This section will be available this Autumn.
Anthony Short Antiques Ltd.
An Exceptional 18th-Century George III Period Mahogany 6-Door Breakfront Secretaire Library Bookcase Stamped Gillows of Lancaster A magnificent late 18th-century George III period six-door breakfront library bookcase, in beautifully figured mahogany of exceptional quality. The moulded cornice sits above six astragal-glazed doors enclosing fully adjustable shelves, providing generous and elegant book storage. The lower breakfront centre section is fitted with a superb secretaire drawer, finely veneered and opening to reveal an arrangement of compartments beneath a sliding, tooled leather-inset writing surface, complete with concealed secret compartments. Below are six richly figured mahogany panelled doors, each opening to adjustable shelving, all raised on a moulded plinth base. The central drawer is stamped “Gillows of Lancaster,” as shown in the accompanying photograph. The bookcase displays outstanding colour and patina throughout, and its impressive scale, refined proportions, and the exceptional quality of the timber strongly suggest that it was made as a special commission. The Gillow family were among the most important British cabinetmakers of the 18th and 19th centuries, renowned for their superb craftsmanship, use of the finest woods, and designs that combined elegance with practicality and often ingenious mechanical details. Unusually, the firm operated both from Lancaster and from their London branch (opened in 1770), cementing their reputation and influence at the very forefront of British furniture making. A highly important, showstopping library piece for the serious collector. Height 252cm (99.2in) Width 340cm (133.9in) Depth 64cm (25.2in)
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.
Franck Anelli Fine Art
Jacob ROTIUS HOOM (1644-1681) Bouquet of Flowers Oil on canvas, 69 x 56 cm Tulipes, roses, une iris, une pivoine, un pavot, des framboises et d'autres fleurs dans un vase sur une corniche de pierre dans une niche, signé et daté en bas à gauche : R... FA°1674, Provenance: Private collection, Austria, since the late 19th century; thence by descent to the present owner
Jan Muller Antiques
Juriaen Jacobs (Hamburg 1624-1685 Leeuwarden) A mother and her children, 1659 151 x 113 cm Signed an dated 'J. Jacobs 1659' Inventoried on the RKD n°216993 Provenance: Warberg collection, Oslo, 1948; Braunschweigh, Herzog Anton Ulrich-Museum n° 809 (1983) Literature: Henrik Lungagnini, 'Der Hamburger Maler Juriaen Jacobsz. 1624–1685: Leben und Werk' (PhD diss., 1970), 232-33
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.
Willow Gallery
André Lhote (Bordeaux 1885-1962 Paris) Pique-nique à Mirmande, 1939 Oil on paper, laid down on canvas 106 x 127 cm Signed lower right Certificate of authenticity issued by Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation Provenance: Simone Lhote, Paris (wife of the artist); Suzanne Bermann, Paris (by descent from the above); Soufer Gallery, New York (acquired from the above, 1988); acquired from the above by the late owner, March 1991; private collection, Chicago Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Bernardini Milano
Patek Philippe, Geneva Rare waterproof chronograph in rose gold, 1945 Reference 1463, 'Tasti Tondi', bearing a uniquely spotless two-tone rose dia Provenance: previously unknown to the market The reference 1463, known in the collector’s community as 'Tasti Tondi' (round pushers). This is a very sought after version of Patek’s chronograph produced between the early 40’s and mid 60’s. This watch is complete of its appropriate extensible Gay Frères bracelet. This is one of the best-preserved examples to have appeared in recent years.
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
Marjan Sterk Fine Art Jewellery
Van Cleef & Arpels Lion brooch, 1972 18k yellow gold, green agates and onyx H 62 x W 43.3 mm Total weight 37.7 gr Signed Van Cleef & Arpels Manufactured in Paris, dated and numbered Provided with the original case An eighteen carat yellow gold brooch depicting a lion with wide-spreading mane, eyes of navette cabochon-cut green agates, and a nose carved from onyx.
