This section will be available this Autumn.
Waddington Custot
Barry Flanagan (Prestatyn 1941-2009 Santa Eulària des Riu) Large Troubador, 2004 Bronze, cast 2019 185 x 140 x 114 cm Edition of 8 + 3 AP (AP 2) Stamped with the artist’s monogram, casting date and edition number ‘f-/19 AP 2/3’ and foundry mark Provenance: Plubronze Limited (the Estate of Barry Flanagan) Literature: Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, n° 29 (rep. in colour p. 63) (1/8 catalogued); Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl 137) Exhibitions: ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June-24 September 2006, catalogue p. 160 (rep. in colour) (3/8 exhibited); ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February-31 March 2007 (3/8 exhibited); ‘Barry Flanagan: Sculptures 2001-2008’, Waddington Galleries, London, 30 April-23 May 2008, catalogue n° 7 (rep. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited); ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September-28 October 2012 (AP 1/3 exhibited); ‘Barry Flanagan’, IKON, Birmingham, 18 September-24 November 2019 (rep. in colour in catalogue on p. 2-3, 5, 88) (another edition exhibited outside); ‘Mayfair Sculpture Trail’, London, 1-31 October 2020, catalogue n° 8 (rep. in colour p. 41) (AP 2/3exhibited)
Maison d'Art
Santi di Tito (Borgo San Sepolcro 1536-1603 Florence) Holy Family with Saint Joseph reading and the Young Saint John the Baptist Oil on wood panel 93.4 x 68.3 cm Provenance: property sold by Order of the Trustees of Mrs. Hue-William Property Settlement and The Executors of. Mrs. Hue-Williams estate; sale Sotheby's Old Master Paintings, 20 April 1994, as Florentine School, 16th century, The Holy Family, lot 138
Epoque Fine Jewels
Van Cleef & Arpels Art Deco bracelet, circa 1925 Platinum and diamonds Total diamond weight: approx. 30 ct Signed Van Cleef & Arpels and numbered The rhythmic, continuous wave motif creates a strong sense of movement and symmetry, characteristic of the refined geometric elegance of the Art Deco period. The dynamic repetition of the wave forms evokes the era’s fascination with speed, progress and technological innovation, reflecting the visual language of the Machine Age, in which streamlined motion and modern engineering inspired both architecture and the decorative arts. This impression of forward movement is reinforced by the uninterrupted horizontal flow of the design, giving the bracelet a distinctly modern and energetic presence. Executed in platinum, the bracelet displays exceptional craftsmanship and meticulous stone setting, allowing maximum brilliance while preserving the lightness of the openwork structure. The scroll-like abstraction of natural forms into repeating patterns exemplifies the Art Deco ideal of transforming organic movement into elegant modern geometry.
Bernier/Eliades
Tony Cragg (Liverpool, 1949) Stand, 2025 Corten steel 115 x 36 x 108 cm He was a professor and the Universität der Künste Berlin (2001-2006), taught at the Kunstakademie Düsseldorf (1978-2001) before serving as its Director (2009-2013), and held the Chaire de Création Artistique at the Collège de France in Paris (2013-2014). Cragg was elected a Royal Academician in 1994, represented the United Kingdom at the Venice Biennale in 1988, and received the Turner Prize the same year. He was appointed Commander of the Order of the British Empire in 2002, received the Praemium Imperiale for Sculpture in Tokyo in 2007, was awarded the First Class Order of Merit of the Federal Republic of Germany in 2012, and was knighted in 2016. This year, Cragg is set to receive the European Culture Prize 2026 at the Royal Concertgebouw in Amsterdam. He is also the founder of Waldfrieden Sculpture Park in Wuppertal, where he exhibits works from different artists and different generations, such as Rebecca Horn, Berta Fischer, Anthony Caro, Heinz Mack, and Joseph Beuys, among others.
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
Stéphane Renard Fine Art
Maerten de Vos (Antwerp, 1532-1603) The Four Elements: Air, Earth, Water and Fire, 1579 Pen and brown ink wash on laid paper 10 x 13.8 cm (each drawing) The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon, France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529-532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV-XLVI, 1360-1364).
