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Vagabond Antiques
After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Château De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.
Galerie Patrice Trigano
Philippe Hiquily (Paris 1925-2013 Villejuif) La Maja délurée, 1987 Patined bronze H 50 x W 46 x D 14 cm Signed and numbered Edition of 8 + 1 AP + 3 HC Bocquel Foundry Literature: Beaux-Arts n° 72, October 1989; Georges Marti, Les Nouvelles de Tahiti, 'Le sculpteur Hiquily doit son succès aux américains', 10 March 1990; Pierre Cabanne, (ed.), Hiquily-Bronzes et mobilier, De la Différence, 2005, pp. 32 and 47; Catalogue raisonné: Philippe Hiquily, 1948-2011, vol. 1, 2012, p. 304 Exhibitions: FIAC 89, 7 to 15 October 1989, Grand Palais, Paris, presented by the Galerie Patrice Trigano; 'Paris-Concrémiers, le chemin de la mémoire et de l’inspiration, quatre expositions personnelles de Philippe Hiquily, Colette Portal, Michel Lebrun et François Leteuil', Espace Art Brenne, Prigny-Concrémiers, Le Blanc, 8 June-8 September 1991
Univers du Bronze
Antonin Mercié (Toulouse 1845-1916 Paris) Gloria Victis, circa 1880-1912 Bronze with richly shaded brown patina and gilt highlights H 187 x W 112 x D 91 cm Reduction n° 1 (3/5 from the original) Signed 'A.Mercié' and bears the founder's mark 'F. Barbedienne Fondeur' Presented as chief-model with assembly and mounting pins parts, like the one described in the Barbedienne catalogue raisonné (Rionnet, 2016): 'En janvier 1912, le sculpteur autorise l’éditeur à monter en épreuve et à mettre en vente le modèle n°1' (In January 1912, the sculptor authorised the publisher to produce a proof and put Model n° 1 on the market). A second example in this size is currently on display at the Musée des Augustins in Toulouse.
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze, 1859 Inspired by James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the King of Portugal (Lisbon Palacio Nacional da Ajuda)
Marjan Sterk Fine Art Jewellery
Hemmerle Pair of coral earrings 18k yellow gold, oxidised copper, corals and pink sapphires Signed Hemmerle, and made in Munich A pair of eighteen carat yellow gold earrings, each comprising a coral button on the ear, suspending a tassel of numerous strands of coral, mounted in a cap pavé-set with pink sapphires.
Klaas Muller
Jan Boeckhorst (Münster 1604-1668 Antwerp) Henri IV at the Battle of Ivry, 17th century Pen and brown ink, watercolour and gouache, heightened with white and red wash on paper 20 x 29.1 cm The gallery is grateful to Stijn Alsteens of the Fondation Custodia for his attribution of the drawing to Jan Boeckhorst In 1622, Maria de' Medici signed a contract with Rubens for two series of twenty-four paintings. The first series depicted her own life story, the other the heroic deeds of her husband: Henri IV. As was his custom, Rubens worked on this commission together with some of his pupils and assistants. The successful king had been assassinated 12 years earlier whilst riding through Paris in an open carriage. He had brought an end to the fierce civil war between Protestants and Catholics and did not shy away from doing the heavy lifting on the battlefield himself. What was intended to be a tribute to one of France’s bravest leaders turned out to be a damp squib. Due to turmoil at court, the series about the famous battle near Paris remained unfinished. This dynamic and finely worked drawing captures the dramatic moment of the Battle of Ivry (1590), where King Henri IV led his forces to a decisive victory during the French Wars of Religion. Executed in pen and brown ink and enriched with watercolour and gouache, the composition is animated by vigorous movement and strong contrasts of light and shadow. The artist heightens the scene with touches of white and red wash, emphasising the glint of armour, the energy of the horses, and the intensity of the clash. The central figure of Henri IV, mounted and illuminated, commands the composition, surrounded by swirling troops and fallen adversaries. Ethereal figures above the battlefield introduce a sense of divine favour, a motif often associated with royal propaganda of the period. Despite its relatively intimate scale, the sheet conveys remarkable grandeur and narrative force, making it a compelling example of late 16th‑ to early 17th‑century battle imagery.
Laurent Schaubroeck
Paul Evans (USA, Newtown 1931-1987 Nantucket Island) and Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental wall unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provenance: Martin Brooks, Doylestown Wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.
