is the most suited to the subject and also the one most sought-after by collectors. In Rembrandt Bugatti’s 326-issues in the catalogue raisonné, the 'Deux grands léopards' are one of the most imposing groups of beasts in this collection, after 'Les trois panthères marchant' from Bonhams in 2024 and the 'Deux panthères' from Rouillac in 2020. The edition is identified at 8 examples, all cast between 1915 and 1934. Ours is the second, cast in 1918.
Claes Gallery
Mangbetu slit drum Democratic Republic of Congo, Uele region Presumed period: late 19th-early 20th century Wood H 77 cm Provenance: Edith Hafter (1911-2001), Solothurn, acquired before 1970; transmitted by descent This tulip-shaped slit drum is characteristic of the Mangbetu, Zande and Mamvu of the Uele region. Called ‘nedundu’, these instruments were played in groups as part of an orchestral ensemble including xylophones, gongs or rattles, during festivities or ritual ceremonies. This type of slit drum was sometimes played in pairs by a single musician. These prestigious sound tools were also given to high dignitaries by Mangbetu chiefs ‘to invest them with authority’. (Burssens, Mangbetu. Art de cour africain de collections privées belges, 1992, p. 24). Almost the exclusive property of the local chiefs, these instruments produced a sound that had to carry very far in order to transmit messages to neighbouring villages. The instrument had to be large in order to be capable of sending drummed messages from the courtyard to distant villages. This model is exceptional for its voluminous resonance box in the shape of a half-moon, slightly domed, with clean lines. On each side, a handle is sculpted into the body. The beauty of its abstract form makes this instrument a sculpture in its own right, carved from very hard wood, which has been blackened and meticulously patinated.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller
Artimo Fine Arts
ulysses and his dog by joseph gott
Joseph Gott (UK, 1785–1860) Ulysses and his dog Life-size group in white Carrara marble H 185.5 cm Provenance: most certainly commissioned directly from the artist by Benjamin Rawson for the Nidd Hall Manor rebuilt in 1825; by descent: Elisabeth Rawson; by descent: Viscount Mountgarret (Sculpture still exhibited in 1902 in the Nidd Hall Manor); since 1989: property of Mr Alfred Brenner from the Brenner Verpackungen company in Germany Literature: T. Friedman and T. Stevens, Joseph Gott Sculptor, exh. cat., Temple Newsam House, Leeds and Walker Art Gallery, Liverpool, 1972, p. 40, n° G40, pl. 39; F.S. Bonfigli, Guide to the studios in Rome... 1860, p.32 It depicts Ulysses, in a loincloth and cap, being recognised by his loyal dog Arg after a 20-year absence. This group or a plaster of this group was seen in Gott's studio in Rome by Bonfigli in 1860. Joseph Gott (1785-1860) was one of the most esteemed British sculptors of the early nineteenth century, gaining international recognition. He maintained close ties to Yorkshire through his patrons, particularly his second cousin Benjamin Gott, a wealthy Leeds industrialist. After relocating to Rome in 1822, he became part of a vibrant British artistic community. Known for his unique interpretation of classicism, Gott’s works often depicted charming, intimate subjects such as playful children and animals. His style combined classical influences with a romantic sensitivity, setting him apart from his contemporaries in Rome.
Sylvia Kovacek – Vienna
Goblet-shaped lidded cup Gilded, cold-painted, diamond-point glass decoration Tyrol, 1570-1591 H 31.5 cm (with lid) Provenance: private collection, United Kingdom Literature: Erich Egg, Die Glashütten zu Hall und Innsbruck im 16. Jahrhundert, Innsbruck 1962, plate XIV, fig. 27-comparable lidded goblet from Ambras Castle at KHM (Museum of Art History) Vienna; Anna Elisabeth Theuerkauff-Liederwald, Venezianisches Glas der Veste Coburg. Sammlung Herzog Alfreds von Sachsen Coburg, Coburg 1994, pp. 240-243-comparable goblet, and p. 271, fig. 256 -comparable shape, decorated in diamond-point, without painting; Brigitte Klesse, Hans Mayr, Veredelte Gläser aus Renaissance und Barock, Ernesto Wolf Collection, Vienna 1990, p. 28, fig. 33, n° 35 in catalogue-comparable, very similar object in blue glass; The Mühleib Collection of European Glass, sale Bonhams, 2 May 2013, London 2013, pp. 20 and 21-similar lidded goblet (without lion's head baluster); Strasser/ Spiegl, Dekoriertes Glas, Munich 1989, pp. 163 and 164-similar lidded goblets; Strasser/Baumgärtner, Light and Colour. Licht und Farbe. Die Sammlung Rudolf von Strasser, KHM, Vienna 2002, fig. n° 8 and fig. n° 9
Dei Bardi Art
