Modern Art, African art and Design: Works from the Belfius Art Collection and Various Private Collec

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Old Masters, Design, Modern and Tribal Art: Works from the Belfius Art Collection and Various Private Collections

2 December 2025 - Brussels

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Old Masters, Design, Modern and Tribal Art: Works from the Belfius Art Collection and Various Private Collections

2 December 2025 - Brussels

Auction

2 December 2025 18.00

Preview

27 November - 2 December 2025 10.00 - 18.00

2 December 2025 10.00 - 15.00

001 Rik Wouters (Belgian, 1882 - 1916)

Nel Crouching - 1915

Indian ink on paper, 31 x 34 cm

Signed and dated lower right

Provenance:

E.J. Van Wisselingh & Co, Amsterdam (label on verso) Private collection, Belgium

€ 3000 - 5000

002 Kanak Ceremonial Axe

New Caledonia Neprite, wood, textile, and sennit, 60 cm

Provenance:

Curtis Moffat Collection, London (before 1949)

English private collection

Christie's, Paris, 30 October 2018, lot 18 Private collection, Paris

€ 5000 - 7000

003

Théo van Rysselberghe

(Belgian, 1862 - 1926)

Effet de contre-jour (Madame Octave Maus) – 1906

[Portrait of Mrs. Octave Maus]

Oil on canvas, 49 x 49 cm

Monogrammed and dated lower right ‘VR 06’

Provenance:

Collection Mme Octave Maus

Mrs. Eugénie Hauman Collection, Brussels (1962)

M. Lucien Hauman Collection, Brussels

Mak van Waay, Amsterdam, 27 May 1974, lot 346

Private collection, Belgium

Published:

Madeleine Maus, Trente années de lutte pour l’art. 1884-1914, Brussels, Librairie L’Oiseau Bleu, 1926, p.403 (Effet de contre-jour)

Gustave Van Zype, Notice sur Théo Van Rysselberghe, Brussels, Académie Royale de Belgique, 1932, p. 36 (dated 1908, titled Mme Octave Maus (contre-jour))

A. Eggermont, “Musée de Gand. Théo Van Rysselberghe (1862-1926)”, in Le Thyrse. Revue d’art et de littérature, LXIV, n°9, September 1962, p.370

Ronald Feltkamp, Théo Van Rysselberghe 1862-1926 [catalogue raisonné], Racine, Brussels, 2003, cat.1906-019 (ill.)

Exhibited:

Brussels, Musée d’Art Moderne, La Libre Esthétique, 7 March - 12 April 1909, cat.274

Galerie Georges Giroux, Brussels, Théo Van Rysselberghe. Exposition d’ensemble, 25 November - 6 December 1927, cat.58

Museum of Fine Arts, Ghent, Rétrospective Théo Van Rysselberghe, 1 July - 16 September 1962, cat.97

We thank Olivier Bertrand for providing additional information on this painting which will be included in his forthcoming Théo Van Rysselberghe catalogue raisonné.

€ 15 000 - 20 000

Théo Van Rysselberghe’s Portrait of Mrs. Octave Maus (1906), also known as Effet de contre-jour, exemplifies the artist’s distinctive approach to portraiture within the context of the neo-impressionist movement. Octave Maus was the founder of the Belgian avant-garde collective Les XX that played a crucial role in connecting the avant-garde artists of the time, including James Ensor, Fernand Khnopff, and Willy Finch, among others. Van Rysselberghe was also an original member of Les XX, and his association with Maus reflects the strong intellectual and artistic ties within this influential group. Mrs. Madeleine Maus would publish in “Trente années de lutte pour l'art. Les XX. La Libre Esthetique 1884 - 1914”, relating this crucial period when Brussels was at the crossroads of so many international avant-garde movements.

Rather than conforming to traditional portrait conventions, Van Rysselberghe’s Portrait of Mrs. Octave Maus pushes the boundaries of the genre for which he had become renowned. It demonstrates the artist’s commitment to capturing the subtle atmospheric effects typical of neo-impressionism.

The painting stands out in many ways. What strikes us first is the unconventional vantage point: the sitter is portrayed from behind, her features gently defined by the play of light on her skin. Though still recognizable, the painting shifts focus from mere likeness to an exploration of light and color.

The composition itself is quite daring and unusual as well. The painting is diagonally divided between the illuminated sitter and the tapestry-like background with an undulating pattern. The green and burgundy swirling forms in the background evoke movement and rhythm, subtly disrupting the stillness of the figure.

The Portrait of Mrs. Octave Maus offers more than a likeness; it is a reflection of Van Rysselberghe’s mature style, combining the intimate with the innovative. The painting’s thoughtful composition, the interplay of light, and the striking contrast between figure and background make it a unique and important example of early 20th-century Belgian art. As such, it stands as a testament to the deep connections between artist and patron, as well as the intellectual currents that shaped the art of Les XX.

004 Gust. De Smet

(Belgian, 1977 - 1943)

Femme au bouquet - 1929

[Young Woman with Flowers]

Oil on cardboard, 85 x 56 cm

Signed and dated lower right

Provenance:

Galerie Le Centaure, Brussels

Sale Le Centaure, Brussels, 1 February 1932, cat.75

J. Van Parijs Collection, Brussels

Private collection, Belgium

Published:

P.-G. Van Hecke and Emile Langui, Gustave De Smet. Sa vie, son œuvre, Lumière, Brussels, 1945, cat.355

Emile Langui, Gust De Smet. De mensch en zijn werk, A. Manteau, Brussels, 1945, cat.359

Walther Van Beselaere, Jan D'Haese, Moderne Vlaamse Schilderkunst [exhibition catalog], Ghent, 1980

Jan D'Haese, Art Flamand Moderne d'Ensor à Permeke, Paris, 1980, p.16 (ill.)

Piet Boyens, Gust. De Smet. Kroniek - Kunsthistorische analyse, Antwerp, 1989, cat.792 (ill.)

Raf Van den Abeele, De groep "Vlaanderen", [exhibition catalog], Sint-Martens-Latem, 1990, p.42

Exhibited:

Brussels, Palais des Beaux-Arts, Gustave De Smet, April - May 1936, cat.98

Museum of Fine Arts, Antwerp, Retrospectieve Gustaaf De Smet, 1 July - 3 September 1961, cat.136

Kredietbank, Ghent, Moderne Vlaamse Schilderkunst, 16 April - 4 May 1980, cat.13 (ill.)

Union des Banques, Paris, Art Flamand Moderne d'Ensor à Permeke, 29 May - 20 June 1980, cat.14 (ill.)

Artiestenzolder van het Gemeentehuis, Sint-Martens-Latem, De groep "Vlaanderen", 11 August - 16 September 1990, cat.12 (ill.)

Museum Gust De Smet, Deurle, Acht van Latem, 1993, cat.142 (label on verso)

€ 30 000 - 50 000

005 Dayak Pole

Modang people, Wahau River, East Kalimantan Indonesia 19th C or earlier Ironwood, 202 cm

Provenance:

Collected in situ by Dr. Z. in the late 1990s Private collection, France

Published:

Martin Doustar, Austronesia and Beyond, Paris, 2023, p.5, cat.10

€ 30 000 - 50 000

This imposing sculpture of tremendous presence can be related to a group of Modang figures collected by Edmund Grundner on the banks of the Telen River after a massive flood. These tall post figures were lying in the mud for at least 300 years when they were recovered. The most important sculpture of this group was acquired by the Quai Branly, Paris (Inv. n° 70.2008.72.1), and the rest of the collection was dispersed among various collectors around the world.

Unlike the Grundner group of sculptures, the present figure was not collected on the Telen River but on the neighbouring Wahau River, further east. Its style differs slightly, less archaic, but more sophisticated and detailed. However, it presents a very comparable construction. Like the other sculptures of the corpus, we can observe multiple intertwined creatures and limbs, both anthropomorphic, zoomorphic, and vegetal. Furthermore, the function of the sculpture as a supportive burial post appears to be similar.

In his study «The Kayanic Tradition Vol.I», Mark Johnson (2020) published another group of seven Modang post figures with very close resemblance to our sculpture: large heart-shaped or triangular face (probably inspired by a human skull) dominating the viewer, often twined with a smaller reversed head at the bottom; sort of tall «ears» like antennae (often broken) above the top head to support and stabilize the coffin of the deceased, and a long post end destined to be planted in the ground.

Anthropologist Antonio Guerreiro explains that these burial posts represent a psychopomp spirit linked to thunder and lightning; their responsibility is to escort newly deceased souls of chiefs and nobles to the afterlife. Varans are associated with this spirit as a symbol of the deceased.

Mark A. Johnson, The Kayanic Tradition, Volume I: Guardian Sculptures, 2020, pp. 156-167

006

Gust. De Smet

(Belgian, 1977 - 1943)

Les petits chevaux - 1917

[Young Horses]

Oil on canvas, 45 x 63 cm

Signed lower left

Provenance:

Madame André Pisart Collection, Brussels

Private collection, Ghent

Exhibited:

Brussels, Galerie Georges Giroux, Exposition Gustave de Smet. Peintures - gouachesdessins, 5 - 16 January 1929, cat.42 (titled "Paysage (chevaux)", dated 1919

Brussels, Palais des Beaux-Arts, Gustave De Smet, April - May 1936, cat.24 (label on verso)

Published:

P.-G. Van Hecke and Emile Langui, Gustave De Smet. Sa vie, son œuvre, Lumière, Brussels, 1945, cat.106

Emile Langui, Gust De Smet. De mensch en zijn werk, A. Manteau, Brussels, 1945, cat.110

Piet Boyens, Gust. De Smet. Kroniek - Kunsthistorische analyse, Mercatorfonds, Antwerp, 1989, cat.544 (ill., titled and dated "Farm with Horses - 1920)

€ 30 000 - 50 000

Young Horses (Les petits chevaux) exemplifies the accomplished synthesis of German Expressionism and Cubism that marked Gustave De Smet’s development during his time spent in exile in the Netherlands during the First World War. There, De Smet discovered German Expressionism, particularly through his visits to the Amsterdam Museum, and his subscription to Der Sturm magazine, which made a profound impact on his approach to art. This period of exploration laid the foundation for the personal and distinctive style that would define his later works.

De Smet moves beyond the simple representation of nature, opting instead for a bold abstraction of shapes and volumes. The composition is dominated by a striking tree canopy, rendered in warm, brick-red tones, while highlights from the setting sun bounce off the tree trunk and parts of the farmhouse’s walls. These accents create a harmonious interplay of light and shadow, a rhythmic balance that unifies the composition.

Although reminiscent of the German Expressionists he admired, notably Franz Marc, Gust. De Smet distinguishes himself with his unique sense of color, equilibrium, and rhythm. His works are visual poems, where each element is carefully calibrated, together forming a hymn to the simple and honest rural life of his homeland.

The provenance of Young Horses is also noteworthy: it comes from the collection of Mme. Pisart, wife of André Pisart. André Pisart was a prominent figure in the automotive world and made history as the first Belgian driver to win the 24 Hours of Le Mans in the under-2-liter category in 1924 and later became a car dealer in Brussels.

According to Piet Boyens' chronology*, De Smet acquired his first car, a black Essex limousine, in 1930, a time when car ownership was still rare. The car was given to him by Pisart in exchange for a selection of paintings. Farm with Horses might well have been one of those paintings.

* Piet Boyens, Gust. De Smet. Kroniek - Kunsthistorische analyse, Mercatorfonds, Antwerp, 1989, p.45

007 . Leon Schulman Gaspard

(American/Russian, 1882 - 1964)

Elégantes on the Bridges of Paris 1909-1910

Seated Old Man on verso of one panel

Oil on panel, 25 x 40 cm (each)

Signed, dated, and located lower right

Signed, dated, numbered, and located lower left

Provenance:

Private collection, Ghent

€ 15 000 - 20 000

Born in Vitebsk, Russia, Leon Schulman Gaspard studied at the Odessa Art School and the Académie Julian in Paris. In 1908, he married Evlyn Gasper, and the couple settled in Paris, where he became a regular exhibitor at the Salon d'Automne and the Salon des Artistes Français. His works from this period often depicted vibrant street scenes and genre subjects, reflecting his keen interest in capturing the dynamic life of the city.

Elégantes on the Bridges of Paris showcases Gaspard's characteristic style: vivid colors, intricate patterns, and a lively depiction of Parisian life. The diptych format emphasizes the bustling atmosphere of the bridges, where fashionable women stroll amidst the architectural grandeur. Painted between 1909 and 1910, this work exemplifies his ability to blend Impressionist techniques with a narrative approach, offering a glimpse into the elegance and energy of early 20th-century Paris.

008 Agiba Hook

Papua New Guinea, circa 1900

Turama-Rubi People, Gama River Wood and pigment, 84,5 cm

Provenance:

George Craig (1960s, acquired in situ)

Todd Barlin, Sydney

Jacques de Vilmorin Collection, Paris

Galerie Voyageurs & Curieux, Paris

Private collection, France

€ 50 000 - 70 000

Agiba hooks were central ritual objects of the Turama-Rubi people, used within men’s houses to display human skulls obtained in warfare. Serving as mediators with ancestral and spiritual forces, they embodied the vitality and continuity of the clan. Each was carved by men entitled through headhunting achievement, a practice once integral to the ceremonial life of the Papuan Gulf. The present example retains well-preserved traces of its original pigments. A comparable agiba was held in the collection of the John Friede and collected by Thomas Schultze-Westrum, Berlin / Munich.

009 . József Rippl-Rónai

(Hungarian, 1865 - 1927)

Deux femmes endormies - 1910-1912

[Two Sleeping Women]

Oil on canvas, 60 x 73 cm

Signed lower left

Provenance:

Paul Sérusier (1864-1927) and Marguerite Sérusier (1879-1950), a gift from József Rippl-Rónai in 1912

Paule-Henriette Boutaric (A close friend of Marguerite Sérusier, she cohabited with Marguerite and her two sisters at Châteauneuf-du Faou after Paul Sérusier's death. Marguerite appointed Henriette as her executor and bequeathed to her both her and her husband's estates.)

Marcel Guicheteau (author of the Paul Sérusier Catalogue rainsonné, written in collaboration with Paule-Henriette Boutaric, and published in 1976. He assisted Henriette Boutaric with the sale of artworks from the Sérusier estate, and was responsible for the posthumous Boutaric single-owner sale at Ader, Picard, Tajan, Paris, Vente de la Succession Sérusier-Boutaric, on 19-20 June 1984.)

Purchased from the above by the present owner in 1983

Private collection, Brussels

€ 50 000 - 70 000

This intimate work, painted around 1910-1912, was gifted by Rippl-Rónai to his friends Paul and Marguerite Sérusier, likely on the occasion of their 1912 wedding. A related pastel, titled L’heure du thé, depicting the same corner of the house, with the paravent and Ronai’s painting Slender woman with vase visible in the background, was included as lot 60 in the 1984 Boutaric- Serusier sale. A related pastel, titled L’heure du thé, depicting the same corner of the house, with the paravent and Ronai’s painting Slender woman with vase visible in the background, was included as lot 60 in the 1984 Boutaric- Serusier sale. It closely relates to his Sleeping Women of 1912 (51 x 70 cm, formerly in the collection of Oszkár Köves), suggesting this piece was a preparatory study. Both paintings depict two women asleep in an interior at Villa Roma, Rippl-Rónai’s home in Kaposvár, where the artist had moved in 1908. Notable background elements, including his Slender Woman with Vase (1894, Art Institute of Chicago) and My Models in My Garden (1911, Rippl-Rónai Museum, Kaposvár), also appear in other works from this period.

The women in this painting are believed to be Rippl-Rónai’s wife, Lazarine Baudrion, and Fenella Lowell, an English model who stayed with the couple at Villa Roma from 1910 to 1912. While this work may be seen as a full-scale sketch, its spontaneous, fluid brushwork and vibrant modernity reflect Rippl-Rónai’s continued engagement with French modernism. The artist, a key figure of the Nabis movement, was greatly influenced by his time in Paris, where he exhibited alongside fellow Nabis members, including Sérusier.

Rippl-Rónai’s return to Hungary in 1902 marked a shift in his style. After initial struggles to gain acceptance for his modernist work in Hungary, he focused on interior scenes featuring his family. However, in the years leading up to 1912, Rippl-Rónai embraced a more experimental, decorative style that merged Nabis and Fauvist influences. This period marked a crossroads in his career, blending the traditional and the avant-garde.

This painting captures that moment of transition: its subject matter links it to his earlier interiors, but its free, impressionistic brushstrokes herald a new, modern approach.

As a key figure in modern art, Rippl-Rónai bridged the gap between French influences and Hungarian traditions. His involvement in founding the Circle of Impressionist and Naturalist painters in Budapest in 1907, alongside his significant participation in the Venice Biennale, helped shift the direction of art in his homeland. Rippl-Rónai’s pioneering role laid the foundation for the modern movement and shaped the development of visual culture in the region.

We are grateful to Tessa Kostrzewa for her assistance in cataloguing this work.

