BRAFA CATALOGUE 2026

2026

2026

INTERVIEW WITH KLAAS MULLER, CHAIRMAN OF BRAFA BRAFA 2026 is fast approaching.

What can visitors expect to discover at this 71st edition?

The previous edition was a resounding success, yet the Board of Directors made a conscious decision not to rest on its laurels. Rather than simply celebrating this achievement, we resolved to build upon it and further develop the event.

As a result, several exciting new features have been introduced.

First of all, the Fair will be welcoming an unprecedented number of exhibitors: nearly 150 galleries from 19 different countries, including prominent international galleries, some of whom will be taking part in BRAFA for the first time. Visitors have some wonderful surprises in store. However, three essential elements remain at the heart of the Fair: the exceptional quality of the galleries, the diversity of specialities, and the fact that BRAFA remains on a human scale.

Secondly, we have an additional space this year: adjacent to Halls 3 and 4, Hall 8 will be devoted entirely to catering. This new area will provide a more varied and interesting selection of food and drink for both visitors and exhibitors, creating convivial gastronomic encounters. Meanwhile, Halls 3 and 4 will remain focused exclusively on art, serving as the main venue for exhibitors, our sponsor Delen Private Bank, and the King Baudouin Foundation— the guest of honour for this edition.

Finally, as in previous years, special attention will be paid to the staging and decoration, with a small difference at the entrance to the Fair. But I won’t say any more, so as to keep it a surprise for visitors. © Guy Kokken @ Royal Museums of Fine Arts of Belgium

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This is your second year as Chairman of BRAFA. What are your priorities for this edition?

My main priority is to safeguard BRAFA’s identity, whilst simultaneously fostering its evolution.

It’s a delicate balance: our Fair is and remains an event conceived by art dealers, for art dealers, where professionalism and the highest standards of quality are non-negotiable. At the same time, we must remain receptive to new ideas and embrace innovation. The art world is undergoing rapid transformation, and it would be a risk to ignore these changes.

In concrete terms, my ambition remains twofold: to offer exhibitors an effective platform for meeting new collectors and selling under the best possible conditions, whilst providing visitors with an exceptional experience, with the guarantee of a rigorous selection of works.

The King Baudouin Foundation, a longstanding partner of the Fair which is celebrating its 50th anniversary this year, will be the guest of honour at the 2026 edition. Can you tell us more about that?

We are honoured to be celebrating this anniversary with the King Baudouin Foundation.

For the occasion, the Foundation will be occupying a larger stand than usual, displaying iconic works from its collections. This year, it will also offer a series of lectures on various topics, in addition to the BRAFA Art Talks which are held every day at its stand at 4 pm. I have no doubt that its participation will be worthy of the event.

Belgium is often regarded as a nation of passionate collectors. How do you explain this tradition?

This tradition can be explained by our country’s history. Since the Middle Ages, Belgium has been considered an artistic crossroads for

Europe and the world. Throughout history, major Belgian artists have left their mark on art history by producing works that went against the grain: Van Eyck in the Middle Ages, Brueghel in the Renaissance, Rubens in the Baroque period, then the 19th century movements through the Group of XX, Ensor, etc., Magritte in the 20th century, and up to the present day. These artists were able to flourish thanks to the support of visionary patrons and collectors. Art is part of our DNA: we are naturally curious and receptive to beauty.

What role can BRAFA play for younger generations of collectors and those who are new to the art market?

An interesting phenomenon is taking place: our audiences are getting younger. In the past, our visitors were established collectors, aged over 50, who devoted years to building collections centred around a particular area of expertise.

This profile still exists, but more and more young enthusiasts are now coming through our doors, with more eclectic tastes. This is precisely BRAFA’s strength: its diverse offering.

This diversity attracts a curious audience eager for new discoveries. We must continue to nurture and celebrate this eclecticism.

On a more personal note, what does BRAFA mean to you?

BRAFA is a crucial moment, both professionally and personally. It is an opportunity for me to present carefully selected works, finalise my research, reconnect with loyal clients, meet new contacts from the museum world and share two intense weeks with my colleagues. The energy and excitement are unique, almost addictive.

After each edition, I feel a sense of emptiness... before I start looking forward to the next one!

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Delen Private Bank & BRAFA, partners in fine arts A shared passion Art is more than aesthetics at Delen Private Bank – it defines who we are. That is why we choose partnerships that reflect our identity and values.

Together, we honour art as a form of memory, a bridge between generations, while giving space to new voices. Through art, we create emotion and belonging – a community where people feel truly connected.

In BRAFA we find a dedicated ally to convey that message.

A bank with a personal touch Delen Private Bank is dedicated to wealth management and wealth planning. Our goal is clear: to prepare our clients for a future of financial independence. We ensure balanced growth and a seamless transfer of assets to the next generation.

With a proactive and long-term approach, we place our clients and their families at the heart of everything we do. By focusing exclusively on wealth management and wealth planning, we remain true to what we do best. And as a family-rooted bank, we uphold values of continuity, trust and genuine care in every relationship.

W W W. D E L E N . B A N K

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HONORARY COMMITTEE Dr. 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

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

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

Lieven Daenens

Julie Almau Gonzalez

Hilde De Clercq

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

Honorary Director of the Design Museum Gent, Ghent Director General at the Royal Institute for Cultural Heritage (KIK-IRPA), Brussels

Isabelle De Jaegere

Honorary Director Municipal Museums Kortrijk

Carl Depauw

Director of the Museum Mayer van den Bergh, Antwerp

Baron François Duesberg

Founder of Galila’s P.O.C.

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

Goedele Bartholomeeusen

Ludwig Forrest

Director of MDD / Museum Dhondt-Dhaenens, Deurle

Maarten Bassens

Curator of the Snijders&Rockoxhuis Museum, Antwerp

Thomas Bayet

Chief Philanthropy Officer at the King Baudouin Foundation, Brussels

Julien Foucart

Curator of the Museum of Fine Arts, Tournai

Curator of the Museum of History and Decorative Arts, Tournai

Siska Genbrugge

Philippe Blondin

Denis Gielen

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

Director of DIVA museum, Antwerp 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

Chairman of the Centrum Rubenianum, Antwerp Professor at the Staatliche Akademie der Bildenden Künste Stuttgart, Stuttgart

Johan van Heesch

François de Callataÿ

Sara Lammens

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

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Emeritus Professor with formal duties at KU Leuven

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 of the Brussels City Museum, Brussels

Claire Leblanc

Curator-Director of the Museum of Ixelles

Thomas Leysen

Chairman of Mediahuis and Umicore

Isabel Lowyck

Director of the Gaasbeek Castle

Manon Magotteaux

Curator of the van Buuren Museum & Gardens, Brussels

Clémence Mathieu

Director of the Mumask, Binche

Wim Nys

Curator Jewellery (before 1830) and Silver at DIVA museum, Antwerp

Kim Oosterlinck

Sergio Servellón

Director of FeliX Art & Eco Museum, Drogenbos

Christophe Slagmuylder

CEO and Artistic Director of Bozar, Brussels

Kristl Strubbe

Director of the Musea Brugge

Maartje Stubbe

Director of the FoMu (Museum of Photography), Antwerp

Peter Thoelen

Project Leader of the Museum Maagdenhuis, Antwerp

Grégory Van Aelbrouck

Curator 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

General Director of the Royal Museums of Fine Arts of Belgium, Brussels

Geertrui Van Kerkhoven

Anne van Oosterwijk

Els Veraverbeke

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

Founder and President of the Moulinsart & Hergé Studios

Alexandra Rolland

Director of the Autrique House, Schaerbeek

Louma Salamé

General Director of the Boghossian Foundation, Brussels

Zahava Seewald

Director of the MOU - Museum Oudenaarde Curator-Director of Collections In Flanders Fields Museum, Yper Museum and Merghelynck Museum Historian and Museologist

Vic Verhasselt

Director a.i. of the MSK (Museum of Fine Arts), Ghent

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

Director of the Museums of Anderlecht, Chief Curator of the Erasmus House & Beguinage, Brussels

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GUEST OF HONOUR @ BRAFA ���6 THE KING BAUDOUIN FOUNDATION 50 years of giving and preserving heritage In 2026, the King Baudouin Foundation celebrates its 50th anniversary. Half a century of commitment to building a better society. Half a century of bringing people together around generosity, solidarity, and collective responsibility. Fifty years of giving together.

For BRAFA visitors, this anniversary is an opportunity to discover extraordinary works of art and heritage that belong to us all. For the Foundation, it is the occasion to pay tribute to generosity – and to show how philanthropy can preserve beauty, memory, and meaning for the future, by offering a gift that lasts for generations.

Pol Bury, Bracelet Boules des deux côtés d’un carré, 1968. Gold, 6 x 6.2 cm. Collection King Baudouin Foundation. Acquired by the Christian Bauwens Fund in 2025, entrusted to the DIVA, Antwerp. © Pol Bury, photo Dominique Provost

As the Foundation marks this milestone, it steps into the spotlight at BRAFA not only as a longstanding partner of the fair but also as the guest of honour for the 2026 edition. It is a moment of pride, recognition, and celebration. But the true guest of honour, as the Foundation itself insists, is every

patron, donor, and philanthropist who has made its work possible, and every museum, conservator, and cultural partner who shares its dedication to safeguarding and transmitting heritage.

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A mission rooted in generosity Since its creation in 1976, the King Baudouin Foundation has pursued a simple yet ambitious mission: strengthening solidarity and improving society. From the very beginning, the Foundation has supported projects in social welfare, health and development, among many others, but culture and heritage have been one of its longstanding commitments.

Why? Because heritage and culture connect us.

They transcend generations, bridging the past with the present and guiding us towards the future. They inspire, heal, and give perspective.

In a fragmented and fast-changing world, they provide continuity and a sense of belonging.

For the King Baudouin Foundation, protecting heritage is not about nostalgia or prestige. It is about ensuring that meaningful works – whether centuries old or from contemporary creators – remain accessible to everyone, not just a privileged few. It is about giving memory to the future.

Oignies workshop, Reliquary of the Virgin’s Milk, post-1243 – c. 1250.

Silver, gold, amethyst, copper, H 45 cm.

Collection King Baudouin Foundation, donated by the Sisters of NotreDame de Namur in 2010, entrusted to the ‘Société archéologique de Namur’ and exhibited at the TreM.a - Museum of Ancient Arts, Namur. © Hughes Dubois

Preserving and protecting: a shared responsibility At the heart of the Foundation’s Heritage & Culture programme lies a dual commitment: Safeguarding significant works of art, heritage objects, and archives for future generations. And ensuring access to these treasures for everyone today.

The Foundation achieves this by acquiring, accepting and taking care of works that are considered vital for Belgium’s heritage. But it never acts alone. All acquisitions and donations are entrusted to museums and cultural institutions across the country, so that they can be seen, studied, and enjoyed by the public. Today, the Foundation’s

collections are hosted by more than one hundred museums, making them part of Belgium’s shared cultural landscape.

Philanthropy is the motor of this mission. The Foundation manages no fewer than 154 dedicated philanthropic funds in the field of culture and heritage. Created by donors with a passion for safeguarding art, history, and creativity, these funds provide the resources to acquire works, support research, fund restorations, or back innovative cultural projects. In this way, each donor helps shape the cultural future of Belgium.

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Preventing loss, securing return One of the Foundation’s key roles is to prevent important works of Belgian heritage from leaving the country – or to bring them back if they have been dispersed abroad.

Owl hallmarked Antwerp, 1548-1549. Coconut, silver and silver gilt, 17 cm. Collection King Baudouin Foundation. Acquired by the King Baudouin Foundation in 2002, entrusted to the DIVA - Antwerp. © Museum aan de Stroom

In 2007, for example, a rare late Gothic sculpture appeared on the British art market. Made in Bruges in 1529, it had been carried for more than two centuries in the city’s annual Procession of the Holy Blood. With very few sculptures from Bruges surviving to this day, its historical significance and symbolic beauty were unquestionable. The King Baudouin Foundation seized the opportunity to acquire the piece, with support from local patrons close to the Holy Blood Brotherhood. Thanks to this collective effort, the sculpture now remains in Bruges, reunited with its origins in the Museum of the Holy Blood.

Another striking example is the so-called silver owl – a goblet crafted in Antwerp, partly from coconut, during the city’s golden age of silversmithing. This piece, the oldest known Antwerp object made with this exotic material, reflects not only the technical virtuosity of its makers but also the cosmopolitan ambitions of a port city at the height of its power.

Thanks to its acquisition by the King Baudouin Foundation, the silver owl could be preserved in Belgium and made accessible to all. It is now housed at DIVA, Antwerp’s museum for diamonds, jewellery, and silver, where it continues to tell the story of global exchange and local artistry. Such acquisitions underscore the Foundation’s philosophy: to act decisively when a work that is essential to Belgium’s cultural identity risks disappearing from public reach.

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Bruges workshop, The Holy Blood ensign, 1529. Polychromed wood, Ø 64 cm. Collection King Baudouin Foundation. Acquired by the King Baudouin Foundation in 2007, entrusted to the Museum van het Heilig Bloed, Bruges. © Philippe de Formanoir

The gift of collections Acquisitions are only part of the story. The Foundation’s collections have been enriched enormously by gifts from collectors, heirs, and art lovers who wished to safeguard their treasures for posterity. These donors entrust their works to the Foundation because they know it will ensure they remain accessible, well-preserved, and meaningfully contextualised.

One of the most generous and visionary gifts came from Thomas Neirynck, who donated his collection of nearly 700 paintings. Focused on abstract art from the post-war period – especially the “Jeune Peinture Belge” and the Cobra movement – this collection highlights Belgium’s vital role in shaping modern art. Today, it is housed in the Artothèque in Mons and is regularly featured in temporary exhibitions at BAM (Musée des Beaux-Arts de Mons) as well as in numerous institutions across Belgium and abroad.

Another inspiring example is the donation of Michel Demoortel, passionate ambassador of Enghien’s cultural heritage and especially of its tapestry art.

Through the creation of a dedicated Fund, he first acquired four rare 16th- and 17th-century tapestries from Enghien and donated them to the Foundation, securing their place in Maison Jonathas in Enghien.

Later, he entrusted his entire collection to the Foundation, further enriching Belgium’s patrimony and guaranteeing its accessibility to the public.

Each donation is the result of a dialogue. The Foundation works closely with donors and custodial institutions to find solutions that respect the donor’s wishes while also ensuring public benefit.

Sometimes the works are Belgian, sometimes not.

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But the guidelines are clear: there must be an existing museum or cultural institution ready to preserve and present them to the public.

These gifts reflect trust – trust in the Foundation’s stewardship, and trust in the idea that culture is a collective good, not a private privilege.

A rich and diverse collection, access and valorisation Thanks to acquisitions and donations, the Foundation has built a sizeable and diverse collection encompassing more than 29,000 objects – from archaeological treasures to modern art, from lace and jewellery to paintings and design – and 31 archive funds. The collection includes almost 1000 officially recognised “Masterpieces” of Belgian heritage.

The Foundation is committed not only to preserving heritage but also to keeping it alive. All works are placed on long-term loan in museums and institutions across Belgium, where they are carefully conserved and displayed. From the Royal Museum of Mariemont to Museum M in Leuven, from local archives to the newly refurbished decorative arts galleries at the Royal Museums of Art and History in Brussels, visitors encounter pieces made accessible thanks to the Foundation.

But accessibility is more than physical. The Foundation invests in publications, digital platforms, and virtual exhibitions to share heritage with global audiences. By experimenting with new tools – from audio guides to 360° tours – it ensures that collections remain vibrant and relevant in a digital age.

Louis Van Lint, Les Constestataires, 1969. Oil on canvas, 162 x 130 cm. Collection King Baudouin Foundation. Donated by Thomas Neirynck en 2004, entrusted to the Artothèque, Mons. © Louis Van Lint – SABAM, photo Studio Philippe de Formanoir

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Encouraging and facilitating philanthropy Beyond collecting, the Foundation plays a pivotal role in stimulating philanthropy for heritage and culture more broadly. Through its Heritage & Culture programme, it advises and guides donors, helps them set up dedicated funds, and ensures their wishes are fulfilled. It also encourages partnerships between private and public actors to further strengthen the preservation and promotion of Belgium’s heritage.

The range of supported projects is wide: from restoring monuments and protecting heritage landscapes to funding music, history, or contemporary art initiatives. From supporting young talents to making heritage more accessible to specific groups – whether young people, seniors, or people with disabilities. In this way, philanthropy breathes life into heritage, keeping it responsive to society’s needs.

© xxx Cornelis De Vos, Portrait of Jan Vekemans, 1624. Oil on panel, 122 x 79 cm.

Collection King Baudouin Foundation. Acquired by the King Baudouin Foundation in 2006, entrusted to the Museum Mayer van den Bergh, Antwerp. © Steven Neyrinck

Evelyne Axell, L’égocentrique 2, 1968. Enamel, Clartex on Unalit panel, 108 x 72 cm.

Collection King Baudouin Foundation. Acquired by the Isabelle and Philippe Dewez Fund in 2025, entrusted to the Royal Museums of Fine Art of Belgium, Brussels. © Evelyne Axell, SABAM Belgium 2025, Photo Paul Louis

Why it matters The King Baudouin Foundation’s vision is clear: Heritage and culture are the heartbeat of society.

They connect people, generations, and communities.

They inspire us, give us perspective, and offer oxygen to our society. More than ever, they play a crucial role in healing, in bridging divides, and in 14

nurturing a sense of belonging. In a world often focused on the short term, safeguarding heritage is a profoundly long-term act of generosity. It is about ensuring that future generations inherit not only wealth but also memory, identity, and inspiration.

Elisabeth De Saedeleer, carpet in Art Deco style after a design by Albert Van huffel, 1924. Wool and hemp, 219 x 104 cm. Collection King Baudouin Foundation. Acquired by the Raphaël and Françoise Haeven Fund in 2025, entrusted to the Design Museum Brussels. © Elisabeth De Saedeleer, Photo Vrouyr

BRAFA 2026: guest of honour Against this backdrop, the Foundation’s role as guest of honour at BRAFA 2026 is a crowning recognition of nearly two decades of collaboration with the fair.

Since 2007, the King Baudouin Foundation has been present at BRAFA, sharing treasures with art lovers, collectors, and experts.

BRAFA is the ultimate forum where private collectors, art dealers, museums, and cultural actors meet. It is a place where passion for art and heritage becomes tangible, where the past meets the present. As guest of honour, the Foundation will showcase recent acquisitions as well as masterpieces entrusted to Belgian museums and public collections over the years.

Visitors can also attend a series of Art Talks organised by the Foundation, in which curators and experts explore key works, their histories, and their significance for public collections. Each day,

a musician supported by one of the philanthropic funds managed by the Foundation will give a short performance, offering a living reminder that philanthropy also nurtures contemporary creativity. Behind the stand (No. 151), at the KBF Forum, guests will discover inspiring stories and transversal projects that illustrate how philanthropy, cultural preservation, and social welfare intertwine.

In addition, visitors will have the unique opportunity to observe the ongoing restoration of a recently acquired painting by the Antwerp master Willem Key, carried out live on the stand by a professional conservator.

For the Foundation, BRAFA is not just an art fair. It is an opportunity to celebrate donors and partners, to share treasures with art lovers from around the world, and to invite everyone to join in the mission of giving.

FOR FURTHER INFORMATION King Baudouin Foundation: www.kbs-frb.be Heritage & Culture Programme: www.heritage-kbf.be Instagram @belgianheritage 15

AMBASSADORS OF BRAFA ���6

The BRAFA would like to thank all Ambassadors for their active participation in BRAFA 2026. Their readiness to spend time sharing their knowledge, passion and favourite artworks with Museum Friends, Maecenas and 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

Isabelle Bourne

Art Collector, former Fashion Director Balenciaga & Dior

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 de Peruzzis Lawyer, Art Enthusiast

Yadira Castellanos Estrabao Forensic Art Expert

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Lionel Colin Van Lint

President of the Louis Van Lint Institute

Christophe Decarpentrie Interior Designer

Isabelle De Jaegere

Honorary Director Municipal Museums Kortrijk

Eric De Keuleneer

Managing Director of the University Foundation

Michel Delfosse Art Collector

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 & 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 Silk Roads Countries

Axel Vervoordt © Olivier Pirard

Isabelle Henricot

Bart Suys

Patrice le Hodey

Luc & Valérie de Tillesse

Paul Huvenne

Hubert d’Ursel

Olivier de Jamblinne de Meux

Axel Van der Stappen

Robrecht Janssen

Benedikt van der Vorst

Interior Designer

Acting Chairman IPM – RGP Former Director of the KMSKA Antwerp Former Banker, Art Enthusiast

Head of Communications at the Royal Institute for Cultural Heritage (KIK-IRPA)

Claire Leblanc

Curator and Director of the Museum of Ixelles

Ernest Tom Loumaye

Biotechnology entrepreneur Collector of Modern and Contemporary Art

Pierre-Emmanuel Noel

Graduate in African and Oceanic Art Art Collectors

Director, The Fine Art Group Author, Historian Art Collector

Guy van Wassenhove

Curator of the Baillet Latour Fund

Gérald Watelet Interior Designer

Patrick Weber

Art historian, Founder Le Club de l’Histoire - Art&Histoire

Head of Western Europe Lending (Public Authorities) 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

Dominic Stas

CEO Mediahuis NRC, Art Enthusiast and Collector

Christiane Struyven

Speaker on 20th Century Art and Author

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EXCEPTIONAL EXHIBITION THE MODEL OF CHINA HOUSE After the World’s Fair in Paris in 1900, when the French architect Alexandre Marcel was commissioned by King Leopold II to design and build the China House and its annexes, as well as the Japanese Tower, he ordered a model of the house in Shanghai, made by Chinese craftsmen on a scale of 1:10. This wooden model, which has many sculpted and decorative details, was kept for a long time at the Royal Museums of Art and History (now called Art & History Museum) in many little parts. The restoration of this model began in November 2024 with the help of the museum and the René and Karin Jonckheere Fund, managed by the King Baudouin Foundation, and was completed in July 2025 at the initiative of the non-profit China House and the Silk Roads Countries.

Finished model of the China House, carved wood, 3D printed elements-wood filaments, resin elements obtained by moulding 3.20 m (width), 1.80 m (height), 0.80 m (depth).

