Arta 2014 by Filip De Cock

SYNERGY IN THE ANTWERP ART TRADE

COLOPHON

PUBLISHER EDITOR

ART-A DICK GRAAFF

COORDINATOR

SOPHIE CLAUWAERT

PHOTOGRAPHY

FERRY HERREBRUGH ERIK MÜLLENDORFF

GRAPHIC DESIGN

UN’DERCAST

& ART DIRECTION PRINTING

DRUKKERIJ DE BIE

ART-A thanks Stad Antwerpen and

“A HIGH QUALITY, OUT OF THE ORDINARY, CULTURAL EVENT IN ANTWERP THAT IS LITERALLY BURSTING WITH FINDS”

“ART-A - EN DE LEDEN VAN DE VERENIGING ANTIQUAIRS ANTWERPEN – PRESENTEREN TIJDENS DE JAARLIJKSE KUNSTWEEKENDEN HUN ‘PASSIE-OBJECTEN’ ” DICK GRAAFF

Het is reeds het 4e jaar dat Antiquairs Antwerpen de ART-A kunstweekenden organiseert, hèt onmisbare culturele evenement in Antwerpen waarbij de meest vooraanstaande kunstgalerijen en antiekhandelaars van de stad hun deuren voor U openzetten. Zowel Oude als Moderne Kunst, Afrikaanse en Oosterse objecten en Design worden tijdens dit evenement tentoongesteld. Dit is het resultaat van onze passie voor onze respectievelijke vakgebieden. ‘Passie’ - ik ben ervan overtuigd dat het daar eigenlijk om draait… Zonder haar zouden er geen verzamelaars, kunsthandelaars, antiquairs of experts bestaan. Zij zijn wat ze zijn door Passie, dat vreemde, niet uit te leggen gevoel dat bij bepaalde objecten ontstaat. Bij de kunsthandelaar spitst dit zich toe op een bepaald vakgebied of stroming: daardoor kan de kunsthandelaar u goed advies en begeleiding geven en kan hij zich onderscheiden als specialist. Bij de kunstliefhebber uit deze passie zich in het scheppen van een eclectische verzameling van

allerlei zeldzame en mooie objecten, op harmonieuze wijze samengebracht. Alle deelnemers van ART-A - en dus ook de leden van de Vereniging Antiquairs Antwerpen – presenteren tijdens de jaarlijkse kunstweekenden hun ‘Passie’; objecten geselecteerd op hun esthetische en kunsthistorische kwaliteiten. Wij hopen dat U van de ART-A kunstweekenden zal genieten en inspiratie zal opdoen voor uw eigen collectie, kortom, dat deze ‘Passie’ overdraagbaar kan zijn! Dick Graaff Voorzitter Antiquairs Antwerpen Coördinator ART-A

“WITHOUT ‘PASSION’, THERE WOULDN’T BE ANY COLLECTORS, ART AND ANTIQUE DEALERS OR APPRAISERS.” DICK GRAAFF

This year the Antiquairs Antwerpen will organise the ART-A open weekends for the 4th time. The best antique dealers and galleries of Antwerp will open their doors for you on this occasion.

weekends, all the participants of ART-A - including the members of the ‘Vereniging Antiquairs Antwerpen’ - share their ‘passion’ with you in the objects selected for their aesthetic and art historical qualities.

Antiques, modern and contemporary art as well as African and Oriental objects will be on view during this event. This careful selection reflects the ‘passion’ of the participating dealers for their chosen field. ‘Passion’ – that is what it is all about! Without ‘passion’, there wouldn’t be any collectors, art and antique dealers or appraisers. They are what they are thanks to ‘passion’, that strange, indescribable feeling you get when you see certain objects.

We hope that you will enjoy the ART-A art weekends and that this event will inspire you to build your own collection. May this ‘passion’ be contagious! Dick Graaff Chairman Antiquairs Antwerpen Coordinator ART-A

For art dealers, a passion for their subject drives them to become specialists in their chosen field. As such they can give excellent guidance and advice. For art lovers, a passion for eclectic collecting will drive them to acquire various beautiful and rare objects and bring them together harmoniously. During these yearly art

INTRODUCTION

A view on the Willemdok with the Sint-Felixpakhuis in the background (FOTO-GF#1062, FelixArchief Antwerpen)

“ART-A MAAKT GELUKKIG” PHILIP HEYLEN

Zeg nooit nog Eilandje tegen deze hot spot. Het begon met de opkuis van ons Red Light District, met de renovatie van het St. Felix pakhuis en dan het Museum Aan de Stroom, de Badboot en de Red Star Line. Het zal verder gaan met de Montevideowijk, de Shop, de droogdokken, de renovatie van de Zeevaartschool en last but not least het nieuwe Havenhuis van Zaha Hadid. Deze buurt is wat de Docklands voor Londen betekende, het IJ voor Amsterdam en de Meat Packing District voor New York. Dit is een wijk in volle transformatie en jullie maken met ART-A deel uit van deze opwindende plek. Maar het begon allemaal hier in het Felixpakhuis. De naam komt van Felix Pauwels, architect van dit immens pakhuis. Er is echter nog nog een andere verklaring mogelijk. Felix is ook gewoon Latijn voor het bijvoegelijk naamwoord ‘gelukkig’. En laat dat nu zijn wat men op deze plek probeert te creëren met een goede en gevarieerde programmatie, met een prachtige indeling van de ruimtes en met lekkere gerechten

VOORWOORD

– kortom, een combinatie van cultuur en lekker eten die voor elke Antwerpenaar gefundenes fressen is. Als geluk een vorm is die de leegte verdrijft, dan is dat hier wonderbaarlijk gelukt want hier heeft men meer dan 4000 m2 leegte ter beschikking die waardig worden opgevuld. Mercantiel én kunstzinnig. Een beschrijving die al eeuwen lang ook op Antwerpen zelf toepasbaar is. Dit is een stad die ontstond zowat tweeduizend jaar geleden, in de tijd der antieken, én dit is een stad van antiquairs. Kunst en traditie zijn geen twee tegengestelden, maar veeleer de twee kanten van hetzelfde verhaal: een verlangen naar schoonheid en duurzaamheid. ART-A past als een handschoen bij de stad die haar naam aan een hand te danken heeft. Het maakt ons gelukkig.

Philip Heylen Schepen voor Cultuur, Economie, Stads- en Buurtonderhoud, Patrimonium en Erediensten

The Lichtstraat of the Sint-Felixpakhuis before its restoration (ÂŠRainer Lautwein & FelixArchief Antwerpen)

Commercial document from the ‘Chamber of Insolvent Estates’ (IB#2449, FelixArchief Antwerpen)

“ART-A MAKES HAPPY” PHILIP HEYLEN

Never say ‘Eilandje’ to this spot again. It started with the cleanup of our Red Light District, with the renovation of the St. Felix warehouse, then the Museum aan de Stroom (MAS), the Badboot and the Red Star Line Museum. It will continue with the Montevideo quarter, the Shop, the dry docks, the renovation of the Zeevaartschool and, last but not least, the new Port House by Zaha Hadid. This area is to Antwerp what the Docklands are to London, the IJ to Amsterdam and the Meat Packing District to New York. This is an area in full transformation and you are - together with ART-A - a part of this exciting spot. But it all started here in the Felixpakhuis. The name of this immense warehouse comes from its architect, Felix Pauwels. But there is yet another explanation for its name: ‘felix’ is Latin for the adjective ‘happy’. This is what we try to create on this spot - a good and varied program, with a beautiful disposition of the space and with delicious dishes - in short, a combination of culture and good food that is gefundenes fressen

FOREWORD

for every Antwerpian. If happiness is something that expels emptyness, then it succeeded miraculously well in this space of more than 4000 square meters that was worthily arranged. Mercantile and artistic. A description that can be applied to Antwerp since centuries - this is a city that originated about 2000 years ago, during Antiquity, and this is a city of antique dealers. Art and tradition are not opposites, but rather two sides of the same story: a desire for beauty and permanence. ARTA fits like a glove to the city that owes its name to a hand. It makes us happy. Philip Heylen Alderman for Culture, Economics, and Urban Neighborhoud Maintenance, Estates and Liturgy

FELIXARCHIEF IN HET FELIXARCHIEF KUNT U HET RIJKE GEHEUGEN VAN DE STAD ANTWERPEN ONTDEKKEN. HET GROOTSTE AANDEEL VAN DE BEWAARDE DOCUMENTEN IS AFKOMSTIG VAN HET ANTWERPSE STADSBESTUUR, DE STEDELIJKE ADMINISTRATIE MET AL HAAR DIENSTEN EN VAN HET ANTWERPSE OCMW MET AL ZIJN INSTELLINGEN. VIA SCHENKINGEN VINDEN OOK ARCHIEVEN VAN ANTWERPSE BEDRIJVEN, VERENIGINGEN, PARTICULIEREN OF FAMILIES ER HUN THUIS. AL DEZE ARCHIEVEN VERTELLEN DE GROTE EN KLEINE VERHALEN OVER EN VAN DE STAD SINDS DE MIDDELEEUWEN TOT OP VANDAAG. Het FelixArchief zorgt ervoor dat al deze archiefstukken de tand des tijds kunnen doorstaan. Papieren archieven verpakken we in zuurvrij materiaal en slaan we op in archiefcontainers met een constante temperatuur en vochtigheidsgraad. Het FelixArchief digitaliseert de meest kwetsbare of veel gevraagde papieren archieven zodat ze digitaal geraadpleegd kunnen worden. Een zelfde zorg besteedt het FelixArchief aan archief dat digitaal van oorsprong is. De uitdaging is om deze archieven te bewaren in een formaat dat ook nog in de verre toekomst leesbaar zal zijn. Het FelixArchief is niet enkel een bewaarplaats; archieven krijgen ook inhoudsbeschrijvingen zodat online zoeken en vinden mogelijk wordt. Ook al kunnen heel wat digitale documenten van thuis uit bekeken worden, in onze ruime leeszaal gebeurt de raadpleging van archieven, op traditionele dragers (papier e.a.) of digitaal. Archieven die over een periode van meer dan 800 jaar lopen, hebben zeer uiteenlopende vormen en dragers; dat gaat van perkament over alle soorten papier tot de huidige digitale dragers. Archieven zijn zowel documenten, plannen, tekeningen als foto’s, dia’s, film-, video- of geluidsbanden.

TOPSTUKKEN Meer dan achtentwintig kilometer papieren archief en meer dan 25 TB digitaal archief (lees: digital born en gedigitaliseerd) vormen het collectieve geheugen van onze stad. De archieven weerspiegelen de maatschappelijke activiteiten van de Antwerpenaars en zijn daarom een zeer belangrijke bron voor historisch onderzoek van de stad. Soms overstijgt een archief het lokaal

A photo of children taking a ride on an elephant from the archives of the Antwerp Zoo (FOTO-OF #4657, FelixArchief Antwerpen)

belang, zoals bij de archieven van de Insolvente Boedelskamer. Heel wat boedels kwamen van belangrijke families, die generaties lang handel dreven in Antwerpen en ver daarbuiten. Deze documenten vormen daarom een unieke staalkaart van het economische leven in Antwerpen van de 16de tot de 18de eeuw. De Insolvente Boedelskamer is in 2009 opgenomen in het “Register van het Geheugen van de Wereld” van UNESCO. Ook de wandkaart van de Nederlanden door Blaeu uit de 17e eeuw, de verzameling foto’s door Edmond Fierlants uit 1860, het archief van het Antwerpse havenbedrijf, het archief van de Generale Indische of Oostendse Compagnie uit de 18e eeuw, het archief van de Koninklijke Maatschappij voor DierkundeAntwerpen (de Zoo) en de Scheldekaart uit 1505 zijn één voor één topstukken.

The covered Lichtstraat in the Sint-Felixpakhuis (FelixArchief Antwerpen)

HET BEGON MET EEN KOFFER Het verhaal van de stedelijke archieven begint met een koffer. Vroeger bewaarde de stad haar (belangrijke) documenten in het toenmalige stadhuis, in de zogeheten ‘privilegiekom’, een kist van meer dan twee meter lang. Twee charters uit 1221 waar de stadsrechten van Antwerpen op vastgelegd staan, kregen er hun eerste bewaarplaats. De stad Antwerpen groeide en ook de documenten ontgroeiden de priviligiekom. Ze kregen daarom een plaats bij de verschillende diensten in het stadhuis. Vanaf 1796 komen de archieven in handen van een speciaal daartoe aangestelde ambtenaar, de archivaris. Ook het stadhuis werd al snel te klein om de

FELIXARCHIEF

archieven te bewaren. Van 1956 tot 2006 krijgen de archieven een plek in de Venusstraat in de gebouwen van de voormalige ‘Berg van Barmhartigheid’. In 2006 begint een nieuw hoofdstuk in het verhaal van het Antwerpse stadsarchief en nemen de stedelijke archieven samen met het OCMW-archief hun huidige plaats in in het historische Sint-Felixpakhuis.

EEN UNIEK HISTORISCH PAND Het Sint-Felixpakhuis is een stapelhuis, gebouwd in 1860, voor de opslag van bulkgoederen als koffie, graan, kaas en tabak. Na een vernietigende brand in 1861 wordt het gebouw verdeeld in twee vleugels met daartussen een gang.

The 13th century privilege-chest in which the first charters were being kept. The chest was cleverly secured: de keys of the nine locks were distributed amongst the city counselors. The chest could only be opened by working together. (FelixArchief Antwerpen)

Deze gekasseide ‘binnenstraat’ tussen de vleugels is nog altijd een opvallend en typerend kenmerk van het Sint-Felixpakhuis. Omdat de havenactiviteit zich al een tijd in noordelijke richting verplaatst, raakt het pakhuis in 1975 in onbruik. Een jaar later neemt een Koninklijk Besluit het Sint-Felixpakhuis op in de lijst van beschermde monumenten en wordt het erkend als een waardevol en uniek historisch pand. Met zijn lage plafonds en honderden houten en gietijzeren kolommen is het niet makkelijk om een bestemming voor het stapelhuis te vinden. Na jaren leegstand beslist de gemeenteraad in 1998 om het Sint-Felixpakhuis in te richten als nieuwe thuis voor de archieven. De lage plafonds en het feit dat er weinig licht is zijn net een voordeel voor het bewaren van archieven. De stad nam architecten Robbrecht & Daem onder de arm. Ze slaagden erin archief-, kantooren publieksruimtes naadloos te integreren in de historische structuur van het gebouw. Ze grepen – waar mogelijk – zoveel mogelijk terug naar de oorspronkelijke materialen en zorgden voor het terug plaatsen van? zeldzame hydraulische hijswerktuigen. De architecten hielden ook rekening met de eisen van een modern archief: aangepaste klimaatregeling, beveiliging tegen diefstal en

A fragment of the city hall from the oldest city map of Antwerp. This map was only recently discovered. (12#11667, FelixArchief Antwerpen)

brand, ruimte voor bewaring en behandeling van de stukken, kantoren, publieksruimten en studie- en leeszalen voor de bezoekers.