FROM THE COLLECTION OF ANN DEMEULEMEESTER AND PATRICK ROBYN

OBJECTS OF

AFFINITY

Belgian fashion designer Ann Demeulemeester is internationally recognized for her minimalist and finely tailored approach to clothing. Her private collection includes modernist and contemporary design by figures such as Le Corbusier, Huib Hoste, Alvar Aalto, George Nakashima, and Gerrit Rietveld, among others. Across these works, attention to form, material, and proportion is consistent, with clarity and restraint guiding both structure and surface.

The auction features prototypes of Demeulemeester’s Table blanche, designed by her and crafted by Patrick Robyn, now edited by Bulo. The table is a pure-form object wrapped in white canvas, a surface intended for drawing or painting that can be gessoed over and reused, allowing the marks of daily life to accumulate over time. These prototypes translate Demeulemeester’s approach into a functional, interactive object, where geometry, material, and use converge.

Some original furniture by Patrick Robyn is also included. His work combines contemporary design with traditional craftsmanship, emphasizing clarity of form, material integrity, and precision of construction. Each piece is visually composed while remaining structurally grounded.

Together, the ensemble brings the collected classics into dialogue with original works by Demeulemeester and Robyn. The selection of modernist and contemporary furniture establishes a historical and aesthetic framework, while the prototypes and original pieces extend these principles into new explorations of form, material, and function. Altogether, the group demonstrates both continuity and innovation, highlighting the relationship between influential precedents and contemporary Belgian design.

010 Ludwig Mies Van der Rohe (German-American, 1886-1969)

Cantilever MR10 - 1927 (design) Steel and wickerwork, 80 x 70 x 49 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

011 . Alvar Aalto (Finnish, 1898 - 1976)

Pair of Wall Sconces for Paimio Sanatorium - 1932

Enameled steel and glass, 62,5 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

These distinctive sconces were crafted to provide soft, diffuse light for patients, balancing functionality with aesthetic form. Their gentle illumination was intended to create a calming atmosphere, while the design ensured strong enough light for reading and other activities in the sanatorium's therapeutic spaces.

012 . Patu Onewa

Maori, New Zealand, 1700-1900

Greywacke, 31 cm

Provenance:

Collected in 1863 during the battle of Rangiriri, Waikato, New Zealand. By descent to a private collection, United Kingdom

Private collection, Paris

€ 6000 - 8000

013 Ann Demeulemeester (Belgian, 1959)

Table Blanche

Painted canvas and wood, 79 x 75 x 280,5 cm

Labeled “Ann Demeulemeester”

Exhibited: Antwerp, Modemuseum, Fashion & Interiors. A Gendered Affair, 29 March - 3 August 2025

€ 4000 - 6000

Original prototype realised by Patrick Robyn for the large version of "Table Blanche", now edited by Bulo.

014 . Ludwig Mies Van der Rohe (German-American, 1886-1969)

Cantilever MR10 - 1927 (design)

Steel and wickerwork, 80 x 70 x 49 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

Exhibited:

Antwerp, Modemuseum, Fashion & Interiors.

A Gendered Affair, 29 March - 3 August 2025

€ 2000 - 3000

015 . Hei Tiki

Maori, New Zealand Nephrite, 9,8 cm

Provenance:

Gifted on 19 March 1944 by the Ngati-Poneke Maori Association to Lady Newall, wife of Governor-General Sir Cyril Newall, during a farewell ceremony in Wellington, London By inheritance to Sir Francis Newall, Buckinghamshire

Private collection, Paris

Published:

Martin Doustar, Expressionism Before the Expressionists, London, 2025, cat.15 (ill.)

€ 15 000 - 20 000

016 Henri Le Sidaner (French, 1862 - 1939)

Small Square in Quimperlé - 1918

Study for La Roulotte (Clair de lune)

Oil on panel, 29 x 39 cm

Signed lower right

Provenance: Prof. Vernieuwe Collection, Ghent (handwritten label on verso)

Private collection, Ghent

Exhibited:

Brussels, Galeries des Artistes Français, Henri Le Sidaner, 23 October - 11 November 1931, cat.50

€ 15 000 - 20 000

This intimate study depicts a moonlit evening in the Breton town of Quimperlé and served as a preparatory work for La Roulotte. Clair de Lune / Gypsy Wagon in Moonlight (1920), now in the Phillips Collection in Washington, D.C. (inv. 1203). The painting captures the tranquil atmosphere of the square, showcasing Le Sidaner's fascination with the interplay of artificial and natural light.

017 A Rare and Important Mundugumor Figure

Biwat People, Middle Yuat River

Papua New Guinea, 19th century

Wood, natural pigments, 155 cm

Provenance:

Acquired by Günter Markert in the village of Dimeri in 1961

Günter Markert Collection, München

Loed Van Bussel, Amsterdam (acquired directly from above)

Asher Eskenasy, Paris (acquired from the above in 1984)

Private collection, Paris

Exhibited:

Galerie Le Gall-Peyroulet, Paris, Les Iles Noires, 24 November 1988 - 15 January 1989

Published:

Galeries Magazine, Paris, December - January 1989, n°28, p.59

€ 200 000 - 300 000

Figures such as the present sculpture embody mythological ancestors of the Biwat, or Mundugumor, people of the Middle Yuat River. “Mundugumor” was the name used by Margaret Mead to refer to the Biwat, a community of about one thousand people living in six villages near the confluence of the Yuat and Sepik rivers. Mead and Reo Fortune spent three months among them in 1932, gathering only fragmentary information on the use of figures and masks in local rituals. According to her notes and subsequent field observations by Karl Laumann (1952, 1954), these ancestral figures were associated with powerful bush spirits and once received ritual offerings within domestic spaces. They served as tangible mediators between the human and spirit worlds, ensuring the protection and vitality of the community.

The earliest Yuat River sculptures to reach Europe were collected in the 1950s by the Swiss anthropologist Dadi Wirz on behalf of the Museum der Kulturen, Basel. His expedition, which included several monumental ancestral figures, was followed by Laumann’s important publications describing the ritual and social functions of such carvings. Later discoveries, most notably by Pierre Langlois in 1961, revealed related figures from the villages of Mbranda, Mansuat, and Narbari. Together, these works established the stylistic coherence of a distinctive sculptural tradition within the Sepik cultural sphere, later examined by Christian Kaufmann (Clan Heroes and Sons of the Crocodile, 2009) and others as a rare expression of Biwat cosmology and form.

It was Günter Markert who brought the present sculpture back from Papua New Guinea.

A larger-than-life character, Markert was a filmmaker, writer, adventurer, dealer, and collector of tribal and Asian art. He made a name for himself in the 1950s by travelling around the world on a Kreidler motorcycle, a journey he recounted in his bestseller Die Welt war meine Straße. In 1960-1961, he mounted an expedition to Papua New Guinea financed by the Linden Museum, Stuttgart. Collecting on the museum’s behalf, Markert assembled a large group of artefacts and sculptures from various parts of the Sepik River, including the present figure from the village of Dimeri. Upon his return, part of this material entered the Linden Museum’s collection, while other works were retained by Markert and later sold through his Munich gallery.

Markert sold this figure to the Amsterdam dealer Loed Van Bussel, who in turn sold it in 1984 to the Paris collector and gallerist Asher Eskenasy. Both were active figures in the European circulation of early Oceanic art: Van Bussel as a leading dealer in the Netherlands, and Eskenasy as one of the key collectors and exhibitors of Oceanic art in France during the 1980s.

Only a small number of Yuat River sculptures are known today: around a dozen examples preserved in major collections such as the Museum der Kulturen and the Fondation Beyeler in Basel, the de Young Museum in San Francisco, and the Papua New Guinea National Museum in Port Moresby. Large-scale wooden figures of this kind are rare within Papuan art, and among the Mundugumor, they represent an especially uncommon and distinguished tradition of monumental sculpture.

Bibliographic references:

Christian Kaufmann, “Clan Heroes and Sons of the Crocodile,” in Bildgewaltig: Visual Encounters, Africa, Oceania and Modern Art, ed. Oliver Wick and Antje Denner, Fondation Beyeler, Basel, 2009

Karl Laumann, “Vlissó, der Kriegs- und Jagdgott am unteren Yuat River, Neuguinea,” in Anthropos, Anthropos Institute, St. Gabriel-Mödling, 1952, pp. 897-908

Karl Laumann, “Geisterfiguren am mittleren Yuat River in Neuguinea,” in Anthropos, Anthropos Institute, St. Gabriel-Mödling, 1954, pp. 27-57

Margaret Mead and Reo Fortune, field notes on the Biwat (Mundugumor), 1932; and Sex and Temperament in Three Primitive Societies, Morrow, New York, 1935

Oliver Wick and Antje Denner, Visual Encounters: Africa, Oceania & Modern Art, Fondation Beyeler, Basel, 2009, chap. XV

018 Alvar Aalto (Finnish, 1898 - 1976)

Rare Straight Legged Dining Table / Desk - 1930s Wood, 72 x 113,5. x 69,5 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1200 - 1800

019 . Alvar Aalto (Finnish, 1898 - 1976)

Pair of Model B96 Chests of Drawers - Mid 1930s Lacquered wood, 66 x 38 x 69 cm Produced by O.Y. Huonekalu-ja Rakennustyötehdas A.B

Provenance: Ann De Meulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

020 Walter Sauer (Belgian, 1889 - 1927)

Young Breton Woman Seated with a Book - 1927 Ink, color pencil, watercolor, and oil on paper, 81 x 66 cm Monogrammed, signed, and dated lower left

Provenance: Private collection, Ghent

€ 4000 - 6000

In 1926, Sauer spent two months in Brittany, a period that had a significant influence on his artistic output. During this time, he created a series of watercolors and mixed-media works depicting young Breton women, known as bigoudènes, in traditional attire. Executed in 1927, this large-scale drawing follows his time in Brittany and showcases Sauer’s meticulous attention to detail. The young woman’s pose conveys a sense of calm and contemplation, while the book resting in her lap adds a quiet, intimate touch, suggesting a moment of personal reflection.

021 Le Corbusier (Swiss-French, 1887-1965)

Table

Painted steel and wood, 71,5 x 75 x 75 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

022 Le Corbusier

(Swiss-French, 1887-1965)

Table - 1931-1933

Enameled steel, laminate, and wood

71 x 80 x 120 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 3000 - 4000

Table designed by Le Corbusier, Charlotte Perriand and Pierre Jeanneret for the Pavillon Suisse, Cité Universitaire, Paris

023 Baga Bird Headdress

Guinea Wood and pigments

49,5 cm

Provenance:

Sotheby's, New York, 9 November 1993, lot 218

Leslie Sacks Collection, Los Angeles

Native Auctions, Brussels, African Art from the Leslie Sacks Collection, 22 October 2016, lot 19

Marc Sohier Collection, Brussels

By descent

Published: Amanda M. Maples, African Art from the Leslie Sacks Collection, Refined Eye, Passionate Heart, Skira 2013, p.252

€ 1000 - 1500

024 Large Dogon Figure

Mali

Wood, 150 cm

Provenance:

Merton Simpson, New York

Bobby Haas (Robert B. Haas), France-USA

Private Collection, Spain

By descent

€ 35 000 - 50 000

This tall female figure, arms outstretched, represents the Satimbe, “sister of the masks”, a central motif within the Dogon sculptural corpus. Once forming the crest of a high mask worn during the dama funerary ceremonies, it signified the mediation between the visible and invisible worlds.

In Dogon cosmology, the Satimbe embodies the primordial woman who first discovered the masks and transmitted their knowledge to humankind. Her image perpetuates the memory of that revelation while expressing the relationship between female generative power and male ritual authority.

Figures of this type are rare survivals, as their placement atop performance masks subjected them to significant ritual use. The present example, at 150 centimeters in height, combines monumentality with a surface bearing the marks of long ceremonial handling, an eloquent record of its ritual and artistic function.

025 Gerrit Thomas Rietveld (Dutch, 1888 - 1964)

Zig Zag Chair - 1932 (design) Wood, 74 x 37 x 40 cm

Produced by Gérard van de Groenekan, Utrecht

Provenance: Marc Hottermans Collection, Belgium

Ann Demeulemeester and Patrick Robyn Collection, Antwerp (acquired from the above)

Literature:

Marijke Küper and Ida van Zijl, Gerrit Th. Rietveld 1888-1964. The Complete Works, Centraal Museum, Utrecht, 1992, pp.145-147, cat.189

Alexander von Vegesack ed., 100 Masterpieces from the Vitra Design Museum Collection, Weil am Rhein, 1996, p.122

Alexander von Vegesack, Scoprire il design.

La collezione Von Vegesack [exhibition catalog], Editions Electa, Milan, 2008, p.168

Otakar Mácel, Sander Woertman, Charlotte van Wijk, Chairs. Catalogue of the Delft Faculty of Architecture Collection, 010 Publishers, Rotterdam, 2008, p.21

€ 6000 - 8000

026 . Gerrit Thomas Rietveld

(Dutch, 1888 - 1964)

Zigzag Table - 1932-34 (design) Wood, 69 x 169 x 78 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

Literature: Marijke Küper and Ida van Zijl, Gerrit Th. Rietveld 1888-1964. The Complete Works, Centraal Museum, Utrecht, 1992, pp.147

€ 6000 - 8000

027 . Lobi Figure Burkina Faso Wood, 85 cm

Provenance: Galerie Simonis, Düsseldorf Private collection, Germany

€ 6000 - 8000

028 . Birdcage

Glass and metal, 81 x 115 x 63,5 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

Modelled after a 1930s birdcage (lot 62), this contemporary, larger version was commissioned by Ann Demeulemeester to figure in her Antwerp flagship store.

029 Joseph Raphael

(American, 1869–1950)

Self-portrait - c.1916

View on Saint-Job, Uccle (verso)

Oil on panel, 32,3 x 40 cm

Provenance: Private collection, Belgium

€ 7000 - 10 000

Born in Jackson, California, in 1869, Raphael studied at the California School of Design before proceeding to Paris and the Académie Julian. From 1911, he spent the summer months in Laren in the Netherlands. In 1912 he made a decisive move to Belgium, settling in the suburb of Uccle (Ukkel) near Brussels, where he and his Dutch-born wife lived and worked for many years.

Known for creating numerous self-portraits throughout his career, Raphael’s Self-Portrait with Pipe stands out for its bold, vigorous brushstrokes, which anticipate with his more expressive, post-impressionist style from the 1920s and 1930s. During this period, his brushwork became freer and more direct, reflecting a desire for emotional intensity and personal expression.

The self-portrait captures the artist’s confident and introspective nature, blending a vibrant handling of light and color with a direct, almost raw depiction of the artist.

On the verso, there is a landscape of Saint-Job in Uccle, linking the work to the artist’s time in the Belgian countryside.

It reflects both the international arc of his career, from America via France to Belgium, and a period when Brussels and its environs served as the backdrop for his more freely expressive, post-impressionist works.

030 Botanical Model: Pisum Sativum

Poland

Robert & Reinhold Brendel - c.1900

Papier maché and wood, 50 cm

Label on the base with description of the specimen

Provenance:

Collectors Gallery, Brussels

Private collection, Paris

€ 2000 - 3000

Robert Brendel founded the R. Brendel company in 1866 in Breslau (now Wrocław, Poland), producing anatomical, mineralogical, and primarily botanical teaching models. Crafted from materials such as papier-mâché, wood, cotton, bamboo, glass beads, feathers, and gelatin, the models reflected close scientific collaboration and meticulous craftsmanship. His son Reinhold (1861–1927) later took over the company, expanded his botanical expertise, and, in 1898, relocated the workshop to Grunewald near Berlin. Under his leadership, the models achieved exceptional quality. Sold through illustrated catalogs and international resellers, such as the Paravia firm in Italy - the models received numerous awards for their excellence.

031 Botanical Model: Trifolium Pratense

Czechoslovakia, early 20th C.

Painted papier mâché and wood, 49 cm

Label on the base: Trifolium prat / Wiesenklee, III.5.50 / Blate / Vergr. 25 fach / Logia-Smichov

Provenance:

Collectors Gallery, Brussels

Produced by Logia, a Prague-based manufacturer of scientific instruments and displays

€ 2000 - 3000

032 . George Morren (Belgian, 1868 - 1941)

Banks of the Seine - 1911

Oil on canvas, 55 x 67,5 cm

Signed and dated lower right

Titled, signed, and dated on verso

Provenance: Private collection, Ghent

€ 8000 - 12 000

The authenticity of this work has been confirmed by M. Tony Calabrese. The work will be included in the supplement to the catalogue raisonné in preparation.

033 Bamana Mask

Mali Wood, 36 cm

Provenance:

Roger Budin Collection, Geneva

Jean-Louis Picard, Paris, "Collection Roger Budin et divers amateurs", 8 October 1991, lot 191

Private collection

Sotheby's, New York, 19 November 1999, lot 14

Pierre Dartevelle, Brussels

Private collection, Germany

€ 6000 - 8000

034 . James Ensor

(Belgian, 1860 - 1949)

Les butineurs de la chair - 1937

Scavengers of Flesh

Oil on canvas, 50 x 65 cm

Signed lower left

Signed on verso; titled on the stretcher

Provenance:

Christie's London, 28 June 1994, lot 202

Private collection, Belgium

Published:

Xavier Tricot, James Ensor, sa vie, son œuvre. Catalogue raisonné des Peintures, Fonds Mercator, Brussels, 2009, cat.752 (ill.)

