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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
Galerie Cento Anni
Philippe Wolfers (Brussels, 1858-1929) La source, 1908 White marble and green marble for the base H 60 cm Signed 'Ph. Wolfers' Provenance: Wolfers' family Literature: Werner Adriaenssens and Raf Steel, The Wolfers Dynasty, pp. 154 and 392, n° 223 Exhibitions: Brussels, 1908; Brussels, 1928; Ghent, 1979
Harold t’Kint de Roodenbeke
Jane Graverol (Brussels 1905-1984 Fontainebleau) 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.
Galerie Hadjer
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Les Oiseaux dans les fleurs (mural composition), 1958 Aubusson tapestry, woven in wool 189 x 265 cm Signed 'F. LÉGER' Woven by the Pinton workshop, Aubusson, France Edition of 6 + 2 AP Accompanied by a certificate of authenticity from the Comité Fernand Léger Provenance: atelier Pinton, Aubusson, France; private collection, London Exhibitions: F. Léger, tapisseries, céramiques, bronzes, lithographies, Palais de la Méditerranée, Nice, 20 July-30 September 1962; F. Léger et les arts décoratifs, Biot & Aubusson, 2002-2003; Literature: F. Léger et les arts décoratifs, exhibition catalogue, Biot & Aubusson, 2002-2003, another example from the edition ill. p. 34; Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint, 1952-1953, Paris, 2013, n° 1492, the related painted version ill. p. 57.
Almine Rech
Farah Atassi (Brussels, 1981) The Shadow, 2026 Oil on canvas 195.3 x 114.3 cm Signed and dated on the back Provenance: the artist's studio Exhibitions: Farah Atassi, 'Metamorphosis', 26 June-31 July 2026, Almine Rech New York 'The Shadow' comes from a recent body of work in which Farah Atassi explored themes of metamorphosis and freedom. The central figure is a chimeric half woman-half flower that appears to flourish before our very eyes. Daphne - the nymph turned into a laurel tree to escape the god Apollo - comes to mind, a representation of transformation and transcendence. In 'The Shadow' the flower woman is organic, yet sculptural, retaining a distinct humanity that the artist has simplified, symbolised. While the composition is dreamlike and ethereal, a bold shadow brings a touch of realism, anchoring the twisting form to the pictorial plane. This work is a painting within a painting, a formal choice that allows Atassi to contrast two distinct realms while also interrogating the metamorphic potential of art. Notes of Magritte’s uncanny, atmospheric beauty emerge as the flower woman in 'The Shadow' is captured in the act of liberating herself from a canvas, striking out into the rosy dawn.
Repetto Gallery
Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 x 165 cm Upper element: 38 x 165 cm Lower element 106.5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank collection, Frankfurt (acquired from the above in 1985)
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.
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
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'
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.
F. Baulme Fine Arts
Claude-Marie Dubufe (Paris 1790-1864 La-Celle-Saint-Cloud) Expression Head: Modesty, circa 1827-1828 Oil on canvas 55.5 x 46.5 cm Provenance: private collection, England Literature: Emmanuel Bréon, Claude-Marie, Édouard et Guillaume Dubufe, Portraits d’un siècle d’élégance parisienne, exh. cat., Paris, Délégation à l’Action Artistique de la Ville de Paris, 1988 (engraving after the present painting, p. 70, repr.) Related work: Claude-Marie Dubufe, Modesty, 1828, engraving
Pauline Janssen
Friedrich Kreuter for Koch Edwardian tiara, circa 1911 Diamond & Ceylon Sapphires Total weight 61.7 gr Set with old cut and rose cut diamonds and faceted sapphires. Estimated centre diamond weight approximately 3.70 carats. Estimated total diamond weight approximately 20.00 carats. Estimated centre sapphire weight approximately 6.50 carats. Estimated total sapphire weight approximately 12.00 carats. The sapphires are of Ceylon origin with no indications of heat treatment. Diamonds are bright & lively. Mounted in platinum. German work by Friedrich Kreuter for Koch. Weight 61.5 gr. Accompanied by a CGL laboratory certificate. Accompanied by the original fitted box.
Argento Gallery
Gerard van Honthorst (Utrecht, 1592–1656) and workshop Four portraits of officers, 1637-1639 Oil on canvas 76.5 x 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 Provenance: Charles Marsham collection, 4th Earl of Romney, Mote Park; acquired with Mote Park in 1895 by Marcus Samuel, later 1st Viscount Bearsted; by descent to his son, Colonel Walter Horace Samuel, 2nd Viscount Bearsted; Christie’s, London, 13 December 1929, lots 83, 82, 80 and 79; presumably inherited by his sister, Nellie Ionides, born Samuel; by descent in 1968 to her grandson, Toby Jessel, The Old Court House, Hampton Court; Sotheby’s, London, 30 April 2014, lots 725-728; private collection; Christie’s, London, 1 April 2026, lots 30-33 Literature: Upton House. The Bearsted Collection: Pictures, London: The National Trust, 1964, p. 41, n° 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315-316, n° 475, 474, 478 and 479 Four unidentified military officers portrayed in armour with differently coloured sashes, each within a painted oval with a sculptural border. Originally belonging to a larger series, the portraits display Honthorst’s characteristic treatment of faces, fabrics and reflected light on metal. The identities of the officers and the original patron remain unknown.
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)
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)
Galeria Jordi Pascual
Fernand Léger (Argentan 1881-1955 Gif-sur-Yvette) Paysage animé, 1937 Oil on canvas 92.1 x 60 cm Provenance: Galerie Simon, Paris; Galerie Louise Leiris, Paris; Kunsthalle Bern; Marlborough Gallery, London; Saidenberg Gallery, New York; Michelle Rosenfeld Gallery, New York; Nierendorf Gallery, New York; Samuel Berger, New York; private collection Literature: Cooper, Douglas, Fernand Léger et le nouvel espace, Lund Humphries / Éditions des Trois Collines, 1949, p. 130; Bauquier, Georges, Fernand Léger: Catalogue raisonné 1932-1937, 1996, pp. 238-39, fig. 938 Exhibitions: San Francisco Museum of Art, Art of Our Time, 1935-1945, 1945, cat. p. 33, fig. 39; Marlborough Gallery, London, Selected European Masters of the 19th and 20th Centuries, 1973, cat. pp. 78-79, fig. 39; Stad Mechelen, Cultureel Centrum, Belgium, Fernand Léger, 1979, fig. 60; Museo de Arte Contemporáneo, Caracas, Fernand Léger, 1982, cat. p. 74, fig. 46; Whitechapel Art Gallery, London, Fernand Léger: The Later Years, 1987-1988, cat. p. 19, fig. 21; Staatsgalerie, Stuttgart. Fernand Léger: Zeichnungen, Bilder, Zyklen, 1930-1955, 1988, cat. p. 190, fig. 21; Michelle Rosenfeld Gallery, Léger: America’s Culture, 1998, cat. fig. 18; Fundació Joan Miró, Fernand Léger, 2002, cat. p. 129; Marlborough Fine Art, London, Jacques Lipchitz and the School of Paris, 2023