TENTOONSTELLINGEN EN EVENEMENTEN Het Sint-Felixpakhuis is met zijn prachtige ligging, bijzondere lichtstraat, authentieke eerste verdieping en een auditorium met vergaderfaciliteiten op de zesde verdieping een uniek kader voor externe activiteiten. Sinds 2009 is een groot deel van de gelijkvloerse verdieping in concessie gegeven voor horeca en evenementen. Met de tentoonstellingskasten op de zesde verdieping en aan het onthaal duikt het FelixArchief zelf geregeld in het verleden van een actueel thema. De aanleiding hiervan kan een gebeurtenis, evenement of thema van het moment zijn met een link naar de Antwerpse geschiedenis. Bezoekers kunnen de tentoonstelling ontdekken tijdens de openingsuren van de leeszaal. Aparte vermelding is te maken over kunstenaar Denmark. Naar aanleiding van zijn tentoonstelling ‘archief versus archief ’ in 2009 schonk hij een kunstwerk. Het werk ‘Zonder titel, 1995’ is te bezichtigen vlakbij het onthaal. Ook ‘Archiefblokken’ wordt daar tentoongesteld.

A view on the Sint-Felixpakhuis from the spot where the MAS stands now (FelixArchief Antwerpen)

THE FELIXARCHIEF IS ANTWERP’S PLACE TO BE TO DISCOVER THE RICH MEMORY OF THE CITY. THE MAJORITY OF THE STORED DOCUMENTS ORIGINATE FROM THE CITY GOVERNMENT AND ITS ADMINISTRATION. THANKS TO DONATIONS, ARCHIVES FROM ANTWERP COMPANIES, ORGANIZATIONS AND FAMILIES FOUND THEIR HOME IN THE FELIXARCHIEF. ALL THESE ARCHIVES TELL US BIG AND SMALLER STORIES ABOUT ANTWERP, FROM THE EARLY 12TH CENTURY UNTIL TODAY. The FelixArchief provides perfect storage conditions to make sure that the documents can survive the ravages of time. We pack our paper documents in alkaline materials and we store them in acclimatized containers with a fixed humidity and temperature. One of our main tasks to protect our archives is the digitization of vulnerable or popular documents. The challenge is to save the digitized documents in a format that will remain readable in the future. We pay high attention to digital born documents. The FelixArchief is not just a depot. We also describe our documents so they are available in our online database for scientific use. Even though a lot of digital documents can be viewed at home, in our reading room you can consult as well paper as digital archives. Archives over a period of 800 years, have a wide range of forms and carriers. From parchment,

FELIXARCHIEF

via all sorts of paper to recent digital carrier, we collect plans, drawings, photos, films, videos and sound files.

MASTERPIECES The FelixArchief stores more than 28 kilometers paper documents and at least 25 TB digital (digital born and digitized) archives. The different archives reflect the cultural activities from the ‘Antwerpians and are an important source for historical research. Sometimes an archive goes beyond the local importance, for example the ‘Insolvente Boedelskamer’ archives. These documents form a unique sample sheet of the economical life in Antwerp from 1700 until 1900. In 2009 the ‘Insolvente Boedelskamer’ became UNESCO world heritage: Memory of the World. Next to this important archive we store several other masterpieces like the wall map from The

Exhibition hall The FelixArchief organizes regular mini-exhibitions on current themes on the sixth floor. (©Tim Van Dyck & FelixArchief Antwerpen)

Netherlands by Blaeu (17th century), a photo collection by Edmond Fierlants from 1860, the rich archives from the Ostend Company, the Zoo and the port of Antwerp and last but not least the beautiful map of the Schelde from 1505.

IT STARTED WITH A CHEST Previously, the city kept its (important) documents in the ‘privilege chest’, more than two meters long, in the former town hall. The first two documents to be stored inside this chest were two charters or documents dating from 1221, in which the Duke of Brabant conferred a town charter on Antwerp. As the city grew, the number of documents and correspondence grew. Therefore, the various departments housed in the town hall maintained their own documents. From 1796, the responsibility of archival storage and management was assigned to the archivist, a

A fragment of Antwerp from the map of the Netherlands by Willem Jansz Blaeu. (12#3874, FelixArchief Antwerpen)

specially appointed official. Soon, space became an issue in the city hall. From 1956 till 2006 the archives housed in the buildings of the former Public Loan Office in the Venusstraat, known as the ‘Mount of Charity’. The year 2006 marks the beginning of a new chapter in the history of the Antwerp City Archives. The city archives along with the archives of the OCMW (Social Services) are moved to the historical site of St. Felix warehouse.

A UNIQUE HISTORIC BUILDING The Sint-Felixpakhuis is a warehouse, built in 1860, to store goods such as coffee, cheese and tobacco. After a devastating fire in 1861, the architect decides to split the building in two wings. The cobbled street that divides the two wings is still an eye-catching characteristic. In 1975, when the port activities move in north-

Placard from the First World War. Until 2018, the Felixarchief will exhibit war-posters every day on a wall in the Lichtstraat. (706#1, FelixArchief Antwerpen)

ern direction, the warehouse gets abandoned. One year later, the Sint-Felixpakhuis was listed as a protected monument and it became certified as a valuable and unique historic building. Due to its low ceilings and hundreds of wooden and iron columns, it is not easy to find a good destination for the warehouse. After years of vacancy, the town council decides to redesign the warehouse as an archive with perfect storage conditions. Architects Robbrecht & Daem succeed in integrating an archive, a public reading room and several offices into the historical structure of the building. They used, where possible, all authentic materials and they put very unique hydraulic machines back where they belonged. They also took care of the modern archival requirements: customized air- and humidity conditioning, theft protection, fire detection and protection, room for storage and

FELIXARCHIEF

documents treatment, offices and a reading room for our visitors.

EXHIBITIONS AND EVENTS Thanks to the perfect location, the unique cobbled street, an authentic first floor and a modern auditorium with a good meeting infrastructure, the Sint-Felixpakhuis is an exceptional location for external activities. Since 2009 a large part of the ground floor is given in concession for the catering industry and events. On the sixth floor you can always enjoy a small but nice exhibition about a current topic. The exhibion can be visited from Tuesday to Friday from 08.30 AM until 4.30 PM. The FelixArchief owns two pieces of art by Denmark. As a result of his exhibition ‘Archief vs Archief ’ he donated a piece in 2009. The works ‘No title, 1995’ and ‘Archiefblokken’ are shown next to the reception.

Chinese porcelain, earthenware from Delft, English and continental furniture, the 17th and 18th century. People of the trade will know immediately: this is the DNA of an antique dealer; And when an antique dealer passes away, he does not only leave behind his family and his collection, but also a memory that can stretch over a few centuries. The genes of an antique dealer hold a wealth of information.

IN MEMORIAM MICHEL BASCOURT

Michel Bascourt was indeed an antique dealer at heart. Thirty years ago, he was one of the founding members of the famous Antwerp Open Days. He developed the idea together with the late Bob Claes of the Hotel Rosier, with Bernard Blondeel – a medieval tapestries specialist - and the then upcoming Axel Vervoordt. The Antwerp Open Days were an alternative for the Antwerp Antiques Fair, which first took place in the Rotonde at Campo Auction House on the Meir, and then in the Stadsfeestzaal. These open days have grown into an important international event thanks to the commitment of people like Michel Bascourt. On top of that Michel was also an involved citizen, an attentive Antwerpian who devoted a lot of his time to his work as chairman of the local traders association. This is how I got to know him; as the chairman of the ‘Drie Fonteinen’, the local association of the traders of the Mechelsesteenweg. He would scrutinize any road- or other works taking place and was critical about every delay or change that did not seem useful. But he could also give praise for a job well done. That is how I will remember him: fair, involved and combative. Jos Bascourt, his grandfather will always be remembered for the beautiful art-nouveau houses in our city. Michel will be remembered because he taught our city the value of preservation. the value of historical houses, the value of antique artefacts, the value of human relationships… A wonderful man as Michel is worthy of being remembered in his own right. Philip Heylen Alderman for Culture, Economics, and Urban Neighborhood Maintenance, Estates and Liturgy

IN MEMORIAM MICHEL BASCOURT

RED STAR LINE

AAT

LONDENSTRAAT

NAPOLEONKAAI

NOORDERLAAN

LE ITALIË

KRIBBESTRAAT

DINANTSTRAAT

LONDENSTR

VERBINDINGSDOK

NASSAUSTRAAT

BATAVIASTRAAT

NAPELSSTRAAT

LONDENBRUG

AMSTERDAMSTRAAT

PARK SPOOR NOORD

VIADUCT-DAM

ELLERMANSTRAAT

RODESTRAA T

NT E

EE NW EG OU DE ST

ESTRAAT ENTALS LANGE HER

EI ËL LG I

ABE THLE I

ST RA NIE

ELIS

VA N

KON .

AT RA ST KE BE ON

RM O

AT RA ST OL S ER TM

AT RA RO B

AT TRA INIÈ RES OR LAM

WE EN

TE TRAAT

GAARDS

BOOM

KONING ALBERTPARK

E OT GR

IJCKLAA

W N RIJS JAN VA

T AA

RS T

IÈR

RIN

ELS

LE I

BREUGHELSTRA RA AT AL BE RT ST

I LE LG IË BE

AA T

LG IË

ST R KE BE ON HO SC VA N

VA N

LA NG E

AAT NSTR ERTB OR VAN

AAT LINSTR AT DT ST AN BR M RAAT TIUSST

AA T

LDESTRAAT

STRA AT BERG MOLEN

QUEL

I LE EI SL EN RU B

ST. VI NCEN

LL BE ISA

TH AR

VAN ARTEVE

OSYS TRAA T

RAAT NAST

T ES SV AK TA B

IJK KR AN FR RA AT

ST EM LE

AAT

ST R IE FA N ST E

PVE

KIP

DOR

OTTO VEN IUSSTRAAT

T ES SV AK TA B

AA T TR LL OS BE

AA T

KO RT E

ER US S AA T TR FS OL RU D

LANG E SINT AN

DERSTRAAT CELLEBROE

EIKENSTRAA T

TRAAT

LE TR AA T

RB VE

AA T

EI AL

STRA

TEE

ST. LA UREI

ELL

AAT

B ISA

IJSTR

SES

BATT ER

RIJNPOORTVEST

INE KAU WEN BER G KLE BERG

PRIN

RAAT RAVE ST MARKG

EST IJNEV BEG

ITS E BR

AA T ON

DS TR

SA ND

ZW RA AT RS ST DE

AA TS NIJ PL

AT RA ST RD RA GE LK HA SC AR MA

KLARENS LANGE

HUIDEVETTERSSTRAAT

AT BREDESTRA

AT STRA IJNEN BEG

AA T DS TR ON RB VE

VENUSS

AMBTMANSTRAAT

AAT ESTR BORZ

SINT-KATELIJNEVEST

TRA AT HOFS

AAT AT DESTRA BOGAAR

AT RA

GROT E KAUW EN

DRIES IKS TR AA T HU

TRA AT NO SE S

VLEESH

STR ALE ION NAT

AT STRA NALE NATIO NT ST MO ER MB LA

AT RA ST

ER IJG

AT RA LS T

WA E DE

LE OP O

D MIR GRAAF VAN HOO RNESTRAAT AA LD E BO ISO TS TR AA T

LANGE GASTHUISSTRAAT

ST OG HO

ER OEV AT TRA ERS GE R IDD LAN

AAT KSTR SBEE CRAE VAN T GEUZENSTRAA

AA T

TR KS VO L

AA I EK MS

MECHELSPLEIN

AT RA

ERN EN

RAAT

I AA EK LS W AA

AA VL

LANGE KOE POORTSTRAA T

TRAA T OUWER SS

TGR ACH

BU RCH

AI KKA DIJC

ZUID

VAN

AS ERR

EST

ELT WA ND

HE SC

I KAA NTIN PLA

ERST KLOO ST

I AA LSK HIE T-M IC SIN AI KA ILL ER CK CO AAT GIJZELAARS STR

SES STR AAT

AI ORT ELIU SKA

RD NOO AS E RR ELT WA ND

NSK AAI JOR DAE

THO NET LAA N

AI SE KA AA M

RAAT

TRAAT

I KAA MET ERE N VAN

GLORIANTLAAN FRED. VAN EEDENPLEIN

I AA EK AC H RL GE DE

TALE

DIJKST C

T RAA

HOF VAN LEYSEN

M OE

RLOT CHA

N N VA

SE K

ANTO

T AA

CIE

S ON

FST

SINT THOMASSTR

HEL MEC

STR OIT

RAAT

GE ER

B OE

NAST LOZA

T AA

E LANG

AA T

SLE ATSIJ EN M

T AA

WEG

E CK PY

T TS

R DU

WOMMELGEM

E PET

AA T

AA T A TR

T QUIN

TR TS OR NO

WA AL

P. VAN LANGENDONCKSTRAAT

A TR

SLA

BEA TRIJ

N VA

EEN EST

A12

MEISTRAAT

S HEL

T AA

AAT

INS

AAT KOLVEINSTR

OZE

E19

MEC

T AA

LE ITALIË

ST KE VE

RAAT

AENST

JORD

B JACO

ST.-J

ASTR

TJE

AA T

ZAN GE LO

DEURNE

MORETUSLE PLANTIN EN

TRA

ELS

VIN

VE KE

BSSTRA JACOB JACO

TR AA AT T

LAN

KER

STO

VAN EY CKLEI

HEM

BR OE

MS LE

DIE

TT AL EI TT AL EI

WIL

IJN

TRA

T AA

AARSCH

NST RCXE

RIE

AT OTSTRA

AS AN

BO RAAT

AA T

AAT STR

Z LO

L PA

CONST. TEICHMANNPLAATS

07 ANTWERPEN CENTRUM

AT RA

A-

RIË

‘S-GRAVENWEZEL

JOZ

FRANCIS WELLESPLEIN

MERKSEM

N VA

MIRAEUSSTRAAT

AAT OSTR

T BESTORMINGSTRAA

ELM

LE PA

ANS

CENTRAAL STATION

T AA

ISS

ST. JOB IN’T GOOR

ERLE

RIË

T AA

FRANKL ROOS IN EV PLAATS ELT-

DE K EYS

STADSPARK

PLAATS

-H

IES

TIT

TENIER

RIA

AA T

BLAUWTORENPLEIN LA NG EL

STR

JUS

PBRU

TAB

R TO

AAT

LEI

KIPDOR

ORT LEOPOLDPLAATS

S EVE

KA ERI

T SS

AKSVEST

AA T

SPO

AAT

TO L

T AA

LEYSST RA

JORI

IZA

RAAT

LVA ART STR

STIJFSELST

LO U LO U

SINT

WIN

IJN

BEG

T RSTRAA

VIOLIE

KO RT E

HENRI VAN HEURCKSTRAAT

JAN

RAAT COQUILHATST

KMSKA

RAAT

TRA

FRAN S HALS PL

THEATERPLEIN

S EN RT ME

BOTANISCHE TUIN

LEOPOLDST

TOL S

BRESSTRAAT

AT RA

P EE

AA T

AAT

SSTR

HEID

VRIJ

GRAAN MARKT

AA TS

AT TRA RTS

SAE MU T

TER

AAT

ERSSTR

SCHERM

TSTRAA T AT RA KST NC NIC

RAAT

STR

ARENBERGSTRA

LOUIZASTRA

RAAT

HIL

ISST

AA T

THU

TRAAT

RA RTST WAE ALLE

KAPELLEN

KAR

L. DE WAELPLAATS

AA T

OGIE EL R

ANSINGS

VERSCH

GILLISPLAATS

BERVOE

MARNIXPLAATS T RAA

RST

A UI DD SR GO

BU S

BU R

AA T

AT ST

BU R

HERSTRAAT EDW. PEC

N VA

E GAS

KORT

AAT

KRONEN

AAT

HOPLAND

TRAAT

T KSTRAA

OLIJFTA

OEMSTR GOUDBL

EIN

SCHUTTERHOFS

ROSIER

USSTR

AA T

SINT-GUMMARUSSTRAAT

AAT

LANGE NIEU WSSTRAAT

WAPPER

ST. JANSPLEIN

VONDELSTR

MARK

JODENSTRAAT

T AA

STR

JESTRA

ORAN

IER

OSSENM VAN HO ARKT BOKE NSTRAA T

TEN

SINT JA COBS

STRAAT

SESTRAAT

IETEN

D LE

SSTRAA T

ST.-R OCH

RAAT DE VRIEREST

TRAAT

SCHALIENS

N GA

ZENIER

A STR EIN LPL

RV IE

AAT

TEE

AA T

AALMOE

AA T

STR

ISRAEL

KAPUCINES

OUDAAN

RTSTRA AT

OYTE

KIPDOR

KO M

HAPPAE

BURGST

AA T

STRA

R E DE GROT

TRAAT

KERS

W. LEPE LS

WER

KLEINE MARKT

SSTRAA T

EVERDIJSTRAAT

ST. ANTONIUSSTRAAT

SCH

RUG

PIETER

KAT

MEIR

RIJN

PREKER

M HKA

AA T

AAT

MEIRBR UG

SCH

LIE

OE BR ER RD ND AA MI ODD G

RKT

BER GS

E EIN

RAAT

SLEUTELSTRAAT

STR

AT PRINSSTR

RKT

KAS

IES

TRA

EST

STRAAT

ARDENV

STR

AA T

RAAT

UINST

LOMB

ST.