Mentioned in the Memoranda, an ensemble consisting of 8 notebooks, handwritten by James Ensor, covering the years 1933 to 1939.

€ 300 000 - 500 000

It has been many years since a painting of this significance by James Ensor has appeared on the market. Les butineurs de la chair, painted in 1937, is a striking example of the artist’s late work, in which his signature vocabulary - masks, monstrous figures, carnivalesque chaos and biting humour - is brought together in a single, densely layered composition. The scene teems with fantastical beings gathered around a reclining female figure, their actions exaggerated, theatrical, and just ambiguous enough to be disarming.

The title, Les butineurs de la chair, literally “The pollinators of flesh”, is at once humorous and poetic. Grotesque figures extend flowers toward the exposed bodies of women, enacting a surreal, carnivalesque parody of desire. But the tone remains light, almost affectionate: a playful inversion of courtship that dissolves any distinction between farce and ritual. The eroticism here is mischievous and quirky, filtered through Ensor’s unmistakable sense of visual theatre, where every gesture seems both exaggerated and oddly sincere.

This is not simply a fantastical tableau, but a composition that distills some of Ensor’s most persistent themes: the absurdity of social convention, the tension between appearance and reality, and the staging of the body as both symbol and spectacle. The masks, frequent avatars of hypocrisy in Ensor’s work, hover between menace and comedy, while the central figure, rendered in a posture of classical repose, anchors the chaos with an unexpected grace. The painting holds together through this friction: between beauty and distortion, mockery and melancholy, closeness and distance.

Mentioned in Ensor’s Memoranda, a set of handwritten notebooks kept between 1933 and 1939, Les butineurs de la chair reflects the artist’s ongoing engagement with his mature production. These notebooks serve as a detailed inventory where Ensor catalogued his works alongside notes on his motivations and thoughts, revealing a self-aware artist reflecting on his career with both clarity and irreverence. Within this framework, the painting stands as a vivid example of Ensor’s late style, restaging familiar motifs with renewed boldness and playful freedom.

Following its sale at Christie’s in 1994, the painting remained out of public view in a private collection. Its return today offers the genuine pleasure of rediscovering a major work that brings together so much of what defines Ensor at his best.

035 Senufo Bird - Porpianong

Ivory Coast

Wood and pigment, 138 x 56 cm

Provenance:

Jean Verheyleweghen Collection, Brussels

Private collection, Brussels (acquired from Mrs. Verheyleweghen, 4 september 1969)

€ 40 000 - 60 000

Porpianong, large stylized bird sculptures, played a central role in the men’s Poro Society of the Senufo region. Traditionally kept in the sacred forest, they were used in the initiation rites for young men entering the final phase of training. Many examples feature hollowed bases to be carried on the head of initiates, and some have holes in the wings for cords to stabilize the figure.

The statues are also known as sejenor fijen (‘the bird’), kasingele (‘the first ancestor’), or poropia nong (‘mother of the Poro child’), reflecting their symbolic association with ancestral authority and the leadership of the society. Their morphology often combines male and female characteristics, including a swollen belly and an elongated, phallic beak.

The present example, of considerable size, retains its original pigments in a checkered pattern of red, blue, and white, which remain well-preserved despite the statue’s age.

036 . Bernard-Albin Gras (French, 1886 - 1943)

Adjustable Table Lamp Model n°413 / Shade Model n°1055

Steel and enameled steel

20,5 cm Ø (shade)

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

037 Bernard-Albin Gras (French, 1886-1943)

R.A.V.E.L. Wall Lamp Model N°203

Black enameled Steel

189 cm (maximum length shaft) + 34 cm

Shade: 14 cm Ø

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

With telescopic shaft

€ 3000 - 4000

038 Le Corbusier (Swiss-French, 1887-1965)

Door for Unité d'Habitation, Marseille - 1947-1952

Painted wood, 209 x 68,5 x 20 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 4000 - 6000

Provenance: Private collection, France

€ 3000 - 5000

040 Curt Fischer (German, 1890-1956)

Midgard Floor Lamp, Model 114S - 1930s

Steel and enameled steel

Maximum height 265 cm

Midgard Industriewerke, Auma

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

041 Bernard-Albin Gras (French, 1886-1943)

Adjustable Table Lamp Model n°201

Black enameled steel, 19 + 67 + 33 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

042 Ann Demeulemeester (Belgian, 1959)

Prototype for a Sideboard

Painted canvas and wood, 104 x 130 x 37,5 cm

Labeled “Ann Demeulemeester”

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 800 - 1200

Original prototype realised by Patrick Robyn for the console version of "Table Blanche", now edited by Bulo.

043 . Huib Hoste (Belgian, 1881 - 1957)

Chair with Armrests - 1930s

Steel and canvas, 90 x 61 x 78 cm

Manufactured by Galler, Antwerp

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 800 - 1200

044 . Dan Miniature Mask - Maou

Ivory Coast

Wood, pigment and vegetal fibers, 20 cm

Provenance: Galerie Alain Bovis, Paris

Private collection, Italy

€ 3000 - 5000

045 Bernard-Albin Gras (French, 1886-1943)

Adjustable Table Lamp Model n°201

Black enameled steel, 19 + 67 + 33 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

046 . Bernard-Albin Gras (French, 1886-1943)

R.A.V.E.L. Adjustable Table Lamp Model n°201

Black enameled steel, 19 + 68 + 33 cm

With mark: LA LAMPE R.A.V.E.L. CLAMART

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

047 . Senufo Staff

Ivory Coast Wood, 123 cm (figure: 25 cm)

Provenance:

Galerie Simonis, Düsseldorf Private collection, Germany

€ 2500 - 3500

048 . Akan Mask Pendant

Ghana / Ivory Coast Gold, 11,5 cm

Provenance:

René & Denise David / Galerie Walu, Kilchberg/Zürich

Hans Carla Baumann Collection, Bern-Muri, (acquired from the above in 1989)

Hammer Auktionen, Basel, African Art, 22 December 2021, lot 21

Private collection, Paris

€ 6000 - 8000

With certificate of the Zürich customs control for precious metals, dated 10 January 1989.

049 Le Corbusier

(Swiss-French, 1887-1965)

Cupboard for Unité d'Habitation, Marseille - 1947-1952

Lacquered wood, 155 x 105 x 53 cm

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

Literature:

Arthur Rüegg, Le Corbusier: Furniture and Interiors 1905-1965, Verlag Scheidegger & Spiess, Zürich, 2012, p.326

€ 4000 - 6000

Designed by Le Corbusier in 1952 for the Cité Radieuse, a pioneering model for modern living, this cupboard was part of the integrated furniture system in the revolutionary Brutalist apartment complex.

050 . Akan Face Masquette

Ghana Gold, 5,9 cm

Provenance: Private collection, France

€ 3000 - 4000

051 Léopold Survage

(French, 1879 – 1968)

Raccomodeuses de filets -1929

Oil on canvas, 96 x 129 cm

Signed lower right

Exhibited: Brussels, Palais des Beaux-Arts (label on verso)

€ 40 000 - 60 000

Born in Vitebsk, Russia, Léopold Survage moved to Paris in 1908, where he became a key figure in the artistic avant-garde. A founding member of the Section d’Or, he explored Cubism and abstraction before transitioning to more figurative and symbolic work. From 1925 onwards, Survage spent several periods in Collioure, a Mediterranean port where Matisse and Derain had previously found their Fauvist inspiration. The unique light and local daily life deeply influenced his work during this time.

Raccommodeuses de filets, painted around 1929, is a perfect example of this “Collioure period.” The painting depicts women mending fishing nets, a scene deeply rooted in local reality but treated with a symbolic and monumental approach. The warm, earthy palette, coupled with a structured composition, reflects the influence of the Mediterranean light on Survage’s art.

052 . David Hockney (British, 1937)

Herrenhausen, Hannover - May 1970

Chromogenic print

21 x 27 cm; 17,8 x 24 cm (image)

Initials on verso Artist's proof

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

053 Bamana Ciwara Headcrest

Mali, Segou region

Wood, 97,2 cm

Provenance:

Philippe Guimiot, Brussels

Leslie Sacks Collection, Los Angeles

Private collection, Belgium

Published:

Amanda M. Maples, African Art from the Leslie Sacks Collection, Refined Eye, Passionate Heart, Skira, Milan, 2013, p.270

€ 12 000 - 15 000

054 Barbu Müller attributed to Antoine Rabany (French, 1844-1919))

Veiled Bust

Volcanic stone, 53 cm

Provenance: Private collection, Belgium

€ 30 000 - 40 000

The history of the so-called “Barbus-Müller” sculptures is marked by both intrigue and uncertainty. First emerging on the Paris art scene around 1939, a group of enigmatic carvings in volcanic stone captured the attention of collectors and dealers. Their primitive aesthetic, paired with their unclear origins, prompted a wave of fascination and speculation. One key figure in this early period was Charles Ratton. Recognizing the potential of these works, Ratton brought them to the attention of the Swiss collector Josef Müller, who acquired several examples and, in doing so, helped spark further interest.

The group’s nickname, “Barbus-Müller,” derives from this collector. The playful connection between “Barbier” (Müller’s later name) and barbu (bearded) gave rise to the enduring moniker. Despite the uncertainty surrounding their provenance at the time, the term stuck and has since become synonymous with these distinctive figures.

In 1945, Ratton showed several of these sculptures to the then little-known artist Jean Dubuffet, who was seeking to define a new kind of raw, anti-intellectual art. Fascinated by their expressive power, Dubuffet wrote to Müller requesting permission to have them photographed for the first of his planned publications on what he would soon term Art Brut.

Over the years, the sculptures were variously theorized to originate from distant cultures: the Marquesas Islands in French Polynesia, the Taíno civilization of the Caribbean, or even from a faux-Romanesque tradition. However, Ratton, whose intuition was later confirmed, consistently identified the works as originating from the Auvergne region of France.

It was not until 2017 that art historian Bruno Montpied traced the corpus back to the self-taught sculptor Antoine Rabany, known as “le Zouave”, who lived and worked in the village of Chambonsur-Lac in Auvergne.

The sculpture offered here was acquired in the 1960s at an auction at Drouot in Paris, where three Barbus-Müller works were presented. Of the three, two were purchased by Charles Ratton, while this example was acquired by a close friend of the dealer and has remained in the same family since.

055 . Idoma Headcrest

Nigeria Wood and pigments, 24 cm

Provenance:

Rolf Kunitsch Collection, Altheim (1997)

Helmut Zake Collection, Heidelberg

Native Auctions, Brussels, Helmute Zake and Various Owners, 26 January 2019, lot 128

Marc Sohier Collection, Brussels

By descent

Published:

Karl-Ferdinand Schaedler, Afrikanische Kunst. Von der Frühzeit bis heute, Munich, Heyne, 1997, p.180, fig.111

€ 6000 - 8000

056 George Nakashima (American, 1905 - 1990)

Room Divider - Cabinet - 1957-1958

Cherry wood

81 x 183 x 51 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 6000 - 8000

057 Patrick Robyn (Belgian, 1956)

Bookcase

Black-tinted wood, 72 x 130 x 75 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 800 - 1200

058 . Patrick Robyn (Belgian, 1956)

Desk / Bookcase

Black tinted wood, 72 x 130 x 75 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 800 - 1200

059 Mumuye Figure

Nigeria, South of the Benue River, Benue Valley Wood, 57 cm

Provenance:

John J. Klejman, New York Private Collection, USA

Olivier Castellano, Paris Private collection, Belgium

Native Auctions, Brussels, Helmute Zake and Various Owners, 26 January 2019, lot 27

Marc Sohier Collection, Brussels By descent

€ 8000 - 12 000

060 Pierre Jeanneret (Swiss, 1896–1967)

Two PJ-SI-28-A Cane Office Armchairs - 1955-56 Wood and cane, 78 x 52,5 x 48,5 cm (each)

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 4000 - 6000

061 Punu Mask

Gabon

Wood and pigments, 52 cm

Provenance:

Jef Vanderstraete Collection, Lasne

Private collection, Belgium

Lempertz, Brussels, 30 March 2006. lot 19

Private collection, Europe

Native Auctions, Brussels, A European Collection, 10 June 2017, lot 15

Marc Sohier Collection, Brussels

By descent

€ 4000 - 6000

062 Birdcage 1930s

Steel and glass, 54 x 79 x 41,5 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 4000 - 6000

063 Ingo Maurer (German, 1932 - 2019)

Uchiwa Suspension Lamp - c.1973

Large Model

Bamboo, rice paper, cotton, and brass

56 cm x 56 cm Ø

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 15 000 - 20 000

064 Jean Dubuffet

(French, 1901-1985)

Théière I - 1966

Vinyl paint on paper, mounted on canvas, 67 x 88 cm

Initialed and dated lower right

Titled and dated on the stretcher, verso

Painted August 3, 1966

Provenance:

Galerie Beyeler, Basel (1966)

Robert Elkon Gallery, New York (1968)

Galerie Ariel, Paris

Private collection, Brussels

Published:

Max Loreau, Catalogue des travaux de Jean Dubuffet, Cartes, Ustensiles (1964 - 1967), fasc. XXII, Paris/Genève, Weber, 1972, cat.172 (ill.)

Exhibited:

New York, Robert Elkon Gallery, New Acquisitions, 28 September - 24 October 1968

We are grateful to the Fondation Jean Dubuffet for providing additional information regarding the provenance of the work.

€ 500 000 - 700 000

Executed in the summer of 1966, Théière I belongs to the central years of L’Hourloupe, the cycle that would define Jean Dubuffet’s mature visual language. The curious title, a hybrid coined by the artist himself, fuses the words hurler (to shout) and loup (wolf), with echoes of entourloupe (trick) and galouper (to gallop): a verbal invention that captures the playful, unruly spirit of the series. Originating in spontaneous ballpoint doodles made during telephone conversations, L’Hourloupe(1962–1974) evolved into what Dubuffet called “une sorte d’algèbre mentale unificatrice,” a unified script capable of describing the entire world through an abstract, continuous web of form and line.

Within this framework, Théière I reimagines an ordinary household object through this new pictorial vocabulary. Against a stark black-and-white ground, the teapot’s silhouette stands out in bold relief: its dense black outline acts as both contour and shadow, pushing the object forward with a striking visual immediacy. The image hovers between figuration and abstraction: the teapot is clearly legible yet stripped of all descriptive modeling. Through this economy of means, Dubuffet achieves an almost optical tension between object and void, a confrontation of presence and absence that reveals the artist’s desireto translate perception into mental construction rather than naturalistic depiction.

By 1966, Dubuffet’s exploration of the Hourloupe language had extended beyond painting into sculpture. That year, he began to carve polystyrene forms later painted in the same graphic idiom, leading toward the monumental “painted architectures” of the early 1970s. Though executed on paper, Théière I already carries this sculptural impulse: its emphatic contours anticipate the threedimensional vocabulary of the Ustensiles Utopiques, where familiar utensils - cups, bottles, chairs - were re-imagined as playful architectures of the mind.

In subject and tone, the work also reflects the broader artistic climate of the mid-1960s. While American artists such as Lichtenstein, Warhol, Wesselmann, and Oldenburg were transforming the commonplace into icons of consumer culture, Dubuffet approached similar subjects from a distinctly European angle. His everyday objects are not celebrations of modern life but metamorphoses of it; translations of the banal into the realm of thought. Under the Hourloupe spell, the teapot, like the bottle or the chair, becomes an emblem of invention, a locus of utopia. Théière I thus stands as a refined meditation on one of Dubuffet’s central concerns: the reinvention of reality through an autonomous graphic language. Painted on a single August day in 1966, it captures the artist’s drive to elevate the most ordinary of objects into signs of a new world, one governed not by sight but by the free logic of imagination.

065 . Punu/ Lumbo Figure

Gabon Wood, 25 cm

Provenance: Bobby Haas (Robert B. Haas), France-USA Private collection, Spain By descent

€ 10 000 - 15 000

066 . Charlotte Perriand (French, 1903 - 1993)

Pair of 'Chauffeuse' Chairs from La Cachette, Les Arcs, France

Wood and cushions (with modern upholstery by Ann Demeulemeester)

64 x 57 x 70 cm

Provenance: Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 4000 - 6000

067 Mitsogho Bell Handle

Gabon

Wood and metal, 18 cm

Inventory number on the base

Provenance: Acquired before 1939

Josef Müller/Mueller (1887-1977), Solothurn, Switzerland

Barbier-Mueller Museum, Geneva, Switzerland, inv.# BMG 1019-41

Calmels Cohen, Paris, Arts primitifs. Arts précolombiens, 8 June 2005, lot 331

Private collection, Germany

Published: Louis Perrois, Ancestral Art of Gabon from the Collections of the Barbier-Mueller Museum, Genève, 1985, p.203, cat.34 (ill.)