Heutink Ikonen
Year Icon (Menologion) Russia, late 19th century Egg tempera on gesso on linen-covered wood 35.5 x 30.5 cm Provenance: private collection, Germany This beautifully painted year icon (menologion) brings together the entire Orthodox liturgical year in a single composition. The twelve months are divided into separate sections, each depicting the saints and feast days commemorated throughout the calendar year. At the centre of the composition is the Anastasis (the Resurrection of Christ), surrounded by scenes relating to the Church’s movable feasts, including the Ascension and Pentecost, as well as scenes from Christ’s Passion. Along the edge are numerous venerated images of the Mother of God - each associated with its own feast day in the church year. This icon stands out for its unusually compact size. Despite its modest dimensions, the painter has succeeded in incorporating an exceptionally extensive iconographic programme without compromising on clarity or refinement. Hundreds of figures, scenes and inscriptions are depicted with remarkable precision and virtuosity. Thanks to its good preservation, even the smallest of details remain clearly visible.
Dr. Nöth kunsthandel
Raoul Dufy (Le Havre 1877-1953 Forcalquier) Cérès au bord de la mer, 1928 Gouache on paper 49.5 x 63.5 cm Signed lower center Certificate of authenticity by Fanny Guillon-Laffaille This work will be published in the forthcoming catalogue raisonné des 4Aquarelles, gouaches and pastels' currently in preparation Provenance: Hartford, Wadsworth Atheneum 1959, n° 24; Fr. Gershwin Godowski collection, Sotheby´s New York, 12 May 1999, lot 373
Galeria Jordi Pascual
Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Painting III, 1960 Acrylic and pastel pencil on canvas 92 x 65 cm Certificate of authenticity issued by ADOM Provenance: Galerie Maeght, Paris; Galerie Adrien Maeght, Paris; private collection, Barcelona Literature: Dupin, J. Miró, Flammarion, 1961, nº 928, p. 554; Dupin, J., Lelong-Mainaud, A. Joan Miró, Catalogue raisonné, paintings, volume IV: 1959-1968, Polígrafa, 2010, nº 1118; Weelen, G. Miró. Nouvelles Éditions Françaises, 1984, nº 8, p. 9 Exhibitions: Grand Palais, Paris, 1974, cat. nº 77; Villeneuve d'Ascq, Musée d'Art Moderne, cat. nº 16
Epoque Fine Jewels
Van Cleef & Arpels Pair of earrings (clip fittings), 1971 18k yellow gold, diamonds , corals and chrysoprase 8.5 x 1.87 cm Signed VAN CLEEF & ARPELS and numbered An exceptional pair of gem-set earrings by Van Cleef & Arpels, made in 18 karat yellow gold, each composed of a large coral cabochon at the top, surrounded by brilliant-cut diamonds and chrysoprase cabochons. Each earring suspends a striking tassel featuring a domed coral cap set with brilliant-cut diamonds, from which hang seven strings of chrysoprase beads interspersed with rose-cut diamond rondelles. The strings terminate with coral and gold beads. Total diamond weight: approximately 12 ct. These Van Cleef & Arpels earrings from 1971 are exceptionally rare, embodying unparalleled craftsmanship and luxury. The bold combination of coral, chrysoprase and diamonds is both exquisite and uncommon, while their intricate tassel design reflects the golden era of Haute Joaillerie. Signed and numbered by one of the most prestigious jewelry houses, they are true collector’s items, akin to owning a piece of history - ‘Elizabeth Taylor-level’ rare.
Heutink Ikonen
‘Weep not for Me, Mother’ Russia, mid 17th century Egg tempera on gesso on linen-covered wood 31 x 26 cm Provenance: private collection, Belgium; Morsink Ikonen, Amsterdam Among the most moving images of Orthodox art is the icon known as ‘Weep Not for Me, Mother’. Its title is drawn from the liturgy of Holy Saturday, where Christ addresses his grieving mother from the tomb: 'Weep not for Me, O Mother... for I shall arise and be glorified…' The icon depicts a moment between the crucifixion and the Resurrection: the profound silence of Holy Saturday. Christ stands or rises from the tomb, whilst the Mother of God tenderly embraces him and mourns for him. The intensity of their encounter lends the image an extraordinary emotional power. Although the scene may remind Western viewers of the Pietà, its spiritual focus is different. Whilst the Pietà centres on the grief of the Blessed Virgin, ‘Weep Not for Me, Mother’ looks forward to Easter and the promise that death does not have the final say.
