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)
Galerie Oscar De Vos
Rik Wouters (Mechelen 1882-1916 Amsterdam) Rik with a patch, 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse; Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, pp. 145, 242; De Pesseroey & Langui, Honderd zelfportretten, 1976, pp. 46-47; Van den Bussche et.al., Rik Wouters (1882-1916), pp. 20, 234; Hautekeete, Simon & De Nijn, Rik Wouters, De menselijke figuur, 1999, n° 74b, p. 100; Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, pp. 148-149 Exhibitions: Palais des Beaux-Arts, Exposition Rik Wouters, 1935, Brussels; Gemeentemuseum & Museum Boijmans, exhibition Rik Wouters, 1946, Den Haag & Rotterdam; Feestzaal, Retrospectieve Rik Wouters, 1946, Mechelen; KMSKA, Rik Wouters, 1947, Antwerp; Seconda Rassegna Internazionale di Scultura all'aperto, 1953, Varese; 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters; Musée National d'Art Moderne, Rétrospective Rik Wouters, 1957, Paris; Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), n° 61 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, n° 74b
Spazio Nobile
Didi Ng Wing Yin (Hong Kong, 1989) Pleats Vase Cinnabar Red #19, 2026 Spruce wood, Indian ink, brushed, split, carved, ink-dyed, and finished with shellac H 56.5 x W 36.5 x D 25 cm Unique piece, signed by the artist Certificate of authenticity Literature: Didi Ng Wing Yin, The Nature of Wood, Artist Book, Spazio Nobile Editions, 2026 Exhibitions: LOEWE FOUNDATION Craft Prize finalist, Madrid, 2025; Spazio Nobile Gallery, The Nature of Wood, Solo Exhibition, Brussels, 2025; Fine Arts Asia, Hong Kong, 2026; Homo Faber, Isola di San Giorgio Maggiore, Venice, 2026
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 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.
Waddington Custot
Hans Hartung (1904–1989) T1982–R18, 1982 acrylic on canvas 70 7/8 x 43 3/4 in / 180 x 111 cm signed and dated lower left ‘Hartung 82’; on reverse, signed and dated lower right ‘Hartung 82’; inscribed on the top stretcher ‘Faite le 8–3–82 HARTUNG T1982–R18’ PROVENANCE Collection Béatrice and Daniel Gervis, Paris (acquired directly from the artist in 1985) Private Collection, Paris EXHIBITED ‘Hans Hartung Painter • Photographer’, Waddington Custot, London, 22 April–1 July 2022 (repro. in colour in catalogue p.43, pp.[44–45] [detail], p.89) ‘Regards croisés’, Waddington Custot, Paris, 11 June–26 September 2026 LITERATURE Hartung, Pierre Daix, Bordas / Daniel Gervis and Éditions de Grenelle, Paris, 1991, catalogue no.400 (repro. in colour p.325) This artwork is accompanied by a photo-document signed by Daniel Gervis and dated 10 November 2020. This artwork is recorded in the archive of the Foundation Hartung-Bergman, Antibes.
Galerie Perrin
Odilon Redon (Bordeau 1840-1916 Paris) Femme de profil, circa 1901-1905 Oil on paper mounted on panel Signed lower right 'Odilon Redon' 52 x 49.7 cm (unframed) 71 x 68 cm (framed) Provenance: collection Roger Imbert This work will be included in the forthcoming catalogue raisonné currently in preparation by the Wildenstein Plattner Institute
Stéphane Renard Fine Art
Pierre Bonnard (Fontenay-aux-Roses 1867 – Le Cannet 1947) Paysage, arbres fruitiers (1909) Oil on paper Dimensions : 18 ¾ x 24 ¾ in. (47.7 x 63 cm) – Framed : 27 3/8 x 33 in. (69.5 x 84 cm) Stamped with signature « Bonnard » (Lugt 3886, lower left) Provenance : The artist's estate Private collection, Paris Anonymous sale, Koller Auktionen, Zurich, 2 December 2016, lot 3226 European private collection Literature : J. & H. Dauberville, Bonnard, Catalogue raisonné de l’œuvre peint, vol. IV, 1940-1947 et Supplément, Paris, 1974, no. 1949, p. 285 (illustrated)
Galerie de la Présidence
Hans Hartung (Leipzig 1904-1989 Antibes) T1966-E40, 1966 Vinyl paint on canvas and scraping 27 x 35 cm Signed and dated lower left Titled on the reverse, dedicated and signed Provenance: Waintrob collection, USA; Galerie Applicat-Prazan, Paris; Private collection, Paris This work is registered in the Archives of the 'Fondation Hans Hartung & Anna-Eva Bergman' under number : T 1966-E40
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 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 This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in the forthcoming Lhote catalogue raisonné currently in preparation. Exhibition: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (ill. in colour; dated 1927)
Gallery de Potter d’Indoye
Empire chandelier, circa 1810 Crystal, chiseled and gilded bronze H 117 cm - ⌀ 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.
Desmet Fine Art
Odoardo Fantacchiotti (Rome 1809-1877 Florence) Musidora, Firenze 1859 Inspired by the James Thomson’s poem ‘Summer’, originally published in 1727 Marble H 167.6 x W 49 x D 49 cm Plinth: H 95.3 x D 63 cm (at base) Total height: H 262.9 cm Signed 'Per commis del meritis / ... / Odoardo Fantachiotti / Scolpiva in Firenze / l'anno 1859 Art Loss Register: S00258863 Provenance: commissioned by August Belmont (1813-1890) USA; Randall family, Clarendon Court (Newport, USA) Literature: Ricordi fotografici degli artisti contemporanei in Toscana: ‘La Musidora’(Firenze-1858); V. Lia Bernini, G. Moradei, Odoardo Fantacchiotti scultore (1811-1877): atti delle giornate di studio nel bicentenario della nascita 1811-2011, (Toscana 2021), Volume 227, pp. 37-41 Other verions: 1862, for Baron Belper, Edward Strutt (Israele collection); 1865, for the King of Portugal (Lisbon Palacio Nacional da Ajuda)