Exhibited:

Dallas, Texas, Dallas Museum of Art, 26 January - 15 June 1986; Los Angeles, California: The Los Angeles County Museum of Art, 28 August 1986 - 22 March 1987, Ancestral Art of Gabon from the collections of the Barbier-Mueller Museum

€ 6000 - 8000

068 . Studio Mumbai / Bijoy Jain (Indian, 1965)

Bamboo Study I - 2019

Stool

Natural bamboo, muga silk, 45,5 x 42 x 42 cm

Provenance: Maniera, Brussels

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 800 - 1200

069

Studio Mumbai / Bijoy Jain (Indian, 1965)

Bamboo Study Y - 2019

Bamboo, indigo dyed, nistari silk ropes

60 x 59 x 74 cm

Provenance: Maniera, Brussels

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 2000 - 3000

070 . Ngil Fang Mask

Gabon, 19th C.

Wood, metal tacks, and kaolin, 53 cm

Provenance:

Bobby Haas (Robert B. Haas), France / USA

Private collection, Spain

By descent

€ 60 000 - 80 000

Carved with striking economy of form and coated in a pale layer of kaolin, this mask embodies the essence of Fang sculpture from the Ngil society tradition. The white surface - symbolic of purity and the world of spirits - contrasts with the rhythmic accents of metal tacks that define the brows and nose, while two discreet lines of perforations on the cheeks suggest scarification marks. Its elongated, heart-shaped face and downturned mouth impart the mask with the serene yet commanding expression that characterizes classic Ngil aesthetics.

The Ngil was a male initiation and judicial society within Fang communities of Gabon and southern Cameroon. Its members acted as agents of social order, pursuing wrongdoers and presiding over rites of purification. Masks such as this were worn during nocturnal ceremonies, their pale, spectral faces illuminated by firelight to inspire awe and moral reflection. When colonial authorities suppressed the Ngil in the early 20th century, the practice ceased, and the masks that had been used ritually were largely lost or destroyed.

Authentic, field-worn examples from the 19th century are therefore rare. Its important size adds to its physical presence, emphasizing the verticality and elegance that also captivated early European collectors.

With CIRAM certificate, dating this mask from the 19th C.

071 Antonio Seguí (Argentinian, 1934 - 2022)

Villa Maria - 1973

Pastel and charcoal on canvas, 46,5 x 61 cm

Signed and dated top middle

Titled, signed, and dated on verso

Provenance:

Claude et Micheline Renard Collection, Paris

Private collection, Paris (gift from the former)

€ 4000 - 6000

Villa Maria belongs to a rare and distinctive series that Ségui created in the early 1970s, a period of significant transition in his life. Having recently moved from Argentina to France, Ségui was in the midst of negotiating his cultural and emotional identity, balancing his Argentine roots with his new European surroundings. This work reflects that period of introspection and adjustment. Unlike his earlier urban scenes filled with figures, here the artist retreats into a solitary, almost deserted landscape. The restrained use of pastel and charcoal, with a subdued palette of grays, ochres, and earth tones, evokes a quiet, contemplative atmosphere that seems to mirror the artist's own search for a sense of belonging in a new environment.

The composition is defined by a strong sense of perspective, where the expansive, open space stretches into the horizon, amplifying the feeling of solitude and absence. This vast, unpopulated landscape contrasts with Ségui’s previous works, removing human presence in favor of a more metaphysical exploration of space and light. The simplicity of the formstrees, farmhouses, and fences - coupled with long, looming shadows, conjures a sense of melancholic stillness.

This canvas is less concerned with narrative and more focused on the act of seeing, the quiet contemplation of space and time.

072 . Lumbo Figure

Gabon

Wood, glass, and pigment, 38 cm

Provenance:

Private collection, France

Michel (1926-2020) & Catherine Andrault Collection, Paris/Taupessargues

Olivier Larroque, Nîmes (2021)

Private collection, Italy

€ 5000 - 7000

073 . Ann Demeulemeester (Belgian, 1959)

Prototype for "Table Blanche"

Painted canvas and wood, 79,5 x 75 x 130 cm

Labeled “Ann Demeulemeester”

Provenance:

Ann Demeulemeester and Patrick Robyn Collection, Antwerp

€ 1000 - 1500

Original prototype realised by Patrick Robyn for a table, now edited by Bulo.

Quoting the Bulo website, "Table Blanche is a pure form table wrapped with white canvas. The use of canvas invites the user to draw or paint on it. The whole table can be gessoed over and you can start again, just like with a painter’s canvas. The charm of the material is that it will carry the marks of daily life over time."

074 . A.R. Penck

(German, 1939 - 2017)

Untitled - 1991

Acrylic on canvas, 100 x 79 cm

Signed lower right

Provenance:

Prof. S.M. Heinrichs (acquired directly from the artist in 1991)

Private collection, Belgium

€ 35 000 - 50 000

With certificate of provenance by Prof. S.M. Heinrichs, dated 16 October 2008.

075 . Songye Figure

D.R. Congo

Wood, metal, and domestic goat and African royal python hide, 68 cm

Provenance:

Allan Stone, New York (acquired in the 1960s or early 1970s)

By descent

Sotheby's, New York, The Collection of Allan Stone: African, Oceanic and Indonesian Art - Volume One, 15 November 2013, lot 133

Private collection, Germany

Published:

Christie's New York, Selections from the Allan Stone Collection, November 12, 2007, p.10

Kevin D. Dumouchelle, Power Incarnate: Allan Stone's Collection of Sculpture from the Congo, Greenwich, Connecticut, 2011, p.11

Christie's Paris, Art Africain et Océanien, December 11, 2012, p. 94

Exhibited:

Greenwich, CT, The Bruce Museum, Power Incarnate: Allan Stone's Collection of Sculpture from the Congo, 14 May-4 September 2011, p.11

€ 40 000 - 60 000

This commanding Songye nkisi sculpture, once part of the distinguished Allan Stone collection, emanates both authority and mystery. Its face, marked by exaggerated, angular features - most notably the deeply inset eyes and pronounced forehead - signals its role as a vessel for potent spiritual forces. The intense expression and stylized, geometric shapes are characteristic of Songye artistry, while the careful surface treatment underscores the sacred nature of the object. Designed not merely to be viewed, but to be experienced, this nkisi was intended to channel spiritual energy during rituals of protection, healing, and divination.

076 . Bembe Mask

D.R. Congo

Wood and pigment, 49,5 cm

Provenance: Galerie Simonis, Düsseldorf

Private collection, Germany

€ 6000 - 8000

077 . Jean Prouvé

(French, 1901-1984)

Guéridon Bas - 1950s

Coffee Table

Oak, 36 x 81 cm Ø

(table top 75,5 cm Ø)

€ 15 000 - 20 000

078 . Large Iridescent Ammonite

Placenticeras costatum

Late Cretaceous (approx. 71 million years ago)

37 x 46 cm

€ 30 000 - 50 000

This substantial ammonite shell, polished to reveal its natural iridescence, displays a shifting spectrum of red, blue, and green across its surface. Placenticeras (“flat horn”) was a fastswimming, predatory cephalopod, closely related to modern nautilus, squid, and octopus. Its shell comprised gas- and fluid-filled chambers that regulated buoyancy, while the living animal occupied the outermost compartment, connected to the others by a ventral siphuncle.

During the Late Cretaceous, these ammonites thrived in the Western Interior Seaway, which bisected North America. Following burial in sediment, their shells underwent permineralization, producing ammolite - a rare biogenic gem, alongside amber and pearl. The present specimen displays a broad spectrum of red, blue, and green iridescence across its considerable surface, illustrating both the species’ morphology and the exceptional preservation of its mineralized shell.

(Finnish, 1890 - 1973)

Ceiling lamp, model 9060 - 1960

Brass, 62 x 50 cm

Manufactured by Idman Oy

With manufacturer's stamp

€ 10 000 - 12 000

Model originally designed for the United Nations' Secretary-General office, New York

080 Jean Tinguely

(Swiss, 1925 - 1991)

Untitled - c.1970

Ink, gouache, and synthetic feather on cutout cardboard, 55 x 44 cm

Signed lower left

Provenance:

Claude et Micheline Renard Collection, Paris (gift from the artist)

Private collection, Paris (gift from the former)

€ 4000 - 6000

Playful and improvisatory, this work on paper exemplifies Jean Tinguely’s spontaneous approach to drawing. Executed on a flattened cardboard box cut into an irregular silhouette, it brings the kinetic artist’s exuberant energy to a modest, everyday surface. The vibrant patches of ink and gouache form a lively tangle of signs and shapes, echoing in two dimensions the visual rhythm and controlled chaos of his mechanical sculptures. This drawing was given by Tinguely to Claude and Micheline Renard, central figures of the Parisian art scene. Claude Renard, founder of Renault’s Service Recherches Art et Industrie in 1967, championed collaborations between artists and industry, inviting creators such as Arman, Dubuffet, Soto, and Tinguely to experiment with new materials and scales. The present work, later gifted by Micheline Renard to a close friend, remains a vivid testament to that fertile network of artistic exchange.

081 Asafo Flag

Ghana

Textile, 99 x 148 cm

Provenance:

Private collection, France

€ 2000 - 3000

A striking example of Fante craftsmanship, this vibrant Asafo flag from Ghana features intricate symbolic motifs, historically used in military and ceremonial contexts to convey strength, identity, and unity.

082 Paavo Tynell

(Finnish, 1890 - 1973)

Ceiling lamp, model 9060 - 1960

Brass, 62 x 50 cm

Manufactured by Idman Oy With manufacturer's stamp

€ 10 000 - 12 000

Model originally designed for the United Nations' Secretary-General office, New York

083 . Thomas Houseago (British, 1972)

Mask - 2000 Plaster, 67 x 47 x 15 cm

Provenance: Acquired directly from the artist Private collection, Brussels

€ 10 000 - 15 000

084 . Teotihuacan Mask

Mexico, 200 - 750 AD

Onyx or tecali, 7,5 cm

Provenance:

Jacop Epstein Collection, London

Carlo Monzino Collection, Castagnola / Lugano / Milan

Private collection, Paris

Exhibited:

London, Arts Council of Great Britain, The Epstein Collection of Tribal and Exotic Sculpture, 1960, cat.253

Published:

William Buller Fagg,The Epstein Collection of Tribal and Exotic Sculpture [exhibition catalog], Arts Council of Great Britain, London, 1960, cat.253

Ezio Bassani, Malcolm D. McLeod, Jacob Epstein Collector, Associazione Poro, Milan, 1989, p.167, cat.701 (ill.)

€ 8000 - 10 000

085 Paavo Tynell (Finnish, 1890 - 1973)

Pair of Wall Sconces Model K8-11 - 1950s Brass, 23 cm

Edited by Taito Oy With manufacturer's stamp

€ 6000 - 8000

086 Paavo Tynell

(Finnish, 1890 - 1973)

Pair of Wall Sconces Model K8-11 - 1950s

Brass, 23 cm

Edited by Taito Oy

With manufacturer's stamp

€ 6000 - 8000

087 . Paavo Tynell

(Finnish, 1890 - 1973)

Pair of Wall Sconces Model K8-11 - 1950s

Brass, 23 cm

Edited by Taito Oy

With manufacturer's stamp

€ 6000 - 8000

FROM THE BELFIUS ART COLLECTION

The Belfius Art Collection is proud to offer for sale an ensemble of design objects and international artworks.

The Collection represents the most extensive private collection of Belgian art, encompassing a period of five centuries and comprising numerous artistic masterpieces. It features works by both renowned masters and emerging artists, offering a comprehensive survey of the most significant periods and movements in Belgian art history. This encompasses the oeuvre of the Flemish Masters from the 16th and 17th centuries, modern art from 1860 to 1960. Representing the foremost exponents of impressionism, symbolism, luminism, fauvism, expressionism, surrealism, post war and contemporary art from 1960 onwards the collection may be considered from an institutional level.

It should be noted however that, given the provenance of the collection, there are segments that are not aligned with the master collection. These segments comprise non-Belgian artworks from BACOB Bank and Paribas Bank Belgium, in addition to furniture and functional objects (by designers such as Wabbes, Veranneman…) associated with Gemeentekrediet -Crédit Communal de Belgique, which are presented here.

Fully focused on painting, sculpture, and their derivatives, always with a 100% Belgian emphasis, Belfius has decided to part with these previously collected pieces, while continuing its long-standing tradition of supporting emerging Belgian talents and maintaining great respect for Belgian heritage.

088 Nicolas Bertin

(French, 1667 - 1736)

The Martyrdom of Saint Sebastian - 1700-1710

Oil on copper, 32,8 x 25,7 cm

Signed lower left, underneath the archer’s foot

Inscribed “S. Sebastien” on the shield, middle foreground

Provenance:

Sotheby's, London, 11 July 1956, lot 142

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

Published:

Bernard de Montgolfier, « Trois esquisses peintes du XVIIIe siècle », in Bulletin du musée Carnavalet, n°1, Paris, 1956, pp.10

Antoine Schnapper, « Nouvelles acquisitions des musées de province. Musée de Saint-Etienne. A propos d’un tableau de N. Bertin », in La revue du Louvre et des Musées de France, n°s4-5, 1972, pp.359-360, fig.14

Thierry Lefrançois, Nicolas Bertin 1668-1736. Peintre d'Histoire, Editions Arthéna, Paris, 1980, pp.40, 41, 47, 120, 121, cat.33, fig.35

€ 6000 - 8000

Thierry Lefrançois has identified this painting as the only known work of such small format signed by Bertin, and undeniably one of the most significant of his career (Paris, 1980, cat.33). Rejecting the earlier idea that it might be a preparatory sketch, Lefrançois interprets it instead as one of those meticulously finished cabinet pictures painted on metal, in the northern manner, for private devotion or collection.

Set slightly off-centre, the saint’s luminous body commands the viewer’s gaze, emerging as the radiant focus of the scene. Bound to a forked tree, an uncommon motif in depictions of his martyrdom, Sebastian’s figure introduces a striking tension that animates the composition. Soldiers and executioners move in mid-action before a classical architectural backdrop opening onto a rugged landscape, while angels descend from above, imbuing the moment with celestial gravity.

On stylistic grounds, Lefrançois proposes a date around 1700-1710, a dating supported by the architectural amplitude of the setting and the carefully balanced arrangement of figures. The poised gestures and sculptural clarity of form recall the teaching of Louis Boullogne and the influence of Jouvenet, while the luminous palette and fluid execution reveal Bertin’s responsiveness to Venetian painting. In its combination of Venetian grandeur with Flemish precision in the rendering of materials, this Saint Sebastian stands as a refined expression of the artist’s early mature style.

089 Jules Wabbes (Belgian, 1919 - 1974)

Two Wall Sconces with Five Bands - c.1969 Brass, 15 x 18 x 19,5 cm

Provenance: Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002 (ill.)

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, p.148

€ 1600 - 2400

JULES WABBES

AND THE BELFIUS ART COLLECTION

Banks in Belgium during the 1960s-1970s: Architecture, art and design

In post-war Belgium, banks were more than offices, they were statements of stability, modernity, and progress. From the late 1960s onward, financial institutions commissioned bold architecture and interiors, where every detail conveyed prestige. Jules Wabbes, already renowned for his precise, functional, and visually rigorous designs, became a natural choice for such projects, most notably for the director’s floor of the Crédit Communal/ Gemeentekrediet in Brussels.

Wabbes’ interiors were total compositions, with furniture, lighting and architectural elements working together in harmony. They were distinguished by clean lines, noble materials and impeccable craftsmanship. He collaborated closely with master artisans such as Antoine Callebaut, whose brasswork complemented Wabbes’ vision, and Jan Vlug, whose woodworking realized the structural elegance and flawless surfaces that define his furniture.

Whether a modest videpoche, a coffee table, a chair, or a console, each object reflects Wabbes’ discipline, clarity of form, and sensitivity to material. A standout among the lots presented in this sale, is the round conference table in edge-grain wood, once the centerpiece of the directors’ meeting room at the Pacheco HQ in Brussels, which exemplifies his monumental yet restrained approach.

The collection also includes a number of Wabbes’ signature luminaries, among them the celebrated Osaka hanging lamps, iconic examples of his lighting design, alongside a selection of wall-mounted pieces that illustrate his versatility across scale and type.

Each piece, from the smallest accessory to the largest furniture element, conveys Wabbes’ enduring commitment to structural integrity, material refinement, and functional elegance, offering a vivid sense of his role in shaping modern Belgian interiors.

090 Jules Wabbes (Belgian, 1919 - 1974)

Wall Sconce with Five Bands - c.1969 Brass, 15 x 18 x 19,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, p.148

€ 800 - 1200

091 Jules Wabbes

(Belgian, 1919 - 1974)

Square Low Table - c.1968

End grain wood, wood, and brass

34 x 88,5 x 88,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 2000 - 3000

092 . Jules Wabbes (Belgian, 1919 - 1974) and Antoine Callebaut (Belgian, 20th C.)