TRA

INCKST

RKT

OR TK

TIJN

VLEM

LOMBARDEN

AA T

RGSTRA

NT STR

ENMA

KRONEN BU

SCHO

SVES

AU G

EN IEU

GROENPLAATS

UWER

KOR T

EIER

VRIJDAG MARK ST

NHO

STE

FORT

AAT

STRA

ARDB

STR

BLINDE

TRAAT

WIJNGA CIENC E PLEIN

TUNNELPLAATS

NMARKT

KEIZERS

H. CO NS

RR UI

PAARDE

STADSWAAG

ERS

WA PE N

TRAAT

MELKMARK

LIE

STEE

LU IK

REY

WOLS

STRAAT

RAAT JAN BLOMST

ARK

KATHEDRAAL

VIS

VLA

JAN

KAASRUI

ST.

IJZ

AT RA

GROTE MARKT

N OR KO

UNN

NAT

D OU

T-AN

RKT

AT GE LAN DSTRA R NOO

LRUI

PAARDENMA

RP APDO

STIJFSE

FALCONRUI KL

LEIN

ERR UI

SIN

SUIK

VIS

STRA

ENP

BLANCEFLOERLAAN

EPOOR KORTE KO

LODE ZIELENSLAAN

ZIRK

STE

KO MM S S IE TRAA EKEN T SDR

TRA

VEEMAR

SRU

GENERAAL BELLIARDSTRAAT

DE OU K EIS

VER VER

S LU AU T-P SIN

EMILIE VERHAERENLAAN FRED VAN EEDENPLEIN

SCHIPPERSTRAAT

IN HESSENPLE

BLAUWBROECKSTRAAT

KOEIK

OUDE LEEUWENRUI

BROUWERSVLIET

HOORNSTRAAT

KAAI

KAASBRUG FALC ONPLEIN

ANSE

IMALSOPLEIN

VAN AE T RACH ENSG

ROUA

WAASLANDTUNNEL

CHARLES DE COSTERLAAN

AAT

RDTSTR

ADRIAANBROUWERSTRAAT

T ESTRAA WERV VAN DE

CHARLES DE COSTERLAAN

DE PRETSTRAAT

RIJNKAAI THONETLAAN

RESTRAAT

EMAKE DE WAGH

GODEFRIDUSKAAI

HANZE STEDENPLAATS

SINT-ALDEGONDISKAAI

DIJ KS TR AA T

ENTREPOTKAAI

TRAAT

DUBOISS

MAS

CT-DAM

12 ANTIQUES & 7 CONTEMPORARY ART GALLERIES Saturday 06.12.2014 & 13.12.2014

11.00-21.00 11.00-19.00 Sunday 07.12.2014 & 14.12.2014 11.00-19.00 11.00-19.00

88-GALLERY

Leopoldstraat 2 (p. 20)

AKANTHOS ANCIENT ART ANTWERP Oever 7 (p. 24)

AMMA TRIBAL ART

Wolstraat 16 (p. 28)

ARENDS & TAMMES FINE ARTS Address during ART-A: Leopoldstraat 29 (p. 32)

AT THE GALLERY

Leopoldstraat 57 (p. 36)

AXEL PAIRON

Leopoldstraat 35 (p. 52)

AXEL VERVOORDT COMPANY Kanaal Stokerijstraat 19 (p. 60)

AXEL VERVOORDT GALLERY Vlaeykensgang (p. 64)

HONOURABLE SILVER OBJECTS CABINET OF CURIOSITIES

ESPRIT DE L’ART Leopold de Waelplaats 4 (p. 40)

GALERIE DE ZWARTE PANTER Hoogstraat 70 / 74 (p. 76)

GALERIE RAF VAN SEVEREN Leopoldstraat 19 (p. 56)

GALERIE VERBEECK VAN DYCK Westkaai, Verbindingsdok 12 (p. 88)

MARCEL NIES ORIENTAL ART Lange Gasthuisstraat 28 (p. 48)

ML DESIGN GALLERY Leopoldstraat 53 (p. 80)

VICTOR WERNER Schuttershofstraat 21 (p. 68)

WM GALLERY Wolstraat 45 (p. 92)

J.M. ZEBERG – FINE ART Vleminckstraat 3 (p. 72)

Leopoldstraat 29 (p. 44) 10

CALLEWAERT-VANLANGENDONCK GALLERY Wolstraat 21 - 23 (p. 84)

ANTIQUES & CONTEMPORARY ART GALLERIES

Kam Tin, ”Cloud” Side tables, Contemporary, Brass, 3 different sizes: H: 35/31/25 x W: 66 x D: 50 cm

88-GALLERY LEOPOLDSTRAAT 4 / 2000 ANTWERP / T +32 (0)3 231 33 81 / M +32 (0)475 79 81 17 info@88-gallery.com / www.88-gallery.com Opening Hours: Thursday, Friday and Saturday 11.00 – 18.00 And by appointment

Marc Cavell (UK 911 - France 1989), Kinetic Artwork, 1969, Steel blades on painted wooden board, Ellipse form, Signed and dated on back, H: 111 x W: 75 x D: 13 cm

“THERE HAS BEEN A HUGE INCREASE IN THE NUMBER OF TWENTIETH CENTURY DESIGN CLASSICS APPEARING AT THE MOST EXCLUSIVE FAIRS” ERIK MÜLLENDORFF

The owners of 88-Gallery, Erik Müllendorff and his French business partner Philippe Rapin, have earned their spurs as dealers of XXth century art and design. Their Antwerp gallery, in the Leopoldstraat, opened its doors in 2007. Two years later, they established a branch in London and opened a new gallery on the Quai Voltaire in Paris some time after. They have both published extensively on the subject of XXth

88-GALLERY

century decorative arts and serve on the vetting committees of various international art fairs. 88-Gallery specialises in furniture by French, Italian, American and Belgian designers. Among the designers represented we find Jacques Adnet, Gio Ponti, Jean Desprès, Ado Chale, Jean- Emile Puiforcat and Paul Evans. The gallery also presents Post-War abstract art by artists such as Bram Bogart, Marc Cavell, Takis,…

Gaetano Scolari for Stilnovo, Rise and fall hanging light, Model A5011, Italy, ca. 1950, Brass and lacquered metal, H: adjustable Diam.: 66 cm, Litterature: Domus n.387 February 1962, ’Repertorio del design Italiano 1950-1980’ - Giuliana Gramigna, p 63

Hubert Le Gall (°1961), Mirror “Tania”, France, Contemporary, Gilt bronze with bevelled glass panes, H: 116 x W: 69 cm

Gio Ponti (Designed by), Console table, Italy, 1951, Walnut and acero, H: 186 x W: 60,5 x D: 73 cm, Authenticity Certificate from Archivio Ponti On table: Max Ingrand for Fontana Arte, Table lamp, Italy, ca. 1960, Brass, H: 74 cm

88-GALLERY

Above: Marc Cavell (UK 1911 - France 1989), Kinetic artwork, France, ca. 1970, Steel blades on white painted board, Signed and dated on back, H: 124,5 x W: 155 x D: 10 cm

Chariot bust applique of the God Mercury, Roman, Germany, 1st century AD, Bronze, H: 13 cm Provenance: Ex private collection Schellingerhout, Netherlands, 1980.

AKANTHOS ANCIENT ART ANTWERP OEVER 7 / 2000 ANTWERP / T +32 (0)3 248 18 55 / M +32 (0)486 28 23 54 akanthos@telenet.be / www.akanthos.be Opening Hours: Friday, Saturday and Sunday, 14.00 – 18.30 And by appointment

Two chariot bust appliques of the God Attis, Roman, Mediterranean, 1st century AD, Bronze, H: 7 cm Provenance: Ex private collection Netherlands. / Gallery DM, Amsterdam, Netherlands.

“THERE IS SOMETHING VERY FASCINATING ABOUT THE WAY THAT OBJECTS CAN PROVIDE A BRIDGE BETWEEN OUR ANCESTORS WHO LIVED A COUPLE OF THOUSAND YEARS AGO AND OURSELVES” KARL STIMM

Classical antiquities, be they works of art or everyday objects, are attracting an increasing interest from enthusiasts and collectors. In practice, however, it is becoming more and more difficult to find important objects and to purchase them. In order to satisfy this growing demand, dealers specialising in cultural objects from the beginning of our era, must travel far and wide, forge contacts with major collectors in the field

and make optimal use of a network that has been carefully built up over the years. Drs Karl Stimm established Akanthos Ancient Art Gallery thirty years ago, together with his wife Carmen Tonen. He is considered an expert in his field and clients come from all over the world to visit. All the objects they offer for sale come with a full warranty, an in-depth appraisal and a provenance. Akanthos deals primarily in sculptures, bronzes,

AKANTHOS ANCIENT ART ANTWERP

Amulet of the God Bastet seated on a throne, Egypt, Third Intermediate Period: 1000-664 BC, Faience, H: 6 cm Provenance: Jean Marie Mariaud de Serres, before 1980.

fragments of friezes and columns and (everyday) artefacts from ancient Greece and Rome, as well as in Egyptian and early Christian and Medieval European objects. According to Karl Stimm there is something very fascinating about the way that these artefacts can provide a bridge between our ancestors who lived thousands of years ago and ourselves. He believes they link us with people

Fragment of a funerary stela, Roman Period, Eastern Greece, 2nd century AD, Pentelic marble, H: 98 cm

who had similar feelings as we do, as immaterial quality transcends the material object. Karl Stimm is an enthusiast with a vision and named his gallery Akanthos - the classical Greek word meaning ‘ bear’s claw’, a plant with elegant curling leaves, that was used as an ornamental motif on Corinthian capitals.

Torque decorated with triangular human faces, Celtic, Northern France, 4th century BC, Bronze, Diam: 15 cm. Provenance: Ex private collection A. Jansen, Geldrop, Netherlands, 1975.

Belt buckle with cross motif and linear pattern, Merovingian, Northern France, 7th century AD, Bronze. W: 8,6 cm Provenance: Ex private collection J. Dirven, Schoten, Belgium, 1970.

Belt buckle with decoration of dragons or mythical creatures, Merovingian, Northern France, 7th century AD, Bronze, W: 14 cm Provenance: Ex private collection J. Dirven, Schoten, Belgium, 1970.

AKANTHOS ANCIENT ART ANTWERP

Punu-Lumbo ‘Okuyi’ mask, South Gabon/ CongoBrazzaville, Early 20th century, Wood, white kaolin pigmentation and black/red oil paint, H: 32 cm Provenance: Collection Solo, New-York

AMMA TRIBAL ART WOLSTRAAT 16 / 2000 ANTWERP / T +32 (0)3 772 11 90 / M +32 (0)496 31 08 36 info@ammatribalart.com / www.ammatribalart.com Opening Hours: by appointment

Mano mask, Notheastern Liberia, Wood, brown sacrificial patina, H: 23 cm Provenance: Field collected by Dr George W. Harley. Collection Dave Deroche, USA Jo De Buck, Brussels

“THE FACT THAT WE SELL TO RESPECTED MUSEUMS AND KNOWLEDGEABLE INDIVIDUALS GIVES US ENORMOUS PLEASURE ” ANN DE PAUW AND LUC HUYSVELD

In the 1980’s, when both were in their twenties, Luc Huysveld and Ann de Pauw of Amma Tribal Art had already fallen under the spell of the beauty and power of African art; and it was during the first trips to Africa that their careers as collectors and dealers began. In the early twentieth century artists were among the first to appreciate African art. They discovered that working in a more abstract way did not neces-

AMMA TRIBAL ART

sarily involve a loss of power or meaning. It was not until the 1950’s and 1960’s that the general public became seriously interested. Major museums were gradually putting an individual focus on the art of each continent - Oceania, Precolumbian America and, of course, Africa. And that focus is not only on the artistry evident in the beautiful objects; the context in which they functioned is receiving increasing attention too.

Dan mask, Ivory Coast, Early 20th century, Wood, deep dark brown glossy patina, slit eyes, ridge on fore-head, bands of scarification, holes in the lips were most probably used to insert teeth, the many holes at both edges of the mask to attach the mask at the dance costume, H: 20,5 cm Provenance:Private collection USA Galerie Alain Bovis

African art deals with matters that touch the core of our human existence, however strange the rituals may seem to westerners and outsiders; matters such as family ties, fear and hope, life and death. The fact that Amma Tribal Art sells to respected museums and knowledgeable individuals gives them enormous pleasure, it confirms that other people are touched by what

Yoruba ‘Ibeji’ figure, Nigeria, Alode region, 19th to early 20th century, Wood, deep brown patina and wear traces as a result of a long term use in the Ibeji cult, glass beads (partly Murano), leather, kaori shells, tattoos on arms and temples, extra long arms, H: 27,5 cm Provenance: Collection Ulrich Klever, Germany. Published : Bruckmann’s handbuch der Afrikanischen Kunst, München 1975, plate 97

they once collected. The gallery occupies several floors of an attractive building in the Wolstraat. In addition to their ethnographic art from Africa and Oceania, De Pauw and Huysveld also exhibit contemporary art in which parallels are to be found with the masks and other ritual objects on display.

