This section will be available this Autumn.
Heutink Ikonen
‘Weep not for Me, Mother’ Russia, middle of the 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.
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
Dei Bardi Art
Daniel Mauch (Circle of) Saint Peter Upper Rhine, circa 1490 Walnut bust 39.2 x 49.5 x 26 cm (with base) Provenance: private Rhenish collection Literature: Antlitz des Mittelalters Mittelalterliche Bildwerke aus rheinischem Privatbesitz, ed. Reinhard Karrenbrock and Claudia Lichte, with technical studies by Michael Rief and Ulrike Villwock, Rottweil/Aachen, 1999, n° 33, pp. 108–110 Exhibitions: Dominikanerforum, Rottweil, 31 October 1999-6 January 2000; Suermondt-Ludwig-Museum, Aachen, 4 March-21 May 2000
Pauline Janssen
Art Deco diamond bracelet, circa 1920 Set with old european cut diamonds. Estimated total diamond weight approximately 18.00-20.00 carats. Estimated centre diamond weight approximately 1.80 carats. Estimated weight of the two side diamonds approximately 1.50 carats each. Estimated total weight of the small diamonds approximately 0.75 carats. Estimated colour of the diamonds is K-L-M and estimated clarity is VS-SI. Diamonds are bright & lively.
De Zutter Art Gallery
Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La clouleur spontanée', Le Mans, Musée de Tessé 2017-2018 and Musée de Pont-Aven 2018 Exhibition: CoBrA exhibition at the Royal Museum of Fine Arts of Belgium in Brussels 2008-2009
Ars Antiqua
Jan van den Hecke (Kwaremont, 1620 – Antwerp, 1684) Still life of fruit and flowers with a boy and a monkey in a garden landscape oil on canvas, 107.5 x 141 cm, frame 143 x 176 cm Published in RKD (n. 118274 (as formerly Jan van Huijsum)) Provenance: Sale, Charles Sedelmeyer, Paris, 25–28 May 1907, lot 87 (as Jan van Huysum); O. Jamart sale, Fiévez, Brussels, 11 December 1922, lot 65; Private European collection Literature: C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith, vol. 10, London 1928, p. 385, no. 237 (as Jan van Huysum); M. H. Grant, Jan van Huysum. 1682-1749, Leigh 1954, p. 30, no. 195 (as Jan van Huysum).
HELENE BAILLY MARCILHAC
Henri Martin (Toulouse 1860-1943 Labastide-du-Vert) La terrasse de Marquayrol au soleil du matin Oil on canvas 65.4 x 92.4 cm Signed lower left 'Henri Martin' This work will be included in the forthcoming catalogue raisonné of Henri Martin’s work, currently in preparation by Marie-Anne Destrebecq-Martin
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 Aquarelles, 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
HELENE BAILLY MARCILHAC
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Les colettes à Cagnes Oil on canvas 27 x 46 cm Signed lower right 'Renoir' This work will be included in the forthcoming digital catalogue raisonné currently in preparation by the Wildenstein Plattner Institute. Notice of inclusion dated 14 March 2000
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
WHITFORD
Joseph Lacasse (Tournai 1894-1975 Paris) Dominante Rouge (Dia 385), 1948-1950 Oil on canvas 130 x 89 cm Signed and dated upper left Signed, dated and inscribed on reverse Lacasse estate inventory Dia n° 385 Certificate of authenticity issued by Mme Joostens-Koob Provenance: the estate of the artist
Victor Werner
Svend Rathsack (Fredericia 1885-1941 Frederiksberg) Eve with the Serpent, 1941 Bronze garden sculpture with natural green patina H 128 x W 47 x D 37 cm Signed with the artist's monogram, dated '1941', and inscribed 'n°1' on the base Bears the foundry mark 'Lauritz Rasmussen, broncestøber, København' Provenance: acquired by the previous owner's aunt in 1941, where it remained in a garden in Charlottenlund until 2016; thence by descent
Argento Gallery
Jacob Fransz. van der Merck ('s-Gravendeel circa 1610-1664 Leiden) Portrait of a man with a skullcap, 1646 Oil on panel 72.5 x 56.5 cm Signed and dated upper right Provenance: private collection; Chorley’s Auctioneers, Cotswolds, 26 November 2025, lot 993 A portrait of an older man with a grey moustache, goatee and a skullcap. The painting is identified as a work by Jacob van der Merck on the basis of its style and signature. It closely resembles his signed male portraits from 1642-1648, painted during the period when he was principally based in The Hague.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99.1 x 190.5 cm Signed and dated on the back Provenance: the estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
Vagabond Antiques
Giocondo Albertolli (Bedano 1742-1839 Milan) (Attributed to) Milan, late 18th century Wall lights H 72 x W 45 x D 37 cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period.
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)
DIE GALERIE
André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleu) Oil on canvas L’École de la liberté, 1949 60 x 73 cm Signed and dated 'Jane Graverol 1949' Provenance: collection of his friend and artist Tom Gutt Literature: Xavier Canonne, Le surréalisme en Belgique: 1924-2000, Fonds Mercator, 2006; Le surréalisme en Belgique, Bozar Books, Fonds Mercator, 2024 Exhibitions: Le surréalisme en Belgique, Musée de Mons, March-August 2007; Histoire de ne pas rire, Bozar, Brussels, February-June 2024, ill. p. 221 Created in 1949, the year Jane Graverol met René Magritte, this work is an important example of the artist’s exploration of female identity and confinement. Graverol depicts herself inside a cage. The image reflects on women’s position in the mid-20th century, when social expectations strongly limited women’s independence. Yet, the open door suggests the possibility of emancipation and a desire to break away from prescribed roles. The painting was also repeatedly selected by the press to illustrate coverage of the Bozar exhibition. This artwork embodies something larger: the tension between the restrictions of an era and a woman’s desire to claim a space of her own. Full press references available on request.