BRAFA_CATA25_Binnenwerk

PREFACE BY KLAAS MULLER

Dear Art Lover,

BRAFA 2025 promises to be a dynamic and festive event. Dynamic, because a new Chairman and a new Board of Directors have been elected since June 2024. Whilst the foundations and developments of the Fair, which was created in 1956, are seen as a solid base to build on, the idea is to continue to provide a fresh perspective.

Festive, because BRAFA will be celebrating its 70th edition anniversary in 2025. To mark the occasion, it has chosen to welcome an internationally renowned Portuguese artist as its guest of honour: Joana Vasconcelos. The artist, born in 1971, is famous for her monumental sculptures and immersive installations. Her humorous, ironic work decontextualises everyday objects to examine the status of women, consumer society and collective identity. Her colourful pieces will undoubtedly leave a dazzling imprint on visitors’ memories.

The Fair is also delighted to have been able to set up a collaboration with KIK-IRPA, the Royal Institute for Cultural Heritage. It will be occupying a space next to the stand of the King Baudouin Foundation, offering an insight into its activities: the analysis, authentication and restoration of works. KIK-IRPA will also be organising interactive workshops on its stand every day at 2 pm and 5 pm, giving visitors a behind-the-scenes look at heritage preservation and enabling them to learn about the modern scientific techniques that are unlocking new dimensions for the understanding of historical works of art.

BRAFA will also be offering a series of daily lectures, the BRAFA Art Talks, at 4 pm on the stand of the King Baudouin Foundation. Leading figures from the art world, exhibition and museum curators, and art market experts will be sharing their knowledge and expertise in a wide range of fascinating fields. It’s a great opportunity to discover works of art, artists and periods, and to learn more about art and the art market.

For its part, the King Baudouin Foundation will be exhibiting a selection of remarkable works from its own collection, demonstrating its commitment to preserving and promoting Belgian heritage internationally.

Once again this year, approximately 130 international exhibitors have set up their stands over 21,000 m² of exhibition space in the aweinspiring setting and atmosphere of Brussels Expo. Between 10,000 and 15,000 top-quality works from every continent and period, from Antiquity to the present day, are on display from Sunday 26 January until Sunday 2 February 2025.

Throughout its long history, BRAFA has always been on the move, supported by Delen Private Bank, a loyal sponsor of the Fair for almost 20 years.

Enjoy your visit to this 70th edition!

INTERVIEW WITH KLAAS MULLER, CHAIRMAN OF BRAFA

Klaas Muller was born in 1975 in Lokeren. After studying art history at the University of Ghent, he opened his own gallery in 2000 in the Sablon in Brussels. He now welcomes visitors at his home, where he continues to satisfy his collector-customers’ taste for antique art. Klaas Muller is passionate about paintings, drawings and sculptures from the 16th to the 18th centuries, with a particular penchant for Italian, Dutch and Flemish masters. He is regularly called upon by museums. He has been a Board member since 2015 and was appointed ViceChairman Antiques & Old Masters in 2021. He has now become Chairman of BRAFA, a role he has taken on with great enthusiasm.

How do you see your role as the Chairman of BRAFA?

My colleagues, members of the non-profit organisation Foire des Antiquaires de Belgique, have decided to place their trust in me. I believe it is essential to prioritise dialogue and collaboration with the Board of Directors, the organising team and the other members of the association. I want to be a chairman who takes exhibitors’ needs into account as much as possible, whilst simultaneously making decisions in the general interest of the Fair. It will be a balancing act. But I’m very confident: the Board of Directors and the team around me are 100 % committed!

What are the current challenges facing the Fair?

With the former Board of Directors and the exhibitors, we succeeded in organising one of the best editions in 2024. This organisation, this base, this ‘well-oiled machine’, is something that we absolutely need to preserve. Naturally, there are always new challenges to face. Whilst contemporary art has and must always have its place at the Fair, I would like to place a little more emphasis on ancient and classical art, Asian and ethnic art, archaeology, and so on.

We also need to continue to internationalise the Fair by attracting more exhibitors from countries such as Germany, the Netherlands, Switzerland, the UK, Italy and Spain. In turn, these exhibitors will attract international clients. I would also like to develop closer relationships with national and international museums.

What are BRAFA’s current strengths?

The Board of Directors is entirely made up of active art dealers. They, more than anyone, understand what matters in the art world and how the market is developing. BRAFA has become a brand in its own right. We have managed to avoid the lure of passing trends and fashions. What matters is the quality of the featured works and galleries. Our move to Brussels Expo in 2022 has increased accessibility to the Fair, for visitors from outside Brussels and abroad. The general atmosphere amongst participants is positive and friendly, the exhibitors are welcoming and always ready to share their passion with visitors, and our audience is very varied, from art lovers to discerning collectors, by way of interior designers and museum curators. BRAFA is the first major event on the artistic calendar, and everyone is looking forward to discovering our Fair, which has become an unmissable event.

It was predicted that a number of fairs would disappear after Covid. Yet new fairs are added to the calendar every year. How can fairs maintain their drawing power?

There is admittedly an overabundance of art fairs and auctions. Some are specialised, others are aimed at a wider audience. I think that the most important thing is to maintain our own identity and not be too influenced by what others are doing and thinking. BRAFA has always gone its own way, and that’s an excellent way of doing things.

BRAFA, A STORY THAT STRETCHES BACK SEVEN DECADES

BRAFA’s story began in 1956, when it was held under the name ‘Foire des Antiquaires de Belgique’ in the Salle Arlequin of the Galeries Louise in Brussels. The initiative, which came from Charles Van Hove, then chairman of the Belgian Chamber of Antique Dealers, aimed to bring together the country’s leading antique dealers. It met with instant success, and by 1968 the growing number of participants prompted the organisers to move the event to the Palais des Beaux-Arts in Brussels, a venue that was better suited to the ambitions of the Fair.

Attracting more and more exhibitors from abroad, the event grew internationally, a transformation that began in 1995 under the influence of Christian de Bruyn, who chaired the Fair from 1971 to 2002. Another significant change was that the Fair opened up to other fields, with tribal art, comics, contemporary art and design being added to the range of specialities on display.

As the Fair continued to welcome a growing number of exhibitors, it moved to a new location in 2004: Tour & Taxis. This move was a real gamble, since the site was still only a development-stage project. The space provided by this new venue enabled the Fair to expand rapidly. From a national Fair with 50 participants, it became an international Fair with over 130 participants. The name ‘Foire des Antiquaires de Belgique’ (Antiques Fair of Belgium) no longer corresponded to the internationalisation and diversity of the fields on offer, so the decision was taken to rename the Fair BRAFA (Brussels Antiques & Fine Arts Fair), its official moniker since 2008. Over time, BRAFA has simply become known as the Brussels Art Fair.

Since 2009, the Fair has been under the High Patronage of Her Majesty Queen Paola. From the outset, a host of VIPs have been invited to inaugurate it. These have included the Belgian Royal family, the Grand-Ducal family of

1967 - Inauguration of the Fair by Albert and Paola, Prince and Princess of Liège

Inauguration of the Fair by Her Royal Highness Princess Hélène of France

Tribal art, new section at BRAFA

1961 - Inauguration of the Fair by Her Majesty Queen Fabiola of Belgium and GrandDuchess Joséphine-Charlotte of Luxembourg

Luxembourg, Baroness Philippine de Rothschild, Karl Lagerfeld, Catherine Deneuve, and many others. BRAFA has also welcomed prestigious guests of honour, ranging from major Belgian cultural institutions such as the Opéra de la Monnaie in 2013 and the Royal Museum for Central Africa in 2014, to internationally renowned artists such as Christo in 2018 and Gilbert & George in 2019.

In 2022, following the development of new projects on the Tour & Taxis site, BRAFA moved to Brussels Expo, which was specifically designed to host a variety of trade fairs and international events. Illustrating a prestigious past, the infrastructure of its exhibition halls is a legacy of the Brussels World’s Fairs of 1935 and 1958, the flagship monument of which is undoubtedly the Atomium, the symbol of the 1958 Fair.

BRAFA’s success owes a great deal to its exhibitors’ loyalty. Renowned galleries have brought their expertise to the Fair, contributing to making BRAFA a leading event. This continuity is illustrated, amongst others, by the gallery N. Vrouyr. Having exhibited at the Fair since 1956, it embodies a family tradition that is currently being perpetuated by Naïry Vrouyr, the founder’s great-granddaughter. Longstanding exhibitors at the Fair include Axel Vervoordt (1976), De Jonckheere (1977), Francis Janssens van der Maelen (1990), Boon Gallery (1998) and d’Arschot & Cie (1998), to name only a few.

This year, BRAFA is celebrating its 70th edition, commemorating seven decades of tradition and renewal. Since its beginnings, the prestigious art fair has continued to evolve whilst preserving DNA: quality, eclectism and elegance. Ranked among the top 3 eclectic fairs in Europe as well as one of the oldest fairs in the world, BRAFA intends to fully maintain this position!

1987 - Inauguration of the Fair by French actress Catherine Deneuve

1988 - Inauguration of the Fair by fashion designer Karl Lagerfeld

1991 - Inauguration of the Fair by Baroness Philippine de Rothschild

Guest of Honour: Gilbert & George at BRAFA 2019 © Fabrice Debatty

1989 - Poster of the 34th edition of the Fair

2005 - Catalogue cover 50 anniversary, Man in a Blue Chaperon by Jan van Eyck, circa 1430

Delen Private Bank & BRAFA, partners in fine arts

A shared passion

Art inspires. That is why Delen Private Bank aims to share its passion for art and design.

At Delen Private Bank, every confidential conversation starts in a familiar setting. Our clients immediately feel at home in our cosy, comfortable office interiors. Each office has a distinguished Delen look, with carefully selected vintage design pieces that blend perfectly with the bank’s collection of post-war abstract Belgian art.

Delen Private Bank seeks to protect, promote and develop the rich and diverse heritage of Belgian art and design. In BRAFA we find a dedicated and dynamic ally to convey that message.

A bank with a personal touch

Delen Private Bank focuses on discretionary asset management and estate planning. Our mission? To ensure the prudent and carefully planned management of our clients’ assets, focusing on balanced growth and a smooth transfer of assets to future generations.

A personal approach is of the utmost importance to us. Besides the investment portfolio, Delen offers insight into all asset components: a house, insurance, art, you name it. At the same time, important documents are neatly arranged in a digital archive. Through simulations, the client can see how his assets will evolve, and what measures he can take to improve his financial future. And clients who appreciate ease of use and efficiency, can rely on secure digital applications like the Delen app and Delen OnLine.

HONORARY COMMITTEE

Anne Adriaens-Pannier

Honorary Curator of the Royal Museums of Fine Arts of Belgium, Brussels

Prof. Dr. Werner Adriaenssens

Professor Decorative Arts at the Free University Brussels (VUB)

Dominique Allard

Honorary Director of the King Baudouin Foundation, Vice-Chairman of the Archaeological Society of Namur

Julie Almau Gonzalez

General Director of the ATOMIUM & Design Museum Brussels

Claire Baisier

Policy Officer Collections Museums Antwerp and Curator of the City Hall Collection at Stad Antwerpen

Peter Bary

General Director of the M-Museum Leuven

Galila Barzilai Hollander

Founder of Galila’s P.O.C.

Goedele Bartholomeeusen

Director of MDD / Museum Dhondt-Dhaenens, Deurle

Maarten Bassens

Curator of the Snijders&Rockoxhuis Museum, Antwerp

Thomas Bayet

Curator of the Museum of History and Decorative Arts, Tournai

Philippe Blondin

President of the Jewish Museum of Belgium, Brussels

Ward Bohé

Curator of the City Museum SteM, Sint-Niklaas

Till-Holger Borchert

Director of the Suermondt-Ludwig-Museum, Aachen

Camille Brasseur

Director of the Foundation Paul Delvaux Museum, Brussels

Sophie Briard

Director-Curator of the Wittockiana, museum of book arts and bookbinding, Brussels

Nils Büttner

Chairman of the Centrum Rubenianum, Antwerp

Professor at the Staatliche Akademie der Bildenden Künste Stuttgart, Stuttgart

François de Callataÿ

President of the Royal Academy of Belgium, Francqui Prize 2007, Brussels

Xavier Canonne

Director of the Museum of Photography, Charleroi

Véronique Carpiaux

Curator of the Félicien Rops Museum, Namur

Guido Creemers

Curator of the Gallo-Roman Museum, Tongeren

Lieven Daenens

Honorary Director of the Design Museum Gent, Ghent

Bart De Baere

General and Artistic Director of the M HKA, Museum of Contemporary Art, Antwerp

Isabelle De Jaegere

Honorary Director Municipal Museums Kortrijk

Carl Depauw

Director of the Museum Mayer van den Bergh, Antwerp

Baron François Duesberg

Founder and General Curator of the François Duesberg Museum of Decorative Arts, Mons

Ludwig Forrest

Head of Philanthropy at the King Baudouin Foundation, Brussels

Julien Foucart

Curator of the Museum of Fine Arts, Tournai

Siska Genbrugge

Director of DIVA, Antwerp Home of Diamonds, Antwerp

Denis Gielen

Director General of the MACS (Museum of Contemporary Arts) at Grand-Hornu

Fabrice Giot

Curator-Director of the Museum of Decorative Arts, Namur

Zoë Gray

Director of Exhibitions at Bozar, Brussels

Marjolaine Hanssens

Curator-Director of the Domaine du Château de Seneffe

Daan van Heesch

Head of Prints and Drawings at the Royal Library of Belgium (KBR), Brussels

Johan van Heesch

Emeritus Professor with formal duties at KU Leuven

Sara Lammens

General Director at the Royal Library of Belgium (KBR), Brussels

Wim Lammertijn

Curator-Director of mudel - Museum of Deinze and the Leie Region, Deinze

Katrien Laporte

Director of the Design Museum Gent, Ghent

Bérengère de Laveleye

Director a.i. of the Brussels City Museum, Brussels

Claire Leblanc

Curator-Director of the Museum of Ixelles

Thomas Leysen

Chairman of Mediahuis

Isabel Lowyck

Director of the Gaasbeek Castle

Manon Magotteaux

Curator of the van Buuren Museum & Gardens, Brussels

Clémence Mathieu

Director of the MICM, Binche

Wim Nys

Curator Jewellery (before 1830) and Silver at DIVA, Antwerp Home of Diamonds, Antwerp

Anne van Oosterwijk

Director of Collection of Musea Brugge, Bruges

Bart Ouvry

Director General of the AfricaMuseum, Tervuren

Marie Pok

Director of CID - centre d’innovation et de design at Grand-Hornu, Hornu

Ludovic Recchia

Curator-Director of the Keramis Center of Ceramics, La Louvière

Fanny Rodwell

Director of the Hergé Museum, Louvain-la-Neuve

Alexandra Rolland

Director of the Autrique House, Schaerbeek

Louma Salamé

General Director of the Boghossian Foundation, Brussels

Zahava Seewald

Director of Municipal Museums, Monuments and Sites

Department, Curator of the Erasmus House & Beguinage, Brussels

Manfred Sellink

Director of the MSK (Museum of Fine Arts), Ghent

Sergio Servellón

Director of FeliX Art & Eco Museum, Drogenbos

Christophe Slagmuylder

CEO and Artistic Director of Bozar, Brussels

Kristl Strubbe

General Director of the Hof van Busleyden Museum, Mechelen

Maartje Stubbe

Director of the FoMu (Museum of Photography), Antwerp

Peter Thoelen

Project leader of the Museum Maagdenhuis, Antwerp

Grégory Van Aelbrouck

Curator-Director of the Hannon House, Brussels

Philippe Van Cauteren

Artistic Director of the S.M.A.K., Ghent

Sanne Vandamme

Director of Museums and Exhibitions Stad Kortrijk

Hildegard Van de Velde

Curator of the Snijders&Rockoxhuis Museum, Antwerp

Nico Van Hout

Head of Collections at the KMSKA, Antwerp

Geertrui Van Kerkhoven

Director of the MOU - Museum Oudenaarde

Els Veraverbeke

Curator-Director of collections In Flanders Fields Museum, Yper Museum and Merghelynck Museum

Cathérine Verleysen

Curator of 18th and 19th century art at the KMSKA, Antwerp

Richard Veymiers

Director of the Domaine and Royal Museum of Mariemont

Bert Watteeuw

Director of the Rubens House – Rubenianum, Antwerp

Carmen Willems

General Director of the KMSKA, Antwerp

Benjamin Zurstrassen

Curator of the Horta Museum, Saint-Gilles/Sint-Gillis

GUEST OF HONOUR ����

JOANA VASCONCELOS, OR RE-SENSITISED ART

In the world of contemporary art, the works of Joana Vasconcelos stand out for their desire for aestheticization that contrasts radically with a predominant production giving the impression of having chosen, as its primary rule, to bury the very notion of beauty and seeming to find most of its inspiration in the spirit of transgression and deconstruction of the principles defining a work of art.

This is not the case in the works of Joana Vasconcelos, where the seduction of art plays a full part, in a beauty that is both convulsive and playful, feminised and joyful, reflexive and sensory and where art deeply retains its primary value of craftsmanship and concern for perfection. The dimension, specific to the meticulous work of the craftsman, of being a bearer of know-how and meaning and of producing a creation that is not only a decorative

game or a spectacle ready to be consumed but, translates as an approach intended to speak of today’s world and to express in a poetic and enchanted way, its anxieties and desires, addictions and dreams, heaviness and grace.

It is a deeply rooted work, moreover, keeping links with its home port – Portugal, this small country from which seafarers and captains set off on long travels to discover a new world – woven by the collective and memorial adventure of an entire people. Roots that are the opposite of a withdrawal into oneself. The “Portugalness ” of the works of Joana Vasconcelos is in fact an openness to the world, which is symbolised in a very singular way, giving her creation a universality that today makes her a renowned artist, whose very object is the texture of the world.

© Luís Vasconcelos

Joana Vasconcelos

This world is that of consumption, media, luxury, fashion, stars, genres, in the era of globalised ultra-capitalism. The work of Joana Vasconcelos is not abstract, formalist, disembodied: it speaks of its era, through objects, consumer products that make up the everyday life of the contemporary individual. In addition to the elements that she diverts from their uses to use as basic materials for her compositions, she also chooses to directly stage a number of everyday objects, to offer a comical and ironic vision that invites us to look at them from a perspective other than simple consumerism.

Unlike the New Realists who, in the 1960s, took a negative view of the emerging materialist world, she offers a much less dark and onedimensional vision. For her, the consumerist world is hard, but also gentle. Her approach is critical without being hypercritical, art not having vocation, for her, to be at the service of a monolithic and subversive ideology. As an attentive witness to the complexity of reality, the artist strives to show the paradoxes, tensions and contradictions that inhabit the consumerist cosmos, while preserving an emotional legitimacy for the sensitivity of those who live in this world. While there is manipulation in that which the system provides for consumption, there is also a hedonistic experience in our consumption of it, which she does not seek to discredit a priori: she is not an artist of suspicion.

This is particularly noticeable in the way she looks at the world of luxury. A piece like J’adore Miss Dior, with its huge, emblematic, 3-meterwide bow in which 1,665 bottles of J’adore perfume are embedded, undeniably celebrates the world of splendour. Except that it is made, at least in part, of carbon fibre materials that are not at all sumptuous; and that what is truly exalted is less a major commercial brand than the baroque luxuriance given to it by the artist, through the exuberance of the forms that she deploys and through the debauchery of brilliance and ornamental theatricality with which she dresses it. What makes one dream is less the brand as such, with all its elite and wealthy prestige, than the beauty, the brilliance, the chic with which the work adorns it. The Portuguese artist does not share the

contempt for luxury displayed by the great historical avant-gardes, assimilating it to the dictatorship of brands and making it a flagship instrument of female alienation. Luxury, as conceived by this visual artist, has value only if it is at the service of properly aesthetic enchantment, of a sensitive and lyrical beauty.

Even more than the consumerist world, what drives her creation is the highly problematic question of the feminine, which she strives to celebrate or dignify by avoiding the naivety of emphatic idealisations. This is immediately apparent with the most striking work of all that is Marilyn, representing her famous pair of pumps. The brilliance, the shine, the finesse, the glamour associated with this mythical star: so many aspects that connote luxury, stardom, the dazzling side of women. But upon closer inspection, it becomes apparent that that which shines is the lid of the pans that make up Cinderella’s slippers: beneath the resplendent hides the thankless labour of women. Against sexist stereotypes, Joana Vasconcelos exalts the feminine through her traditional manual activities (sewing, crochet, lace) that are unjustly depreciated. The place she grants the monumentality of textile works expresses this in another way. By installing sculptures of impressive size, she displays a woman’s art of a “height” equal to that which men achieve and which, as a result, escapes the feminine confinement to the erased, invisible roles of domesticity and intimacy. This, therefore, affirms a conquering and expansive image of the feminine without the construct of the caricature of the other sex, which does not define itself against men but, by the creativity of oneself.

Her work does not ignore the fact that women continue to be attacked and to suffer symbolic and real violence from men. However, she does not declare war on the masculine, instead calls for an intersexual cohabitation free of bitterness, repainted in the colours of feminine seduction. Her feminism is in no way plaintive or victimising: joyful, exuberant, freed from sad passions, it is affirmative of the feminine self.

This very personal vision does not recognise itself in another strong trend of contemporary

art that is the sometimes-obsessive solicitation of the intimate, to affirm femininity. Compared to any narcissistic display, Joana Vasconcelos appears infinitely reserved: art, for her, speaks of the world and the human condition. This does not mean that it contains no subjectivity. A certain number of her works were developed from experiences of her personal life, sometimes happy, sometimes painful, without this being displayed or visible. The work, in this case, has a subjective motivation as its driving force, but appears stripped of intimacy and displays a universal symbolism.

At the opposite end of the spectrum from withdrawal and the narcissistic focus on the intimate, the celebration of the feminine takes place in her work through other channels. No other work expresses it with as much power as this emblematic figure that runs through all her work: the Valkyries. A serial work that she has been developing since 2003-2004, that invests everything, reaching territories formerly reserved for men, proliferating which she extends and multiplies from year to year and from creation to creation, forming the backbone

of a whole section of her artistic work. Symbolic figures of feminine power, the Valkyries have the mission in Scandinavian mythology of leading warriors who died in combat to Valhalla. The virility of these warrior virgins clad in armour and armed with spears is transformed in her work into indecisive figures, sometimes threatening indeed but, more generally playful, composed as they are of fabrics, shapes and colours that make them resemble an array of giant cuddly toys. They are no longer warriors with virile femininity but, a parade of carnivalesque figures, both monstrous and familiar. A way of feminising a feminine that the myth has virilised and constructed in the image of the masculine.

The very first Valkyries were of reduced size and exhibited in limited places. They gradually gave way to tentacled beings, exhibited in increasingly larger spaces where their forms proliferated, were lengthened and amplified, becoming more and more enormous, up to the crowning in an alliance of spectacle, fashion and femininity, that is the extraordinary Valkyrie Miss Dior in the Jardin des Tuileries, for the Dior fall-winter 2023-2024 show; suspended from the ceiling,

extending her immense tentacles made of a patchwork of floral fabrics, embroidery, pearls, rhinestones, lace, crochet pieces and lighting effects, creating an atmosphere that is both strange and fascinating, offering an invitation to travel into a world where everything is luxury and beauty, elegance and voluptuousness.

We can see in the all-out expansion of these Valkyries the symbol of the rise of the feminine, of the irresistible process of the progressive feminisation of our societies. But, also of a feminism that does not recognise itself in a victimised view, according to which every woman is prey and every man a predator. The artist’s Valkyries assert themselves, without warlike violence, without designating men as the eternal enemy; they extend their empire with the gentle method of a ride that constantly gains new ground, that invests the world of wealth, that diversifies the idea of freedom and self-conquest. It is creation and not recrimination, shimmering and not resentment, openness and creative freedom and not confinement to the complaint that dominates these Valkyries of the 21st century: the woman artist as the future of man.

This universe, both playful and colourful, huge and light, soft and cozy is that of a world restored to beauty. The art of Joana Vasconcelos is an art made to seduce, to move, to provide a purely sensory pleasure. The size, the grandeur, the volume of most of her works participate in this logic of the exacerbated sensitive. Her taste for curves and roundness, for soft and fine materials, for warm and mixed colours strongly attests to this, far from the sharp roughness of broken lines and the cutting and raw side that we find in many contemporary works. Her femininity is the bearer of an optimistic, shimmering and soft world. And if she likes to flirt with kitsch proliferation from time to time, she does so while never losing the distance of irony and critical reflexivity: a neo-baroqueness, which knows how to never overdo it, a poly-sensory and lucid art that is the very opposite of a superficial and apolitical art that “wants to look good”.

In a trans-political work that reconciles politics and seduction, the intelligible and the sensitive, she seduces, she enchants. She aestheticizes the world and our gaze.

Gilles Lipovetsky and Jean Serroy

THE ROYAL INSTITUTE FOR CULTURAL HERITAGE (KIK-IRPA)

Celebrating Art and Science at BRAFA 2025

Imagine stepping into a world where art and science converge, where cutting-edge scientific research and innovative conservation techniques shed light on every brushstroke and artifact, revealing wonderful stories of history, emotion, and identity. Welcome to the Royal Institute for Cultural Heritage (KIK-IRPA) - Belgium’s leading institution devoted to preserving the treasures of our past. Known in Dutch as ‘Koninklijk Instituut voor het Kunstpatrimonium’ and in French as ‘Institut royal du Patrimoine artistique’, KIK-IRPA invites you to join in the celebration and preservation of Belgium’s rich cultural heritage, simultaneously forwardlooking and committed to tradition. Since its founding in 1948, KIK-IRPA has served as a guardian of the artworks, monuments, and historical artifacts that shape our shared identity. As you explore the fascinating work of KIK-IRPA, keep in mind the extent to which art fosters emotional connections conducive to the strengthening of our collective memory. This is not just about preserving the past; it’s about enriching our present and future.

At the Royal Institute for Cultural Heritage, restorers, chemists, engineers, imaging specialists, photographers, and art historians collaborate to carefully analyse artworks and ensure the use of the most appropriate conservation methods, with a strong emphasis on historical authenticity. Each expert lays out an essential part of the scientific puzzle. In this way, they can rise together to the most complex challenges of heritage conservation. This interdisciplinary model was pioneered by Paul Coremans (1908-1965), the founder and first director of the Institute. Imagine a work of art as if it were entering a hospital: through the emergency room into the imaging department, to the scientific assistants and up to the surgeon, with each of the participants

KIK-IRPA, Brussels

keeping detailed track of the state the object is in. This innovative, interdisciplinary environment provides the conditions of possibility for breakthroughs in conservation practice, ensuring that a diverse range of cultural objects - paintings, sculptures, tapestries, precious metals, glass, and architectural heritage - receive the best possible care.