One Large and One Medium Ashtray / Videpoche - c.1968

Sand cast bronze, 20 cm Ø x 2,8 cm and 14 cm Ø x 2,3 cm

Initials AC underneath

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 700 - 1000

093 Jules Wabbes (Belgian, 1919 - 1974) and Antoine Callebaut (Belgian, 20th C.)

One Large and Two Medium Ashtrays / Videpoches - c.1968

Sand cast bronze, 20 cm Ø x 2,8 cm and 14 cm Ø x 2,3 cm

Initialed underneath

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 1000 - 1500

094 . Jules Wabbes (Belgian, 1919 - 1974)

Two Videpoches / Ashtrays - c.1968

Cast bronze, 4,3 x 9,3 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 400 - 600

095 Karel Appel

(Dutch, 1921 - 2006)

Composition – 1959

Gouache and pastel on paper, 48 x 62 cm

Signed and dated lower left

Provenance: M. Dohmen, Antwerp (1964)

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

€ 4000 - 6000

096 Dušan Džamonja (Yugoslavian, 1928 - 2009)

AV-I - 1998

Ink and wash on paper, 50 x 65 cm

Titled and dated lower left, signed and dated lower right

Provenance:

Dexia Art Collection, Brussels

Belfius Art Collection, Brussels

€ 1000 - 1500

097 Jules Wabbes (Belgian, 1919 - 1974)

Spectacular Table Top - c.1968

End grain wengé wood

250 cm Ø, x 7 cm

Provenance:

Gemeentekrediet / Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 8000 - 12 000

Table top, especially designed for the table of the boardroom at the Gemeentekrediet – Crédit Communal HQ in Brussels, Boulevard Pacheco.

098 Johannes Hannot (Dutch, 1633 - 1684)

Still Life

Oil on canvas, 174 x 205 cm

Provenance:

Galerie Georges Giroux, Brussels, Sale Lambert de Rothschild, 11 May 1931, lot 105 (ill., as Jan Davidz. de Heem)

Galerie Georges Giroux, Brussels, May 1957, lot 455

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

Published:

E. Greindl, Les peintres flamands de la nature morte au XVIIe siècle, Sterrebeek, 1983, p.362, n°151 (as Jan Davidz. de Heem)

Fred G. Meijer, Johannes Hannot, Nature morte sans un jardin, in L'art et la Banque, une sélection de Rubens à Magritte, Fonds Mercator, Brussels, 1997, pp.121-122 (ill.)

Exhibited: Brussels, Palais des Beaux-Arts, L'art et la Banque, une sélection de Rubens à Magritte, 23 October 1997 - 4 January 1998, cat.59 (ill.)

€ 25 000 - 35 000

Johannes Hannot remains a relatively unknown figure within Dutch Golden Age painting, with a modest oeuvre that nonetheless reveals a painter of remarkable ambition and technical command. His limited body of work invites careful attention, and this large-scale still life stands out not only for its size but for its rich conceptual and pictorial complexity. Spanning a broad canvas, the composition is a prime example of the ‘pronkstilleven’ tradition with lavish still lifes displaying exotic fruits, imported delicacies and gleaming silverware. A symbol of global trade and refined taste in the 17th-century Low Countries. Yet here, the conventional vocabulary of abundance is expanded into something more ambitious. The scene is set not within a shadowed interior but on a terrace, framed by a stone balustrade and opening onto a mountainous landscape. At the heart of the composition, a finely rendered silver pitcher reflects the interior space from which the artist worked, a striking contradiction that anchors the painting in both reality and artifice. This central reflection is more than a technical flourish; it acts as a subtle declaration of artistic range. With one gesture, Hannot collapses three genres into a single, unified image: the still life proper, the interior scene glimpsed in the silver jug, and the imagined landscape beyond the terrace. The landscape is not tied to a specific locale and may have been added later or based on earlier sketches, further suggesting that this work is less a straightforward still life than a programmatic statement. In its scale, composition, and layered structure, the painting presents Hannot not simply as a painter of objects, but as a master of illusion, space, and genre.

While rooted in the aesthetics of material abundance, the painting also gestures toward the vanitas tradition, inviting reflection on the fleeting nature of pleasure and possession. Its measured interplay of genre, scale, and illusion gradually reveals a quiet complexity to the observant viewer.

According to Fred G. Meijer (L’art et la Banque: une sélection de Rubens à Magritte, Fonds Mercator, Brussels, 1997, pp. 121-122, ill.), this painting may be dated between 1660 and 1680.

099

Gilbert & George (British, 1943 and 1942)

Candlelight - 1974

From the Series Post Card Sculptures Summer 1974

33 postcards, 130 x 83 cm

Incuded in the Gilbert & George Center Digital Catalog

Provenance:

Isy Brachot, Brussels (1992)

BACOB Bank, Brussels

Belfius Art Collection, Brussels

Exhibited:

Hirsch & Adler Modern, New York, Gilbert & George: Post-card Sculptures and Ephemera, 1969-1981, 2 May - 26 May 1990

€ 6000 - 8000

Created in 1974, Candlelight is part of Gilbert & George’s Post Card Sculptures, a body of work that marks their early experiments with appropriated imagery and structured visual form. Composed of 33 found postcards arranged in a grid of eleven rows by three columns, the work transforms everyday printed ephemera into a complex, rhythmic composition. This period in their practice is defined by an interest in the tension between order and chaos, elegance and vulgarity, qualities that resonate strongly in this piece.

In Candlelight, postcards of British hotels and inns are interspersed with cartoons centered on food and drink. This juxtaposition hints at deeper themes of hospitality, consumption, and escape, where the polite public face of leisure meets the private absurdities of appetite and indulgence. As with much of Gilbert & George’s work, what first appears humorous or mundane reveals itself to be loaded with coded social commentary.

Formally, the artists exploit the uniform dimensions of postcards while subverting their orientation. While each card is precisely aligned within the grid, many are deliberately rotated, some upside down, others turned sideways, allowing vertical images to occupy horizontal space. This manipulation of format turns the grid into more than a container: it becomes a compositional device that animates the surface with unexpected shifts in line, tone, and rhythm.

Though wall-mounted, Candlelight is referred to as a “sculpture” - a term that reflects Gilbert & George’s broader intent to dissolve boundaries between image and object, surface and volume. The postcard, often a disposable souvenir, is here repurposed as sculptural material, each card contributing not only its imagery but its physical presence to the overall structure. The result is a work that exists somewhere between archive and artwork, memory and construction.

A work from the same series, emblematic of Gilbert & George’s early practice, is held in the collection of Tate (inv. T03241).

100 . Gillis Van Scheyndel II

(Dutch, c.1635 - 1678/79)

Woody Landscape with River Oil on canvas, 63 x 85 cm

Signed lower left

Provenance:

Samson Collection

Mrs. C.K. Norman Collection

Christie's, Manson & Woods, Ltd.,London, Ancient and Modern Pictures and Drawings. The Property of the late Mrs. C.K. Norman, 6 July 1956, lot 120 (as G. Van Schendel)

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

Exhibited:

County Borough of Newport, Wales, Museum and Art Gallery, Samson Collection of Duch Art, 21 August - 23 September 1950, cat.42 (label on verso)

€ 2000 - 3000

The authenticity of this work has been confirmed by Fred G. Meijer by mail on October 23, 2025.

101 Ossip Zadkine (Russian-French, 1888 - 1967)

Bust of Van Gogh - Second State "Chemise ouverte" - 1955

Bronze, 43 x 46 x 21 cm

Signed and dated on reverse 1955

Provenance:

Paribas Bank Belgium, Antwerp-Brussels (acquired directly from the artist in 1958)

Belfius Art Collection, Brussels

Published:

Sylvain Lecombre, Ossip Zadkine.

L'œuvre sculpté, Editions des musées de la Ville de Paris, Paris, 1994, cat.472

Herman Liebaers, Maurits Naessens 70, het boek van de vriendschap, 1908-1978, Lannoo, Tielt, p.130 (ill.)

€ 6000 - 8000

Zadkine returned several times to the figure of Vincent van Gogh, creating a series of busts that reflect both admiration and identification. This second state, known as Chemise ouverte , presents the artist with his shirt open and head turned, modeled in a style that is both angular and expressive. The surface vibrates with energy, emphasizing not likeness but psychological intensity: a sculptural tribute to Van Gogh as visionary and solitary figure.

Made in 1955, the work belongs to Zadkine’s mature period, when his early Cubist influences had given way to a more emotionally charged and symbolic language. Here, fragmentation and rhythm serve not abstraction, but the evocation of inner tension - placing the sculpture at the intersection of homage and introspection.

102 . Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Side Table - c.1968

Wood and brass, bronze tabletop 42,5 x 79 cm Ø

Provenance: Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 2000 - 3000

103 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Side Table - c.1968

Wood and brass, bronze tabletop 42,5 x 79 cm Ø

Provenance: Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 2000 - 3000

104 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Side Table - c.1968

Wood, bronze, and brass

42,5 x 79 cm Ø

Provenance: Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 2000 - 3000

105 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Side Table - c.1968

Wood and brass, bronze tabletop 42,5 x 79 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 2000 - 3000

106

Alexander Archipenko

(Ukrainian-American, 1887 - 1964)

Figure géometrique assise – 1913/1954

[Seated Figure]

Bronze, 45 x 13 x 20 cm

Signed, dated, and numbered on reverse: 6/6

Provenance:

Galerie Stangl, Munich (1964)

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

This sculpture (n° 2889) is included in the online Alexander Archipenko Catalogue raisonné under n°s 13-01.

€ 150 000 - 200 000

Conceived in 1913 during his most innovative Parisian period, Figure géométrique assise exemplifies Alexander Archipenko’s radical rethinking of the human figure at a critical moment in the development of modern sculpture. Working among the Cubists and in close dialogue with contemporaries such as Picasso, Braque, and Léger, Archipenko forged a singular path, rejecting naturalism in favor of geometric stylization, rhythmic form, and spatial experimentation. He was one of the first sculptors to treat voids not as absences but as active compositional elements, using negative space to define volume and presence.

The seated figure in this work exemplifies Archipenko’s ability to translate the human body into a vocabulary of pure geometric forms. Here, the hips are rendered as a circular disk, from which a single protruding leg emerges, a compositional choice that, despite its apparent abstraction, achieves a surprising sense of balance and grace. Rather than relying on anatomical detail or volumetric modeling, Archipenko builds the figure through visual rhythm and formal contrast, inviting the viewer to read presence and poise through the interplay of curves, angles, and mass. While his radical use of voids elsewhere challenged traditional sculptural conventions, this piece foregrounds his equal mastery of volume, compression, and structural clarity.

Cast from a model dated 1913, this bronze belongs to a closely supervised edition begun by Archipenko himself c.1957 and completed shortly thereafter by his estate. The cast presented here was made during the artist's lifetime by Foundry Bedi Rassy, US in 1963 and the subtle variations in the color of the patina make it an outstanding exemplar of this sculpture.

Exhibitions (Seated Figure – not this cast in particular)

New York, Associated American Artists Galleries, Archipenko 110th Exhibition, 50 Years Production, 16 October - 14 November, 1954, cat.1

New York, Perls Galleries, Alexander Archipenko: Bronzes, 29 September - 24 October 1959, cat.6 ill.

Hagen, Karl-Ernst Osthaus Museum, Archipenko, 50 Jahre seines Schaffens (tour), 20 March - 1 May 1960, cat.6 ill. London, Grosvenor Gallery, Alexander Archipenko Sculpture and Sculpto-Painting, 1909-1921, 20 June 20 - 11 July 1961

St. Gallen, Galerie Im Erke, Alexander Archipenko, 17 November 1962 – 10 January 1963, cat. 5

Winnipeg, Winnipeg Art Gallery, Alexander Archipenko Exhibition, 14 January - 31 January 1962, cat.7 ill. p.8

Rome, Ente Premi, Alexander Archipenko, 10 April – 20 May 1963, cat.10 ill.

Munich, Galerie Stangl, Alexander Archipenko, Skulpturen und Zeichnungen, 14 February - 4 April 1964, cat. 10 ill. p.15

Milan and Rome, Galleria del Levante, Il contributo russo alle avanguardie plastiche, September 1964, ill. p. 20

London, Grosvenor Gallery, Aspects of Russian Experimental Art 1900-1925, 24 October - 18 November 1967, cat.3

Los Angeles, UCLA Art Museum, Alexander Archipenko: A Memorial Exhibition (tour: Minneapolis, Minnesota, Walker Art Center; San Diego, Fine Arts Gallery of San Diego; Phoenix, Phoenix Art Museum; Dallas, Dallas Museum of Fine Arts; Colorado Springs, Colorado Springs Fine Arts Center; St. Louis, Missouri, Washington University; Washington D.C., National Collection of Fine Arts, Smithsonian Institution; Cincinnati, Cincinnati Art Museum; Utica, New York, Munson-Williams-Proctor Institute), 1967-1969, cat.16 ill. p.43

Lyon, Madeleine Rocher-Jauneau Musée des Beaux-Arts, Archipenko: International Visionary (tour: Rennes, Musée des Beaux-Arts. Nantes, Musée des Beaux-Arts.Munich, Haus der Kunst; Bonn, Rheinisches Landesmuseum; Mannheim, Städtische Kunsthalle; Geneva, Musée Rath; Dublin, Municipal Gallery of Modern Art) 1969-1970, cat.16, ill. p.50

New York, Museum of Modern Art, Archipenko: The Parisian Years, 20 July – 18 October 1970, cat.8

London, Hayward Gallery, The Arts Council of Great Britain, Pioneers of Modern Sculpture, 20 July - 23 September, 1973, cat.50 p.114

New York, Zabriskie Gallery, Archipenko: Polychrome Sculpture, 27 October - 20 November 1976,cat.10

Chicago, Arts Club of Chicago, Archipenko: Polychrome Sculpture, January 10 - February 11, 1977, cat.10 Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Selections from the Joseph H. Hirshhorn Bequest, 7 August - 16 November 1986

New York, Rachel Adler Gallery, Alexander Archipenko: The Creative Process, November - December 1991, cat.6 ill. Shiga, Museum of Modern Art, Shiga, The Human Figure Interpreted: Modern Sculpture from the Hirshhorn Museum (tour) 1 July - 6 August 1995, cat.35 ill. p.83

Taipei, Taipei Fine Arts Museum, The Human Figure Interpreted: Modern Sculpture from the Hirshhorn Museum (tour) 25 March - 2 May 1995, ill. p.97

Paris, Galerie Maeght, Archipenko 19 November 1997- 25 January 1998, ill. p.53

Saarbrücken, Saarlandmuseum, Alexander Archipenko, 18 October 2008 - 18 January 2009, cat. L5 ill. pp.76, 202

New York, Eykyn Maclean, Alexander Archipenko: Space Encircled 9 November - 14 December 2018, cat.3 ill. pp.48, 49 Milan, ML Fine Art, Matteo Lampertico, Archipenko in Italy, 14 September - 12 December 2021, cat.3 ill. pp.46, 47, 76 London, Estorick Collection of Modern Italian Art, Archipenko and the Italian Avant-Garde, 4 May - 4 September, 2022, ill. p.49

Literature (Seated Figure – not this cast in particular)

Alexander Archipenko, Archipenko: Fifty Creative Years 1908-1958, New York, Tekhne, 1960, plate 6

Katherine Jánszky Michaelsen, Archipenko: A Study of the Early Works 1908-1920, New York, Garland Publishing, 1977. [Doctoral diss., Columbia University, United States] pp.123, 213, plate S119, cat.S119

Anette Barth, Alexander Archipenkos plastisches Oeuvre, Teile I und II. Frankfurt am Main, Peter Lang, 1997. [Doctoral diss., University of Trier] pp.110, 111 cat.50

107 French School, 18th C., in the style of Jean-Baptiste Oudry (French, 1686 - 1755)

Marsh Birds Oil on canvas, 148 x 119 cm

Provenance:

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection

Published: Nico Van Hout, "Oiseaux des Marais", in L'art et la Banque, une sélection de Rubens à Magritte, Fonds Mercator, Brussels, 1997, p.127 (ill)

Exhibited: Brussels, Palais des Beaux-Arts, L'art et la Banque, une sélection de Rubens à Magritte, 23 October 1997 - 4 January 1998, cat.64 (ill.)

€ 10 000 - 15 000

This oil painting, attributed to the French School of the early 18th century, reflects the period's fascination with naturalistic detail and compositional richness. The precise rendering of feathers and foliage suggests the artist had access to specimens from cabinets de curiosités, which allowed for the blending of scientific accuracy with aesthetic refinement.

The painting draws from the legacy of Flemish animal painters like Frans Snyders and Jan Fyt, whose influence remained strong in France. Yet, the artist’s refined palette and composure show a shift towards the French taste for controlled elegance, bridging the exuberance of Northern style with the restraint of French classicism.

