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Anthony Short Antiques Ltd.
Very Fine Mid 18th Century George II Period Burr Walnut Secretaire Chest-on-Chest or Tallboy 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. Height 192cm (75.6in) Width 103cm (40.6in) Depth 55cm (21.7in)
Repetto Gallery
Lucio Fontana (Santa Fe 1999-1968 Varese) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1
Galerie bei der Albertina ▪ Zetter
Egon Schiele (Tulln an der Donau 1890-1918 Vienna) Portrait of a Woman, 1918 Black crayon on paper 47 x 30 cm Signed and dated lower right Estate stamp on the reverse Kallir WV n° D 2223 Provenance: The artist’s estate (per stamp); Galerie St. Etienne, New York; Georges Simon, New York (acquired from the above, 1947); Lore Müller; Christie's, New York, 16 November 1983, sale 5442/Egon, lot 141 (consigned by the estate of the above); Galerie Würthle, Vienna; private collection, New York (acquired from the above, 1986) Literature: Jane Kallir, Egon Schiele: The Complete Works, Expanded Edition, New York 1998, ill. p. 609, D 2223; Exhibition catalogue 'Changing Times: Egon Schiele´s Last Years 1914-1918' ed. by Kerstin Jesse, Jane Kallir, Hans-Peter Wipplinger, Leopold Museum, Vienna 2025, ill. p. 253 Exhibitions: Tokyo, Tokyu Art Gallery, 'Gustav Klimt und Egon Schiele mit Werken von Alfred Kubin: Künstler der Jahrhundertwende'; Tochigi Prefectural Museum of Fine Arts, Utsunomiya; Chiba Parco, Chiba; Matsumoto Parco, Matsumoto; Shimoneseki City Art Museum, Shimoneseki, 1985; New York, Galerie St. Etienne, 'Egon Schiele's Women', 2012; Vienna, Leopold Museum, 'Changing Times: Egon Schiele’s Last Years, 1914-1918', 2025
Dries Criel
EOS Ring 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 soft, sunlit 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.
robertaebasta
Mario Quarti (Milan, 1901-1974) Large sideboard in Italian walnut, circa 1940 Walnut and brass H 97.5 x W 322 x D 50 cm Provenance: private collection, Italy Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles.
Dr. Nöth kunsthandel
Armand Guillaumin (Paris 1841-1927 Orly) Bords de l'Orge à Epinay, 1890 Oil on canvas 81 x 65 cm Signed lower right Certificate of authenticity from the Comité Guillaumin This work will be included in the second volume of the forthcoming catalogue raisonné currently in preparation. Provenance: Galerie Durand-Ruel, Paris; Clara de Plessis Whelan, New York; Sale Parke-Bernet Galleries, New York, 7 November 1946, lot 65; Mr. Jussaume, Buenos Aires; Mr. Foret, Buenos Aires; private collection, France (acquired from the above in 1956); Christie's London 7 February 2001, lot 127; private collection, Texas
Galerie de la Présidence
Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1953 Oil on canvas 81 x 100 cm Signed with the initials 'GvV' lower right Signed on the reverse 'G. van Velde' Certificate of authenticity issued by Pierre François Moget This work will be included in the forthcoming catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget son of Piet Moget, under the n°118 059 Provenance: Michel Guy collection, Paris; private collection, Paris; private collection, France
Heutink Ikonen
Two angels of the Lord Central Russia, ca. 1800 Ø 44 cm Provenance: private collection, Germany This remarkable icon depicts two angels, each holding a ripidion - a ceremonial liturgical fan symbolising the constant presence of the seraphim around the altar, which is used during processions and other solemn occasions in the Eastern liturgy. Given its distinctive shape and subject, it is likely that the icon formed part of a church iconostasis, where it would probably have been positioned to the right of the royal doors, which provided access to the altar area.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Pablo Picasso (Malaga 1881-1973 Mougins) and Hélène Parmelin (Nancy 1915-1998 Paris) Woman portrait in 'Les Dames de Mougins', 1965 Feltpen drawing on paper 29.8 x 27 cm Copy of the doctor René Gutmann Signed and dated 'pour mon cher ami Gutmann. Diego Picasso, le 8.11.65' Provenance: Dr. René-Albert Gutmann (1885-1981); thence by descent Librairie Lardanchet, Antiquarian bookseller
Galerie Hadjer
Sonia Delaunay (Ukraine, Gradizhsk 1885-1979 Paris) Rythmes Ondulatoires, circa 1970 Handwoven Aubusson wool tapestry 165 x 225 cm Woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design Signed 'Sonia Delaunay' in the weave, lower left, and bearing the Pinton workshop monogramme Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Pinton workshops, Felletin-Aubusson, France Rythmes Ondulatoires is an important example of Sonia Delaunay’s exploration of colour, rhythm and movement translated into the medium of tapestry. The composition is structured through an intricate interplay of circles, semicircles, concentric arcs and intersecting geometric planes. Vivid fields of red, blue, green, yellow and orange are set against black, white and grey, generating a powerful sense of optical vibration and continuous movement across the woven surface. The composition reflects Delaunay’s lifelong investigation into simultaneous colour contrasts, developed from the early twentieth century onwards. Together with Robert Delaunay, she explored the capacity of juxtaposed colours and geometric forms to create rhythm, luminosity and movement. These principles became fundamental to her distinctive contribution to the development of abstraction. The Collection Société Générale similarly describes Delaunay’s work in terms of her investigations into light, the movement of colours and “simultaneous contrast,” through vivid geometric forms organised into rhythmic compositions. The tapestry also reflects Delaunay’s longstanding commitment to dissolving the traditional distinction between fine and applied arts. Throughout her career, her abstract vocabulary extended beyond painting into textiles, fashion, interior decoration and other forms of applied art. Her use of pure colour and simultaneous contrasts remained central across these different media. In Rythmes Ondulatoires, the translation of Delaunay’s composition into wool by the Pinton workshops, one of the leading modern tapestry manufacturers in the Aubusson tradition, gives physical substance and texture to her chromatic language. The concentric curves and repeated arcs create an almost musical rhythm, while the juxtaposition of geometric forms produces a composition that appears to expand and contract across the surface. References and comparable examples Another Rythmes Ondulatoires, dated 1970, is documented as a handwoven Aubusson wool tapestry in scholarly lecture material devoted to Robert and Sonia Delaunay. The Société Générale Art Collection also holds a work entitled Rythmes ondulatoires, measuring 167 × 225 cm, closely corresponding in dimensions and composition. The collection describes the work through its geometric lines and forms, interwoven vivid colours and characteristic rhythmic harmony. Another Pinton-woven Rythmes Ondulatoires was publicly presented by Galleria Antonio Verolino at ArtePadova in 2024, documenting the continued presence of this composition within the art market and exhibition context. The tapestry is in very good overall condition, with strong and well-preserved colours, with no known restorations.