Scientific research is at the heart of KIK-IRPA’s work, supported by pioneering technology that serves both researchers and collection managers in public and private domains. In its laboratories, advanced tools such as 3D microscopy, macroXRF, and radiocarbon dating provide critical insights into the materials and techniques used by artists and craftsmen. The Carbon Dating Lab, equipped with the only MICADAS device in Belgium, enables high-precision dating of small samples within hours. In addition to physical analysis, KIK-IRPA experts use advanced imaging techniques, including infrared reflectography, ultraviolet imaging, and radiography, often combined with chemical imaging. These noninvasive methods reveal intricate details that are invisible to the naked eye, providing essential information regarding authenticity, condition,

and original techniques. KIK-IRPA’s conservationrestoration department applies this knowledge to meticulously treat heritage treasures, ensuring their preservation for future generations.

KIK-IRPA believes that knowledge should be accessible to everyone. Its open-access platforms provide a treasure trove of information about Belgian heritage - supporting collectors, researchers, and audiences alike. Have you heard of Closer to Van Eyck? Resulting from the VERONA-project (Van Eyck Research in Open Access), it visually presents scientific research, documenting all known works by Jan van Eyck preserved in major museums in Belgium and beyond using a standardised, high-resolution protocol. The Closer to Van Eyck website contains magnificent details of the iconic Ghent Altarpiece and of all the phases of the ongoing restoration of the work of art. Scientific publications such as the Bulletin, which has earned a reputation as a leading journal in art history and applied heritage sciences, are available for you to explore online. BALaT, the Institute’s main database, offers access to a wealth of Belgian heritage data, serving as a gateway to all the information created and collected by KIK-IRPA.

© KIK-IRPA, Brussels

It contains around one million photographs of heritage objects. With more than 20,000 intervention files documenting studies and treatments conducted by the experts, you can discover how KIK-IRPA is transforming cultural preservation. Through the HESCIDA project, KIK-IRPA is actively linking its data with those of other European heritage institutions, enhancing accessibility on a continental scale.

As you delve deeper, you might discover that KIK-IRPA serves as a gateway to Europe and beyond, playing a central and facilitating role as a member of most global heritage organisations. It has established long-term collaborations with Belgian and international partners. From universities to museums, research institutes, private and public foundations, heritage administrations, regions and communities, and professional associations, these partnerships enhance KIKIRPA’s role as a vital hub of knowledge in art

conservation. Its notable partners include the Baillet Latour Fund, the Fondation PérierD’Ieteren, the King Baudouin Foundation, the National Lottery, and the Belgian Science Policy Office. Beyond fostering innovation, these connections also ensure that cultural preservation remains a shared responsibility.

In addition to advancing and facilitating digital transformation in the heritage sector - one of the key societal challenges of modern times - the Royal Institute for Cultural Heritage is also focused on two other essential priorities: the sustainable management of heritage and making a meaningful impact in a socially evolving world. KIK-IRPA’s commitment to sustainability and resilience is manifest in its proactive approach to disaster preparedness for cultural heritage. In the wake of recent natural hazards, such as the Wallonia floods in 2021, KIK-IRPA has taken a leading role in coordinating the rescue and restoration of artworks and historic buildings impacted by floods, fires, and other emergencies. KIK-IRPA’s experts work meticulously to clean, stabilise, and treat these objects, testing innovative conservation methods and improving recovery protocols. The Institute collaborates with cultural institutions across Belgium to establish best practices in storage, documentation, and risk management, ensuring that heritage sites and collections are better prepared. Additionally, KIK-IRPA is continuously evaluating and refining crisis coordination, working alongside local partners to strengthen response systems and improve protective measures across the sector.

Social impact remains central to KIK-IRPA’s mission, exemplified through initiatives like the ‘Erfgoed Challenge Patrimoine 2030’. In partnership with the National Lottery, this project invites the public to play an active role in identifying and supporting the preservation of national treasures in need of conservation. Each year, citizens have the power to vote on cultural artifacts - artworks, monuments, or historical objects - deciding which are most deserving of restoration. This unique opportunity empowers us to connect with our cultural heritage, fostering a sense of ownership and pride in Belgium’s rich artistic landscape.

KIK-IRPA’s presence at BRAFA 2025 is an opportunity to dive into the intricate world of heritage preservation. As a federal public institution, KIK-IRPA is committed to delivering high-quality, impactful results through innovative and sustainable practices. By blending scientific rigour with cultural stewardship, KIK-IRPA demonstrates how interdisciplinary collaboration can safeguard our cultural legacy and reinforce its societal impact. Ultimately, KIK-IRPA is inviting you to become part of this vital journey. Together, we can ensure that the treasures of our cultural heritage are preserved for generations to come. Explore, engage, and discover how your connection to KIKIRPA can enrich not only your understanding of art, science and history, but also the future of our shared cultural landscape.

For more information: www.kikirpa.be

AMBASSADORS OF BRAFA ����

The BRAFA would like to thank all Ambassadors for their active participation in BRAFA 2025. Their readiness to spend time sharing their knowledge, passion and favourite artworks with Museum Friends and foreign and Belgian cultural groups is sincerely appreciated by all.

Prof. Dr. Werner Adriaenssens

Professor of Decorative Arts at the Vrije Universiteit Brussel (VUB), Expert Art Nouveau and Art Deco

Jean-Philippe Altenloh

Actor

Renaud Bentégeat

Chairman CCI France International

Luc Bertrand

Chairman of the Board of Directors of Ackermans & van Haaren

Henry Bounameaux

Art Expert

Hans Bourlon

CEO Studio 100, Founder Het Kunstuur

Arnaud Bozzini

Director of the Design Museum Brussels

Stéphanie Breydel de Groeninghe Art Asset Management & Advisory

François de Callataÿ

President of the Royal Academy of Belgium Francqui Prize 2007

Xavier Canonne

Director of the Museum of Photography, Charleroi

Yves de Caritat

Lawyer, Art Enthusiast

Yadira Castellanos Estrabao

Global Head Scientific Committee of Arcadia Foundation

Lionel Colin Van Lint

President of the Louis Van Lint Institute

Christophe Decarpentrie

Interior Designer

Anne-Hélène Decaux

Director, Panoptès Collection President, Thanks for Nothing

Isabelle De Jaegere

Honorary Director Municipal Museums Kortrijk

Eric De Keuleneer

Managing Director of the University Foundation

Patricia De Peuter

Art Advisor, Art Curator

Dr. Alexandra De Poorter Chairwoman of the Steering Committee of the J. Comhaire Fund (King Baudouin Foundation)

Philippe-Edgar Detry

Art Enthusiast, Genealogist

Christophe Dosogne Editor in chief, COLLECT Arts Antiques Auctions

Bernard de Gerlache de Gomery

Honorary Chairman of Demeures Historiques et Jardins de Belgique

Louis Grandchamp des Raux Art Collector

Eric Hemeleers

CEO Eeckman Art & Insurance

Diane Hennebert

Managing Director, Out of the Box and Association of the China House and the Countries of the Silk Roads (Brussels)

Isabelle Henricot

Interior Designer

Patrice le Hodey

Acting Chairman IPM-RGP

Paul Huvenne

Former Director of the KMSKA Antwerp

Olivier de Jamblinne de Meux

Former Banker, Art Enthusiast

Claire Leblanc

Curator-Director of the Museum of Ixelles

Ernest Loumaye

Co-Founder, CEO of ObsEva; Art Enthusiast

Barbara de Muyser Lantwyck

Vice-President of the Association Royale Dynastie et Patrimoine Culturel

Pierre-Emmanuel Noel

Head of Benelux of the European Investment Bank, Professor Sciences Po Paris

Olivier Onghena ‘t Hooft

Founder & Executive Chairman, GINPI, YL-IM, Forbidden Colours and Author

Marie Pok

Director of CID - centre d’innovation et de design at Grand-Hornu, Hornu

Carole Schuermans

Art and Cultural Manager

Dominic Stas

CEO Mediahuis NRC, Art Enthusiast and Collector

Christiane Struyven

Speaker on 20th century Art

Louis de Strycker

Art Enthusiast

Bart Suys

Graduate in African and Oceanic Art

Luc et Valérie de Tillesse Art Collectors

Liliana Turoiu

PhD UNArte University, Former President of the Romanian Cultural Institute

Hubert d’Ursel Director, The Fine Art Group

Christophe Vachaudez Art Historian

Axel Van der Stappen Author, Historian

Benedikt Van der Vorst Art Collector

Guy van Wassenhove Curator of the Baillet Latour Fund

Gérald Watelet

Interior Designer

The King Baudouin Foundation and its patrons help preserve our heritage !

The King Baudouin Foundation is committed to the preservation, protection, accessibility and promotion of Belgian heritage through its Heritage & Culture programme. Over the past 38 years, this programme has enabled the Foundation to acquire many works of art, documents and other objects of our cultural heritage, which have then been entrusted to more than 100 museums and other public institutions, enabling them to be accessible to the general public.

Patrons rely on the King Baudouin Foundation to perpetuate their collections but also to implement their philanthropic projects. Today, the King Baudouin Foundation manages more than 200 philanthropic funds active in the field of culture and set up by private individuals or organisations.

At this year’s BRAFA, the King Baudouin Foundation is presenting some of its recent acquisitions, which include donations and a number of works purchased with the help of philanthropic funds.

We should like to express our grateful thanks to the BRAFA Art Fair and to all of our generous patrons for the opportunity to share these fine treasures with all heritage lovers. We look forward to welcoming you to stand 135!

FOR FURTHER INFORMATION

King Baudouin Foundation: www.kbs-frb.be Heritage & Culture Programme: www.heritage-kbf.be Instagram @belgianheritage

Thanks to philanthropists Isabelle and Philippe Dewez, two works have been purchased for the Ixelles Museum: a terracotta statue by Oscar Jespers, a leading Belgian sculptor of the 20th century, and a painting by Valerius De Saedeleer.

© Galerie De Vuyst

The unique Gouden Jubileum Boek / Livre d’Or (visitors’ book) was created in 1950, when Queen Elisabeth of the Belgians asked her friends to write or draw something in the book to celebrate the 10th anniversary of Jeugd en Muziek / Jeunesses Musicales. Composers, conductors and soloists, as well as a number of famous artists obliged, including René Magritte, Paul Delvaux and Joan Miró.

This rare, silver-mounted, Imari porcelain sauceboat was made by the Brussels silversmith Petrus Josephus Fonson and purchased by the Comte Thierry de LoozCorswarem Fund. An outstanding piece of 18th century craftmanship, it is engraved with the Arenberg family’s coat of arms.

A particularly eye-catching exhibit on our stand is a Brussels tapestry made in 1530, featuring King Solomon and his mother Bathsheba. The City of Brussels, the Périer-D’Ieteren Foundation, De Wit vzw and the King Baudouin Foundation joined forces to purchase this exceptional work and keep it in Belgium.

In 2025, Brussels is celebrating the Year of Art Deco. To mark the occasion, the King Baudouin Foundation is presenting at the BRAFA a masterpiece of Art Deco by Marcel Wolfers: Diane Chasseresse (Diana the Huntress), in which we can admire his sublimely skilled use of lacquer.

Among works in the collection of Hanns von der Ohe and Renate Luck, that was donated to the King Baudouin Foundation, is this exquisite, 17th century floral still life by the Dutch artist Judith Leyster. It has recently been restored and can now be seen for the first time at the BRAFA.

With the help of the Marie-Jeanne Dauchy Fund, the Foundation was able to purchase several pieces of furniture representing key aspects of 20th century design in Belgium for the Brussels Design Museum. We have selected furniture by Huib Hoste, Renaat Braem, Georges Charles van Rijk and Willy Van der Meeren to show at the BRAFA.

© Philippe De Putter Photography

© Andy Simon

/ cfc éditionsdesign museum brussels

Supporting Fine Arts

Art inspires, connects and enchants. Delen Private Bank aims to share its passion for art with every art lover. For over fifteen years, Brafa and Delen have stood side by side to promote art in all its forms.

EXHIBITORS BRAFA ����

Galeries AB & BA

P. 44

Galerie AB - Agnès Aittouarès

5 Rue Jacques Callot FR-75006 Paris

t +33 (0)1 45 23 41 16

m +33 (0)6 14 42 96 83 galerieab@gmail.com www.galerie-ab.com

Galerie Berthet Aittouarès

Odile Aittouarès

14 & 29 Rue de Seine

FR-75006 Paris

t +33 (0)1 43 26 53 09

m +33 (0)6 15 12 20 10 contact@galerie-ba.com www.galerie-ba.com

Stand n° 73

Ars Antiqua

P. 46 Via Carlo Pisacane 55 & 57 IT-20129 Milan

t +39 02 295 290 57

m +39 347 97 35 757

m +39 347 82 18 229 galleria@arsantiquasrl.info www.arsantiquasrl.com

Stand n° 57

d’Arschot & Cie

P. 48 Philippe d’Arschot Avenue Louise 192 BE-1050 Brussels

t +32 (0)2 649 56 21

m +32 (0)475 78 35 05 pdarschot@gmail.com www.darschot.com

Stand n° 71

Art et Patrimoine

Laurence Lenne

P. 50 Chaussée de Bruxelles 344 BE-7800 Ath

m +32 (0)476 54 26 36 artetpatrimoine@skynet.be www.artetpatrimoine.be

Stand n° 77

Artimo Fine Arts

P. 52 Rue Lebeau 55 BE-1000 Brussels

t +32 (0)2 512 62 42

m +32 (0)476 42 18 33

m +32 (0)475 29 10 49 info@artimobrussels.com www.artimobrussels.com

Stand n° 134

Galerie Ary Jan

P. 54 32 Avenue Marceau

FR-75008 Paris

t +33 (0)1 42 61 42 10

m +33 (0)6 07 88 75 84 contact@galeriearyjan.com www.galeriearyjan.com

Stand n° 1

HELENE BAILLY

Paris-Genève

P. 56 71 Rue du Faubourg Saint-Honoré FR-75008 Paris

t +33 (0)1 44 51 51 51

m +33 (0)6 60 82 45 03 helene@helenebailly.com www.helenebailly.com

Stand n° 106

J. Baptista

P. 58 Rua Áurea 166-170 PT-1100-064 Lisbon

t +351 213 859 068

m +351 924 397 860 jbaptistalda@gmail.com www.josebaptista.com

Stand n° 117

Barbara Bassi

P. 60 Corso Campi 22 IT-26100 Cremona m +39 339 266 58 30 barbara.bassi.gioielli@gmail.com

Stand n° 55

Galerie de la Béraudière

P. 62 Rue Jacques Jordaens 6 BE-1000 Brussels

t +32 (0)2 646 92 15

m +32 (0)478 82 30 13 galerie@delaberaudiere.com www.delaberaudiere.com

Stand n° 86

Galerie Berès

P. 64 Anisabelle Berès-Montanari & Florence Montanari-Berès 25 Quai Voltaire

FR-75007 Paris

t +33 (0)1 42 61 27 91

m +33 (0)6 07 01 50 41 beres@galerieberes.com www.galerieberes.com

Stand n° 65

Bernier/Eliades Gallery

P. 66

Jean Bernier & Marina Eliades

11 Eptachalkou Street

GR-11851 Athens

t +30 21 0341 3935 bernier@bernier-eliades.com www.bernier-eliades.com

Rue du Châtelain 46 BE-1050 Brussels

t +32 (0)2 640 55 04 brussels@bernier-eliades.com

Stand n° 11

Galerie BG Arts

P. 68 Benjamin Gastaud

85 Rue des Rosiers – Galeries 110/110bis/111/112/159 FR-93400 Saint-Ouen sur Seine

m +33 (0)6 84 09 87 34 bgdvdl@gmail.com www.bg-arts.com

Stand n° 110

Boon Gallery

P. 70 Jos & Christophe Boon Kustlaan 197 BE-8300 Knokke-Zoute

m +32 (0)475 45 49 63

m +32 (0)476 83 80 14 boongallery@hotmail.com www.boongallery.com Stand n° 26

Bernard Bouisset

P. 72 20 Rue du 4 Septembre FR-34500 Béziers

t +33 (0)4 67 28 71 86

m +33 (0)6 07 10 28 81

m +33 (0)6 85 40 38 50 bernardbouisset@wanadoo.fr www.bernardbouisset.com Stand n° 58

Galerie Boulakia

P. 74 39-40 Beaufort Gardens Knightsbridge UK-London SW3 1PW

t +44 (0)207 629 15 55

m +44 (0)7557 534 491 daniel@boulakia.gallery www.boulakia.gallery Stand n° 48

Galerie Nicolas Bourriaud

P. 76 205 Rue du Faubourg Saint-Honoré FR-75008 Paris

t +33 (0)1 42 61 31 47

m +33 (0)6 08 70 44 83 gnb@galeriesnicolasbourriaud.com www.galerienicolasbourriaud.com

1 Quai Voltaire FR-75007 Paris

t +33 (0)1 42 33 66 72 Stand n° 63

Brame & Lorenceau

P. 78 68 Boulevard Malesherbes FR-75008 Paris

t +33 (0)1 45 22 16 89 contact@bramelorenceau.com www.bramelorenceau.com

Stand n° 28

Cabinet of Curiosities

Honourable Silver Objects

P. 80 Twaalfmaandenstraat 1 BE-2000 Antwerp

m +32 (0)475 26 76 85 info@silverobjects.be www.silverobjects.be

Stand n° 81

Galerie Capazza

P. 82 1 Rue des Faubourgs FR-18330 Nançay

t +33 (0)2 48 51 80 22

m +33 (0)6 79 84 51 18 contact@galerie-capazza.com www.galerie-capazza.com

Stand n° 59

Giammarco Cappuzzo Fine Art

P. 84 17 Wigmore Street UK-London W1U 1PQ

By appointment

m +44 (0)7775 635 468 gmcfineartlondon@gmail.com www.giammarcocappuzzo.com

Stand n° 49

Galerie Jean-François Cazeau

P. 86 8 Rue Sainte-Anastase FR-75003 Paris

t +33 (0)1 48 04 06 92

m +33 (0)6 03 79 76 26 jfc@galeriejfcazeau.com www.galeriejfcazeau.com Stand n° 41

Galerie Cento Anni

P. 88 Place du Grand Sablon 31

BE-1000 Brussels

t +32 (0)2 514 56 33

m +32 (0)475 30 02 50

m +32 (0)477 50 54 41 centoanni@gmail.com galeriecentoanni.blogspot.com

3 Rue du Miromesnil FR-75008 Paris

m +33 (0)6 08 36 80 83

Stand n° 120

Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)

Belgische Beroepskamer van Antiquaren (BBA)

P. 90 President: Pierre Coumans

Galerie Bortier 8

BE-1000 Brussels

t +32 (0)2 514 22 10 pierrecoumansbooks@gmail.com

Secretariat: Brigitte Harcq

Rue Saint-Jean 31

BE-1000 Brussels

m +32 (0)476 80 40 83 clam-bba@hotmail.com www.clam-bba.be www.ilab.org

Stand n° 116

Claes Gallery

P. 94

Rue de l’Abbaye 14

BE-1050 Brussels

t +32 (0)2 414 19 29 contact@didierclaes.com www.didierclaes.art

Stand n° 35

Collectors Gallery

P. 96 Betty De Stefano

Rue des Minimes 12

BE-1000 Brussels

t +32 (0)2 511 46 13

m +32 (0)475 36 79 91 info@collectors-gallery.com www.collectors-gallery.com

Stand n° 10

COLNAGHI

P. 98 26 Bury Street

UK-London SW1Y 6AL

t +44 (0)207 491 74 08 contact@colnaghi.com www.colnaghi.com

Rue Jacques Jordaens 30 BE-1000 Brussels brussels@colnaghi.com

Calle del General Castaños 9 ES-28004 Madrid spain@colnaghi.com www.colnaghispain.com

23 East 57th Street, Fourth floor

US-New York 10065

t +1 917 388 3825

newyork@colnaghi.com

Stand n° 34

Cortesi Gallery

P. 100 Via Nassa 62

CH-6900 Lugano

t +41 91 921 40 00 info@cortesigallery.com www.cortesigallery.com Via Morigi 8

IT-20123 Milan

t +39 02 36 517 547

Stand n° 12

Costermans

P. 102 Arnaud Jaspar Costermans

Place du Grand Sablon 5

BE-1000 Brussels

t +32 (0)2 512 21 33

m +32 (0)475 58 56 71 info@costermans-antiques.com www.costermans-antiques.com

Stand n° 17

Dalton Somaré

P. 104 Tomaso & Gerolamo Vigorelli Via Borgonuovo 5 IT-20121 Milan

t +39 02 890 96 173

m +39 347 469 87 45

m +39 338 108 65 40 info@daltonsomare.com www.daltonsomare.com

Stand n° 8

De Brock

P. 106 Zeedijk 758

BE-8300 Knokke

t +32 (0)50 62 13 09

m +32 (0)494 36 35 65 info@debrockgallery.com www.debrockgallery.com

Strandstraat 11

BE-8300 Knokke Stand n° 33

Dei Bardi Art

P. 108 Alessandra Bardi & Giulia Ponti Rue Watteeu 12

BE-1000 Brussels

m +32 (0)476 74 05 57 deibardiart@gmail.com www.deibardiart.com

Stand n° 9

De Jonckheere

P. 110 Georges & François De Jonckheere 7 Rue de l’Hôtel-de-Ville CH-1204 Geneva

t +41 (0)22 310 80 80 geneve@dejonckheere-gallery.com www.dejonckheere-gallery.com

Stand n° 30

Galerie

P. 112

Bernard De Leye

By appointment

t +32 (0)2 514 34 77

m +32 (0)475 46 54 41 info@bernarddeleye.be www.orfevrerie.eu

Stand n° 50

Thomas Deprez Fine Arts

P. 114 Lebeaustraat 33

BE-1000 Brussels

m +32 (0)479 07 74 28

info@thomasdeprezfinearts.com www.thomasdeprezfinearts.com

Stand n° 99

Patrick Derom Gallery

P. 116 Rue aux Laines 1

BE-1000 Brussels

t +32 (0)2 514 08 82

m +32 (0)475 27 96 32

m +32 (0)478 20 99 31

info@patrickderomgallery.com www.patrickderomgallery.com

Stand n° 37

Gallery Desmet

P. 118 Tom & Tobias Desmet Regentschapsstraat 17

BE-1000 Brussels

t +32 (0)2 514 98 88

m +32 (0)475 37 60 50

m +32 (0)486 02 16 09

info@gallerydesmet.com

www.gallerydesmet.com

Stand n° 31

Galerie Oscar De Vos

P. 120 Latemstraat 20

BE-9830 Sint-Martens-Latem

t +32 (0)9 281 11 70

m +32 (0)475 24 62 62

info@oscardevos.be www.oscardevos.be

Stand n° 97

De Wit Fine Tapestries

P. 122 Refugie Abdij van Tongerlo Schoutetstraat 7

BE-2800 Mechelen

t +32 (0)15 20 29 05

info@dewit.be www.dewit.be

Stand n° 21

De Zutter Art Gallery

P. 124 Michael De Zutter

Kustlaan 149

BE-8300 Knokke-Zoute

t +32 (0)50 60 63 99

m +32 (0)486 89 54 43 info@dezutterartgallery.com www.dezutterartgallery.com

Stand n° 16

DIE

GALERIE

P. 126 Grüneburgweg 123

DE-60323 Frankfurt am Main

t +49 (0)69 971 47 10

m +49 (0)171 81 33 125 info@die-galerie.com www.die-galerie.com

Stand n° 80

Douwes Fine Art b.v.