Heutink Ikonen
Two angels of the Lord Central Russia, circa 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
La Galerie URBAN
Camille Pissarro (Les Antilles, Saint-Thomas 1830-1903 Paris) Baigneuses, 1895 Oil on canvas 38.5 x 46 cm Signed and dated lower right 'C. Pissarro. 95' This work is listed in the artist's catalogue raisonné under n° 1102 Provenance: Jeanne Pissarro-Bonin, Paris (daughter of the artist); Georges Urion, Paris; Sale Collection d'un amateur, G. Urion, Paris, Hôtel Drouot, 16 May 1934, n° 15 (ill.); Bergaud Collection (acquired at the above sale); Doctor Louis Boidin, Paris; Piasa Paris sale, 24 June 2009, p. 17, n° 15; Private collection, Paris Literature: L.R. Pissarro, L. Venturi, Camille Pissarro: son art, son œuvre, Paris, 1939, vol. I, n° 902, vol. II, pl. 183; C. Kunstler, Camille Pissarro, Milan: Fabbri, 1974, p. 67; J. Pissarro, C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Skira, Wildenstein Institute Publications, 2005, vol. III, p. 696, n° 1102. Exhibition: Pictures by Camille Pissarro, London, Stafford Gallery, October 1911, n° 21 or 27
Anthony Short Antiques Ltd.
Very Fine Mid 18th Century George II Period Burr Walnut Secretaire Chest-on-Chest or Tallboy A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior. Height 192cm (75.6in) Width 103cm (40.6in) Depth 55cm (21.7in)
Finch & Co
Ancient Celtic bust of a radiate deity ‘Sol Invicta’ wearing a Halo of the Rays of the Sun Limestone British, 1st century BC-1 st century AD H 42 x W 40 x D 20 cm Provenance: private collection, West Country, UK; Finch and Co, item n° 1, catalogue n° 30, Summer 2018; private collection Comparative reference: Dr Anne Ross, ‘Pagan Celtic Britain’ n° 916, for a similar 'stone radiate deity'
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October-13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January-16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007-2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009-22 February 2010
Marty de Cambiaire
Hans Rottenhammer (Munich 1564-1625 Augsburg) Minerva and the Muses, 1606 Oil on copper 32.8 x 39.4 cm Signed with a monogram and dated '1606/ HR' on the rock, centre right Provenance: said to have belonged to the Earl of Roseberry, Mentmore, Buckinghamshire; private collection, Danbury, Connecticut; Jean-Luc Baroni Ltd., London, 2011; Charles Petit collection, London, 2011; Sotheby’s, London, 8 July 2015, lot 39; private collection Literature: Bernard Aikema, in 'Hans Rottenhammer', exhibition catalogue, Munich, 2004, p. 38, repr. fig. 55; Jean-Luc Baroni, 'Master Paintings at the Tefaf Art and Antiques Fair', cat. 2011, n° 8
Galerie bei der Albertina ▪ Zetter
Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983; Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987
Galerie Haesaerts-le Grelle
Gustave Serrurier-Bovy (Liège 1858-1910 Antwerp) Pair of armchairs ('ouvrier' series), circa 1904 Oak, black-painted iron and woven straw H 93 x W 50 x D 50 cm Produced by 'Serrurier et Cie' Literature: F. Bigot du Mesnil du Buisson & E. du Mesnil du Buisson, Serrurier-Bovy 'un créateur précurseur' 1858-1910, Paris, Faton, 2008 p. 150; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Bruxelles, 1986, pp. 88-89 A true manifesto of Gustave Serrurier-Bovy’s principles, this pair of armchairs, illustrated in Art Décoratif in 1904, embodies the foundations of the artist’s thinking. Functionality, clarity, simplicity of materials and lines - the use of oak and a backrest secured with simple iron screws, initially functional and subsequently decorative, together with a rush seat - are all characteristic of his approach. His commitment to serial production, allowing his work to reach a wider audience, further demonstrates his progressive vision. Together, these elements place Gustave Serrurier-Bovy at the forefront of modernity.