Collection non-profit China House Palace and the Silk Roads Countries. © photo : Alexandre Christiaens

The model was made in Shanghai in the workshops of Tushanwan in 1903-1904, saved by the Art & History Museum and restored in 2024-2025 in its workshops by Sofie Gonnissen, Thibaut De Coster, Charly Kleinermann, Anna de Callataÿ and Thomas S., with the collaboration of Gwenaëlle de Spa (digitization and 3D printing) and Nicolas Godelet (architecture).

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Photo montage of the model before and after. © Thibaut De Coster

According to the archives found of China House in Brussels and Shanghai, the model was built in 1903. It probably arrived in Belgium in late 1904 with one of the shipments from Shanghai for the construction of China House.

Thanks to the Consul General of Belgium in Shanghai, Mr. Bruno Jans, the model makers in charge of this restoration obtained old photographs and drawing of the model taken from the Tushanwan album originally intended for King Leopold II and kept in Shanghai.

This allowed them to faithfully reconstruct the model and scan the missing elements on this basis, in order to 3D print them.

The non-profit China House and the Silk Roads Countries would like to thank all those who took part in the restoration and presentation of the model: The Art & History Museum, the King Baudouin Foundation, the René and Karin Jonckheere Fund and its committee, Frank and Deborah Donck, Philippe de Spoelberch, Marc and Marine Nolet, Regnier and Martine Haegelsteen, Christophe Dosogne, the non-profit association Foire des Antiquaires de Belgique, Stabilo International B.V., Delen Private Bank, the Europe - Asia Center (Brussels) and HIZKIA Global Art Logistics.

Exterior View of the China House. © The Art and History Museum / photo : Nathalie Vandeperre

A brief history of China House The French architect Alexandre Marcel was responsible for this unexpected building, which was installed with the neighbouring Japanese Tower on the outskirts of the royal estate of Laeken, on the initiative of King Leopold II, to bear witness to the good relations between Belgium, China and Japan. Inaugurated in 1913 but closed during the First World War, it was subsequently transferred, along with the nearby Japanese Tower, to the Science and Arts Department of the Royal Museums of Art and History. Together they became the Museums of the Far East of Belgium and for many years, they housed a fine collection of porcelain. The exterior and interior of China House, as well as the annex and the carved woodwork on the façades, which were produced in Shanghai at the end of the 19th century, were completely restored in the early 1990s. Despite this restoration, and due to a lack of maintenance, China House and the Japanese Tower were closed in 2013 for health and safety reasons.

Since then, they have no longer been accessible to the public, and these remarkable buildings continue to deteriorate. In January 2025, the Belgian Federal Government’s Council of Ministers approved the creation of a non-profit organisation responsible for the revitalisation of the building, under the name of the non-profit China House and the Silk Roads Countries.

This non-profit organisation brings together Belgian and foreign people concerned with the

cultures of Asia around its institutional founding members. Queen Mathilde has accepted the High Patronage of the whole project. The non-profit organisation is responsible for monitoring the restoration of China House, its future equipment, its maintenance and its animation in years to come, based on the general theme of the Silk Roads, which have marked exchanges between East and West since ancient times. The restoration of China House will begin in 2026 and once completed in 2028, this extraordinary building will be accessible to the public, who will be able to discover quality exhibitions and activities highlighting the cultural and artistic richness of Asian countries and their links with Europe.

View of the interior staircase of the China House. © photo : Jérôme Hubert

Contact Diane Hennebert Managing Director of the non-profit China House and the Silk Roads Countries Tel: +32 (0)2 475 21 16 61 diane@chinahouse.be / www.chinahouse.be 19

20

V O L U M E architecture Nicolas de Liedekerke I Daniel Culot Designers of the BRAFA Art Fair since 2004

www.volume-archi.be

21

22

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.

W W W. D E L E N . B A N K

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EXHIBITORS BRAFA ���6

Galerie AB Agnès Aittouarès

Artimo Fine Arts

Franck Anelli Fine Art

Galerie Ary Jan

Ars Antiqua

Galerie BA Berthet Aittouarès

d’Arschot & Cie

HELENE BAILLY MARCILHAC

P. 36

P. 38

P. 40

P. 42

Hôtel de Fond-Marin 2 Chemin de la Terrière FR-60800 Crépy-en-Valois m +33 (0)6 08 65 18 06 m +33 (0)6 86 67 88 44 franckanellifineart@gmail.com www.franckanelli-fineart.com Stand n° 90

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° 63

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° 76

Art et Patrimoine Laurence Lenne P. 44

Chaussée de Bruxelles 344 BE-7800 Ath m +32 (0)476 54 26 36 artetpatrimoine@skynet.be www.artetpatrimoine.be Stand n° 83

Arte-Fact Fine Art P. 46

24

P. 48

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 Stand n° 79

By appointment only BE-Antwerp t +32 (0)3 361 69 81 info@af-fineart.com www.af-fineart.com Stand n° 132

P. 50

P. 52

P. 54

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° 150

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

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° 79

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@baillymarcilhac.com www.helenebaillymarcilhac.com Stand n° 118

Véronique Bamps P. 56

By appointment only t +377 97 97 37 57 m +33 (0)6 43 91 74 65 info@veroniquebamps.com www.veroniquebamps.com Stand n° 80

Barbara Bassi P. 58

Corso Campi 22 IT-26100 Cremona m +39 339 266 58 30 barbara.bassi.gioielli@gmail.com Stand n° 62

Beck & Eggeling International Fine Art P. 60

Boon Gallery P. 72

Bilker Strasse 5 & Bilker Strasse 4–6 DE-40213 Düsseldorf t +49 (0)211 491 58 90 info@beck-eggeling.de www.beck-eggeling.de Stand n° 22

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° 34

Cabinet of Curiosities Honourable Silver Objects P. 84

By appointment only m +32 (0)475 26 76 85 info@silverobjects.be www.silverobjects.be Stand n° 89

Galerie Capazza 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° 95

Galerie Alexis Bordes P. 74

P. 86

4 Rue de la Paix FR-75002 Paris t +33 (0)1 47 70 43 30 m +33 (0)6 10 80 64 34 expert@alexis-bordes.com www.alexis-bordes.com Stand n° 12

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° 67

Giammarco Cappuzzo Fine Art Galerie Berès P. 64

Florence Montanari-Berès 25 Quai Voltaire FR-75007 Paris t +33 (0)1 42 61 27 91 m +33 (0)6 20 73 32 88 beres@galerieberes.com www.galerieberes.com Stand n° 73

Bernard Bouisset P. 76

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° 64

P. 88

Carlucci Gallery P. 90

Bernier/Eliades 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° 14

Galerie Boulakia P. 78

Galeria Bessa Pereira

Rua de São Bento 426 PT-1200 822 Lisbon t +351 935 167 270 m +351 965 234 819 info@galeriabessapereira.com www.galeriabessapereira.com Stand n° 139

Galerie BG Arts P. 70

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° 122

205 Rue du Faubourg Saint-Honoré FR-75008 Paris t +33 (0)1 42 61 31 47 gnb@galeriesnicolasbourriaud.com www.galerienicolasbourriaud.com 1 Quai Voltaire FR-75007 Paris t +33 (0)1 42 33 66 72 Stand n° 71

Brame & Lorenceau P. 82

68 Boulevard Malesherbes FR-75008 Paris t +33 (0)1 45 22 16 89 contact@bramelorenceau.com www.bramelorenceau.com Stand n° 6

Via del Babuino 50 IT-00187 Rome t +39 06 32 27 305 m +39 335 63 99 217 infcarlucci@libero.it www.carluccigallerie.com Stand n° 113

Galerie Jean-François Cazeau P. 92

Galerie Nicolas Bourriaud P. 80

P. 68

Pembroke House 28-32 Pembroke Street Upper IE-Dublin D02 NT28 m +39 375 86 94 208 m +44 (0)7557 534 491 daniel@boulakia.gallery www.boulakia.gallery Stand n° 54

By appointment 17 Wigmore Street UK-London W1U 1PQ m +44 (0)7775 635 468 gmcfineartlondon@gmail.com www.giammarcocappuzzo.com Stand n° 55

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° 47

Galerie Cento Anni P. 94

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° 135

25

Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Belgische Beroepskamer van Antiquaren (BBA) P. 96

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° 131

COLNAGHI P. 108

Costermans P. 110

Citadelles & Mazenod P. 100

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° 40

8 Rue Gaston-de-Saint-Paul FR-75116 Paris t +33 (0)1 53 04 30 60 info@citadelles-mazenod.com www.citadelles-mazenod.com Stand n° 58

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° 23

De Jonckheere P. 118

Galerie Bernard De Leye P. 120

P. 102

Sandrine Chadelaud Karpenzstein 2-4 Place Longemalle CH-1204 Geneva t +41 (0)22 311 08 08 m +41 (0)78 347 75 25 m +33 (0)6 47 72 15 69 contact@cksgallery.com www.cksgallery.com Stand n° 101

P. 122

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° 7

P. 104

Rue de l’Abbaye 14 BE-1050 Brussels t +32 (0)2 414 19 29 contact@didierclaes.com www.didierclaes.art Stand n° 41

Collectors Gallery P. 106

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° 13

De Brock P. 114

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 Stand n° 39

Dei Bardi Art P. 116

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° 11

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° 37

Virginie Devillez Fine Art P. 128

Avenue Winston Churchill 234B BE-1180 Brussels m +32 (0)486 34 47 30 info@virginiedevillez.com www.virginiedevillez.com Stand n° 48

Galerie Oscar De Vos P. 130

26

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 m +32 (0)491 88 37 15 info@patrickderomgallery.com www.patrickderomgallery.com Stand n° 43

Desmet Fine Arts P. 126

Claes Gallery

Lebeaustraat 33 BE-1000 Brussels m +32 (0)479 07 74 28 info@thomasdeprezfinearts.com www.thomasdeprezfinearts.com Stand n° 109

Patrick Derom Gallery

Dalton Somaré P. 112

By appointment t +32 (0)2 514 34 77 m +32 (0)475 46 54 41 info@bernarddeleye.be www.orfevrerie.eu Stand n° 149

Thomas Deprez Fine Arts

P. 124

CKS Gallery

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° 36

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° 107

De Wit Fine Tapestries P. 132

Refugie Abdij van Tongerlo Schoutetstraat 7 BE-2800 Mechelen t +32 (0)15 20 29 05 info@dewit.be www.dewit.be Stand n° 56

De Zutter Art Gallery P. 134

Galerie Flak P. 144

By appointment FR-75007 Paris m +33 (0)6 84 52 81 36 julien@galerieflak.com www.galerieflak.com Stand n° 103

Grusenmeyer-Woliner P. 156

A&R Fleury P. 146

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° 60

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° 52

Galerie Hadjer P. 158

Galerie La Forest Divonne DIE GALERIE P. 136

P. 148

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° 88

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° 144

Rue des Minimes 17 BE-1000 Brussels t +32 (0)2 514 03 37 m +32 (0)475 47 57 29 (Karim Grusenmeyer) m +32 (0)495 67 77 81 (Damien Woliner) info@grusenmeyer-woliner.com www.grusenmeyer-woliner.com Stand n° 138

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° 119

Galerie Haesaerts-le Grelle P. 160

Avenue Albert 81 BE-1190 Brussels m +32 (0)486 78 88 32 (Laurent Haesaerts) m +32 (0)475 44 28 91 (Alexis le Grelle) info@haesaerts-legrelle.com www.haesaerts-legrelle.com Stand n° 78

Douwes Fine Art b.v.

P. 138

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 55 11 77 92 info@douwesfineart.com www.douwesfineart.com Douwes Fine Art Ltd., London t +31 (0)20 664 63 62 Stand n° 69

Galerie Christophe Gaillard P. 150

Epoque Fine Jewels P. 140

Overbekeplein 33 BE-8500 Kortrijk m +32 (0)475 61 68 31 info@epoquefinejewels.com www.epoquefinejewels.com Stand n° 77

Craig Finch Rue Ernest Allard 32 BE-1000 Brussels m +32 (0)470 64 46 51 m +44 (0)7768 236 921 enquiries@finch-and-co.co.uk www.finchandco.eu Stand n° 19

Philippe Heim P. 162

P. 152

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° 8

P. 164

P. 154

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° 134

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° 133

Galerie Hioco P. 166

Gilden’s Art Gallery

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° 66

Heutink Ikonen

Galerie des Modernes

Finch & Co P. 142

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° 102

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° 45

27

Hoffmans Antiques P. 168

Anders Hoffman Olivecronas väg 4 SE-11361 Stockholm m +46 70 722 98 20 info@hoffmansantikhandel.se www.hoffmansantikhandel.se Stand n° 9

Huberty & Breyne P. 170

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° 84

Harold t’Kint de Roodenbeke

Maison D’Art

Florian Kolhammer

Maisonjaune Studio

Hartford Fine Art Lampronti Gallery

Martins&Montero

P. 180

P. 182

P. 184

Galerie Hurtebize P. 172

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° 121

rodolphe janssen P. 174

Rue de Livourne 35 & 32 BE-1050 Brussels t +32 (0)2 538 08 18 info@rodolphejanssen.com www.rodolphejanssen.com Stand n° 42

Francis Janssens van der Maelen P. 176

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° 100

Kunsthaus Kende P. 178

28

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° 143

Rue Ernest Allard 31 BE-1000 Brussels m +32 (0)475 34 01 11 h.k@skynet.be www.haroldtkint.com Stand n° 38

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° 147

P. 194

P. 196

P. 198

By appointment only MC-Monaco m +39 335 33 33 25 info@lamprontigallery.com www.lamprontigallery.com Stand n° 70

Alexis Lartigue P. 186

32 Avenue Matignon FR-75008 Paris m +33 (0)6 17 90 16 88 galerie@alexislartigue.com www.alexislartigue.com Stand n° 72

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° 49

Galerie Lowet de Wotrenge P. 190

Tyr Baudouin Vleminckveld 74 BE-2000 Antwerp m +32 (0)498 46 81 68 tyr@galerie-ldw.be www.galerie-ldw.be Stand n° 92

Francis Maere Fine Arts P. 192

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° 46

42 Rue de Seine FR-75006 Paris m +33 (0)6 80 68 47 29 m +33 (0)6 07 09 71 42 contact@maisonjaunestudio.com www.maisonjaunestudio.com Stand n° 136

Jaqueline Martins & Maria Montero Rua Jamaica 50 BR-01439 020 São Paulo t +55 11 4306 1943 contato@martinsemontero.com www.martinsemontero.com Rue aux Laines 14 BE-1000 Brussels t +32 (0)2 387 16 49 Stand n° 115

Martos Gallery P. 200

Lemaire P. 188

27 Avenue de la Costa MC-98000 Monaco t +377 97 97 11 60 info@maisondartgallery.com www.maisondartgallery.com Stand n° 99

Jose Martos 41 Elizabeth Street US-New York 10013 t +1 212 560 0670 m +1 917 539 0005 m +1 631 838 5010 info@martosgallery.com www.martosgallery.com Stand n° 128

MARUANI MERCIER P. 202

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 Stand n° 116

MassModernDesign P. 204

Etienne Feijns Schotsbossenstraat 17 NL-4705 AE Roosendaal m +31 (0)6 14 17 77 84 info@massmoderndesign.com www.massmoderndesign.com Stand n° 105

Mulier Mulier Gallery P. 216

Sint-Jorisstraat 10 BE-1050 Brussels m +32 (0)477 57 95 89 m +32 (0)475 44 70 75 info@muliermuliergallery.com www.muliermuliergallery.com De Wielingen 14 BE-8300 Knokke Stand n° 21

Galerie Nathalie Obadia, Paris/Brussels P. 228

Galerie Mathivet P. 206

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. 208

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° 81

Jan Muller Antiques P. 218

Burgstraat 24 BE-9000 Ghent m +32 (0)496 26 33 24 info@janmullerantiques.com www.janmullerantiques.com Stand n° 27

Rechtstraat 29 BE-9160 Lokeren m +32 (0)478 38 18 29 muller.antiques@skynet.be www.klaasmuller.com Stand n° 4

NARDI VENEZIA Galerie Greta Meert P. 210

P. 212

Paul-Antoine Richet Coulon 28A Rue Messagère FR-02110 Prémont m +33 (0)6 62 04 27 64 contact@galerielamenagerie.com www.galerielamenagerie.com Stand n° 110

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° 20

Nosbaum Reding P. 224

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° 28

Galerie la Ménagerie P. 214

P. 222

Vaartstraat 13 BE-1000 Brussels t +32 (0)2 219 14 22 info@galeriegretameert.com www.galeriegretameert.com Stand n° 61

Meessen

Objects With Narratives P. 230

Klaas Muller P. 220

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° 141

Michael Nöth By appointment only Hoechstetterstraße 16 DE-91522 Ansbach t +49 (0)981 156 33 m +49 (0)171 33 15 633 noeth-ansbach@t-online.de www.artnoeth.de Stand n° 91

Place du Grand Sablon 40 BE-1000 Brussels m +32 (0)480 64 80 44 info@objectswithnarratives.com www.objectswithnarratives.com Private showroom CH-Geneva Stand n° 82

Galeria Jordi Pascual P. 232

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° 114

Galerie La Patinoire Royale Bach P. 234

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° 53

Pauline’s Jewellery Box P. 236

Dr. Nöth kunsthandel P. 226

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° 97

Pauline Janssen By appointment only m +32 (0)478 87 93 52 info@paulinesjewellerybox.com www.paulinesjewellerybox.com Stand n° 68

Pelgrims de Bigard P. 238

Kasteel van Groot-Bijgaarden Isidoor van Beverenstraat 5 BE-1702 Groot-Bijgaarden m +32 (0)476 27 06 50 cedricpelgrims@gmail.com www.pelgrimsdebigard.com Stand n° 148

29

Galerie Alexis Pentcheff P. 240

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° 50

Van Pruissen Asian Art P. 254

By appointment only NL-6814 BK Arnhem m +31 (0)6 49 31 86 60 m +31 (0)6 19 66 48 24 info@vanpruissen.art www.vanpruissen.art Stand n° 18

robertaebasta P. 266

QG Gallery Christophe Perlès P. 242

20 Rue de Beaune FR-75007 Paris m +33 (0)6 07 32 36 76 christopheperles@hotmail.com Stand n° 49

Galerie Perrin P. 244

98 Rue du Faubourg Saint-Honoré FR-75008 Paris t +33 (0)1 42 65 01 38 m +33 (0)7 76 11 12 48 contact@galerieperrin.com www.galerieperrin.com Stand n° 32

Guy Pieters Gallery P. 246

P. 256

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 Stand n° 108

Maison Rapin P. 258

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.art Stand n° 140

P. 260

Pron P. 252

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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° 29

75 Rue du Faubourg Saint-Honoré FR-75008 Paris t +33 (0)1 86 04 55 38 m +33 (0)6 17 78 26 53 info@pron.fr www.pron.fr Stand n° 17

Rue de l’Abbaye 20 BE-1050 Brussels t +32 (0)2 648 56 84 inquiries@alminerech.com www.alminerech.com 64 Rue de Turenne FR-75003 Paris t +33 (0)1 45 83 71 90 361 Broadway US-New York 10013 t +1 212 804 8496 Multiple locations Stand n° 94

Romigioli Antichità P. 268

P. 262

78 Avenue Mozart FR-75016 Paris m +33 (0)6 14 63 15 34 srenard@stephanerenard-fineart.com www.stephanerenard-fineart.com Stand n° 124

P. 270

Via Clemente Maraini 24 CH-6900 Lugano t +41 (0)76 685 88 55 info@repettogallery.ch www.repettogallery.ch Stand n° 93

By appointment only BE-Ghent m +32 (0)474 08 32 27 laurent.schaubroeck@gmail.com www.laurent.eu Stand n° 146

Serge Schoffel – Art Premier P. 272

Rue Watteeu 14 BE-1000 Brussels m +32 (0)473 56 32 33 contact@sergeschoffel.com www.sergeschoffel.com Stand n° 30

Segoura Fine Art P. 274

Repetto Gallery P. 264

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° 51

Laurent Schaubroeck

Stéphane Renard Fine Art

Galerie de la Présidence P. 250

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° 16

Almine Rech

Gallery de Potter d’Indoye P. 248

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° 127

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° 10

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° 120

Edouard Simoens Gallery P. 276

Zeedijk 811 BE-8300 Knokke-Zoute m +32 (0)472 54 70 15 info@edouardsimoens.com www.edouardsimoens.com Stand n° 142

Herwig Simons Fine Arts P. 278

Watteeustraat 27 BE-1000 Brussels m +32 (0)475 46 75 46 info@herwigsimons.be www.herwigsimons.be Stand n° 106

TEMPLON P. 288

Stern Pissarro Gallery P. 280

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° 25

The old Treasury P. 290

Stone Gallery The origin of art P. 282

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° 5

18 Avenue Matignon FR-75008 Paris t +33 (0)1 42 66 61 94 galerie@tamenaga.fr www.tamenaga.com 6-5-39 Minami-Aoyama, Minato-Ku JP-107-0062 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° 96

P. 292

Place du Grand Sablon 35 BE-1000 Brussels t +32 (0)2 513 80 23 m +32 (0)489 27 95 24 h.vermeire@taschen.com www.taschen.com Stand n° 59

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° 117

Gallery Sofie Van de Velde P. 300

P. 294

By appointment BE-Brussels m +32 (0)475 58 19 66 (Eric Parduyns) m +32 (0)477 32 75 20 (Ludovic Vandenweghe) hello@unforget.eu www.unforget.eu Stand n° 111

Univers du Bronze P. 296

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° 74

P. 302

Joe Chaffer Market Square UK-Petworth, West Sussex GU28 0AH m +44 (0)742 53 65 899 enquiries@vagabondantiques.co.uk www.vagabondantiques.co.uk Stand n° 98

Kardinaal Mercierlei 11 BE-2600 Antwerp m +32 (0)491 16 65 22 contact@van-herck.com www.van-herck.com Stand n° 137

Samuel Vanhoegaerden Gallery P. 304

Zeedijk 785 BE-8300 Knokke-Zoute m +32 (0)477 51 09 89 info@svhgallery.be www.svhgallery.be Stand n° 126

Galerie Raf Van Severen P. 306

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° 112

Maurice Verbaet Gallery P. 308

Deken de Winterstraat 40 BE-2600 Berchem m +32 (0)479 88 10 31 info@verbaet.com www.verbaet.com Stand n° 15