P. 128 Mr E.J.M. Douwes Senior and Junior Johannes Vermeerstraat 15-HS

NL-1071 DK Amsterdam

t +31 (0)20 664 63 62

m +31 (0)6 54 24 24 29 info@douwesfineart.com www.douwesfineart.com

Douwes Fine Art Ltd., London

t +31 (0)20 664 63 62

Stand n° 61

Epoque Fine Jewels

P. 130 Overbekeplein 33

BE-8500 Kortrijk

m +32 (0)475 61 68 31 info@epoquefinejewels.com www.epoquefinejewels.com

Stand n° 70

Galerie Flak

P. 132 8 Rue des Beaux-Arts

FR-75006 Paris

t +33 (0)1 46 33 77 77

m +33 (0)6 84 52 81 36 julien@galerieflak.com www.galerieflak.com

Stand n° 92

A&R Fleury

P. 134 36 Avenue Matignon

FR-75008 Paris

t +33 (0)1 42 89 42 29

m +33 (0)6 52 06 11 18 contact@galeriefleury.com www.galeriefleury.com

Stand n° 45

Galerie La Forest Divonne

P. 136 Avenue Louise 130

BE-1000 Brussels

t +32 (0)2 544 16 73

m +32 (0)471 89 71 46 brussels@galerielaforestdivonne.com www.galerielaforestdivonne.com 12 Rue des Beaux-Arts FR-75006 Paris

t +33 (0)1 40 29 97 52 paris@galerielaforestdivonne.com

Stand n° 131

Galerie Christophe Gaillard

P. 138 Quai du Commerce 50 BE-1000 Brussels

m +32 (0)474 85 16 40

m +32 (0)499 43 07 88 sophie@galerie-gaillard.com www.galeriegaillard.com 5 Rue Chapon FR-75003 Paris

t +33 (0)1 42 78 49 16 contact@galerie-gaillard.com

Stand n° 93

Galerie des Modernes

P. 140 13 Rue des Saints-Pères

FR-75006 Paris

t +33 (0)1 40 15 00 15

m +33 (0)6 14 41 26 93 galerie.des.modernes@orange.fr www.galeriedesmodernes.art

Stand n° 84

Gilden’s Art Gallery

P. 142 74 Heath Street Hampstead UK-London NW3 1DN

t +44 (0)2074 353 340 m +44 (0)7796 966 999 info@gildensarts.com www.gildensarts.com Stand n° 121

Gokelaere & Robinson

P. 144 Golvenstraat 6 BE-8300 Knokke-Zoute

t +32 (0)50 65 83 88 info@gokelaererobinson.com www.gokelaererobinson.com 34 Rue de Penthièvre FR-75008 Paris

t +33 (0)1 44 07 04 56 paris@gokelaererobinson.com Stand n° 101

Galerie Hadjer

P. 146 102 Rue du Faubourg Saint-Honoré FR-75008 Paris

t +33 (0)1 42 66 61 13

m +33 (0)6 99 57 86 86 contact@hadjer.fr www.galerie-hadjer.com Stand n° 124

Philippe Heim

P. 148 17 Rue Henri Monnier FR-75009 Paris

m +33 (0)6 09 02 05 35 art@ph-heim.be www.ph-heim.be Stand n° 60

Marc Heiremans

P. 150 Graaf van Egmontstraat 1 BE-2000 Antwerp

m +32 (0)478 28 03 08 info@marcheiremans.com www.marcheiremans.com

Stand n° 90

Heutink Ikonen

P. 152 Joost Heutink Ahnemstraat 21 NL-8043 RE Zwolle

t +31 (0)38 465 95 24

m +31 (0)6 22 74 04 04

m +31 (0)6 46 18 38 31 info@heutinkikonen.nl www.heutinkikonen.nl

Stand n° 119

Galerie Hioco

P. 154 7 Rue de Phalsbourg FR-75017 Paris

t +33 (0)1 53 30 09 65

m +33 (0)6 99 66 88 16

m +33 (0)6 64 89 76 20 info@galeriehioco.com www.galeriehioco.com www.plaisirdesthete.com Stand n° 39

Hoffmans Antiques

P. 156 Anders Hoffman Olivecronas väg 4 SE-11361 Stockholm

m +46 70 722 98 20 info@hoffmansantikhandel.se www.hoffmansantikhandel.se

Stand n° 89

Huberty & Breyne

P. 158 Alain Huberty & Marc Breyne

Place du Châtelain 33

BE-1050 Brussels

t +32 (0)2 893 90 30

m +32 (0)478 31 92 82 contact@hubertybreyne.com www.hubertybreyne.com

36 Avenue Matignon FR-75001 Paris

t +33 (0)1 40 28 04 71

19-21 Rue Chapon FR-75003 Paris

t +33 (0)1 71 32 51 98

Stand n° 54

Galerie Hurtebize

P. 160 Le Gray d’Albion 17 La Croisette FR-06400 Cannes

t +33 (0)4 93 39 86 84 m +33 (0)6 09 94 14 72 info@hurtebize.net www.galerie-hurtebize.com

Stand n° 107

rodolphe janssen

P. 162 Rue de Livourne 35 & 32

BE-1050 Brussels

t +32 (0)2 538 08 18 info@rodolphejanssen.com www.rodolphejanssen.com

Stand n° 36

Francis Janssens van der Maelen

P. 164 Rue Bodenbroek 22 Box 8 BE-1000 Brussels

t +32 (0)2 502 71 80

m +32 (0)475 48 62 00 jvdm@fineartsilver.com www.fineartsilver.com

Stand n° 91

Kunsthaus Kende

P. 166 Christopher Kende

Bei der Fruchtschranne 10 DE-72070 Tübingen

t +49 (0)163 26 79 746 info@kunsthaus-kende.de www.kunsthaus-kende.de

Stand n° 129

Harold t’Kint de Roodenbeke

P. 168 Rue Ernest Allard 31 BE-1000 Brussels

m +32 (0)475 34 01 11 h.k@skynet.be www.haroldtkint.com

Stand n° 32

Florian Kolhammer

P. 170 Plankengaße 5

AT-1010 Vienna

t +43 1 513 32 69

m +43 676 770 80 70 info@floriankolhammer.com www.floriankolhammer.com Stand n° 133

Kovacek Spiegelgasse

P. 172 Sylvia Kovacek Gmbh Spiegelgasse 12

AT-1010 Vienna

t +43 (0)1 512 99 54

m +43 (0)664 212 31 40 office@kovacek.at www.kovacek.at Stand n° 78

Kunstconsult

20th century art | objects

P. 174 Wiljan Versteeg

Oostzijde 289

NL-1508 EN Zaandam

m +31 (0)6 24 96 01 96 info@kunstconsult.nl www.kunstconsult.nl www.architecturaldesign1900.com Stand n° 76

DYS44 Lampronti Gallery

P. 176 Cesare Lampronti

44 Duke Street, St. James’s

UK-London SW1Y 6DD

t +44 (0)207 83 92 977

m +39 335 33 33 25

m +39 347 73 70 148 info@cesarelampronti.co.uk www.cesarelampronti.cloud Stand n° 64

Alexis Lartigue

P. 178 32 Avenue Matignon

FR-75008 Paris

m +33 (0)6 17 90 16 88 galerie@alexislartigue.com www.alexislartigue.com Stand n° 66

Lemaire

P. 180 Jean Lemaire @ Costermans Place du Grand Sablon 5

BE-1000 Brussels

t +32 (0)2 511 05 13

m +32 (0)496 61 41 56 lemairesa@skynet.be www.lemairesa.com Stand n° 44

Galerie Lowet de Wotrenge

P. 182 Tyr Baudouin

Vleminckveld 74

BE-2000 Antwerp

m +32 (0)498 46 81 68 tyr@galerie-ldw.be www.galerie-ldw.be Stand n° 127

Francis Maere Fine Arts

P. 184 Hotel Falligan – First floor Kouter 172

BE-9000 Ghent

t +32 (0)9 233 09 93

m +32 (0)475 69 23 05 info@francismaerefinearts.be www.francismaerefinearts.be Stand n° 40

Galerie Marc Maison

P. 186 75 Rue des Rosiers

FR-93400 Saint-Ouen sur Seine

m +33 (0)6 60 62 61 90

m +33 (0)6 60 91 64 40 marcmaison@gmail.com www.marcmaison.com www.marcmaison.art Stand n° 94

MARUANI MERCIER

P. 188 Avenue Louise 430

BE-1050 Brussels

t +32 (0)2 512 50 10 desk@maruanimercier.com www.maruanimercier.com

Kustlaan 90

BE-8300 Knokke-Zoute

Zeedijk-Het Zoute 759

BE-8300 Knokke-Zoute

m +32 (0)473 97 72 36 serge@maruanimercier.com

THE WAREHOUSE by MARUANI MERCIER

Lambroekstraat 5 (next to Hoekplein)

BE-1930 Zaventem

t +32 (0)2 512 50 10 desk@maruanimercier.com Stand n° 104

Galerie Mathivet

P. 190 Céline & Fabien Mathivet 6 Rue Bonaparte

FR-75006 Paris

t +33 (0)1 43 54 19 00

m +33 (0)6 07 50 38 13 galeriemathivet@gmail.com www.galeriemathivet.com

Stand n° 3

Mearini Fine Art

P. 192 Fabio Mearini

Corso Vannucci 10

IT-06121 Perugia

t +39 755 72 28 93

m +39 329 85 14 055 mearinifineart@gmail.com www.mearinifineart.com

Stand n° 75

Meessen

P. 194 Olivier Meessen

Rue de l’Abbaye 2A

BE-1000 Brussels

t +32 (0)2 644 34 54

m +32 (0)473 52 49 19 info@meessen.be www.meessen.be

Stand n° 22

Montagut Gallery

P. 196 Calle Enrique Granados 49

ES-08008 Barcelona

t +34 93 141 43 19 info@galeriamontagut.com www.galeriamontagut.com

Stand n° 103

Galerie Montanari

P. 198 8 Rue de Miromesnil

FR-75008 Paris

t +33 (0)1 49 24 07 52

m +33 (0)6 80 24 50 82 galerie@montanaricadres.com www.montanaricadres.com

Stand n° 72

Jan Muller Antiques

P. 200 Burgstraat 24

BE-9000 Ghent

m +32 (0)496 26 33 24 info@janmullerantiques.com www.janmullerantiques.com

Stand n° 13

Klaas Muller

P. 202 Rechtstraat 29

BE-9160 Lokeren

m +32 (0)478 38 18 29 muller.antiques@skynet.be www.klaasmuller.com

Stand n° 4

Gioielleria Nardi

P. 204 Piazza San Marco 69

IT-30124 Venice

t +39 041 52 25 733

m +39 348 2727 910 info@nardi-venezia.com www.nardi-venezia.com

Stand n° 43

New Hope Gallery

P. 206 Rue Sainte-Anne 40

BE-1000 Brussels

m +32 (0)477 55 90 02 info@new-hope.be www.new-hope.be

Stand n° 82

Nosbaum Reding

P. 208 2+4 Rue Wiltheim

LU-2733 Luxembourg

t +352 28 11 251

m +352 621 461 517 reding@nosbaumreding.com www.nosbaumreding.com

Rue de la Concorde 60

BE-1050 Brussels

t +32 (0)2 411 11 85

Stand n° 125

Dr. Nöth kunsthandel + galerie

P. 210 Michael Nöth

Hoechstetterstraße 16

DE-91522 Ansbach

By appointment only

t +49 (0)981 156 33 noeth-ansbach@t-online.de www.artnoeth.de

Stand n° 83

Galerie

Nathalie Obadia, Paris/Brussels

P. 212 3 Rue du Cloître Saint-Merri

FR-75004 Paris

t +33 (0)1 42 74 67 68 info@nathalieobadia.com www.nathalieobadia.com

91 Rue du Faubourg Saint-Honoré FR-75008 Paris

t +33 (0)1 53 01 99 76

Rue Charles Decoster 8

BE-1050 Brussels

t +32 (0)2 648 14 05 infobxl@nathalieobadia.com

Stand n° 88

Objects With Narratives

P. 214 Place du Grand Sablon 40

BE-1000 Brussels

m +32 (0)480 64 80 44 info@objectswithnarratives.com www.objectswithnarratives.com

Stand n° 132

Galeria Jordi Pascual

P. 216 C/ Enric Granados 47 ES-08008 Barcelona

t +34 93 272 02 09

m +34 607 89 55 86 galeria@jordipascual.com www.galeriajordipascual.net Stand n° 102

Galerie La Patinoire Royale Bach

P. 218 Valérie Bach

Rue Veydt 15 BE-1060 Brussels

t +32 (0)2 533 03 90

m +32 (0)495 23 60 70 valerie@prvbgallery.com www.prvbgallery.com

Stand n° 47

Pauline’s Jewellery Box

P. 220 Pauline Janssen

By appointment only

m +32 (0)478 87 93 52 info@paulinesjewellerybox.com www.paulinesjewellerybox.com

Stand n° 62

Galerie Alexis Pentcheff

P. 222 Pavillon de la Reine Jeanne 10 Chemin du Génie

FR-13007 Marseille

t +33 (0)4 91 42 81 33

m +33 (0)6 82 72 95 79

m +33 (0)6 08 28 58 85 a.pentcheff@gmail.com www.galeriepentcheff.fr

Stand n° 42

Christophe Perlès

P. 224 20 Rue de Beaune

FR-75007 Paris

m +33 (0)6 07 32 36 76 christopheperles@hotmail.com

Stand n° 44

Guy Pieters Gallery

P. 226 Albertplein 15

BE-8300 Knokke-Zoute

t +32 (0)50 80 00 10

m +32 (0)495 22 62 26 info@guypietersgallery.com www.guypietersgallery.com

Zeedijk 753

BE-8300 Knokke-Zoute

t +32 (0)50 62 33 80

m +32 (0)478 93 53 54

Zeedijk 755

BE-8300 Knokke-Zoute

t +32 (0)50 80 00 15

m +32 (0)484 13 34 68 Stand n° 98

Gallery de Potter d’Indoye

P. 228 Kasteel van Melle Brusselsesteenweg 190 BE-9090 Melle

m +32 (0)475 75 30 00

m +1 310 424 0771 edpi@skynet.be www.depotterdindoye.eu

Stand n° 126

Galerie de la Présidence

P. 230 90 Rue du Faubourg Saint-Honoré FR-75008 Paris

t +33 (0)1 42 65 49 60

m +33 (0)6 03 90 58 31 contact@presidence.fr www.presidence.fr

Stand n° 23

QG Gallery

P. 232 Zeedijk 720

BE-8300 Knokke-Zoute

m +32 (0)474 19 72 64 info@qg-gallery.com www.qg-gallery.com

Rue Saint-Georges 13

BE-1050 Brussels

Stand n° 115

Maison Rapin

P. 234 7 Quai de Conti FR-75006 Paris

t +33 (0)1 42 61 24 21

m +33 (0)6 44 75 12 38 contact@maison-rapin.com www.maison-rapin.com

Stand n° 15

Stéphane Renard Fine Art

P. 236 78 Avenue Mozart FR-75016 Paris

m +33 (0)6 14 63 15 34 srenard@stephanerenard-fineart.com www.stephanerenard-fineart.com

Stand n° 112

Repetto Gallery

P. 238 Via Clemente Maraini 24 CH-6900 Lugano t +41 (0)76 685 88 55 info@repettogallery.ch www.repettogallery.ch

Stand n° 85

robertaebasta

P. 240 Via Fiori Chiari 2 IT-20121 Milan

t +39 02 861 593

m +39 335 62 01 596

m +39 335 54 54 467 info@robertaebasta.com www.robertaebasta.com robertaebasta London 85 Pimlico Road

UK-London SW1W 8PH

m +44 (0)7438 117 037 london@robertaebasta.com

Via Fiori Chiari 3

IT-20121 Milan

Via Formentini 4/6

IT-20121 Milan

Via Solferino Opposite 3

IT-20121 Milan

Stand n° 123

Romigioli Antichità

P. 242 Viale Toselli 68

IT-20025 Legnano

m +39 348 41 28 148

m +39 348 01 17 005 romigioli@romigioli.it www.romigioli.it

Stand n° 46

Rueb Modern and Contemporary Art

P. 244 Banstraat 4

NL-1071 JZ Amsterdam

t +31 (0)20 67 67 566

m +31 (0)6 22 80 59 62 info@rueb.nl www.rueb.nl

Stand n° 128

Galerie Sophie Scheidecker

P. 246 14bis Rue des Minimes

FR-75003 Paris

t +33 (0)1 42 74 26 94

m +33 (0)6 17 84 01 04 info@sophiescheidecker.com www.galerie-sophiescheidecker.com

Stand n° 109

Serge Schoffel – Art Premier

P. 248 Rue Watteeu 14

BE-1000 Brussels

m +32 (0)473 56 32 33 contact@sergeschoffel.com www.sergeschoffel.com

Stand n° 24

Segoura Fine Art

P. 250 83-85 Rue des Rosiers – Galeries 17/18

FR-93400 Saint-Ouen sur Seine

m +33 (0)6 71 62 45 95 contact@segourafineart.com www.segourafineart.com

Stand n° 108

Selected by BRAFA, designed by Gert Voorjans

P. 252 Couck Art Gallery - Lucie Couck

Rue Ernest Allard 32

BE-1000 Brussels

m +32 (0)470 62 14 19 lucie@couckart.be www.couckart.be

Sophie Derom

Rue aux Laines 1

BE-1000 Brussels

m +32 (0)471 26 76 06 info@sophiederom.be www.sophiederom.be

Jonathan F. Kugel

Rue Watteeu 16

BE-1000 Brussels

m +32 (0)470 68 25 61 info@jfkugel.com www.jonathanfkugel.com

Galerie Uzal - Nathan Uzal

Rue de la Régence 11

BE-1000 Brussels

m +32 (0)499 19 41 58 nathan@uzal.be www.galerieuzal.com

Galerie Watteeu - Andrea de Caters

Rue Watteeu 19

BE-1000 Brussels

m +32 (0)496 54 41 63

m +32 (0)475 25 87 27 galeriewatteeu@gmail.com www.watteeu.be Stand n° 118

Edouard Simoens Gallery

P. 254 Zeedijk 811

BE-8300 Knokke-Zoute

m +32 (0)472 54 70 15 info@edouardsimoens.com www.edouardsimoens.com Stand n° 130

Herwig Simons Fine Arts

P. 256 Watteeustraat 27

BE-1000 Brussels

m +32 (0)475 46 75 46 info@herwigsimons.be www.herwigsimons.be Stand n° 96

Stern Pissarro Gallery

P. 258 David Stern & Lélia Pissarro

66 St. James’s Street

UK-London SW1A 1NE

t +44 (0)207 629 6662 stern@pissarro.com www.pissarro.art Stand n° 19

Stone Gallery

The origin of art

P. 260 Roy & Max Masin Torenlaan 127

NL-3742 CS Baarn

t +31 (0)35 588 22 66

m +31 (0)6 13 39 08 64 info@stonegallery.nl www.stonegallery.nl

Stand n° 7

Stoppenbach & Delestre

P. 262 27 Garrick House

Carrington Street

UK-London W1J 7AF

t +44 (0)7594 130 223

m +33 (0)6 64 06 35 83

m +33 (0)6 03 64 28 01

contact@artfrancais.com www.artfrancais.com

17 Rue Notre Dame des Victoires

FR-75002 Paris

Stand n° 6

Galerie Taménaga

P. 264 18 Avenue Matignon

FR-75008 Paris

t +33 (0)1 42 66 61 94 galerie@tamenaga.fr www.tamenaga.com

7-5-4 Ginza Chuo-Ku

JP-104-0061 Tokyo

t +81 (0)3 3573 5368 gal@tamenaga.com

1-4-1 Shiromi Chuo-Ku

Hotel New Otani Arcade

JP-T-510-0001 Osaka

t +81 (0)6 6949 3434 gto@tamenaga.com

265-7 Kamihoritsumecho

Higashiyama Ward

JP-605-09 Kyoto

t +81 (0)755 32 3001

gtk@tamenaga.com Stand n° 87

TEMPLON

P. 266 30 Rue Beaubourg FR-75003 Paris

t +33 (0)1 42 72 14 10 paris@templon.com www.templon.com

28 Rue du Grenier Saint-Lazare FR-75003 Paris

Rue Veydt 13

BE-1060 Brussels

t +32 (0)2 537 13 17 brussels@templon.com

293 Tenth Avenue

US-New York 10001

t +1 212 922 3745 newyork@templon.com Stand n° 27

Galerie Patrice Trigano

P. 268 4 bis Rue des Beaux-Arts FR-75006 Paris

t +33 (0)1 46 34 15 01 contact@galerietrigano.com www.galeriepatricetrigano.com Stand n° 105

Valerio Turchi

P. 270 Via Margutta 91/A

IT-00187 Rome

t +39 06 323 50 47

m +39 335 52 23 852

m +44 (0)7500 246 574 turchi.valerio@yahoo.it antichita.roma@gmail.com www.galleriavalerioturchi.it

Stand n° 5

Univers du Bronze

P. 272 Michel Poletti & Alain Richarme

27-29 Rue de Penthièvre

FR-75008 Paris

t +33 (0)1 42 56 50 30

m +33 (0)6 82 58 13 83 website@universdubronze.com www.universdubronze.com

Stand n° 69

Gallery Sofie Van de Velde

P. 274 Nieuw Zuid

Léon Stynenstraat 21

BE-2000 Antwerp

m +32 (0)470 04 88 83 info@sofievandevelde.be www.sofievandevelde.be

Stand n° 111

Van der Meij Fine Arts

P. 276 Dr. Lorenz van der Meij Herengracht 372

NL-1016 CH Amsterdam

t +31 (0)20 36 27 022

m +31 (0)6 15 50 90 95 info@vandermeijfinearts.com www.vandermeijfinearts.com

Stand n° 74

Van Herck-Eykelberg

P. 278 Kardinaal Mercierlei 11

BE-2600 Antwerp

m +32 (0)491 16 65 22 contact@van-herck.com www.van-herck.com

Stand n° 122

Samuel Vanhoegaerden Gallery

P. 280 Zeedijk 785

BE-8300 Knokke-Zoute

m +32 (0)477 51 09 89 info@svhgallery.be www.svhgallery.be

Stand n° 114

Galerie Raf Van Severen

P. 282 Godefriduskaai 52

BE-2000 Antwerp

m +32 (0)495 54 14 11 raf.vanseveren@skynet.be www.rafvanseveren.com

Minderbroedersrui 61

BE-2000 Antwerp

Stand n° 100

Maurice Verbaet Gallery

P. 284 Zeedijk 738

BE-8300 Knokke-Zoute

m +32 (0)479 88 10 31 info@verbaet.com www.verbaet.com

Stand n° 14

Galerie von Vertes

P. 286 Bahnhofstraße 16

CH-8001 Zurich

t +41 (0)44 211 12 13

m +41 (0)76 261 66 83 qverlinde@vonvertes.com info@vonvertes.com www.vonvertes.com

Kantonsstraße 1

CH-8807 Freienbach

Stand n° 2

Axel Vervoordt

P. 288 Stokerijstraat 19

BE-2110 Antwerp

t +32 (0)3 355 33 00 info@axel-vervoordt.com www.axel-vervoordt.com

Stand n° 29

Galerie Dina Vierny

P. 290 36 Rue Jacob

FR-75006 Paris

t +33 (0)1 42 60 23 18 contact@galeriedinavierny.fr www.galeriedinavierny.fr

Stand n° 20

VKD Jewels

P. 292 Aimée & Fleur van Kranendonk Duffels

IT-Milan

NL-Amsterdam

By appointment

m +39 335 626 22 52

m +31 (0)6 17 33 49 62 info@vkdjewels.com www.vkdjewels.com

Stand n° 113

Galerie Florence de Voldère

P. 294 34 Avenue Matignon FR-75008 Paris

t +33 (0)1 40 15 93 26

m +33 (0)6 80 38 85 37 fdevoldere@orange.fr www.florencedevoldere.com

134 Rue du Faubourg Saint-Honoré FR-75008 Paris

Stand n° 25

N. Vrouyr

P. 296 Komedieplaats 4-8 BE-2000 Antwerp

t +32 (0)3 232 36 87

m +32 (0)475 66 89 62 info@vrouyr.com www.vrouyr.com

Stand n° 68

Floris van Wanroij Fine Art

P. 298 Bergstraat 52

NL-5551 AX Dommelen

t +31 (0)40 20 40 596

m +31 (0)6 27 42 04 06 info@floris-art.com www.floris-art.com

Stand n° 18

Victor Werner

P. 300 Schuttershofstraat 21 BE-2000 Antwerp

m +32 (0)486 67 79 68 info@victorwerner.be www.victorwernergallery.com

Stand n° 56

Whitford Fine Art

P. 302 Adrian Mibus

Rue Antoine Dansaert 79 BE-1000 Brussels

By appointment only

m +44 (0)7771 98 36 55

m +44 (0)7798 77 82 50 info@whitfordfineart.com www.whitfordfineart.com

Stand n° 79

Willow Gallery

P. 304 40-41 Duke Street, St James’s UK-London SW1Y 6DF

t +44 (0)207 968 18 30

m +44 (0)7973 64 21 40

m +44 (0)7967 02 88 79 enquiries@willowgallery.com www.willowgallery.com

Stand n° 95

BOARD OF DIRECTORS

Klaas Muller Chairman

Christophe Boon

Vice-Chairman Modern & Contemporary

Didier Claes

Vice-Chairman Non-European

Arnaud Jaspar Costermans

Vice-Chairman Antiques & Old Masters

Tobias Desmet

General Secretary

Jean Lemaire Treasurer

Herwig Simons Administrator

HONORARY CHAIRMEN

H.H. Prince de Ligne Chairman of Honour

Harold t’Kint de Roodenbeke Honorary Chairman

MANAGEMENT

Beatrix Bourdon Managing Director

Kristine Calcoen Executive Project Coordinator

Vanessa Polo Friz Head of Press & Communication

Patricia Simonart Press & PR Associate Laurence-Anne Doetsch PR Manager

Paul Michielssen Coordinator VIP

Sophie Stijnen Accounting

ORGANISATION OF BRAFA

Foire des Antiquaires de Belgique asbl Antiekbeurs van België vzw t +32 (0)2 513 48 31 info@brafa.be - www.brafa.art

SELECTED ARTWORKS @ BRAFA ����

GALERIES AB & BA

Galerie AB - Agnès Aittouarès

5 Rue Jacques Callot | FR-75006 Paris

t +33 (0)1 45 23 41 16 | m +33 (0)6 14 42 96 83 galerieab@gmail.com | www.galerie-ab.com

Galerie Berthet Aittouarès - Odile Aittouarès

14 & 29 Rue de Seine | FR-75006 Paris

t +33 (0)1 43 26 53 09 | m +33 (0)6 15 12 20 10 contact@galerie-ba.com | www.galerie-ba.com

Joan Miró (Barcelona 18931983 Palma de Mallorca)

Untitled, 1949

Oil, watercolour, pastel crayon and charcoal on paper

32.5 x 25 cm

Signed and dated on reverse, 1949

Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris

Literature: J. Dupin and A. LelongMainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong-Successió Miró, 2010, vol. II, p. 185, n° 1184

Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September25 October 1964, p. 15, cat. 132

Jean Degottex (Sathonay-Camp 1918-1988 Paris)

Gidayu III, 1961

Oil on cardboard mounted on canvas

120 x 80 cm

Signed and dated lower right

Signed, dated and titled at the back Certificate of authenticity issued in 2021

Provenance: private collection

Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282

ARS ANTIQUA

Via Carlo Pisacane 55 & 57 I IT-20129 Milan t +39 02 295 290 57 I m +39 347 97 35

galleria@arsantiquasrl.info I www.arsantiquasrl.com

Carlo Grubacs (Perasto 1802-1878 Venice)

Pair of paintings: View of San Marco in Venice and View of the Doge's Palace in Venice

Oil on canvas

Each painting: 26 x 30 cm

Signed lower left 'C. Grubacs'

Balthazar van den Bossche (Antwerp, 1681-1715)

The sculptor’s studio (Giambologna’s studio), 1710

Oil on canvas

72 x 85 cm

Signed and dated 1710 on the right lower corner

Published on RKD

Provenance: sale Christie's, 4 June 1943, lot 66

D’ARSCHOT & CIE

Philippe d’Arschot

Avenue Louise 192 | BE-1050 Brussels t +32 (0)2 649 56 21 | m +32 (0)475 78 35 05 pdarschot@gmail.com | www.darschot.com

Molenbeker

Engraved silver Maker’s mark: IM in a shield

Flanders, circa 1610-1620 H 22 cm

Devotional cross

Bloodstone with silver gilt mounts

Unmarked Northern Italy, circa 1630

H 32 x W 24 cm

ART ET PATRIMOINE LAURENCE LENNE

Chaussée de Bruxelles 344 I BE-7800 Ath m +32 (0)476 54 26 36 artetpatrimoine@skynet.be I www.artetpatrimoine.be

Majolica albarello with angel head Workshop of Masséot Abaquesne Rouen, circa 1545 H 23 cm

Attributed to the workshop of Jan Pieter van Baurscheit the Elder (Rheinbach 1669-1728 Antwerp)

Young girl holding an open cage, circa 1730

White marble H 36 cm

ARTIMO FINE ARTS

Rue Lebeau 55 I BE-1000 Brussels t +32 (0)2 512 62 42 I m +32 (0)476 42 18 33 I m +32 (0)475 29 10 49 info@artimobrussels.com I www.artimobrussels.com

Magician question and answer automaton ‘album amicorum’ book with original leather case and instructions for use

Meussel et Fils à Genève, March 1823 Gold, enamel and tortoiseshell H 20 x W 15 cm

Unique piece

Provenance: J.-G. & J.-C. Meüsel, Geneva, Jewellers at rue des Orfevres, 184 Geneva, dated 1823; Lydia Huber Strutt (1759-1832), Geneva acquired 1823 (?); Bernard Franck (1848-1924), 21 rue du Château d’Eau, Paris, exact date of acquisition unconfirmed, but likely before 1900; Henry & Sidney Hill, Berry-Hill Galleries, New York and London (formerly Frederick Berry

& Sons of 25, Piccadilly), at the time specialists in gold boxes and objects, circa 1938; Maurice Sandoz, (18921958), Swiss nationality, resided variously in Burier, Switzerland, Rome, New York, Lisbon, Naples. Acquired the Magician, circa 1938; private collection, Europe

Literature: A. Chapuis, E. Gelis, Le Monde des Automates, vol. II, Paris 1928, pp. 170-172, figs. 438/439; A. Chapuis, À travers les collections d’horlogerie: gens et choses, Neuchâtel, La Baconnière, 1942, ch. IX; Letter signed by Henry D. Hill of Berry-Hill, New York, 23 December 1947 to Alfred Chapuis confirming that they had purchased a part of the Bernard Franck

Collection some years earlier. (Alfred Chapuis Archive held at the Musée d’Horlogerie, Chateau-des-Monts, Le Locle. Inv. G48.); A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, Private Printing by Spinner Press, New York. p. 58, cat. n° 151; Maurice Sandoz collection, Watches and Automata, Fondation Maurice & Edouard Sandoz, 2012, vol. III, pp.201202

Exhibition: A La Vieille Russie, Inc. A Loan Exhibition of Antique Automatons, 3 November-5 December 1950, New York

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

GALERIE ARY JAN

32 Avenue Marceau | FR-75008 Paris t +33 (0)1 42 61 42 10 | m +33 (0)6 07 88 75 84 contact@galeriearyjan.com | www.galeriearyjan.com

Goudji (Georgia, Bordjomi 1941)

The passing of time, 2023

Blown glass hourglass in a silver structure inlaid with sodalite and aventurine

H 30 x W 10 x D 10 cm

Provenance: private collection

Charles Camoin (Marseille 1879-1965 Paris)

The Port of Ajaccio, 1906 Oil on canvas

65 x 81 cm

Signed lower left

This work is listed in the Camoin archives and will appear in the catalogue raisonné that is currently being prepared

Provenance: private collection, France

HELENE BAILLY PARIS-GENÈVE

71 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 44 51 51 51 I m +33 (0)6 60 82 45 03 helene@helenebailly.com I www.helenebailly.com

Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo)

Bouquet de fleurs, circa 1950

Oil on canvas

55 x 38 cm

Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen

This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024

Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above

Henri Martin (Toulouse 18601943 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

J. BAPTISTA

Rua Áurea 166-170 I PT-1100-064 Lisbon t +351 213 859 068 I m +351 924 397 860 jbaptistalda@gmail.com I www.josebaptista.com

‘Minas Novas’ necklace

Silver and quartz

Portugal, 18th century Weight 100.5 gr.