The Martyrdom of Saint Barbara Flemish tapestry, probably Bruges, circa 1525-1550 Wool and silk 270 x 198 cm The Flemish tapestry depicting the Martyrdom of Saint Barbara stands out as a remarkable example of 16th-century craftsmanship, distinguished by its exceptionally well-preserved color palette. The vibrant brick reds and striking bluish-green leaves create a stunning visual impact, showcasing the artistry of its creators and the outstanding state of conservation. Professor Guy Delmarcel links this tapestry to a series of textiles produced in Bruges after 1530, characterized by their fantastical nature scenes and populated by imaginative creatures. This tapestry exemplifies the rich decorative style of the time, merging naturalistic and poetic elements with exotic animals that spark the imagination. Bruges was a preeminent weaving center during this period, with numerous tapestries documented in contemporary inventories. However, very few have survived, making this piece particularly rare and valuable. Notable examples include two millefleurs tapestries featuring the arms of Paolo Giovio, found in the collections of the Victoria and Albert Museum in London and the Princes of Liechtenstein in Vaduz. The absence of the town mark on our tapestry indicates that it was woven before May 2, 1547, when the guild mandated its use, further enhancing its historical significance. The exquisite craftsmanship of Bruges tapestries, such as this one, has left a lasting impact on textile production throughout Europe, establishing high standards of artistic innovation and technical skill that subsequent generations would aspire to emulate. Particularly striking is the intricate border design, adorned with floral motifs and goldsmith-inspired elements like incense burners and small bells against a warm brick-red background. This style, often associated with heraldic imagery, can be traced back to Bruges around 1530, underscoring the tapestry's connection to the city’s rich artistic heritage. The dramatic depiction of the executioner brandishing a curved sabre serves as a powerful reminder of the historical context of the time, reflecting the Ottoman incursions into Central Europe. This detail not only situates the tapestry within a specific moment in history but also aids in dating it to the second quarter of the 16th century. In summary, this tapestry is not just a work of art; it is a rare and significant artifact from Bruges, showcasing an extraordinary preservation of color and design that captures the essence of its era.
Kunsthaus Kende
Ane Christensen (Copenhagen, 1972) Dented bowl Sterling silver London, 2000 H 10.3 x W circa 35 x D circa 30.1 cm Weight 966.2 gr. The body with a fully frosted surface, divided in the centre. A decorative, modern fruit bowl in sterling silver by one of Britain’s most important modern female designers and silversmiths. The silversmith and designer Ane Christensen, born in 1972 in Copenhagen, studied at the Royal College of Art, London and London Guildhall University, whilst also working as an assistant to Howard Fenn and Alfred Pain. Since 1999, she has worked as a professional artist silversmith in London. The incomparable formal language of her objects quickly brought her international renown as well as numerous exhibition participations and awards. Her artworks can be found in the Victoria & Albert Museum, London, the Koldinghus Museum, Kolding (Denmark) and in the Birmingham Museum Collection.
Galerie Nicolas Bourriaud
Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.
Repetto Gallery
giorgio de chirico
Giorgio de Chirico (Greece, Volos 1888-1978 Rome, Italy) Venezia, Palazzo Ducale, 1955 Oil on canvas cardboard 50 x 60 cm Signed lower left Label by Galleria d’Arte Sianesi, Milan Inscribed: 'Questa Venezia / Palazzo Ducale è opera / autentica da me eseguita e / firmata / Giorgio de Chirico / Milano, 1- 3- 3 1956' Certificate of authenticity signed by the artist on 2 March 1956 Provenance: private collection, Italy; Galleria d’Arte Sianesi, Milan Literature: Claudio Bruni Sakraischik, Giorgio de Chirico: Catalogo Generale, vol. 2, opere dal 1951-1971, Electa, Milan, 1983, n° 180 Exhibitions: Giorgio de Chirico, Galleria Gussoni, Milan, 30 October-10 November 1958; Giorgio de Chirico. Nello specchio del Novecento/Warhol, Schifano, Paolini, Ghirri, Salvo, Repetto Gallery, Lugano, 25 September-16 December 2023
De Jonckheere
pieter brueghel the younger
Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Resurrection of Christ Oil on panel 47.20 x 34.30 cm Signed BRVEGHEL bottom left Provenance: Olive Dorothea Wentworth-Fitzwilliam, Countess Fitzwilliam (1911-1975); Christie’s, London, 12 December 1986, lot 37; private collection Literature: Klaus Ertz, Pieter Brueghel der Jüngere, Luca Verlag, Lingen 1998/2000, vol. I, pp. 439-440, cat. 435, fig. 318, repr.