Galerie von Vertes P. 310

Vagabond Antiques P. 298

Nieuw Zuid Léon Stynenstraat 21 BE-2000 Antwerp info@sofievandevelde.be www.sofievandevelde.be Stand n° 123

Van Herck-Eykelberg

unforget Decorative Arts

TASCHEN P. 286

By appointment only NL-Kerkrade m +31 (0)6 55 72 33 01 m +31 (0)6 53 27 04 88 laura@theoldtreasury.nl www.theoldtreasury.nl Stand n° 145

Galerie Patrice Trigano

Galerie Taménaga P. 284

30 Rue Beaubourg FR-75003 Paris t +33 (0)1 42 72 14 10 info@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 17 293 Tenth Avenue US-New York 10001 t +1 212 922 3745 Stand n° 33

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 t +41 (0)78 238 76 07 Stand n° 2

Axel Vervoordt P. 312

Stokerijstraat 19 BE-2110 Wijnegem t +32 (0)3 355 33 00 info@axel-vervoordt.com www.axel-vervoordt.com Stand n° 35

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Galerie Dina Vierny

Victor Werner

VKD Jewels

WHITFORD

P. 314

P. 316

36 Rue Jacob FR-75006 Paris t +33 (0)1 42 60 23 18 contact@galeriedinavierny.fr www.galeriedinavierny.fr Stand n° 26

Aimée & Fleur van Kranendonk Duffels By appointment IT-Milan NL-Amsterdam m +39 335 626 22 52 m +31 (0)6 17 33 49 62 info@vkdjewels.com www.vkdjewels.com Stand n° 125

Galerie Florence de Voldère P. 318

134 Rue du Faubourg Saint-Honoré 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 Stand n° 31

N. Vrouyr P. 320

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° 75

Floris van Wanroij Fine Art P. 322

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° 24

Galerie Watteeu by Edouard & Andrea de Caters P. 324

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Rue Watteeu 19 BE-1000 Brussels m +32 (0)496 54 41 63 galeriewatteeu@gmail.com www.watteeu.be Stand n° 86

P. 326

P. 328

Schuttershofstraat 21 BE-2000 Antwerp m +32 (0)486 67 79 68 info@victorwerner.be www.victorwernergallery.com Stand n° 65

Adrian Mibus Open during exhibitions or by appointment Rue du Vieux Marché aux Grains 11 BE-1000 Brussels m +44 (0)7771 98 36 55 m +32 (0)471 83 45 64 info@whitfordfineart.com www.whitfordfineart.com Stand n° 87

Willow Gallery P. 330

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° 104

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BOARD OF DIRECTORS

Klaas Muller Chairman

Christophe Boon Vice-Chairman

Arnaud Jaspar Costermans Vice-Chairman

Tobias Desmet

General Secretary

Jean Lemaire Treasurer

Herwig Simons Administrator

Georges Van Cauwenbergh

HONORARY CHAIRMEN

Administrator

H.H. Prince de Ligne Chairman of Honour

Harold t’Kint de Roodenbeke Honorary Chairman

BRAFA TEAM

Beatrix Bourdon Managing Director

Kristine Calcoen

Executive Project Manager

Raffaella Fontana

Head of Press & Communication

Paul Michielssen

Flemish Press Agent & BRAFA VIP Programme

Laurence-Anne Doetsch PR Manager

Henriette t’Kint de Roodenbeke Fair & Vetting Coordinator

Patricia Simonart

Press & PR Associate

Sophie Stijnen Accounting

OFFICES

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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 ���6

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GALERIE AB AGNÈS AITTOUARÈS 5 Rue Jacques Callot I FR-75006 Paris t +33 (0)1 45 23 41 16 I m +33 (0)6 14 42 96 83 galerieab@gmail.com I www.galerie-ab.com

Jean-Paul Riopelle (Montréal 19232002 Saint-Antoine-de-l’Isle-aux-Grues) Composition, 1964 Gouache on paper 46 x 67 cm Signed and dated lower right Provenance: French-Canadian private collection; private collection, Paris Literature: Pierre Schneider, Riopelle.

Signes mêlés, Maeght éditeur, Paris, 1972, no. 124, p. 119; Catalogue of the

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exhibition ‘Les Très riches heures de Jean Paul Riopelle’, Musée Le Chafaud, Percée, 2000, reproduced on p. 23; Yseult Riopelle, Jean-Paul Riopelle.

Catalogue raisonné, volume 3, Hibou Éditeurs, Montreal, 2004, p. 302, reproduced in colour under reference 1964.010P.1964 Exhibitions: Riopelle. Mixed Signs, Maeght Gallery, 1972; The Very Rich Hours of Jean Paul Riopelle, Le Chafaud Museum, Percée, 2000

Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988 37

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FRANCK ANELLI FINE ART Hôtel de Fond-Marin I 2 Chemin de la Terrière I FR-60800 Crépy-en-Valois m +33 (0)6 08 65 18 06 I m +33 (0)6 86 67 88 44 franckanellifineart@gmail.com I www.franckanelli-fineart.com

Charles Topino (Arras, circa 1742-1803) Louis XVI period demi-lune commode, circa 1780 Oak, Parisian varnish, gilt-bronze mounts, Aleppo breccia marble top H 91 x W 131 x D 58 cm Stamped ‘C. TOPINO’ and ‘JME’, with a CD mark Provenance: private collection, Paris Literature: Forray-Carlier et M. Kopplin, Les secrets de la laque française: Le Vernis Martin, Paris, 2014 38

Marcellus Coffermans (active in Antwerp, 1549-1578) Deposition of Christ, circa 1570 Oil on panel 32.7 x 21 cm Provenance: anonymous sale, Amsterdam, Christie’s, 15 May 2002, lot 97 (as Marcellus Coffermans); private collection, Europe; from 2020, private collection, California Literature: M. Leeflang, Gemaakt in Antwerpen, bestemd voor Spanje? in Catharijne, Magazine van Museum Catharijneconvent Utrecht 2 (2010), repr. p. 11 Exhibition: Utrecht, Museum het Catherijneconvent, long-term loan, 2010-2020

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ARS ANTIQUA Via Carlo Pisacane 55 & 57 I IT-20129 Milan t +39 02 295 290 57 I m +39 347 97 35 757 I m +39 347 82 18 229 galleria@arsantiquasrl.info I www.arsantiquasrl.com

Pieter van Lint (Antwerp, 1609-1690) Allegory of Labor rewarded by Peace and Abundance, in the presence of Minerva and Time Oil on copper

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104 x 130 cm Authenticated by Professor Carlotta Venegoni Published on RKD

Viviano Codazzi (Italy, Bergamo 16041670 Rome) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter’s Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti

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D’ARSCHOT & CIE Philippe d’Arschot Avenue Louise 192 I BE-1050 Brussels t +32 (0)2 649 56 21 I m +32 (0)475 78 35 05 pdarschot@gmail.com I www.darschot.com

Pair of Belgian silver saucers Namur, 1737-1749 Nicolas Everard (Belgium, 1698-1736) W 24.2 cm 373 and 374 gr

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German silver-gilt standing cup or tazza Augsburg, circa 1590-1594 David Schuechmann (1567-1607) H 14.6 cm 248 gr

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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

Potpourri vase in polychrome porcelain Tournai porcelain, second period, 1763-1775 H 36.5 cm Rare potpourri vase in soft-paste, polychrome Tournai porcelain. At its base, it depicts a gallant offering grapes to his lady Provenance: former du Bois de Roest collection Literature: a similar piece is published in Lucien Delplace, Considérations sur les porcelaines de Tournai, p. 25, plate 3; and in Soil de Moriamé & Delplace, La Manufacture Impériale et Royale de Porcelaine de Tournay, 1937, p. 341, n° 645, plate 79

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Reliquary in the form of a sarcophagus with a hinged roof Limoges, mid-13th century Gilt copper plates, champlevé enamels H 11.8 x W 27.5 x D 9.5 cm Literature: Inventaire général des monuments et des richesses artistiques de la France. Emaux limousins du Moyen Age. Correze/Creuse/ Haute-Vienne, under the direction of Paul-Édouard Robinne, Éditions de l’Inventaire, Images du Patrimoine, 1995; Emaux de Limoges XIIè-XIXè siècle, under the direction of Jacques

Toussaint, Museum of Ancient Arts of Namur, 1996; Valérie & Thomas Becket, De l’influence des princes Plantagenêt dans l’Oeuvre de Limoges, Municipal Museum of the Bishop’s Palace-Museum of Enamel, Limoges, 1999 A reliquary, without a wooden core, taking the shape of a sarcophagus with a hinged roof. It is made of gilt copper plates and decorated with champlevé enamels depicting sixteen half-length angels emerging from clouds against a white enamel background. The decoration consists of two superimposed

registers of three engraved gilt angels set within round medallions. The medallions stand out against a blue enamel ground adorned with gilded Gothic foliage and interlace patterns.

This reliquary belongs to a series of standardised reliquaries known from the Limousin region, all dating from the 13th century. Its dimensions make it one of the largest examples of this ‘sarcophagus with movable roof’ type. It is closely related to the exceptional large reliquary of Saint-Yrieix-la-Perche, classified as part of the Treasure of the French Historic Monuments.

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ARTE-FACT FINE ART By appointment only BE-Antwerp t +32 (0)3 361 69 81 info@af-fineart.com I www.af-fineart.com

Chen Yanning (Guangzhou, 1945) Portrait of two cheerful girls, 1994 Oil on canvas 81 x 65 cm Provenance: commissioned via Portraits Inc., Park Avenue, New York; private collection, USA; private collection, Belgium Chen Yanning is internationally celebrated; his works have been shown at the Guggenheim, the Paris Salon and beyond. In 1999, he painted Queen Elizabeth II, a portrait so wellreceived that it was later chosen for a postage stamp to mark the Queen’s Golden Jubilee in 2002. This tender and joyful portrait of two young sisters, commissioned in New York, is rendered with sparkling realism and warmth.

The painting illustrates Yanning’s extraordinary international career and ability to infuse his portraits with life: a Chinese-born artist building a global reputation, bringing his distinctive sensitivity to subjects across cultures.

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Domenico Puligo (Florence, 1492-1527) Madonna and Child with the young Saint John the Baptist Oil on panel 95 x 72 cm

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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

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste.

Catalogue de la galerie. Musée Fraikin de Herenthals offert par l’artiste à sa ville natale l’an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles: Éditions Ars 2006, pp. 1550-1557

Carlo Nicoli (1843-1915) Madame de Pompadour, 1889 White Carrara marble bust H 105 cm Signed and dated Anna Volkova (Saint Petersburg, 1974) Les Fleurs d’Amour, 2025 Hand-modelled biscuit porcelain flowers A contemporary floral homage by Anna Volkova to Madame de Pompadour 48

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

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Goudji (Georgia, Borjomi 1941) A la table des Dieux Silver, jasper, and lapis lazuli H 34 x W 43 x D 14 cm 1300 gr (silver weight) and 1454 gr (total weight) Provenance: the artist’s studio

 Jean-Pierre Cassigneul (Paris, 1935) Se voir dans un regard, 1990 Oil on canvas 130 x 97 cm Signed lower left and titled on reverse Authenticity confirmed by Jean-Pierre Cassigneul 51

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GALERIE BA BERTHET AITTOUARÈS Odile Aittouarès 14 & 29 Rue de Seine I FR-75006 Paris t +33 (0)1 43 26 53 09 I m +33 (0)6 15 12 20 10 contact@galerie-ba.com I www.galerie-ba.com

Mark Tobey (USA, Centerville 18901976 Basel, Switzerland) Landscape, 1967 Tempera on paper 26.5 x 48.6 cm Signed and dated lower back, stamp on the back Certificate of authenticity by the Committee Mark Tobey dated 8 February 2007 Provenance: François Gaudard, pianist and friend of Mark Tobey

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Henri Michaux (Namur 1899-1984 Paris) Untitled, 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right This work is registered in the Henri Michaux archives under the number HM5891 Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d’Art Moderne, Paris, 1965

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HELENE BAILLY MARCILHAC 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@baillymarcilhac.com I www.helenebaillymarcilhac.com

Emile Othon Friesz (Le Havre 1879-1949 Paris) Bord de Mer, circa 1907 Oil on canvas 54 x 65 cm Signed lower right: Othon Friesz This work will be included in the forthcoming catalogue raisonné of the painted work of Emile Othon Friesz which is currently being prepared by the Galerie Aittouarès. Notice of inclusion n° 25361, delivered by Mrs. Odile Aittouarès on 3 January 2025

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Henri Manguin (Paris 1874-1949 Saint Tropez) La Chemise Enlevée, 1908 Oil on canvas 100 x 81 cm Signed lower right Provenance: acquired from the artist

by Eugène Druet in 1911 (Galerie Druet); collection Kritchvesky; private collection, France; private collection, Brazil Exhibitions: Paris, Galerie E. Druet, Manguin, Paris 1913, n° 42; Paris, Galerie de Paris, Manguin, 1964, n° 3; Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, n° 32; Okayama, Hiroshima, Tokyo, Gustave Moreau et ses éleves, 1974; Paris, Galerie de Paris, Centenaire, Henri Manguin, 1976, n° 49 Literature: Pierre Cabanne, Henri Manguin, Neuchätel, 1964, ill. n° 117, p.64; Marie-Caroline Sainsaulieu, Lucille & Claude Manguin, Jean-Pierre Manguin, Pierre Cabanne, Jacques Lassaigne (preface); Henri Manguin: Catalogue Raisonné de l’oeuvre peint, Neuchâtel, Switzerland, Ides et Calendes, 1980, ill. n° 298

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VÉRONIQUE BAMPS By appointment only t +377 97 97 37 57 I m +33 (0)6 43 91 74 65 info@veroniquebamps.com I www.veroniquebamps.com

René Boivin (Paris, 1864-1917) Gadroons featuring a pear-shaped diamond, surrounded by two pear-shaped diamonds Yellow gold ring, circa 1980

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Cartier Panther head set with diamonds, pear-cut emerald eyes and onyx muzzle White gold bracelet, circa 2000

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

Maison Mauboussin Multicolour set of necklace and earrings, 1980s Diamonds, pearls and coloured precious stones mounted in 18 kt yellow gold Provenance: private collection, Italy

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Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman ‘Arman for Janadine’

Sonia Delaunay (Ukraine, Hradyz’k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of Catalogue ‘Bijoux d’artistes de Calder à Koons’ by Diane Venet (Flammarion), Musée des Arts Décoratifs, Paris, 2018 59

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BECK & EGGELING INTERNATIONAL FINE ART Bilker Strasse 5 I DE-40213 Düsseldorf Bilker Strasse 4–6 I DE-40213 Düsseldorf t +49 (0)211 491 58 90 info@beck-eggeling.de I www.beck-eggeling.de

Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower central ‘Mack 58’, verso titled ‘Weiße Vibration’ Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)

Manolo Valdés (Valencia, 1942) Perfil sobre fondo azul, 2016-2017 Collage, mixed media on canvas 122 x 93 cm Signed, dated and titled verso Provenance: the artist’s studio 60

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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

Joan Miró (Barcelona 18931983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right ‘Miró’ Signed, dated and titled on the reverse: MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby’s, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie’s, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné.

Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d’oeuvre de la galerie et Surréalisme

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Germaine Richier (France, 1902-1959) Le Couple, 1956 Natural bronze Fonderie Susse, Paris Lost wax cast (except for the base and arms, sand casted) H 139 x W 74.5 x D 74.5 cm Signed and numbered on the terrasse: G. Richier, 3/6 Edition 3/6 out of 11 (1/6 - 6/6 + HC1HC2-HC3 + EA + 0/6) Posthumous cast: 1963 Provenance: Galerie Creuzevault, Paris; private collection, France; Galerie Cazeau-Béraudière, Paris; private collection, France; private collection, Belgium Literature: Jean-Louis Prat et Françoise Guiter, Germaine Richier, Rétrospective, Saint-Paul-de-Vence, Fondation Maeght, 1996, p. 172, ill. (another cast); Maîtres des XIXe et XXe siècles, Galerie H. Odermatt-Ph. Cazeau, Paris, 1989, repr. n° 46; Eddie Wolfram et William Packer, London, art and artist, Londres, juillet 1973, n° 8, pp. 46-49; Germaine Richier, Galerie Creuzevault, Paris, 1966 Exhibitions: 2022, Brussels, Galerie de la Béraudière, Germaine Richier et la couleur (this cast); 1996, Saint-Paulde-Vence, Maeght Foundation, Germaine Richier, Rétrospective (another cast); 1957, Paris, Musée d’Art Moderne de la Ville de Paris, XIIIe Salon de Mai, n° 27, ill. (another cast); 1956, Paris, Musée National d’Art Moderne, Germaine Richier, n° 13, referred as ‘Figures’ (another cast); Jean Cassou, Richier, Editions du Temps, Paris, 1961; René de Solier, Germaine Richier, in Les Cahiers d’art, Paris, June 1953, n° 28, pp. 123129

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GALERIE BERÈS Florence Montanari-Berès 25 Quai Voltaire I FR-75007 Paris t +33 (0)1 42 61 27 91 I m +33 (0)6 20 73 32 88 beres@galerieberes.com I www.galerieberes.com

Georges Lemmen (Brussels, 18651916) Vue sur l’église de Dadizele, circa 1891 Oil on panel 16 x 24 cm Monogram lower right GL This work will be included in the forthcoming catalogue raisonné being prepared by Olivier Bertrand Literature: Roger Cardon, Georges Lemmen 1865-1916, Brussels, 1997, n° 40 p. 104

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Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d’opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right ‘Marcoussis’ Certificate of authenticity n° 1200H143

by Solange Milet on 4 December 2000 Literature: Les Cahiers d’Art, 1927, n° 7-8, p. 5

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BERNIER/ELIADES Jean Bernier & Marina Eliades 11 Eptachalkou Street I GR-11851 Athens t +30 21 0341 3935 bernier@bernier-eliades.com I www.bernier-eliades.com Rue du Châtelain 46 I BE-1050 Brussels t +32 (0)2 640 55 04 brussels@bernier-eliades.com

Thomas Schütte (Germany, 1954) Iroquois Double Head 7.10.24, 2024 Glazed ceramic, watercolours Sculpture: H 45 x W 28 x D 40 cm Framed watercolours: 49.5 x 38.5 cm Steel pedestal: H 120 x W 43 x D 30 cm Berta Fischer (Germany, 1973) Gragama, 2024 Acrylic glass H 320 x W 80 x D 50 cm 66

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GALERIA BESSA PEREIRA Rua de São Bento 426 I PT-1200 822 Lisbon t +351 935 167 270 I m +351 965 234 819 info@galeriabessapereira.com I www.galeriabessapereira.com

Abraham Palatnik (Brazil, Natal 19282020 Rio de Janeiro) Cupboard, 1950s Iron, wood and painted glass H 90 x W 150 x D 49 cm Origin: Brazil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection

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Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, pp. 244-245; Vasconcellos, M., Móvel brasileiro moderno (1st edition), Rio de Janeiro: Aeroplano, 2012, p. 193

Sergio Rodrigues (Rio de Janeiro, 1927–2014) ‘Kilin’ chair, 1970s Solid wood, leather H 68 x W 68 x D 68 cm Origin: Brazil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 302; Cals, S, Sergio Rodrigues, Rio de Janeiro: Icatu, 2000, p. 142

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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 (Aÿ 1860-1945 Paris) Vase ‘Palestre’, circa 1928 Molded frosted glass with grey patina, circa 1928 H 41 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l’Œuvre de Verre, Les Éditions de l’Amateur, Paris, 2011, n° 1012

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Jean Dunand (Lancy 1877-1942 Paris) Cobra vase, circa 1913 Patinated and hammered copper, patinated bronze, wrought iron and lacquered wood base H 28.5 cm Signed Provenance: property of Bernard Laurent, France Literature: Art et Décoration, July 1914-December 1919, p. 121 71

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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, Maengsan 1929-2021 Seoul) Water Drops, 1982 Oil on canvas 88 x 116 cm Signed and dated on side Certificate of authenticity by the Kim Tschang Yeul Estate, Paris, 2024

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Chun Kwang Young (South Korea, Hongcheon 1944) Aggregation, 2007 Mixed media with Korean mulberry paper 163 x 131 cm Signed and dated on reverse

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GALERIE ALEXIS BORDES 4 Rue de la Paix I FR-75002 Paris t +33 (0)1 47 70 43 30 I m +33 (0)6 10 80 64 34 expert@alexis-bordes.com I www.alexis-bordes.com

Léon Spilliaert (Ostend 18811946 Brussels) Mères et enfants sur le quai du port d’Ostende, 1910 Wax crayon and Conté crayon on paper 50.2 x 32.2 cm Signed lower right ‘L. Spilliaert’ This work will be included in the catalogue raisonné of Léon Spilliaert being prepared by Dr. Anne AdriaensPannier Provenance: Louis Sneyers collection, Brussels; Mr. and Mrs. Marcel Thomas, Brussels (by descent); Henriette Thomas-Bodart, Brussels (by descent); Galerie Ronny Van de Velde, Belgium, 1997; Onzea-Govaerts collection, Belgium Exhibitions: Brussels, Palais des BeauxArts, 41st Antiques Fair of Belgium, January-February 1996; Brussels, Palais des Beaux-Arts, 42nd Antiques Fair of Belgium, January-February 1997

Jacques-Emile Blanche (Paris 18611942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006 74

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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

Van Cleef & Arpels ‘Mermoz’ necklace Pendant necklace convertible into a long chain and brooch Diamonds and gold Circa 1975

Cartier ‘Mahango Panthère’ set A ruby, diamonds and 18k yellow gold ‘Mahango Panthère’ set, composed of a bracelet and a pair of earrings Circa 1990 76

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GALERIE BOULAKIA Pembroke House I 28-32 Pembroke Street Upper I IE-Dublin D02 NT28 m +39 375 86 94 208 I m +44 (0)7557 534 491 daniel@boulakia.gallery I www.boulakia.gallery

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 Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed ‘Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire’ (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro: catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144

Joan Miró (Barcelona 1893-1983 Palma) Des figures devant la lune, 1942 Pastel, gouache, wash, brush, ink, and pencil on paper 64.5 x 48.5 cm Signed ‘Joan Miró’ (lower right) Dated ‘X Barcelone, 18-12-1942’ and titled on reverse Certificate of authenticity from ADOM dated 13 July 2018 Provenance: Pierre Matisse Gallery, New York; Galleria Narciso, Turin Exhibitions: Traveling exhibition Japan, 1984, reproduced cat. n° 17; Ferrara, Palais des Diamants, Joan Miró, 1985, n° 81; Cherasco, Palazzo Salmatoris,

Chagall, Miró, Magritte: La Poesia del Sogno, September-December 2005; Paris, Exhibition Jean Louis Prat-Galerie Lelong, Grand Palais, SeptemberOctober 2018; Mons, Musée des BeauxArts de Mons, Belgium, Exposition Joan Miro: L’essence des choses passées et présentes, October 2022-January 2023, repr. in cat.

Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro: catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000; Joan Miró exhibition catalogue, L’essence des choses passées et présentes, Editions BAM, Musée des Beaux-Arts de Mons, Belgium, 2022

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GALERIE NICOLAS BOURRIAUD 205 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 42 61 31 47 1 Quai Voltaire I FR-75007 Paris t +33 (0)1 42 33 66 72 gnb@galeriesnicolasbourriaud.com I www.galerienicolasbourriaud.com

Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry’s stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France

Marcelle Delcour-Guinard (Switzerland,  Meyrin 1896-1978 France) Bather, 1931 Marble sculpture H 172 x W 45.5 x D 46 cm Signed ‘M Delcour-Guinard’ and dated 1931 Unique piece Provenance: the artist’s family collection Exhibition: Salon des Artistes Français, 1932, Baigneuse, statue de marbre, n° 3675 80

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BRAME & LORENCEAU 68 Boulevard Malesherbes I FR-75008 Paris t +33 (0)1 45 22 16 89 contact@bramelorenceau.com I www.bramelorenceau.com

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 Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, ‘Marie Laurencin, Catalogue raisonné de l’Œuvre Peint’, 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W

Julio González (Spain, Barcelona 1876-1942 Arcueil, France) Personnage au cornet, 1937 China ink and coloured pencil on paper 29 x 21 cm Signed and dated lower centre Provenance: private collection Literature: J. Gibert, Catalogue raisonné des dessins de Julio González, Projets pour sculptures personnages, Paris, 1975, vol. 9, p. 47 (ill.)

Exhibition: New York, The Museum of Modern Art, Julio González, Drawings and Sculpture, February-April 1956, Minneapolis 83

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CABINET OF CURIOSITIES HONOURABLE SILVER OBJECTS By appointment only m +32 (0)475 26 76 85 info@silverobjects.be I www.silverobjects.be

Cartier necklace 18-carat yellow gold, diamond and onyx France, 1970s Commissioned for a Belgian family Signed and numbered Provenance: private collection, Brussels 84

Cartier brooch Platinum, diamond, turquoise and onyx France, circa 1915 Signed and numbered Provenance: private collection, New York Exceptional Cartier brooch with an ingenious fastening mechanism.

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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

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Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist’s studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024

 Goudji (Georgia, Bordjomi 1941) Oryx à la robe diaprée, 2025 Silver 1st title, serpentine, pyrite, crystal, Armour stone H 49 x W 38 x D 10 cm Provenance: the artist’s studio Exhibition: Goudji, L’or du temps, 5 July28 September 2025, Galerie Capazza (France) 87

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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

Francesco Cairo (Varese 16071665 Milan) Penitent Magdalene Oil on canvas 102 x 83 cm Expertise by Cristina Geddo and Filippo Maria Ferro Provenance: private collection, Italy

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Jacopo Carucci, called Pontormo (Empoli 1494-1557 Florence) Man of Sorrows Oil on panel 66 x 51 cm Expertise by Philippe Costamagna 89

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CARLUCCI GALLERY Via del Babuino 50 I IT-00187 Rome t +39 06 32 27 305 I m +39 335 63 99 217 infcarlucci@libero.it I www.carluccigallerie.com

Francesco Albotto (Venice, 1721-1757) Piazza San Marco, Venice Oil on canvas 134 x 88 cm Authenticated by Dr. Federica Spadotto Provenance: private collection

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Monumental mirror Carved and gilded wood Rome, 17th century 200 x 175 cm Provenance: private collection Literature: Alvar Gonzales-Palacios, Arredi e ornamenti alla corte di Roma 1560-1795, Electa, 2004, pp. 98-99

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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

Zao Wou-Ki (China, Beijing 1920-2013 Nyon, Switzerland) Untitled (Composition), 1978 Ink on paper 70 x 70 cm Dedicated, dated and signed on the lower bord Certificate from the Zao Wou-Ki Foundation

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Provenance: the artist’s studio, Paris; Robert Rousseau collection, Belgium, gift from the artist (curator of the Zao Wou-Ki monographic exhibition at the Musée des Beaux-Arts in Charleroi in 1980); private collection, by descent, Belgium

Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory ‘l’Oeuvre de Martial Raysse’ under n° IMR-0193 Provenance: William Copley collection, USA; Christie’s, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013

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

Philippe Wolfers (Brussels, 1858-1929) Fiançailles (Engagement), circa 1911 Bronze with brown patina and original marble base H 50.5 cm Signed Ph. Wolfers Lost-wax cast n° 1 Provenance: private collection, France Literature: La Dynastie Wolfers–de l’Art nouveau à l’Art déco, Werner Adriaenssens & Raf Steel, p. 396

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André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated ‘Lanskoy 64’

Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation Provenance: Galerie de Seine; private collection, Paris

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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, 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. Some of its members will be sharing a stand at BRAFA.

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List of CLAM-BBA-affiliated exhibitors sharing a stand at BRAFA ���6 L’ABAC Gilles Wolles

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

LIBRAIRIE CALLIOPE

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

PIERRE COUMANS

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

INGERT

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

LIBRAIRIE LARDANCHET

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

LEX ANTIQUA

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

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Before the advent of printing in France

Heinrich Eggestein (Rosheim 1415/1420-1488) [Strassburg, not after 24 May 1466] […]. Biblia Latina 2 vols. Royal folio, with contemporary Augsburg binding Fifth edition of the Latin Bible and the first published by Heinrich Eggestein Librairie Lardanchet, Antiquarian bookseller

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Hieronymus Bosch (‘s-Hertogenbosch, circa 1450-1516) Parable of the two blind men, circa 1540-1570 Engraving by Pieter van der Heyden (circa 1530-1572) Published by Hieronymus Cock (Antwerp, 1518-1570) 22.2 x 22.5 cm References: New Hollstein Dutch 20 1(5), first state Lex Antiqua, Antiquarian printseller

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CITADELLES & MAZENOD 8 Rue Gaston-de-Saint-Paul I FR-75116 Paris t +33 (0)1 53 04 30 60 info@citadelles-mazenod.com I www.citadelles-mazenod.com

Les arts africains This book offers a renewed synthesis of African arts, enriched with an abundant iconography (over 560 illustrations) H 31 x W 24.5 cm Published by Citadelles & Mazenod in 2025

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Honzo Zufu Illustrated album in five volumes of the ‘materia medica’, completed in 1828 by Iwasaki Kan’en H 29 x W 25 x D 19.5 cm Limited and numbered edition of 999 copies Published by Citadelles & Mazenod in 2025

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CKS GALLERY Sandrine Chadelaud Karpenzstein 2-4 Place Longemalle I CH-1204 Geneva t +41 (0)22 311 08 08 I m +41 (0)78 347 75 25 I m +33 (0)6 47 72 15 69 contact@cksgallery.com I www.cksgallery.com

Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l’oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda, Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d’Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024

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Victor Vasarely (Hungary 1906-1997 Paris) Syrom, 1956-1959 Acrylic on canvas 162 x 130 cm Provenance: acquired from the artist by the previous owner

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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

Dan ‘deangle’ mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux-Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023

Baule Pulley Bridle  Ivory Coast, late 19th-early 20th century Wood H 25 cm (including base) Provenance: Armand Charles collection, Paris Literature: ‘Treasures of Côte d’Ivoire’, Neyt, Fonds Mercator, 2014, p. 208, fig. 140

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COLLECTORS GALLERY Betty De Stefano Rue des Minimes 12 I BE-1000 Brussels t +32 (0)2 511 46 13 I m +32 (0)475 36 79 91 info@collectors-gallery.com I www.collectors-gallery.com

Arman (Nice 1928-2005 New York) Capricorn brooch in gold Zodiac collection, 1994 Certificate of authenticity and copy of the artist’s original drawing on the letterhead of the Hôtel Lutetia, where the artist resided and designed the models for this collection Provenance: Galerie Pierre-Alain Challier, successor to Editions Artcurial

Claude Wesel (Belgium, 1942-2014) Pectoral, 1970 18ct gold, pearl, diamond and steel Model #3000 Unique piece Provenance: the artist’s family Exhibition: ‘Memories’ exh. held by Sotheby’s Brussels in spring 2025 106

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COLNAGHI 26 Bury Street I UK-London SW1Y 6AL t +44 (0)207 491 74 08 contact@colnaghi.com I www.colnaghi.com Rue Jacques Jordaens 30 I BE-1000 Brussels brussels@colnaghi.com

Calle del General Castaños 9 I ES-28004 Madrid spain@colnaghi.com I www.colnaghispain.com 23 East 57th Street, Fourth floor US-New York 10065 t +1 917 388 3825 newyork@colnaghi.com

Nicolaas Struyck (Amsterdam, 16861769) A rose with garden whites, circa 1715 With partial Fleur-de-lis watermark Bodycolour and watercolour on paper with period black and gold ruled beige card mount 23.8 x 19.2 cm Provenance: private collection, Germany until 2023

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Gillis Neyts (Ghent 1623-1687 Antwerp) A winter cityscape of Antwerp, 1666 Oil on panel 54 x 86 cm Signed and dated lower left: g. nyts. f. / 1666 Provenance: sale Fievez, Brussels (16 June 1931), lot 113; sale of the F. Stuyck collection, Brussels, Palais des Beaux-Arts (7-8 December 1960), lot 91; Galerie P. de Boer, Amsterdam

(1961) n° 54; Laboratoria Tupens, Sint-Niklaas (?); with Rafael Valls, London; with De Jonckheere, from whom acquired by the present owner Literature: P. Gustot, Gillis Neyts.

Un paysagiste brabançon en vallée mosane au XVIIe siècle, Namur, 2008, p. 69, n° P13, repr.

Exhibition: Brussels, Musées Royaux des Beaux-Arts de Belgique, Le siècle de Rubens, 15 October-12 December 1965, n° 157, repr.

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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

Jacques Dubois (Pontoise 1694-1763 Paris) Slant-front desk in Chinese lacquer, Louis XV period Chinese lacquer and bronze-guilded mounts H 93 x W 85 x D 54.5 cm Stamped Jacques Dubois, Parisian cabinetmaker, received master in 1742 Literature: P. Kjellberg, Le Mobilier Français du XVIIIe siècle, Paris, 1989, ill. p. 269, fig. G

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Nicolaes Van Verendael (Antwerp, 1640-1691) Still life of flowers in a glass vase Oil on canvas 57 x 42 cm

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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

Guardian figure Kota Ndassa, Gabon, 19th century Wood, copper, brass, iron 46 cm Provenance: collected in situ between 1902 and 1923 by a French officer; thence by descent

Female figure Baule, atelier of Essankro, Ivory Coast, late 19th century Wood 51 cm Provenance: private collection, Germany; private collection, Paris 112

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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

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Alan Charlton (Sheffield, 1948) Triangle, 2012 Acrylic on canvas H 162 x W 162 x D 4.5 cm Provenance: the artist’s studio, Hatfield, UK; De Brock, Knokke, Belgium

 Julian Opie (London, 1958) Beach Head 17, 2018 Paint on overlaid aluminium panel 190 x 156 cm 115

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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

The Resurrection England, Nottingham, 15th century Alabaster H 31 x W 24 x D 4 cm Provenance: Hubert Wilm collection, 19th century, Munich; German Museum, Nuremberg, 1880-1920; Lempertz, Cologne, 1944; John and Johanna Bass collection, New York; Bass Museum of Art, Miami Beach, 1963

Marcus Aurelius (121-180 AD) Inspired by the Ancient Roman Type III bust of the Emperor Northern Italy, late 16th century Marble H 22.5 x W 16 x D 11 cm H 35 cm (with red marble base) Provenance: private collection, South of France

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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

Attributed to the Master of the Antwerp Adoration (active in Antwerp in the early 16th century) Saint Michael the Archangel defeating the Devil Oil on panel 72.1 x 55.1 cm Provenance: private collection, Belgium Literature: Peter van den Brink (ed.), ExtravagAnt! A forgotten chapter of Antwerp Painting 1500-1530, exh. cat. [Antwerp, Koninklijk Museum voor Schone Kunsten Antwerpen, 15 October-31 December 2005; Maastricht, Bonnefantenmuseum Maastricht, 22 January-9 April 2006, Antwerp, 2005], Wommelgem, Blondé 2005; Peter van den Brink, A Shattered Jigsaw Puzzle: On a Partly Reconstructed Altarpiece by the Master of the Antwerp Adoration, in WallrafRichartz-Jahrbuch 68 (2007), pp. 161-80

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Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17.

Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr.

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

Enamel basin ‘Adam and Eve Mourning the Death of Abel’ L 47.5 x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery ‘à la Façon de Venise’, Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art.

They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie.

Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves.

Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersburg, five plates, mid-16th century by Jean Miette in Limoges enamel.

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

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1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble).

Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (18621918) for the painting ‘Wasserschlangen I’ (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called ‘Attitudes’.

George Minne (Ghent 18661941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.’

Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Brussels: Edition ‘Cahiers de Belgique’, 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze);

Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster).

Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig,

Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum GevaertMinne. Among the early collectors of bronze versions we find Hélène KröllerMüller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry Van de Velde (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry n° 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne’s ‘Baigneuse’ were exhibited under the title ‘Figure de femme’. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model’s public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.

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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 | m +32 (0)478 20 99 31 I m +32 (0)491 88 37 15 info@patrickderomgallery.com I www.patrickderomgallery.com

Jean Arp (Strasbourg 1887-1966 Basel) Untitled, circa 1930 pencil and gouache on paper 30 x 25.8 cm Signed lower right on the reverse Certificate of authenticity of the Arp Foundation, Clamart, dated 24 March 2009 Provenance: Marguerite ArpHagenbach, Meudon (widow of the artist); Hans Arp and Sophie Taeuber-Arp Foundation, RemagenRolandswerth, Germany (since 1977); Galerie Mitchell-Innes & Nash, New York; private collection Exhibitions: 1990, Moscow, Puschkin Museum, Hans Arp 1886-1966: Sculpture, Reliefs, Drawings, Collages; 1994, Munich, Haus der Kunst, Elan Vital oder Auge des Eros; 1996, Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp, Hans Arp/Sophie Taeuber-Arp, cat. 41; 1997-2000, Saint-Petersburg, Hermitage Museum, Thessaloniki, Altes Archäologisches Museum, Mantoue, Palazzo Te, Toyota, Municipal Museum of Art, Krakow, Galerie Bunkier Sztuki, Heino, Stichting Hannema-de Stuers, Hans Arp und Sophie Taeuber-Arp; 2003, Palma de Majorque, Fundacion Sa Nostra, Diverse Explorations: Hans Arp and Sophie Taeuber-Arp

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Günther Förg (Füssen 1952-2013 Freiburg) Untitled, 2003 Acrylic on canvas 140.5 x 160.5 cm Signed and dated upper right ‘Förg 03’ This work is registered in the archives of the Günther Förg Estate under number WVF.03.B.0242

Provenance: Alcalá Subastas, Madrid, 12 May 2011; private collection, Madrid; private collection; sale Christie’s Amsterdam, 8 April 2014, lot n° 74; private collection, Belgium Exhibition: 2003-2004, Galerie Heinrich Ehrhardt, Madrid, 18 November 200330 January 2004, Günther Förg

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DESMET FINE ARTS Tom & Tobias Desmet Regentschapsstraat 17 I BE-1000 Brussels t +32 (0)2 514 98 88 I m +32 (0)475 37 60 50 I m +32 (0)486 02 16 09 info@gallerydesmet.com I www.gallerydesmet.com

Giacomo (Italy, 1731-1785) and Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed ‘G.Z.F’ (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973

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Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy)

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VIRGINIE DEVILLEZ FINE ART Avenue Winston Churchill 234B I BE-1180 Brussels m +32 (0)486 34 47 30 info@virginiedevillez.com I www.virginiedevillez.com

René Magritte (Lessines 18981967 Brussels) Le Prince charmant, 1948 Gouache on paper 37 x 46 cm Signed lower left ‘Magritte’ Provenance: Willy van Hove-Cuche, Brussels; private collection; Galerie Motte, Geneva (auction 7 December

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1973, lot 30); Margaret Krebs, Brussels; Christie’s, London (auction 27 June 1978, lot 145); Sotheby’s, London (auction 6 February 2001, lot 157); Beaux-Arts Auction, Brussels (auction 26 April 2005, lot 51); private collection, Belgium Literature and Exhibitions: on request

Pierre-Louis Flouquet (Paris 19001967 Brussels) Féminités, circa 1923-1925 Oil on canvas 125 x 87 cm Signed lower right ‘flouquet’ Provenance: Galerie Patrick Derom, Brussels; private collection, Brussels; private collection, Brussels (by descent to the present owner) Literature: Serge Goyens de Heusch, Pierre-Louis Flouquet. 1900-1967, Brussels, Fondation pour l’Art belge, 1993, ill. p. 56 Exhibitions: Brussels, Galerie Patrick Derom, The Avant-garde of the 1920s in Belgium, 1992, cat. n° 12 (ill.); Drogenbos, FeliXart Museum, L’Équerre / 7 Arts 1923, scenographic reconstruction of the fair stand of the publishing house L’Équerre, 2008-2011, no catalogue published

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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

Frits Van den Berghe (Ghent, 1883-1939) Ooidonk alley, 1923 Oil on canvas 48.5 x 55 cm Signed lower right: FVBerghe Provenance: Galerie Campo, Antwerp Literature: Boyens, P., Frits Van den Berghe 1883-1939 (1999), 396, n° 309 (ill.); Servaes, W., V. Van Doorne & R. Van Lerberghe, 1924 Honderd jaar later, exh. cat. (2024), 56-57 (ill. & cover) Exhibition: 2024, Sint-Martens-Latem, Latemse Kunstkring/ Gemeentehuis, 1924 Honderd jaar later, s.n.

Emile Claus (Waregem 1849 1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908) 130

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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

After David Teniers II The Fish Quay–Return of Fishermen Brussels, 1725-1750 Wool and silk 264 x 390 cm

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Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool Aubusson tapestry 156 x 156 cm Woven at the Pinton workshop (Monogram in lower left corner) Edition 1/6 Signed in lower right corner

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DE ZUTTER ART GALLERY Michael De Zutter Kustlaan 149 I BE-8300 Knokke-Zoute t +32 (0)50 60 63 99 I m +32 (0)486 89 54 43 info@dezutterartgallery.com I www.dezutterartgallery.com

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Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 19352009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm

 Corneille (Liège 1922-2010 Auvers-surOise) Le rouge itinéraire de l’été, 1964 Oil on canvas 73 x 92 cm

Provenance: the artist’s studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, JapanUSA, 1984-91, Cologne, 1998, pp. 694695 (illustrated)

Provenance: Galerie Delta, Rotterdam; kunsthandel Lambert Tegenbosch, Heusden; collection Dr. Johan B.W. Polak (1928-1992), Amsterdam; Christie’s, Amsterdam, 10 December 1992, lot n° 325; private collection, Switzerland Literature: Catalogue Galerie Cimaise Bonaparte (Patrick d’Elme and Daniel Templon), 1967, Paris Exhibition: Galerie Cimaise Bonaparte (Patrick d’Elme and Daniel Templon), 1967, Paris

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

André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat.

Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat.

Musées de la Cour d’Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43.

Exhibitions: Masson: Massaker, Metamorphosen, Mythologien.

Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d’Or, Metz, 1999; André Masson.

Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025

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Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right ‘Alechinsky’; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 19481951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025

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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 55 11 77 92 info@douwesfineart.com I www.douwesfineart.com Douwes Fine Art Ltd., London t +31 (0)20 664 63 62

Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left ‘Fantin’ The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby’s London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937, p. 206

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Emanuel de Witte (The Netherlands, Alkmaar circa 1616-1691/2 Amsterdam) Interior of the Oude Kerk in Amsterdam, the transept seen from the South Oil on canvas 64 x 71.5 cm Signed ‘E. De. Witte’ (c.r.)

March 1931 (as ‘unknown’); acquired at the above sale by Asscher & Welker, London; with D. Katz, Dieren; Dr. A. Welker, London, 1935; with J.D. Klaasen Jr., Rotterdam; P.M. Kerdel, Scheveningen, 1963; with Hans Cramer, The Hague by 1990; acquired by a Dutch Foundation, in 1998

Provenance: Abraham Dijkman, Amsterdam; his deceased sale, Amsterdam, de Bosch/ Yver, 17-18 July 1794, lot 47; sale, London, Foster, 25

Literature: Noach, ‘Het Material tot de Geschiedenis der Oude kerk te Amsterdam’, Amsterdam 1937, p. 81; E. Trautscholdt, in U. Thieme and

F. Becker, ‘Algemeines Lexikon der Bildenden Künstler’ Vol. 36, Leipzig, 1947, p. 125; I. Manke, ‘Emanuel de Witte’, Amsterdam, 1963, p. 92, n° 62 ill. fig. 31; F. Duparc et al., ‘Masterpieces of the Dutch Golden Age’, exh. cat., Atlanta, 1985, pp. 132-3, ill. n° 60; H.R. Leppien, ‘In Blickfeld: Holländische Kirchenbilder’, exh. cat., Hamburg, 1995, pp. 56-7, 66-8, n° 20 Exhibitions: on request

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

René Lalique (Aÿ 1860-1945 Paris) Art Nouveau thistle flower necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique The piece is housed in its original case, marked ‘Lalique, Place Vendôme 24, Paris’ Provenance: private collection, France

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An impressive Art Nouveau gold, diamond, enamel and glass thistle flower necklace by René Lalique, consisting of six pentagonal plaques made from moulded amber-coloured glass, each adorned with two intertwined thistle flowers facing outward, topped by three yellow enamel rods. Flanking the plaques are long curved thorns, set with diamonds and accented with yellow and brown enamel. Between the thorns are small thistle flower motifs in moulded orange glass, enhanced with diamonds.