108 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Low table - c.1968 Bronze, 42,5 x 99 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 2000 - 3000

109 . Jules Wabbes

(Belgian, 1919 - 1974)

Two End Tables - c.1968

End grain wood, wood, and brass

34 x 51 x 88,5 cm (each)

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 3000 - 4000

110 Theodoor Van Thulden

(Dutch, 1606 - 1669)

The Mystical Marriage of Saint Catherine of Alexandria Oil on canvas, 170 x 193 cm

Signed lower right on the sword's blade

Provenance:

Galerie Georges Giroux, Brussels, 1 December 1958, lot 36

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

€ 15 000 - 25 000

In this luminous and richly detailed composition, Theodoor van Thulden depicts The Mystical Marriage of Saint Catherine of Alexandria, a theme popular in CounterReformation art for its embodiment of divine union and spiritual devotion. The scene shows the Virgin Mary presenting the Christ Child, who places a ring upon Saint Catherine’s finger, symbolizing her mystical betrothal to Christ. Saint Catherine, identifiable by her crown, palm of martyrdom, and the lily held by the angel in the upper left corner, kneels in reverent submission, a posture that reflects both her royal status and steadfast devotion. This painting is signed discreetly on the sword in the foreground - a subtle but deliberate placement that underscores the central role of martyrdom in Saint Catherine’s story. A more playful but no less meaningful detail appears in the form of a squirrel beside the saint. Long associated with intelligence and foresight, the animal may here symbolize those who, like Catherine, recognize in the Christ Child the future Redeemer of humanity. The concept of a mystical marriage refers to the spiritual union between a consecrated soul and Christ, often experienced in visions by female saints and mystics. As defined in the Catholic Encyclopedia, it "signifies a state of high perfection in the spiritual life," where the soul is united to God "in a permanent way by love and conformity of will."

Saint Catherine of Alexandria is one of the most celebrated exemplars of this mystical phenomenon, and her visionary marriage to Christ became a favored subject for artists throughout Europe, particularly in the 16th and 17th centuries.

Van Thulden, a student of Rubens and an accomplished draughtsman, brings a Baroque dynamism and tenderness to the scene, blending theological depth with courtly elegance. The delicate rendering of textures, jewels, fabrics, flesh, and the interplay of devotional symbols reveal the artist’s sensitivity to the union of spiritual depth and sensual beauty.

111 Dušan Džamonja (Yugoslavian, 1928 - 2009)

Sculpture DP-VII - 1989-91

Wood and polyester, 89 x 110 x 88 cm

Provenance:

Paribas Bank Belgium, Antwerp-Brussels (acquired directly from the artist in 1994)

Belfius Art Collection, Brussels

€ 7000 - 9000

112 . Jules Wabbes

(Belgian, 1919 - 1974)

Osaka Ceiling Lamp - 1969 Brass, 120 cm, 55 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002

Marie Ferran-Wabbes, Jules Wabbes, Borgerhoff & Lamberigts, Ghent, 2010, p.178

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, pp.17 - 150

€ 8000 - 12 000

Originally designed for the restaurant of the Belgian Pavilion by André Jacqmain at the Expo 70 World Fair in Osaka, this lamp became an instant classic.

113 . Karoo Ashevak

(Inuk / Canadian, 1940 - 1974)

Bird Spirit

Whalebone, 20 x 31 x 20 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels (acquired in 1973)

Belfius Art Collection

€ 2000 - 3000

Karoo Ashevak occupies a singular place in the history of modern Inuit sculpture. Working in Spence Bay (now Taloyoak) during the early 1970s, his brief but extraordinary career marked a departure from more traditional narrative carving toward a deeply personal and expressive idiom. Though his life was cut tragically short in 1974, his distinctive works - often carved in fossilized whalebone - have had a lasting impact on the perception of contemporary Inuit art, both in Canada and internationally.

Bird Spirit exemplifies Ashevak’s intuitive approach to form, characterized by animated figures that seem to straddle the worlds of the human, the animal, and the supernatural. The subject, likely a spirit figure drawn from Inuit cosmology, reflects Ashevak’s unique ability to transform cultural references into sculptural forms that are immediate, inventive, and psychologically charged.

The choice of whalebone - not only traditional but also difficult to work -contributes to the organic power of the piece. Ashevak embraced the irregularities of the material, allowing natural contours to shape his compositions.

114 Jules Wabbes (Belgian, 1919 - 1974)

Two Document Storage Units - c.1968

Wood and lacquered wood

Two comparments: 40 × 64,5 × 37 cm

Three compartments: 40 × 95 × 37 cm

Both units complete with their black lacquered wooden trays

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 3000 - 4000

115 Lucio Fontana

(Italian, 1899 - 1968)

Untitled – 1952

Indian ink and gouache on paper

34 x 24,2 cm

Signed and dated twice, lower right

Provenance:

Leo Dohmen, Antwerp (1964)

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

€ 6000 - 8000

116 Jules Wabbes (Belgian, 1919 - 1974)

Office Cabinet with 9 Drawers - c.1957 (design) Wengé wood and bronze fixtures, 65 x 155 x 55 cm

Edited by Mobilier Universel

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 4000 - 6000

117 . Dušan Džamonja

(Yugoslavian, 1928 - 2009)

Sculpture DP-X - 1989-91

Wood and polyester, 78 x 135 x 120 cm

Provenance:

Paribas Bank Belgium, Antwerp-Brussels (acquired directly from the artist in 1994)

Belfius Art Collection, Brussels

€ 7000 - 9000

A key figure in postwar European sculpture, Dušan Džamonja developed a distinctive formal language rooted in repetition, structure, and material experimentation. Trained in Zagreb and later active between studios in Croatia, Istria, and Brussels, he created a body of work that moves fluidly between monumentality and intricacy, between modernist abstraction and organic construction. His sculptures engage with both the physicality of material and the rhythms of architectural form.

Sculpture DP - X belongs to a series of works from the late 1980s and early 1990s in which Džamonja assembled hundreds of small wooden elements into dynamic, cohesive volumes. The individual components retain their presence within the whole, allowing the work to oscillate visually between dense surface and porous structure. Rather than carving from a single block, the artist constructed his forms from within, emphasizing accumulation, texture, and rhythm. The result is a sculpture that invites movement around it, an interplay of shadow, structure, and negative space.

118 Jules Wabbes (Belgian, 1919 - 1974)

Office Cabinet with Six Drawers - 1960s

Wengé wood, lacquered wood, and bronze fixtures

61 x 102 x 53,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Borgerhoff & Lamberigts, Ghent, 2010, p.198 (ill.)

€ 2000 - 3000

119 Roelandt Savery (Dutch, 1576 - 1639)

The Separation of Jacob's and Laban's Flocks

Oil on canvas, 79 x 150 cm

Signed lower to the right (on the rock in the foreground)

Traces of a date, often read as 1616 or 1618; however, stylistic analysis supports a later date, likely 1626 or 1628

Provenance:

Private collection, Paris

Galerie Georges Giroux, Brussels, 12 February 1949, lot 81

J. Moorthamers Collection

Beaux-Arts, Brussels, 19 October 1960, lot 336

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

Published:

Roelandt Savery 1576-1639, [exhibition catalog], Ghent, 1954, cat.44

Arnout Balis, Hans Vlieghe e.a., The Golden Age of Flemish Painting, [exhibition catalog] Taichung, Taiwan, 1988, cat. 63 (titled “La Réconciliation de Jacob et d'Esaü”)

Kurt J. Müllenmeister, Roelant Savery, Kortrijk 1576-1639 Utrecht, Hofmaler Kaiser Rudolf Il in Prag: die Gemälde mit kritischem Oeuvrekatalog, Freren 1988, p. 244, cat.106 (titled “Le Voyage en Egypte de Jacob et son fils Joseph”)

Arnout Balis, "Roelandt Savery, La Séparation des troupeaux de Laban et de Jacob", in L'art et la Banque, une sélection de Rubens à Magritte, pp.110-111 (ill.)

Exhibited:

Ghent, Museum voor Schone Kunsten, Roelandt Savery, 1954, cat.44 (label on reverse)

Taichung, Taiwan Museum of Art, The Golden Age of Flemish Painting, 1988, cat.63

Brussels, Palais des Beaux-Arts, L'art et la Banque, une sélection de Rubens à Magritte, 23 October 1997 - 4 January 1998, cat.51 (ill.)

€ 30 000 - 50 000

At first glance, this panoramic canvas appears to be a Dutch pastoral scene, populated by a diverse gathering of animals - horses, cattle, sheep, goats, and donkeys - set against the recognisable profile of Utrecht. But among them, two camels stand out awkwardly, disrupting the apparent naturalism. Their presence acts as a clue that the subject reaches beyond the everyday: Savery is, in fact, depicting a biblical episode from the Book of Genesis: the separation of the flocks between Jacob and Laban.

As Arnout Balis has noted (L’art et la Banque, pp.110-111), this biblical narrative is subtly integrated into the painting. The story recounts how Jacob, in an agreement with his uncle Laban, would receive all the speckled and spotted animals from the herd. Through a clever technique involving patterned branches placed near the watering troughs, he ensured that the strongest animals reproduced with the desired markings. In the background at right, Jacob and Laban can be seen sealing their pact with a handshake, while just nearby, the distinctive branches are visible in the water. The rest of the canvas shows the outcome of this arrangement: nearly all the animals bear the speckled coats that made Jacob prosperous.

Savery presents this biblical theme through the visual language of landscape and animal painting, drawing the viewer in through natural detail and the quiet rhythm of pastoral life, rather than through dramatic action. This understated narrative strategy echoes a tradition that can be traced back to artists such as Joachim Beuckelaer, whose market scenes often contain religious episodes subtly embedded in the background. In both cases, the sacred is concealed within the everyday.

Renowned in his time for his virtuosity as an animal painter, Savery brought remarkable precision and individuality to his depictions of fauna. He frequently reused animal motifs across different works, and several figures in this canvas appear in at least two related compositions: Ruins with Animals (reproduced in the exhibition catalog by C.Boschma (ed.), Meesterlijk vee: Nederlandse veeschilders , exh. cat. Dordrecht (Dordrechts Museum)/Leeuwarden (Fries Museum) 1988-89, n°6) and Landscape with Herd (formerly with art dealer Nijstad, The Hague, dated 1623). While the animals reappear, the treatment of the biblical subject in this painting is more integrated and expansive. Balis dates the canvas slightly later than previously assumed, noting that although it shares motifs with earlier works, the composition here is more resolved and mature. A date in the later 1620s, 1626 or 1628, seems most likely and corresponds with Savery’s Utrecht period. Intriguingly, both this painting and the Nijstad version include the same profile of Utrecht in the background, an inclusion that has led some, Balis among them, to wonder whether Savery intended a subtle political allusion. Painted shortly after the end of the Twelve Years' Truce between the Northern and Southern Netherlands, this image of flocks being peacefully divided under a handshake may have evoked ideas of separation, negotiation, and territorial identity. As such, this quietly sophisticated painting stands at the intersection of biblical narrative, Dutch landscape, and political allegory.

120 Jules Wabbes (Belgian, 1919 - 1974)

Osaka Ceiling Lamp - 1969 Brass, 120 cm, 55 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002

Marie Ferran-Wabbes, Jules Wabbes, Borgerhoff & Lamberigts, Ghent, 2010, p.178

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, pp.17 - 150

€ 8000 - 12 000

121 Abraham Bosschaert (Dutch, 1612 of 1613 - 1643)

Flowers in a Glass Vase Oil on oak panel, 62 x 46 cm

Provenance:

Private collection, France

Sotheby & Co., London, Important Old Master Paintings, 19 April 1967, lot 44

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

€ 10 000 - 15 000

This finely rendered oil on oak panel, attributed to A. Bosschaert, presents a sumptuous bouquet of spring and summer blooms arranged in a delicate glass vase. Set against a deep, dark background, the composition emphasizes both the vibrant coloration and the extraordinary precision of each flower, capturing the subtle textures of petals and leaves with remarkable clarity.

The floral arrangement includes tulips, carnations, roses, and other botanically distinct blooms, carefully grouped to create a harmonious and visually balanced composition. The glass vase, skillfully painted with transparent highlights and delicate reflections, demonstrates the artist’s command of light and surface, as well as a refined sensitivity to materiality.

Executed with the meticulous detail and compositional elegance characteristic of the Bosschaert family tradition, this still life reflects the early 17th-century Dutch fascination with natural beauty, scientific observation, and symbolic richness. The restrained yet luminous palette, coupled with the work’s overall balance and harmony, suggests a sophisticated hand closely aligned with the finest examples of the genre.

The painting’s octagonal presentation further enhances its cabinet-scale appeal, pointing to its likely origin within an elite private collection. Its inclusion in a notable Sotheby & Co. sale in 1967 adds to its historical pedigree.

Works signed or attributed to A. Bosschaert are closely associated with the emergence of floral still life as a celebrated and independent genre in Dutch painting. This panel stands as a compelling example of that legacy, technically accomplished, visually captivating, and intellectually resonant.

122 . Jules Wabbes (Belgian, 1919 - 1974) and Antoine Callebaut (Belgian, 20th C.)

Hexagonal Table Lamp - c.1968

Raw bronze and brass, original lampshade 45 cm, 84 cm incl. lampshade (52 cm Ø)

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, p.143

€ 2000 - 3000

123 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Table / Console - c.1968

Travertine, wood and brass 84 x 60 x 300 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Frans Defour, L'art du meuble en Belgique au XXe siècle. De Horta à nos jours, Lannoo, 1979, p.137

€ 6000 - 8000

124 Allan McCollum (American, 1944)

120 plaster surrogates n° 3 (1982-1988)

Enamel on hydrostone, 140 x 420 cm

Signed, dated, and numbered on the verso of each piece

Provenance:

Galerie Salama Caro, London - Madrid

BACOB Bank, Brussels (acquired March 1989)

Belfius Art Collection, Brussels

€ 80 000 - 120 000

One of Allan McCollum’s most distinctive bodies of work, the Plaster Surrogates (1982–1990), brought him widespread recognition in the 1980s. 120 Plaster Surrogates No. 3 is a notable example of this formative series, comprising a grid of framed, cast “paintings” rendered in hydrostone and enamel. By creating meticulously fabricated stand-ins for traditional artworks, McCollum reframed questions of originality, repetition, and the role of context in shaping meaning: central concerns within postmodern artistic discourse of the time.

McCollum conceived the Surrogates as both a critique and a mirror of the institutional framing of art. Each unit, identical in structure but varied in color, mimics the visual shorthand of the gallery wall while subverting the viewer’s expectations of uniqueness and authorship. In this work, the serial logic is pushed to a point of visual intensity, where the interplay of uniformity and variation evokes both Minimalist aesthetics and conceptual rigor. Rather than functioning as individual paintings, the surrogates operate collectively, drawing attention to the mechanisms of exhibition and reception.

Acquired from Galerie Salama Caro in 1989, 120 Plaster Surrogates No. 3 is an important and rare large-scale example from a key period in McCollum’s practice. It encapsulates the artist’s early exploration of seriality and replication: strategies that have continued to inform his work and resonate widely in contemporary art.

125 Jules Wabbes (Belgian, 1919 - 1974)

Osaka Ceiling Lamp - 1969 Brass, 120 cm, 55 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002

Marie Ferran-Wabbes, Jules Wabbes, Borgerhoff & Lamberigts, Ghent, 2010, p.178

Marie Ferran-Wabbes, Jurgen Persijn, Iwan Strauven, Jules Wabbes Furniture Designer, Bozar/A+editions, Brussels, 2012, pp.17 - 150

€ 8000 - 12 000

126 Lucien Wercollier (Luxembourgish, 1908 - 2002)

L'oiseau

Bronze, 43 x 13 x 6 cm

Monogram on the base

Provenance:

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection

€ 2000 - 3000

127 Jules Wabbes (Belgian, 1919 - 1974)

Honeycomb Sconce - 1953 (design)

Brass, 25 x 25,6 x 24 cm

Edited by Mobilier Universel

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002 (ill.)

Marie Ferran-Wabbes, Jules Wabbes, Borgerhoff & Lamberigts, Ghent, 2010, pp.96-98 (ill.)

€ 1000 - 1500

128 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Pair of Lampstands - c.1968

Marble and brass fixture

100 cm (incl. shade), 61,5 cm column (x2)

Provenance: Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection

€ 2000 - 3000

129 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Side Table with Integrated Ashtray - c.1968

Wood, brass, and steel, 39 x 39 x 39 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 400 - 600

130 Olivier Debré (French, 1920 - 1999)

Untitled -1952

Gouache on paper, 118 x 80 cm

Signed and dated lower right

Provenance:

A. Dohmen, Antwerp (1964)

Paribas Bank Belgium, Antwerp-Brussels

Belfius Art Collection, Brussels

€ 3000 - 4000

131 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Vasque - c.1968 Bronze, 54 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 800 - 1200

132 Jules Wabbes (Belgian, 1919 - 1974) and Jan Vlug (Dutch, 1917 - 1999)

Vasque - c.1968 Bronze, 54 cm Ø

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 800 - 1200

133 Harald Klingelhöller (German, 1954)

Meer von Blut, Steinversion – 1995 [Sea of Blood, Stone version] Paper, steel, basalt, 60 x 60 x 158 cm

Provenance:

Galerie Philip Nelson, Lyon

BACOB Bank, Brussels (acquired 1996)

Belfius Art Collection

Published:

Harald Klingelhöller [exhibition catalog Toronto], Ed. Yves Gevaert, Brussels, 1996, p.999 (ill)

Ulrich Wilmes, Harald Klingelhöller. Alle Metaphern werden wahr - Skulpturen 1986-1997, Cantz, pp.104 - 107, cat.113 (ill.)