9.5 x 33.5 cm

Articulated links studded with ‘Minas Novas’ (colourless quartz) with a large bow in the centre, applications

of stylised botanical elements and a removable dove

Literature: similar pieces illustrated in Orey, Leonor d’-Cinco Séculos de Joalharia-Museu Nacional de Arte Antiga, Instituto Português de Museus/ Zwemmer, Lisbon/London, 1995, pp. 92-94

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 Vasconbcelos e Sousa, Pratas Portuguesas em Colecções Particulares: séc. XV ao séc. XX. Oporto: 1998. pp. 54-55

55 BARBARA BASSI

Corso Campi 22 I IT-26100 Cremona m +39 339 266 58 30 barbara.bassi.gioielli@gmail.com

Arman (Nice 1928-2005 New York)

Bracelet instruments, 2005

White gold 18 kt and diamonds

8 examples

Fausto Melotti

(Rovereto 1901-1986 Milan)

Brooch/pendant ‘Grata’, circa 1978

Rose gold 18 kt and corals

8 examples

Published in the catalogue Buccellati, Ed. Skira, p. 115

Mario Buccellati

Necklace and earrings set

White gold 18 kt, oval and round diamonds, necklace total ct. 52.02 and earrings total ct. 10.52

86 GALERIE DE LA BÉRAUDIÈRE

Rue Jacques Jordaens 6 I BE-1000 Brussels t +32 (0)2 646 92 15 I m +32 (0)478 82 30 13 galerie@delaberaudiere.com I www.delaberaudiere.com

Germaine Richier

(Grans 1902-1959 Montpellier)

La Sauterelle, moyenne, 1945

Bronze with dark patina H 54 x W 44 x D 65 cm

Signed, numbered and stamped on the base: G. Richier, HC3, C. Valsuani cire perdue. Edition HC3 out of 12 (1/8 - 8/8 + HC1-HC2-HC3 + EA) Posthumous cast

Provenance: collection Henri Creuzevault, Paris; collection Colette Creuzevault, Paris (by descent); De Baecque & Associés, 19 November 2021, lot 2; private collection, Belgium

Literature: Peggy Guggenheim collection, Germaine Richier, exhibition

catalogue, Venice, 2007, p. 70; JeanLouis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul de Vence, Fondation Maeght, 1996, n° 15, pp. 46-47, ill. (another cast); Peter Selz, New Images of Man, New York, 1959, ill. p. 129 (another cast)

Exhibitions: 1997, Berlin, Akademie der Künste, Germaine Richier, p. 77, n° 15, p. 85, n° 20, ill. (another cast); 1996, Saint-Paul de Vence, Fondation Maeght, Germaine Richier, Rétrospective, p. 46, n° 15, ill. (another cast); 1976, Japan, Tokyo, Contemporary Sculpture Center and Osaka, Contemporary Sculpture Center, Exposition Richier, n° 7; 1955, London, The Hanover Gallery, Germaine Richier, np., n° 10 (another cast)

Félix Labisse (Marchiennes 19051982 Neuilly-sur-Seine)

Histoire naturelle, 1943

Oil on canvas

72.7 x 59.4 cm

Provenance: Jacques Arnold Croquez, Paris; Galerie Isy Brachot, Brussels and Paris (acquired from the above); collection Jean-Luc Lagardère, Paris; sale Christie’s, London, 6 February 2007, lot 127; private collection

Literature: Robert Desnos, Félix Labisse, Paris, 1945, (not paginated); Newsweek, New York, 10 February 1947 (ill.); C’est Paris, June 1950 (ill.); Louis Pauwels, Gurdjieff, Isle of Man, 1963; Patrick Waldberg, Félix Labisse, Brussels, 1970, (ill. p. 129; in its first state); Jean Cassou, Isy Brachot (eds.), Labisse, Catalogue de l’oeuvre peint, 1927-1979, Brussels, 1979, n° 164, ill. p. 92; Véronique Prat, A Félix Labisse, cent mille diables reconnaissants, in Figaro Magazine, 11 September 1982, p. 87 (ill.)

Exhibitions: on request

GALERIE BERÈS

Anisabelle Berès-Montanari & Florence Montanari-Berès 25 Quai Voltaire I FR-75007 Paris t +33 (0)1 42 61 27 91 I m +33 (0)6 07 01 50 41 beres@galerieberes.com I www.galerieberes.com

Maurice Denis (Granville 1870-1943 Paris)

Les Fées, circa 1891 Oil on cardboard

23 x 30.3 cm

Signed lower left ‘MAVD’; titled upper right ‘LES FEES’

Provenance: Arthur Huc

Literature: Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42

Exhibitions: Au temps des Nabis, Paris, Huguette Berès, 29 May-20 July 1990, n° 46; Maurice Denis, Paris, Huguette Berès, 4 June-22 July 1992, n° 14; Le Talisman de Serusier, une prophétie de la couleur, Musée Pont-Aven, 30 June 2018-6 January 2019, p. 98, n° 42

Jean Degottex (Sathonay-Camp 1918-1988 Paris)

IMPA-VIDE (II), 1959

Oil on canvas

199 x 130 cm

Signed lower right ‘Degottex’; signed, titled and dated on the back: Degottex IMPA-VIDE (II) 1959

This work will be included in the catalogue raisonné of Jean Degottex

Inclusion certificate n°2023-34 issued by Comité Jean Degottex dated 21 November 2023

Provenance: private collection

Exhibitions: Les Alliances, Les Dix- huit vides, Galerie internationale d’Art contemporain, séquences sonores de Pierre Henry, Paris, 26 November31 December 1959

BERNIER / ELIADES GALLERY

Jean Bernier & Marina Eliades 11 Eptachalkou Street | GR-11851 Athens

t +30 21 0341 3935 bernier@bernier-eliades.com | www.bernier-eliades.com

Rue du Châtelain 46 | BE-1050 Brussels

t +32 (0)2 640 55 04 brussels@bernier-eliades.com

Richard Long (Bristol, 1945)

Untitled, 2014

River Avon Mud Fingerprints on wood

66 x 42.5 x 3 cm

Martin Margiela (Belgium, Leuven, 1957)

Grey Steps III, 2023

Carpet on canvas on wooden frame

191.5 x 111.5 cm

GALERIE BG ARTS

Benjamin Gastaud

85 Rue des Rosiers I Galeries 110/110bis/111/112/159

FR-93400 Saint-Ouen sur Seine m +33 (0)6 84 09 87 34 bgdvdl@gmail.com I www.bg-arts.com

René Lalique (Ay 1860-1945 Paris) ‘Cluny’ and ‘Senlis’ vases, circa 1925 Moulded glass with bronze handles

Provenance: private collection, London; Galerie BG Arts; Paris

Literature: Félix Marcilhac, René LaliqueCatalogue de l’Œuvre de Verre, Les Editions de l’Amateur, Paris, 2011, n° 961 and 962

René Lalique (Ay 1860-1945 Paris) Necklace ‘Couple of Dragonflies’, circa 1905

Yellow gold, tourmalines, diamonds, enamel and plique-a-jour

Provenance: Sotheby’s sale, London, 3 December 1998, lot 102; private collection, London; Galerie BG Arts, Paris

Literature: For a similar model: Sigrid Barten, René Lalique Schmuk und Objects d’Art 1890-1910, Munich, 1977, ill. p. 344, n° 733

BOON GALLERY

Jos & Christophe Boon

Kustlaan 197 I BE-8300 Knokke-Zoute m +32 (0)475 45 49 63 I m +32 (0)476 83 80 14 boongallery@hotmail.com I www.boongallery.com

Kim Tschang-Yeul

(South Korea, 1929-2021)

Water Drops, 1974

Oil and airbrush on canvas

50 x 50 cm

Signed lower right

Certificate of authenticity by the Kim Tschang-Yeul Estate, Paris, 2024

Günther Uecker (Germany, Wendorf 1930) Wind, 2005

Nails and oil on canvas laid down on wood

200 x 160 cm

Signed on reverse

This artwork is registered in the Uecker Archive with the number GU.05.011 and will be included in the forthcoming catalogue raisonné

BERNARD BOUISSET

20 Rue du 4 Septembre I FR-34500 Béziers

t +33 (0)4 67 28 71 86 I m +33 (0)6 07 10 28 81 I m +33 (0)6 85 40 38 50 bernardbouisset@wanadoo.fr I www.bernardbouisset.com

Cartier ring

Gold, platinum, turquoise and diamonds

Circa 1965

Boucheron set, circa 1970

Convertible long necklace, pendant/brooch and clip-on earrings

The necklace can be converted into four bracelets

Gold, platinum, diamonds, onyx and rock crystal

GALERIE BOULAKIA

39-40 Beaufort Gardens I Knightsbridge I UK-London SW3 1PW t +44 (0)207 629 15 55 I m +44 (0)7557 534 491 daniel@boulakia.gallery I www.boulakia.gallery

Marc Chagall (Vitebsk 18871985 Saint-Paul de Vence)

Les fiancés au cirque, 1982

Oil, tempera and pastel on canvas 100 x 73 cm

Signed ‘Marc Chagall’ in blue oil paint (lower right), signed and dated ‘Marc/ Chagall/1982’ in oil paint on the reverse This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, Paris

Provenance: artist’s estate; private collection, Europe

(Amsterdam 1921-2006 Zurich)

Untitled, 1960

81 x 116 cm

Signed and dated lower right

Provenance: private collection

Karel Appel

Oil on canvas

GALERIE NICOLAS BOURRIAUD

205 Rue du Faubourg Saint-Honoré I FR-75008 Paris

t +33 (0)1 42 61 31 47 I m +33 (0)6 08 70 44 83 gnb@galeriesnicolasbourriaud.com I www.galerienicolasbourriaud.com

1 Quai Voltaire I FR-75007 Paris

t +33 (0)1 42 33 66 72

Céline Lepage (Warsaw 1882-1928 Paris)

Femme de Marrakech, circa 1920

Bronze with double shaded brown-green and medal patina

H 80.5 x W 22 x D 22 cm

Weight 12.7 kg

Signed ‘Céline Lepage’

Sand casting probably made by the Rudier foundry. Publisher’s stamp ‘La Stèle’, the artist’s stamp with number 6

Literature: Paul Camille Lepage, ‘Les conceptions artistiques de Céline Lepage’, L’Art et les artistes, March 1933, model repr. p. 185

Eva Aeppli (Switzerland, Zofingen 19252015 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

28 BRAME & LORENCEAU

68 Boulevard Malesherbes I FR-75008 Paris

t +33 (0)1 45 22 16 89 contact@bramelorenceau.com I www.bramelorenceau.com

Salvo (Italy, 1947–2015) Primavera tramonto, 1985

Oil on cardboard

30 x 23 cm

Signed, dated and titled on the back with a ball point pen ‘Salvo 85 Primavera Tramonto’

Provenance: private collection, Spain; private collection, Spain

Exhibitions: 1986, November-December, Genoa, Galería Chisel, Salvo, p. 14, ill. col.; 1989, May-June, Valencia, Galería Ferrán Cano, Salvo, 1979-1987, p. 13, ill. col.

Paul Delvaux (Antheit 1897-1994 Veurne)

Les belles de nuit, 1961

Ink on paper 47 x 36.8 cm

Signed and titled on the lower right

Provenance: Landau Gallery; private collection, USA; private collection, Spain

Exhibition: 1971, August, Ostend, L’Orangerie, Paul Delvaux

CABINET OF CURIOSITIESHONOURABLE SILVER OBJECTS

By appointment only

Twaalfmaandenstraat 1 I BE-2000 Antwerp m +32 (0)475 26 76 85 info@silverobjects.be I www.silverobjects.be

Van Cleef & Arpels brooch, Paris

18K with 201 brilliant and 40 onyx

Signed and numbered, circa 1960

Cartier bracelet, Paris 18K trinity yellow gold with brilliant approx. 6.45 ct

Signed and numbered

Cartier earrings, Paris

18K trinity yellow gold with 90 diamonds 1.80 ct

Signed and numbered

Provenance: private collection

Maison Delheid (Belgium, 1828-1980)

Coffee & tea set, circa 1935

Marks 1925-1942, model: 2581

Two mirrored trapezoids with rosewood handles

Literature: Delheid 1828-1980, van Michel tot Climax, Zilvermuseum Sterckshof 2010, pp. 117-118

GALERIE CAPAZZA

1 Rue des Faubourgs I FR-18330 Nançay m +33 (0)2 48 51 80 22 I m +33 (0)6 79 84 51 18 contact@galerie-capazza.com I www.galerie-capazza.com

Goudji (Georgia, Bordjomi 1941) Oiseau des îles, 2002 Gold, lapis-lazuli, aventurine, mother-of-pearl, onyx, jasper H 14 x W 36 x D 19 cm

Literature: Galerie Capazza, 2021 catalogue

Provenance: the artist’s studio

Goudji (Georgia, Bordjomi 1941)

La coupe aux gargouilles, 2023

Silver, Iron-eye, onyx, aventurine

H 11 x W 53 x D 22 cm

GIAMMARCO CAPPUZZO FINE ART

17 Wigmore Street I By appointment I UK-London W1U 1PQ t +44 (0)7775 635 468 gmcfineartlondon@gmail.com I www.giammarcocappuzzo.com

Bartolomeo Manfredi (Ostiano 1582-1622 Rome)

The Denial of Saint Peter, circa 1618-1620

Oil on canvas

125 x 183 cm

Provenance: private collection, Belgium

This unpublished Denial of Saint Peter (fig. 1) is an important autograph work by Bartolomeo Manfredi, painted during his mature years. The evident elements of style and quality of this new Denial of Saint Peter, especially in its best preserved places, affirms Manfredi’s authorship, which has been confirmed by leading expert Dr. Gianni Papi.

Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm

Provenance: private collection, Italy

Literature: G. Papi, A New ‘Susanna’ by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34

41 GALERIE JEAN-FRANÇOIS CAZEAU

8 Rue Sainte-Anastase I FR-75003 Paris

t +33 (0)1 48 04 06 92 I m +33 (0)6 03 79 76 26 jfc@galeriejfcazeau.com I www.galeriejfcazeau.com

Jean Metzinger (France, 1883-1956)

Danseuse au café, 1912

Ink and watercolour on paper

45 x 37 cm

Signed lower right ‘Metzinger’

Certificate of authenticity issued by M. Philippe Cézanne and Ms. Bozena Nikiel

This work will be reproduced in the forthcoming catalogue raisonné of Jean Metzinger’s work

Provenance: private collection, France; Galerie Odermatt-Cazeau, Paris; private collection, Paris (acquired from the latter); Galerie Jean-François Cazeau, Paris

This work represents the study for the painting ‘Danseuse au café’, 1912, currently in the collections of the Albright Knox Museum in Buffalo, USA. The painting was exhibited by the artist at the Salon d’Automne in 1912.

André Masson (Balagny-sur-Thérain 1896-1987 Paris)

Fête (Festival), 1956

Oil on canvas

90 x 81 cm

Signed lower left ‘André Masson’

Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996)

Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250

Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250

GALERIE CENTO ANNI

Place du Grand Sablon 31 I BE-1000 Brussels t +32 (0)2 514 56 33 I m +32 (0)475 30 02 50 I m +32 (0)477 50 54 41 centoanni@gmail.com I galeriecentoanni.blogspot.com

3 Rue de Miromesnil I FR-75008 Paris m +33 (0)6 08 36 80 83

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

Gaston Le Bourgeois (France, 1880-1956)

Pigeon voyageur, circa 1924

Dark brown patinated bronze H 20.5 x W 28.5 x D 10 cm

Model created in 1924, old-fashioned cast, most probably by Colin, foundryman

Signed with the monogram stamp GLB and numbered 12/20 (in the monogram) on the left leg

With thanks to Noël Cailly, the artist's grandson and successor, for confirming the authenticity of this piece

Provenance: Lucienne Lazon (19102007) collection

CHAMBRE PROFESSIONNELLE BELGE

DE LA LIBRAIRIE ANCIENNE ET MODERNE (CLAM) BELGISCHE BEROEPSKAMER

VAN ANTIQUAREN (BBA)

President: Pierre Coumans

Galerie Bortier 8 I BE-1000 Brussels t +32 (0)2 514 22 10 pierrecoumansbooks@gmail.com

Secretariat: Brigitte Harcq

Rue Saint-Jean 31 I BE-1000 Brussels m +32 (0)476 80 40 83 clam-bba@hotmail.com I www.clam-bba.be I www.ilab.org

The Belgian Antiquarian Booksellers’ Association (CLAM-BBA) is composed of 30 antiquarian booksellers from Antwerp, Bruges, Brussels, Comines, Ghent, Hasselt, Hatrival, Liege, Mechelen, Mouscron and Ulbeek, as well as foreign associated members. The CLAM-BBA members are specialised in buying and selling rare and precious books, prints, autographs, old and modern manuscripts. A selection will be on display at BRAFA.

List of CLAM-BBA-affiliated exhibitors sharing a stand at BRAFA ����

L’ABAC

LIBRAIRIE CALLIOPE

PIERRE COUMANS

ARTS & BOOKS GALLERY DRAULANS

INGERT

LIBRAIRIE LARDANCHET

LEX ANTIQUA

PASCAL DE SADELEER

MARC VAN DE WIELE

Gilles Wolles

Rue Blaes 176-176A I BE-1000 Brussels m +32 (0)495 54 40 28 oldbooks@labac.be

Xavier Libon

Rue Marcel Demeulemeester 10 I BE-7700 Mouscron m +32 (0)474 53 06 05 xavier.libon@hotmail.com

Galerie Bortier 8 I BE-1000 Brussels t +32 (0)2 514 22 10 pierrecoumansbooks@gmail.com I www.pierrecoumansbooks.com

Abdijstraat 28 I BE-2260 Westerlo m +32 (0)495 26 53 74 info@artsandbooks.be I www.artsandbooks.be

Guillaume Ingert

Rue Madame 46 I FR-75006 Paris t +33 (0)1 45 31 98 38 info@ingert.fr I www.ingert.fr

Bertrand & Thierry Meaudre

100 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 42 66 68 32 bertrand@lardanchet.fr I www.lardanchet.fr

Rob Camp

Beursstraat 46 I BE-3832 Ulbeek-Wellen m +32 (0)498 77 25 05 rob.camp@lex-antiqua.be I www.lex-antiqua.be

Avenue Milcamps 65 I BE-1030 Brussels t +32 (0)2 513 26 48 I m +32 (0)475 49 80 30 pascal.desadeleer@skynet.be

Sint-Salvatorkerkhof 7 I BE-8000 Bruges t +32 (0)50 33 63 17 I m +32 (0)474 38 55 85 van.de.wiele@skynet.be I www.marcvandewiele.com

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

Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid)

Miroir de la tauromachie

Paris, Galerie Lelong, 1990

Folio, loose (as issued), original publisher’s wrappers and box

4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches

Librairie Lardanchet, Antiquarian bookseller

CLAES GALLERY

Rue de l'Abbaye 14 I BE-1050 Brussels t +32 (0)2 414 19 29 contact@didierclaes.com I www.didierclaes.art

Songye Mask

Democratic Republic of Congo, Katanga

Presumed period: late 19th-early 20th century

Wood, pigments

H 31.8 cm

Provenance: acquired in situ by John Henry (aka Jack) Sandground in Ebombo, 1934; passed on to descendants; American private collection, Washington

Gouro pulley

Masterhands of Bouaflé Ivory Coast

Presumed period: late 19th-early 20th century

Wood, metal H 21 cm

Provenance: Lucien Van de Velde, Antwerp, 1992; Guy Onghena collection, Belgium; transmitted by descent

Sophia Vari (Greece, Vari 19402003 Monte Carlo, Monaco)

Abstract ‘Menelas’ brooch, 2014 18kt gold and ebony

Unique piece

Provenance: the artist’s studio

André Lamy (Belgium, 1936-1975)

Abstract modernist brooch, circa 1970

White and yellow 18kt gold, lapis lazuli

Designed for the jeweller

Fernand Demaret

Unique piece

Provenance: from Mr. Lamy’s family

COLNAGHI

26 Bury Street | UK-London SW1Y 6AL

t +44 (0)207 491 74 08 contact@colnaghi.com | www.colnaghi.com

Rue Jacques Jordaens 30 | BE-1000 Brussels brussels@colnaghi.com

Calle del General Castaños 9 | ES-28004 Madrid spain@colnaghi.com | www.colnaghispain.com

23 East 57th Street, Fourth floor US-New York 10065

t +1 917 388 3825 newyork@colnaghi.com

Willem Adriaensz Key (Breda 1515/16-1568 Antwerp)

The Crucifixion, circa 1550

Oil on panel 102 x 74 cm

Signed on the cross: W. KAY

Provenance: private collection, Belgium, until 2023; acquired from the above

Literature: Koenraad Jonckheere, Willem Key (1516-1568): Portrait of a Humanist Painter, Turnhout, 2011

Jacob Jordaens (Antwerp, 1593-1678)

A rostrum of musicians in a loggia, circa 1635

Watercolour, gouache, red chalk, pen and brown ink and brown wash.

Coated paper

34.5 x 28.2 cm

Provenance: Mrs. Lasserre (Dax, France; 1904); Maurice Delacre (Ghent, 18621938); Geoffrey & Bequet sale, Saintes, 20 April 2008; acquired by Jean Luc Baroni; private collection, UK

Literature: R.A. d’Hulst, Jordaens Drawings, Catalogue raisonné, Brussels, 1974, Vol. I – A 199; ill. Vol. III, fig. 214

Exhibition: Antwerp, 1905, n° 126

CORTESI GALLERY

Via Nassa 62 I CH-6900 Lugano t +41 91 921 40 00 info@cortesigallery.com I www.cortesigallery.com

Via Morigi 8 I IT-20123 Milan t +39 02 36 517 547

Lucio Fontana (Argentine, Rosario 18991969 Comabbio, Italy)

Concetto spaziale, Attese, 1959

Water-based paint on canvas 81 x 99 cm

Signed and inscribed on the reverse ‘l. fontana attese 1+1-AE2’

Provenance: Marlborough Galleria d’Arte, Rome, Italy; Martha Jackson Gallery, New York, USA; Galleria Levi, Milan, Italy; Studio La Città, Verona, Italy; Galleria Corvucci, Forlì, Italy; private collection; private collection, New York, USA

Literature: E. Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, n° 59 T 87 (ill. p. 86); E. Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, n° 59 T 87 (ill. p. 295); E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan, 2006, n° 59 T 87 (ill. p. 461)

Exhibition: 1959, Lucio Fontana (opere dal 1931 al 1959), Galleria Notizie, Turin, ill. p. 8

Heinz Mack (Lollar, Germany 1931)

Untitled, 2017

Glazed ceramic, burnished gold H 20 x W 37 x D 4.5 cm

Signed, dated central on reverse ‘mack 17’

Provenance: the artist's studio

COSTERMANS

Arnaud Jaspar Costermans

Place du Grand Sablon 5 I BE-1000 Brussels t +32 (0)2 512 21 33 I m +32 (0)475 58 56 71 info@costermans-antiques.com I www.costermans-antiques.com

Florentine cabinet with Paesina stone marquetry

Ebony, marble, Paesina stone, bronze Italy, 17th century H 53 x W 88 x D 24 cm

Signed and dated

Christophe Huet (Pontoise 1700-1759 Paris)

Two Capuchin monkeys, 1737 Oil on canvas

45.5 x 56.5 cm

DALTON SOMARÉ

Tomaso & Gerolamo Vigorelli

Via Borgonuovo 5 I IT-20121 Milan t +39 02 890 96 173 I m +39 347 469 87 45 I m +39 338 108 65 40 info@daltonsomare.com I www.daltonsomare.com

Pair of Headdresses, tchi–wara Bamana, Mali, early 20th century Wood H 85.5 cm and H 74 cm

Provenance: Christian Duponcheel collection, Paris; private collection, Brussels, 1969; private collection, Belgium

Dan Mano mask Ivory Coast/Liberia Wood, vegetable fibre, teeth H 24 cm

Provenance: William Holden collection, Los Angeles; John Giltsoff, Aigua Blava; Patrick De Backer collection, Temse; private collection, Brussels

DE BROCK

Zeedijk 758 I BE-8300 Knokke-Zoute t +32 (0)50 62 13 09 I m +32 (0)494 36 35 65 info@debrockgallery.com I www.debrockgallery.com

Strandstraat 11 I BE-8300 Knokke-Zoute

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

Austin Eddy (USA, Boston, 1986)

Consolation, 2024

Oil on canvas

203.2 x 142.2 cm

Provenance: the artist's studio, Brooklyn, NY, USA; De Brock, Knokke, Belgium

Exhibitions: Austin Eddy: Still Life, 21 September-24 November 2024, Kunstverein Heilbronn, Heilbronn, Germany; BRAFA Art Fair, 26 January2 February 2025, Brussels Expo, Brussels, Belgium

DEI BARDI ART

Alessandra Bardi & Giulia Ponti

Rue Watteeu 12 I BE-1000 Brussels m +32 (0)476 74 05 57 deibardiart@gmail.com I www.deibardiart.com

Saint Jérôme Burgundy, last quarter of the 15th century Limestone H 60.5 cm

Literature: J. Baudoin, La sculpture flamboyante en Bourgogne et Franche-Comté, Nonette, 1993

After the Allegories of the Continents by Maerten de Vos (engraving by Adriaen Collaert)

Oil on copper

29.5 x 24.5 cm

Provenance: private collection, Florence

Literature: New Hollstein, Collaert VI.35.1316; Hollstein XLIV.277.1398

DE JONCKHEERE

Georges & François De Jonckheere 7 Rue de l’Hôtel-de-Ville I CH-1204 Geneva t +41 (0)22 310 80 80 geneve@dejonckheere-gallery.com I www.dejonckheere-gallery.com

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 WentworthFitzwilliam, Countess Fitzwilliam (19111975); 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.