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FINCH & CO Craig Finch Rue Ernest Allard 32 I BE-1000 Brussels m +32 (0)470 64 46 51 I m +44 (0)7768 236 921 enquiries@finch-and-co.co.uk I www.finchandco.eu

Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum

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Ivory crucifix figure of Christ South Netherlandish, circa 1690-1700 Rosewood cross, carved ivory, silver halo, giltwood Small chips to fabric of hanging Perizonium, old smooth creamy patina H 109 x W 41.5 x D 22 cm (cross) H 40 x W 24 x D 6 cm (Christ) Belgium CITES: 2025/BE00989/CE Provenance: Finch and Co, circa 2005; English private collection; Irish collection Comparative reference: a similar example in the collections of the Victoria and Albert Museum inv. n° A.73-1920

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GALERIE FLAK By appointment I FR-75007 Paris m +33 (0)6 84 52 81 36 julien@galerieflak.com I www.galerieflak.com

Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242

Yup’ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 144

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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

Pierre Soulages (Rodez 19192022 Nîmes) Brou de noix, 1998 Walnut stain on paper 75 x 53.5 cm Signed and dated on reverse Certificate of authenticity by Pierre Soulages

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Pierre Alechinsky (Brussels, 1927) Traité des excitants modernes, 1990 Acrylic and ink on paper mounted on canvas 136 x 75 cm Signed and dated ‘Alechinsky 90’ lower right

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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

Christian Renonciat (Paris, 1947) Carton Paysage, 2024 Sculpture in lime wood H 80 x W 118 x D 6 cm Provenance: the artist’s studio

Jeff Kowatch (Los Angeles, 1965) Holy wholly, 2024 Oil on linen 180 x 126 cm Provenance: the artist’s studio 148

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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

Hélène Delprat (Amiens, 1957) Et in Arcadia Ego, 2022 Pigment and acrylic binder on canvas 250 x 200 cm Provenance: the artist’s studio, Paris Exhibition: Le Contenu Pictural, 2025, Galerie Christophe Gaillard Brussels (BE)

Claude Viallat (Nîmes, 1936) 199/1975, 1975 Mixed media on canvas 188 x 208 cm Provenance: Galerie Jean Fournier; the artist’s studio, Nîmes (FR)

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GALERIE DES MODERNES 13 Rue des Saints-Pères I FR-75006 Paris t +33 (0)1 40 15 00 15 I m +33 (0)6 14 41 26 93 galerie.des.modernes@orange.fr I www.galeriedesmodernes.art

Jean Dubuffet (Le Havre 19011985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right ‘J. Dubuffet 52’ Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997

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Max Ernst (Brühl 1891-1976 Paris) Fleur de coquillage, circa 1932 Gouache on paper 23 x 30.7 cm Signed lower right ‘max ernst’ Certificate of authenticity by Mr. Werner Spies dated 29 November 2007 Provenance: Edward Weston collection, Carmel Highlands; Galerie Tarica, Paris; Galerie Heyram-Mabel Semmler, Paris; Galerie des Modernes, Paris; private collection, France

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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

Pablo Picasso (Malaga 18811973 Mougins) Le bain de pieds, 1960 Brush and India ink drawing on wove paper 20.9 x 26.9 cm This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday 26 January 1960

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Provenance: Forum Fine Art, Zurich; private collection, Switzerland; Christie’s, London, 10 February 2005, lot 685 Literature: C. Zervos (1968), Pablo Picasso - Œuvres de 1959 à 1961, Paris, vol. 19, reference n° 137 (ill., pl. 32)

Gino Severini (Italy, Cortona 18831966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right ‘G. Severini’ and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan

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GRUSENMEYER-WOLINER Rue des Minimes 17 I BE-1000 Brussels t +32 (0)2 514 03 37 m +32 (0)475 47 57 29 (Karim Grusenmeyer) I m +32 (0)495 67 77 81 (Damien Woliner) info@grusenmeyer-woliner.com I www.grusenmeyer-woliner.com

Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (19072000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97

Hariti, the Buddhist protectress of  children Ancient region of Gandhara, Swat Valley, 3rd-4th century AD Grey schist stone H 125 cm Provenance: European private collection, before 1990 (by reputation); an important private collection, Japan, by 1990 Literature: I. Kurita. Gandharan Art, vol. II, Tokyo, 1990, p. 169, fig. 493; M. Akira. Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 114, n° 86 156

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

Fernand Léger (Argantan 18811955 Gif-sur-Yevette) (after) and Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975

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Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece

Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna

Alexander Calder (USA, Pennsylvania 1898-1976 New York) IXE, 1970 Wool and silk 170 x 280 cm Aubusson tapestry by the Pinton workshop Edition of 6 + 2 AP Provenance: Atelier Pinton; private collection, France

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GALERIE HAESAERTS-LE GRELLE Avenue Albert 81 I BE-1190 Brussels m +32 (0)486 78 88 32 (Laurent Haesaerts) I m +32 (0)475 44 28 91 (Alexis le Grelle) info@haesaerts-legrelle.com I www.haesaerts-legrelle.com

Gustave Serrurier-Bovy (Liège, 1858-1910) Silex linen cupboard, circa 1905 Poplar, blue stencils and blue-painted iron H 192 x W 70 x D 45 cm Provenance: Villa de L’Aube, collection of Gustave Serrurier-Bovy, Soyeur-Delvoye Literature: Jacques-Grégoire Watelet, Gustave Serrurier-Bovy, Éditions Beaunord, Paris, 1989, p. 87 160

Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., SerrurierBovy – un créateur précurseur – 1858– 1910, Paris, Faton, 2008, p. 166-167; Jacques-Grégoire Watelet, SerrurierBovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.

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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

Griet Van Malderen (Belgium, 1970) Self Defense, Amboseli, 2024 Archival pigment print on Diasec mat, framed in a black massive wooden frame 125 x 125 cm Unique composition 162

Jean-Jacques Darbaud (France, 1943) Homme Danakil, 2000 Bronze, nuanced brown patina Founder’s mark: Fonte Fuentes Barcelone H 70 x W 50 x D 50 cm Signed ‘Darbaud’, and numbered 1/8

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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

Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name ‘Christ, the fiery eye’ is based on a text from Mark: ‘He looked at them angrily, but also deeply saddened by their stubbornness.’ Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer’s relationship to the person of Christ.

There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.

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Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week.

Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints’ Day. The icon’s refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.

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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

Standing Buddha Schist Ancient Gandhara region, 2nd-3rd century AD H 103 cm Provenance: private collection, France

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Yukiya Izumita (Japan, 1966) Laminate, 2025 Iwate clay W 35 cm

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

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A Gustavian console table Stockholm, circa 1790 Gilt wood, Carrara marble H 83.5 x W 110 x D 54 cm

 Chandelier in the ‘Retour d’Égypte’ style Paris, early 19th century Attributed to Benjamin LadouèpeDufougerias and the ‘Manufacture de Cristaux de Montcenis’ Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm

This console table belongs to a small yet exclusive group of furniture of the highest class, preserved mainly within the royal collections. The model relates to drawings by Louis Masreliez (Paris 1748-1810 Sweden). The table was likely made by his brother, Jean-Baptiste (Stockholm, 1753-1801), or possibly by Pehr Ljung (Stockholm, 1743-1819).

Provenance: private European collection 169

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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

Milan Jespers (Brussels, 1992) Delft Woman MKII, 2020 Watercolour on paper 47.2 x 52.5 cm Signed bottom right

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Nicolas de Crécy (Lyon, 1966) Brouillard, vers plan glacier, 2024 Watercolour, acrylic and gouache on paper 80 x 120.5 cm

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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

Albert Marquet (Bordeaux 1875-1947 Paris) Jardin du Luxembourg, circa 1902-1903 Oil on canvas 38 x 46 cm Signed lower left ‘Marquet’ Certificate of authenticity from the Wildenstein Institute Provenance: private collection, France

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Marc Chagall (Belarus, Vitebsk 1887-1985 Saint-Paul de Vence, France) Maternité au grand soleil, circa 1967 Gouache, graphite and felt-tip on paper 40 x 32.3 cm Certificate of authenticity from the Comité Meret Meyer Provenance: private collection, France

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

Sanam Khatibi (Iran, 1979) Outgoing call, 2025 Oil on panel 13.2 x 21.5 cm 22.2 x 30.5 cm (framed)

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Thomas Lerooy (Belgium, 1981) Upside Down, 2025 Oil on wood panel 22.8 x 16.8 cm 23.8 x 17.8 cm (framed)

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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

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 Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer’s stamp, Boin-Taburet and maker’s mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris’s most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle.

Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.

Maurice Daurat (Bordeaux 18801969 Meulan-en-Yvelines) Art Deco table centrepiece Paris, circa 1927-1931 Sterling silver, Macassar ebony, marble H 42.5 x W 104 x D 20 cm This striking early 20th century French silver and alabaster centrepiece on a Macassar ebony base is a superb example of Art Deco design. Designed

by Maurice Daurat in Paris, circa 19271931. Maurice Daurat was famous for his limited editions and large commissioned works. His style is characterised by geometrical, strict shaping, emphasising volume and material.

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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

Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.

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Satoshi Hara (Japan, Yokohama, 1962) Flower vase with inlaid Chrysanthemum design (mujinagiku) Ishikawa, 2018 Gold, silver and iron H 18 cm - Ø 20 cm Provenance: artist’s estate Satoshi Hara, who was born in Yokohama, Kanagawa Prefecture in 1962, specialises in creating hammered metalworks embellished with intricate and labour-intensive decorations in gold and silver. This highly developed inlay technique makes the decorations appear as if they were drawn with a thin pen.

The artist has created his own technique,

which he calls ‘Nanako Zogan.’ With this technique, he is able to inlay patterns into the vessels using 0.3 mm-thick silver wires. Each individual line is created in five different steps. One piece of work contains an average of 50 metres of silver wire, meaning that the artist has to work with approximately 200 metres of silver wire throughout the various stages.

There is no room for error in this highly complex and time-consuming process, since it is impossible to rectify any mistakes. The artist has been teaching metalworking at Kanazawa College of Art, Department of Craft, since 2003.

His work can be found in numerous museums in Japan and abroad.

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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

Englebert Van Anderlecht (Brussels, 1918-1961) Rome 1, 1960 Oil on canvas 150 x 122 cm Signed, dated and titled on the reverse Inventory number 664 on the reverse Provenance: private collection, Brussels Literature: Serge Goyens de Heusch, Englebert Van Anderlecht, Mercator, 1998, ill. p. 207; Englebert Van Anderlecht, exh. cat., MRBAB, Brussels, 1990, ill. n° 79 Exhibitions: Galerij M.A.S. Astene, march-april 1969; Museum van Deinze, Englebert Van Anderlecht, MarchMay 1990; MRBAB, Englebert Van Anderlecht, Brussels, 1990

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Pierre Alechinsky (Brussels, 1927) Le Nid, 1965 Oil on canvas 130 x 91 cm Signed lower right Signed and titled on reverse Certificate of authenticity by Pierre Alechinsky dated 14 March 1995 Provenance: Lefebre Gallery, New York; private collection, Monaco

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

Hans Bolek (Vienna, 1890-1978) Jugendstil ensemble, Gentleman’s study, 1913 Solid spruce wood, solid oak (armchair), swamp oak veneer Provenance: bought on 06.11.1913 by the minister of public works, Freiherr Ottokar Trnka von Laberon; private collection, Austria Literature: Interior from the winter exhibition 1913/14 at MAK; photograph 182

of a room design by Hans Bolek, executed by August Ungethüm, Möbelfabrik August Ungethüm, MAK Inv.nr. KI 7905-13; ‘Innendekoration: mein Heim mein Stolz’, Heft 25, 1914, S. 110; ‘Kunst & Handwerk’, Vol. 12, 1913, p. 629; ‘Deutsches Volksblatt’ 11.

November 1913, S. 6; ‘Neues Wiener Tagblatt’, 22. November 1913, p. 33 / yearly report 1913 Austrian Museum of Art and Industry (ÖMKI), p. 4

Joseph Maria Olbrich (Czech Republic 1867-1908 Germany) and Josef Hoffmann (Czech Republic 1870-1956 Austria) Secessionist side table, circa 1900 Solid maple, inlaid ebony and white metal H 70 x W 56 x D 56 cm Provenance: private collection, Austria

Literature: Josef Maria Olbrich, Ideen von Olbrich, 2nd edition, Leipzig 1904, p. 67; Association of Austrian Visual Artists (ed.), Ver Sacrum.Vereinigung Bildender Künstler Österreichs (Hrsg.), Ver Sacrum. Mittheilungen der Vereinigung Bildender Künstler Österreichs, 1900, 1st issue, pp. 4, 9 & 15 Exhibition: displayed at the fifth exhibition of the Vienna Secession 1899

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HARTFORD FINE ART LAMPRONTI GALLERY By appointment only I MC-Monaco m +39 335 33 33 25 info@lamprontigallery.com I www.lamprontigallery.com

Francesco Fracanzano (Monopoli 16121656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s

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periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert.

La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019,

cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del ‘tremendo impasto’ (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020

Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n°

78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208

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

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 Simon Hantaï (Hungary, Bia 19222008 Paris, France) Catamuron, 1964 Oil on canvas 102 x 77 cm Signed and dated lower right ‘Hantaï 64’ Provenance: Galerie Jean Fournier, Paris; private collection, Paris

Jean-Paul Riopelle (Montreal 1923-2002 Saint-Antoinede-l’Isle-aux-Grues) Untitled, 1955 Watercolour and ink on paper 64 x 49 cm Signed lower right ‘Riopelle 55’ Provenance: Claude Duthuit private collection Literature: Catalogue raisonné Jean Paul Riopelle, tome 2, 1954-1959, p. 368

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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

Chinese porcelain centerpiece Kangxi period, 18th century Two shells in Chinese Famille verte porcelain, early 18th century Mounted in gilt and chiseled rococo bronze, mid-18th century H 17 x W 41 x D 22.5 cm

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Pair of covered jars in Chinese porcelain Powdered-blue ground porcelain with Famille verte floral motifs, and mounted in chiseled silver (scrolls and stars) Kangxi period, early 18th century H 14.5 cm

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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 Pourbus the Elder (Bruges 15451581 Antwerp) Portrait of Peeter van Panhuys, alderman and treasurer of Antwerp, 1562 Oil on oak panel 105 x 75 cm Dated upper left ‘A°. 1562’ and inscribed below the date ‘Aetat: 34’ Provenance: private collection, Belgium Literature: R. Willmott, Antwerp and the Golden Age: Culture, Conflict and Commerce, Unicorn, 2025 (ill.)

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Jan Pieter van Baurscheit (Wormersdorf 1669-1728 Antwerp) Allegory of Hearing Terracotta H 92 cm Provenance: private collection, Antwerp 191

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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

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Angèle | Hommage à Michel-Ange, 1964 Soignies stone H 210 x W 60 x D 60 cm Provenance: studio Eugène Dodeigne, Bondues (France); private collection, Basel Literature: G. Hirselj, B. Gaudichon & A. Massé; ‘Eugène Dodeigne - une rétrospective’; musée La Piscine, Roubaix, 2020

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Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1990 Oil on canvas 195 x 97 cm

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MAISON D’ART 27 Avenue de la Costa I MC-98000 Monaco t +377 97 97 11 60 info@maisondartgallery.com I www.maisondartgallery.com

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 Francesco Foschi (Ancona 17101780 Rome) Winter landscape with travellers, circa 1770 Oil on canvas 62 x 74 cm

François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640 Oil on canvas 100 x 90 cm

Provenance: private collection, Monte-Carlo, 2021

Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat.,

Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, 16 June-16 July 2010, n° 5

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MAISONJAUNE STUDIO 42 Rue de Seine I FR-75006 Paris m +33 (0)6 80 68 47 29 I m +33 (0)6 07 09 71 42 contact@maisonjaunestudio.com I www.maisonjaunestudio.com

Piero Palange (Italy, 1931-1975) and Werther Toffoloni (Udine, 1930-2017) Pair of ‘536’ armchairs Rattan, foam, mohair velvet H 70 cm - Ø 95 cm Palange studied industrial design at the University of the Arts in Milan and

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worked with several leading Italian design firms (Motina, Gervasoni, Germa).

Toffoloni trained in architecture at the Univeristy of Rome, specialised in industrial design with a focus on ergonomics and functionality. These two Italian designers played an important role in shaping postwar industrial design.

Gabriella Crespi (Saronno 19222017 Milan) Daybed (house and garden collection), 1977 Wood, rattan and brass H 210 x W 140 x D 215 cm Signed Certificate of authenticity signed by the artist’s daughter 197

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MARTINS&MONTERO Rua Jamaica 50 I BR-01439 020 São Paulo t +55 11 4306 1943 contato@martinsemontero.com I www.martinsemontero.com Rue aux Laines 14 I BE-1000 Brussels t +32 (0)2 387 16 49

Lina Bo Bardi (Rome 1914-1992 São Paulo) Cadeira Sertaneja, 1960 Vegetable tanned ‘Soleta’ leather; solid pine wood 66 x 49 x 82 cm 198

Jimmie Durham (Texas 1940-2021 Berlin) for Labinac PINO (model 3), 2019 Epoxy resin, glass, iron, and bronze 100.5 x 66 x 50 cm 2/15 + 5 AP

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MARTOS GALLERY Jose Martos 41 Elizabeth Street I US-New York 10013 t +1 212 560 0670 I m +1 917 539 0005 I m +1 631 838 5010 info@martosgallery.com I www.martosgallery.com

Keith Haring (USA, Pennsylvania 19581990 New York) Untitled, 1988 Sumi ink on rice paper 62.2 x 86.4 cm Provenance: private collection, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May25 July 2025

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Keith Haring (USA, Pennsylvania 19581990 New York) Untitled, May 23, 1981 Marker on plastic 53.3 x 57.3 cm

Provenance: Ellen Meyer collection, acquired directly from the artist; New York; Christie’s auction, 1 May 1991, lot 313; private collection, Italy; Martos Gallery, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May25 July 2025

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MARUANI MERCIER Avenue Louise 430 I BE-1050 Brussels t +32 (0)2 512 50 10 desk@maruanimercier.com I www.maruanimercier.com Kustlaan 90 I BE-8300 Knokke-Zoute m +32 (0)473 97 72 36 serge@maruanimercier.com

Von Wolfe (London, 1966) Bound by Steam and Silence, 2025 Oil on canvas 180 x 180 cm

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THE WAREHOUSE by MARUANI MERCIER Lambroekstraat 5 I BE-1930 Zaventem t +32 (0)2 512 50 10 desk@maruanimercier.com

Ross Bleckner (New York, 1949) Pushing Daisies, 1995 Oil on linen 213.4 x 182.9 cm

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MASSMODERNDESIGN Etienne Feijns Schotsbossenstraat 17 I NL-4705 AE Roosendaal m +31 (0)6 14 17 77 84 info@massmoderndesign.com I www.massmoderndesign.com

Jorge Zalszupin (Warsaw 19222020 São Paulo) Guanabara table and Senior chairs, 1960 Rosewood, leather, velvet upholstery H 75 x W 400 x D 130 cm (table) Produced by l’Atelier, Brazil Provenance: private collection, São Paulo Literature: Jorge Zalszupin, Modern Design in Brazil Maria Cecilia Loschiavo dos Santos 2014, pp. 142-143 204

Jose Zanine Caldas (Brazil, Belmonte 1919-2001 Vitória) Denuncia bench, 1979 Pequi hardwood H 50 x W 300 x D 41 cm Provenance: private collection, Brasilia

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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

André Groult (Paris, 1884-1966) Console, circa 1913 Beech wood and marble tabletop H 85 x W 129.5 x D 65 cm Stamped Literature: Félix Marcilhac, André Groult, Editions de l’Amateur, ill. p. 75 206

Maurice Dufrene (Paris 18761955 Nogent-sur-Marne) Lamp with dahlias, circa 1913 Gilt bronze and glass H 70 cm - Ø 49 cm Signed M DUFRENE

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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

Capital with column from a Ciborio or Pergula Rome, late 8th-early 9th century White marble H 41 x Ø 20 cm Provenance: formerly in the collection of Elda Francia Gasparrini in Rome Literature: U. Broccoli, Marmi tardo antichi di una collezione privata a Roma, LV 1979, pp. 183-199, ill. p. 193 fig. 10

Romano Alberti (Sansepolcro, 1502-1568) known as Nero Alberti da Sansepolcro o Maestro di Magione Sora Giulia Italy, 16th century Polychrome sculpture of stucco and paper mache constructed around a wooden core H 70 cm Provenance: private collection Literature: Sculture da vestire, Nero Alberti da Sansepolcro e la produzione di manichini lignei in una bottega del cinquecento. Cat. pp 69-70 and pp. 175-176 Exhibition: Museo di Santa Croce, Umbertide (Pg), 2005 208

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GALERIE GRETA MEERT Vaartstraat 13 I BE-1000 Brussels t +32 (0)2 219 14 22 info@galeriegretameert.com I www.galeriegretameert.com

Carla Accardi (Trapani 19242014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm 210

John Baldessari (USA, 1931-2020) The Purple Series: Periwinkle, 2016 Varnished inkjet print on canvas with acrylic paint 240.7 x 111.4 cm

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MEESSEN Olivier Meessen Rue de l’Abbaye 2A I BE-1000 Brussels t +32 (0)2 644 34 54 I m +32 (0)473 52 49 19 info@meessen.be I www.meessen.be

Benoît Platéus (Liège, 1972) Italian mushrooms, 2025 Oil and collage on canvas 80 x 90 cm

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Evariste Richer (Montepellier, 1969) Saint-François, 2025 Ink on paper 112 x 112 cm

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GALERIE LA MÉNAGERIE Paul-Antoine Richet Coulon 28A Rue Messagère I FR-02110 Prémont m +33 (0)6 62 04 27 64 contact@galerielamenagerie.com I www.galerielamenagerie.com

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 Jacques Froment-Meurice (Paris 1864-1946 Maisons-Lafitte) Bucking donkey, circa 1904 Model from ‘Les gestes d’Ânes’ Bronze A. A Hébrard foundry H 14.5 x W 18 x D 9 cm Signed on the base Provenance: collection New York, USA Literature: A strong love of all animals, but particularly of domestic breeds, especially donkeys, is evident in the character that Froment-Meurice captures in all his intimate portraits.