Willow Gallery
Georges Mathieu (Boulogne-sur-Mer 1921-2012 Boulogne-Billancourt) Forêts attentives, 1989 Alkyd on canvas 147 x 115 cm Signed and inscribed on the reverse Certificate of authenticity issued by Mr. Jean-Marie Cusinberche Provenance: Galerie Guy Pieters, Belgium; private collection, Brussels; private collection, Savoie; sale, Maison R&C, France, 17 July 2021, Lot 93; private collection, Europe
Artimo Fine Art
Cesare Lapini (Florence, 1848-after 1890) La Sorpresa (Surprise), White Carrara marble H 128 x W 36 x D 48 cm Signed 'C. LAPINI' Provenance: private collection, Belgium Literature (related to the model): Torino e l’Esposizione italiana del 1884, Cronaca Illustrata, Part IV, Turin, Roux e Favale and Fratelli Treves, 1884, p. 45, model illustrated; Angelo De Gubernatis, Dizionario degli artisti italiani viventi, pittori, scultori e architetti, Florence, 1889, p. 580, model mentioned Exhibition: model presented in Turin at the Esposizione Generale Italiana, 1884 Description: In La Sorpresa, Cesare Lapini captures the moment when a young woman, surprised in her intimacy, delicately gathers the folds of her nightdress. Her subtle smile and lowered gaze convey a delicate ambiguity between modesty and coquetry. When presented in Turin in 1884, the model was associated with the myth of Diana surprised bathing by Actaeon. The finely rendered lace, the fluidity of the drapery and the delicate treatment of the figure’s flesh tones demonstrate the sculptor’s virtuosity and the refinement of the Florentine school in the late 19th century.
Dries Criel
EOS Ring Sandblasted 18kt yellow gold and natural white diamonds Inspired by Eos, the Greek goddess of the dawn. She who brings the first light of day, casting a golden glow across the horizon before the world awakens. A symbol of renewal, radiance, and quiet transformation. Crafted in sandblasted 18kt yellow gold, the ring carries a serene warmth. Its matte surface evokes the first rays of morning light diffused through the atmosphere - gentle, luminous, and timeless. Rather than reflecting light sharply, the gold seems to hold it within, creating a subtle glow that feels both ancient and contemporary. At its centre rests an elongated, natural, step-cut diamond. Surrounding white diamonds accentuate the composition, enhancing the contrast between the softness of the gold and the crystalline purity of the central stone.
Victor Werner
Louis Tuaillon (Berlin, 1862-1919) Stag, circa 1912 Bronze garden sculpture with natural green patina H 110 x W 90 x D 32 cm Signed ‘Louis Tuaillon’ on the base Bears the foundry ‘Martin u. Piltzing Hofbildgiesser Berlin’ A neoclassical bronze sculpture depicting a stag in a standing sentinel pose. This design was acquired in 1912 by the prominent art philanthropist Eduard Arnhold for his private estate in Hirschfelde (Brandenburg), where a large-scale version still stands today as a public monument.
Gallery Sofie Van de Velde
Cy Twombly (USA, Lexington 1928-2011 Rome) Untitled, Captiva Island, Florida, 1974 Gouache and pastel on a collage of paper and graph paper, on paper 75 x 106 cm Signed, dated, and inscribed 'Captiva ‘Feb 74’ on the reverse Provenance: Galerie Yvon Lambert, Paris; Pierre Horay collection, Paris; Heiner Bastian Fine Art, Berlin; acquired from the above by the present owner Literature: Y. Lambert, Cy Twombly: Catalogue raisonné des œuvres sur papier, vol. VI, 1973-1976, Milan, 1979, n° 110 (ill. p. 115); N. Del Roscio, Cy Twombly Drawings, Catalogue raisonné, Vol. 6, 1972–1979, Munich, 2016, n° 114 (ill. in colour p. 108) Exhibitions: Paris, Galerie Yvon Lambert, Cy Twombly, April-May 1974; Seattle, Richard Hines Gallery, Cy Twombly: Paintings and Drawings, July-August 1980
Desmet Fine Art
Pietro Simoni da Barga (Florence, active 1574-1588) (Attributed) A fallen man-A Titan Florence, circa 1570-1590 Bronze, All’Antica patina H 11 x W 20 x D 12 cm Art Loss Register: S00213873 Provenance: probably Cardinal Ferdinando de ’Medici, later Grand Duke Ferdinando I of Tuscany (1549-1609); Hugo Finaly (1844-1915); Madame Jenny Finaly (1850-1938); Villa Landau Finaly, Florence, by 1916; private collection, UK; private collection, The Netherlands Published: G. de Nicola, 'Notes on the Museo Nazionale of Florence-II', in: The Burlington Magazine, (December 1916, Vol. XXIX), pp. 368-69
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
Van Pruissen Asian Art
Ban'ura Shogo (Nanao 1901-1982 Kyoto) Paper and writing box with pea plant design Japan, 1950-1960 H 20.8 x W 32 cm Signed Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail-20th century Japanese lacquer from the Ben Janssens collection, 2021 Exhibition: Japan museum SieboldHuis, 2021
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)
