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)
Snackers Antiques & Fine Art
Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus Antwerp, 1770 Carved wood and ivory H 57.5 x W 27 x D 11 cm Signed Accompanied by a CITES certificate Walter Pompe was a very well-known sculptor, especially of buxus/palm and ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple.
Galerie Uzal
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Pair of groups 'Panther and Serpent', circa 1900 Bronze, rich brown patina and ivory on one Griotte marble and one faux-marble base H 114.5 x W 104 cm Signed ‘Josuë Dupon' and bears foundry mark 'F. van Aerschodt Fondeur' Provided with the CITES document for both sculptures
N. Vrouyr
Etablissements veuve Guillon et fils, Belgium Before 1925 Warp and weft, cellulose, pile, wool 460 x 370 cm Numbered at the back Literature: Arthur De Rudder, International exhibition of modern decorative and industrial arts (Paris, 1925): official catalogue of the belgian section Exhibition: International exhibition of modern decorative and industrial arts, Paris, 1925, Belgian Pavilion, gallery of complete interiors, dining room by the Maison Gustave and Edouard Blondel The Guillon company The firm Établissements Veuve Guillon et fils was founded on 20 November 1924 by Célina Penez and her two sons, Alexandre and Charles Guillon, with its registered office at 69 avenue de la Toison d’Or in Brussels. The company operated factories in Brussels, Hemiksem (Sichem) and Herselt and specialised in carpets, including coconut-fibre rugs. Paris 1925 The carpet was exhibited in the dining room furnished by Maison Gustave & Edouard Blondel at the Exposition internationale des arts décoratifs et industriels modernes (Paris, 28 April–October/November 1925), in the 'Galerie des ensembles complets' of the Belgian Pavilion. Designed by Victor Horta, the pavilion comprised three large halls: a monumental hall with a fifteen-metre-high domed roof, the Constant Montald Hall, and Philippe Wolfers’ official dining room, complemented by six smaller rooms. The Blondel dining room was one of the eight Belgian “ensembles complets” (complete room interiors), alongside those by, for example, Van de Voorde, Hamesse, Risel and Au Bon Marché.
Galerie Hurtebize
Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Lumière du Cirque, 1969 Watercolour, pastel, gouache, coloured inks, and pencil on a black print lithograph M.566 38 x 52.3 cm Signed 'Marc Chagall' lower right Certificate of authenticity from the Comité Marc Chagall Provenance: private collection, France
Labellov
Delvaux Lady Gipset, Brillant black edition Box calf leather, silk pink, hand-embroidered with sequins and semi-precious stones: rose quartz, tourmaline, red jasper, sodalite and amazonite H 36 x W 20.5 x D 35 cm Limited edition of 9 pieces worldwide Entirely embroidered by hand, requiring approximately 100 hours of craftsmanship
COLNAGHI
Paul de Vos (Hulst 1595–1678 Antwerp) Deer hunt Oil on canvas 201 x 331 cm Signed lower right of centre, on a stone: P. De vos. fecit, this monumental canvas belongs to the large-scale hunting pictures for which Paul de Vos became known among seventeenth-century collectors. The picture’s scale and format place it within a group of large hunting compositions conceived for the principal rooms of aristocratic houses. Works of comparable dimensions by de Vos include the stag hunt now in the Royal Museums of Fine Arts of Belgium and the two hunts in the Museo del Prado. The latter are dated by the Prado to 1637–1640, when de Vos was working on the decoration of Philip IV’s hunting lodge, the Torre de la Parada. The present composition is distinguished within this group by its open diagonal movement and by the stag’s apparent escape: the animal runs towards the edge of the canvas, while the hounds are still negotiating the river. The absence of huntsmen, horns and weapons concentrates attention on the animals themselves. The painting is also characteristic of de Vos’s particular approach to animal subjects. His long-bodied hounds, their coats described in broken, light-catching strokes, and the comparatively open, atmospheric landscape distinguish his manner from that of Frans Snyders, with whom de Vos’s work was often confused. The two artists were closely connected: Snyders married de Vos’s sister Margaretha in 