Abel Grimmer (Antwerp, circa 1570/73-1618/19)

The Tower of Babel, 1604 Oil on panel 33.90 x 45 cm

Signed and dated ABEL GRIMER FECIT 1604 on a stone, front right

Provenance: Kunsthandel P. de Boer, 1930/1931; Galerie van Diemen, Berlin, 1933; C. Benedict, Paris, 1955; Douwes, Amsterdam, at the Delft Fair, 1972; Sale, Christie’s, Amsterdam, 17 October 1977, n° 317, repr.; Richard Green Gallery, London (FL 90,000); Galerie J.O. Leegenhoek, Paris, 1978; private collection

Literature: P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, Kunsthandel P. de Boer, Amsterdam, 1930, n° 84; H. Minkovski, Aus dem Nebel der Vergangenheit steigt der Turm zu Babel, Berlin, 1960, n° 190; R. Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels, 1991, p. 202, n° XLIV; H. Minkovski, Vermutungen über den Turm zu Babel, Luca Verlag Freren, 1991, p. 187, n° 259, repr. p. 186

Exhibition: Amsterdam, Kunsthandel P. de Boer, Tentoonstelling van werken van Joost de Momper, eenige voorlopers en tijdgenoten, December 1930-January 1931, n° 84

GALERIE BERNARD DE LEYE 50

By appointment

t +32 (0)2 514 34 77 I m +32 (0)475 46 54 41 info@bernarddeleye.be I www.orfevrerie.eu

Pair of silver toilet boxes

Liege hallmarks: Prince-Évêque

Joseph-Clément de Bavière, 1696

Master goldsmith Bertholet Labeen de Lambermont

H 7.2 x W 15.2 cm

Weight 692 gr. per pair

Madonna and Child, 1774

Silver

Master silversmith, François-Joseph Baudoux (France, 1720-1788), Lille hallmarks

H 69 x W 26 x D 21 cm

Literature: Master silversmith listed in Nicole Cartier-Les orfèvres de Lille, Cahier du Patrimoine, vol. II, pp. 671-691

Renowned for his talents, FrançoisJoseph Baudoux obtained the most prestigious commissions in Lille, mainly for the Church of Sainte Madeleine. He was a member of the Lille Academy of Arts when it was founded in 1773. Under the fold of the robe are the Poinçon de Reconnaissance, Poinçon de Jurande, Poinçon de Maître Orfèvre.

THOMAS DEPREZ FINE ARTS

Lebeaustraat 33 I BE-1000 Brussels m +32 (0)479 07 74 28 info@thomasdeprezfinearts.com I www.thomasdeprezfinearts.com

Pieter Jan Braecke (Nieuwpoort 1858-1938 Nossegem)

L'Humanité, before 1906

Marble H 220 cm

Unique piece

Signed on the base ‘P. Braecke’

Provenance: created for the grand hall of the Hôtel Aubecq (1903) by Victor Horta (1861-1947); private collection Octave Aubecq, Brussels (industrialist and founder of Le Cresuet); by descent into the family; sold following the demolition of the Hôtel Aubecq in 1949; possibly bought with part of the furniture by Louis Wittamer-De Camps, Brussels (?); circa 1979, in the collection of Mme Vanderperre, Antoing; private collection, New Jersey; private estate, Queens, New York

Literature: Braecke's masterpiece ‘L'Humanité’ has been widely published and discussed, both at the time in the press, as well as in more recent art historical and architecture related publications up to the present day. A full literature and press list are available on request

Exhibitions: Salon triennal de Gand, 1906 (cf. version in plaster); Pour L'Art, XVe exposition annuel, Brussels, 1908 (cf. cat. p. 11, plaster); Exposition universelle de Gand, 1913 (cf. cat. p. 66, n° 574, Hall 20, plaster)

Théo van Rysselberghe

(Ghent 1862-1926 Saint-Clair)

Portrait d’une dame lisant, circa 1884

Oil on mahogany

51.5 x 37 cm - framed 55 x 40 cm

Signed lower right ‘Théo van Rysselberghe’

This recent rediscovery is accompanied by a certifi cate from Olivier Bertrand and will be included in the forthcoming catalogue raisonné of the artist.

PATRICK DEROM GALLERY

Rue aux Laines 1 I BE-1000 Brussels t +32 (0)2 514 08 82 I m +32 (0)475 27 96 32 I m +32 (0)478 20 99 31 info@patrickderomgallery.com I www.patrickderomgallery.com

Lucio Fontana (Rosario 1899-1969 Comabbio)

Concetto spaziale, Teatrino, 1964

Water-based paint on canvas, lacquered wood

102 x 83 cm

Signed and titled on the back

Provenance: Serge de Bloe, Brussels; private collection, Brussels

Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.)

Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)

Léon Spilliaert (Ostend 1881-1946 Brussels)

Wall-Mounted Cabinet with Cup and ‘Le Carillon,’ 1908 Indian ink, brush, watercolour, wax crayon on paper

73.4 x 52.2 cm (day)

Signed and dated bottom left: LSpilliaert / 08

This work will be included in the forthcoming Léon Spilliaert catalogue raisonné currently being prepared by Dr. Anne Adriaens-Pannier

Provenance: Madeleine Spilliaert collection; Frederik van Rossum collection; private collection

Literature: Anne Adriaens-Pannier, Spilliaert. Le regard de l’âme, Ludion, Ghent, 2006, ill. 61, pp. 51-52; Anne Adriaens-Pannier, Léon Spilliaert. From the Depths of the Soul, Ludion, Antwerp, Brussels, 2019, ill. 61, p. 52; Anne Adriaens-Pannier, Léon Spilliaert: A Discerning Eye, London, 2020, ill., p. 16; Anne Adriaens-Pannier, Solitude féminine, intérieurs insolites, in Léon Spilliaert. Avec la mer du Nord… Snoeck, Lausanne, Ghent, 2023, p. 7, ill. p. 81; Norbert Hostyn, Léon Spilliaert, Museum voor Schone Kunsten, Ludion, Flammarion, Ghent, 1996, ill. 44a, p. 93; Fr.-Cl. Legrand, Léon Spilliaert et son époque, Fonds Mercator, Antwerp, 1981, cat. 68, ill., p. 67

Exhibitions: 1972, Brussels, Royal Museums of Fine Arts of Belgium, Hommage à Léon Spilliaert/Hulde aan Léon Spilliaert, cat. 28; 2006, Brussels, Royal Museums of Fine Arts of Belgium, Léon Spilliaert, Un esprit libre/Een vrije geest/A free spirit, cat. 79 (ill.); 2016, Ostend, Het Spilliaert Huis, Ontmoetingen met Spilliaert/Rencontres avec Spilliaert/ Encounters with Spilliaert, cat. 1; 2019-2020, Lodève, Musée de Lodève, Ensor, Magritte, Alechinksy… Chefsd’oeuvre du Musée d’Ixelles, cat. 44 (ill.); 2023, Lausanne, Fondation de L’Hermitage, Léon Spilliaert. Avec la Mer du Nord… cat. 43 (ill.), p. 81; 20232024, Neuss, Clemens Sels Museum, Gewagte Visionen. George Minne und Léon Spilliaert. Vom Symbolismus bis Expressionismus, cat. 45 (ill.), p. 43

31 GALLERY DESMET

Attributed to Francesco Fanelli (Italy, 1590-1653)

Pair of staggering and pacing horses

Bronze, black lacquer patina

Florence, second quarter of the 17th century

H 15 x W 16.5 x D 5 cm

H 16.5 x W 16 x D 5 cm

Provenance: private collection, Italy

Head of Goddess

Marble

Roman, 1st century AD

H 21 x W 14 x D 15 cm

Certificat d’un bien culturel: 242734

Accompanied by Art Loss Register certificate: S00236852

Provenance: the attics of Château de Monty Saint-Eloi (Oise), bought in 1896 (collection of Alfred Dailly 1848-1929); by descent to the Dugardin family, sold in their succession in 2023

GALERIE OSCAR DE VOS

Latemstraat 20 I BE-9830 Sint-Martens-Latem t +32 (0)9 281 11 70 I m +32 (0)475 24 62 62 info@oscardevos.be I www.oscardevos.be

Emile Claus (Sint-Eloois-Vijve 1849-1924 Astene)

Girl in flower garden, 1896

Oil on canvas

35 x 27 cm

Signed upper right ‘Emile Claus’

Signed and dated on reverse: Juni / IF / E.C.

Provenance: collection Vullers, Brussels

Literature: De Smet, J. e.a., Retrospectieve Emile Claus, exh. cat. (Ostend: PMMK, 1997); De Smet, J. e.a., Emile Claus en het landleven, exh. cat. (Ghent: MSK, 2009); Eeckhout, P., Retrospectieve tentoonstelling Emile Claus 1849-1924, exh. cat. (Ghent: MSK, 1974)

Frits Van den Berghe (Ghent, 1883-1939)

The poor, 1925

Oil on canvas

177 x 115 cm

Signed lower right ‘FVBerghe’

Provenance: collection Paul-Gustave Van Hecke, Brussels; collection Walter Schwarzenberg, Brussels; collection Victor Sevranck, Brussels; collection Maurice & Yvonne Naessens, Meise (Brussels)

Literature: on request

Exhibitions: on request

DE WIT FINE TAPESTRIES

Schoutetstraat 7 I Refugie Abdij van Tongerlo I BE-2800 Mechelen t +32 (0)15 20 29 05 info@dewit.be I www.dewit.be

Julien Van Vlasselaer (Belgium, 1907-1982)

Toilet of Venus, circa 1955

Wool and silk

130 x 60 cm

Woven by De Wit Royal Manufacturers

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

DE ZUTTER ART GALLERY

Michael De Zutter

Kustlaan 149 | BE-8300 Knokke-Zoute t +32 (0)50 60 63 99 | m +32 (0)486 89 54 43 info@dezutterartgallery.com | www.dezutterartgallery.com

Otto Piene (Germany, 1928-2014)

Untitled, 1964

Gouache on board

95.3 x 67.9 cm

Provenance: private collection, Gemany; sale, Van Ham Kunstauktionen, Cologne, 27 November 2014, lot 340; private collection

Georges Mathieu (Boulogne-sur-Mer 19212012 Boulogne-Billancourt) Cendres Flamboyantes, 1986-1987

Oil on canvas

163 x 130 cm

DIE GALERIE

Grüneburgweg 123 | DE-60323 Frankfurt am Main t +49 (0)69 971 47 10 | m +49 (0)171 81 33 125 info@die-galerie.com | www.die-galerie.com

Max Ernst (Brühl 1891-1976 Paris)

La grande tortue, 1944/1967/2021

Bronze

H 105 x W 80 x D 115 cm

Cast number 4/8; Amy Ernst, the granddaughter of Max Ernst, held the rights to cast this sculpture, produced by Susse Fondeur

Provenance: Max Ernst estate, Amy Ernst

Literature: Spies/Metken Nr./ n° 2469 (1944, original form in plaster); Spies/Metken/Pech Nr./n° 4591,I (another cast); Werner Spies, Fabrice Hergott, Doris Krystof, Gunter Metken, Jurgen Pech: Max Ernst, sculptures, maisons, paysages, exh. cat., Centre national d’art et de culture Georges Pompidou, Paris and Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1998, p. 272 (another cast)

Lucebert (Amsterdam 1924-1994 Alkmaar) De laatste goeroe, 1978

Acrylic on canvas 80 x 100 cm

Provenance: acquired directly from the artist’s estate

Literature: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, exh. cat. DIE GALERIE, Frankfurt am Main 2005, p. 15

Exhibitions: Lucebert. Schilder/Dichter. Gemälde und Arbeiten auf Papier, DIE GALERIE, Frankfurt am Main, 2005; Lucebert, 100 Jahre Licht/100 Years of Light, DIE GALERIE, Frankfurt am Main, 2024

DOUWES FINE ART B.V.

Mr E.J.M. Douwes Senior and Junior Johannes Vermeerstraat 15-HS I NL-1071 DK Amsterdam

t +31 (0)20 664 63 62 I m +31 (0)6 54 24 24 29 info@douwesfineart.com I www.douwesfineart.com

Douwes Fine Art Ltd., London

t +31 (0)20 664 63 62

Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) Baigneuse à Trouville, circa 1925

Oil on canvas

53.3 x 32.8 cm - framed 79 x 57 cm

Signed lower right ‘van Dongen’ This work will be included in the forthcoming van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance: Madame Van der Velde, Le Havre (by 1928); Pierre Samuel and Emma Célina (born Bayeux) Van der Velde, Le Havre; Jeanne (born Van der Velde) Réquin, Le Havre (acquired by descent circa 1952); Jeanne (born Van der Velde) and Edouard Réquin, Le Havre (acquired circa 1952 and until 1970); (possibly) Galerie Beaux Arts, Paris; Espace Pierre Cardin, Paris, April 4th, 1973, lot 16; (possibly) Collection Lieury, Le Havre; Alain Lesieutre, Paris (acquired by 1983 and until at least 1992); De Quay-Lombrail, Paris, June 22nd, 1995, lot 68; Michelle Rosenfeld Gallery, New York (acquired circa 1999); Kunsthandel Frans Jacobs, Amsterdam; acquired from the above in 2000 by the former owner; Sotheby’s London; private collection, The Netherlands

Literature: Yvonne Brunhammer, Art Deco Style, Paris, 1983, n° 86, p. 48, ill. in a photograph; Béatrice de Rochebouet, Vente de la collection

Lesieutre: Fin d’un règne, Le Figaro, October 2nd, 1992, n.n., n.p., ill. (titled ‘Femme au bord de la mer’); Christel Aaftink, ‘Kees van Dongen’, In Detail: periodieke uitgave van Kunsthandel Frans Jacobs, February 2000, n° 10, p. 7, ill. in colour

Melchior d'Hondecoeter

(Utrecht 1636-1695 Amsterdam)

The bird concert, a family of ducks near a pond with a farm in the background, circa 1666

Oil on canvas

102.5 x 87.5 cm

Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork

Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners

Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer

Privatbesitz 1500-1900, SeptemberOctober 1942 (Kunstverein Winterthur), cat. n° 145

EPOQUE FINE JEWELS

Overbekeplein 33 I BE-8500 Kortrijk m +32 (0)475 61 68 31 info@epoquefinejewels.com I www.epoquefinejewels.com

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

Van Cleef & Arpels

Panther brooch, last quarter of the 20th century

Onyx, emerald and diamond

A stalking panther set throughout with brilliant cut diamonds, highlighted with onyx dots, marquise-shaped emerald eyes and an onyx nose, mounted in 18 karat yellow gold

Signed Van Cleef & Arpels and numbered

Provenance: from an important estate

GALERIE FLAK

8 Rue des Beaux-Arts | FR-75006 Paris t +33 (0)1 46 33 77 77 | m +33 (0)6 84 52 81 36 julien@galerieflak.com | www.galerieflak.com

Shamanic ‘Nepcetaq’ plaque mask Yup’ik, Eskimo, Alaska, 19th century

Carved wood

H 45 x W 49 cm

Provenance: former private collection, North America; Christie’s Paris, 19 June 2013, lot 76; former collection Daniel Hourdé, Paris, acquired at the above sale

Mumuye ‘Iagalagana’ ritual figure Nigeria, early 20th century

Carved wood and pigments

H 115 cm

Provenance: former collection Edward Klejman & Jean-Michel Huguenin; former collection Pierre Parat, Paris; Artcurial, Paris, 10 June 2008, lot 190; former collection Leridon, Paris

45 A&R FLEURY

36 Avenue Matignon I FR-75008 Paris t +33 (0)1 42 89 42 29 I m +33 (0)6 52 06 11 18 contact@galeriefleury.com I www.galeriefleury.com

Hans Hartung (Leipzig 1904-1989 Antibes)

T1965-R16, 1965

Vinyl and scratch on canvas

54 x 81 cm

Certificate of authenticity from the Fondation Hartung Bergman on 28 June 2022

Provenance: Fondation Hartung Bergman, Antibes; private collection, France

Exhibitions: Città di Castello, La luce del Nero, Fondation Burri, 15 April-13 November 2022

Bernar Venet (Château-Arnoux, 1941)

226.5° Arc x 4, 2004

Rolled steel

H 128 x W 130 x D 24.5 cm

Certificate of authenticity issued by the artist and registered in the Bernar Venet archives under inventory n° bv04s17

Provenance: Guy Pieters Gallery, Knokke-Heist; private collection, Belgium

GALERIE LA FOREST DIVONNE

Avenue Louise 130 I BE-1000 Brussels

t +32 (0)2 544 16 73 I m +32 (0)471 89 71 46 brussels@galerielaforestdivonne.com I www.galerielaforestdivonne.com

12 Rue des Beaux-Arts I FR-75006 Paris

t +33 (0)1 40 29 97 52 paris@galerielaforestdivonne.com

KRJST Studio (Belgian artist duo founded in 2012 and composed by Justine Moriamé (1987) and Erika Schillebeeckx (1989))

SAND IS THE BODY OF THE TREES TO COME, 2024

Jaquard weaving and hand embroidery

Organic cotton, paper, mohair, merino, polymer, lurex, metalic yarns, polyester, linen, silk

H 250 x W 250 cm Serie Omen, edition 1/4

Ronan Barrot (Carpentras, 1973)

Paysages, 2023

Oil on canvas

Each painting: 20 x 60 cm

GALERIE CHRISTOPHE GAILLARD

Quai du Commerce 50 I BE-1000 Brussels

m +32 (0)474 85 16 40 I m +32 (0)499 43 07 88 sophie@galerie-gaillard.com I www.galeriegaillard.com

5 Rue Chapon I FR-75003 Paris

t +33 (0)1 42 78 49 16 contact@galerie-gaillard.com

Richard Nonas (USA, New York 1936-2021)

Untitled, n.d. Wood

H 41.9 x W 52.1 x D 10.2 cm

Unsigned

Provenance: the artist’s studio; Galerie Christophe Gaillard

Exhibition: Richard Nonas, Fondation CAB, Brussels, 2024

Julien des Monstiers (Limoges, 1983) Sans titre (Tapis), 2024

Oil on canvas 210 x 160 cm

Provenance: the artist's studio; Galerie Christophe Gaillard

Exhibition: Julien des Monstiers: Tendre intérieur, Galerie Christophe Gaillard, Brussels, 2024

GALERIE DES MODERNES

13 Rue des Saints-Pères | FR-75006 Paris

t +33 (0)1 40 15 00 15 | m +33 (0)6 14 41 26 93 galerie.des.modernes@orange.fr | www.galeriedesmodernes.art

Corneille alias Guillaume Cornelis van Beverloo (Liege 1922-2010 Auverssur-Oise)

The rocky soil has become a garden, 1961

Oil on canvas

73 x 92 cm

Signed and dated lower left ‘Corneille 61’ Countersigned, dated and titled on the back ‘Corneille 61 / the rocky soil has become a garden’

Certificate of authenticity from the Guillaume Corneille Foundation, signed by Mrs Beverloo-Corneille

Provenance: private collection, France

Literature: Une nouvelle figuration, exh. cat. Galerie Mathias Fels, Paris, 1961, repr. in black and white, unpaginated

Exhibition: Une nouvelle figuration, Galerie Mathias Fels, Paris, November-December 1961

Jean Dubuffet (Le Havre 1901-1985 Paris)

Chien errant, 1957

‘Assemblage d’empreintes’ series

Ink and cut paper collage on paper mounted on cardboard

105 x 67 cm

Signed and dated lower left ‘J. Dubuffet 57’

Provenance: Galerie René Drouin, Paris; collection Madame F. Montel, Paris; the Redfern Gallery, London; Waddington Galleries, London; Andrew Crispo Galleries Inc, New York; Sid Deutsch Gallery, New York; private collection, New York; private collection, Belgium

Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XII: Tableaux d’assemblages, Weber éditeur, Lausanne, 1969, described p. 99 and p. 130 and reproduced p. 99, n° 119; Andreas Franzke, Dubuffet Zeichnungen, Rogner & Bernhard, Munich, 1980, repr. in black and white on p. 175

Exhibition: Summer Exhibition 1972, The Redfern Gallery, London, Summer 1972

GILDEN’S ART GALLERY

74 Heath Street I Hampstead I UK-London NW3 1DN t +44 (0)2074 353 340 I m +44 (0)7796 966 999 info@gildensarts.com I www.gildensarts.com

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

Marc Chagall (Vitebsk 18871985 Saint-Paul de Vence)

Peintre, Ange et Amoureux, 1980

Tempera on masonite 40.6 x 34.9 cm

Signed lower right corner ‘Marc Chagall’ Inscribed, signed and dated verso ‘Tempera/Marc Chagall/1980’

The work is accompanied by a certificate of authenticity from the Chagall Committee from 31 March 1992 issued by Jean-Louis Prat

Provenance: Sotheby's New York, Sale 7132, 14 May 1998, lot 366; Collection of Bridget & Jerome Dobson, Atlanta, Georgia, USA

GOKELAERE & ROBINSON

Golvenstraat 6 I BE-8300 Knokke-Zoute

t +32 (0)50 65 83 88 info@gokelaererobinson.com I www.gokelaererobinson.com

34 Rue de Penthièvre I FR-75008 Paris

t +33 (0)1 44 07 04 56 paris@gokelaererobinson.com

Bodil Kjaer (Denmark, 1932)

President desk, 1959

Rosewood, steel

H 72 x W 210 x D 100 cm

Manufactured by E. Pedersen & Son, Denmark

Max Ingrand (France, 1908-1969)

Table lamp, 1955

Brass, metal and glass

50 x 44 cm

Manufactured by Fontana Arte

124 GALERIE HADJER

102 Rue du Faubourg Saint-Honoré | FR-75008 Paris t +33 (0)1 42 66 61 13 | m +33 (0)6 99 57 86 86 contact@hadjer.fr | www.galerie-hadjer.com

Joan Miró (Barcelona 18931983 Palma de Mallorca)

La femme au miroir

Aubusson tapestry woven by the Pinton workshop / Mobilier National, France

Wool

Original cartoon from 1965 138 x 200 cm

Edition 2/8 - Project with the Miro Foundation in 2024

Provenance: Atelier Pinton AubussonFrench National collection/Miro Foundation

Literature: The Thread of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020

Exhibition: The Fabric of Modernity: Matisse, Lurçat, Miró... and French tapestries. Kunsthalle München, 6 December 2019-8 March 2020; Au fil du siècle, 1918-2018 Chefs-d’œuvre de la tapisserie, Galerie des Gobelins, 2018

Alexander Calder (Lawnton 1898-1976 New York)

Autumn Leaves, 1971

Aubusson tapestry woven by the Pinton workshop, France

Wool and silk

Original cartoon from 1971 170 x 240 cm

Edition of six + two artist proofs - AP

Provenance: Pinton workshop; private collection, France

Exhibition: Victoria and Albert Museum, Collection, London

PHILIPPE HEIM

17 Rue Henri Monnier I FR-75009 Paris m +33 (0)6 09 02 05 35 art@ph-heim.be I www.ph-heim.be

Kathleen Petyarre (Australia, circa 1930-2018)

Devil Lizard Dreaming, 2010

Acrylic on canvas

137 x 137 cm

Created and exhibited: Abbaye de Daoulas ‘Grand Nord-Grand Sud.

Artistes Inuits et Aborigènes’, 2010; Chemins du patrimoine en Finistère in co-production with the Musée des Confluences - Département du Rhône

Collections: The Metropolitan Museum, New York; Musée du Quai Branly, Paris; Musée des Confluences, Lyon; Art Gallery of South Australia, Adelaïde; National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne

Abie Loy Kemarre (Australia, 1972)

Bush Hen Dreaming, 2019

Acrylic on canvas

122 x 183 cm

Provenance: Utopia, Central Desert, Northern Territory, Australia

Exhibitions: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc.

MARC HEIREMANS

Graaf van Egmontstraat 1 I BE-2000 Antwerp m +32 (0)478 28 03 08 info@marcheiremans.com I www.marcheiremans.com

Reinhilde Van Grieken (Herentals, 1958)

Heartache, 2022

Assembled hand-thrown elements covered with white underglaze H 28 x W 28 x D 21 cm

Provenance: the artist's workshop, Herentals

Dino Martens (Venice, 1894-1970) For Aureliano Toso

Murano, Italy, 1953

Oriente Rubinio (model 5242)

Free-blown glass decorated with enclosed ground glass, flattened zanfirico pieces and transparent coloured glass squares H 34 x Ø 14.5 cm

Literature: Heiremans M, Dino Martens, Muranese glass designer, Stuttgart, 1999; Heiremans M, Vetreria Aureliano Toso, Murano 1938-1968, Stuttgart, 2016

Exhibitions: XXVIa Espoizione Biennale Internazionale d'Arte, Venice 1952; Vidros de Murano em Lisboa, Lisbon 1961

HEUTINK IKONEN

Joost Heutink Ahnemstraat 21 I NL-8043 RE Zwolle t +31 (0)38 465 95 24 I m +31 (0)6 22 74 04 04 I m +31 (0)6 46 18 38 31 info@heutinkikonen.nl I www.heutinkikonen.nl

In Thee Rejoiced All Creation Russia, second half of the 18th century Egg tempera on gesso on linen-covered wood

33.5 x 29 cm

Provenance: private collection, Germany

A special detail is that in the archway on the left, the prophet, king and psalmist David is depicted. In his arms he holds a triangular stringed instrument, with which he appears to provide musical accompaniment to the hymn.