Exhibited:

Domaine de Kerguéhennec, Centre d'Art Contemporain, 1995

Toronto, Art Gallery of York University, Harald Klingelhöller, 6 March - 14 April 1996

Munchen, Lehnbachhaus, Harald Klingelhöller, Alle Metaphern werden wahr. Skulpturen 1986-1997, 12 November 1997 - 11 January 1998

€ 2000 - 3000

In Meer von Blut, Steinversion (Sea of Blood, Stone Version), Harald Klingelhöller continues his rigorous exploration of the relationship between language and form, translating poetic and metaphorical constructs into sculptural presence. Executed in 1995, this work belongs to the artist’s pivotal mid-1990s period, when his practice fused material austerity with conceptual precision.

The sculpture’s material, paper, steel, and basalt, embodies a tension between fragility and permanence, evoking the linguistic and emotional contradictions of its title. The “sea of blood” becomes simultaneously metaphor and structure: the work reads as a vessel for language, an object where thought assumes material density.

134 . Emiel Veranneman (Belgian, 1924 - 2003)

Coffee Table - 1994

Wood and cast, gilt aluminum top

44,5 x 143,5 x 143,5 cm

Foundry mark "ART FOUNDRY BELGIUM" Made for Emiel Veranneman by De Coene Decor, Kortrijk

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Exhibited:

Ghent, Museum voor Sierkunst, Emiel Veranneman, 5 May - 11 September 1994 (label)

€ 6000 - 8000

135 . Emiel Veranneman (Belgian, 1924 - 2003)

Service Trolley - 1997

Wood and glass, 81 x 92 x 45 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Published: Emiel Veranneman, Ilya Prigogine, Veranneman: visie & passie, Tielt, Lannoo, 2002, pp.170-171 (ill.), p.400 (installation view exhibition 1998, Mechelen)

Exhibited:

Mechelen, Cultureel Centrum, Emiel

Veranneman - Constant Permeke, 3 October 1998 - 15 November 1998

€ 800 - 1200

136 Jules Wabbes (Belgian, 1919 - 1974)

Office Cabinet with Six Drawers

Wood and chrome-plated metal fixtures

68 x 104 x 58 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 1500 - 2000

137 Jules Wabbes

(Belgian, 1919 - 1974)

Armchair - c.1968

Wood and brass, leather upholstery

72 x 68 x 68 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 600 - 800

138 Jules Wabbes

(Belgian, 1919 - 1974)

Pair of Armchairs - c.1959 (design)

Wood and leather upholstery, 81 x 60 x 58 cm

Edited by Dunbar, distributed by Mobilier Universel

Provenance:

Gemeentekrediet - Crédit Communal, Brussels (Boardroom)

Belfius Art Collection, Brussels

Literature:

Marie Ferran-Wabbes, Jules Wabbes, Architecte d’intérieur, La Renaissance du livre, Tournai, 2002, p.91

€ 1000 - 1500

139 Jules Wabbes (Belgian, 1919 - 1974)

Osaka Ceiling Lamp - 1969 (design) Brass, 115 cm, 55 cm Ø Small model, restored

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 6000 - 8000

140 Jules Wabbes (Belgian, 1919 - 1974)

Osaka Ceiling Lamp - 1969 (design) Brass, 115 cm, 55 cm Ø Small model, restored

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 6000 - 8000

141 Dušan Džamonja (Yugoslavian, 1928 - 2009)

Sculpture DP-III - c.1989-1991

Wood and polyester, 123 x 90 x 110 cm

Provenance:

Paribas Bank Belgium, Antwerp-Brussels (acquired directly from the artist in 1992)

Belfius Art Collection, Brussels

€ 6000 - 8000

142 Emiel Veranneman (Belgian, 1924 - 2003)

Pair of Leather Seats (White) - 1992 (design) Wood and new leather upholstery

86 x 82 x 95 cm

Chairs produced by De Sede, Switzerland

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Published:

Emiel Veranneman, Gemeentekrediet, Ghent, 1994, pp.213-230-259 (ill.)

Emiel Veranneman, Ilya Prigogine, Veranneman: visie & passie, Tielt, Lannoo, 2002, p.400 (installation view exhibition 1998, Mechelen)

Exhibited:

Mechelen, Cultureel Centrum, Emiel Veranneman - Constant Permeke, 3 October 1998 - 15 November 1998

€ 1500 - 2000

143 Emiel Veranneman (Belgian, 1924 - 2003)

Pair of Leather Seats (Black) - 1992 (design) Wood and new leather upholstery

86 x 82 x 95 cm

Chairs produced by De Sede, Switzerland

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

Published:

Emiel Veranneman, Gemeentekrediet, Ghent, 1994, pp.213-230-259 (ill.)

Emiel Veranneman, Ilya Prigogine, Veranneman: visie & passie, Tielt, Lannoo, 2002, p.400 (installation view exhibition 1998, Mechelen)

Exhibited: Mechelen, Cultureel Centrum, Emiel Veranneman - Constant Permeke, 3 October 1998 - 15 November 1998

€ 1500 - 2000

144 Jules Wabbes (Belgian, 1919 - 1974)

Two Paper Roll Holders - c.1968

Bronze, 15,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 400 - 600

145 . Jules Wabbes (Belgian, 1919 - 1974)

Two Paper Roll Holders - c.1968

Bronze, 15,5 cm

Provenance: Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 400 - 600

146 Jules Wabbes (Belgian, 1919 - 1974)

Two Paper Roll Holders - c.1968

Bronze, 15,5 cm

Provenance: Gemeentekrediet - Crédit Communal, Brussels

Belfius Art Collection, Brussels

€ 400 - 600

147 Jules Wabbes (Belgian, 1919 - 1974)

Two Paper Roll Holders - c.1968 Bronze, 15,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 400 - 600

148 Jules Wabbes (Belgian, 1919 - 1974)

Three Paper Roll Holders - c.1968 Bronze, 15,5 cm

Provenance:

Gemeentekrediet - Crédit Communal, Brussels Belfius Art Collection, Brussels

€ 600 - 800

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The condition for this refund is that the Buyer sends an immediate claim by registered letter to Native as soon as the defect has come to light and at the latest by 1 year from the date of the auction and that he immediately return the fake object in the same state as on the day of the auction and exempt of any third-party claim. The Buyer must provide proof that the object auctioned is a fake compared with the description in the catalog and that the object is identical to the item auctioned. Any other claim by the Buyer is excluded.

d) Buyers must, at their own expense, come and collect the objects auctioned within 10 working days from the end of the auction during opening times at Native, namely from Monday to Friday 10:00 to 16:30. If sufficient time is available, objects will be released after each session. In accordance with point 1, handover will be against payment in cash for lots up to € 2 999.

During the abovementioned period, Native is liable for the loss, theft, damage or destruction of the objects auctioned and paid for, although only up to the amount of the price of the auction, commission and VAT. Upon the expiration of this period Native’s liability will cease. If the objects auctioned are not withdrawn within 10 working days, they will be stored at the expense and risk of the Buyer.

e) Each Buyer is personally responsible for the item awarded to him at auction. Proof of powers of attorney may be required from persons acting as third-party representatives or as an organ of a corporate body. The representative is jointly and severally liable to the person represented for meeting all commitments.

2. Hammer price, premium, risk transfer, ownership transfer, payment, invoicing, VAT, importing and exporting

a) In addition to the hammer price, the Buyer owes a supplement ("premium") on the hammer price. Premium is 27% of the hammer price and includes all taxes. In case of bidding through an internet platform, an extra premium will be added by those. Premium for drouot.com is 1,8% on the hammer price, for liveauctioneers.com 5%.

For lots where the Vendor is a non-resident of the EU (lots indicated by ‡), the Buyer will pay an import tax of 6% in addition to the bid price plus legal costs. The amount of this tax will be reimbursed on presentation of proof of export outside the E.U.

b) Ownership of the auctioned item passes to the Buyer once the hammer has come down. Until full payment of the hammer price, premium and VAT, Native reserves a right of retention and lien on all objects in its keeping. The release of the auctioned object to the Buyer is not made until after full payment of the hammer price, premium and VAT.

c) An auctioned object must be paid for within 7 days after the auction. If the Buyer remains in default on payment 30 days after the auction, any sum due at that time will, as of right and without any formal notification being necessary, be subject to interest on arrears of 10% per annum. Moreover, in the event of non-payment by the final deadline, any sum due will be increased as of right by a flat-rate indemnity of 15%, without prejudice to Native’s right to seek full reparation of the damage suffered.

In addition, if the payment due by the Buyer does not take place or is not made in time, Native can, as it chooses and in the name of the Vendor, either continue to demand that the sales contract be executed or, without being bound to set a fixed time, waive the right to require execution of the sales contract and claim damages for non-execution or even renounce the contract. The Buyer is liable in respect of Native and the Vendor for all damages resulting from non-payment or late payment.

d) According to the law of 30 June 1994 on authors’ rights, the Buyer shall pay in addition to the hammer price an Artist Resale Right (droit de suite) of 4% on the part of the hammer price from 0 € to 50,000 €, of 3% on the part of the hammer price from 50,001 € to 200,000 €, of 1% on the part of the hammer price from 200,001 € to 350,000 €, of 0.5% on the part of the hammer price form 350,001 € to 500,000 € and of 0.25% for the last part of the hammer price above 500,001 €. The resale right ceases when the artist has been deceased for more than 70 years.

e) The exporting of any object from Belgium and the importing into a third country may be subject to particular authorisations. The Buyer is responsible for obtaining all necessary export or import licenses. Refusal of these authorisations or any delays after they have been obtained will in no case be grounds for a cancellation of the sale or a delay in payment.

3. Registration and attendance at the Sale

a) The submission of a bid or an absentee bid unconditionally and irrevocably binds the bidder. The bidder remains bound to his offer until this becomes the subject of a higher bid or is rejected by Native. Double bids become the subject of an immediate new call to bid; in cases where there is doubt, the auction management decides by drawing lots.

b) Bidders who are not personally known to Native are bound to give legitimate proof of identity before the beginning of the auction. Native reserves the right to request proof of the bidder’s solvency. If this latter document is not available, Native is authorised to demand the immediate payment of a cash deposit equal to 10% of the auction price or the lodging of a guarantee. If this deposit is not paid or guarantee lodged, Native is authorised on behalf of the Vendor to cancel the auction.

c) Native is entitled to reject any bid without having to to give any explanation. Similarly, it is entitled to adjudicate without a sale or to withdraw items from the auction. Native reserves the right to refuse any person access to its commercial premises or forbid any person from taking part in one of its auctions.

d) Bids from interested parties who do not wish to attend the auction personally will be taken into consideration if they communicate such a wish in writing 24 hours before the start of the auction.

Interested persons can bid by telephone if they have not announced their wishes in writing at least 24 hours before the start of the auction. Native accepts bids by telephone for lots whose lowest estimate reaches at least € 1,000.

Native disclaims all responsibility for offers that have not been taken into account as well as for bids made by telephone which may not have been taken into account.

The rules set down in point 3b with respect to providing proof of identity and solvency also apply to persons bidding by telephone or in writing. For bidders who place their offer via the Internet, in other words an absentee bid, point 3b applies only in respect of solvency.

In order to comply with the ML/TF law of Sept. 18, 2017, any buyer who has purchased for an amount from €10,000 must submit a photo of the identity card (recto and verso) or passport.

Native cannot be held responsible in the event of dysfunction of the platforms used to bid online. The user must read and accept, without reservation, the conditions of use of this platform.

4. Miscellaneous

The auction is held under the joint authority of a huissier de justice (Court bailiff). Any liability on the part of Native arising from acts attributable to the huissier involved is excluded.

b) The foregoing stipulations are an integral part of each individual sales contract concluded at sales by auction. Amendments to them are in no way binding unless Native has given its agreement to them in writing.

c) Any dispute on the validity, interpretation and execution of these Conditions of Sale and any dispute on the conducting of the auctions will be subject to Belgian law, with the exception of (a) the stipulations of the Vienna Convention on international sales contracts and (b) the rules of referral to Belgian international private law.

d) Only the courts and tribunals of Brussels are competent to rule on any disputes.

CONDITIONS DE VENTE - NATIVE SPRL

La participation aux enchères emporte l’acceptation inconditionnelle aux présentes conditions de vente.

1. Enchères et état des objets

a) Les objets d’enchères sont mis aux enchères par Native pour le compte et au nom de celui qui les a déposés ("vendeur").

L’adjudication a lieu au plus offrant en Euros reconnu par Native lors de la vente aux enchères ("Acheteur") ; le contrat de vente entre le déposant et l’Acheteur est conclu par cette adjudication.

L’objet de la vente n’est remis à l’Acheteur que contre un paiement en espèces ou transfert bancaire.

b) Les objets sont mis aux enchères dans l’état dans lequel ils se trouvent au moment de l’adjudication. Sous réserve du point 1c. ci-dessous, toute garantie pour dommages matériels ou juridiques est exclue.

Les objets sont visibles pendant l’exposition. Les descriptions figurant dans les catalogues, site internet, annonces, brochures ou tout autre écrit émanant de Native ne sont données qu’à titre purement indicatif. Elles n’engagent en aucun cas la responsabilité de Native. Par conséquent, cette dernière ne garantit ni l’exactitude des notices explicatives reprises dans le catalogue, ni l’origine, la date, l’âge, le cercle de culture ni la provenance des objets mis aux enchères. Les notices explicatives reprises dans le catalogue relèvent de la seule responsabilité du déposant. Native n’accepte de les reproduire dans le catalogue qu’en tant qu’intermédiaire de ce dernier. c) Native se déclare librement disposée à annuler l’adjudication au nom du déposant et à rembourser uniquement le prix de l’adjudication, la commission et la TVA, si un objet vendu devait s’avérer, dans un délai de 1 an à compter de la date de l’adjudication, être le résultat d’un faux intentionnel moderne. Il faut entendre par faux intentionnel moderne une reproduction dont il est prouvable qu’elle a été faite dans l’intention de tromper fallacieusement autrui, que ce soit en ce qui concerne l’origine, la date, l’âge, le cercle de culture ou la source, sans que cela ressorte du catalogue.

La condition de ce remboursement est que l’Acheteur adresse une réclamation immédiate, sous pli recommandé adressé à Native, dès la découverte du vice et au plus tard dans un délai de 1 an à compter de la date de l’adjudication, et qu’il restitue immédiatement l’objet falsifié à Native dans le même état que le jour de l’adjudication et exempt de toute prétention de tiers. L’Acheteur doit fournir la preuve que l’objet adjugé est un faux par rapport à la description du catalogue et que l’objet est identique à la chose adjugée. Toute autre prétention de l’Acheteur est exclue.

d) Les Acheteurs doivent venir chercher, à leurs propres frais, les objets adjugés dans les 10 jours ouvrables qui suivent la clôture de la vente aux enchères, pendant l’horaire d’ouverture de Native, soit du lundi au vendredi de 10:00 à 16:30. Si le temps à disposition est suffisant, les objets seront délivrés après chaque séance. Conformément au point 1., la remise a lieu contre paiement.

Pendant le délai précité, Native est responsable de la perte, du vol, de l’endommagement ou de la destruction des objets adjugés et payés, à concurrence toutefois du montant du prix de l’adjudication, de la commission et de la TVA. À l’expiration de ce délai, la responsabilité de Native cesse. Si les objets adjugés ne sont pas retirés dans les 10 jours ouvrables, ils seront entreposés aux frais et aux risques de l’Acheteur.

e) Chaque Acheteur répond personnellement de l’adjudication qui lui a été faite. La preuve de pouvoirs de représentation peut être exigée de personnes qui agissent comme représentants pour le compte de tiers ou comme organe d’une personne morale. Le représentant répond solidairement avec le représenté de l’accomplissement de tous les engagements.

2. Prix de l’adjudication, commission, transfert des risques, transfert de la propriété, paiement, facturation, TVA, importation et exportation

a) Outre le prix d’adjudication, l’Acheteur est débiteur d’un supplément ("commission") sur le prix d’adjudication. La commission est de 27% du prix d’adjudication et inclut toutes les taxes. En cas d'enchère via une plateforme internet, une commission supplémentaire sera ajoutée par celle-ci. Pour drouot.com cette commission s'élève à 1,8% sur le prix marteau, pour liveauctioneers.com à 5% sur le prix marteau.

Pour les lots dont le vendeur est non-résident de l’ E.U (lots signalés par ‡) l’adjudicataire paiera une taxe importation de 6% en sus de l’adjudication, plus les frais légaux. Le montant de cette taxe sera remboursé sur présentation de la preuve d’exportation hors E.U.

b) La propriété de l’objet adjugé passe à l’Acheteur dès l’adjudication. Jusqu’au complet paiement du prix de l’adjudication, de la commission et de la TVA, Native se réserve un droit de rétention et de gage sur tous les objets sous sa garde. La délivrance de l’objet adjugé à l’Acheteur n’intervient qu’après complet paiement du prix de l’adjudication, de la commission et de la TVA.

c) Un objet adjugé doit être payé dans les 7 jours dès la clôture de la vente aux enchères. Si l’Acheteur est resté en défaut de paiement 30 jours après l’adjudication, toute somme due à ce moment portera, de plein droit et sans mise en demeure préalable, un intérêt moratoire de 10% par an. En outre, en cas de non paiement à l’échéance, toute somme due sera majorée de plein droit d’une indemnité forfaitaire de 15%, sans préjudice du droit de Native de postuler la réparation intégrale du dommage subi.