1611, and de Vos probably worked in his studio. De Vos also collaborated with leading Antwerp painters, supplying animal and still-life passages for compositions by Rubens, Van Dyck, Erasmus Quellinus and others. His independent reputation, however, rested chiefly on hunting scenes and animal pictures, many of them made for Spanish patrons. The early provenance of this canvas is well documented. It belonged to Diego Mexía Felípez de Guzmán, the first Marqués de Leganés, whose collection in Madrid comprised more than 1,300 paintings at his death in 1655 and was particularly rich in Flemish works. Leganés was an important patron of hunting pictures and a significant collector of de Vos. The painting is identifiable as no. 199 in inventories of his collection drawn up in 1637, 1642 and 1655. It is described there as a large painting of a stag fleeing from six dogs, by “Pedro de Vos”, the Spanish form of the artist’s name. Its dimensions in the inventory, two and a half Castilian varas high and four varas long, also correspond to the monumental scale of the surviving canvas. The inventory entry places it among a sequence of large hunts by de Vos, including works now known through the painting in Brussels and a boar hunt formerly in Aachen. Following the death of the third Marqués in 1711, the collection passed by inheritance to the Counts of Altamira. In their 1726 inventory, the painting is recorded in a room beside the oratory of the San Bernardo palace, between two boar hunts, as “un zieruo que ba huiendo de seis Perros” (“a stag fleeing from six dogs”). The Altamira collection was dispersed during the nineteenth century. By 1867 the canvas had entered the collection of José de Salamanca y Mayol, first Marqués de Salamanca, in Madrid. It appeared in the sale of his hôtel at 50 rue de la Victoire in Paris, held from 3 to 6 June 1867, as Chasse au cerf by Paul de Vos. Its documented association with the Leganés collection gives the painting particular historical importance. It is the only one of that collector’s great hunting scenes by de Vos known to survive apart from the related stag hunt now in Brussels.
Anthony Short Antiques Ltd.
Burr walnut secretaire chest-on-chest or Tallboy England, George II period, circa 1760 Chestnut and brass handles H 192 x W 103 x D 55 cm 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.
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'
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pieter Bruegel the Elder (Brussels, 1525-1569) (After) The last judgement Engraved in 1558 by Pieter van der Heyden (1530-1584) Published by Hiëronymus Cock (Antwerp, 1518-1570) 22.5 x 29.4 cm References: New Hollstein Dutch first state of two Lex Antiqua, Antiquarian bookseller
Grusenmeyer-Woliner
Figure of a winged atlas Gandhara, ancient Greco-Buddhist region Pakistan or Afghanistan, 3rd-4th century Grey schist H 34.3 cm Provenance: Shirley Day, New York, 30 January 1992; collection of Martha Sharp Joukowsky, Rhode Island, USA; Christie’s, Paris, property from the Joukowsky collection (sale), 27 September 2023
Spazio Nobile
Ann Beate Tempelhaug (Norway, Mosjøen, 1954) Like days, nights, years (Som dager, netter, ar), 2024 Stoneware porcelain, glaze 185 x 113 x 18 cm Unique piece signed by the artist on the back Certificate of authenticity Literature: Ann Beate Tempelhaug, Nord, Artist Book, Spazio Nobile Editions, Brussels, 2024 Exhibitions: Ann Beate Tempelhaug, Nord, Solo Exhibition, Spazio Nobile, Brussels, 2024; Ann Beate Tempelhaug, I Should Have Not Used Blue, Solo Exhibition, Fondazione Officine Saffi, Milan, 2025; Ann Beate Tempelhaug, Umbra, Solo Exhibition, Kunstnerforbundet, Oslo, 2026
Galerie Jean-François Cazeau
Niki de Saint Phalle (Neuilly-sur-Seine 1930-2002 La Jolla, USA) 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: the artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France
Herwig Simons Fine Arts
Door lock with Christ and the Twelve Apostles Germany, 17th-century Provenance: former private collection, Belgium Finely crafted 17th-century door lock, featuring an elaborate openwork design depicting Christ and the Twelve Apostles. The lock retains its original key and the lock is in good working order. A fascinating example of 17th-century decorative ironwork, combining historical significance religious iconography, and intricate craftsmanship.