Francis Janssens van der Maelen
Ravinet d'Enfert Art Deco centrepiece, Paris, circa 1930 Sterling Silver 950 Jardinière: H 9 x W 35 x D 23 cm Mirrored plateau: H 3 x W 50 x D 38 cm Total net silver weight: 4,990 gr Total gross weight: 9,210 gr French Minerva hallmark Important sterling silver centrepiece comprising a jardinière and its mirrored plateau. The jardinière, of geometric canted rectangular form, has a plain body highlighted by stepped moulded borders around the rim and base. It rests on small rectangular feet. Removable silver-plated metal liner bearing the square Ravinet d’Enfert maker’s mark in full. The plateau, of matching rectangular form with canted corners, echoes the geometric lines of the jardinière. It consists of a solid silver frame with stepped geometric mouldings, raised on small feet and enclosing a mirrored glass panel.
Galerie Raf Van Severen
Rik Wouters (Mechelen 1882-1916 Amsterdam) Portrait of Rik Wouters, Chemise Blanche, 1912 Oil on canvas mounted on panel 51.5 x 61.5 cm Annotated at the back: Nr 99 Portrait de Rik Wouters par lui même toile collee sur panneau; Mme V: Rik Wouters; Portret van Rik Dhr Mevr. De Carnière Provenance: previous collection of Nel Wouters; Leten collection, Ghent; private collection, Brussels Literature: Roger Avermaete, Rik Wouters, Editions Arcade, Brussels, 1965
Dries Criel
EOS Earrings Crafted in sandblasted 18kt yellow gold, the earrings radiate a soft, sunlit warmth. Their matte surface captures light with subtlety, creating a gentle and enduring glow. At the heart of each piece rests a natural, white, step-cut diamond. Framed by flowing lines and delicate pavé diamonds, its architectural brilliance recalls the moment dawn first appears on the horizon - quiet, luminous and full of promise.
Galerie Flak
Okvik 'Madonna' Okvik culture, Old Bering Sea, 250 BC-100 AD Archaic Eskimo, St. Laurent Island (Sivuqaq), Alaska Marine ivory 15.9 cm Provenance: Perry J. Lewis collection, USA; collection Galerie Flak, 2021; private collection, acquired from the above Exhibition & Literature: 'Espíritus del Agua', Fundación La Caixa, Madrid & Barcelone, 1999-2000, pl. 2, p. 76; Arctic Dreams, Parcours des Mondes, 2021 (Galerie Flak)
Verdini Antiques
Vincenzo Raffaelli (Rome, 1783-1865) Round table, circa 1835-1845 Various coloured pebbles and marbles Tabletop: ⌀ 91.2 cm - 5.2 cm Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in coloured marbles 'pebble' samples 200 ca. The round top in coloured marble that we are dealing with, is a real 'pebble' sample made of ancient 'excavation' marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.
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.
Epoque Fine Jewels
Van Cleef & Arpels Pair of earrings (clip fittings), 1971 18k yellow gold, diamonds , corals and chrysoprase 8.5 x 1.87 cm Signed VAN CLEEF & ARPELS and numbered An exceptional pair of gem-set earrings by Van Cleef & Arpels, made in 18 karat yellow gold, each composed of a large coral cabochon at the top, surrounded by brilliant-cut diamonds and chrysoprase cabochons. Each earring suspends a striking tassel featuring a domed coral cap set with brilliant-cut diamonds, from which hang seven strings of chrysoprase beads interspersed with rose-cut diamond rondelles. The strings terminate with coral and gold beads. Total diamond weight: approximately 12 ct. These Van Cleef & Arpels earrings from 1971 are exceptionally rare, embodying unparalleled craftsmanship and luxury. The bold combination of coral, chrysoprase and diamonds is both exquisite and uncommon, while their intricate tassel design reflects the golden era of Haute Joaillerie. Signed and numbered by one of the most prestigious jewelry houses, they are true collector’s items, akin to owning a piece of history - ‘Elizabeth Taylor-level’ rare.