This section will be available this Autumn.
Klaas Muller
Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.
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)
Virginie Devillez Fine Art
Théo VAN RYSSELBERGHE (1862-1926) Baie de Saint-Brélade [St Brelade’s Bay] Oil on canvas Monogrammed and dated “07” (lower left) titled “La Baie de Saint Brelade (Jersey)” (on the stretcher) 65,5 x 81 cm Painted in 1907 Provenance Private Collection, Belgium (by descent to the present owner) Exhibitions Paris, Bernheim-Jeune, Théo van Rysselberghe, 1908, cat. no. 43 Rotterdam, Rotterdamse Kunstkring, Théo van Rysselberghe, 1909, cat. no. 29 Groningue, Galerie Hofsteenge, Pictura Théo van Rysselberghe, 1910, cat. no. 24 Berlin, Ausstellungshaus Kurfürstendam, Sezession, 1912, cat. no. 231 (?) Literature Ronald Feltkamp, Théo Van Rysselberghe. Catalogue raisonné, les éditions de l’amateur/Éditions Racine, 2003, CR 1907-003 (ill. p. 363)
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.
LUDORFF
Günther Uecker (Wendorf 1930-2025 Düsseldorf) Rose, 1963 Nails on canvas on wood 85 x 85 cm Signed and dated on the reverse Registered in the Uecker Archive under n° GU.63.115 and earmarked for inclusion in the forthcoming Uecker catalogue raisonné / Honisch catalogue raisonné 1983, n° 289 Provenance: the artist's studio (prior to 1974); private collection Nordrhein-Westfalen (directly acquired from the artist 1974-2026) Exhibitions: Galerie Ludorff, 'Recent Acquisitions Fall 2026', 4 October-16 January, Düsseldorf 2026 Auckland City Art Gallery, 'Contemporary painting in Germany', May-August, Auckland 1965 Palazzo del Kursal, 'IV Biennale Internazionale d'Arte', 7 July-7 October, San Marino 1963 Literature: Galerie Ludorff, 'Recent Acquisitions Fall 2026', Düsseldorf 2026, S. 162; Dieter Honisch, 'Günther Uecker. Werkverzeichnis', Stuttgart 1983, n° 289, S. 189; Queen Elizabeth II Arts Council (Hg.), 'Contemporary Painting in Germany', Ausst.-Kat. Auckland City Art Gallery, Auckland 1965
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.
Gallery Sofie Van de Velde
Georges Vantongerloo (Antwerp 1886-1965 Paris) Spiral with Certain Spots, 1946 Oil on masonite 73.8 x 58.8 cm Signed and dated: 'Spirale avec certaines taches Paris 1946 G. Vantongerloo' (title / verso) Provenance: Georges Baines collection (acquired directly from the artist); Bernard Baines; private collection, Switzerland; Galerie Ronny Van de Velde, Antwerp Literature: Georges Vantongerloo, Paintings, Sculptures, Reflections, in Problems of Contemporary Art n° 5, New York, 1948, n° 176, Wittenborn, fig. 44; Georges Vantongerloo: A Traveling Retrospective Exhibition, Corcoran Gallery of Art / Dallas Museum of Fine Arts / Los Angeles County Museum of Art, Loiseau, Brussels 1980, p. 146; Jan Ceuleers, Ronny Van de Velde, Georges Vantongerloo 1886-1965, Antwerp, OCNO, 1996-1997, n° 176, ill. p. 157; Serge Lemoine, Georges Vantongerloo (1886-1965). A Pioneer of Modern Sculpture, Musée Matisse, 2007, ill. p. 148; Larkin Erdmann, Five Years, Zurich, 2019, pp. 83-84; Ostend, Mu.ZEE, Belgium-Argentina. Transatlantic Modernisms, 1910–1958, 2022 Exhibitions: Paris, Palais des Beaux-Arts de la Ville de Paris, 1st Salon des Réalités Nouvelles. Abstract Art, Concrete Art, Constructivism, Non-Figurative, July 1946; Zurich, Kunsthaus Zürich, Antoine Pevsner, Georges Vantongerloo, Max Bill, 15 October-13 November 1949, n° 78; Washington, Corcoran Gallery of Art, Georges Vantongerloo. A Traveling Retrospective Exhibition, 22 April-17 June 1980, n° 176 (later shown in Dallas and Los Angeles); Brussels, Royal Museums of Fine Arts of Belgium, Georges Vantongerloo 1886-1965, 23 January-16 March 1981, n° 176; Zurich, Kunsthaus Zürich, Georges Vantongerloo, 3 April-17 May 1981, n° 176; Antwerp, Ronny Van de Velde, Georges Vantongerloo 1886-1965, 15 December 1996-31 March 1997, OCNO n° 176; Barcelona, MACBA-Museu d’Art Contemporani de Barcelona, Force Fields: Phases of the Kinetic, 19 April-18 June 2000, n° 232 (later at the Hayward Gallery); Le Cateau-Cambrésis, Musée Matisse, Georges Vantongerloo 1886-1965, A Pioneer of Modern Sculpture, 28 October 2007-2 March 2008 (later at Mu.ZEE); Madrid, Museo Nacional Centro de Arte Reina Sofía, Georges Vantongerloo: A Longing for Eternity, 3 November 2009-22 February 2010