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
Thomas Deprez Fine Arts
Josuë Dupon (Ichtegem 1864-1935 Antwerp) Flandria, 1914 (model), pre-1916 (cast) H 66 x W 71 x D 25 cm Patinated bronze, sand-cast Signed on the base ‘Josuë Dupon’ Titled on the front end of the base ‘FLANDRIA’ Stamped along the backside of the base: 'Fonderie Nationale des Bronzes’. Provenance: anonymous sale, Pictura, Ghent, 5 January 2007; former collection K. D., bought in the sale; thence by descent Exhibition: studio of the artist, March, cf. press, 1914; Exhibition Henry Luyten et Josué Dupon, April 1914; Salon Triennale, Brussels, 1914 as: n° 1001. 'Flandria (plaster)'; Salon Triennale, Antwerp, 1920 as: 'Flandria (bronze)'; Salon Triennale, Ghent, 1922 as: 'Flandria (bronze)' Related documents: A letter from Dupon to art historian and collector Max Rooses, dated to 30 March 1914, discusses the sale of a bronze version for 1,800 francs as a special offer at a reduced price. Rooses passed away some 100 days later on 15 July 1914. (Letterenhuis, Antwerpen, D922) Press: René Sancy 'Flandria chez M. Josué Dupon', in: Le Matin, 25 March 1914, p. 3; René Sancy, 'Exhibition Henry Luyten et Josué Dupon', in: Le Matin, 16 April 1916, p. 7; Arnold Goffin, 'De driejaarlijksche tentoonstelling te Brussel, II Beeldhouw- en penningkunst', in: Onze Kunst; Geïllustreerd maandschrift voor beeldende en decoratieve kunsten, Brussel, 13de jaargang, 1914, p. 103: D. Visu. 'Driejaarlijksche Tentoonstelling (vervolg en slot)', in: Het Handelsblad, 20 July 1920, p. 1; 'Beeldende kunsten: Driejaarlijksche Tentoonstelling', in: Gazette van Antwerpen, 8 August 1920, p. 2; 'Kunstkroniek: 42e Driejaarlijksch Salon te Gent, XVIII', in: Vooruit, 4 August 1922, p. 7; Karel Van de Woestyne, 'Het driejaarlijksch salon te Gent. V.', in: N.R.C., 20 September 1922 Full press articles available on request.
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
Galerie bei der Albertina ▪ Zetter
Vally Wieselthier (Vienna 1895-1945 New York) Female head with green flower, 1928 Red pottery, polychrome glaze H 28.5 x W 13.5 x D 14.5 cm Manufactured by the Wiener Werkstätte, model n° 494 Monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionnally restored Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3; cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, n° 77f and p. 286, WV-K 587 Exhibitions: Kaiserslautern, Museum Pfalzgalerie, 'Vally Wieselthier-Golden Girls n° 2', 2022/23; New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15 October 2025-9 February 2026
COLNAGHI
Robert Mapplethorpe (New York 1946-1989 Boston) Female torso, 1978 Silver gelatin photograph 50.8 x 40.6 cm Made in 1978, the photograph belongs to a life-long dialogue in Mapplethorpe’s work between photography and sculpture. The subject would later serve as the opening image of his 1989 volume Some Women, where its classical reference establishes a point of comparison for the contemporary women portrayed in the book. The photograph was produced in an edition of ten. Impressions of the image are held in major public collections, including the J. Paul Getty Museum and the Los Angeles County Museum of Art. The documented provenance of this impression begins with the Robert Mapplethorpe Foundation in New York, from which it passed into a private collection in Belgium.