This rare iconography is based on the Marian hymn from the Liturgy of St Basil, which begins with the words: ‘All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men’.

In the centre we see the Mother of God enthroned, with the infant Christ on her lap. Angels are gathered around the throne. Below, prophets, apostles, church fathers and other saints pay homage to the Mother of God. The hymn is attributed to the Church Father John of Damascus (676-749), who is depicted directly below the enthroned Mother of God on the left with a scroll of text in his hand and his distinctive white headscarf.

The Transfiguration of Christ Russia, Kaluga region, late 18th century Egg tempera on gesso on linen-covered wood

54 x 44.5 cm

This finely painted and colourful icon, with late Baroque and Rococo influences, depicts the miracle of the Transfiguration of Christ. Remarkably, not only the Transfiguration of Christ itself is depicted, but also the preceding and subsequent events, as described in the gospels of Matthew, Mark and Luke, are captured in one and the same composition. Christ and his three disciples are each portrayed four times, each at a different moment of the narrative, and in a different state of mind.

On the left, we see Christ telling the disciples Peter, John and James to follow him up the mountain. Once on the mountain, Christ changes shape: his clothes turn white like light and his countenance becomes radiant like a sun. Next to Christ, the prophets Moses and Elijah appear, being brought to the mountain by angels. When the voice of God sounds from heaven, the disciples become fearful and fall face down to earth. Christ touches them and reassures them. Then, as they descend from the mountain, Christ urges his disciples not to tell anyone what they had seen.

GALERIE HIOCO

7 Rue de Phalsbourg I FR-75017 Paris

t +33 (0)1 53 30 09 65 I m +33 (0)6 99 66 88 16 I m +33 (0)6 64 89 76 20 info@galeriehioco.com I www.galeriehioco.com I www.plaisirdesthete.com

Viṣṇu torso

Granite

South India, Tamil-Nadu, Cōla dynasty, 12th-13th century

H 102 cm

Provenance: collection of the Makler Gallery in Philadelphia until June 1965; then acquired by John Bowden from Sotheby’s New York on 19 March 2008

Kurokawa Tōru (Japan, 1984) Curvature, 2023

Glazed stoneware

H 64 x W 39 x D 32 cm

HOFFMANS ANTIQUES

Anders Hoffman Olivecronas väg 4 I SE-11361 Stockholm m +46 70 722 98 20 info@hoffmansantikhandel.se I www.hoffmansantikhandel.se

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.

Pair of Gustavian armchairs

Ephraim Ståhl (Sweden, 1768-1820)

Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm

Ephraim Ståhl came to be his era's most popular chair maker, renowned for his bold designs and his intuitive grasp of the zeitgeist on the continent. Ephraim Ståhl's designs and skills in precision carving won over many prestigious customers, including King Gustav III. His work can be seen at the Stockholm Royal Castle and Gripsholm Castle, amongst other places.

HUBERTY & BREYNE

Place du Châtelain 33 I BE-1050 Brussels

t +32 (0)2 893 90 30 I m +32 (0)478 31 92 82 contact@hubertybreyne.com I www.hubertybreyne.com

36 Avenue Matignon I FR-75008 Paris

t +33 (0)1 40 28 04 71

19-21 Rue Chapon I FR-75003 Paris

t +33 (0)1 71 32 51 98

François Avril (Paris, 1961)

La passe 3, 2015

Acrylic on canvas

135 x 200 cm

Signed lower right

Signed lower right

Provenance: the artist's studio

Philippe Geluck (Brussels, 1954)

Le meilleur d'entre nous, 2024

Acrylic on canvas

110 x 100 cm

GALERIE HURTEBIZE

Le Gray d’Albion I 17 La Croisette I FR-06400 Cannes t +33 (0)4 93 39 86 84 I m +33 (0)6 09 94 14 72 info@hurtebize.net I www.galerie-hurtebize.com

Serge Poliakoff (Moscow 1900-1969 Paris)

Composition, 1946

Oil on canvas

50 x 61.5 cm

Signed and dated on the back

Certificate of authenticity by Alexis Poliakoff, work referenced under archive n° 946017

Provenance: private collection, France

Literature: Catalogue raisonné de Serge Poliakoff, vol. I, n° 46-41, p. 254

Victor Vasarely (Pécs 1906-1997 Paris) Vega-Oltar, 1972

Acrylic on canvas

256 x 132 cm

Certificate of authenticity from Pierre Vasarely on 15 July 2024

Provenance: private collection, Italy

RODOLPHE JANSSEN

Rue de Livourne 35 & 32 | BE-1050 Brussels t +32 (0)2 538 08 18 info@rodolphejanssen.com | www.rodolphejanssen.com

Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm

Thomas Lerooy (Belgium, 1981)

Flower shower, 2024 Oil on canvas

91.4 x 81.3 x 5 cm

91

FRANCIS JANSSENS VAN DER MAELEN

Rue Bodenbroek 22/8 I BE-1000 Brussels

t +32 (0)2 502 71 80 I m +32 (0)475 48 62 00 jvdm@fineartsilver.com I www.fineartsilver.com

Jean E. Puiforcat (Paris, 1897-1945)

Art Deco water fountain, part of a tea set that also includes a teapot, sugar bowl and milk jug Paris, circa 1925

Silver 950 and wood H 29 x W 22 x D 20 cm

1897-1945)

Paris, circa 1930

Silver 950

H 26.5 cm

Weight 2840 gr.

Hallmarks and signature ‘J. E. Puiforcat’

Jean E. Puiforcat (Paris,

Pair of Art Deco candelabras with three arms

KUNSTHAUS KENDE

Christopher Kende

Bei der Fruchtschranne 10 I DE-72070 Tübingen t +49 (0)163 26 79 746 info@kunsthaus-kende.de I www.kunsthaus-kende.de

Classicist wine ewer

Silver Ghent, 1780

Silversmith Joannes Paulus

H 34 x Ø 11.4 cm (widest part)

Weight 808.4 gr.

Yoshiko Okamoto (Japan, Yamaguchi, 1976)

Hagiawase jardinière, 2014

Silver, copper, shakudo, shibuichi

H 11.4 x W 26.8 x D 8.4 cm

HAROLD T’KINT DE ROODENBEKE

Rue Ernest Allard 31 I BE-1000 Brussels

m +32 (0)475 34 01 11

h.k@skynet.be I www.haroldtkint.com

James Ensor (Ostend, 1860-1949)

Book, mask and skull, 1910

Oil on panel 24 x 19 cm

Signed

Provenance: collection C. Snauwaert, Ostend; collection Moureau, Brussels; collection de Bellefroid, Brussels

Literature: Xavier Tricot, James Ensor, catalogue raisonné des peintures, Fonds Mercator, 2009, ill. p. 390, n° 675

Exhibition: Galerie Motte, James Ensor, Geneva, 1966, n° 4

Raoul Dufy (Le Havre 1877-1953 Forcalquier)

Régate sur la Marne, 1925

Watercolour on paper 50 x 65 cm

Signed lower right

Provenance: collection of the Belgian artist Jean Milo; acquired in 1943

Literature: Fanny Guidon-Lafaille, Catalogue raisonné, tome II, n° 1227, ill. p. 63

Exhibition: Brussels, 1943, n° 72

FLORIAN KOLHAMMER

Plankengaße 5 | AT-1010 Vienna t +43 1 513 32 69 | m +43 676 770 80 70 info@floriankolhammer.com | www.floriankolhammer.com

Josef Hoffmann

(Brtnice 1870-1956 Vienna)

Vase with etched decoration ‘Orange Opal Aussen Schwarz’

Mould-blown glass, etched decoration

H 8 x Ø 11.5 cm

Designed by Josef Hoffmann and executed by Johann Loetz Witwe, one of only two pieces, executed either in 1911 or 1914

Provenance: private collection Prague, Czechia

Literature: A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), Loetz-Böhmisches Glas

1880-1940, vol. I, Werkmonographie, Prestel publ., Munich 1989, p. 271 (similar vase in the museum Bergreichenstein); A. Adlerova, E. Ploil, H. Ricke, T. Vlcek (ed.), LoetzBöhmisches Glas 1880-1940, vol. II, paper pattern catalogue, Prestel, Munich 1989, paper pattern 8031, p. 218; Jitka Lnenickova, Loetz/Series II. Paper Patterns for Glass from 1900 to 1914, Museum Sumavy, Susice 2011, n° II-8031, p. 755; Waltraud Neuwirth, Loetz Austria 1905-1918, Glass, selfpublished Dr. Waltraud Neuwirth, Vienna 1986, depiction 303, p. 323

Workshop

August Ungethüm / Georg Klimt Display cabinet, circa 1900

August Ungethüm workshop, copper fittings by Georg Klimt (Vienna, 1867-1931)

Beech wood with mahogany veneer, hand-cut glass, copper and brass details

H 206 x W 144 x D 59 cm

KOVACEK SPIEGELGASSE

Sylvia Kovacek Gmbh

Spiegelgasse 12 I AT-1010 Vienna

t +43 (0)1 512 99 54 I m +43 (0)664 212 31 40 office@kovacek.at I www.kovacek.at

Egon Schiele (Tulln 1890-1918 Vienna)

Seated woman, 1917

Black pencil on paper

46.1 x 29.6 cm

Provenance: private collection, London

Literature: Jane Kallir, Egon Schiele. The Complete Works, New York 1998, p. 582, catalogue raisonné n° 1999

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 cataloguecomparable, 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

KUNSTCONSULT

�� TH CENTURY ART | OBJECTS

Wiljan Versteeg

Oostzijde 289 I NL-1508 EN Zaandam m +31 (0)6 24 96 01 96 info@kunstconsult.nl I www.kunstconsult.nl

Charles Schneider

(Château-Thierry 18811953 Epinay-sur-Seine)

Five filetés-vases, circa 1925

Clear and opalescent glass in different colours, freehand and mould blown, with applied vertical stripes

Designed by Schneider in the early 1920 and executed by Verreries

Charles Schneider, Epinay-sur-Seine

H 28 cm - Yellow vase with red foot

H 44.5 cm - Yellow vase with blue foot

H 36 cm - Red vase with yellow/dark foot

H 47 cm - Yellow vase with orange/blue foot

H 18 cm - Yellow vase with blue foot

Literature: Helmut Ricke, Schneider France-Glas des Art Deco, Hannover 1981, pp. 165-167; Edith Mannoni, Schneider, not dated, pp. 92-93; Schneider-une verrerie au XXe siècle, Nancy, 2003, chapter ‘oeuvres exposées’ (similar pieces)

Barbara Nanning (The Hague, 1957) Ceramic sculpture ‘Hydras’ from the Botanica series, 1997

Stoneware with coating of sand and pigment

Ø approx. 80 cm

Unique piece

Provenance: collection Snijder, Aerdenhout

Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133

DYS �� LAMPRONTI GALLERY

Cesare Lampronti

44 Duke Street, St. James’s I UK-London SW1Y 6DD t +44 (0)207 83 92 977 I m +39 335 33 33 25 I m +39 347 73 70 148 info@cesarelampronti.co.uk I www.cesarelampronti.cloud

Artemisia Gentileschi (Rome 1593-1656 Naples)

Bathsheba at her bath, circa 1636-1638

Oil on canvas

185.2 x 145.4 cm

Provenance: private collection, UK; Matthiesen Gallery, London

Literature: M. Nicolaci, catalogue entry 41, in Artemisia Gentileschi: Storia di una Passione, R. Contini and F. Solinas (eds.), exh. cat., Palazzo Reale, Milan, 2011-2012, p. 228; M. Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R.P. Ciardi, R. Contini, and F. Solinas (eds.), exh. cat., Fondation Dina Vierny-Musée Maillol, Paris, 2012, pp. 184-185; N. Spinosa, Grazia e Tenerezza in Posa: Bernardo Cavallino e il Suo Tempo, 1616-1656 (Rome, 2013), p. 403, ill. A3.a; R. Lattuada, “Unknown Paintings by Artemisia in Naples and New Insights into Her Daily Life and ‘Bottega’,” in Artemisia Gentileschi in a Changing Light, ed. S. Baker, LondonTurnhout, 2015, pp. 203-205, figs. 34–39

Exhibitions: Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011-29 January 2012, curated by R. Contini and F. Solinas; Artemisia, 1593–1654, Fondation Dina Vierny-Musée Maillol, Paris, 14 March-15 July 2012, curated by R. P. Ciardi, R. Contini, and F. Solinas; Artemisia, Vrouw & Macht, Rijksmuseum Twente, Enschede, 26 September 2021-23 January 2022

Giovanni Antonio Canal called Canaletto (Venice, 1697-1768)

Capriccio of the Prisons of San Marco, circa 1744 Oil on canvas

105.5 x 127.5 cm

Provenance: Venice, Palazzo MangilliValmarana, commissioned by Joseph Consul Smith (circa 1674-1770); London, King George III, 1762; Dr. Grant David Yeats (1773–1836); London, Christie’s, 8 April 1815, lot 95; London, Christie’s, 13 January 1816, lot 57; London, the Earl of Annaly; Liverpool, John H. Paris, 15 & 17 Leece Street, early 20th century; Ireland, C.B. Ponsonby; New York, KoetserLilienfeld Galleries, 1948; Comte de Messay, London, Edward Speelman; London, Partridge Gallery, 1957; New York, Schaeffer Galleries, until 1964; Hans S. Schaeffer

Literature: on request

Exhibitions: on request

ALEXIS LARTIGUE

32 Avenue Matignon I FR-75008 Paris m +33 (0)6 17 90 16 88 galerie@alexislartigue.com I www.alexislartigue.com

Pierre Soulages (Rhodez 1919-2022 Nîmes)

Sans titre, 1967

Oil on canvas

97 x 130 cm

Signed lower left

This work is included in the catalogue raisonné vol. II, n° 601

Provenance: Knoedler and Co, New York; private collection, USA;

private collection, Paris

Literature: Soulages, L’oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16

Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo

Alexander Calder (Lawnton 1898-1976 New York) Untitled, 1967

Gouache and ink on paper

50 x 66 cm

Signed and dated lower left CA.68

This work is registered in the Calder Foundation Archives under n° A30212

Provenance: Galerie Jacques Verrière, Lyon; private collection, France; sale Artcurial, Paris

LEMAIRE

Jean Lemaire @ Costermans

Place du Grand Sablon 5 I BE-1000 Brussels

t +32 (0)2 511 05 13 I m +32 (0)496 61 41 56 lemairesa@skynet.be I www.lemairesa.com

Late Louis XV ormulu and Meissen porcelain mantel clock

The porcelain figures, modelled by Johann-Joachim Kändler (1706-1775), are dated circa 1750-1755

The dial, signed J.-B. Duluc, is dated late Louis XVl period, circa 1765-1770

Clockmaker Jean-Baptiste Duluc (Master in 1770); clockmaker to the Comte d'Artois, brother of the future Louis XVI H 35.5 cm

Literature: the figure is reproduced in ADAMS (Y), Meissen Figures, 17301775, The Kaendler Period, 2001, p. 113

The figures represent two Provençal musicians surrounded by a bunch of porcelain flowers, standing on a terrace complete with a staircase. The figures were inspired by an engraving by François Boucher (France, 1703-1770) depicting a Provençal street musician playing a fife and a drum.

Japanese porcelain statuette

Representation of a Bijin (‘beautiful lady’)

Imari decoration of cherry blossoms and gilt bronze for various elements

Arita 1690-1730 for the porcelain and 18th century for the gilt bronze H 42.5 cm

The statuette was transformed in the 18th century with a removable head that moves gently on a pivot like the Buddha in Meissen porcelain. It holds a chased bronze parasol in its left hand and stands on a gilded bronze gadrooned base.

An identical but larger figure can be found in the collection of Charles III, AYERS (J.), Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, t. II, p. 686.

GALERIE LOWET DE WOTRENGE

Tyr Baudouin

Vleminckveld 74 I BE-2000 Antwerp

m +32 (0)498 46 81 68

tyr@galerie-ldw.be I www.galerie-ldw.be

Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616)

The Amazons fighting at Troy, circa 1600 Oil on copper

34 x 41.5 cm

With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate

Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca

Jacques Jordaens (Antwerp, 1593-1678)

An academy of a seated male nude, circa 1635

Black chalk and sanguine, heightened with white, on laid paper

27.3 x 19.7 cm

Provenance: Marquis CharlesFerdinand-Louis de Valori, Paris (18201883), Paris (L. 2500); Hôtel Drouot, Paris, 25-26 November 1907, lot 136 (80 fcs to Mathey); Henry Nanteuil de La Norville (1876-1941), thence by descent

FRANCIS MAERE FINE ARTS

Hotel Falligan - First floor I Kouter 172 I BE-9000 Ghent

t +32 (0)9 233 09 93 I m +32 (0)475 69 23 05 info@francismaerefinearts.be I www.francismaerefinearts.be

Emile Claus (Sint Eloois-Vijve 1849-1924 Astene)

Clearing over London, 1918

Oil on canvas

76.5 x 63.5 cm

Signed and dated lower left ‘Emile Claus

Londen 18’ and on the back ‘Emile Claus maert 1918’

Provenance: Family Carpentier, Ghent

Léopold Survage (Moscow 1879-1968 Paris) Fisherwoman in Collioure, 1929 Oil on canvas

97 x 130.5 cm

Signed and dated lower right ‘Survage 29’

Provenance: collection Jozef Rogatchewsky, director of the Opera La Monnaie, 1953-1959

GALERIE MARC MAISON

75 Rue des Rosiers I FR-93400 Saint-Ouen sur Seine m +33 (0)6 60 62 61 90 I m +33 (0)6 60 91 64 40 marcmaison@gmail.com I www.marcmaison.art

Alexandre Sandier (France, 1843-1916) Decorative panel depicting Queen Cleopatra, circa 1880 Sarreguemines earthenware with painted decoration

H 161.5 x W 202.7 x D 2.5 cm

Literature: Alain Benedick, La Faïencerie de Sarreguemines, Éditions ABM 57, 2009; Figures décoratives par

Alex. Sandier, Éditions A. Calava, Paris, undated; Guide du visiteur […]. 8e Exposition de l’Union centrale des arts décoratifs, Paris, Imprimerie Chaix, 1884

Exhibitions: Exhibition of the Union centrale des arts décoratifs in 1884; 1889 Paris Exposition

Pierre-Ferdinand Duvinage (France, 1823-1876)

Guéridon with a marquetry top resting on three sacred ibises, circa 1874-1876

Gilt bronze, silver, copper, ivory, wood marquetry of various species (top); gilt wooden base with polychromy H 83 x Ø 77 cm

Provenance: former Roberto Polo collection

Literature: Marc Maison et Emmanuelle Arnauld, Marqueteries virtuoses au XIXe siècle. Brevets d’invention, Éditions Faton, 2012; Daniëlle Kisluk-Grosheide, Maison Giroux and its ‘Oriental’ Marquetry Technique. The Journal of the Furniture History Society, vol. XXXV, 1999; Roberto Polo. The Eye, Frances Lincoln Publisher Ltd., 2011; Bill Pallot, Marqueteries en cloisonné de la veuve Duvinage, dans L’Estampille-L’Objet d’art, September 2007

MARUANI MERCIER

Avenue Louise 430 I BE-1050 Brussels

t +32 (0)2 512 50 10 desk@maruanimercier.com www.maruanimercier.com

Kustlaan 90 I BE-8300 Knokke-Zoute

m +32 (0)473 97 72 36 serge@maruanimercier.com

THE WAREHOUSE by MARUANI MERCIER Lambroekstraat 5 I BE-1930 Zaventem

t +32 (0)2 512 50 10 desk@maruanimercier.com

Kasper Sonne (Copenhagen, 1974) Young Man, 2024

Oil on linen

200 x 150 cm

Jaclyn Conley (Ontario, 1979) Clothed With The Sun, 2024 Oil on linen

213.4 x 167.6 cm

GALERIE MATHIVET

Céline & Fabien Mathivet

6 Rue Bonaparte I FR-75006 Paris

t +33 (0)1 43 54 19 00 I m +33 (0)6 07 50 38 13 galeriemathivet@gmail.com I www.galeriemathivet.com

Jean Luce (France, 1875-1964)

Vase, circa 1930

Gilded and acid engraved glass

H 19 cm x Ø 13 cm

Signed with the artist’s stamp (monogram)

Jean Dunand (Switzerland, Lancy 18771942 Paris, France)

Eggshell table, circa 1921

Black lacquer and eggshell

H 71.5 x W 31.5 x D 31.5 cm

Signed ‘Jean Dunand Laqueur’

This side table symbolises the revival of the art of lacquer and the use of eggshell in Art Deco, of which Jean Dunand was an undisputed master. He used the eggshell technique to replace white, which did not exist in lacquer colours.

MEARINI FINE ART

Fabio Mearini

Corso Vannucci 10 I IT-06121 Perugia

t +39 755 72 28 93 I m +39 329 85 14 055 mearinifineart@gmail.com I www.mearinifineart.com

Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides

White marble

Central Italy (Lazio or Umbria), late 8th-early 9th century

H 46 x W 27 x D 16 cm

Expertise by Professor Guido Tigler

Provenance: private collection, Italy

Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum

Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86

Venetian Master

(Michele Linder from Hamburg?)

Crucifix, circa 1490

Alder wood

H 115 x W 92 x D 16 cm

Recto and verso hollowed out and juxtaposed to recompose the figure

Expertise Prof.ssa Serenella Castri

Provenance: private collection, Italy

Exhibition: ‘Sculptura’ Capolavori Italiani dal XIII al XX secolo, Modena 2023

Olivier Meessen

Rue de l’Abbaye 2A | BE-1000 Brussels

t +32 (0)2 644 34 54 | m +32 (0)473 52 49 19 info@meessen.be | www.meessen.be

Namsal Siedlecki (USA, 1986)

Interrotto, 2024

Silver, wax, epoxy

32.5 x 25.5 x 16.5 cm

Exhibition: Anneal Soak, Meessen, Brussels, 2024

Léa Belooussovitch (France, 1989)

Burned to ashes (Vache), 2023

Colored pencil drawing on wool felt 50 x 40 cm

Exhibition: Absences, mues et macules, Meessen, Brussels, 2024

MONTAGUT GALLERY

Calle Enrique Granados 49 I ES-08008 Barcelona

t +34 93 141 43 19 info@galeriamontagut.com I www.galeriamontagut.com

Baule statue

Baule people, Ivory Coast, 19th century

Wood

H 40.5 cm

Provenance: Galerie Olivier Le Corneur, Paris; Marceau Rivière collection, Paris, France; Alberto Costa Romero de Tejada, Barcelona, Spain; Javier Lentini collection, Barcelona, Spain

Literature: África. La Figura Imaginada. Fundació LaCaixa, Barcelona, 2004. nº 44, p. 9

Dan mask

Dan people, Ivory Coast, 19th century

Wood, nails, pigments

H 23 cm

Provenance: private collection, New York, USA; Pace Primitive, New York, USA; Martin Lerner collection, Curator of Asian Art, Metropolitan Museum of Art, New York Pace primitive, New York (Inv. n° 530602); Richard E. Anderson, Director Emeritus of the Aldrige Museum, USA; private collection, Florida

GALERIE MONTANARI

8 Rue de Miromesnil I FR-75008 Paris

t +33 (0)1 49 24 07 52 I m +33 (0)6 80 24 50 82 galerie@montanaricadres.com I www.montanaricadres.com

Louis XV frame

Carved wooden frame with gold gilding France, 18th century H 8.5 x W 9 cm

Inverted profile with lictor beam on top and floral decoration in the corners as well as attributes in each mid point.

Flemish frame mounted with a mercury mirror

Ebony and tortoiseshell veneer

Flanders, 17th century

H 41.5 x W 32 x D 14.5 cm (inside)

This frame is perfectly balanced between the guilloche and the plain parts, which give it a certain lightness.

JAN MULLER ANTIQUES

Burgstraat 24 I BE-9000 Ghent m +32 (0)496 26 33 24 info@janmullerantiques.com I www.janmullerantiques.com

Marten van Valckenborch (Leuven 1535-1612 Frankfurt)

Animated village during the wintertime Oil on panel

H 43 x 61 cm - framed 58 x 75 cm

Signed with monogram lower left ‘MVV’

Floris van Schooten (Haarlem, circa 1585-1656)

Still life with cheeses, bread and nuts

Oil on panel

40 x 56 cm - framed 52 x 69 cm

Signed with a monogram on the blade of the knife ‘FVS’

KLAAS MULLER

Rechtstraat 29 | BE-9160 Lokeren m +32 (0)478 38 18 29 muller.antiques@skynet.be | www.klaasmuller.com

Frans Snijders (Antwerp, 1579-1659)

Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas

113 x 183 cm

Signed upper left: F. SNIJDERS. Fecit

Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium

Henri Evenepoel (Nice 1872-1899 Paris)

The rocks of Tipaza, 1898 Oil on canvas

54 x 81 cm

Stamp on the reverse

‘Oeuvre authentique d’Henri Evenepoel 1872-1899’

Labels on the reverse

Certified on the reverse by Edmond Evenepoel, father of the artist

Provenance: Louise Van Mattemburgh, Brussels; collection J.L. Brunet, Brussels; auction PvSK, Brussels 9.10.1962, n° 368, pl. VII ill.

Literature: H. Evenepoel, Paul Lambotte, Ed. G. Van Oest & Cie, Brussels, 1908,

p. 103; Le voyage du peintre Henri Evenepoel en Algérie, H. Coenen, Leuven, 1982, n° 31, p. 37 and 48; Henri Evenepoel 1872-1899, Catalogue raisonné, Danielle Derrey-Capon, Municipal Credit 1994, n° 265 ill.