Cast by Hebrard, they are always of the highest quality, Edward Horswell, Sculpture of Les Animaliers, 1900-1950, Scala Arts and Heritage Publishers Ltd, 2019, p. 136

Edouard-Marcel Sandoz (Basel 1881-1971 Lausanne) Duckling, circa 1925 Brown-green patinated bronze Bears the inscription of the foundry Susse Frères Paris H 9.5 x W 9 x D 6 cm Signed ‘Ed M Sandoz’ on the base Literature: Model with the reference 862 from the catalogue raisonné of the artist, Félix Marcilhac, Sandoz, sculpteur figuriste et animalier, Les éditions de l’amateur, 1993

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MULIER MULIER GALLERY Sint-Jorisstraat 10 I BE-1050 Brussels m +32 (0)477 57 95 89 I m +32 (0)475 44 70 75 info@muliermuliergallery.com I www.muliermuliergallery.com De Wielingen 14 I BE-8300 Knokke-Zoute

Art & Language (Collective of artists, 1968 Coventry, United Kingdom) 100% Abstract, 1968 49 x 43.5 cm Signed and dated on reverse

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Andy Warhol (USA, Pennsylvania 1928-1987 New York) Shoe, circa 1956 Ink, tempera and gold flake on paper 45.9 x 60.6 cm Stamped twice by the estate of Andy Warhol, with number of the estate

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

Cornelis Kick (Amsterdam, 1634-1681) Flowers in a glass vase Oil on canvas 62 x 49 cm 78 x 69 cm (framed) Authenticity and identification confirmed

by Dr. Fred Meijer Provenance: Percey B. Meyer, London, 1953 (as Jacob van Walscapelle) Literature: Jan Kelch and Ingeborg Becker, Holländische Malerei aus Berliner Privatbesitz, KaiserFriedrich-Museums-Vereins und der Gemäldegalerie (Berlin, 1984), pp. 170171 (as Jacob van Walscapelle); Royal Academy of Arts, London, 1952-53: Dutch pictures 1450-1750, catalogue p. 103, n° 563; Gemäldegalerie der Staatlichen Museen Berlin, 1984: Hollandische Malerei aus Berliner Privatsbesitz, pp. 170-171, pl. n° 84

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Netherlandish School, circa 1500 Triptych with the Crucifixion and scenes from the Passion Oil on panel 51 x 36.5 cm (closed) 51 x 73 cm (open) The gallery is grateful to Prof. Dr. Didier Martens for his expertise

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

Peter Paul Rubens (Germany, Siegen 1577–1640 Antwerp, Belgium) Bearded old man, looking down to his left, circa 1609 Oil on paper (laid down on panel) 56.3 x 45.8 cm Note by Ben Van Beneden. The work is yet to be published This powerfully painted head study shows a bald, bearded old man, his head slightly bowed and his gaze lowered.

Rubens captures the moment with astonishing spontaneity and accuracy.

Impasto accents on the nose and skull contrast with transparent brushwork elsewhere, making the face seem to glow out of the darkness.

Surprisingly, the work is painted on a reused sheet of paper. When turned over, the silhouette of a woman’s head appears, partly visible through the model’s beard. This visual echo adds an unexpected layer to the work and bears witness to Rubens’ playful approach to materials and composition.

The study is not merely an exercise: Rubens used this characterful head several times in his oeuvre. It appears as St. Amand(us) in The Elevation of the Cross (Antwerp, Cathedral of Our Lady), St. Thomas in the so-called Apostolado Lerma (Madrid, Museo del Prado), and even as Melchior in The Adoration of the Magi (Madrid, Museo del Prado). The face also appears in The Incredulity of St. Thomas and The Tribute Money, each time in a different role.

Spontaneous, ad vivum head studies such as this served as a visual storehouse for his larger compositions.

They reveal his fascination with character, light and expression, as well as his ability to achieve maximum expressiveness with minimal means.

The gallery is grateful to Ben van Beneden for identifying this work as an authentic Rubens.

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Christ on the Cross Sculpted and carved ivory Flanders, 17th century H 32 x W 18.5 x D 5.3 cm Provided with a European CITES certificate

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NARDI VENEZIA Piazza San Marco 69 I IT-30124 Venice t +39 041 52 25 733 I m +39 348 2727 910 info@nardi-venezia.com I www.nardi-venezia.com

‘Ad Orientem’ collection Pair of earrings crafted in gold and horn, set with diamonds and pink sapphires.

Cherry blossoms, secret gardens…

Jewels that conjure up a world of alluring beauty, where East meets West in perfect harmony

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‘Ad Orientem’ collection Bracelet crafted in gold and horn, set with diamonds, pink sapphires and rubies.

Nardi’s universe has always been inspired by the distant horizons that captivate Venice

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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

Melanie Loureiro (Cologne, 1994) Where Hummed Intentions Drift, Ancient Bonds Persist, 2024 Oil on canvas 160 x 140 cm

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Nat Meade (USA, Greenfield 1975) Tide Pool, 2024 Oil on jute 63.5 x 71.1 cm

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DR. NÖTH KUNSTHANDEL Michael Nöth By appointment only I Hoechstetterstraße 16 I DE-91522 Ansbach t +49 (0)981 156 33 I m +49 (0)171 33 15 633 noeth-ansbach@t-online.de I www.artnoeth.de

Oswald Achenbach (Düsseldorf, 1827-1905) Blessing of the Fishermen, 1880 Oil on canvas 89 x 135 cm Signed and dated lower right ‘Osw. Achenbach 1880’ Provenance: private collection, Germany

Henry Martin (Toulouse 18601943 Labastide-du-Vert) Street in Collioure, 1920 Oil on canvas 101 x 61 cm Signed lower left ‘Henri Martin’ Certificate of authenticity by Mme Marie-Anne Destrebecq-Martin Provenance: estate of Monsieur X, Paris, 6th arrondissement

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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

Sophie Kuijken (Bruges, 1965) S.A.F., 2025 Oil and acrylic on chipboard panel 122 x 60 cm Provenance: the artist’s studio

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Joris Van de Moortel (Ghent, 1983) Music enjoys direct access to the soul, has an immediate echo of response since we have music within ourselves, 2025 Oil on linen and artist’s steel frame (3 panels) 200 x 220 cm Provenance: the artist’s studio, Belgium Exhibition: Joris Van de Moortel, Le poids du ciel illumine la terre, Galerie Nathalie Obadia, Paris, France, 2025

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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 Private showroom CH-Geneva

Ben Storms (Ghent, 1983) Ex Hale coffee table, 2024 Miel onyx H 32 x W 180 x D 90 cm Provenance: the artist’s studio

Ben Storms (Ghent, 1983) Crushed room divider, 2024 H 195 x W 160 x D 45 cm Stainless steel, gold leaf Provenance: the artist’s studio 230

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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

Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photocertificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy

Serge Poliakoff (Moscow 19001969 Paris) Abstract Composition, 1967 Oil on canvas 92 x 73 cm Signed lower left This work includes a photo-certificate of authenticity issued by the archives Serge Poliakoff in 2024 Provenance: Studio Bellini, Milan Literature: Poliakoff, Alexis, ‘Serge Poliakoff – Catalogue Raisonné’, Volume V, 1966-1969, Munich 2016, p. 236, n° 67-101 232

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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

Alfredo Jaar (Chili, Santiago 1956) Life Magazine, 19 April 1968 1995 Three lightboxes, analog C-print on Duratrans 183 x 360 cm (entire dimension) 183 x 120 cm (one lightbox) Unique piece

Thomas Devaux (Marcq-en-Barœul, 1980) Shopper 5.01, 2023 Dichroic glass, pigment print, frame in aluminium with 22K gold leaf 150 x 120 cm Edition 3/3 234

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PAULINE’S JEWELLERY BOX Pauline Janssen By appointment only I BE-Brussels m +32 (0)478 87 93 52 info@paulinesjewellerybox.com I www.paulinesjewellerybox.com

Art Deco emerald & diamond ring, circa 1920-1930 Platinum, emerald and diamond Provenance: New York collection An Art Deco emerald & diamond ring, set with a step cut Colombian emerald weighing 10.87 carats flanked by baguette shaped & old mine cut

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diamonds. The emerald has a deep colour and is minor oil. Estimated total diamond weight is approximately 1.55 carats. Estimated colour E-G on average. Estimated clarity VVSVS on average. The diamonds are bright & lively. Mounted in platinum.

Accompanied by a SSEF certificate for the emerald.

Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds.

Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.

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PELGRIMS DE BIGARD Kasteel van Groot-Bijgaarden Isidoor van Beverenstraat 5 I BE-1702 Groot-Bijgaarden m +32 (0)476 27 06 50 cedricpelgrims@gmail.com I www.pelgrimsdebigard.com

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 Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) A village scene with a horse-drawn cart and a goose keeper Oil on panel 25 x 31 cm Signed lower left ‘P. BREUGHEL’ Provenance: collection Kaufmann, before 1934; Kunsthandel P. de Boer, Amsterdam, 1934; collection Van Hees, The Netherlands, until 1969; private collection, The Netherlands Literature: P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, exhibition catalogue, Amsterdam 1934, ill. p. 9, p. 32, n° 32; Pantheon, Monatsschrift für Freunde und Sammler der Kunst, Munich, 1934, XIII, ill. p. 141; P. de Boer, Catalogus van oude schilderijen, exhibition catalogue, Amsterdam, 1940, ill. n° 8; Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, exh. cat., Laren 1963, n° 53; Georges Marlier, Pierre Brueghel le Jeune, 1969, pp. 417-418, ill. n° 263; Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38), die Gemälde mit kritischem Oeuvrekatalog, Lingen 2000, Vol. II, p. 821, ill. n° 667, p. 824, inv. n° E116 Exhibitions: Amsterdam, Kunsthandel P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, 10 February-26 March 1934, n° 32; Amsterdam, Kunsthandel P. de Boer, November-21 December 1940, n° 8; Laren (N.H.), Singer Museum, Modernen van toen 15701630, Vlaamse schilderkunst en haar invloed, 15 June-1 September 1963, n° 53

Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023

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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

Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Le Cannet) Promenade à Paris, circa 1911 Oil on canvas 40 x 60 cm Estate stamp lower left Provenance: collection of Pierre and Marie-Françoise Vernon Literature: Dauberville Jean et Henry, Bonnard, Vol. IV, Paris, Bernheim-Jeune, 1974, repr. p. 312 under n° 01992

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Exhibitions: Pierre Bonnard, A. Tooth & Sons, London, 17 June-12 July 1969, repr. in exh. cat. n° 8; Matisse e Bonnard. Viva la pittura!, Rome, 2006, repr. in exh. cat. (ed. Skira) p. 340 under n° 125; Bonnard, Le Cannet, une évidence, Musée Bonnard, Le Cannet, 2020, repr. in exh. cat. p. 42

Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section ‘Works reproduced as archives’)

Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée JacquemartAndré, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 19855 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)

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

Chantilly porcelain pair of pots-pourris with Chinese porcelain covers Silver-gilt mounts Circa 1740

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Ormolu mounted Saint-Cloud porcelain figures, presumably showing actors in Asian costumes Circa 1740 A similar pair is visible in the ‘Musée des Arts Décoratifs’ in Paris 243

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GALERIE PERRIN 98 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 42 65 01 38 I m +33 (0)7 76 11 12 48 contact@galerieperrin.com I www.galerieperrin.com

Walter Sauer (Brussels 18891927 Algiers) Pensive woman, circa 1925 Mixed media 78.5 x 61.3 cm Signed upper left ‘WS Walter Sauer’ Provenance: private collection

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Gustave Moreau (Paris, 1826-1898) The triumph of Bacchus, circa 1875-1876 Oil on panel 23.2 x 17.8 cm Signed lower left Gustave Moreau Provenance: Auguste Donatis, acquired directly from the artist with Arnold and Tripp, Paris; Louise Joséphine Amélie de Saint-Alary (1863-1922), Comtesse de Roederer, Paris; Georges Wildenstein (1892-1963), Paris; confiscated from the above when stored in vault 6, Banque de France, Paris, by the Einsatzstab Reichsleiter Rosenberg, ERR n° W166; transferred to the Devisenschutzkommandos, 30 October 1940; transferred to the Jeu de Paume, Paris; transferred to Fussen, Germany, 15 January 1943; recovered by the Monuments, Fine Art and Archives Section from the ‘Large Peter’ salt mines, Alt Ausse, Austria, n° 206/36; transferred to the Central Collecting Point, Munich, n° 212/36, 20 June 1945; repatriated to France, 18 April 1946; restituted to the Wildenstein Collection, Paris; Daniel Wildenstein (1917–2001), Paris, by descent; private collection, since 1974 Literature: P.-L Mathieu, Gustave Moreau: sa vie, son oeuvre; catalogue raisonné de l’oeuvre achevée, Fribourg, 1976, ill. p. 314, n° 149; P.-L Mathieu, Gustave Moreau: Complete edition of the finished paintings, watercolours and drawings, Oxford, 1977, ill. p. 320, n° 149; P.-L Mathieu, Gustave Moreau, Monographie et nouveau catalogue de l’oeuvre achevé, Paris, p. 327, n° 171, ill. as Triomphe de Bacchus (dans un char tiré par des panthères)

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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 I www.guypietersgallery.com

Karel Appel (Amsterdam 19212006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels 246

Fernando Botero (Medellin 19322023 Monaco) Man with walking stick, 1987 Bronze H 140 x W 48 x D 28 cm Provenance: Veranneman-Kruishoutem foundation, private collection, Belgium Literature: Galerie Beyeler-Basel, Botero (exh. cat.), Basel, 1988, ill. in colour of another cast from same edition; Marlborough Gallery, Botero: Recent Sculpture (exh. cat.), New York, 1990, n° 24, p. 49, ill. in colour of work from same edition; Vittorio Sgarbi, Botero, Dipinti, Sculture, Disegni, Milan, 1991, p. 103, ill. in colour of the monumental version; Botero al Forte Belvedere di Firenze (exh. cat.), Florence, 1991, p. 31, ill. of the monumental version

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GALLERY DE POTTER D’INDOYE Kasteel van Melle 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.art

Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; MarieFrance Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier 248

National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs.

Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon: Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris: In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris: Flammarion, 2021, p. 173

Pair of bergères ‘à la Reine’ Georges Jacob (Cheny 1739-1814 Paris) France, Louis XVI period Carved and gilded wood H 100 x W 69 x D 61 cm Stamped Georges Jacob Provenance: Jacques Perrin, Paris, 1997

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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

Nicolas de Staël (Saint Petersburg 1913-1955 Antibes) Composition, 1949 Oil on canvas 38 x 46 cm Signed lower left Provenance: Henriette Gomès collection, Paris; private collection, Paris; private collection, Luxembourg Literature: J-P Jouffroy, Nicolas de Staël, p. 161; Jacques Dubourg and Françoise de Staël, Nicolas de Staël, Catalogue 250

Raisonné des peintures, ed. Le temps, Paris, n° 195, p. 121; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, n° 189, p. 259; Françoise de Staël, Nicolas de Staël, Catalogue Raisonné des peintures, ed. Ides et Calendres, Switzerland, revised and expanded by Marie du Bouchet and Gustave de Staël, n° 189, p. 209 Exhibition: Nicolas de Staël, Musée Réattu, Arles, June-September 1958, n° 18

Geer van Velde (The Netherlands, Lisse 1898-1977 Cachan, France) Composition - atelier, circa 1951 Oil on canvas 134 x 148 cm Signed lower right with initials This work will be included in the forthcoming catalogue raisonné of Geer van Velde - Painted Work, currently in preparation by Pierre François Moget, son of Piet Moget Provenance: Galerie Hautefeuille, Paris; private collection, Brussels

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PRON 75 Rue du Faubourg Saint-Honoré I FR-75008 Paris t +33 (0)1 86 04 55 38 I m +33 (0)6 17 78 26 53 info@pron.fr I www.pron.fr

Alice Gavalet (France, 1978) Buffet, 2025 Wood, brass, glazed and engobed earthenware H 90 x W 154 x D 44 cm

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Carla Accardi (Trapani 1924-2014 Rome) Colori misti, 1967 Varnish on sicofoil 35 x 30 cm Signed, titled and dated on the reverse

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VAN PRUISSEN ASIAN ART By appointment only I NL-6814 BK Arnhem m +31 (0)6 49 31 86 60 I m +31 (0)6 19 66 48 24 info@vanpruissen.art I www.vanpruissen.art

Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan

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Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan

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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

Giorgio Griffa (Turin, 1936) Campo viola campo rosa, 1990 Acrylic on jute 116 x 82 cm

Alain Biltereyst (Brussels, 1965) Untitled, 356-4, 2025 Acrylic on plywood 118 x 87.5 cm 256

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MAISON RAPIN 7 Quai de Conti I FR-75006 Paris t +33 (0)1 42 61 24 21 I m +33 (0)6 44 75 12 38 contact@maison-rapin.com I www.maison-rapin.com

KAM TIN Octopus bench with six legs, 2025 Patinated bronze, mohair velvet H 50 x W 120 x D 40 cm 258

Gianni Russian (Trieste, 1922-1962) Three mirrors depicting the Three Graces for Fontana Arte, circa 1940 Mirrored and back-painted glass 135.5 x 70 cm (each panel) Signed ‘G. Russian’ on the middle mirror

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ALMINE RECH Rue de l’Abbaye 20 I BE-1050 Brussels t +32 (0)2 648 56 84 inquiries@alminerech.com I www.alminerech.com 64 Rue de Turenne I FR-75003 Paris t +33 (0)1 45 83 71 90

Tom Wesselmann (USA, Ohio 19312004 New York) ‘Smoker Study (For Smoker #11)’, 1972 Oil on canvas 29.2 x 29.2 cm 46.4 x 46.4 x 3.8 cm (framed) Examined by the WPI’s Wesselmann committee on 13 December 2023,

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361 Broadway I US-New York 10013 t +1 212 804 8496 Multiple locations

for inclusion in the forthcoming catalogue raisonné Provenance: estate of the artist ‘Smoker Study (For Smoker #11)’, 1972 belongs to Tom Wesselmann’s Smoker series, which he started working on in the late 1960s. Wesselmann had been

developing his ‘Great American Nudes’ series when he was inspired to focus on specific details of female figures. In a somewhat fetishising act, he started making both smaller preparatory pieces and larger scale works depicting hands, breasts and lips. Out of this approach his ‘Mouth’ paintings and preparatory works were born.

Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, ‘Gesture & Form: Women in Abstraction’, 3 May15 June 2024, New York, Upper East Side

Vivian Springford’s ‘Untitled’, circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.

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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

Jean-Auguste-Dominique Ingres (Montauban 1780-1867 Paris) Sigismondo Pandolfo Malatesta, circa 1814 Graphite and stump on paper 28.2 x 22.7 cm Authenticity confirmed by Mr. Sylvain Bédard after a direct examination Provenance: collection of Jules Cambon (Paris 1845-1935 Vevey)

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Rosalba Carriera (Venice, 1673-1757) Portrait of Joseph Smith and Catherine Tofts as Thalia Tempera on ivory 8.79 x 11 cm This miniature has been the subject of a detailed study by Mrs. Bożena Anna Kowalczyk. In addition, the attribution of this miniature to Rosalba Carriera has been confirmed by Bernardina Sani, based upon digital photos.

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

Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami.

Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025

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Victor Vasarely (Pecs 1908-1997 Paris) Kass - 99, 1971-1974 Acrylic on canvas 200 x 200 cm Signed lower right; signed, titled and dated on the reverse Certificate of authenticity by Pierre Vasarely Provenance: private collection, Italy

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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

Toni Zuccheri (Udine 19362008 Venice) Upupa, 1980 Bronze, hand-molded glass and mixed technique H 30 x W 40 x D 40 cm Designed by in 1964 for Venini Provenance: private collection, Italy

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Alessandro Mendini (Milan, 1931-2019) ‘Libreria scultura’ prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs. Elisa Mendini and Mrs. Fulvia Mendini Provenance: private collection, Italy

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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

Pair of marble plates with semiprecious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (framed) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird’s nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.

Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008

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LAURENT SCHAUBROECK By appointment only I BE-Ghent m +32 (0)474 08 32 27 laurent.schaubroeck@gmail.com I www.laurent.eu

Sergio Rodrigues (Rio de Janeiro, 1927-2014) Mucki bench, 1960s Jacaranda, Brazilian rosewood H 29 x W 300 x D 80 cm Produced by Oca Provenance: private home, Brazil First conceived in 1958 and produced

by Oca, the Mucki bench is among Sergio Rodrigues’ most versatile and emblematic designs. Its low, rectangular structure with latitudinal slats and rhythmically placed wooden buttons reflects the refined balance between simplicity and sophistication that characterises Rodrigues’ work.

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This exceptional example, measuring three metres in length and an unusual 80 cm in depth, was made to measure in the 1960s - an extremely rare proportion that highlights the adaptability of Rodrigues’ design to specific commissions. Crafted in solid rosewood, the bench showcases the rich tonal variations and expressive veins of the wood, underscoring its sculptural quality. A remarkable and rare original, it remains in excellent vintage condition, bearing witness to the enduring relevance of Rodrigues’ vision.

George Nakashima (USA, Washington 1905-1990 Pennsylvenia) Cushion chair with arms, 1960s Black American cherry, upholstery 77.5 x 74.3 x 86.4 cm Produced by George Nakashima Studio Includes a digital copy of the order card Provenance: Craighead family

Produced by the Nakashima Studio in the 1960s, this lounge chair exemplifies George Nakashima’s refined craftsmanship and harmony between form and material. Its spindled back recalls Windsor traditions, while the tapered legs and clean geometry express his modern sensibility. Upholstered in white linen, the chair combines warmth and elegance, standing as a rare and timeless piece from one of the most influential American designers of the 20th century.

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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

Litxókó figure Karajá tribe, early 20th century Rio Araguaia valley, Brazil Wood, pigments and vegetal fibers H 52 cm

Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby’s auction, Paris, collection BarbierMueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l’admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52 272

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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

Eduard Hildebrandt (Poland, Gdańsk 1818-1868 Berlin, Germany) Cormorants at Sunset over the Arctic, 1852 Oil on canvas 80 x 90 cm Signed and dated lower right Provenance: private collection, France

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Charles-Alexandre Debacq (Paris, 1804-1850) The Temptation of Saint Anthony, 1831 Oil on canvas 106 x 79 cm Signed lower left Exhibition: Paris, Salon of 1831 275

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

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Raoul De Keyser (Deinze, 1930-2012) Untitled, 1967 Oil on canvas 120 x 150 cm

Literature: ‘Raoul De Keyser: early works. Catalogue of paintings 19641980’, Publ. Walther König, Keulen 2024, n° RDK-67 ill.