Fon kudio-bochio, 19th century, 67 cm h

Lobi ‘Bateba’ figure, Ghana, Burkina-Faso, First half 20th century, Wood, dark brown ‘touch’ patina, H: 65 cm Provenance: Collection François and Marie Christiaens, Belgium

Mumuye figure, North/East Nigeria, Early 20th century, Wood, fine lustrous brown patina with white pigmentation, H: 71 cm Provenance: Charles Miller III, New-York, Patrick Fröhlich

AMMA TRIBAL ART

Gaspar van den Hoecke (Antwerp c. 1585 - after 1648), Bouquet of tulips and other flowers, Oil on panel, H: 64,3 x W: 42,4 cm Provenance: Private Collection Germany

ARENDS & TAMMES FINE ARTS ADDRESS DURING ART-A: LEOPOLDSTRAAT 29 / 2000 ANTWERP MECHELSESTEENWEG 214 / 2018 ANTWERP M +32 (0)473 933 603 / arendstammes.finearts@skynet.be www.arendstammesfinearts.be Opening Hours: by appointment

Hans Berg(ainie) (Antwerp, 1st half 17th century), A riverlandscape with a house and figures, Oil on copper, H: 11 x W: 17,8 cm

“TRULY OUTSTANDING WORKS ARE IN SCARCE SUPPLY AND, THEREFORE, MUCH HARDER TO FIND.” HENRIËTTE TAMMES AND ROBERT ARENDS

It’s a well known historical fact: it was often artists of Flemish origin who were all the rage in Amsterdam and elsewhere in Holland’s Golden Age. Robert Arends and Henriëtte Tammes took the reverse route, moving from Amsterdam in 1995, where they’d had a gallery since 1993, to Antwerp. It is hard to estimate the total number of modern and contemporary art dealers in the world today - but the figure would certainly run

ARENDS & TAMMES FINE ARTS

into tens of thousands. The number of dealers specialising in Old Masters is much smaller. Furthermore, truly outstanding works are in scarce supply and, therefore, much harder to find. The high prices fetched by great masterpieces are also an important consideration - and such works only become more expensive over time. Arends & Tammes also sell prints and drawings, and works by other artists, from

School of Jan van Kessel (Antwerp 1626-1679), Tulips and roses in a glass vase, Oil on panel, H: 18,1 x W: 12,5 cm Literature: Klaus Ertz and Christa Ertz-Nitsche, Die Maler Jan van Kessel I, Luca Verlag, Lingen, 2012, p. 317, no. 534 Notice: This picture can be compared with a group of School van Kessel, Archive RKD Den Haag, numbers 5021, 19153, 45020, 48338 and 65039

the same period. They are the only dealers in Antwerp and even Belgium specializing in works of art from the Dutch Golden Age and by Flemish masters from the sixteenth and seventeenth centuries. Robert Arends is also an Old Master paintings restorer and regularly works for auction houses, museums and private collectors in this capacity. Over the years, he has skillfully re-

David Teniers the Younger (Antwerp 1610-1690), Portrait of a singing man, Oil on copper, H: 16 x W: 11 cm Provenance: Collection Marquise dâ&#x20AC;&#x2122;Aoust 1924 Kleinberger 1955

stored countless paintings to their former glory. Having worked in the auction business and international art trade, HenriĂŤtte Tammes has a thorough knowledge of the art world. Arends & Tammes Fine Art also offer art consultancy services, such as the valuation and buying and selling of Old Master Paintings.

Justus de Verwer (Amsterdam 1625-after 1684), A ‘Threemaster’, a rowing boat and other ships in choppy waters, Oil on panel, Signed with monogram IdV on the sinking boat left, H: 55 x W: 77 cm Provenance: Collection Mauser, BRD Swiss Private Collection

Gillis Egidius Peeters (Antwerp 1612-1653), Mountaineous landscape with travellers, Oil on panel, H: 36 x W: 58 cm Provenance: Private Collection Vienna

ARENDS & TAMMES FINE ARTS

Jan Fabre, Chapter XIII, 2010 (Series : Chapters IXVIII), Polished bronze, H: 87 x W: 79 x D: 43 cm Installation view: Jan Fabre. Chapitres I-XVIII. Cires & Bronzes (March 14th 2010 - May 2nd 2010), Photographer: Pat Verbruggen, Copyright: Angelos bvba

AT THE GALLERY LEOPOLDSTRAAT 57 / 2000 ANTWERP / M +32 (0)468 15 00 65 info@atthegallery.be / www.atthegallery.be Opening Hours: Wednesday to Sunday, 11.00 – 18.00

Jan Fabre, Chapter XIII, 2010 (Series : Chapters I-XVIII), Polished bronze, H: 87 x W: 79 x D: 43 cm Installation view: Jan Fabre. Chapitres I-XVIII. Cires & Bronzes (March 14th 2010 - May 2nd 2010), Photographer: Pat Verbruggen, Copyright: Angelos bvba

“FOR A GALLERY OWNER TO BE GRANTED A WORK OF ART THERE NEEDS TO BE TRUST” KATHY AND WILFRIED KETELEER

The owners of At The Gallery, Kathy and Wilfried Keteleer, have housed their gallery in the former Van Herck auction house. Under the guidance of Belgian minimalist architect and designer, Vincent van Duyssen, they have intelligently rebuilt and adapted the former auction complex to suit their requirements. The list of international artists represented by At The Gallery in the Leopoldstraat reads like a proverbial list of popular ‘favourites’ and a ‘who’s who’ of

AT THE GALLERY

twentieth century modern art: Arman, Alexander Calder, César, Niki de Saint Phalle, Sam Francis, Bernar Venet and Robert Combas are all there. The artists Jan Fabre, Roger Raveel, Jean-Michel Folon and Arne Quinze are also represented, as are Robert Indiana - creator of the famous ‘LOVE’ logo - Mimmo Rotella and William Sweetlove (whose surname alone might tempt you to purchase a work). There are pieces by Christo who - together with his late

Jan Fabre, The man that weeps and laughs, 2005, Polished bronze, H: 168 x W: 58 x D: 65 cm Copyright: Angelos bvba

wife - became famous for his incredible wrapped buildings, bridges, landscapes and rivers. But it takes more than a close relationship with the artists themselves - or their estates - before a gallery owner can deal in works by ‘first division’ twentieth- century artists. Money alone is not enough. For a gallery owner to be granted a work of art there needs to be trust. Furthermore, dealers must prove their credentials: that he or she is

Jan Fabre, The mask of power, 2012, Bronze, H: 48 x W: 54 x D: 71,5 cm Photographer : Pat Verbruggen, Copyright : Angelos bvba

a serious gallery owner with the highest possible standards. Only in these circumstances will a dealer be able to establish a good, varied and high-quality inventory. For this edition of ART-A, the gallery will be showing bronzes of Jan Fabre, ‘The Spiritual Sceptic’ - from Oct. 4th 2014 till Jan. 4th 2015, three of which were exclusively made for this exhibition.

Jan Fabre, The man who gives a light, 2002, Silicone bronze, H: 165 x W: 77 x D: 65 cm, Installation view: Jan Fabre. Hortus / Corpus (April 10th 2011 - September 4th 2011), Photographer: Attilio Maranzano, Copyright: Angelos bvba

Jan Fabre, Brain with miniature tree, 2011, Bronze, H: 24 x W: 28,4 x D: 38,2 cm, Photographer: Pat Verbruggen, Copyright: Angelos bvba

AT THE GALLERY

A Ming horseman, China, Ming-dynasty, 14th-17th century AD, Earthenware with original polychromy, H: 39,9 x W: 27 x D: 15,5 cm TL tested

ESPRIT DE L’ART LEOPOLD DE WAELPLAATS 4 / 2000 ANTWERP / T +32 (0)3 216 14 44 M +32 (0) 475 75 08 66 / esprit.art@telenet.be Opening Hours: Wednesday to Sunday 11.00 – 18.00 And by appointment

Liao flasks, China, Liao-dynasty, 10th-12th century AD, Green glazed irridescent earthenware, H: 19,9 x W: 12 x D: 7 cm TL tested

“THE GROWING INTEREST FOR CHINESE ARCHAEOLOGY CAN BE EXPLAINED BY THE TRANSCENDENT, TIMELESS CHARACTER OF THE OBJECTS.” BRUNO LAURENT AND LUT DECLEER

Esprit de l’Art has been based in “het Zuid” in Antwerp - right across the Museum of Fine Arts - for over 20 years. The gallery specialises in Chinese archaeology, from the Neolithic period (8000-2000 BC) up until the Ming Dynasty (14th-17th century), as well as tribal art from West-Africa and Madagascar. The owners, Bruno Laurent and Lut Decleer, have been visiting China for many years. During this time, they have forged an invaluable network of local

ESPRIT DE L’ART

contacts and, as a result, are able to purchase high- quality artifacts and legally export them to Belgium. In order to provide their clients with a full guarantee with respect to authenticity and dating, Laurent and Decleer ensure that every object undergoes scientific testing in specialised independent laboratories. Accordingly every work of art is accompanied by a certified test report. The growing interest for Chinese archaeology can be explained by the transcendent,

A pair of glazed ‘Hue’ vases, China, Eastern Han-dynasty, 1st-2nd century AD, Glazed earthenware, in perfect condition, H: 47 x W: 31 cm and H: 45 x W: 31 cm TL tested

timeless character of the objects - they reflect the “quest for eternity”. China is one of world’s most ancient cultures, going back for over 4000 years. The funerary sculptures that can be found in ancient tombs are a reflection of this quest for eternal life. Earthly possessions were replicated in terracotta objects, recipients for food or wine, court servants, musicians, women, and courti-

A pair of refined masculine court servants, China, Western Han-dynasty, 2nd century BC, Earthenware with original salmon-coloured polychromy, H: 59 x W: 10 cm and H: 57,5 x W: 10 cm TL tested

sanes. They were believed to make afterlife as pleasant as possible giving the deceased’s soul a peaceful rest. Many of these objects reveal a timeless character. Esprit de l’Art is happy to welcome you to “het Zuid”: this trendy area has gone through a real metamorphosis recently, and is home to contemporary art galeries, top designers and excellent restaurants.

A group of court ladies, China, Tang dynasty, 7th-10th century AD, H: 25,7 x W: 9 x D: 6 cm TL tested

A pair of ‘cocoon’ vases with refined decorations, China, Western Han-dynasty, 2nd-1st century BC, Earthenware with original polychromy, H: 31cm - B: 32cm - D: 23.5cm and H: 29 x W: 29 x D: 22 cm TL tested

ESPRIT DE L’ART

Rare Ivory and Boxwood carved box, with hunting scenes and boy feeding his dog on the lit as finial, South-Germany, Late 17th-early 18th C. H: 12,5cm, 14x11cm

HONOURABLE SILVER OBJECTS – CABINET OF CURIOSITIES LEOPOLDSTRAAT 29 / 2000 ANTWERP / M +32 (0)475 26 76 85 info@silverobjects.be / www.silverobjects.be Opening Hours: Saturday, 11.00 – 18.00 And by appointment

Shagreen Case with a set of silver teacaddies and a sugar box, London 1723, John Farnell, 1752, John Swift With contemporary engraving: Given to Rich. Parrish Witts by his Mamma Dec. 1759. 200 years later still in the Family, and given as an object in an exhibition “ Elizabeth I and the Royal House of Tudor Exhibition” Art Gallery Cheltenham 16th May – 18th July, 1953, by Maj. N Witts, catalogue no: 267. (see label) Teacaddies H.: 12cm 8x6 cm, Sugar-bowl H.: 11,5cm, diam.: 11cm. Pair of George I silver salvers, square shape with incurved angles, and contemporary Coats of Arms, London 1724, Bowles Nash. 14x14cm. George II milkjug, London 1736, Thomas Cooke II & Richard Gurney, H:15 cm

“WE HAVE A PASSION FOR BEAUTIFUL AND RARE FURNITURE AND OBJECTS MADE OUT OF SILVER, WOOD, TORTOISE SHELL, IVORY AND A COMBINATION OF THESE” DICK GRAAFF AND THEUN VAN BEERS

Dick Graaff and Theun van Beers, the owners of Honourable Silver Objects, have dedicated over twenty-five years of their lives to art and antiques. Sixteen years ago, they added ‘Cabinet of Curiosities’ to their gallery name: an indication of the unique field of expertise to which they have been dedicated ever since. They have a passion for b‹eautiful and rare furniture and objects

made out of silver, wood, tortoise shell, ivory as well as a combination of these. Dick and Theun prefer to arrange these objects in a still life or an interior, beauty, simplicity, shape or colour determining their choices. Authenticity is a major point of attention. In their beautifully presented gallery, which undergoes regular transformations, it is still possible to acquire some of the

HONOURABLE SILVER OBJECTS – CABINET OF CURIOSITIES

Still life of a George III Silver tableware, Soup Tureen, London 1818, Phillip Rundel, Pair of sauce boats, London 1774, Samuel Meriton and a pair of round entrée dishes, London 1818, Richard Sibley. Soup tureen, H: 31cm, 44x23cm Sauce boats, H:15,5cm, 15,5x7,5cm Entrée dishes, H:19cm, diam.28cm

Shagreen case with 18th century Silver teaspoons, England, H: 20 cm, 11x11 cm

finest ‘wonders of the world’. Moreover, they put them within reach: visitors to the gallery will find the whole world at their fingertips in this veritable treasure trove. For every edition of ART-A, Graaff and van Beers curate a ‘cabinet of curiosities’ around a specific theme, as they believe that change is the most effective way of

Shagreen knifebox with ivory pistol grip knives and forks, mark on steel blades, England, 18th C. H: 25,5cm, 17x10,5cm

keeping their clients coming back. Thus every year, the owners manage to surprise, and offer something a little out of the ordinary. This year they are presenting a fine collection of objects and their cases: travel cases, gift cases or cases to keep Objects in.

