This section will be available this Autumn.
Anthony Short Antiques Ltd.
Large Antler Coat Stand by J. Parker of Woodstock. England, circa 1850 A striking and rare antler and oak hall stand attributed to J. Parker of Woodstock, noted cabinetmaker and upholsterer active in the 1850s. The central pole bears a diamond registration plaque, dating the original design to 15 January 1852, when it would have been registered with the National Patent Office. Given the close proximity of Woodstock to the Blenheim Park Estate and its historic deer herd, it is highly likely that the antlers used in this piece originate from Blenheim. A closely related, documented example is held in the collection of the National Trust at Speke Hall, England. This wonderfully sculptural stand is composed of interlaced antlers and oak, forming an elegant rack for hats and coats. The lower section incorporates a basin for umbrellas and walking sticks, retaining its original tole liner, all raised on bun feet. The whole is mounted on a solid oak barley twist column, topped by a turned finial, lending both movement and architectural presence. Darkly toned with a rich, well developed patina, the stand embodies the lodge style aesthetic so prized in the late 19th-century. Robust hardwood construction and finely worked antlers demonstrate high quality craftsmanship and enduring stability. Antler furniture rose to prominence following the Great Exhibition of the Works of Industry of All Nations, London, 1851, where such pieces were presented as fashionable novelties of modern living. Designers such as the German horn carver and furniture maker H. F. C. Rampendahl helped to establish this distinctive genre, which was soon produced in series for an aspiring European middle class. Both practical and highly decorative, this unusual 19th-century antler and oak hall stand is ideal for an entrance hall, where it serves not only as a functional piece for coats, hats and umbrellas, but also as a true conversation piece and a statement of refined country house style. Height 210cm (82.7in) Diameter 57cm (22.4in)
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 x 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolising the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a 'Portrait of Society', a dream eventually realized at the artist’s retrospective Andy Warhol - From A to B and Back Again at the Whitney Museum in New York in 2018.
Verdini Antiques
Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: Almerinda Di Benedetto, 'The painted history: Domenico Morelli and the Sack of Capua' in Rosanna Cioffi, Ornella Scogliamiglio, MOSAIC, Themes and methods of art and criticism for Gianni Carlo Sciolla, vol. 2, Luciano Editore, 2012 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting 'Cesare Borgia in Capua', commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a 'drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight'. The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title 'Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw', obtaining enthusiastic judgments to such an extent that in the magazine 'Il Poligrafo' the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown 'certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods'. In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the 'very recent publication by Giancarlo Bova, Il sacco di Capua, July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre'. As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: 'the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough'.
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).
Galerie Flak
Goli Glin Buffalo Mask Baule, Ivory Coast, early 20th century Carved wood and pigments H 65.5 cm Provenance: Frank Crowninshield collection, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York; Jacques Seligmann Gallery, New York; collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s Exhibitions: Jacques Seligmann Gallery, New York, 'Exhibition of Sculptures of Old African Civilizations', 4-22 January 1936; Brooklyn Museum, New York, 'African Negro Art from the Collection of Frank Crowninshield', 20 March-25 April 1937
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed This work is registered in the Archives of the Fondation Hans Hartung & Anna-Eva Bergman under n° T 1966-E40 Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; private collection, Paris
Van Herck-Eykelberg
Léon Spilliaert The White Domino, 1912 India ink, gouache, crayon on paper on cardboard 88,5 x 67,5 cm (day) Signed and dated top right ‘L. Spilliaert / 1912’ Provenance - Ms Madeleine Spilliaert, Brussels - Ms. Irmingarde van Rossum, Brussel (2000) - 2016 Lokeren, De Vuyst, Moderne en Hedendaagse Kunst, nr. 163, cat. 163 - Private collection, Belgium Exhibited - 2000 Knokke, Casino, Léon Spilliaert (1881-1946). Onbekende werken. Oeuvres inédites. Unbekannte Werke. Unseen works, 06.05-18.06.2000; verlenging: 23.06-03.09.2000: cat. 41, ill. kl. p. 77 The work will be included in the forthcoming catalogue raisonné edited by Ms. Anne Adriaens Pannier
Galerie von Vertes