Stern Pissarro Gallery
Pablo Picasso (Málaga 1881-1973 Mougins) Guitare, 1923 Pastel on paper 21 x 14 cm Signed upper right 'Picasso' Provenance: Galerie István Schlégl, Zurich; private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions Cahiers d'arts, Paris, 1952, n° 70 (ill. in b/w)
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
Maison D'Art
Karel van Vogelaer called Carlo dei Fiori (Maastricht 1653-1695 Rome) Still life with flowers Oil on canvas 64.5 x 46 cm Literature: From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, n° 30, pp. 114-116, 150 Exhibition: From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12-17 November 2005
Galerie de la Présidence
Sonia Delaunay (Ukraine, Hradyzk 1885-1979 Paris) Rythme couleur, 1972 Gouache on paper 54.5 x 38 cm Signed lower right Certificate of authenticity issued by Jen-Louis Delaunay and Richard Riss Provenance: private collection, Paris This is one of the preparatory gouaches for the 'Album Les Illuminations', containing 15 stencils, illustrating 9 poems by Arthur Rimbaud.
Grusenmeyer-Woliner
Power figure (Nkisi) Democratic Republic of the Congo, Kongo, Mayombe region, late 19th century Wood, seeds, beads, metal, glass, and plant fibers (raffia) H 24.5 cm H 29.5 cm (including base) Provenance: Mathias Komor Gallery, New York, USA, 1960s; Elliot Picket (by 1974); Aaron and Joyce Furman, New-York, USA; Daniel Hourdé, Paris; Galerie Alain de Monbrison, Paris Publication: Picket, Elliot, 'L’art Africain congloméré', Arts d’Afrique noire, n° 10, Summer 1974, n° 19, p. 33
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 x Ø 81 cm Chandelier with 18 lights in crystal and finely chiseled and gilded bronze. It is composed of two circles of fillets bordering a frieze of laurels and flowerets separated by eight arrows, joined at the centre by a blue enameled globe and scattered with gilt stars. The basket ends with a rose and a seed-shaped knob. A panache and small palm leaves crown the chandelier from which hang garlands of crystals. Crystal: by Ladoupède du Fougerais, entrepreneur and owner of the Manufacture de cristal du Mont-Cenis de leurs Majestés Impériales et Royales. Ladoupède du Fougerais delivered a very similar chandelier with 16 lights on 24 April 1810, for the small salon of the apartments of the Empress at the Petit Trianon in Versailles. This chandelier is illustrated in 'Versailles, le Petit Trianon', by Denise Ledoux-Lebard, published by Editions de l'Amateur, 1989, р. 95, n° 6l.
Galerie von Vertes
Andy Warhol (Pittsburgh 1928-1987 New York) Patty Raynes and son, 1985 Acrylic and silkscreen ink on canvas 102 x 102 cm Signed on the reverse and dated 'Andy Warhol 85' Provenance: Patty Raynes, USA (1985 directly acquired from the artist); private collection, USA (2022 acquired from the above) In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolising the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a 'Portrait of Society', a dream eventually realized at the artist’s retrospective Andy Warhol - From A to B and Back Again at the Whitney Museum in New York in 2018.
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
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.