Several ivory engine turned objects, three dodecaëder , 17th & 18th C. Two are dices and were used for medical purposes and the third was made as “wunder object” (rare engine turning), probably Germany. Left an engine turned ivory contre sphere, with in the inside a pair of dices and counters 19th C. Probably France, Dieppe. To vary 3,5 – 5cm

Collection of four engine turned objects, Germany 17th and 18th C. Box wood, Burr walnut and fruit wood. To vary 5,5 – 8cm

HONOURABLE SILVER OBJECTS – CABINET OF CURIOSITIES

Vajrasattva, Cambodia, Baphuon, 11th century, Bronze, H: 21cm

MARCEL NIES ORIENTAL ART LANGE GASTHUISSTRAAT 28 / 2000 ANTWERP / T +32 (0)3 226 74 55 M +32 (0)475 65 10 85 / marcelnies@skynet.be / www.asianart.com/nies Opening Hours: by appointment

Detail Vajrasattva, Cambodia, Baphuon, 11th century, Bronze, H: 21cm

“PUBLIC INTEREST IN THE CULTURAL HERITAGE OF SOUTHEAST ASIA, INDIA, TIBET, NEPAL, THAILAND AND CHINA HAS SOARED IN THE LAST DECADE.” MARCEL NIES

When it comes to Asian Art, Marcel Nies is considered an internationaly renowned authority. He founded his eponymous gallery in 1972 and is regarded a specialist in the field of Southeast Asian, Himalayan and Indian art. His expertise, knowledge and commitment to only the best, and most beautiful, objects transform a visit to his gallery, located in the Lange Gasthuislaan into a spiritual experience. He has been been taking part in TEFAF for more than 25 years, and sits on numerous vetting committees, and has

supplied objects to some of the world’s major museums. Over the years, Marcel Nies has forged an extensive network of contacts that includes a large number of international collectors and their descendants. Public interest in the cultural heritage of Southeast Asia, India, Tibet, Nepal, Thailand and China has soared in the last decade. International auction houses have broken record after record for their sales of important bronze statues. A significant factor in the global market are the new collectors some of which are

MARCEL NIES ORIENTAL ART

Sakyamuni as Buddharaja, Thailand, Ayudhia kingdom, 16th century, Bronze cast by the lost wax method in five parts, H: 152 cm

based in Southeast Asia and China, motivated by a desire to repatriate their cultural heritage. Marcel Nies’s collection represents works of art of the finest quality, a selection based on originality, rarity, condition, and above all the highest level of artistic taste. All of the items have extensive written documentation and full guarantees of authenticity. This year’s special theme exhibition during the open days is titled ‘Portrait of the Divine’- Sacred Sculpture of Asia’s Lost Kingdoms. ‘These deities represent the universal force of power which they use for the

benefits of their mortal followers. Saints, prophets, heroes, oracles, and martyrs, are believed to have received instructions directly from God, and various historical persons connected to the Buddhist faith are considered to be enlightened and credited with divine powers. The exhibition reveals the rich diversity and masterful quality of Asian sculpture. These divine portraits are wonderful representatives of Asia’s cultural history, created to evoke spiritual empathy and providing spiritual encouragement.

King Ramkhamphaeng the Great 1239-1298 AD, Thailand, Sukhothai kingdom, last quarter of the 13th century,Â Sandstone, H: 37 cm

MARCEL NIES ORIENTAL ART

Ernst Gamperl, Wooden sculpture, 2013 From left to right: Oak, lime washed, H: 68 cm Oak, H: 61 cm Oak, H: 66 cm

AXEL PAIRON LEOPOLDSTRAAT 35 / 2000 ANTWERP / M +32 (0)498 102 815 info@axelpairon.com / www.axelpairon.com Opening Hours: Thursday, Friday and Saturday 12.00 – 18.00

Kho Liang for Artifort, Set of Two chairs and a sofa, Netherlands, 1959, Palissander and steel, H: 65 (Seat: 40) x W: 71 and 190 x D: 72 cm

Axel Pairon established his gallery in 1996 and opened his showroom in the Leopoldstraat in 2006. He is specialised in original vintage design of the ’50’s, ’60’s and ’70’s and mostly presents Scandinavian designers such as Poul Kjaerholm, Bodil Kjaer, Bruno Mathsson, Arne Norell, Arne Jacobsen, Arne Vodder, Hans Wegner en Preben

A AXEL PAIRON

Fabricius, but also Belgian designers like Emiel Veranneman, Juul Wabbes en Alfred Hendrickx. The gallery also exhibits contemporary art by leading artists such as Patrick Hughes, Ernst Gamperl and Denis Rouvre. Axel Pairon has a passion for art and vintage design. For this edition of ART-A, he will be presenting

Posborg and Meyhoff for Sibast Furniture, Executive desk, Ca 1979, Palissander and steel, Main desk: 100 x 200 cm, Side desk: 50 x 160 cm

a selection of paintings by Patrick Hughes (Birmingham, 1939), called ‘reverspectives’. These are both bi- and tridimensional and are ambiguous, magical and innovating at the same time. Patrick Hughes is considered to be one of Brit-

ain’s most important contemporary artists, and Axel Pairon will be the first gallery in Belgium to present his exceptional work. Other artworks on show will include the refined, abstract sculptures by Ernest Gamperl.

Patrick Hughes, Waterways, 2014, Oil and photographic collage on board construction, Framed: H: 47 x W: 95 x D: 13 cm

“PATRICK HUGHES IS THE CREATOR OF OPTICAL ILLUSIONS HE CALLS REVERSPECTIVES.” AXEL PAIRON

Patrick Hughes, World within World, 2010, Oil on board construction, H: 55 x W: 155 x D: 25 cm (Framed: H: 70 x W: 171 x D: 25 cm)

AXEL PAIRON

Eugeen Van Mieghem (1875-1930), Mixed media on paper, Signed, H: 32 x W: 25 cm

GALERIE RAF VAN SEVEREN LEOPOLDSTRAAT 19 / 2000 ANTWERP / T +32 (0)3 231 02 33 / M +32 (0)495 54 14 11 raf.vanseveren@skynet.be Opening Hours: Monday, Tuesday, Thursday, Friday, 14.00 – 18.00 Saturday: 11.00 – 18.00

Paul Signac (Paris 1863-1935), Honfleur, Watercolor, Signed and dated ‘Honfleur 1930’, H: 27,5 x W: 42,5 cm

“MY INTEREST IN AND LOVE FOR ART STEMS FROM WHEN I WAS A CHILD. IN THOSE DAYS, MY FATHER COLLECTED THE WORK OF ARTISTS WHO HAD LIVED AND WORKED FOR SHORT OR LONGER PERIODS IN THE BELGIAN CONGO.” RAF VAN SEVEREN

Since 1991, Raf van Severen has been sharing his passion for paintings from the period 18501950 - predominately by Belgian artists - with a loyal clientele. He is the only dealer in Antwerp to specialise in paintings from that period - not only landscapes, seascapes, interiors, portraits of ladies, floral compositions and genre paintings but also exotic scenes from the Orient and Africa.

GALERIE RAF VAN SEVEREN

In addition, he regularly organises exhibitions of modern and contemporary artists for whom he has a personal fascination. Passion has no limits. Van Severen’s interest in and love for art stems from when he was a child. In those days, his father collected the work of artists who had lived and worked for short or longer periods in Belgian Congo. Van Severen grew up in a house filled

Charles Dehoy (Brussels 1872-1940), Portrait of Georges Giroux, oil on canvas, Signed and dated 1917, H: 70 x W: 100 cm

with colourful paintings, drawings and watercolours, by artists such as Fernand Allard lâ&#x20AC;&#x2122;Olivier and Floris Jespers. These days, van Severen proudly exhibits a highly diverse selection of paintings at his gallery on Leopoldstraat. From elegant portraits to atmospheric landscapes from adroitly painted townscapes to meticulous seascapes from the Romantic period â&#x20AC;&#x201C; he still surrounds himself with beautiful things.

Frantz Charlet (Brussels 1862-1928), Morocco, oil on canvas, Signed, H: 100 x W: 70 cm

Paul Mathieu (1872-1932), Oil on panel, H: 40 x W: 55 cm

Charles Dehoy (Brussels 1872-1940), Bridge in Laken, ca. 1915, oil on canvas, Signed, H: 70 x W: 75 cm

GALERIE RAF VAN SEVEREN

Lucien Engels (° 1928, Belgium) Lounge Chair 1950 Wood and metal H: 102 x W: 66 x D: 80 cm

AXEL VERVOORDT COMPANY KANAAL STOKERIJSTRAAT 19 / 2110 WIJNEGEM / T +32 (0)3 355 33 00 info@axel-vervoordt.com / www.axel-vervoordt.com Opening Hours: Thursday and Friday: 14.00 – 18.00 And by appointment December 6th: 11.00 – 19.00 & December 7th: 11.00 – 19.00

Kazuo Shiraga (1924-2008, Japan), Untitled 1962, Oil on canvas H: 91 x W: 116 cm

“ESSENTIALLY, I LOVE ALL THE ARTISTIC DISCIPLINES, FROM ALL PARTS OF THE WORLD AND FROM ALL PERIODS.” AXEL VERVOORDT

The foundations of the Axel Vervoordt company were laid in the late 1960s when Axel Vervoordt discovered and acquired sixteen Renaissance houses in the Vlaeykensgang in Antwerp. Ever since, Vervoordt has emerged as one of the world’s leading – and most diverse – art and antique dealers, present at the most prestigious fairs around the world. Over the years, this family business has evolved into an international

AXEL VERVOORDT COMPANY

company with over 100 employees, over which son Boris Vervoordt has gradually taken over the management. Alongside art and antiques, the company is also engaged in interior design and the creation of its own ‘Home Collection’. Since the organisation of the now-legendary exhibitions Artempo/ Academia/In-finitum/TRA in Palazzo Fortuny in Venice, Axel Vervoordt has also gained a reputation as a highly acclaimed

Head of Eros, Roman (27 B.C. - 476 A.D.), ca. 1st – 2nd century A.D. Marble H: 22,5 cm

curator. Axel and his wife May continue to inspire and mentor the company, artists, broader audiences and friends alike with the non-profit activities of their Foundation and by fostering musical and artistic patronage through Inspiratum. The headquarters of the company are located at “Kanaal”, a large brick-and-mortar malt industrial complex from around 1870, situated on the banks of the Albert canal. It is now

Figure of a Striding Man, Egypt, Middle Kingdom, XIIth Dynasty - XIIIth Dynasty (ca. 1976 - 1650 BC), Sycomore, ivory and bitumen, H: 35,30 cm

being transformed it into ‘a city in the country’: a harmonious place where not only art can be exhibited, but also where people can live and work surrounded by greenery. During the ART-A weekend the extensive and diverse collection of art, antiques and design can be discovered at Kanaal, as well as a visit of the new architectural site: “A City in the Country”.

Jef Verheyen (1932-1984, Belgium), Untitled Ca. 1965 Mat lacquer on fiber board, diam: 65 cm

AXEL VERVOORDT COMPANY

Bien-U Bae (°1950, South Korea) snm2a-015h, 2014 C-print mounted on Plexiglass 200 x 160 cm

AXEL VERVOORDT GALLERY VLAEYKENSGANG (ENTRANCE AT OUDE KOORNMARKT 16) 2000 ANTWERP / M +32 (0)477 88 80 60 info@axelvervoordtgallery.com / www.axelvervoordtgallery.com Opening Hours: Wednesday to Saturday, 14.00 – 18.00 And by appointment

Anish Kapoor (°1954, India) Untitled 1999 Aluminium and pigment H: 105 x W: 105 x D: 9,2 cm

“WE BELIEVE IN ART WHOSE ‘MEANING’ CAN BE FOUND IN THE CREATIVE ACT ITSELF, INDEPENDENT OF TIME AND PLACE, BECAUSE IN THIS WE SEE THE FUNDAMENTAL VALUES FROM WHICH LIFE IS BUILT.” BORIS VERVOORDT

Axel Vervoordt Gallery was founded by Boris Vervoordt in the center of Antwerp in January 2011 as part of the Axel Vervoordt Company, which is active globally in art, antiques and interior design since 1968. As a strong supporter of Zero and Gutai art movements from its inception, the gallery’s

AXEL VERVOORDT GALLERY

vision has gradually evolved into contemporary art with a special interest in the concept of the void, space, and time. We focus on art that puts the creative process first and provides a neutral platform for artists with whom we’ve created a valuable, intense relationship. In the spring of 2014, Axel Vervoordt Gallery expanded to

Angel Vergara (Â°1958, Spain) Illumination 5 (12 jours et 6 heures), 2014 Oil paint on two Plexiglass plates H: 200 x W: 150 cm

Hong Kong and opened its first overseas exhibition venue in the cityâ&#x20AC;&#x2122;s central district. By having a physical presence in Hong Kong, Axel Vervoordt Gallery will continue to bridge artistic expressions between the East and the West. Both locations will work closely with living con-

temporary artists while actively engaging with local and global audiences. We will continue publishing monographs on the represented artists and participating in major contemporary art fairs internationally.

El Anatsui (째1944, Ghana), Intimation, 2014 Aluminium and copper wire H: 302 x W: 307 cm

AXEL VERVOORDT GALLERY

Axel Einar Hjorth (Krokek 1888 – Stockholm 1959), Caesar library table, Sweden, 16 March 1929, Walnut top with gilt frame, supported by double, fluted gilt legs on gilt feet with carved decoration, Brass label on the table reverse: A B NORDISKA KOMPANIET R 33235 – 16 3 29, H: 73 x W: 175 x D: 75 cm Jean Antoine Marie Idrac (Toulouse 1849 – Paris 1884), Salammbô, France, Sculpture inspired by the historical novel Salammbô written between 1858 and 1862 by Gustave Flaubert (1821-1880), Patinated bronze on a marble base, Signed on bronze base at back left A. IDRAC , Foundry stamp on right side Thiébaut Frères, Fumière & Gavignot successeurs, Sculpture: H: 53,50 cm, Base: H: 4,5 x W: 19 x D: 19 cm Bob Bossche (Antwerp 1936), Florence, Belgium, 2007, Oil on canvas, Signature, date and title on the reverse of the canvas Bob Bossche 2007 “Florence”, H: 100 x W: 80 cm

VICTOR WERNER SCHUTTERSHOFSTRAAT 21 / 2000 ANTWERP / T +32 (0)3 288 82 32 M +32 (0)486 67 79 68 / info@victorwerner.be / www.victorwerner.be Opening Hours: Tuesday, Thursday, Friday and Saturday, 11.00 – 18.00 And by appointment

Four sculpted horse legs with shod hooves, France, Beginning of the 19th century, Burl wood, H: 57 x W: 100 x D: 68 cm

“AS A DEALER IN ART AND ANTIQUES, VICTOR WERNER HAS DEVELOPED A PRACTICED EYE FOR QUALITY OVER THE YEARS, AND HIS COLLECTION IS A TRUE REFLECTION OF THIS.” VICTOR WERNER

Victor Werner’s interest in nineteenth-century art and furniture and, in particular, his passion for neoclassicism, led him to start up his antiques business in 1986. But over the years, the emphasis has shifted. Today, the collection has expanded to include sculptures, paintings, furniture and objets d’art. Although it now spans a period from around 1800 to the 1960s-1970s and

VICTOR WERNER

sometimes even beyond this time period, Werner’s fondness for neoclassicism is still strongly apparent. As a dealer in art and antiques, Victor Werner has developed a practiced eye over the years, and his collection is a true reflection of this. In his gallery the classic meets the unusual: Victor Werner lets himself be guided by the quality and rarity of the things he sells, not by

Victor Rousseau (Féluy 1835 – Brussels 1954), Draped woman, 1920s, Belgium, Sculpture in white Carrara marble, Signed on left of base Victor Rousseau, H: 78 x W: 22,50 x D: 22 cm

demand and fashion. Victor Werner is a member of the Royal Belgian Chamber of Antique and Fine Art Dealers and participates in BRAFA, the Brussels Antiques and Fine Arts Fair.