En outre, si le paiement dû par l’Acheteur n’a pas lieu ou n’intervient pas à temps, Native peut, à son choix et au nom du déposant, soit continuer à exiger l’exécution du contrat de vente, soit sans être tenu d’impartir un délai renoncer au droit de demander l’exécution du contrat et réclamer des dommages et intérêts pour cause d’inexécution ou encore se départir du contrat. L’Acheteur est responsable vis-à-vis de Native et du déposant de tous les dommages découlant du non-paiement ou du paiement tardif.

d) Conformément à la loi du 30 juin 1994 sur les droits d'auteur, x doit payer en plus du prix d'adjudication un droit de suite de 4 % sur la partie du prix d'adjudication comprise entre 0 € et 50 000 €, de 3 % sur la partie du prix d'adjudication comprise entre 50 001 € et 200 000 €, de 1 % sur la partie du prix d'adjudication comprise entre 200 001 € et 350 000 €, de 0,5 % sur la partie du prix d'adjudication comprise entre 350 001 € et 500 000 € et de 0,25 % sur la dernière partie du prix d'appel au-delà de 500.001 €. Le droit de suite s’éteint lorsque l’artiste est décédé depuis plus de 70 ans.

e) L’exportation de tout objet hors de la Belgique et l’importation dans un pays tiers peuvent être sujetties à des autorisations particulières. L’Acheteur est responsable de l’obtention de toutes les autorisations requises à l’exportation ou à l’importation. Le refus de ces autorisations, ou tous retards consécutifs à leur obtention, ne justifiera en aucun cas l’annulation de la vente ni un retard de paiement.

3. Enregistrement et participation à la vente

a) La remise d’une enchère ou d’un ordre d’achat " absentee bid ’ lie inconditionnellement et irrévocablement l’enchérisseur. L’enchérisseur demeure lié à son offre jusqu’à ce que celle-ci fasse l’objet d’une surenchère ou qu’elle soit écartée par Native. Les enchères doubles font l’objet d’un nouvel appel immédiat ; dans les cas douteux, la direction des enchères tranche par tirage au sort.

b) Les enchérisseurs qui ne sont pas personnellement connus de Native sont tenus de se légitimer avant le début de la vente aux enchères. Native se réserve le droit d’exiger une preuve de la solvabilité de l’enchérisseur. Si ce dernier document fait défaut, Native est habilitée à exiger le paiement immédiat d’un acompte en espèces équivalent à 10% de l’adjudication ou le dépôt d’une garantie. À défaut du versement de cet acompte ou du dépôt de cette garantie, Native est autorisée au nom du déposant à annuler l’adjudication.

c) Native est libre d’écarter une enchère sans indication des motifs. De même, elle est en droit d’adjuger sans vente ou de retirer des objets de la vente aux enchères. Native se réserve le droit de refuser à toute personne l’accès à ses locaux commerciaux ou d’interdire à toute personne de participer à l’une de ses ventes aux enchères.

d) Les offres d’enchères émanant d’intéressés qui ne souhaitent pas assister personnellement à la vente aux enchères seront prises en considération par écrit jusqu’à 24 heures avant le début de la vente aux enchères.

Les personnes intéressées peuvent enchérir par téléphone si elles se sont annoncées par écrit au minimum 24 heures avant le début des enchères. Native accepte les enchères par téléphone pour des lots dont l’estimation basse atteint au moins 1000 €.

Native décline toute responsabilité pour les offres n’ayant pas été prises en considération ainsi que pour les enchères téléphoniques qui n’auraient pas été prises en compte.

Les normes prévues au point 3b. concernant la légitimation et la preuve de la solvabilité s’appliquent également aux enchérisseurs par téléphone et par écrit. Pour les enchérisseurs, qui donnent leur offre via Internet dans le cadre d’un ordre d’achat (absentee bid), le point 3b. ne s’applique qu’en ce qui concerne la solvabilité.

Afin de se conformer à la loi ML/TF du 18 septembre 2017, tout acheteur ayant acquis pour un montant supérieur ou égal à 10 000 € doit soumettre une photo de carte d'identité (recto et verso) ou de passeport.

Native ne peut être responsable en cas de dysfonctionnement des plateformes utilisées pour enchérir en ligne. L’utilisateur doit prendre connaissance et accepter, sans réserve, les conditions d’utilisation de cette plateforme.

4. Divers

a) La vente aux enchères se déroule sous l’autorité conjointe d’un huissier de justice. Toute responsabilité de Native du fait d’actes imputables à l’huissier instrumentant est exclue.

b) Les dispositions qui précèdent font intégralement partie de chaque contrat individuel de vente conclu à l’occasion des ventes aux enchères. Leurs modifications n’ont de portée obligatoire que si Native leur a donné son accord écrit.

c) Tout litige relatif à la validité, l’interprétation et l’exécution des présentes conditions de vente et tout litige relatif au déroulement des enchères sera soumis au droit belge, à l’exception (a) des dispositions de la Convention de Vienne concernant les contrats de vente internationale et (b) des règles de renvoi du droit international privé belge.

d) Seuls les cours et tribunaux de Bruxelles sont compétents pour connaître d’éventuels litiges.

VERKOOPVOORWAARDEN - NATIVE BVBA

Deelname aan de veiling veronderstelt de onvoorwaardelijke aanvaarding van onderhavige voorwaarden.

1. Veiling en staat van de kavels

a) De ter veiling aangeboden kavels worden door Native geveild voor rekening en in naam van de persoon die ze hiervoor heeft afgeleverd ("verkoper’).

De toewijzing gebeurt aan diegene die tijdens de veiling door Native als hoogste bieder in euro wordt erkend ("koper’) en geldt als verkoopovereenkomst tussen de verkoper en de koper. Het verkochte lot wordt alleen aan de koper geleverd tegen contante betaling of betaling per bankoverschrijving.

b) De kavels worden geveild in de staat waarin zij zich op het moment van de veiling bevinden. Onder voorbehoud van hierna vermeld punt 1c. is elke garantie voor materiële of juridische schade uitgesloten.

De kavels kunnen worden bezichtigd tijdens de tentoonstelling. De beschrijvingen in de catalogi, advertenties, brochures en op de website van Native hebben een louter indicatieve waarde en stellen Native geenszins aansprakelijk. Native biedt dus geen garantie met betrekking tot de juistheid van de beschrijvingen in de catalogus, de oorsprong, de datum, de leeftijd, de cultuur of de afkomst van de geveilde kavels. Alleen de verkoper is aansprakelijk voor de in de catalogus opgenomen beschrijvingen. Native neemt deze beschrijvingen alleen in zijn catalogus op als tussenpersoon van de verkoper.

c) Native verklaart vrijelijk bereid te zijn de veiling namens de inbrenger te annuleren en alleen de hamerprijs, commissie en BTW terug te betalen indien binnen 1 jaar na de datum van de veiling blijkt dat een verkocht object een moderne opzettelijke vervalsing is. Onder moderne opzettelijke vervalsing wordt verstaan een reproductie waarvan kan worden aangetoond dat deze is gemaakt met de bedoeling anderen te misleiden met betrekking tot herkomst, datering, ouderdom, culturele achtergrond of bron, zonder dat dit uit de catalogus blijkt.

Voorwaarde voor deze terugbetaling is dat de koper onmiddellijk na de ontdekking van het gebrek en uiterlijk binnen een termijn van 1 jaar te rekenen vanaf de datum van de verkoop aangetekend klacht bij Native indient, en dat hij het vervalste kavel onmiddellijk aan Native terugbezorgt in de staat waarin het zich op de dag van de verkoop bevond en vrij van elke aanspraak van derden. De koper moet het bewijs leveren dat het verkochte kavel een vervalsing is ten opzichte van de beschrijving in de catalogus en dat het kavel wel degelijk het verkochte kavel is. Elke andere vordering van de koper is uitgesloten.

d) De koper dient op eigen kosten en binnen een termijn van 10 werkdagen na het afsluiten van de veiling de gekochte stukken af te halen. Dit kan tijdens de openingsuren van Native: van maandag t/m vrijdag van 10:00 tot 16:30. Indien er voldoende tijd is kunnen de aangekochte loten na de veiling overhandigd worden mits contante betaling en indien de prijs lager is dan € 3 000.

Tijdens de hierboven vermelde termijn is Native aansprakelijk voor verlies, diefstal, beschadiging of vernieling van de verkochte en betaalde goederen. Deze aansprakelijkheid beperkt zich tot maximaal het bedrag van de verkoop, de commissie en de btw. Na deze termijn eindigt de aansprakelijkheid van Native. Indien de verkochte kavels niet zijn afgehaald binnen een termijn van 10 werkdagen, worden zij bewaard op kosten en voor risico van de koper.

e) Elke koper is persoonlijk verantwoordelijk voor het hem in de veiling toegewezen voorwerp. Van personen die optreden als vertegenwoordiger van een derde of van een rechtspersoon kan een bewijs van volmacht worden vereist. De vertegenwoordiger is samen met de vertegenwoordigde persoon hoofdelijk aansprakelijk voor het nakomen van alle verplichtingen.

2. Hamerprijs, commissie, risico-overdracht, eigendomsoverdracht, betaling, facturatie, btw, import en export

a) Naast de prijs van de verkoop is de koper ook een toeslag ("commissie’) op de hamerprijs verschuldigd. De commissie bedraagt 27 % van de hamerprijs en alle belastingen inbegrepen. Indien geboden wordt via een internet platform zal een extra commissie aangerekend worden door deze. Voor drouot.com bedraagt deze commissie 1,8 % op de hamerprijs, voor liveauctioneers.com 5%.

Voor kavels waarvan de verkoper niet-inwoner is van de E.U. (kavels aangeduid met ‡) betaalt de koper een invoertaks van 6 % op de hamerprijs, plus de wettelijke kosten.

Het bedrag van deze taks wordt terugbetaald op vertoon van het bewijs van export buiten de E.U.

b) De eigendom van het verkochte kavel gaat over op de koper vanaf het ogenblik van de verkoop. Tot op het ogenblik van de volledige betaling van de hamerprijs, de commissie en de btw, kan Native pandrecht en retentierecht inroepen voor de stukken die het in bewaring heeft. Het overhandigen van het aan de koper verkochte kavel vindt pas plaats na volledige betaling van de hamerprijs, de commissie en de btw.

c) Een verkocht kavel moet binnen de 7 dagen na sluiting van de veiling betaald zijn. Indien de koper 30 dagen na de verkoop nalaat te betalen, worden alle bedragen die op dat ogenblik verschuldigd zijn van rechtswege en zonder voorafgaande ingebrekestelling verhoogd met een verwijlinterest van 10 % per jaar. Bij niet-betaling op de vervaldag wordt elk verschuldigd bedrag bovendien van rechtswege verhoogd met een vaste vergoeding van 15 %, ongeacht het recht van Native om de volledige vergoeding van de geleden schade te eisen.

Indien de door de koper verschuldigde betaling niet of niet tijdig plaatsvindt, kan Native bovendien naar eigen keuze en in naam van de verkoper hetzij de uitvoering van de verkoopovereenkomst eisen, hetzij - zonder daarom gehouden te zijn tot het toekennen van een termijn - afstand doen van het recht om uitvoering van de verkoopovereenkomst te eisen en schadevergoeding vragen voor niet-naleving van het contract, hetzij afzien van het contract. De koper is aansprakelijk ten opzichte van Native en de verkoper voor alle schade ingevolge nietbetaling of laattijdige betaling.

d) Overeenkomstig de wet van 30 juni 1994 betreffende het auteursrecht betaalt de koper bovenop de hamerprijs een volgrecht (droit de suite) van 4% over het gedeelte van de hamerprijs van 0 € tot 50.000 €, van 3% over het gedeelte van de hamerprijs van 50.001 € tot 200.000 €, van 1% over het gedeelte van de hamerprijs van 200.001 € tot 350.000 €, van 0,5% over het gedeelte van de hamerprijs van 350.001 € tot 500.000 € en van 0,25% voor het laatste gedeelte van de hamerprijs boven 500.001 €. Het volgrecht dooft uit wanneer de artiest sedert meer dan 70 jaar is overleden.

e) Voor export van een kavel buiten België en import in een ander land kunnen bijzondere vergunningen vereist zijn. De koper is verantwoordelijk voor het verkrijgen van alle vereiste export- of importvergunningen. Niet-toekenning of vertraging door de laattijdige toekenning van de nodige vergunning vormt geen geldige reden voor annulatie van de verkoop of uitstel van betaling.

3. Inschrijving en deelname aan de verkoop

a) Het uitbrengen van een bod of het doorgeven van een aankooporder "absentee bid" is onvoorwaardelijk en onherroepelijk bindend voor de bieder. De bieder blijft gebonden door zijn bod tot er een hoger bod gedaan wordt of het bod door Native verworpen wordt. In geval van een dubbel bod wordt onmiddellijk opnieuw afgeroepen; bij twijfel beslist de directie van de veiling door loting.

b) Bieders die niet persoonlijk bij Native bekend zijn, dienen zich bij aanvang van de veiling te legitimeren. Native behoudt zich het recht voor een bewijs van kredietwaardigheid van de bieder te vragen. Indien dit document niet kan worden voorgelegd, is Native gemachtigd onmiddellijk betaling van een contant voorschot van 10 % van de toewijzing of een borg te eisen. Bij afwezigheid van voorschot of borg is Native gemachtigd om de verkoop in naam van de verkoper te annuleren.

c) Native mag naar eigen inzicht een bod verwerpen zonder verklaring van zijn beslissing. Het staat Native vrij om een bod zonder opgave van redenen te weigeren. Evenzo heeft zij het recht om een toewijzing te doen zonder verkoop of om kavels uit de veiling terug te trekken. Native behoudt zich het recht voor aan personen toegang tot de handelslokalen of deelname aan de veiling te weigeren.

d) Personen die niet persoonlijk aan de veiling wensen deel te nemen, kunnen hun bod schriftelijk uitbrengen tot 24 uur voor de aanvang van de veiling.

Ook Telefonisch bieden is mogelijk, indien de telefonische bieder zich ten minste 24 uur voor de aanvang van de veiling schriftelijk heeft aangemeld. Native aanvaardt telefonische biedingen voor kavels waarvan de waarde op minstens 1000 euro is geschat.

Native weigert elke aansprakelijkheid voor biedingen die niet in aanmerking zijn genomen of indien geen rekening werd gehouden met een telefonisch bod.

De criteria vermeld in punt 3b met betrekking tot de legitimatie en het bewijs van kredietwaardigheid zijn ook van toepassing voor personen die hun bod per telefoon of schriftelijk uitbrengen. Voor bieders die hun bod via de website uitbrengen in het kader van een aankooporder (absentee bid), geldt alleen de vermelding in punt 3b met betrekking tot de kredietwaardigheid.

Teneinde te voldoen aan de ML/TF wet van 18 september 2017 moet elke koper die voor een bedrag vanaf € 10 000 aangekocht heeft een foto van de identiteitskaart (recto en verso) of paspoort laten geworden.

Native kan niet aansprakelijk worden gesteld voor eventuele storingen van de platforms die worden gebruikt om online te bieden. De gebruiker moet de gebruiksvoorwaarden van dit platform lezen en zonder voorbehoud aanvaarden.

4. Varia

a) De veiling vindt plaats onder medetoezicht van een deurwaarder. Native weigert elke aansprakelijkheid met betrekking tot daden die toe te schrijven zijn aan de instrumenterende deurwaarder.

b) Voormelde bepalingen maken integraal deel uit van elk individueel verkoopcontract dat ter gelegenheid van een veiling gesloten wordt. Wijzigingen aan deze voorwaarden zijn slechts bindend indien Native zich hiermee schriftelijk akkoord heeft verklaard.

c) Voor geschillen over de geldigheid, interpretatie en uitvoering van onderhavige verkoopvoorwaarden en het verloop van de veiling, is het Belgische recht van toepassing, met uitzondering van (a) de bepalingen van de Conventie van Wenen met betrekking tot internationale verkoopovereenkomsten en (b) de regels die verwijzen naar het Belgische Internationale Privaatrecht.

d) In geval van geschil zijn alleen de rechtbanken van Brussel bevoegd.

CATALOG EDITORS

Nicolas Paszukiewicz

Sébastien Hauwaert

Gilles Marquenie

Sophie Van Loock

PHOTOGRAPHY BY

Nicolas Paszukiewicz

Sébastien Hauwaert

Brice Vandermeeren

Valentin Clavairolles

Frédéric Dehaen - Studio Asselberghs (lots 005 and 017a)

Printed by Snel Grafics

Auction 30

2 December 2025 - Brussels

Amerikaanse Straat, 26-28

Rue Américaine, 26-28

Brussel 1060 Bruxelles

T +32(0)2 514 04 42 info@native-auctions.com

VAT BE0835 325 693

I have read and accept the conditions of sale of Native. Please bid on my behalf for the following lots up to the hammer price mentionned on this form. These bids are to be executed as cheaply as is permitted by other bids.

If any bid is successfull, I agree to pay in addition to the hammer price the buyer’s premium and the VAT mentionned in the conditions of sale.

Please attached a copy of the identity card or passport to this form.

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