Galerie Jean-François Cazeau
Niki de Saint Phalle (1930-2002) La Force (Strenght), 1987 Painted polyester resin 35 x 53,3 x 29,2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
Stern Pissarro Gallery
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Coco mangeant sa soupe, 1905 Oil on canvas 46.3 x 37.9 cm Signed lower right 'Renoir' Provenance: Ambroise Vollard, Paris; private collection, Zurich, circa 1930; Fine Arts Gallery of San Diego, March 1942 (on loan from a private collection); Dalzell Hatfield Galleries, Los Angeles, 1943-1949; Van Diemen-Lilienfeld Galleries, New York, 1953; Chapin and Mary Alexander Riley, Malibu/Worcester, acquired in 1953; Worcester Art Museum, Massachusetts (inventory n° 1991.238) (one third gifted in 1992 and a second third gifted in 1997) Literature: Principales acquisitions des musées en 1992, Gazette des Beaux-Arts, 1993, p. 65; Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, n° 3415, p. 435 Exhibitions: Amsterdam, Stedelijk Museum, Vincent van Gogh en zijn Tijdgenooten, 1930, n° 269; San Diego, Fine Arts Gallery, 1942; Los Angeles, Dalzell Hatfield Galleries, Renoir (1841-1919), 1943, n° 5; Los Angeles, Dalzell Hatfield Galleries, A Superb Exhibition: Modern French Masters, 1949, p. 5 (travelled to New York, Barbizon Plaza Hotel); Madrid, Museo Thyssen-Bornemisza, Renoir: Intimidad, 18 October 2016-22 January 2017, p. 149 (travelled to Bilbao, Museo de Gellas Artes de Bilbao, 7 February-15 May 2017)
Galerie Perrin
Eduard Gaertner (Berlin 1801-1877 Flecken Zechlin) Rue Neuve, Notre Dame in Paris, 1826 Oil on canvas 44 x 34.5 cm (unframed) 65 x 54 cm (framed) Signed, located and dated lower right 'E. Gaertner fec / Paris 1826' Provenance: collection Jérôme Carcopino; thence by descent (in the same family)
Galerie des Modernes
Jean Dubuffet (Le Havre 1901-1985 Paris) Personnage (buste) M. 406, 29 March 1967 Marker pen and gouache on paper with cut and pasted elements 45.5 x 26 cm Signed with the artist’s initials and dated lower right Annotated lower right Provenance: Jean Dubuffet collection, Paris; Ludovic Massé collection (1900–1982), Perpignan (gift from the artist, March 1968); private collection, France Literature: Max Loreau, 'Catalogue des Travaux de Jean Dubuffet, Fascicule XXII: Cartes, Ustensiles', Weber Publisher, Lausanne, 1972, pp. 145 and 188, ill. p. 145, n° 371
Galerie Oscar De Vos
Frits Van den Berghe (Ghent, 1883-1939) The companions, 1932 Oil on canvas 150 x 130 cm Signed lower right 'FVBerghe 32' Provenance: Alla and Bénédict Goldschmidt collection, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr. 1, 1940, p. 4; Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp. 99-110, cat. 55; Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, n° 5-6, 1948, pp. 240-242, pl. 55; Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, n° 689; Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), n° 396; Langui, Het Expressionisme in België, 1970, pl. 81, p. 128; Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164; Boyens, Frits Van den Berghe, 1999, pp. 161, 233, n° 132; Boyens, Frits Van den Berghe, 1999, p. 290, n° 753; Pauwels, Als een fonkelenden spiegel, 2019, pp. 296-297 Exhibitions: Frits Van den Berghe en Joseph Cantré, 1933, Ghent, n° 6; Belgisk Konst, 1934, Stockholm, n° 204; Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, 1934, Oslo, n° 204; Hedendaagse Belgische Kunst, 1937, Moscow & Leningrad, n° 9; Les Compagnons de l'Art, 1938, Brussels, n° 187; Deurle 6 July 1997 (The Deurle Conversation), 1997, Deurle; 1999, Ostend, Retrospectieve Frits Van den Berghe, n° 132