Aldo Bartelleti (Seravezzo 1898 – 1976), Dante, Italy, 1942, Sculpture in white Carrara marble, Signed and dated on left Al Bartelleti 1942, Sculpture: H: ca. 27 x W: ca. 23 x D: ca. 25 cm

Alphonse Proost (Sint-Niklaas 1880 – Berchem 1957), Hortensias, Belgium, Oil on canvas, Signed at lower right in red paint Alphonse P ROOST and in black paint A P ROOST, H: 80 x W: 101 cm

Per Hasselberg (born as Petter Åkesson) (Hasselstad 1850 – Stockholm 1894), Grodan, Sweden, Patinated bronze, Signed on base at back left P Hasselberg, H: 39 x W: 32,50 x D: 28,50 cm

VICTOR WERNER

Mazarin’ secretary desk in walnut, France, 17th century (Louis XIII), H: 105 x W: 79 x D: 60 cm. Exceptional format. On the secretary desk: A pyx, France, 14th century Above: Christian Clauwers, Weaving Thoughts in Tibet, 2007, photo on aluminium, H: 80 x W: 60 cm

J.M. ZEBERG – FINE ART VLEMINCKSTRAAT 3 / 2000 ANTWERP / T +32 (0)3 345 40 37 info@zebergfineart.com / www.zebergfineart.com Opening Hours: Friday and Saturday: 11.00-18.00 And by appointment

Jan Fabre, Untitled, 2009, Venetian glass and Bic-ink, H: 22 x W: 44 x D: 43 cm

“J.M. ZEBERG – FINE ART HAS A SUPERB COLLECTION OF 17TH AND 18TH CENTURY MIRRORS, PARTICULARLY FROM ITALY, SCANDINAVIA, FRANCE AND FLANDERS.” J.M. ZEBERG – FINE ART

J. M. Zeberg (Jelva M. Zeberg) occupies beautifully restored premises dating from the late 17th century at Vleminckstraat 3 in Antwerp, just around the corner from Zeberg’s previous address. The superb collection of furniture, tapestries, sculptures and rare objects from the 15th to the 18th centuries is a permanent testimony of the refined craftmanship of the period. The works on display are always of the highest quality. At the gallery of Zeberg you

J.M. ZEBERG – FINE ART

can also choose between various early Flemish and Italian curiosity cabinets, sculptures with original polychromy and Haute Epoque textiles. Nowadays collectors are becoming increasingly eclectic in their taste, combining old and new. Following this trend, the gallery incorporates both figurative and abstract painting from 1900 to the present, combined with antique objects, creating a harmonious atmosphere and subtle cohesion between old and new.

Léon Spilliaert (1881-1946), Gouache on paper, 1921, H: 55 x W: 38 cm

Three-seater sofa with an original 17th century (ca. 1680) carved walnut base. The seat and back panel are in engraved acrylic glass. The ensemble is dressed in a fine silver coat of mail. Pure eclecticism through the association of ‘’old and new’’. H: 198 x W: 90 x D: 120 cm

Above: René Guiette (1893-1976), Collioure Blue, 01/11/1947, oil on canvas, H: 80 x W: 99 cm A pair of Italian frames, 18th century, with 16th century Brussels tapestry, H: 70 x W: 60 cm

A pair of Italian side-tables, 18th century, original polychromy, H: 104 x W: 51 x D: 84 cm

René Guiette (1893-1976), Gouache and oil painting on paper on canvas, 15/05/1964, H: 73 x W: 44 cm

Above: René Guiette (1893-1976), Gouache and oil painting on paper on canvas, 09/08/1966, H: 73 x W: 44 cm

René Guiette (1893-1976), Gouache and oil painting on paper on canvas, 23/08/1966, H: 73 x W: 44 cm

A French chest of drawers, 18th century, with original polychromy, H: 126,5 x W: 59 x D: 103 cm On the chest of drawers: Denmark, Firewood, 1996-2002, bundles of magazines and small wood bound together by metal strips, H: 43 x W: 20 x D: 20 cm

J.M. ZEBERG – FINE ART

Dr. Hugo Heyrman, Yellow Visibility II, 2013, acrylic on canvas, H: 80 x W: 80 cm (from the series A Transformative Gaze)

GALERIE DE ZWARTE PANTER HOOGSTRAAT 70 - 74 / 2000 ANTWERP / T +32 (0)3 233 13 45 / M +32 (0)474 54 54 72 galerie@dezwartepanter.be / www.dezwartepanter.com Opening Hours: Thursday, Friday, Saturday and Sunday 13.30-18.00

Dr. Hugo Heyrman, Study for The Entering, 2010, acrylic on paper, H: 29,7 x W: 21 cm (from the series Inside the Image)

“IF THEIR WORK INTRIGUES ME THEN I WILL SUPPORT THE ARTIST CONCERNED THROUGH THICK AND THIN AND BE A PERPETUAL ADVOCATE FOR THEIR OEUVRE, EVEN IF IT SOMETIMES GOES AGAINST THE FLOW AND PUBLIC OPINION.” ADRIAAN RAEMDONCK

Most gallery owners have a stable of artists whose recent work is regularly exhibited - as does Adriaan Raemdonck, the widely respected owner of Galerie De Zwarte Panter and éminence grise of the Antwerp contemporary art circuit. Since he opened his gallery in 1968, Adriaan Raemdonck has staged more than 500 exhibitions. Galerie De Zwarte Panter functions as an exhibition space but also as a semi-permanent art centre with an ‘open house’ policy, offering a warm home to artists and art-lovers alike.

The gallery even has a permanent exhibition space for the painter Fred Bervoets. Adriaan Raemdonck is loyal to ‘his’ artists and has been working with some of them since the earliest years of the gallery. If their work intrigues him then he will support the artist through thick and thin and be a perpetual advocate for their oeuvre, even if it goes against the flow and public opinion.” For this edition of ART-A, the gallery will be presenting recent paintings and works on paper by Dr. Hugo Heyrman. In the sixties,

GALERIE DE ZWARTE PANTER

Dr. Hugo Heyrman, De Kersentaart, 2014, acrylic on canvas, H: 70 x W: 90 cm (from the series A Transformative Gaze)

Dr. Hugo Heyrman, The Turn, 2012, acrylic on canvas, H: 150 x W: 100 cm (from the series Another Reality)

Dr. Hugo Heyrman, Study for Enigma, 2006, acrylic on paper, H: 29,7 x W: 21 cm (from the series City Life & Body Language I)

he revealed himself as the tender but inveterate anarchist, when he introduced happenings, video and conceptual art - working together with Panamarenko. With this rebellious attitude he started to paint. In Dr. Hugo’s painterly world, there are no boundaries between abstraction and figuration, objective and subjective, memory and imagination. The painter allows the viewer

to explore a potential space – an atmospheric dimension of depth, tonality and color gradations. De Zwarte Panter showed his work for the first time in 1975, under the title ‘Midzomerdagdroom’ (De waarneming waarnemen) - ‘Midsummer’s Daydream’ (The perception perceived). Dr.Hugo Heyrman “A Transformative Gaze” until 18/01/2015.

Dr. Hugo Heyrman, Surrounded, 2009, acrylic on canvas, H: 100 x W: 100 cm (from the series City Life & Body Language II)

GALERIE DE ZWARTE PANTER

Eduard Van Giel, Lightconcept/L.C.345/P.1 (prototype), 2014, Mixed media / electronics, H: 57 x W: 55 x D: 14 cm

ML DESIGN GALLERY LEOPOLDSTRAAT 53 / 2000 ANTWERP / M +32 (0)475 86 55 30 info@mlgallery.be / www.mlgallery.be Opening Hours: Thursday, Friday and Saturday: 12.00 – 18.00 And by appointment

Cole Morgan, G-Daddy, 2014, Mixed media on canvas, H: 180 x W: 150 cm

“SHARING THE BEAUTY OF ART, ARCHITECTURE AND HISTORY IS A PASSION FOR EVER.” MARIE-LOUISE VAN OVERDIJK-REEK

Marie-Louise van Overdijk-Reek originally began her career as a designer and stylist and became co-ordinator of the Dutch Fashion Institute for over ten years. She also acted as president of Intercolor in Paris: the institute and ‘semisecret society’ made up of fashion and fabric experts and trend-watchers from twenty-three countries. Afterwards, Marie-Louise opened her

ML DESIGN GALLERY

own international styling office in Amsterdam to provide fashion design and styling for men’s and women’s wear. In addition she forecasted colour concepts for fabric manufactories. Since then, she has been enthusiastically active on a wider terrain. For many years she ran her own business M&L Interiors, Art and Antiques from the famous Maastricht Convent, located at the

Arty Grimm, Composition, 2014, Acryl on canvas, H: 120 x W: 180 cm

Vrijthof square in the heart of the city. MarieLouise succeeded in transforming her passion and love of art into her profession. This year ML Design Gallery participates in ART-A for the second time, exhibiting contemporary art at Leopoldstraat 53.

Manfred M端ller, Coat Survivor, 2010, Oil paint and raw pigment on felt paper, H: 150 x W: 78 x D: 18 cm

Jupp Linssen, Dyptych, 2013, Oil and soil on canvas, H: 120 x W: 200 cm

ML DESIGN GALLERY

Guy Vandenbranden, Composition, latex on canvas, 1957, H: 90 x W: 110 cm

CALLEWAERT – VANLANGENDONCK GALLERY WOLSTRAAT 21 – 23 / 2000 ANTWERP / M +32 (0)476 444 611 – Yoeri Vanlangendonck M +32 (0)475 926 724 – Brecht Callewaert gallery@callewaert-vanlangendonck.com / www.callewaert-vanlangendonck.com Opening Hours: Wednesday, Thursday, Friday and Saturday: 13.00 – 18.00

Guy Vandenbranden, Composition, gouache on paper, 1956, H: 71,5 x W: 54,5 cm

“OUR EXHIBITIONS STRIVE TO EMPHASISE THE LYRICAL AND GEOMETRIC QUALITIES OF ABSTRACT ART.” YOERI VANLANGENDONCK AND BRECHT CALLEWAERT

The Callewaert-Vanlangendonck Gallery is, thanks to its targeted choice of post-1945 abstract artists, a welcome presence amongst the galleries specialising in high-quality modern art. The gallery focuses on the Belgian artists’ groups ‘Art Abstrait’, ‘Art Construit’, ‘Formes’, ‘G 58’ and the ‘Nieuwe Vlaamse School’. The gallery’s owners, Yoeri Vanlangendonck and Brecht Calle-

waert, have both lost their hearts to the postwar avant-garde. In their opinion, the Belgian abstract artists are still undervalued, considering the quality and the international role they played, for instance in the Zero movement. The gallery’s exhibitions emphasise the lyrical and geometric qualities of abstract art. Permanent artists include Mark Verstockt (1930-2014),

CALLEWAERT – VANLANGENDONCK GALLERY

Paul Van Hoeydonck, Composition, oil on panel, 1957, H: 18 x W: 12,5 cm

Guy Vandenbranden (1926-2014), Paul Van Hoeydonck (b.1925), Pol Mara (1920-1998), Jef Verheyen (1932-1984), Jo Delahaut (1911-1992), Gilbert Decock (1928-2007) and Luc Peire (19161994). These artists were part of an international network, leading to exhibitions in Milan, Dusseldorf, Frankfurt, Leverkusen, Geneva and the United States. In 1959 and 1960: Vandenbranden

and Van Hoeydonck exhibited together in the Galleria Pater in Milan, the gallery that represented as well Piero Manzoni & Jef Verheyen. More than forty years later, their works are once again the subject of exhibitions: only this time at the Callewaert-Vanlangendonck Gallery in Antwerp rather than in Milan.

Paul Van Hoeydonck, Composition, ink on paper, 1958, H: 49 x W: 69 cm

Gilbert Decock, Unisono, oil on canvas, 1966, H: 73 x W: 100 cm

CALLEWAERT – VANLANGENDONCK GALLERY

Cécile Kruyfhooft, Chimpanzee, model in wax, H: 30 cm

GALERIE VERBEECK VAN DYCK VERBINDINGSDOK 12, WESTKAAI / 2000 ANTWERP / T +32 (0)3 231 36 85 M +32 (0)475 34 23 88 / Paul.Verbeeck2@telenet.be / www.verbeeckvandyck.be Opening Hours: Friday, Saturday and Sunday 13.00 – 18.00 And by appointment

Cécile Kruyfhooft, A billy and a goat, modelled in the goat farm ‘Polle’ in Lichtaart, Bronze, H: 27 cm

“IN THE POLICY AND OBJECTIVES PURSUED BY OUR GALLERY WE STRIVE TO FIND A BALANCE BETWEEN WORKS OF ART WITH A STRONG VISUAL AND AESTHETIC PRESENCE, GENUINE POWER, QUALITY AND INTERNATIONAL MARKET POTENTIAL.” PAUL VERBEECK

Galerie Verbeeck Van Dyck is housed in a beautifully renovated 19th century building and opened its doors in December 2012. It is strategically located in the old port area of ‘het Eilandje’ (the Islet) and close to the MAS, the Museum aan de Stroom. This district, which is characterised by an interesting mix of old, industrial and brand-new minimalist buildings, is rapidly

GALERIE VERBEECK VAN DYCK

developing into the new ‘hot spot’ and the contemporary art mecca of Antwerp. Paul Verbeeck has created a ground floor exhibition area of 220 square metres, a space that provides the optimal conditions for viewing art. Promoting young talent is the gallery’s ultimate challenge, exhibiting the work of talented young Belgian artists as well as works by international artists some of

Cécile Kruyfhooft, Pre-ya-nut, A 30-year old Indian female elephant with her mahout, Khun Charin, Bronze, H: 36 cm

whom have already earned their spurs. Their exhibition policy not only focuses on contemporary figurative works and photography, abstract and conceptual art also has its place. For the gallery owner, the visual image visual has the leading role, but the ‘story’ behind the artwork comes to a close second. During ART-A 2014, the gallery will be exhibiting sculptures

by Cécile Kruyfhooft: she uses various sources of inspiration for the models for her animal sculptures - water buffalos from markets in Northern Thailand, cows from the Flemish countryside and Indian elephants from the Antwerp Zoo and the ‘Thai Elephant Conservation Centre, Lampang, Thailand.

Cécile Kruyfhooft, Two young Orang Utans, Bronze, H: 14 cm

GALERIE VERBEECK VAN DYCK

Charles Szymkowicz (Charleroi 1948), Ensor I, 2002, acrylic on canvas, H: 130 x W: 120 cm Literature: published in ‘Volti dalla Memoria’, exhibition catalogue of the Contemporary Art Museum Raffaele De Grada de San Grimignano, Italy, 2006.