Exhibitions: Henri Huklenbrok-Henri Evenepoel, Cercle artistique et littéraire, Brussels 1899, n° 20; Kunst van Heden, Antwerp 1909, n° 211; Henri Evenepoel, Gal. Georges Giroux, Brussels 1913, n° 111; Exposition d’oeuvres d’Henri Evenepoel, Cercle artistique et littéraire, Brussels 1923-1924, n° 103; Evenepoel, K.M.S.K., Antwerp 1953, n° 136; Henri Evenepoel, K.M.S.K., Brussels 1994

GIOIELLERIA NARDI

Piazza San Marco 69 | IT-30124 Venice

t +39 041 52 25 733 | m +39 348 2727 910 info@nardi-venezia.com | www.nardi-venezia.com

‘Ca’ d’Oro’ necklace and earrings

Rose gold set with brown diamonds

These pieces are inspired by the famous 15th century Gothic palazzo facing the Grand Canal

‘Basilica della Salute’ pendant

Yellow gold set with yellow sapphires and diamonds

This piece represents an interpretation of the Basilica della Salute church on the Grand Canal

82 NEW HOPE GALLERY

Rue Sainte-Anne 40 I BE-1000 Brussels m +32 (0)477 55 90 02 info@new-hope.be I www.new-hope.be

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

Lucio Fontana

(Argentine, Rosario 18991969 Comabbio, Italy)

Concetto Spaziale, 1962

Oil on canvas 113 x 100 cm

Signed lower right ‘L. Fontana’

Signed and titled on the reverse ‘L. Fontana Concetto Spaziale’

Provenance: Belgian private collection

Literature: Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux rédigé par Enrico Crispolti, Vol. II, Brussels, 1974, cat. no. 62-O-96, p. CCXIII, illustrated

NOSBAUM REDING

2+4 Rue Wiltheim I LU-2733 Luxembourg

t +352 28 11 251 I m +352 621 461 517 reding@nosbaumreding.com I www.nosbaumreding.com

Rue de la Concorde 60 I BE-1050 Brussels

t +32 (0)2 411 11 85

Stephan Balkenhol (Germany, Fritzlar, 1957) Bas-relief Vianden, 2024

Painted ayous wood

H 200 x W 98 x D 4 cm

Provenance: the artist's studio

Exhibition: Stephan Balkenhol, Nosbaum Reding, Luxembourg, Grand Duchy of Luxembourg, 2 May 2024-15 June 2024

Melanie Loureiro (Cologne, 1994)

Just by Shining Bright III, 2023 Oil on panel

30 x 40 cm

Provenance: the artist's studio

DR. NÖTH KUNSTHANDEL + GALERIE

Michael Nöth

Hoechstetterstraße 16 I By appointment only I DE-91522 Ansbach t +49 (0)981 156 33 noeth-ansbach@t-online.de I www.artnoeth.de

André Lhote (Bordeaux 1985-1962 Paris) Fillette, 1909-1910

Oil on paper laid down on board

48.8 x 31.8 cm

Signed upper right; inscribed on the reverse: Fillette, 1909, 59 x 32, 343, I This painting will be included in forthcoming catalogue raisonné which is being prepared by Dominique Bermann Martin

Provenance: the artist's studio; Simone André Lhote, France (by decent); Suzanne Bermann, France (by decent); anonymous sale Me Ferri, 15 December 1994, lot 126; anonymous sale Me Loudmer, Paris, 1 April 1996, lot 57; private collection, France

Exhibitions: Paris, Artcurial, Centre d'art plastique contemporain, André Lhote Rétrospective 1907-1962, Peintures, aquarelles, dessins, October-November 1981 ill. in situ p. 27

Gustave Loiseau (Paris, 1865-1935) Falaises d'Yport en hiver, 1924

Oil on canvas

54 x 65 cm

Signed and dated lower left

‘G Loiseau 1924’

This work will be included in the forthcoming Gustave Loiseau catalogue raisonné which is currently being prepared by Didier Imbert

Provenance: Galerie Durand-Ruel, Paris, by whom acquired directly from the artist on 31 May 1924; Marie Louise d'Alayer, by descent from the above in 1949; anonymous sale, Sotheby's, London, 30 November 1972, lot 46; private collection, Europe, by whom acquired at the above sale; private collection, Japan; acquired from the above by the present owner

GALERIE NATHALIE OBADIA, PARIS/BRUSSELS

3 Rue du Cloître Saint-Merri I FR-75004 Paris

t +33 (0)1 42 74 67 68 info@nathalieobadia.com I www.nathalieobadia.com

91 Rue du Faubourg Saint-Honoré I FR-75008 Paris

t +33 (0)1 53 01 99 76

Rue Charles Decoster 8 I BE-1050 Brussels

t +32 (0)2 648 14 05 infobxl@nathalieobadia.com

Wang Keping (Beijing, 1949) Amour maternel, 2018

Wood carving / Plane tree

102 x 41 x 28 cm

Courtesy of the artist and Galerie Nathalie Obadia, Paris/Brussels

Provenance: the artist’s studio

Joris Van de Moortel (Ghent, 1983)

Head with wax hat, 2022

Oil on linen and artist’s wooden frame

103.5 x 73.5 cm

Courtesy of the artist and Galerie Nathalie Obadia Paris/Brussels

Provenance: the artist’s studio

OBJECTS WITH NARRATIVES

Place du Grand Sablon 40 I BE-1000 Brussels m +32 (0)480 64 80 44 info@objectswithnarratives.com I www.objectswithnarratives.com

Vladimir Slavov (Bulgaria, Sofia, 1980)

Evolution Chandelier, 2023

The first composition from the Evolution series

Three bronze strokes form an ensemble, creating a theatrical lighting experience

Unique piece

Provenance: the artist's studio, Belgium

Exhibition: PAD London, 2024

Ben Storms (Ghent, 1983)

Table ‘Ex Hale’, 2020 Marble: Brecchia Viola

H 198 x W 102 x D 33 cm

Edition 8/8

Provenance: the artist's studio, Haptic House, Belgium

Table that mimics the shape of a monumental cushion, resulting from a transformation of materials.

GALERIA JORDI PASCUAL

C/ Enric Granados 47 I ES-08008 Barcelona t +34 93 272 02 09 I m +34 607 89 55 86 galeria@jordipascual.com I www.galeriajordipascual.net

José Guerrero (Granada 1914-1991 Barcelona)

El Alba, 1967

Oil on canvas

146 x 114 cm

Certificate of authenticity by Comité José Guerrero

Provenance: Elliot M. Katz Living Trust, EE.UU; Galería Juana Mordó, Madrid; Galeria Buchholz, Lisbon

Literature: Francisco Baena, Serge Guibault, Juan Antonio Ramírez, Yolanda Romero and Inés Vellejo Ulecia, José Guerrero Catálogo Razonado, Vol I 1931-1969, Ed. Diputación de Granada, 2008, p. 564, fig. 460

Exhibition: Galería Buchholz, Lisbon, ‘José Guerrero’, April 1967

Antonio Saura (Spain, Huesca 1930-1998 Cuenca) Stima, 1959

Oil on canvas

162 x 130 cm

Certificate of authenticity by the Archives of Antonio Saura

Provenance: Galerie Stadler, Paris; private collection

GALERIE LA PATINOIRE ROYALE BACH

Valérie Bach

Rue Veydt 15 I BE-1060 Brussels

t +32 (0)2 533 03 90 I m +32 (0)486 29 68 39 valerie@prvbgallery.com I www.prvbgallery.com

Joana Vasconcelos (Paris, 1971)

Salada de Fruta, 2019

Handmade woollen crochet, fabrics, ornaments, polyester, on canvas, plywood

H 130 x W 162 x D 40 cm

© Atelier

Joana Vasconcelos, Courtesy Galerie La Patinoire Royale Bach

Joana Vasconcelos (Paris, 1971)

Valletta, 2024

Stainless steel sink, handmade woollen crochet, fabrics, ornaments, polyester H 145 x W 130 x D 45 cm

Provenance: the artist's studio, Courtesy Joana Vasconcelos and Galerie La Patinoire Royale Bach

© Atelier

Joana Vasconcelos, Courtesy Galerie La Patinoire Royale Bach

Pauline Janssen

By appointment only I BE-Brussels m +32 (0)478 87 93 52 info@paulinesjewellerybox.com I www.paulinesjewellerybox.com

Belle Epoque diamond Boucheron tiara, circa 1915

Early 20th century diamond Boucheron tiara, set with three central pear-shaped diamonds weighing 3.14 carats each, with a colour grade of E and clarity grade of IF. The second pear-shaped diamond weighs 2.65 carats, with a colour grade of H and clarity grade of SI. The third pear-shaped diamond weighs 2.94 carats, with a colour grade of F and clarity grade of VS2. The estimated total diamond weight is 28.00-30.00 carats. The tiara is mounted in platinum. Each pear-shaped diamond is accompanied by a Lab certificate from GIA

Provenance: France

Art Deco diamond ring

Set with an old cushion cut diamond weighing approximately 9.26 carats.

Estimated colour J. Estimated clarity SI2. The diamonds are bright and lively, mounted in platinum

Provenance: France

GALERIE ALEXIS PENTCHEFF

Pavillon de la Reine Jeanne I 10 Chemin du Génie I FR-13007 Marseille t +33 (0)4 91 42 81 33 I m +33 (0)6 82 72 95 79 I m +33 (0)6 08 28 58 85 a.pentcheff@gmail.com I www.galeriepentcheff.fr

Moïse Kisling (Krakow 18911953 Sanary-sur-Mer)

Portrait of a woman with a lace collar

Oil on canvas

48 x 37 cm

Signed upper right

Certificate of authenticity signed by Marc Ottavi on 16 December 2019 in Paris

This work will be included in the ‘Volume IV et Additifs aux Tomes, I, II, et III’ of the Catalogue raisonné de l’Oeuvre de Moise Kisling currently in preparation

Provenance: private collection

Bernard Buffet (Paris 1928-1999 Tourtour)

La mort, 1999 (n°3)

Oil on canvas

195 x 114 cm

Signed on the right and dated on the left

Provenance: private collection

44 CHRISTOPHE PERLÈS

20 Rue de Beaune I FR-75007 Paris m +33 (0)6 07 32 36 76 christopheperles@hotmail.com

Set of Japanese porcelain with Kakiemon decoration, late 17th century

The set consists of two dishes, two teapots and one covered bowl

The term ‘Kakiemon’ is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called ‘nigoshide’ in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive.

Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer

GUY PIETERS GALLERY

Albertplein 15 I BE-8300 Knokke-Zoute t +32 (0)50 80 00 10 I m +32 (0)495 22 62 26 info@guypietersgallery.com www.guypietersgallery.com

Zeedijk 753 I BE-8300 Knokke-Zoute t +32 (0)50 62 33 80 I m +32 (0)478 93 53 54

Zeedijk 755 I BE-8300 Knokke-Zoute t +32 (0)50 80 00 15 I m +32 (0)484 13 34 68

Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York)

The Mastaba (Project for Abu Dhabi, United Arab Emirates), 2013

Pencil, charcoal, wax crayon, pastel, hand-drawn technical data and map, enamel paint, wash and tape

Left part: H 165 x W 38 cm

Right part: H 165 x W 106 cm

César Baldaccini (Marseille 1921-1998 Paris)

Les Roberts d’Evelyne, 1991

Bronze

H 124 x W 95 x D 134 cm

Edition of 8 examples, numbered 1/8, Bocquel foundry

Literature: César L’œuvre de bronze, du silence à l’éternité, Éditions Images en Manœuvre, 2002

GALLERY DE POTTER D’INDOYE

Kasteel van Melle I Brusselsesteenweg 190 I BE-9090 Melle m +32 (0)475 75 30 00 I m +1 310 424 0771 edpi@skynet.be I www.depotterdindoye.eu

Victor-Philippe-A. de Jonquieres (French, active from 1838 to 1870)

The Prince President Louis Napoleon Bonaparte with Prince Jérôme and his staff reviewing the mobile gendarmerie, acclaimed by the crowd, Place de la Concorde, 2 December 1851

Oil on canvas

160 x 230 cm

Signed and dated lower right ‘1865’

The scene takes place in the Place de la Concorde. The atmosphere is reminiscent of a December morning. Napoleon III is surrounded and followed by Prince Jérôme, Prince Murat, Marshal Exelmans, Count de Flahaut, General Roguet, Generals Daumas and de Bourjolly, Baron Vast Vineux, Colonel Fleury, Lieutenant Colonel Edgar Ney, Baron Béville, Marquis de Toulongeon, Count Lepic, Baron de Méneval, Baron Ducasse, Count de Nieuwerkerke, Commander Jolly de Fleury, etc.

Provenance: acquired by the Emperor Napoleon III, 10 May 1865: returned to the Empress after the judgment of 1881; former collection of Mr. Firmin Rainbeaux

Exhibitions: Napoleon III and the Prince Imperial: Selections from the Collection of Christopher Forbes, The Grolier Club, New York, 10 November 1985-10 January 1986; Napoleon III: The Other Napoleon and His Empire, The Forbes Galleries, New York, 2 December 200210 April 2003; Napoleon & Eugenie: Opulence and Splendor of France's Second Empire, Nassau County Museum of Art, Glen Cove, New York, 7 June-7 September 2009, repr. in colour, p. 34

Guéridon, circa 1790

Attributed to Pierre-Philippe Thomire (Paris, 1751-1843)

Gilt and patinated bronze, with a marble top

H 90.25 cm x Ø 62.25 cm

Literature: Guillaume Janneau, Le Meuble Léger en France, Ed. Hartmann, Paris 1952, p. 242

GALERIE DE LA PRÉSIDENCE

90 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 42 65 49 60 I m +33 (0)6 03 90 58 31 contact@presidence.fr I www.presidence.fr

Albert Marquet (Bordeaux 1875-1947 Paris)

Septembre à Porquerolles, 1939 Oil on canvas

46.4 x 61.3 cm - framed 67 x 82 cm

Signed lower right

This work will be included in the Marquet digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute

Provenance: Marcelle Marquet collection, Paris (1947); Salvador collection, Paris; Galerie Couleur du Temps, Paris; Galerie Motte, Geneva; private collection, United Kingdom; private collection, France

Exhibition: Albert Marquet. Rétrospective, Galerie des Granges, Geneva, 1974, n° 27

Geer van Velde (The Netherlands, Lisse 18981977 Cachan, France)

Composition-L'atelier, circa 1953

Oil on canvas

100 x 100 cm

Signed lower right with the initials ‘GvV’

Signed on the reverse ‘G. van Velde’

Certificate of authenticity by Pierre François Moget

This work will be included in the catalogue raisonné of Geer van Velde

Painted Work currently in preparation by Pierre François Moget

Provenance: private collection, France

QG GALLERY

Zeedijk 720 I BE-8300 Knokke-Zoute m +32 (0)474 19 72 64 info@qg-gallery.com I www.qg-gallery.com

Rue Saint-Georges 13 I BE-1050 Brussels

Georg Karl Pfahler (Germany, Emetzheim 1926-2002)

Dreitex II, 1964

Acrylic on canvas 160 x 141 cm

Provenance: estate of the Georg Karl Pfahler

Keith Haring (Reading 1958-1990 New York)

Plate 13 Photostat (from the Blueprint Drawings portfolio), 1981

Photostat on paper 105 x 125 cm

Signed lower right ‘K. Haring’, signature and date stamped lower right ‘Jan 16 1981 Keith Haring’ Unique work

Provenance: gift from the artist circa 1981; private collection, USA; private collection, USA; Wright, May 2024; private collection, Belgium

Literature: Keith Haring: Editions On Paper

Robert Goossens (Paris, 1927-2016)

Cristal and coral chandelier, circa 1980

Gilt bronze structure adorned with rock crystals

H 145 cm x Ø 130 cm

Signed

KAM TIN

Turquoise coffee table, 2024

Turquoise mosaic top on a patinated brass structure

H 36 x W 126 x D 82 cm

Unique piece

STÉPHANE RENARD FINE ART

78 Avenue Mozart I FR-75016 Paris

m +33 (0)6 14 63 15 34 srenard@stephanerenard-fineart.com I www.stephanerenard-fineart.com

Attributed to Giuseppe Porta (Tuscany 1520-1575 Venice)

Allegory of Chastity

Black chalk and white highlights on faded blue paper, lined with laid paper

15.5 x 12.8 cm

17th century Dutch frame in ebony veneer

Provenance of the drawing: Sir Peter Lely (1618-1680), his mark lower right (Lugt 2092), until its sale in April 1688, when our drawing was bought by William Gibson (1644-1702) from the inscription on the verso; Sir Lawrence Gowing (1918-1991), label on the original mounting board

Provenance of the frame: Marquis Carlo Camillo Visconti Venosta (1879-1942), from a stamped inscription on the verso of the frame; Cadres Lebrun

Oil on poplar panel

110.5 x 85.5 cm

Santi di Tito (Sansepolcro 1536-1603 Florence)

Portrait of Senator Bartolomeo Panciatichi (1507-1582)

REPETTO GALLERY

Via Clemente Maraini 24 I CH-6900 Lugano t +41 (0)76 685 88 55 info@repettogallery.ch I www.repettogallery.ch

Kazuo Shiraga (Japan, Amagasaki 1924-2008)

Ouichi, October 1973

Oil on canvas

32 x 41 cm

Signed lower left; signed, titled and dated on the reverse Certificate of authenticity on photograph signed by David Juda, 15 June 2012

Provenance: Matsumoto Co. Ltd., Tokyo; Annely Juda Fine Art, London; private collection, Italy

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 October10 November 1958; Giorgio de Chirico. Nello specchio del Novecento/Warhol, Schifano, Paolini, Ghirri, Salvo, Repetto Gallery, Lugano, 25 September16 December 2023

ROBERTAEBASTA

Via Fiori Chiari 2 I IT-20121 Milan

t +39 02 861 593 I m +39 335 62 01 596

m +39 335 54 54 467 info@robertaebasta.com I www.robertaebasta.com

85 Pimlico Road I UK-London SW1W 8PH

m +44 (0)7438 117 037 london@robertaebasta.com

Via Fiori Chiari 3 I IT-20121 Milan t +39 02 861 593

Via Formentini 4/6 I IT-20121 Milan t +39 02 861 593

Via Solferino Opposite 3 I IT-20121 Milan

Bernard Buffet (Paris 1928-1999 Tourtour)

Moustique, 1952

Oil on canvas

24 x 35 cm

Signed Certificate of authenticity issued by Céline Levy, Director of the Bernard Buffet Endowment Fund on 8 November 2023 in Paris

Provenance: private collection, Italy

Gabriella Crespi (Saronno 1922-2017 Milan)

Caleidoscopio table lamp

Nickel-plated brass characterised by engraved profiles that emanate subtle effects of light

Italy, circa 1970

H 87 x W 18 x D 18 cm

Engraved signature on the base and on the diffuser

Certificate of authenticity by Archivio Gabriella Crespi n° 040605075P

Provenance: private collection, Italy

ROMIGIOLI ANTICHITÀ

Viale Toselli 68 I IT-20025 Legnano

m +39 348 41 28 148 I m +39 348 01 17 005 romigioli@romigioli.it I www.romigioli.it

Michele Tosini, known as Michele di Ridolfo del Ghirlandaio (1503-1577)

Portrait of Leonora Alvarez de Toledo as Judith, circa 1572-1576

Oil on panel 118 x 87 cm

Study by Professor Antonio Geremicca

Provenance: noble Florentine collection

Wife of Pietro de Medici (1554-1604), son of Grand Duke Cosimo I (1519-1574), the girl in question was Eleonora Alvarez de Toledo (1555-1576), known as Leonora or Dionora, daughter of Garcia (1514-1577), Marquis of Villafranca, and niece of the more famous Eleonora di Toledo (1522-1562) Duchess of Florence.

Standing Madonna with Child, circa 1290-1310

Polychrome sandstone (and restorations)

Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre)

H 102 x W 65 x D 42 cm

Provenance: collection Costantino Nigro, Genoa

Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022

128

RUEB MODERN AND CONTEMPORARY ART

Banstraat 4 I NL-1071 JZ Amsterdam t +31 (0)20 67 67 566 I m +31 (0)6 22 80 59 62

info@rueb.nl I www.rueb.nl

Lucebert (Amsterdam 1924-1994 Alkmaar) Nomadic, 1959

Gouache on paper 63 x 49 cm

Signed and dated ‘59’

Provenance: Kunsthandel Lambert Tegenbosch, Heusden aan de Maas, The Netherlands

Geer van Velde (Lisse 1898-1977 Cachan)

Composition, circa 1962

Oil on canvas

100 x 100 cm

Signed

Certificate of authenticity by Pierre François Moget on 10 November 2023 in Paris

GALERIE SOPHIE SCHEIDECKER

14bis Rue des Minimes I FR-75003 Paris t +33 (0)1 42 74 26 94 I m +33 (0)6 17 84 01 04 info@sophiescheidecker.com I www.galerie-sophiescheidecker.com

Philip Pearlstein (USA, 1924-2022)

Seated Models on red and orange drapes, 1968

153.5 x 184 cm

Oil on canvas

Signed and dated ‘Pearlstein 68’

Exhibitions: Allan Frumkin Gallery, New York (with two labels on stretcher); Georgia Museum of Art, Georgia 1970; Massachusetts Institute of technology, Heyden Gallery 1971 (with label on reverse); Galerie M. E. Thelen, Köln; Galleri Östergren, Malmö (also printed three times on reverse)

Pol Bury (La Louvière 1922-2005 Paris)

Angélique, after Ingres, 2002

Digital monotype on canvas

89 x 45 cm

Signed and dated lower right

Unique piece

24 SERGE SCHOFFEL ART PREMIER

Rue Watteeu 14 I BE-1000 Brussels m +32 (0)473 56 32 33 contact@sergeschoffel.com I www.sergeschoffel.com

Jukun male figure Nigeria, 17th-18th century Wood, brass H 72.5 cm C14 test n° 145448A by Re.S.Artes

Provenance: Edouard Klejman and Jean-Michel Huguenin, Paris, circa 1968; Pierre Parrat, Paris, France

Dan mask

Ivory Coast, 19th century Wood H 24.5 cm

Provenance: Giovanni Franco Scanzi, Italy

108

SEGOURA FINE ART

83-85 Rue des Rosiers I Galeries 17/18 I FR-93400 Saint-Ouen sur Seine m +33 (0)6 71 62 45 95 contact@segourafineart.com I www.segourafineart.com

Armand Cambon (Montauban, 1819-1885)

Diana and her Nymphs surprised by Actaeon, 1861

Oil on canvas

95.5 x 135.5 cm

Signed lower right

Exhibition: Salon de Paris 1861

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

SELECTED BY BRAFA, DESIGNED BY GERT VOORJANS

Couck Art Gallery - Lucie Couck

Rue Ernest Allard 32 I BE-1000 Brussels m +32 (0)470 62 14 19 lucie@couckart.be I www.couckart.be

Sophie Derom

Rue aux Laines 1 I BE-1000 Brussels m +32 (0)471 26 76 06 info@sophiederom.be I www.sophiederom.be

Jonathan F. Kugel

Rue Watteeu 16 I BE-1000 Brussels m +32 (0)470 68 25 61 info@jfkugel.com I www.jonathanfkugel.com

Galerie Uzal - Nathan Uzal

Rue de la Régence 11 I BE-1000 Brussels m +32 (0)499 19 41 58 nathan@uzal.be I www.galerieuzal.com

Galerie Watteeu - Andrea de Caters

Rue Watteeu 19 I BE-1000 Brussels m +32 (0)496 54 41 63 I m +32 (0)475 25 87 27 galeriewatteeu@gmail.com I www.watteeu.be

Selected by BRAFA, designed by Gert Voorjans will bring together the works of five young art dealers on a shared stand, curated by the renowned Belgian interior designer Gert Voorjans. Famous for his bold, colourful scenographies, he will bring all his creativity to bear on the design of a space that will combine the range of specialities presented by these five exhibitors: Lucie Couck, Andrea de Caters, Sophie Derom, Jonathan F. Kugel, Nathan Uzal.

Corneille (Guillaume Cornelis Van Beverloo, Liege 1922-2010 Auvers-sur-Oise)

Untitled, Abstract blue, red and grey, 1960

Mixed media on canvas

28 x 35 cm

Signed and dated upper right corner ‘Corneille 1960’

Certificate of authenticity issued by Fondation Guillaume Corneille in Brussels on 15 November 2024

Leonardo Bistolfi (Italy, 1859-1933)

Death, circa 1915

Bronze with a rich bronze patina

H 79.5 x W 27 x D 29 cm

Signed ‘Bistolfi’ on the terrace

Mario Buccellati (Italy, 1891-1965)

Bracelet in 18K yellow gold

Length 20.7 cm. Weight 114 gr.

Stamped with the maker’s mark, the Italian gold assay hallmark and signed ‘M. Buccellati’

Carolein Smit (Amersfoort, 1960)

The Annunciation, 2022

Glazed stoneware

H 69 x W 50 x D 35 cm

Signed on the base

Provenance: the artist’s studio

Max Ingrand (France, 1908-1969)

Lustre Dahlia Model 1563A, 1950’s For Fontana Arte

Glass and brass

53 x 130 cm

Couck Art Gallery - Lucie Couck

Sophie Derom

Galerie Watteeu - Andrea de Caters

Jonathan F. Kugel

Galerie Uzal - Nathan Uzal

EDOUARD SIMOENS GALLERY

Zeedijk 811 I BE-8300 Knokke-Zoute m +32 (0)472 54 70 15 info@edouardsimoens.com I www.edouardsimoens.com

Bernar Venet (France, 1941)

Indeterminate Line, 1987

Rolled steel H 186 x W 250 x D 125 cm

Kenneth Noland (USA, 1924-2010)

Greyed Brown, 1977

Acrylic on canvas

156 x 237.5 cm

HERWIG SIMONS FINE ARTS

Watteeustraat 27 I BE-1000 Brussels m +32 (0)475 46 75 46 info@herwigsimons.be I www.herwigsimons.be

Armor box ‘Daimyo Hitsu’ Japan, Edo period (1603-1868), 18th century

Black lacquered wood ‘ro-iru-nori’ with a decoration of Man type ‘Kuyō’

H 64.5 x W 145 x D 64 cm

Quadrangular shape decorated with the coat arms of the Hosokawa clan, in gold and green polychrome and coral scrolls of peony flowers. The brass fittings are incised with scroll decorations and two brass side handles

Provenance: Ariane Dandois gallery, Paris (purchased in the 1990's)

Related works: a lacquer box with the coat of arms of the Hosokawa clan is presented in the Metropolitan Museum (ref.2015.500.2.28). A Jinbaori with the coat of arms of the Hosokawa clan is presented in the Eisei Bunko Museum (Japan)

Napoleon in the guise of Mars the Peacemaker, 1812

Francesco (Italy, 1749-1819) and his son Luigi Righetti (Italy, 1780-1852)

Bronze H 95 cm

A 19th century small version of the heroic 3m45 high bronze statue located in the courtyard of the Pinacoteca in Milan. The bronze statue was made from a cast of the marble sculpture created between 1802 and 1806 by Antonio Canova, now on display in the stairwell at Apsley House, the Duke of Wellington's London residence.