Provenance: acquired from the artist; private collection

Exhibition: Beervelde 20 km: Roger Raveel, Lucassen, Raoul De Keyser, Elias Kaleidoskoop, Gent 1967; ‘Raoul De Keyser’, Gal. M.A.S., Deinze 1967

Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 19352009 New York)

The Pont Neuf Wrapped (Project for Paris), 1985 Pencil, charcoal, pastel, wax crayon, and technical data 144 x 165 cm (overall)

Provenance: Wolfgang Volz collection; private collection Literature: Christo and Jeanne-Claude: Water Projects, Silvana 2016, p. 167

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

Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box: one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins.

Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.

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Wooden chef-d’oeuvre of the Compagnonnage France, 19th century Walnut, maple and mohogany wood H 185 cm Provenance: former private collection, France A fine, rare and large 19th century wooden exhibition model, the chef-

d’oeuvre of a master carpenter of the Compagnonnage. These models were made to show the technical expertise and skill of the master carpenter. The Compagnonnage is an old French guild with roots in the 12th century.

In the 18th century, they incorporated symbols and rituals, many of which were borrowed from Freemasonry to create an initiatory progression for its members.

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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

Pablo Picasso (Malaga 1881-1973 Mougins) Tasse et bananes, 1908 Oil on panel 27 x 21.3 cm Signed on the reverse, Picasso Provenance: Galerie Kahnweiler, Paris; Roger Dutilleul, Paris; Galerie Louise Leiris, Paris; Eugene and Dorothy Prakapas, New York; acquired from the above in November 2000; private collection, New York, thence by descent Literature: Françoise Cachin, Tout l’oeuvre peint de Picasso, 1907-1916, Milan, 1972, n° 169, pp. 95-96 (ill. p. 95); Pierre Daix and Joan Rosselet, Picasso: The Cubist Years 1907-1916, A Catalogue Raisonné of the Paintings and Related Works, London, 1979, n° 208, p. 229 (ill.; titled Cup and Fruit) Christian Zervos, Pablo Picasso. Oeuvres de 1906 à 1912, vol. 2, Paris, 1986, n° 100, pp. 48, 175 (ill. p. 48); Josep Palau i Fabre, Picasso Cubism (1907-1917), New York, 1990, n° 295, pp. 107, 499 (ill. p. 107; titled Cup and Tuber; dated 1909)

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Marc Chagall (Belarus, Vitebsk 1887-1985 Saint-Paul de Vence, France) L’hiver procession de Nöel (Les quatre saisons), 1974 Gouache, tempera, pastel, ink, coloured crayon and graphite on paper 63 x 90 cm Signed lower right ‘Marc Chagall’ This work is accompanied by a certificate of authenticity from the Comité Marc Chagall

Provenance: Pierre Matisse Gallery, New York, January 1975, acquired from the artist; private collection, Hawaii, 1984; The Hodge Companies, Thomas H. Wilson (Sausalito, California), 1987; private collection (Napa, California) by descent Exhibition: New York, Pierre Matisse Gallery, Marc Chagall, The Four Seasons, gouaches, paintings, 1974-1975, 1975, n° 16

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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

Woolly rhinoceros skull Approx. 50.000 years old 100 x 100 x 35 cm Origin: Siberia This woolly rhinoceros skull is approximately 50,000 years old, belonging to one of the most impressive mammals in the recent history of Northern Europe and Northern Asia.

There were even people who lived alongside these giants between around 30,000 and 15,000 years ago!

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Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 The piece was once part of the Membrini collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned ‘strahler’, a professional crystal hunter who explored the Alps.

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GALERIE TAMÉNAGA 18 Avenue Matignon I FR-75008 Paris t +33 (0)1 42 66 61 94 galerie@tamenaga.fr I www.tamenaga.com 6-5-39 Minami-Aoyama, Minato-Ku JP-107-0062 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 (0)755 32 3001 gtk@tamenaga.com

Marie Laurencin (Paris, 1883-1956) Deux fillettes et chien, 1942 Oil on canvas 46 x 55 cm Signed and dated lower left ‘Marie Laurencin 1942’ Provenance: private collection Literature: Beaux-Arts, Paris, 24-30 July 1952; Daniel Marchesseau, Marie Laurencin, Catalogue raisonné de l’œuvre peint, Tokyo: Marie Laurencin Museum, 1986, vol. I, n° 804, repr. p. 327

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Kyosuke Tchinaï (Japan, 1948) Fleur sacrée, 2025 Mixed media on washi paper mounted on wood panel 100 x 73 cm Provenance: the artist’s studio

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TASCHEN Place du Grand Sablon 35 I BE-1000 Brussels t +32 (0)2 513 80 23 I m +32 (0)489 27 95 24 h.vermeire@taschen.com I www.taschen.com

Salvador Dalí (Spain, Figueras 1904-1989) Dalí. BABY SUMO This collector’s edition of 10,000 numbered copies presents Salvador Dalí’s work in unprecedented size and detail and is accompanied by a chronology following his path from Catalonia through Paris to Hollywood and back, with photos, sketches, and magazine pages.

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Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America’s Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.

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TEMPLON 30 Rue Beaubourg I FR-75003 Paris t +33 (0)1 42 72 14 10 info@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 17 293 Tenth Avenue I US-New York 10001 t +1 212 922 3745

Hans Op de Beeck (Turnhout, 1969) The Musicians and the Moon, 2025 Watercolour on Arches paper 130 x 290 cm Unique Provenance: the artist’s studio

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Martial Raysse (Nice, 1936) Now, 2017 Acrylic on canvas 209 x 175.5 cm Unique Provenance: the artist’s studio

Literature: exhibition catalogue Martial Raysse: oeuvres récentes, Musée Paul Valéry, Sète, France, Ed. Loubatières 2023, ill. p. 151 Exhibition: Martial Raysse: œuvres récentes, Musée Paul Valéry, Sète France, 2023 289

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THE OLD TREASURY By appointment only I NL-Kerkrade m +31 (0)6 55 72 33 01 I m +31 (0)6 53 27 04 88 laura@theoldtreasury.nl I www.theoldtreasury.nl

Puppo di Puma brooch with moveable wings 18k yellow and white gold, enamel and circa 2.5ct brilliant-cut diamond Alessandria, Italy, circa 1990

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Van Cleef & Arpels necklace 18k yellow gold France, circa 1990

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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

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 César, alias César Baldaccini (Marseille 1921-1998 Paris) Hommage à Eiffel, 1989 Welded bronze Bocquel foundry 280 x 200 x 55 cm Signed and numbered Provenance: acquired from the artist in 1990 Literature: P. Restany, César, éd. De la Différence, Paris, 1988, p. 65 and p. 328 (Monumental version of Cartier Foundation, photography in progress); B.-H. Lévy, César, les bronzes, Éditons de la Différence, Galerie Baubourg, Paris, 1991, p. 24; César, Oeuvres de 1947 à 1993, Musée de Marseille, Réunion des Musées Nationaux, Marseille, 1993, p. 159; César, Galerie Enrico Navarra, Paris, 1996, pp. 76-77; César, Museu Brasileiro da Escultura Marilisa Rathsam, São Paulo, 1999, p. 212; Paris, Centre Georges Pompidou, César la rétrospective, December 2017March 2018, p. 173; Archives Denyse Durand-Ruel, n° 4499 Exhibitions: Marseille, centre de la Vieille Charité, César, oeuvres de 1947 à 1993, July-September 1993, p. 159; Monte-Carlo, César à Monte-Carlo, May-September 1993, (unnumbered); Luxembourg, Dexia Banque Internationale, Hommage à César, October-December 2000, p. 70; Cannes, La Malmaison, César, l’oeuvre de bronze, July-October 2002, p. 86; Travelling exhibition: Cannes, parvis du palais des Festivals, JulySeptember 2002; Geneviève, Galerie Artrium, September-December 2002; Rabat, Musée Mohammed VI d’Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015-March 2016, reproduced in colour p. 68 and p. 70

Arman (Nice 1925-2008 New York) Untitled, 1992 Accumulation of tea kettles Gouache, charcoal, and pencil on Mulberry paper 164.5 x 131.5 cm Provenance: acquired from the estate of the artist

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UNFORGET DECORATIVE ARTS By appointment I BE-Brussels m +32 (0)475 58 19 66 hello@unforget.eu I www.unforget.eu

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 Line Vautrin (Paris, 1913-1997) Crète de coq mirror, circa 1965 Talosel inlaid with mirror fragments H 50 x W 41.5 cm Diameter at sight of the central witch: 10 cm This work is accompanied by a certificate of authenticity issued by the Line Vautrin Committee

Ado Chale (Brussels, 1928-2025) Dining table, circa 1970 Resin top inlaid with carnelian agate stones H 71.5 cm - Ø 173 cm This work is accompanied by a certificate of authenticity issued by Ado Chale

Convex witch mirror with radiant decoration of incised Talosel, inlaid with polychrome mirror tesserae (red, gold, copper, silver). The spiral composition evokes a bristling and dynamic cockscomb.

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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

Hubert Le Gall (Lyon, 1961) Parade, 2024 Couple of grues - cabinet Bronze, gilt and brown patina, glass shelf Cast in 2025 H 210 x W 120 x D 55 cm Original artist edition monogramed, numbered and signed ‘le Gall’ 296

Roger Godchaux (Vendôme 18781958 Paris) Toomai des éléphants or Le Retour de chasse au tigre (1928 or earlier) Circa 1932 H 57.5 x W 70.5 x D 22.7 cm Lifetime bronze signed ‘Roger Godchaux’ and numbered ‘2/15’ Old edition by ‘Susse Frères Éditeurs Paris’ (mark and seal), inscribed ‘cire perdue’

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VAGABOND ANTIQUES Joe Chaffer Market Square I UK-Petworth, West Sussex GU28 0AH m +44 (0)742 53 65 899 enquiries@vagabondantiques.co.uk I www.vagabondantiques.co.uk

Monumental carved marble Sundial Portugal, Oporto region, mid-18th century H 357 x W 130 x D 62 cm Portugal has a rich tradition of country houses and manors indigenously known as solares or quintas. Some were modelled on the great 18th century gardens of Le Notre and other landscape architects in France. Under King João, himself a great patron of the arts, began the great 18th century period of Portuguese baroque. The previous austere architectural style, albeit heavily influenced by Renaissance Italy, was replaced with exuberance.

With great profits from its colonies and especially gold and precious stones from Minas Gerais and the Sertão of São Paulo in Brazil, it was the golden era of Portuguese architecture and ornament.

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Pair of Roman console tables Roman Neoclassical period, circa 1770 Veneer, Sienna marble, Breccia Africana marble H 90 x W 112 x D 56 cm Provenance: previously in the collection of Cardinal Vincenzo Vannutelli (18361930), Dean of the College of Cardinals; thence by descent; collection of the fashion designer Stefano Gabbana 299

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GALLERY SOFIE VAN DE VELDE Nieuw Zuid I Léon Stynenstraat 21 I BE-2000 Antwerp info@sofievandevelde.be I www.sofievandevelde.be

Karin Hanssen (Antwerp, 1960) Waiting Room, 1996 Oil on canvas 50 x 60 cm

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Wassily Kandinsky (Moscow 1866-1944 Neuilly-sur-Seine) Kleine Welten, 1922 The Little Worlds consists of twelve prints, including six colour lithographs, four etchings (drypoint), and two woodcuts on Japanese paper, accompanied by a title page and a colophon page Each print is signed and numbered on the colophon page 30/30 (12 prints) 36.4 x 27.8 cm (sheet size) Produced in 1922, this is one of

30 deluxe copies on Japanese paper, published by Propyläen Verlag, Berlin, and printed at the Staatliches Bauhaus in Weimar Literature: Hans Konrad Roethel, ‘Kandinsky: Das Graphische Werk’, Dumont, Cologne, 1970, ill. pp. 164-175; Helmut Friedel et Annegret Hoberg, Kandinsky. ‘Das druckgraphische Werk, Complete Prints, Städtische Galerie im Lenbachhaus und Kunstbau’, Munich, 2008-2009, ill. pp. 225-23

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VAN HERCK-EYKELBERG Kardinaal Mercierlei 11 I BE-2600 Antwerp m +32 (0)491 16 65 22 contact@van-herck.com I www.van-herck.com

Asger Jorn (Denmark, Jutland 19141973 Aarhus) The girl and the bird, 1940 Oil on canvas 44 x 69 cm Signed and dated lower right Literature: Guy Atkins, Jorn in Scandinavia 1930-1953, London, 1968, n° 156, ill. p. 333 Exhibitions: 13 kunstnere i telt, Bellevue, Copenhagen, 17 May-8 June 1941, cat. n° 61; Jorn, Arken Museum for Moderne

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Kunst, Ishøj, Denmark, 14 September 2002-19 January 2003, Cobra Museum voor Moderne Kunst, Amstelveen, The Netherlands, 7 February-27 April 2003 and Kunsthalle zu Kiel, Germany, 17 May-10 August 2003, cat. n° 8, ill. cat. p. 56 (in colour); Jorn-Picasso.

Myter og Møder. Myths & Meetings’, Museum Jorn, Silkeborg, 7 September8 December 2013, cat. n° 6, ill. cat. p. 72 (in colour); Cobra Museum voor Moderne kunst, Amstelveen, The Netherlands, 2013

Yayoi Kusama (Japan, Matsumoto 1929) Nets 61, 1998 Acrylic on canvas 38 x 45 cm Certificate of authenticity from the Yayoi Kusama Foundation

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SAMUEL VANHOEGAERDEN GALLERY Zeedijk 785 I BE-8300 Knokke-Zoute m +32 (0)477 51 09 89 info@svhgallery.be I www.svhgallery.be

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 Bram Bogart (Delft 1921-2012 Sint Truiden) Hooigang, September 1964 Mixed media on canvas, mounted on wooden panel 106 x 124 cm Signed, dated and titled on reverse

Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse

Provenance: D & R Hughes, London, 1989; private collection, Belgium

Provenance: private collection, London

Literature: Bram Bogart, The early years, 1951-1965, D & R Hughes, 1989, ill. n° 49

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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

Philippe Vandenberg (Ghent 19522009 Brussels) Composition, 1987 Oil on canvas 160 x 210 cm Signed and dated at the back Certificate of authenticity signed by the artist Provenance: private collection, Antwerp 306

Théo Van Rysselberghe (Belgium, Ghent 1862-1926 Le Lavandou, France) Ile du Levant, circa 1904 Oil on panel 30 x 41.4 cm Signed with monogram bottom left Provenance: Foundation Catherine Gide; private collection, Brussels Literature: Feltkamp, 2003, réf. 1924034, p. 441; Catalogue de l’exposition, Bruxelles, La Haye, 2006, p. 258; Théo Van Rysselberghe, l’instant sublimé, Museé de Lodève, 2012, p. 99; Théo Van Rysselberghe, Intime, 2005, p.65; Théo Van Rysselberghe, Bozar Books by Fonds Mercator & Palais Des BeauxArts, Belgian Art Research Institute, 2005, p. 229 Exhibitions: 2005, TVR, Intime, Espace Culturel, Le Lavandou, n° 37; 2006, Brussels, La Haye, without number, p. 229

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MAURICE VERBAET GALLERY Deken de Winterstraat 40 I BE-2600 Berchem m +32 (0)479 88 10 31 info@verbaet.com I www.verbaet.com

Paul Van Hoeydonck (Antwerp 19252025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm

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Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287

Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 202512 October 2025

Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Hommage à Fontana, 1959 Oil, collage on canvas 50 x 60.5 cm Provenance: Hans Liechti, Grenchen; private collection, Switzerland Literature: Willy Van den Bussche and Léonore Verheyen, Retrospective Jef Verheyen 1932–1984 (Ostend/Bruges: PMMK – Provincial Museum of Modern Art / Stichting Kunstboek, 1994), p. 76 Exhibitions: Retrospektive Jef Verheyen 1932-1984, Josef Albers Museum Quadrat, Bottrop, 10 July-4 September 1994; Retrospectieve Jef Verheyen 1932-1984, PMMK Museum voor Moderne Kunst Ostende, 26 March13 June 1994 309

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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 t +41 (0)78 238 76 07

Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed ‘soulages’

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Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie’s, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l’œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)

Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)

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AXEL VERVOORDT Stokerijstraat 19 I BE-2110 Wijnegem t +32 (0)3 355 33 00 info@axel-vervoordt.com I www.axel-vervoordt.com

Ptah-Sokar-Osiris figure Egypt, Ptolemaic period, circa 332-30 BC Painted wood and gesso H 53 cm Provenance: private collection Jean Martin-Roch, France, acquired before 1936; thence by descent; Rouillac Cheverny, 13 June 2014, lot 15; Sotheby’s, New York, 8 December 2015, lot 32

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Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93

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GALERIE DINA VIERNY 36 Rue Jacob I FR-75006 Paris t +33 (0)1 42 60 23 18 contact@galeriedinavierny.fr I www.galeriedinavierny.fr

Jean Degottex (Sathonay-Camp 19181988 Paris) Et dix mille choses..., 1958 Oil on canvas 197 x 133 cm Provenance: private collection, Paris

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Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist’s monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London; Galerie Dina Vierny, Paris (acquired from the above in 2025) Literature: W. George, Les albums d’art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated ‘circa 1902’); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l’âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53

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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

Giampaolo Babetto (Italy, 1947) Pair of geometric earclips, circa 2009 24k yellow gold with niello and red pigment Each clip is composed of four square plates in brushed gold: one coated with red pigment and the other with niello Signed Babetto

Tank bracelet 18k yellow and rose gold French, circa 1940s Makers mark and French assay mark for 18k gold Total weight 113.8 gr 316

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GALERIE FLORENCE DE VOLDÈRE 134 Rue du Faubourg Saint-Honoré 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

Jacob Grimmer (Antwerp, 1525-1590) Winter landscape Oil on panel 37.3 x 51 cm Provenance: Antonie Palamedes Stevens (1601-1673), painter and collector; private collection, Austria; sale Versailles, 1937; private collection, Paris; sale Galliera, Paris, 29 November 1973, n° 20, 21, 22, 23; private collection, Brussels Literature: R. de Bertier, Jacob et Abel Grimmer, 1991, ill. pp. 104-108

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Received as a master of the Guild in 1547, Jacob Grimmer is amongst the great pioneering painters in the history of Northern painting. A contemporary of Pieter Bruegel the Elder, he shared with him a passion for nature; like him, he painted from life, and his works are filled with realism and genuine emotion.

It is through the recurring theme of the seasons in his work that Jacob Grimmer expresses his innovative vision of the landscape, where shifting atmospheric moods adapt to everyday and secular scenes.

Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob.

Founder of a famous family of artists, he contributed, along with his followers,

to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.

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N. VROUYR 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

Mekhitar Garabedian (Syria, Aleppo 1977) I copied this in a hurry and wrote in large letters (carpet) Pile: wool and silk, warp and weft: cotton 120 x 120 cm Provenance: handmade in Nepal For the design of this carpet, and the edges of the image in particular, Mekhitar Garabedian has reinterpreted Armenian medieval miniatures. The decorative patterns were the monks’ preferred place to improvise and deviate from the norm. By appropriating various visual and textual sources, Garabedian explores the fragility of heritage.

Kinheim rug Dutch rug produced in the workshops of Kinheim (Beverwijk), circa 1930, after 1926 Handknotted wool 530 x 405 cm Signed at the back ‘KON. KINHEIM BEVERWYK’ Provenance: Beverwijk, Holland 320

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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

Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs.