WM GALLERY WOLSTRAAT 45 / 2000 ANTWERP / M +32 (0)475 25 14 02 info@wmgallery.be / www.wmgallery.be Opening Hours: Monday, Thursday, Friday and Saturday, 11.00 – 18.00 Sunday: 14.00 – 18.00 and by appointment

Octave Landuyt (Ghent 1922), In de plaat is het gelaat, 1977, bronze mount on fossilized wood, H: 80 x W: 110 x D: 22 cm

“IF YOU LOVE ARTISTIC GEMS - PAINTINGS, SCULPTURES, DRAWINGS - YOU WILL FEEL AT HOME AT WM GALLERY ” PATRICK DECLERCK

WM Gallery opened its doors in 2010 and has since welcomed a number of exceptional artists with (inter)national reputation, charmed by this unique exhibition space. Matteo Pugliese (Milano, °1969), the internationally acclaimed artist, exhibited ‘Flight from the Wall’, a combination of samurais, bronze beetles and ceramics, and human bronze figures that literally seemed to emerge from the walls. The vernissage of

WM GALLERY

Delphine Boël’s (Ukkel, °1968) ’Talking to the Deaf ’ was widely acclaimed by the national and international press. The exhibition showed the evolution of Boël’s work, full of word-art and neon-sculptures. ‘From earth to heaven or heaven to earth’, an exhibition about the late Pol Mara (Antwerp, 1920-1998) presented exclusive works from the Musée Pol Mara in Gordes (France), as well as the private collection of Mrs.

Pol Mara (Antwerp 1920-1998), Red Overwhelming, 1961, oil on canvas, H: 110 x W: 150 cm, Literature: Published in ‘In Memo Mara’

Pol Mara. During this exhibition, she offered young art-lovers a chance to acquire original drawings by her husband at advantageous prices. The retrospective about Antwerp artist Bruno Vekemans was filled with a collection of his cityscapes, interiors and famous portraits, a beautiful overview of his artistic evolution since 20 years. With the soloshow of Octave Landuyt, WM

Matteo Pugliese (Milano 1969), The Mirror, 2014, bronze, H: 97 x W: 58 x D: 35 cm

Gallery presented an exceptional artist with an exciting and original approach. The exhibition ‘Nevertheless’ attracted art-lovers and connoisseurs from Belgium and abroad. WM Gallery is located in the Wolstraat, number 45. Patrick Declerck, the gallery owner, possesses a thorough knowledge and experience which constitutes a warranty for quality.

Delphine BoĂŤl (Ukkel 1968), The Future Frightens Me, 2008, acrylic on canvas, H: 200 x W: 200 cm

Octave Landuyt (Ghent 1922), Samuari, 1985, pastel on panel, H: 126 x W: 145 cm

WM GALLERY

Interior view Museum Mayer van den Bergh

MUSEUM MAYER VAN DEN BERGH ‘EEN VERZAMELING VAN TOPSTUKKEN IN HET HARTJE VAN DE STAD ANTWERPEN’

In het hart van de stad Antwerpen herbergt het Museum Mayer van den Bergh een gevarieerde en rijke kunstcollectie. Die verzameling is het werk van één man, collectioneur Fritz Mayer van den Bergh (1858-1901). Zijn interesse ging vooral uit naar de kunst van de Nederlanden uit de late middeleeuwen en de renaissance.

EEN GEDREVEN COLLECTIONEUR Fritz Mayer was de zoon van Emil Mayer, een Keulenaar die zich in Antwerpen opwerkte tot een van de belangrijkste en meest kapitaalkrachtige zakenlieden van de stad. In 1857 huwde Emil Mayer met Henriëtte van den Bergh, dochter van de Antwerpse schepen, senator en zakenman Jan van den Bergh. Als in 1879 zijn vader sterft, breekt Fritz Mayer zijn universitaire studies in Gent af. Hij laat een loopbaan in de diplomatie links liggen en laat het zakenleven over aan zijn broer Oscar. Hij woont in bij zijn moeder en wijdt zich aan zijn passie: het verzamelen van kunst, in binnen- en buitenland. In 1887 wordt hij in de adelstand verheven en voegt hij de naam van zijn moeder bij de zijne. Kunstverzamelaar Fritz Mayer van den Bergh bracht talrijke topwerken uit de middeleeuwen

MAYER VAN DEN BERGH

en de renaissance bijeen. Hij koopt op nationale en internationale veilingen, en heeft een voorkeur voor kunstenaars en periodes die op dat moment nog onbekend zijn of minder in de gunst staan. Wat hij kocht, bestudeerde hij ook uitgebreid. Zijn interesse ging vooral uit naar kunst van de Nederlanden, uit de 14de, 15de en 16de eeuw: schilderijen van de Vlaamse primitieven, retabels, monumentaal beeldhouwwerk enzovoort. De belangrijkste (en duurste) stukken van het huidige museum koopt Fritz Mayer van den Bergh de laatste drie jaar van zijn leven. Hij wordt dan overal erkend als een groot kunstkenner, heeft lef en koppelt een buikgevoel voor kunst aan kennis en financiële realiteitszin. In 1901 overlijdt hij, na een ongeluk bij het paardrijden. Hij is dan pas 43. Fritz Mayer van den Bergh heeft dan ongeveer twintig jaar lang intens verzameld. Zijn collectie telde bij zijn dood meer dan 5000 kunstvoorwerpen. Ze bleef tot op vandaag intact. Moeder Henriëtte van den Bergh (1838-1920) liet in de drie jaren na de dood van haar zoon dit museum bouwen om er het levenswerk van Fritz onder te brengen. Het gebouw in neogotische

stijl, beantwoordt helemaal aan de kunstsmaak van de verzamelaar. De schilderijen, beeldhouwwerken, wandtapijten, tekeningen, glasramen en nog veel meer, vonden hier voorgoed hun plaats in een huiselijke omgeving met aangepaste historische stijl.

TOPSTUK IN DE KIJKER: DULLE GRIET DOOR PIETER BRUEGEL DE OUDE, 1561 Dit schilderij werd door Mayer van den Bergh in 1897 ontdekt op een veiling in Keulen. Niemand toonde enige interesse voor dit ‘spookachtig landschap’. De verzamelaar kocht het voor een prikje en identificeerde het werk reeds enkele dagen later. Voordien behoorde het toe aan keizer Rudolf II van Praag. Nu is dit kunstwerk wereldberoemd en in tegenstelling tot vele andere werken van Bruegel de Oude, bestaat er geen kopie van het werk. Het schilderij wordt beschouwd als een hekeling of uitbeelding van de verschrikkingen van Bruegels tijd. Die vertonen zich in een apocalyptisch beeld. Niet de angst of de dreiging, maar de wanhoop van een verdwaasde mensheid voor een onontkoombare straf spreken tot de verbeelding van de museumbezoeker. Bruegel slaagde er op

meesterlijke wijze in ‘te schilderen, wat niet te schilderen is,’ zoals zijn vriend Ortelius schreef, namelijk een verschrikking boven mensenmaat, kosmisch en alomvattend. Die waardering herinnert er meteen aan dat de boodschap van het tafereel de aandacht niet mag afwenden van het schilderkunstige en coloristische geweld van het werk. Pieter Bruegel onderging hier duidelijk de invloed van Jeroen Bosch, zoals blijkt uit de ongebreidelde verbeeldingskracht en de fascinerende kleuren. Fritz Mayer van den Bergh had een speciale belangstelling voor Pieter Bruegel de Oude. Ook het werk Twaalf Spreuken van de oude meester is te zien in het museum. Bovendien is het museum het enigste in Vlaanderen dat werken van Bruegel de Oude bezit. Andere topwerken zijn het Breviarium Mayer van den Bergh, een van de meesterwerken van de Zuid-Nederlandse miniatuurkunst (ca. 1510), en het geschilderde vierluikje Antwerpen-Baltimore (ca.1400), met zijn stralende kleurenpracht.

UNIEKE RENAISSANCETEKENINGEN UIT ANTWERPSE PRIVÉCOLLECTIES Het Museum Mayer van den Bergh organiseert regelmatig tijdelijke tentoonstellingen. Diverse topstukken of deelcollecties vormen dan het uitgangspunt voor uitgebreid onderzoek en een confrontatie met tijdelijke bruiklenen. Vanaf 25 oktober 2014 tot en met 25 januari 2015 presenteert het museum voor het eerst een veertigtal unieke Renaissancetekeningen uit Antwerpse privécollecties. Kunstenaars genieten in de 16de eeuw groot aanzien: ze leiden bloeiende ateliers, reizen doorheen Europa en werken voor binnen- en buitenlandse opdrachtgevers. Hun oeuvre bestaat ook uit tekeningen, een genre dat zich dan tot een zelfstandige kunstvorm ontwikkelt. De tentoonstelling toont de verschillende functies van de tekening: als inspiratiebron voor later werk, als ontwerptekening voor bijvoorbeeld schilderijen of als op zich staand kunstwerk. Maar de tekening blijkt ook een gegeerd verzamelobject. Het buitengewone talent van kunstenaars als Frans Floris, Hans Bol, Jan Bruegel, … werd al opgemerkt door Fritz Mayer van den Bergh, maar ontgaat ook hedendaagse Antwerp-

MAYER VAN DEN BERGH

se verzamelaars niet. Zij tonen hun mooiste renaissancetekeningen voor deze gelegenheid aan het grote publiek. De expo is een samenwerking met de Universiteit Gent, waar studenten kunstwetenschappen samen met specialisten de tekeningen hebben onderzocht. Museum Mayer van den Bergh, Lange Gasthuisstraat 19, B-2000 Antwerpen Openingsuren: Van dinsdag tot en met zondag van 10 tot 17 uur Gesloten op maandag, 1 januari, 1 mei, O.L. Heer Hemelvaartsdag, 1 november en 25 december Uitzonderlijk open op Paasmaandag en pinkstermaandag Toegangsprijzen: € 8,00 / € 6,00 / gratis Combiticket met bezoek aan het Rubenshuis: € 10 / € 8 / € 1 / gratis www.museummayervandenbergh.be Renaissancetekeningen uit Antwerpse privécollecties Van 25 oktober 2014 tot en met 25 januari 2015 Ontdek het hele randprogramma op www.museummayervandenbergh.be

Jan Wierix, The workshop of Apelles, 1600, Museum Mayer van den Bergh. Photo: Michel Wuyts

100

MUSEUM MAYER VAN DEN BERGH ‘A COLLECTION OF MASTERPIECES IN THE CENTRE OF ANTWERP’

Museum Mayer van den Bergh, which is located in the city centre of Antwerp, is home to a varied and impressive art collection. This collection is the work of one man, the collector Fritz Mayer van den Bergh (1858-1901). He was primarily interested in Netherlandish art from the late Middle Ages and the Renaissance.

A KEEN COLLECTOR Fritz Mayer was the son of Emil Mayer, a native of Cologne who had moved to Antwerp and worked his way up to become one of the wealthiest and most important businessmen in the city. In 1857 Emil Mayer wed Henriëtte van den Bergh, the daughter of Jan van den Bergh, an Antwerp alderman, senator and businessman. When his father died in 1879 Fritz Mayer discontinued his university studies in Ghent. He declined a career in the diplomatic service and left the family business in the capable hands of his brother Oscar. He went to live with his mother and devotes himself to his passion, collecting art both home and abroad. In 1887 he was elevated to the nobility and added his mother’s name to his own. The art collector Fritz Mayer van den Bergh gathered many masterpieces from the Middle Ages and the Renaissance. He purchased works at Belgian and international auctions, with a marked preference for artists and periods that were still unknown or considered less interesting at the time. He also extensively studied the art he purchased. He was mainly interested in Netherlandish art, from the fourteenth,

MAYER VAN DEN BERGH

fifteenth and sixteenth centuries, including paintings by the Flemish Primitives, altarpieces, monumental sculptures and so on. Fritz Mayer van den Bergh purchased the most important (and most expensive) pieces in the present museum in the last three years of his life, by which time he was widely recognised as a great connoisseur, a man with courage who combined a gut feeling for art with expertise and financial savvy. In 1901 he died as a result of a riding accident. He was only forty-three. By then Fritz Mayer van den Bergh had spent about twenty years amassing art for his collection, which comprised about 5,000 art objects upon his death. It has remained intact ever since. After his death, his mother, Henriëtte van den Bergh (1838-1920) had a museum built for Fritz’s life’s work. The neo-Gothic edifice is completely in line with the collector’s taste in art. The paintings, the sculptures, the tapestries, the drawings, stained glass windows and much more have found their place for posterity here in this museum with its homely interior and adapted historic style.

MASTERPIECE IN THE SPOTLIGHT: MAD MEG BY PIETER BRUEGHEL THE ELDER, 1561 Mayer van den Bergh discovered this painting at an auction in Cologne in 1897. Nobody was interested in this “eerie landscape”. The collector purchased it for a song and identified the work a few days later. It previously belonged to Emperor Rudolph II of Prague. Today this painting is

101

Pieter Bruegel I, Twelve proverbs on wooden plates (second half of the 16th century)

world-famous and compared with many other works by Brueghel no other copies of it exist. The painting is considered a heckling or a portrayal of the horrors of Brueghel’s era. The overall impression is rather apocalyptic. It is not the fear or the threat that appeal to the museum visitor’s imagination but the despair of a dazed humanity in the face of an inescapable punishment. Brueghel skilfully succeeded in “painting what cannot be painted”, as his friend Ortelius wrote, namely a superhuman horror, of a cosmic and all-encompassing nature. This valuation also reminds the viewer that the painting’s message should not deflect the attention from the work’s artistic and colouristic violence. Pieter Brueghel clearly was influenced by Hieronymus Bosch for this work, as is apparent from the unfettered imagination and the fascinating colours. Fritz Mayer van den Bergh was especially interested in Pieter Brueghel the Elder. The master’s work Twelve Proverbs is also in the museum. The museum is also the only museum in Flanders to own works by Brueghel the Elder. Other masterpieces include the Mayer van den Bergh Breviary, one of the masterpieces of Southern Netherlandish miniature painting (c. 1510), and

102

the painted Antwerp-Baltimore panels (c. 1400), with its brilliant colours.