STERN PISSARRO GALLERY

David Stern & Lélia Pissarro

66 St. James’s Street I UK-London SW1A 1NE t +44 (0)207 629 6662 stern@pissarro.com I www.pissarro.art

Henri Martin (Toulouse 18601943 Labastide-du-Vert)

Venise, palais et gondoliers sur le Grand Canal, circa 1909 Oil on canvas

68.5 x 96 cm

Signed lower right ‘Henri Martin’ This work is accompanied by a certificate from Madame Marie-Anne DestrebecqMartin and will be included in the forthcoming catalogue raisonné which is currently being prepared

Provenance: Jacques Martin-Ferrières, Paris (son of the artist); private collection, France, acquired from the above; sale Christie's, New York, 2018; private collection, acquired from the above

Tom Wesselmann (Cincinnati 1931-2004 New York)

Study for bedroom painting #31, 1972 Oil on canvas

20.3 x 26 cm

Signed, dated twice and titled on the reverse

This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York

Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above

Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)

STONE GALLERY

Roy & Max Masin

Torenlaan 127 I NL-3742 CS Baarn

t +31 (0)35 588 22 66 I m +31 (0)6 13 39 08 64 info@stonegallery.nl I www.stonegallery.nl

Quartz geode

Weight: 1.500 kg

H 245 x W 147 x D 133 cm

Provenance: Uruguay

On the left: Petrified wood slice, USA 225 million years old

On the right: Labradorite, Madagascar

Woolly mammoth front leg

Mammuthus primigenius

H 211.5 x W 49 x D 67 cm

Provenance: The North Sea, The Netherlands

STOPPENBACH & DELESTRE

27 Garrick House I Carrington Street I UK-London W1J 7AF t +44 (0)7594 130 223 I m +33 (0)6 64 06 35 83 I m +33 (0)6 03 64 28 01 contact@artfrancais.com I www.artfrancais.com

17 Rue Notre Dame des Victoires I FR-75002 Paris

Maurice Estève (France, Culan 1904-2001)

Sans Titre, n° A1182, 1987

Watercolour on paper

45 x 37.5 cm

Signed lower left ‘Estève 87’

Provenance: private collection, France

Gustave Loiseau (Paris, 1865-1935)

Chaumière à Vaudreuil, 1903

Oil on canvas

46 x 55 cm

Signed lower right and dated ‘june 1903’ (on the stretcher on reverse)

This work is accompanied by a certificate of authenticity by Didier Imbert

Provenance: private collection, France

GALERIE TAMÉNAGA

18 Avenue Matignon I FR-75008 Paris t +33 (0)1 42 66 61 94 galerie@tamenaga.fr I www.tamenaga.com

7-5-4 Ginza Chuo-Ku I JP-104-0061 Tokyo

t +81 (0)3 3573 5368 gal@tamenaga.com

1-4-1 Shiromi Chuo-Ku I Hotel New Otani Arcade JP-T-510-0001 Osaka t +81 (0)6 6949 3434 gto@tamenaga.com

265-7 Kamihoritsumecho I Higashiyama Ward JP-605-09 Kyoto t +81 755 32 3001 gtk@tamenaga.com

Chen Jiang-Hong (China, Tianjin 1963)

Untitled, 2024

Oil on canvas

130 x 162 cm

Provenance: the artist's studio

Pierre Bonnard (Fontenay-aux-Roses 18671947 Cannet)

Femme nue à la lampe, circa 1900 Oil on cardboard 53 x 33 cm

Stamp of the signature at the lower right ‘Bonnard’

Provenance: Bonnard estate; private collection

Literature: Jean et Henry Dauberville, Bonnard, catalogue raisonné de l’œuvre peint, supplément 1887-1947, n° 01830 repr. p. 207

Exhibitions: Musée de Lodève, Bonnard, guetteur sensible du quotidien, 20 June1 November 2009, n° 14, p. 103; Musée national des Beaux-Arts de Quebec, Pierre Bonnard, La couleur radieuse, 6 October 2016-15 January 2017, édition Skira, ill. p.87

30 Rue Beaubourg I FR-75003 Paris t +33 (0)1 42 72 14 10 paris@templon.com I www.templon.com

28 Rue du Grenier Saint-Lazare I FR-75003 Paris

Rue Veydt 13 I BE-1060 Brussels t +32 (0)2 537 13 17 brussels@templon.com

293 Tenth Avenue I US-New York 10001 t +1 212 922 3745 newyork@templon.com

François Rouan (Montpellier, 1943)

Odalisque Flandres X, 2010

Oil on braided canvases

170 x 148.5 cm - framed 175 x 154 cm

Unique piece

Provenance: the artist’s studio

Literature: Marie Luise Syring, François Rouan: Eine Wirklichkeit aus Fetzen und Flicken’, Künstler : Kritisches Lexikon der Gegenwartskunst, 2013; Exhibition catalogue François Rouan, La découpe comme modèle, Musée départemental Matisse, Le Cateau-Cambresis, 2011, publ. Bernard Chauveau, coll. Couleurs contemporaines; Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 41), published by TEMPLON 2023

François Rouan (Montpellier, 1943)

Pavane IV, 2018-2019

Oil on braided canvases

200.5 x 170 cm

Framed 206 x 175 cm

Unique piece

Provenance: the artist’s studio

Literature: Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 23), published by TEMPLON 2023

GALERIE PATRICE TRIGANO

4 bis Rue des Beaux-Arts I FR-75006 Paris

t +33 (0)1 46 34 15 01 contact@galerietrigano.com I www.galeriepatricetrigano.com

Jean Hélion (Couterne 1904-1987 Paris) Trousers, 1978

Acrylic on canvas

146 x 114 cm

Provenance: acquired from the artist

Alberto Magnelli (Florence 1888-1971 Paris) Natura morta alla linea bianca, 1914

Oil on canvas

70 x 55 cm

Signed, titled and dated on the back Listed in the Alberto Magnelli catalogue raisonné by Anne Maisonnier, n° 116, p. 69

VALERIO TURCHI

Via Margutta 91/A I IT-00187 Rome

t +39 06 323 50 47 I m +39 335 52 23 852 I m +44 (0)7500 246 574 turchi.valerio@yahoo.it I www.galleriavalerioturchi.it

Head of Venus

Greek, late Hellenistic-early Roman period

1st century BC to 2nd century AD

Marble

H 21 x W 11 x D 16 cm

Accompanied by Art Loss Register certificate: S00205313

Provenance: collection of Edmond Cormier-Thierry-Delanoue (1879-1960); thence by descent in the same family

Diana Venatrix

Roman, 2nd century AD

Marble

H 103 x W 45 x D 26 cm

Accompanied by Art Loss Register certificate: S00217922

Provenance: the former collection of an art dealer, USA; Sotheby’s New York, Antiquities and Islamic Art, 1-2 March 1984, lot.73; then former collection of the explorer and adventurer J. Stephen Fosset (1944-2007); acquired in London, 21 October 1986

UNIVERS DU BRONZE

Michel Poletti & Alain Richarme

27-29 Rue de Penthièvre I FR-75008 Paris

t +33 (0)1 42 56 50 30 I m +33 (0)6 82 58 13 83 website@universdubronze.com I www.universdubronze.com

Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne)

Le pas de l'oie, 1920-1921

Bronze, rich dark brown patina

H 34.9 x W 70.3 x D 24.5 cm

Bronze signed ‘Ed M Sandoz’, cast by ‘C. Valsuani Cire perdue Paris’ (seal), repr. in the reference catalogue by F. Marcilhac (picture n° 1057), on its original Griotte marble base Cast 1920 or before

Exhibitions: ‘La Cimaise’ exhibition (Galerie Devambez, 1920); Galerie Malesherbes exhibition (circa 1933)

Auguste Rodin

(Paris 1840-1917 Meudon)

Petite ombre de la Porte de l'enfer ou ‘Petite Ombre n°1’

Model of 1885, cast in 1943

Bronze, richly shaded green brown patina

H 31.1 x W 13.8 x D 10.9 cm

Bronze signed ‘Rodin’, cast by ‘Alexis Rudier Fondeur Paris’ (mark), ‘A.Rodin’ inside relief seal; 13 examples by this founder for Rodin between 1906 and 1911, then 4 by him for the Museum between 1919 and 1945 (completed edition by Georges Rudier between 1958 and 1966 with 7 bronzes)-Comité Rodin advice letter 2022-6677B

GALLERY SOFIE VAN DE VELDE

Nieuw Zuid

Léon Stynenstraat 21 I BE-2000 Antwerp

m +32 (0)470 04 88 83 info@sofievandevelde.be I www.sofievandevelde.be

Kees Goudzwaard (Utrecht, 1958)

Position, 2008

Oil on canvas

100 x 80 cm

Pierre-Louis Flouquet (Paris 1900-1967 Dilbeek)

Compositie, 1920-1922

Oil on canvas

131 x 91 cm

Signed ‘Flouquet’ left bottom corner

Provenance: Bernard Davis/Miami Museum of Modern Art; Collection of Harvey Probber; thence by descent

VAN DER MEIJ FINE ARTS

Dr. Lorenz van der Meij

Herengracht 372 I NL-1016 CH Amsterdam t +31 (0)20 36 27 022 info@vandermeijfinearts.com I www.vandermeijfinearts.com

Janus la Cour (Denmark, Tim Parish 18371909 Odder)

From Bordighera, 1898 Oil on canvas

45 x 73.5 cm

Signed lower right: 5.I.98 janus la Cour

Provenance: estate auction Janus la Cour, Charlottenborg Copenhagen, December 1909, lot 119; private collection, Copenhagen

Literature: Rikard Magnussen, Landskabsmaleren Janus la Cour. 1837-1909 (Copenhagen, 1928), n° 780

Carl Holsøe (Denmark, Aarhus 1863-1935 Asserbo) Lady at a desk, circa 1900

Watercolour and pencil on paper 38 x 34.5 cm

Signed lower right: C.HOLSØE

Provenance: private collection, The Netherlands

VAN HERCK-EYKELBERG

By appointment only I BE-2600 Antwerp m +32 (0)491 16 65 22 contact@van-herck.com I www.van-herck.com

Georges Vantongerloo (Antwerp 1886-1965 Paris)

Study for Variant ‘Curves’, 1939 Gouache on paper 17.6 x 17.8 cm

Titled, located, dated, and signed on verso ‘Paris 1939’

Provenance: Max Bill Estate; Max Bill-Georges Vantongerloo Foundation Annely Juda Fine Art, London; private collection, New York; Galerie Harold t’Kint de Roodenbeke, Brussels; private collection, Belgium

Literature: Jan Ceuleers, Georges Vantongerloo, Ronny Van de VeldePandora, Antwerp, 1996, p. 200; Naum Gabo, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, exh. cat., Annely Juda Fine Art, London, cat. 57 (ill.); Angela Thomas Schmid, Georges Vantongerloo: A Retrospective, exh. cat., Annely Juda Fine Art, London, cat. 59 (ill.)

Léon Spilliaert

(Ostend 1881-1946 Brussels)

Le rêve. Femmes dansantes et oiseaux, 1916

Pencil and chinese ink on paper

25 x 25 cm

Signed and dated lower right

This work will be included in the forthcoming catalogue raisonné being prepared by Dr. Anne Adriaens-Pannier

114 SAMUEL VANHOEGAERDEN GALLERY

Zeedijk 785 I BE-8300 Knokke-Zoute m +32 (0)477 51 09 89 info@svhgallery.be I www.svhgallery.be

Panamarenko (Antwerp 1940-2019 Brakel) Archaeopterix III, 1990

Mixed media sculpture: balsa, strings, twelve servos, electronic chips ... H 36 x W 33 x D 25 cm

Signed Certificate of authenticity by the Panamarenko Foundation dated 2 October 2024

Provenance: Ronald Feldman Gallery, New York

James Ensor (Ostend, 1860-1949)

Coquilles et Statuettes, 1934

Oil on wood panel

40 x 50 cm

Signed lower right ‘Ensor’, signed and titled on verso

This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641

Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels

Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641

GALERIE RAF VAN SEVEREN

Godefriduskaai 52 I BE-2000 Antwerp

m +32 (0)495 54 14 11 raf.vanseveren@skynet.be I www.rafvanseveren.com

Minderbroedersrui 61 I BE-2000 Antwerp

Paul Klee (Münchenbuchsee 1879-1940 Locarno) Kronen-Narr (Crown Fool), 1938

Gouache, brush and ink on newsprint laid on board

48.9 x 32.4 cm

Signed bottom right ‘Klee’

Titled and dated on the paper backing, bottom centre

Provenance: Hans and Erika MeyerBentelli, Bern until 1955; Berggruen & Cie, Paris, 1955-58; Saidenberg Gallery, Inc., New York, 1958-59; James Wise, Geneva, New York and Nice from 1959; Nahum Goldman, Jerusalem until 1983; collection of Sidney Rothberg, Philadelphia, Pennsylvania

Literature: Paul Klee-Stiftung, Kunstmuseum Bern, Paul Klee: Catalogue Raisonné, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (ill.)

Exhibitions: 1957, Amsterdam, Stedelijk Museum, Paul Klee; 1957, Brussels, Palais des Beaux-Arts, n° 97a

Gustave Van de Woestyne (Ghent 1881-1947 Brussels)

Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm

Signed bottom left Dedicated ‘To Adrienne De Zutter’, signed with the artist's initials and dated on the back

Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (18781929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter)

Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78

MAURICE VERBAET GALLERY

Zeedijk 738 I BE-8300 Knokke-Zoute m +32 (0)479 88 10 31 info@verbaet.com I www.verbaet.com

Louis Van Lint (Brussels, 1909-1986) Mirage marin, 1957 Oil on hardboard 109 x 274.5 cm

Provenance: Belgian Nuclear Research Center (SCK-CEN), Mol, Belgium

Literature: Delevoy, Robert L. Association pour la Diffusion Artistique et Culturelle. Quadrum 6: Revue Internationale d'Art Moderne (Brussels) 6 (1959), n° 1, ill. in b/w p. 141

Exhibitions: Centre for Fine Arts, Brussels, Belgium, Louis Van Lint, 1958; Palais des Beaux-Arts, Charleroi, Belgium, Hommage à Louis Van Lint; 32e Salon du Cercle Artistique et Littéraire, 8 March 1958-27 March 1958

René Guiette (Antwerp, 1893-1976)

Homme noir, 1954

Oil and sand on panel 175 x 60 cm

Signed

Literature: Manuela de Kerchove d'Ousselghem & Serge Goyens de Heusch, René Guiette, Antwerp, Mercatorfonds, 1991, ill. 755, p. 252

GALERIE VON VERTES

Bahnhofstraße 16 I CH-8001 Zurich

t +41 (0)44 211 12 13 I m +41 (0)76 261 66 83 info@vonvertes.com I www.vonvertes.com

Kantonsstraße 1 I CH-8807 Freienbach

Yayoi Kusama (Matsumoto, 1929)

Untitled, 1966

Mixed media

H 21.5 x W 33 x D 28 cm

On the bottom signed and dated ‘KUSAMA 1966’

Certificate of authenticity from the Yayoi Kusama Studio on 21 March 2017

Provenance: Gallery HAM, Nagoya; private collection, US (acquired from the above)

George Condo (New Hampshire, Concord 1957)

Female composition, 2006

Oil on canvas

165.1 x 152.4 cm

Verso signed and dated ‘Condo 06’

29 AXEL VERVOORDT

Stokerijstraat 19 I BE-2110 Antwerp t +32 (0)3 355 33 00 info@axel-vervoordt.com I www.axel-vervoordt.com

100

Signed and dated on the reverse

Jef Verheyen (Itegem 1932-1984 Apt) Kathedraal, 1967

Matt lacquer on panel in artist's frame

100 x

cm

Shiro Tsujimura (Japan, Gose 1947) Large round vase, Bizen style, 2024 Earthware H 45 x Ø 45 cm

GALERIE DINA VIERNY 20

36 Rue Jacob I FR-75006 Paris t +33 (0)1 42 60 23 18 contact@galeriedinavierny.fr I www.galeriedinavierny.fr

Serge Poliakoff (Moscow 1900-1969 Paris)

Composition abstraite, 1956 Oil on burlap 81 x 130 cm

Signed lower left ‘Serge Poliakoff’

Provenance: Dr. Franz Meyer collection, Zürich; sale Perrin-Royère-Lajeunesse, Versailles, 10 December 1989, lot 113; private collection, Switzerland; sale Christie's, London, 29 June 2000, lot 343; private collection; Galerie Applicat-Prazan, Paris; private collection (acquired from the above in 2003); Galerie Dina Vierny, Paris

Literature: J. Grenier, ‘Poliakoff’, in L'Oeil, March 1958, n° 39, ill. p. 31; G. Bernier, Modern Art Yesterday and Tomorrow, 1960, ill. p. 121; La Gazette de l'Hôtel Drouot, 30 September 1994, ill. p. XXIII; La Gazette de l'Hôtel Drouot, n° 41, 24 November 1994, ill. p. 291; A. Poliakoff, Serge Poliakoff: Catalogue raisonné, vol. II, 1955-1958, 2010, n° 56-38, ill. p. 128

Exhibitions: Paris, Galerie Bing, Serge Poliakoff, 1956; Künzelsau, Museum Würth, Serge Poliakoff, 1997-1998; Wien, Kunstlerhaus, Serge Poliakoff, 1998

Robert Couturier (Angoulême 1905-2008 Paris)

Le soldat, 1967

Bronze H 184 x W 24 x D 24 cm

Signed ‘Couturier’, numbered ‘EA 1’ and inscribed with the foundry mark ‘Susse fondeur Paris’ (under the foot)

Conceived in plaster in 1967 and cast in bronze in an edition of 6 plus 4 EA and 2 HC. The present work is numbered ‘EA 1’ and was cast by Susse fondeur Paris in 2024

Provenance: Galerie Dina Vierny, Paris

Literature: V. Da Costa, Catalogue raisonné de l'oeuvre sculptée de Robert Couturier, vol. II, 1998, n° 186, ill. (another cast); V. Da Costa, Robert Couturier, 2000, ill. p. 88 (another cast)

Exhibitions: Paris, Salon de mai, 1968, n° 247, mentioned p. 12 (another cast); Paris, Musée Rodin, Robert Couturier, 1970, n° 51, ill. (another cast); Saint Etienne du Rouvray, Rodin, Couturier, César, Etienne-Martin, 1970, n° 19, mentioned p. 23 (another cast); Paris, Monnaie de Paris, Robert Couturier, 1975, n° 112, mentioned p. 10 and p. 26 (another cast); L'Isle sur la Sorgue, Campredon, Robert Couturier, 1996, ill. p. 40 (another cast); Paris, Galerie Dina Vierny, Robert Couturier. Silhouettes, 2024, n° 3, ill. p. 56

113

VKD JEWELS

Aimée & Fleur van Kranendonk Duffels

IT-Milan I NL-Amsterdam

m +39 335 626 22 52 I m +31 (0)6 17 33 49 62 info@vkdjewels.com I www.vkdjewels.com

Seaman Schepps (USA)

Rock crystal, onyx and diamond ‘buckle’ bracelet, circa 2000

Comprising five carved rock crystal buckle-shaped links connected by bridge-shaped diamond set onyx links

Diamond carat weight is approx.

6.00 carats total

Maker's mark of Seaman Schepps and stamped 750 assay mark for 18k white gold

Luz Camino (Madrid)

Frittilaria earrings, 2023

Pair of flower earrings set in silver, gold and platinum

Embellished with enamel, sapphires, chrome, diopside and diamonds

Signed LC for Luz Camino. Edition of 5

25 GALERIE FLORENCE DE VOLDÈRE

34 Avenue Matignon I FR-75008 Paris t +33 (0)1 40 15 93 26 I m +33 (0)6 80 38 85 37 fdevoldere@orange.fr I www.florencedevoldere.com

134 Rue du Faubourg Saint-Honoré I FR-75008 Paris

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.

Peter Brueghel the Younger (Brussels 1564-1638 Antwerp)

Winter landscape with skaters - The bird trap

Oil on panel

39 x 57 cm

Komedieplaats 4-8 I BE-2000 Antwerp t +32 (0)3 232 36 87 I m +32 (0)492 44 59 12 info@vrouyr.com I www.vrouyr.com

Caucasus rug

Karabagh, circa 1900

Warp, weft and pile: wool

Symmetrical knot

573 x 210 cm

Tabriz rug Northwestern Iran, circa 1900

Warp and weft: cotton, pile: wool

Asymmetrical knot

405 x 260 cm

FLORIS VAN WANROIJ FINE ART

Bergstraat 52 I NL-5551 AX Dommelen

t +31 (0)40 20 40 596 I m +31 (0)6 27 42 04 06 info@floris-art.com I www.floris-art.com

Abel Grimmer (Antwerp, circa 1570-circa 1618)

Landscape symbolising the season of spring

Oil on panel 25 x 36 cm

Provenance: sale London, 1956; with Kunsthandel P. de Boer, Amsterdam, with label verso; private collection

A. Heyn, Aerdenhout, 1961, by descent; private collection, The Netherlands

Literature: Exh. cat., 1961, Kunsthandel P. de Boer. Amsterdam, cat. n° 28, with ill.; Exh. cat., 1965, De landman

en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften. Haarlem, with ill.; Berthier de Sauvigny, Reine de, Jacob et Abel Grimmer, Catalogue raisonné, Brussels, 1991, p. 302, n° 6

Exhibition: Frans Halsmuseum, Haarlem, 14 June 1965-29 August 1965, De landman en de muze. Een tentoonstelling van schilderijen, aquarellen, tekeningen, grafiek, beeldhouwwerken en handschriften, n° 16

Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm

Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp

Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/ Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127).

Reference literature: BRAFA catalogue, 2005, p. 362

VICTOR WERNER

Schuttershofstraat 21 I BE-2000 Antwerp m +32 (0)486 67 79 68 info@victorwerner.be I www.victorwernergallery.com

Luigi Carrubba (Tunisia 1907-? Rome)

Diana the Huntress, circa 1937

Bronze with black patina H 108 x L 100 x D 47 cm

Signed ‘Carrubba Luigi Roma Febbraio XV’

Literature: E. Zorzi, Uno sguardo d'insieme alla XXI Biennale d'Arte di Venezia, in ‘Le vie d'Italia turismo nazionale, movimento dei forestieri, prodotto italiano’, XLIV, 6, 1938, p. 750

Raymond de Meester de Betzenbroeck (Mechelen 19041995 Woluwe-Saint-Lambert)

Poodle ‘Zazou’, first half of the 20th century

Bronze with brown patina

H 44 x L 50 x D 16 cm

Signed ‘Raymond de Meester’

WHITFORD FINE ART

Adrian Mibus Rue Antoine Dansaert 79 I By appointment only I BE-1000 Brussels m +44 (0)7771 98 36 55 I m +44 (0)7798 778 250 info@whitfordfineart.com I www.whitfordfineart.com

Joseph Lacasse (Tournai 1894-1975 Paris)

Balancement, 1948

Oil on canvas

81 x 100 cm

Signed and dated lower right and signed, dated and inscribed verso Lacasse Estate inventory number dia n° 390

Provenance: the estate of the artist

Bram Bogart (Delft 1921-2012 Sint-Truiden)

Au Bal Noir, 1959

Mixed media on canvas

50 x 60 cm

Signed and dated lower right and signed, dated and titled verso

Certificate of authenticity by Bram Bogart JR

Provenance: private collection, Italy

WILLOW GALLERY

40-41 Duke Street, St James’s I UK-London SW1Y 6DF t +44 (0)207 968 18 30 I m +44 (0)7973 64 21 40 I m +44 (0)7967 02 88 79 enquiries@willowgallery.com I www.willowgallery.com

Marc Chagall (Vitebsk 18871985 Saint-Paul de Vence)

Esquisse pour ‘Le Shofar’, 1976

Pastel, gouache and graphite on paper

48 x 31 cm - framed 76 x 59 cm

Signed. Executed Sils, winter 1973

This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall

Provenance: estate of the artist; thence by descent

Raoul Dufy (Le Havre 1877-1953 Forcalquier)

Le Bal, 1920

Oil on canvas

55 x 65 cm - framed 70 x 80 cm

Signed lower right ‘Raoul Dufy’

Provenance: Galerie BernheimJeune, Paris (in March 1924); Max Pellequer, Paris (acquired from the latter in January 1925); Marcel Kapferer, Paris (before 1928); Doctor Alexandre Rudinesco, Paris (before 1951); its sale, Parke-Bernett Galleries Inc., New York, 10 October 1968, lot 22 (titled ‘Le Bal du quatorze Juillet à Antibes’, dated ‘1910’); B. Gerald Cantor, New York (before 1970); private collection; private collection, France

Literature: C. Zervos, Raoul Dufy, Paris, 1928, n° 29 (ill.; titled ‘Antibes’;

dated ‘1921’); M. Gauthier, Raoul Dufy, Paris, 1949 (ill., pl. VIII; dated ‘1912’); P. Courthion, Raoul Dufy, Geneva, 1951, p. XII, n° 62 (ill., pl. 62; titled ‘Le Bal à Antibes’; dated ‘1910’); M. Brion, Raoul Dufy, Paintings and Watercolors, London, 1958, pl. 13 (ill.: titled ‘Ball at Antibes, 14 July’; dated ‘1910’); Maurice Laffaille, Raoul Dufy, Catalogue Raisonné de l’Oeuvre Peint, Tome IV, Editions Motte, Geneva, 1977, p. 147 n° 1581

Exhibitions: Paris, Galerie Charpentier, Plaisir de France, June 1951, n° 62 (titled ‘July 14’); Paris, Galerie Charpentier, Plaisirs de la campagne, June 1954, n° 61 (titled ‘July 14’); Albi, Toulouse-Lautrec Museum, Raoul Dufy Exhibition, Paintings, watercolors, drawings, tapestries, July-September 1955, p. 24, n° 11 (ill., pl. VIII; titled ‘The Ball in Antibes, July 14’; dated

‘1910’); Paris, Galerie Bernheim-JeuneDauberville, Masterpieces of Raoul Dufy, For the benefit of mutual aid of intellectual workers, April-July 1959, n° 9 (ill., pl. 5; titled ‘Antibes’; dated ‘1910’); Paris, Galerie Charpentier, Les Fauves, 1962, n° 55 (titled ‘July 14’); Mexico, Museo Nacional de Arte Moderno, Cien años de pintura en Francia, De 1850 a nuestros dias, October-November 1962, p. 118, n° 47 (titled ‘14 de Julio’); Des Moines, Art Center; Indianapolis, Indianapolis Museum of Art; Albuquerque, University of New Mexico Art Museum; Santa Barbara, Santa Barbara Museum of Art and Fort Worth, Fort Worth Art Center Museum, Selections from the B. Gerald Cantor Collection, December 1970-August 1971, n° 4 (ill. in colour, titled ‘Fourteenth of July Dance at Antibes’; dated ‘1910’)

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