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Heutink Ikonen
Year Icon (Menologion) Russia, late 19th century Egg tempera on gesso on linen-covered wood 35.5 × 30.5 cm Provenance: private collection, Germany This beautifully painted year icon (menologion) brings together the entire Orthodox liturgical year in a single composition. The twelve months are divided into separate sections, each depicting the saints and feast days commemorated throughout the calendar year. At the centre of the composition is the Anastasis (the Resurrection of Christ), surrounded by scenes relating to the Church’s movable feasts, including the Ascension and Pentecost, as well as scenes from Christ’s Passion. Along the edge are numerous venerated images of the Mother of God - each associated with its own feast day in the church year. This icon stands out for its unusually compact size. Despite its modest dimensions, the painter has succeeded in incorporating an exceptionally extensive iconographic programme without compromising on clarity or refinement. Hundreds of figures, scenes and inscriptions are depicted with remarkable precision and virtuosity. Thanks to its good preservation, even the smallest of details remain clearly visible.
Caretto & Occhinegro
The Master of Antwerp Adoration (Active in Antwerp first decades of XVI century) The Annunciation to St Anne, circa 1525 Oil on panel 59 x 62 cm Expertise Peter van den Brink Literature: Van den Brink 1997, pp. 32, 35 note 22, fig. 5; Van den Brink 2007, pp. 168, 175, 179 note 38, fig. 16b; Cécile Scailliérez, in Paris 2017, pp. 84, 86, fig. 32
LUDORFF
Heinz Mack (*1931) Karo-Stele 1987 Aluminium, geprägt and silberfarben eloxiert 188 × 25 × 25 cm | 74 × 9 13/16 × 9 13/16 in Catalogue Raisonné by Rüth 2003 no. 1191 B Provenance: The artist’s studio; Galerie Heinz Holtmann, Cologne (1987); Private Collection Cologne (1987–2026) Exhibitions: Galerie Ludorff, "Neuerwerbungen Herbst 2026", 4. Okt. - 16. Jan., Düsseldorf 2026 Literature: Galerie Ludorff, "Neuerwerbungen Herbst 2026", Düsseldorf 2026, S. 92Uwe Rüth, "Mack. Skulpturen 1986-2003", Mönchengladbach, 2003, Nr. 1191 B
Argento Gallery
Four portraits of officers Gerard van Honthorst (1592–1656) and workshop 1637–1639 Oil on canvas 76.5 × 63.7 cm each Each signed and dated: two 1637, one 1638 and one 1639 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. Provenance: - Collection of Charles Marsham, 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, née 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, no. 137; J.R. Judson and R.E.O. Ekkart, Gerrit van Honthorst, Doornspijk: Davaco, 1999, pp. 315–316, nos. 475, 474, 478 and 479.
Bernardini Milano
Rolex, Bienne. Rare yellow gold “oyster chronograph” in pristine condition, 1956 One of the 36 made of this version of chronographs in 18kt. gold in the late 50’s. The untouched case and extensible bracelet host a perfect creamy silvered dial. The watch is complete of its original box, papers, invoice and various communications between owner and the Swiss Maison.previously unknown to the market, it’s a benchmark in terms of rarity and conservation.