UNIQUE RENAISSANCE DRAWINGS FROM ANTWERP PRIVATE COLLECTIONS Museum Mayer van den Bergh regularly organises temporary exhibitions. Various masterpieces or parts of the collection serve as the starting point for extensive research and a confrontation with temporary loans. From 25 October 2014 to 25 January 2015 the museum will present forty unique Renaissance drawings from the collections of private Antwerp collectors for the very first time. In the sixteenth century artists were held in high regard: they ran flourishing workshops, travelled around Europe and received local and foreign commissions. Their work also consisted of drawings, a genre which developed into a separate art form. The exhibition highlights the various functions of a drawing: as a source of inspiration for a subsequent work, as a sketch for paintings for example or as an individual art work. The extraordinary talent of artists such as Frans Floris, Hans Bol, Jan Brueghel and others was soon noticed by Fritz Mayer van den Bergh as well as by contemporary Antwerp

collectors. On this occasion they show their most beautiful Renaissance drawings to the public. The exhibition is a partnership with the University of Ghent, where students of art history examined the drawings together with specialists. Museum Mayer van den Bergh, 19, Lange Gasthuisstraat, B-2000 Antwerp Opening hours: From Tuesday to Sunday, from 10 a.m. to 5 p.m. Closed on Monday, 1 January, 1 May, Ascension, 1 November and 25 December. Exceptionally open on Easter Monday and Whit Monday Admission: € 8.00 / € 6.00 / free Combination ticket with a visit of the Rubens House: € 10 / € 8 / € 1 / free

www.museummayervandenbergh.be Renaissance drawings from private Antwerp collections From 25 October 2014 to 25 January 2015 www.museummayervandenbergh.be

MAYER VAN DEN BERGH

103

HOTELS

HOTEL JULIEN Korte Nieuwstraat 24 B – 2000 Antwerpen T +32 3 229 06 00 www.hotel-julien.com DE WITTE LELIE Keizerstraat 16-18 B – 2000 Antwerpen T +32 3 226 19 66 www.dewittelelie.be

RESTAURANTS

HILTON ANTWERP HOTEL Groenplaats 32 B – 2000 Antwerpen T +32 3 204 12 12 www.hilton.com

HUNGRY HENRIETTA Lombardenvest 19 B – 2000 Antwerpen T +32 3 232 29 28 www.hungryhenrietta.be

VERSO CAFÉ Lange Gasthuisstraat 11 B – 2000 Antwerpen T + 32 3 226 92 92 www.verso.com

FIREAN HOTEL Karel Oomsstraat 6 B – 2018 Antwerpen T +32 3 216 00 55 www.hotelfirean.com

CAFÉ-RESTAURANT BOURLA Graanmarkt 7 B – 2000 Antwerpen T +32 3 232 16 32 www.bourla.be

ROJI Oude Koornmarkt 26 B – 2000 Antwerpen T + 32 3 296 61 33 www.roji.be

HOTEL BANKS Steenhouwersvest 55 B – 2000 Antwerpen T +32 3 232 40 02 www.hotelbanks.com

BIEN SOIGNÉ Kleine markt 9 B – 2000 Antwerpen T + 32 3 293 63 18 www.bien-soigne.be

BIJ LAM EN YIN Reyndersstraat 17 B – 2000 Antwerpen T + 32 3 232 88 38 www.lam-en-yin.be

HOTEL LES NUITS Lange Gasthuisstraat 12 B – 2000 Antwerpen T +32 3 225 02 04 www.hotellesnuits.be

PIZZA ARTE Suikerrui 24 B – 2000 Antwerpen T +32 3 226 29 70 www.ristorante-arte.be

RADIS NOIR Desguinlei 186 B – 2000 Antwerpen T + 32 3 238 37 70 www.radisnoir.be

BOULEVARD LEOPOLD Belgiëlei 135 B – 2018 Antwerpen T +32 486 67 58 38 www.boulevard-leopold.be

SIR ANTONY VAN DIJCK Oude Koornmarkt 16 B – 2000 Antwerpen T +32 3 231 61 70 www.siranthonyvandijck.be

KOMMILFOO Vlaamsekaai 17 B – 2000 Antwerpen T + 32 3 237 30 00 www.restaurantkommilfoo.be

M0851 Nationalestraat 19 B – 2000 Antwerpen T +32 3 297 60 66 www.m0851.be

GRAANMARKT 13 Graanmarkt 13 B – 2000 Antwerpen T +32 3 337 79 91 www.graanmarkt 13.be

EPICERIE DU CIRQUE Volkstraat 23 B – 2000 Antwerpen T + 32 3 238 05 71 www.lepicerieducirque.be

104

MUSEUMS MUSEUMS

MUSEUM MAYER VAN DEN BERGH  Lange Gasthuisstraat 19  2000 Antwerpen   T +32 3 338 81 88   F +32 3 338 81 99 museum.mayervandenbergh@ stad.antwerpen.be FOTOMUSEUM Waalsekaai 47   2000 Antwerpen   T +32 3 242 93 00   F +32 3 242 93 10   info@fotografie.provant.be LETTERENHUIS  Minderbroedersstraat 22  2000 Antwerpen   T +32 3 222 93 20   F +32 3 222 93 21 letterenhuis@stad.antwerpen.be MIDDELHEIMMUSEUM Middelheimlaan 61 2020 Antwerpen T+ 32 3 288 33 60 F +32 3 288 33 99 middelheimmuseum@stad.antwerpen.be ZILVERMUSEUM STERCKSHOF  Bezoekersingang: Cornelissenlaan  Postadres: Hooftvunderlei 160  2100 Deurne   T +32 3 360 52 52   F +32 3 360 52 53 info@zilvermuseum.be

MAS – MUSEUM AAN DE STROOM Hanzestedenplaats 1 2000 Antwerpen T +32 3 338 44 00 F +32 3 338 44 44 MAS@stad.antwerpen.be MODEMUSEUM (MOMU)  Nationalestraat 28  2000 Antwerpen   T +32 3 470 27 70   F +32 3 470 27 71 info@momu.be MUSEUM PLANTIN-MORETUS/PRENTENKABINET  Vrijdagmarkt 22-23  2000 Antwerpen   T +32 3 221 14 50   F +32 3 221 14 71 museum.plantin.moretus@stad.antwerpen.be RUBENSHUIS  Wapper 9-11  2000 Antwerpen   T +32 3 201 15 55   F +32 3 227 36 92 info.rubenshuis@stad.antwerpen.be RED STAR LINE MUSEUM Montevideostraat 3 2000 Antwerpen T + 32 3 298 27 70 redstarline@stad.antwerpen.be

M HKA  Leuvenstraat 32  2000 Antwerpen   T +32 3 260 99 99 info@muhka.be

105

106

24 JAN--01 FEB 2015

BRUSSELS

O N E O F T H E M O S T I N S P I R I N G FA I R S I N T H E W O R L D

107

EEN HOND KAN MEER DAN BLAFFEN!

Dankzij de hulp van een kan meer dan geleidehond blaffen! kunnen blinde en

en slechtziende mensen zich veiliger slechtziende den vzw wil hen helpen.

ngeleidehonden et hun geleidehond. leidehondgebruiker.

mensen zich veiliger verplaatsen. Het Belgisch Centrum voor Geleidehonden vzw wil hen helpen.

pgericht vanuit een reële behoefte bij ssioneel opgeleide honden.Wilt Het leidt u meer informatie over het BCG?

Vrijwilliger of pleeggezin worden?

een beugel. Via deze beugel voelt de

Een gift overmaken? Een legaat vastleggen?

iszakken, fietsen, palen, verkeerd … zebrapad, een deur, een trap, een

Belgisch Centrum voor Geleidehonden vzw

Maastrichtersteenweg 64 n navigator. mensen zich zelfstandiger, sneller, meer ontspannen, maar vooral veiliger 3700 Tongeren et recht van elke burger in onze maatschappij.

19 012/23 43 e aanpak en aandacht. OnzeT toekomstige geleidehonden worden zorgvuldig selecteerde bloedlijnen. 012/39 F 41 24 leeggezin geplaatst. Het pleeggezin neemt de hond overal mee naartoe, laat verkeer, markten, theater, vergaderingen, sport, enz… E bcg@geleidehond.be

ngscentrum. Rekeningnummer 068-105501671 nlijke opleiding in het centrum. Dit gebeurt door professionele instructeurs.

IBAN BE49 0681 0550 1671

ken samen met de geleidehondgebruiker. Daarna zorgt het BCG voor de BIC: GKCCBEBB baas.

n kost uiteraard geld. De vraag van kandidaat geleidehondgebruikers is zeer pte persoon beroep doen op een overheidstoelage om zijn hond te betalen.

ijven ijveren voor een professionele aanpak van de opleiding van de integratie van blinde personen een heel stuk gemakkelijker wordt dankzij

WWW.GELEIDEHOND.BE 25/09/12 23:14

108

Marine Chronometer Manufacture Manufacture chronometer movement with Silicium technology. Self-winding. Water-resistant to 200 m. 18 ct rose gold case. Limited Edition to 350 pieces. W W W . U LY S S E - N A R D I N . C O M

A p p e l m a n s s t r a a t 3 , 2 0 1 8 A n t w e r p e n Te l . 0 3 / 2 3 1 5 6 9 2 i n f o @ g i n o t t i . c o m / w w w. g i n o t t i . c o m

109

Onder de Hoge Bescherming van H. K. H. Prinses Astrid

Steun Amade en help kinderen in moeilijkheden Amade BelgiĂŤ ijvert voor het welzijn van kinderen en jongeren tot 18 jaar. Zij ondersteunt en helpt diegenen die het moeilijk hebben zowel op economisch als op familiaal vlak en houdt hierbij rekening met ieders persoonlijkheid en eigenheid. Amade is uitsluitend gebaseerd op vrijwilligerswerk. De organisatie ontvangt geen enkele subsidie en is bijgevolg volledig aangewezen op de vrijgevigheid van haar leden en sympathisanten evenals op de winsten die voortvloeien uit evenementen die zij organiseert.

www.amade.be 110

DE SCHOONHEID VAN KUNST SCHUILT IN DE MANIER WAAROP ZE ONS RAAKT BNP Paribas Fortis, partner van intense cultuurmomenten.

Private Banking Centre Antwerpen Centrum: Jan Van Rijswijcklaan 162 2020 Antwerpen Tel: 03 204 58 88 privatebanking.antwerpencentrum@bnpparibasfortis.com

Private Banking Centre Mechelen: Van Benedenlaan 26 2800 Mechelen Tel: 015 40 93 51 privatebanking.mechelen@bnpparibasfortis.com

Private Banking Centre Antwerpen Zuid: Jan Van Rijswijcklaan 162 2020 Antwerpen Tel: 03 204 60 11 privatebanking.antwerpenzuid@bnpparibasfortis.com

Private Banking Centre Lier: Hoogveldweg 155/bus 1 2500 Lier Tel: 03 491 92 50 privatebanking.lier@bnpparibasfortis.com

Private Banking Centre Antwerpen Noord: Braamstraat 103 2900 Schoten Tel: 03 680 03 91 privatebanking.antwerpennoord@bnpparibasfortis.com

Private Banking Centre Kempen: Everdongenlaan 19 2300 Turnhout Tel: 014 40 05 21 privatebanking.kempen@bnpparibasfortis.com

027083474939_A4 Adv kunstboek.indd 1

111

3/09/14 09:46

AdvRoji-def.indd 1

112

30/08/13 16:38

De mooiste reis door de kunstwereld voor liefhebbers, verzamelaars en professionals

Tableau

36ste jaargang nr. 1 - februari/maart 2014

baanbrekers in beeld

rosso, brancusi & man ray beroemder dan rembrandt

tefaf 2014

36ste Jaargang nr. 1 februari/maart 2014 Adviesprijs: € 9,95

highlights in brussel • londen • parijs • new york WERF FEBRUARI 2014.indd 4

DE BEWONERS KIEZEN

lille/rijsel

MANIFESTA10 IN RUSLAND

metropool bomvol kunst

de schreeuw van

francis bacon

36ste Jaargang nr. 2 april/mei 2014 Adviesprijs: € 9,95

highlights in brussel • londen • parijs • new york

13-02-14 18:36

MAURITSHUIS LIEVELINGEN

kiest kunst in dialoog

design & vintage

top 10 internationale veilingresultaten

ALS LEIDMOTIEF

zwagerman

de waarde van wanders

de primeurs van

LOUTER DE LUCHT

gerrit dou

trend: romantiek

groots, meeslepend, gevoelig en intiem

WERF APRIL 2014.indd 3

VAN SEURAT TOT KOONS

INNOVATIEF & KRITISCH

80 ZOMERTIPS IN EEN EXTRA DIKKE UITGAVE

02-04-14 14:32

Neem nu een abonnement of geef er een cadeau!

36ste Jaargang nr. 3 Zomer 2014 Adviesprijs: € 9,95

n voour

€35

Bel +31 (0)161-459535 of ga naar www.taBleaumagazine.nl Blijf op de hoogte van de internationale kunstscene, tentoonstellingen, beurzen en veilingen en laat u een jaar lang (6 x) voor €35 of een halfjaar (3 x) voor €17,50 verrassen en inspireren! *Deze aanbieding is alleen geldig als u langer dan een jaar geen abonnee bent geweest.

CARO ADV Tableau ART Antwerpen2014.indd 1

29-08-14 113 06:19

Kunst- en Antiekveilingen Schattingen en verdelingen Ventes aux enchères d’art et d’antiquités Estimations et partages Geïllustreerde catalogus Catalogue illustré Terninckstraat 6-8-10 2000 Antwerpen Tel: +32 (0)3/ 226 99 69 www.amberes.be amberes.veilingen@pandora.be

Rik Dupain Olivier Geurts Marc Royer

L I C H T A D V I S E U R

www.dellafaille.eu

114 110 I ART-A ART-A_catalogus_2012_binnen.indd 110

25/09/12 23:13

Focus on the total supply chain and the logistics process A dynamic Team qualified and specialized: Van Meterenkaai 1 - 2000 Antwerpen T: 03 20 20 345 - F: 03 20 20 392 call@steinacher-logistics.be www.steinacher-logistics.be

Handling & shipping of fine arts, antiques and paintings Organizing international fairs Air, maritime and multimodal transport Residential deliveries in USA Custom & VAT related administration

Juwelier - Uurwerkmaker

Herstellen van antieke klokken, zakhorloges en juwelen in eigen atelier Veranderen van oude juwelen naar hedendaagse creaties

sinds 1951

Lapponia zilver Movado uurwerken

www.juwelier-uyttenbroeck.be

Schermersstraat 5 - 2000 Antwerpen 03/226.89.76 - info@juwelier-uyttenbroeck.be

115

116 Withaeckx_244x170.indd 1

4/09/13 00:19

“Een verborgen parel in het hartje van Antwerpen”

ELEEF

het Huis Happaert

Vertoeven in het Huis Happaert is een échte beleving. Het is uitzonderlijk dat een dergelijk prachtig cultuur historisch monument open staat voor het organiseren van meetings, evenementen, incentives, in company trainingen, recepties of diners en workshops. Hoewel het hele pand “grandeur” uitstraalt, is het huis ook erg verwelkomend. Even wandelen in de tuin, lunchen aan de keukentafel, napraten aan de open haard.... Wens je een activiteit te combineren met een overnachting, dan ben je in het Huis Happaert écht op een unieke plaats terecht gekomen. De luxueuze verfijning en comfort van de kamers en de rust die er is, zelfs midden in de Stad Antwerpen, maken dat je hier echt tot rust kan komen.

Het is alsof je thuis bent en dat willen we graag zo houden als unieke beleving voor elke gast in het huis. Wil je het Huis Happaert bezoeken, schrijf je dan in voor een van onze open activiteiten of bel om af te spreken voor een persoonlijk bezoek. We heten je graag welkom om samen met ons geschiedenis te schrijven!

EEn pAREL VAn EEn LocATiE nu TE HuuR VooR AL uW EVEnEmEnTEn het Huis Happaert - Happaertstraat 25 - 2000 Antwerpen T 0032 3 226 66 35 - info@huishappaert.com - www.huishappaert.com - Facebook 117

ERIK-TONEN-BOOKS.COM High Quality Illustrated Books on Fine Art and Applied Art For the Art-Historians, Museums, Professional Antique Dealers and Collectors.

Please order all your new and old books at info@erik-tonen-books.com shop: Kloosterstraat 48, B-2000 Antwerp

118

119 I 111 ART-A_catalogus_2012_binnen.indd 111

25/09/12 23:13

Elk jaar 9.000.000 mensen in onze wachtzaal. Wij hebben uw steun nodig. BE73 0000 0000 6060 www.azg.be 120