Marino Marini (Pistoia 1901-1980 Viareggio) Composizione, 1956 (conceived and cast before 1970) Bronze with brown and green patina (6/6) 20 x 14 x 8.5 cm Stamped on the base plate 'MM' Casts: 6 + 1 A.P. Provenance: Dominion Gallery, Montréal (after 1970); private collection, Canada; Finartis Kunsthandels AG, Zug; collection Gerard Valkier (acquired June 2004 from the above); Christie's, Paris, 20 October 2021, lot 15; private collection, Switzerland (acquired from the above) Literature: Franco Russoli, Marino Marini, pitture e disegni, Milan, 1963, n° 5 (ill., titled 'Der Sturz (kleine Bronze)'; Abraham M. Hammacher, Marino Marini: Sculpture, Paintings, Drawings, London, 1970, n° 245; Patrick Waldberg, Herbert Read and Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, n° 337; C. Pirovano, Marino Marini, Scultore, Milan, 1972, n° 343; 'Hommage à Marino Marini', in XXe siècle, Paris 1974, pp. 56-57 (another cast is illustrated); Mercedes Precerutti-Garberi, Marino Marini Alla Galleria D'Arte Moderna Di Milano, Milan 1973, p. 31; Cat. Omaggio a Marino Marini, XX. Siecolo, Milan 1974, pp. 56-57; Mercedes Precerutti-Garberi, Marino Marini, Guida al Museo-Galleria d'Arte Moderna, Milan 1984, p. 32 (ill. p. 164); Mario Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan 1997, p. 227, n° 89 (ill.); M. Meneguzzo, Marino Marini, Il Museo alla Villa Reale di Milano, Milan 1997, n° 30; Giovanni Carandente, Marino Marini, Catalogo ragionato della scultura, Milan 1998, p. 424, n° 422 (ill. p. 292)
DIE GALERIE
Christian Dotremont (Tervuren, 1922-1979) Zyzzling aardvark, 1972 Indian ink on Japanese paper 98 x 61 cm Signed and dated lower right 'Dotremont 1972' Titled lower left 'Zyzzling aardvark' Provenance: private collection Exhibition: Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025
Pelgrims de Bigard
Anthonie Verstraelen (Gorinchem 1594-1641 Amsterdam) Winter landcape with ice skaters by the city edge Oil on panel 43 x 71 cm Provenance: with kunsthandel P. de Boer, Amsterdam, 1937-1938; collection Ir. J. Th. Berkemeijer, Rotterdam, 1938; collection F.N. Meuter, 1972 (according to the label of P. de Boer attached to the reverse); with kunsthandel Waterman, Amsterdam, by 1982; with Palm Court Galleries, Baarn, 1999; private collection, the Netherlands Literature: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938, cat. n° 160, ill. 57; Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32, ill. p. 149; and ill. in Tableau, 15 February 1982 Exhibitions: Rotterdam, Museum Boymans van Beuningen, ‘Meesterwerken uit vier eeuwen 1400-1800, tentoonstelling van schilderijen en teekeningen uit particuliere verzamelingen in Nederland bijeengebracht gedurende de veertigjarige regeering van H.M. Koningin Wilhelmina’, 25 June-15 October 1938; Amsterdam, Kunsthandel P. de Boer, ‘Nederland water/land, de relatie tussen land en water in de Nederlandse schilderkunst van 1500 tot nu’, 13 January-19 February 1972, n° 38 (label attached to the reverse); Amsterdam, Kunsthandel Waterman, ‘Hendrick Avercamp 1585-1634, Barent Avercamp 1612-1679, Frozen silence, paintings from museums and private collections’, 1982, n° 32
Galerie Raf Van Severen
Elena Laverón (Spain, Ceuta, 1938) Pareja Sentada (Seating Couple), 1975 Cast bronze with dark patina H 170 x W 193 x D 116 cm Edition of 3 + 2 AP Literature: Antonio Abad, 'Elena Laverón, The flight of forms', 1987, p. 168; Juan Ibáñez Plaza (com.), 'de Elena Laverón', Roquetas de Mar (Almería), Ayuntamiento de Roquetas de Mar, 2008, p. 115; Real Academia de Bellas Artes de San Telmo de Málaga, Anuario 2016 (n° 16), Real Academia de Bellas Artes de San Telmo, 2016, p. 389; Tania Fernández de Toledo, Raya Fayad, Sotheby's France, 'UNESCO: La collection d'art', 2017, p. 431 Reference: in 1993, Pareja Sentada was installed at UNESCO's Bonvin building
Beck & Eggeling International Fine Art
Pablo Picasso (Málaga 1881-1973 Mougins) Femme au fauteuil I (Le manteau polonais), 1949 (16 January) Lithograph on Arches vellum 75.5 x 56.6 cm Signed lower right, numbered lower left, inscribed on the reverse '148, Pablo Picasso, Femme au Fauteuil I' Edition 45/50 (Mourlot, Paris) Provenance: Zürcher Kunstgesellschaft, Kunsthaus, Zurich; private collection, Switzerland (acquired 1954 during the exhibition 'Pablo Picasso im Kunsthaus Zürich', mentioned above); private collection (by descent); Germann Auktionen, Zurich, 25 June 2025, Lot 894; private collection, Berlin Literature: L.G. Buchheim, Pablo Picasso-aus dem graphischen Werk. Abbildungen nach Radierungen und Lithographien, Leipzig 1950, p. 42 (ill. full page b/w ill.); Fernand Mourlot, Picasso. Lithographie II, 1947-1949, Monte Carlo 1950, n° 134, p. 104, (ill. b/w p. 113); Pablo Picasso. Das graphische Werk, exhib. cat. Kunsthaus Zürich, Geneve 1954, n° 362 (not ill.); Fernand Mourlot, Picasso Lithograph, Éditions du livre, Paris 1970, n° 134, p. 109 (ill. b/w); Georges Bloch, Picasso. Catalogue de l'oeuvre gravé et lithographié 1904-1967, vol. I, Bern 1975, n° 586, p. 142 (b/w); Bernd Rau, Pablo Picasso. Die Lithographien, Stuttgart 1988, n° 386, p. 241 (ill. b/w); Ulrike Gauss (ed.), Pablo Picasso. Die Lithographie, Ostfldern-Ruit 2000, n° 413/134, p. 146 (ill. full page b/w)