F. Baulme Fine Arts
Godfried Maes (Antwerp, 1649-1700) Ceres Transforming the Old Woman’s Son into a Lizard Black chalk, pen and black ink, grey and brown wash on paper 18 x 24 cm Provenance: Maes’s widow sold to Jacob de Wit before 1717; Jacob de Wit sale, Amsterdam, 10 March 1755, n° 87; Cronenburgh sale, 22 March 1762, n° 1; anonymous sale, Mak van Waay collection, Sotheby’s, 15 January 1974, n° 1273; Dr. A. Dreesmann sale, Christie’s, 11 April 2002, n° 668-670 Related works: Engravings by Bernard Picart and Peter van Gunst for the 1732 edition of Ovid’s Metamorphoses translated and annotated by Abbé Banier, a member of the French Academy
Couck Art Gallery
Fernand Khnopff (Grembergen 1858 - Brussels 1921) Titre : “Etude de femme” Date : N.D. Circa 1914 Drawing on paper Dim : 22 x 16,4 cm Signature en bas à gauche : Fernand / Khnopff (Répertorié dans : “Fernand Khnopff ; Catalogue de l’oeuvre ; Bruxelles, Lebeer-Hossmann- La Bibliotheque des Arts, 1979 : N°541)
Rueb Modern and Contemporary Art
Jan Sluijters (Hertogenbosch 1881-1957 Amsterdam) Greet van Kooten with headband, 1910 Oil on canvas 35,5 x 42 cm Signed and dated Provenance: Collection Salomon Beffie, Amsterdam; collection Willem Beffie, New York; Galerie van Voorst van Beest, The Hague; collection Reens, Amsterdam; collection A.J. van Hillegondsberg, Blaricum; private collection, Amsterdam Literature: On-line Catalogue Raisonné Jan Sluiters-www.rks.nl/images/100130 Exhibition: The Hague, Pulchri Studio, Paintings, drawings and pointes-sèches of Jan Sluijters and Lodewijk, Schelfhout, 3 July - 25 July 1915 n° 40
Victor Werner
Franz Barwig (Germany, Shönau 1868-1931 Vienna) Group of Fauns, circa 1900 Sculpted oak H 94 x W 99 x D 18 cm Signed 'F. BARWIG' on the base This amazing, large, sculpted-oak masterpiece perfectly captures the essence of the Vienna Secession. Created by one of Austria's most influential Art Nouveau sculptors, the piece showcases Barwig's signature mastery of wood, blending powerful forms with raw, natural texture.
Galerie Hadjer
SONIA DELAUNAY (Gradizhsk, Russian Empire [present-day Ukraine], 1885 – Paris, France, 1979) Rythmes Ondulatoires Circa 1970 Handwoven Aubusson wool tapestry, woven by Pinton Frères, Felletin-Aubusson, France, after Sonia Delaunay’s original design. 165 × 225 cm 65 × 88 5/8 in. Signed “Sonia Delaunay” in the weave, lower left, and bearing the Pinton workshop monogram. Edition of six examples plus two artist’s proofs. Certificate Accompanied by a certificate from the Pinton workshops, Felletin-Aubusson, France. About the work 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. Condition The tapestry is in very good overall condition, with strong and well-preserved colours. Restoration No restoration documented. Laboratory examination None undertaken.
Snackers Antiques & Fine Art
Pair of Candelabra depicting Mercury and Fortuna Empire Period, 1820 Gilded and patinated bronze H 100 x W 27 x D 27 cm Literature: Marie-France Dupuy-Baylet, L’Heure, Le Feu, La Lumière, Les Bronzes du Mobilier National 1800-1870, 2010, pp. 254-255 These impressive candlesticks are made of original gilded bronze and patinated bronze. An obelisk-shaped base with Mercury and Fortuna on it, symbolising trade and prosperity. This candlestick design is rare due to its dimensions, the beautiful detached bronze figure and the details in the form of RAM heads and claw feet.
Galerie Taménaga
Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, illustrated p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May–17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January - 4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986
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.
Almine Rech
Tom Wesselmann (Cincinnati 1931-2004 New York) Long Beach Seascape, 1991/95 Alkyd oil on cut-out aluminum 99,1 x 190,5 cm Signed and dated on the back Provenance: estate of the artist Tom Wesselmann’s creative approach was in constant evolution throughout his long and productive career. Never one to follow artistic convention, he continually sought new materials and formats. His fascination with innovative surfaces and technologically advanced techniques drove him to push aesthetic and formal frontiers, as seen in 'Long Beach Seascape'. In the 1980s, Wesselmann developed a laser cutting technique that opened up a new world of creative possibilities. Using this novel method, the artist delighted in transposing his bold visual vocabulary into works that challenged the boundaries between painting, drawing, and sculpture. Speaking to the New York Times in 1985, Wesselmann couldn’t contain his enthusiasm for the new medium: 'I've just had the best year of my life [...] I always work in a kind of near ecstasy, anyway, but there's really been something about the new work that grabbed me.'' Centering dynamic line and vibrant colour, 'Long Beach Seascape' demonstrates the artist’s endless pursuit of radical forms of creative expression.