Galerie Cento Anni
andré lanskoy
André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris
De Wit Fine Tapestries
Fox and hare on a floral ground Southern Netherlands, possibly Sint-Truiden (Saint-Trond) Second quarter of the 16th century Wool and silk 103 x 236 cm In this composition, four abundant plants fill the space, all covered in flowers. From left to right: a tricolor violet (viola tricolora), a blue iris (iris germanica), a rose and a columbine (aquilegia vulgaris). A seated fox looks over at a hare, possibly his intended prey, and two pigeons fly above them. The borders are also decorated with flowers; marigolds, violets, lantern plants and vines. This splendidly decorative weaving refers to the many 'millefleurs' tapestries produced in Bruges and Enghien over several decades in the sixteenth century. These ancient tapestries, however, always present a varied background of flowers, where some animals occasionally appear. They were certainly highly valued for their decorative aspect, but probably also for a hidden symbolic meaning. A universe of flowers, where animals of all species live peacefully together, refers to the happiness of paradise before the Fall of Adam and Eve. But this peace could be disturbed at any moment: the fox is ready to attack and kill the hare, the pigeons are possibly warning the hare of the impending danger. The scheme of representing flowers in a row, as seen on this piece, is rarely applied in such weavings from the sixteenth century. A parallel can nevertheless be drawn with a contemporary 'millefleurs' Armorial with Arms by Christine de Lechy/ Lexhy, abbess of the convent of Herkenrode (private collection). She was born around 1440 in the nearby town of Sint-Truiden, Saint Trond, where several workshops were active during that period. Only a few weavings can be attributed to that provincial centre. The rather coarse aspect of the weaving may point to that production.
Epoque Fine Jewels
cartier
Cartier Panther brooch, beginning of the 21st century Onyx, emerald and diamond A graceful, strolling panther set throughout with brilliant cut diamonds, highlighted with buff-top onyx dots and pear-shaped emerald eyes, mounted in platinum and 18 karat gold Signed Cartier and numbered Provenance: from an important estate Belgian blood runs through Cartier’s iconic Panther The Cartier onyx and diamond Panther brooch is an iconic piece of jewelry, symbolizing both elegance and boldness. This brooch features a meticulously crafted panther, its sleek body encrusted with sparkling diamonds, and its spots highlighted by black onyx. Emeralds accentuate the eyes, giving the panther a piercing gaze. The craftsmanship involved in this piece demonstrates Cartier's attention to detail and mastery of combining precious stones to create lifelike and sculptural representations of animals. The panther motif has become synonymous with Cartier, and much of this can be attributed to Belgian fashion and jewelry designer Jeanne Toussaint, who played a transformative role in the Cartier’s design evolution. Jeanne Toussaint was born in Charleroi in 1887 and raised in a family of lacemakers who made her aware of fashion and style from a young age. She moved to Paris where she was introduced to French society. She soon became acquainted with Coco Chanel, the illustrator George Barbier and, most importantly, Louis Cartier who was enthralled with Toussaint’s taste for fashion. In 1913, he hired her to coordinate his company's accessories, handbags and objects. After first being promoted to head Cartier's silver department in 1918, in 1933 Louis Cartier conferred on her full responsibility for artistic design, an area which until then he had directed himself. Jeanne Toussaint, also called ‘La Panthère’, was a visionary designer whose style pushed boundaries. Known for her boldness, independence, and exceptional taste, she introduced themes of nature and exoticism into Cartier’s collections, with the panther becoming her most famous symbol. In a historical context, Jeanne Toussaint’s influence extended beyond mere aesthetics; she redefined femininity in jewelry. At a time when women’s roles in high society were changing, Toussaint’s designs, like the Panther brooch, mirrored a new sense of power, freedom, and sophistication for women. The most famous panther was a brooch commissioned by Wallis Simpson, the Duchess of Windsor in 1948, a woman known for her daring fashion choices. This association cemented the panther’s status as a symbol of fierce femininity and strength. Toussaint’s contribution to Cartier and the world of luxury jewelry endures, with the panther motif becoming one of the most enduring and recognizable emblems in Cartier’s history. Through pieces like this onyx and diamond panther brooch, she left an indelible mark on 20th-century design, blending the opulence of diamonds with the mystery and power of the panther, embodying both grace and danger. Jeanne Toussaint retired from Cartier in 1970 and died in Paris on 7 May 1976.
De Brock
ethan cook
Ethan Cook (USA, Texas 1983) Memory, Speak, 2024 Hand woven cotton canvas 157.5 x 228.6 cm Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium Literature: Ethan Cook, published by De Brock (2024) Exhibitions: Ethan Cook: Soup to Nuts, 12-15 September 2024, Lempertz, Brussels, Belgium; BRAFA Art Fair, 26 January-2 February 2025, Brussels Expo, Brussels, Belgium
Segoura Fine Art
carlos schwabe
Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.
Galerie Florence de Voldère
isaak soreau
Isaak Soreau (Frankfurt, 1604-1644) Still life Oil on panel 60 x 86 cm From a Tournai family settled in Hanau, Isaac Soreau was apprenticed to his father Daniel Soreau, whose workshop was taken over by Sébastien Stoskopff. At the age of 22, he left for Antwerp, where his encounter with Jacob van Hulsdonck and his work proved decisive. Could he have been his pupil? This remains a subject of debate for art historians.
New Hope Gallery
poul kjaerholm
Poul Kjaerholm (Denmark, 1929-1980) Set of 16 EKC 11 armchairs Denmark, circa 1957 Ash wood and oak wood, nickel plated steel, tan leather H 66 x W 63 x D 46 cm Stamped Provenance: Belgian private collection Literature: Michael Sheridan, Poul Kjaerholm Furniture Architect, 2006, Louisiana Museum of Modern Art
Hoffmans Antiques
Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.