294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121

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Jan Josefsz. van Goyen (Leiden 1596-1656 The Hague) Winter landscape with skaters, elegant figures and kolf players on the ice in a village Oil on panel 13.6 x 26.8 cm Signed and indistinctly dated lower left ‘I.V. GOYEN. 162.‘

anonymous sale, Sotheby’s, London, 1 March 1992, lot 36 (£ 101,200); John Mitchell, London, from 1993; anonymous sale, Christie’s, Amsterdam, 20 November 2012, lot nr. 68 (211.000 Euro); Johnny van Haeften Ltd., London, from 2014 (ref. VP4577), acquired from the previous owner; private collection, The Netherlands

Provenance: anonymous sale, Drouot, Paris, 21 March 1874, lot 23 (Frs. 510), erroneously as a pendant to the consecutive lot; collection Comte de Camondo, Galerie Georges Petit, Paris, 1 February 1893, Lot 6 (Frs. 1.700), were acquired by W. Gretor; anonymous sale, Drouot, Paris, 18 February 1895, Lot 13 (Frs. 750), were acquired by Lange; collection G. Forbes, London (according to Dayot and Hofstede de Groot); sale Jules Cronier, Galerie Georges Petit, Paris, 11 March 1908, Lot 88 (Frs. 1,200); with Kleinberger, Paris; collection Eugène Max, Paris, from 1911 to 1927; Grange, Paris; private collection, Paris, from 1965;

Literature: Dayot, A. (1911), Grands & petits maîtres hollandais, exhibition publication, Paris, n° 42; Martin, W. (1918), Alt-Holländische Bilder, Berlin, p. 51, fig. 25; Hofstede de Groot, C. (1927), A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, London, Vol. VIII, p. 294, n° 1170; Beck, H.-U. (1972), Jan van Goyen 15971656, Amsterdam, Vol. II, p. 46, n° 88 (illustrated, erroneously as a pendant to n° 244) Exhibitions: Paris, Salle du Jeu de Paume, Grands & petits maîtres hollandais, 28 April-10 July 1911, n° 40 bis; TEFAF Maastricht, 2014

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GALERIE WATTEEU BY EDOUARD & ANDREA DE CATERS Rue Watteeu 19 I BE-1000 Brussels m +32 (0)496 54 41 63 galeriewatteeu@gmail.com I www.watteeu.be

Max Ingrand for Fontana Arte (Bressuire 1908-1969 Paris) Pair of wall lights Mod N° 2240, 1960s Brass and glass H 30 x W 22 x D 15 cm Literature: P. E. Martin-Vivier, Max Ingrand du verre à la lumière, p. 213

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Ilmari Tapiovaara (Finland, Tampere 1914-1999 Helsinki) Bookcase for La Permanente Mobili Cantù, 1950s Teak and painted wood H 201 x W 341 x D 33 cm

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VICTOR WERNER Schuttershofstraat 21 I BE-2000 Antwerp m +32 (0)486 67 79 68 info@victorwerner.be I www.victorwernergallery.com

Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection

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Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed ‘Permeke’ lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time

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WHITFORD Adrian Mibus Open during exhibitions or by appointment Rue du Vieux Marché aux Grains 11 I BE-1000 Brussels m +44 (0)7771 98 36 55 I m +32 (0)471 83 45 64 info@whitfordfineart.com I www.whitfordfineart.com

Joseph Lacasse (Tournai 18941975 Paris) Recherche Incarnation, 1938 Oil on canvas 81 x 65 cm Signed, dated and inscribed on verso Lacasse estate inventory number Dia n° 823 Certificate of authenticity by Mrs. Joostens-Koob Provenance: the artist’s estate

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Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20

Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel

and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d’Art Moderne et d’Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d’Art Moderne et d’Art Contemporain de Nice 329

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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

Bernard Buffet (Paris 19281999 Tourtour) Chevalier d’Henri III, 1998 Oil on canvas 130 x 89 cm Signed and dated This painting is sold with a photocertificate of authenticity from the Galerie Maurice Garnier, Paris Provenance: Galerie Maurice Garnier, Paris; private collection, Germany (acquired from the above 2000); sale, Christie’s London, 21 June 2012; private collection, Hong Kong Literature: Y. Le Pichon & M. Garnier, Bernard Buffet, 1982-1999, vol. III, 2007, Switzerland, n° 1261 (ill. p. 552)

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Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled ‘The Red House’); Y. Farinaux-le Sidaner, Le Sidaner: L’oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86

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Looking slowly with Cezanne The recent retrospective at the Art Institute of Chicago and Tate Modern, London, raised fundamental questions about the ways that Paul Cezanne expressed in paint the sensations aroused in him by his subjects, or ‘motifs’. This personal response to a selection of works shown in the exhibition endeavours to suggest some answers. by paul smith

C

ezanne looked long and hard at his own paintings in what he described in a letter of 25th January 1904 to Louis Aurenche as a ‘painfully’ difficult attempt to achieve the ‘realisation’, or satisfactory expression in paint, of his ‘sensation’.1 Émile Bernard recalled a conversation with Cezanne on this topic, which took place in 1904 in front of the still life that was the last painting in the London iteration of the recent Cezanne exhibition, the heavily reworked Three skulls on a patterned carpet (cat. no.140; Fig.25). His valuable account is worth quoting at length: He was at work on a canvas representing three skulls on an oriental rug. He had been working on it for a month, every morning, from six o’clock until ten-thirty [. . .] ‘What eludes me’, he told me [. . .] ‘is realisation’ [. . .] I saw him agonise, for the entire month I was in Aix, over this painting of skulls, which I consider his testament.

The colours and shapes in this picture changed on an almost daily basis, but when I arrived in the studio it could have been taken from the easel as a finished work all the same. In all truth, his way of working was a meditation with the brush in hand.2 Given the attention Cezanne bestowed on his paintings, it is appropriate that they were displayed in this exhibition in a manner calculated to facilitate what Frances Morris, director of Tate Modern, described in her speech at the opening of the exhibition in London as ‘slow looking’.3 The wall space devoted to each work was accordingly more generous than usual, and often considerable. Sometimes only one pair of paintings occupied an entire wall, and in the first room there was only one painting I am grateful to Gloria Groom, Caitlin Haskell, Kimberley Muir and Richard Shiff for sharing their observations on the works in the Chicago exhibition, and to Anna Gruetzner Robins, Paul Hills, Jason Gaiger and Elisabeth Reissner for their thoughts about those in the London iteration. I must also thank all at the Art Institute of Chicago, and Natalia Sidlina and Michael Raymond at Tate Modern, for making it possible for me to examine the paintings at my leisure. I am

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greatly indebted to the Leverhulme Trust for awarding me a Major Research Fellowship for my project ‘Unfolding vision: Cezanne’s “way of seeing”’, some of the research for which appears in this article. The catalogue for the exhibition contains an embarras de richesses in the form of valuable contextual essays by the curators, searching technical analysis by the Chicago conservators, a set of provocative responses by contemporary artists, a series of subtle

on each. This was a bold and laudable strategy, particularly as the visitor was offered over one hundred works to look at (several of which have never been exhibited in the United Kingdom before). It is, of course, no more possible to take in all of these in one visit than it is to read (let alone digest) a similar number of verses by Cezanne’s favourite poet, Baudelaire. So, what follows will take its cue from the hang, and will dwell instead on a few typical works, or on paintings that demonstrate something important about seeing or painting to the artist.

The exhibition was organised along broadly chronological lines (with the exception of the first room), but it focused attention on particular genres – landscape, still life, portrait, figure subjects and bathers – for the most part by assigning separate rooms, or walls, to each. This clever strategy made it possible both to follow Cezanne’s development (inasmuch as this is possible with something so sporadic) and to pick out the similarities that gave each genre some measure of cohesion.

Room 1 (‘Introduction’) featured Basket of apples (no.56; Fig.1), one of a relatively small number of paintings that Cezanne signed. This he normally did only when he sold them or gave them away, or exhibited them – in this case at Ambroise Vollard’s gallery in Paris in 1895. A signature is therefore a good indicator that Cezanne considered a painting had reached a stage where it gave reasonably good shape to his ‘sensation’, without implying that it was finished in the normal sense. It is no great surprise, then, that this painting is relatively thinly painted in many places, and notably around the signature itself. It nevertheless exhibits several features that typify Cezanne’s still-life practice. Most obviously, it contains a discontinuous horizontal edge in the form of the tabletop, which is lower at the left than where it emerges at the right from behind and delightful writings by contemporary poets, and a number of helpful charts and tables. In this article all translations are the author’s own. In line with recent scholarship on the artist, the acute accent has not been used on Cezanne’s name since he wrote his name as ‘Cezanne’ rather than ‘Cézanne’. The older usage is retained in references.

1 ‘réalisation’, ‘péniblement’, ‘sensation’, J. Rewald, ed.: Paul Cézanne: Correspondance, Paris 1978, p.298. See

Exhibitions the white cloth. The large black bottle also slopes alarmingly towards the left, as objects routinely do in Cezanne’s paintings. Looking attentively at the surface of the paintings sometimes reveals the marks that embody the decisions motivating so-called distortions of this kind. And here, it is clear that the leftward slant became increasingly pronounced as Cezanne built up the paint.4 (The underdrawing of the tabletop is still visible in the area of the tablecloth, but this is too patchy to allow conclusions about its relationship to the final painted object.)

Although such idiosyncratic features are pronounced in Cezanne’s work, they have attracted little serious attention – if, that is, formalist arguments about the decorative ambitions they embody cannot be taken

also É. Bernard: ‘Paul Cézanne’, L’Occident 32 (1904), pp.17–30, at p.23; and A. Vollard: Paul Cézanne, Paris 1914, p.87.

2 ‘Il était à l’ouvrage d’une toile représentant trois têtes de mort sur un tapis d’Orient. Il y avait un mois qu’il y travaillait tous les matins, de six heures à dix heures et demie [. . .] “Ce qui me manque, me disait-il [. . .] c’est la réalisation” [. . .] je le vis peiner, durant tout le mois que je fus à Aix, sur ce tableau des têtes de mort, que je

3 The exhibition was at Tate Modern, London, 5th October 2022–12th March 2023. It was previously shown at the Art Institute of Chicago, 15th May–5th September 2022. Catalogue: Cezanne.

Edited by Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina. 244 pp. incl. 219 col. ills. (Art Institute of Chicago and Tate, distributed by Yale University Press, New Haven and London, 2022), £32.

ISBN 978–18–497–6805–4.

considère comme son testament. Ce tableau a changé de couleur et de forme presque chaque jour, et quand j’arrivai dans son atelier on eût pu cependant le retirer du chevalet comme un ouvrage suffisant. Véritablement son mode d’étude était une meditation le pinceau à la main’, É. Bernard: ‘Souvenirs sur Paul Cézanne et lettres inédites’, Mercure de France (1st October 1907), pp.386–404, at p.394, and (16th October 1907), pp.606–27.

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1. Basket of apples, by Paul Cezanne. c.1893. Oil on canvas, 60 by 85 cm.

(Art Institute of Chicago).

at face value. Perhaps the most fertile explanation of them is the one Anton Ehrenzweig offered in an unjustly ignored essay of 1953, which is that they express an almost ‘gestalt-free’ form of perception, or how things look before we group their parts together into seamless perceptual wholes corresponding to continuous objects.5 And indeed, Cezanne told the artists R.P. Rivière and Jacques Schnerb, who visited him in 1905: ‘I do not make an ensemble’, by which he meant a well-proportioned unity.6 Ehrenzweig surmised that Cezanne succeeded in disassembling the ready-made character of perception by staring fixedly at things. And it 4 On this phenomenon, see R. Ratcliffe: Cézanne’s Working Methods and their Theoretical Background, unpublished PhD thesis (University of London, 1960), pp.129–59.

5 A. Ehrenzweig: ‘Cézanne’s distortions and peripheral vision’, in idem: The Psycho-Analysis of Artistic Vision and Hearing, London 1953, pp.193–215. For an analysis of Ehrenzweigs’s ideas on Cezanne, see P. Smith: ‘Cezanne’s unconstructive line’, in J. Geskó, ed.: exh.

cat. Cezanne to Malevich: Arcadia to Abstraction, Budapest (Museum of Fine Arts) 2021–22, pp.44–55.

6 ‘je ne fais pas l’ensemble’, R.P. Rivière and J. Schnerb: ‘L’atelier de Cézanne’, La Grande revue (25th December 1907), pp.811–17, at p.813.

The theory of the ‘ensemble’ was elaborated in C.H. Watelet: Art de peindre: Poëme. Avec des reflections sur les différentes parties de la peinture, Paris 1760, pp.74–83.

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presence of well-known but magisterial canvases by De Chirico (Le Chant d’amour; Love song; 1914; Museum of Modern Art, New York) and René Magritte (La Durée poignardée; Time transfixed; 1938; Art Institute of Chicago) makes the viewer realise just how destabilising Surrealist juxtaposition must once have been.

After a transitional gallery in which a set of Ernst’s collages from the series La Femme 100 têtes (The hundred headless women; 1929) and Alberto Giacometti’s sculpture Table (1933; Centre Pompidou) are brought into odd alignment, the hybridity of Surrealist imagery is explored further in the next large section, ‘Chimeras’.

This includes an array of cobbledtogether creatures, exemplified by a collection of cadavre exquis drawings.

A portrait from Walpole’s miniature cabinet

Florence (today known as the Palazzo del Rosso), then owned by Niccolò Vitelli (1687–1747), Count of Montegualandro and Marquis of Bucine.16 After Vitelli’s death in 1747 and the sale of the palace contents, Mann acquired the portrait of Cappello for Walpole and sent it to him in 1754.17 This painting showed Bianca in later life and apparently was unfinished, her hands not fully defined.18 It is untraced, but two other images of Cappello owned by Walpole and bought by him in Florence are now known.

The first is a watercolour (Fig.3), which is part of a series created after a set of wall hangings at the Villa Medicea del Poggio Imperiale, Florence.19

Known as paramenti, these hangings were conceived by Jacopo Ligozzi (1547–1627) and featured portraits of five grand duchesses of Florence: Eleonora of Toledo, Johanna of Austria, Bianca Cappello, Christine of Lorraine and Maria Magdalena of Austria, along with a portrait of Maria de’ Medici, Johanna of Austria’s daughter and the wife of King Henri IV of France.20 The original hangings were made after existing portraits in the Medici collections and are official representations of these historical figures. Walpole’s watercolour, therefore, can be considered an accurate portrayal of the grand duchess, and it is consistent with other known

The German artist Unica Zürn is given deserved prominence with a set of three automatist drawings, of which the shimmering, pastelcoloured Untitled (La serpenta) (The serpent; 1957; private collection) is outstanding. A place is also found for the lesser-known Swiss artist Kurt Seligmann, represented by the large Magnetic mountain (1948; Art Institute of Chicago), a phantasmagoria of phantoms assembled from shreds and tatters.

The next section, ‘Alice’, focuses, as the title suggests, on the Surrealist cult of childhood. Works

by Dorothea Tanning, including Eine kleine Nachtmusik (A little night music; 1943; Tate) and Portrait of a family (1954; Centre Pompidou) set the tone, the latter constituting a

witty psychoanalytic satire of family dynamics, picturing a monstrous patriarch at dinner, looming over his wife and daughter. A room is also dedicated to Tanning’s installation Chambre 202, Hôtel du Pavot (1970) with its uncanny stuffed mannequins.

Arguably this might have been displayed to greater advantage later in the show, alongside Hans Bellmer’s La Poupée (The doll; 1935–36; Centre Pompidou), which surely must have partly inspired it. But, as already noted, chronology is not a central concern of the exhibition.

As it progresses, the mood of the show begins to chime with more current sociopolitical themes. ‘Political Monsters’ concentrates on the antifascist commitments of Surrealism.

This large section includes direct

29. L’ange du foyer (Le Triomphe du surréalisme), by Max Ernst. 1937.

Oil on canvas, 117.5 by 149.8 cm. (© AGAGP, Paris; private collection; photograph Vincent Everarts)

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celebration of all the ‘women that have contributed as writers, editors, models, as fashion designers and critically as readers’ (p.170).

Although her determination, creativity and collaborative nature undoubtedly played a part when it came to commissions, it was Yevonde’s use of colour that established her reputation in her lifetime and secured her place in the history of photography. Her brightly hued images impart a striking glow, with electric blues and fiery reds impressing themselves on the eye with such insistence that one could mistake

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them for backlit transparencies.

Among the newly discovered works is an innovative self-portrait (Fig.21) that demonstrates Yevonde’s interest in ‘art of the past and present’ (p.28) as well as in establishing her own status as an artist. The first work to greet the visitor in the form of a photographic wallpaper, it shows Yevonde staring directly into the camera, which she has propped up on a copy of Herbert Read’s Art Now (1933). Wearing a bright red jacket against a sky blue background, the artist herself appears to be emanating a glow. The rich colours in these

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21. Self-portrait with Vivex OneShot Camera, by Yevonde. 1937. Tricolour separation negative, modern print exhibited.

(National Portrait Gallery, London).

images are characteristic of the Vivex colour process, a technique Yevonde adopted in the early 1930s. Developed by the inventor Douglas Arthur Spencer in 1929, it requires ‘threecolour separation negatives, capturing colour using red, green and blue filters on the camera under natural light conditions’ (p.82). The separate filters, which combine to form one high-quality colour print, leave their traces along the photograph’s edges; usually cropped off for reproduction, they are visible in a number of works in the exhibition, alternating in strips of phosphorescent reds and blues, but also brilliant greens, yellows and pinks.

In the 1930s colour was not particularly popular in the photographic community; not only was it, as Yevonde observed, ‘very complicated’ and ‘vilely expensive’ (p.78), but it was not considered a serious medium. There was, especially among male practitioners, what the artist and writer David Batchelor has identified as ‘chromophobia’, a ‘fear of corruption through colour’ that he has traced back through generations of Western artists, art historians and cultural theorists.4 Parallels have often been drawn between colour and the feminine, ‘the superficial, the supplementary, the inessential or the cosmetic’.5 Although such prejudices are occasionally hinted at in the exhibition’s wall labels or catalogue texts, they were never an obstacle to Yevonde’s grand ambitions. On the contrary, colour was not only popular among the readership of women’s magazines, it also helped Yevonde to secure commissions from members of the royal family. Among softer pastel portraits, the reds and blues of the robe of Lord Mountbatten (1937) and the aquamarines of Princess Krishna’s sari (1937) leap off the surface of the prints. A noteworthy work in this section is Yevonde’s portrait of the grandsons of Muhammadu Dikko, the 47th Emir of Katsina (Fig.20). Like her photographs of George Bernard Shaw (1937) and Edward James (1933), patron of the Surrealists, her portrait of the two boys is strikingly contemporary in feel, both in the manner in which they have been posed as well as the

Leonardo da Vinci’s Burlington House Cartoon: a new hypothesis

by PER RUMBERG in 1939 kenneth clark discussed the two versions of the Virgin and Child with St Anne by Leonardo da Vinci: the painting at the Musée du Louvre, Paris (c.1501–19), and the cartoon in London, then still at the Royal Academy of Arts in Burlington House and now at the National Gallery (Fig.1). He concluded: ‘By common consent the Burlington House cartoon is one of Leonardo’s most beautiful works, and it is even excluded from Mr Berenson’s anathema’.1 Despite this ‘common consent’, the origin and date of the Burlington House Cartoon, as it has since become known, has puzzled scholars for generations. Many have suggested that it dates from around 1499–1500 and that it represents an earlier, preliminary stage of the cartoon famously described by Fra Pietro da Novellara in his 1501 letter to Isabella d’Este (1474–1539).2 In 1950 Arthur Popham was the first to suggest a slightly later date; more recently, Carmen Bambach has argued convincingly, on technical as well as stylistic grounds, that it must have been made in 1506–08, when Leonardo was in Milan, and that it was in fact an independent project.3 This proposition raises again the questions: why did Leonardo make the cartoon, and for whom?

The Burlington House Cartoon is made up of eight sheets of paper glued together, which have been lined with canvas. Leonardo prepared the surface with a reddish-brown ground of iron oxide. He worked up the composition in charcoal, adding highlights in white chalk and paying careful attention to the modelling of the figures and especially the heads; other areas, such as the feet or the pointing hand of St Anne, remain unresolved.

Although some of the modelling was reinforced at a later date, the extremely high degree of finish seen in the figures, and in particular the heads, is unusual for a full-scale cartoon, which would normally be used to transfer the outlines of individual figures. Not pricked and therefore probably never transferred, the Burlington House Cartoon does not have the appearance of a functional cartoon but perhaps can best be described as a full-scale presentation drawing, or ‘ben finito cartone’.4 928

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The presence of both the infant St John the Baptist and St Anne provides a significant clue for a possible context for such a presentation piece. St John the Baptist is the most important patron saint of Florence and, as has rightly been pointed out, St Anne, too, was associated with the Florentine Republic. In 1343 the despotic ruler of Florence, Walter of Brienne, was driven out of the city on St Anne’s feast day, the 26th of July, which was subsequently declared a public holiday to mark the occasion.5 Even if Leonardo made the cartoon in Milan, the presence of the two saints, especially as they rarely appear together, strongly suggests a Florentine connection.

One often-mentioned context in this discussion is the high altar of SS. Annunziata, Florence. According to Giorgio Vasari, upon his return to Florence in 1500 Leonardo took on Filippino Lippi’s (c.1457–1504) commission for the double-sided altarpiece. Vasari’s assertion, however, has rightly been called into question.6 Filippino died on 18th April 1504 and, on the 5th of August 1505 the commission was transferred to Pietro Perugino (1446–1523), who completed the double-sided altarpiece; the Descent from the Cross is now at the Galleria dell’Accademia in Florence, while the Assumption of the Virgin is still in situ in the church of SS. Annunziata.

Neither relates to Leonardo’s practice in the early 1500s. But there was another Florentine altarpiece Filippino worked on at the time. In 1498 the Signoria had commissioned him to paint an altarpiece for its recently constructed council hall, the Sala del Gran Consiglio, in the Palazzo della Signoria (now known as the Palazzo Vecchio). By the time Filippino died in April 1504, only the frame for this altarpiece, carved by Antonio da Sangallo the Elder (1453– 1534), had been delivered.7 The Signoria waited for over six years, until 26th November 1510, to reassign the commission to Fra Bartolommeo (1472–1517). The latter began work on the panel but, following the fall of the Republic and the return of the Medici in 1512, never finished it; by 1513 he had completed only the monochrome underpainting (Fig.2), now in the Museo Nazionale di San Marco, Florence.8

In the contract, the Signoria explicitly expressed the desire that Fra Bartolommeo was to paint the altarpiece ‘eo modo et formis’ (‘in the same manner and form’) as Filippino.9 The unfinished altarpiece shows the Virgin and Child surrounded by various saints, all of whom are associated with the Republic of Florence. Most significantly, the central group of the Virgin and Child is accompanied by St Anne and the infant St John the Baptist. The latter is seen kneeling to the left, reaching for the Christ Child’s foot, while St Anne is seated behind them, gazing upwards. Interestingly, Fra Bartolommeo’s preparatory drawings for the altarpiece reveal alternative ideas for the central group, including one with the infant St John the Baptist to the far right, as in the Burlington House Cartoon.10 Leonardo was employed by the Signoria from October 1503 onwards, working on the cartoon for the Battle of Anghiari in the Sala del Papa in S. Maria Novella, Florence.

Several payments over the course of the following year indicate that he had made progress preparing the cartoon for his mural, and by June 1505 he had started painting in the Sala del Gran Consiglio. In 1506 he was summoned by Charles II d’Amboise (1473–1511), the French Governor of Milan. According to an agreement with the Signoria dated 30th May 1506, Leonardo was to return to Florence within three months to complete work on the mural, and he left a deposit at the Ospedale di S. Maria Nuova, Florence.

On 18th August Charles II d’Amboise wrote to the Signoria to negotiate an extension for the artist’s return to Florence. Further letters between Geoffrey Carles, Vice-Chancellor of the French court in Milan, and the Signoria on 19th and 28th August discuss an extension of Leonardo’s stay in Milan until September. On 9th October Piero Soderini (the ambassador to the Kingdom of France), clearly growing impatient with the situation, wrote to Carles, lamenting that Leonardo ‘has not behaved as he should have with this republic, because he has taken a good portion of the money and has made a small beginning of a large work he was supposed to do’.11 Further correspondence in January 1507 between Francesco Pandolfini, on behalf of the Signoria, and Florimond Robertet, Secretary of State of the King of France, as well as King Louis XII himself records the mounting tension over Leonardo’s 1. Virgin and Child with St Anne and the infant St John the Baptist (the Burlington House Cartoon), by Leonardo da Vinci. c.1506–08. Charcoal with white chalk on paper, mounted on canvas, 141.5 by 104.6 cm. (National Gallery, London).

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