Prelude by Bernaerts Auctioneers

PRELUDE

Sale February 16 - 18, 2021

HIGHLIGHTS

LIVE ONLINE: FEBRUARY 16 - 18 TIMED ONLINE: JANUARY 27 - FEBRUARY 22

pre·lude | \ ˈprel-ˌyüd , ˈprāl-; ˈpre-ˌlüd, ˈprā-; sense 1 also ˈprē-ˌlüd \

Definition of prelude (Merriam-Webster dictionary, since 1828)

1: an introductory performance, action, or event preceding and preparing for the principal or a more important matter

This 'prelude' is an introductory magazine to the sales taking place at Bernaerts Auctioneers. It will highlight some of the precious items consigned for sale in the very near future. There'll be two kind of sales, a live online and a timed online. The difference? The buyer's premium and the dates. The first will be held with a classic auctioneer, on February 16 & 17, in our venue in Antwerp. The second will be held 'against the clock' that will expire on February 22.

There will be viewing days from February 8 till 15, by appointment only and until further notice.

Winter Tales pt. 2 Old Master paintings and drawings, Antiques, from Haute Epoque to Art DĂŠco.

Archeology A Flemish Limburg private collection of 140 lots.

Live online sale in Antwerp, February 16 & 17

Timed online sale Ends February 22

Buyer's premium 22% (in the room), 25% (by phone), 28% (Invaluable, Drouot, live.bernaerts.eu)

Buyer's premium 28% (live.bernaerts.eu)

From January 26, by clicking on the link, you'll be redirected to the full catalogue. There'll be additional photographs and details to be seen and bidding forms. For more details, don't hesitate to contact our experts or our staff. Peter Bernaerts, Christophe Bernaerts & Elise Boutsen

BIDDING

WAYS

1. Via 'Live Bidding' on live.bernaerts.eu • Create an account and send us a copy of your ID • Accept the terms and conditions of sale using the link in your mailbox. • The auction is accessible from a quarter of an hour before the start. • Log in with your personal data and click on 'Enter Auction'.

2. Via a 'Prebid' on live.bernaerts.eu • Create an account and send us a copy of your ID • Accept the terms and conditions of sale using the link in your mailbox

• The auction is immediately accessible. • Log in with your personal data and place your bid. You'll be alerted when there is a bid against You. The auction fee is 28%. 3. With an 'absentee bidding form' • Send it by email (info@bernaerts.be) or by fax (+32 3 248.15.93), no later than 12 hours prior to the start of the auction.

• The auctioneer will try to purchase the item for you

at the most beneficial price. The auction fee is 22%. 4. By telephone • Download the 'absentee bidding form by phone' • Send it by email (info@bernaerts.be) or by fax (+32 3 248.15.93),

no later than 12 hours prior to the start of the auction.

• One of our staff members will call you during the auction to bid in real time.

You can instruct them whether or not you agree with the bid. The auction fee is 25%.

Archeology

A torso of the god Apollo in white marble. Fragment of a finely carved Roman statuette of the 1st century. Findspot: surroundings of Rome Fragment of an Apollo statue from the left knee to the neck. Both the posture and the hairstyle are characteristic for this god. On both sides of the neck, there are remnants of long wavy locks. The right leg is broken in the middle part of the thigh. The arms are missing. In the middle of the neck, a small hole has been drilled. Despite the small dimensions, the torso creates a colossal impression. Grey-brown wear. Height: 22.6 cm; width: 11.3 cm Estimate â&#x201A;Ź10000 - 12000 Provenance With Gallery Mieke Zilverberg Antiquities and Ancient coins, Amsterdam, 1990; Private collection Belgium Part of a private Belgian collection of approx. 150 archeological items.

Archeology

Timed online January 27 - February 22 Link to catalogue (online January 27)

Old Master Drawings

Drawing of the cuirass of the statue of a Roman emperor. Italian school, first half 16th-century. Pen in brown, brown wash, traces of black crayon; laid down. According to Peter Fuhring the artist took inspiration from the Roman statue of Mars which is now housed at the Musei Capitolini in Rome (ill. 1). It was first known in the early 16th century as a torso, missing all limbs. The cuirass is elaborately carved with Medusa's head, a pair of griffins turning their heads away from the candelabrum they flank and an inverted palmette below them. Three layers of carved lappets must have been preserved, at least in part. By the end of the 1530s, the statue had been restored and given a helmeted head and legs with buskins but had no arms. Fuhring adds that the lack of head and legs in the present drawing suggests that it was made before the restoration of the statue. He attributes the somewhat different decoration of the cuirass, with the standing griffins turning towards the figure of Hercules, and the variant ornamentation of the carved lappets and the drapery on the right shoulder, to the freedom with which the artist has used his model. Fuhring concludes that the purpose of the drawing was not to faithfully record and antique statue, here it served as a significant source of inspiration. Estimate â&#x201A;Ź1200 - 1250

Old Master Drawings

Provenance With art dealer Christopher Powney 1966; Lodewijk Houthakker collection (two stamps L.3893 lower right, and L.4533 on the verso of the mount); Private collection, Belgium Part of a group of 18 drawings from the Lodewijk Houthakker collection.

Literature P. Fuhring, Design into art: drawings for architecture and ornament. The Lodewijk Houthakker collection, London, 1989, p. 742, no. 1080;

ill. 1. Capitoline Mars, Flavian (excavated between 1532 - 1541), greek marble, 360 cm height, Rome, Musei Capitolini, inv. 58; Atrio 40.

Live online February 16 Link to catalogue (online January 27)

Archeology

A Merovingian filigree disk brooch. Large gold sheet appliqué containing three stylised eagle heads comprising almandines and enamel stones alternating with three square enamel stones in green; around a higher central circle enriched with filigree scrolls to the sides with an inlaid boss of green chrysoprase on top; a cast copper alloy base-plate underneath. Findspot: surroundings of Maastricht Diam.: 3.3 cm Estimate €10000 - 12000 Similar examples Saint-Germain-en-Laye, Musée d'archéologie nationale, inv.nr. 82824; Nancy, Musée historique lorrain, ML.104.07; Brussels, galerie Harmakhis Part of a private Belgian collection of approx. 150 archeological items.

Archeology

Timed online: January 27 - February 22 Link to catalogue (online January 27)

Haute Epoque

Alms bowl. Brass. In medallion the Fall of Man. Nuremberg, c. 1500. The Fall of Man inspired on a woodcut published in Schedel's Chronical of the world, Nuremberg 1492. 23 x 6 cm; 622 g Estimate â&#x201A;Ź1000 - 1500

Live online February 16 Link to catalogue (online January 27)

Archeology

verso

Haute Epoque

A Flemish or French iron bound oak trunk from the 14th century. Originally three locks, transformed in the 17th century to one lock and collection box holes. 68 x 121 x 68 cm Estimate €5000 - 6000 Provenance Sotheby’s, European Sculpture, early furniture & works of art, Amsterdam, 11.6.2003, lot 57; Koldeweij Antiques, Helvoirt Part of a group of 30 items from the Koldeweij collection. A similar chest from the same period, the ‘Richard de Bury Chest’, ca. 1340', is housed at the Burell collection in Glasgow. For more information see this article from the University of Glasgow.

Haute Epoque

Live online: February 16 Link to catalogue (online January 27)

Haute Epoque

A French brown leather and wooden document box from the 15th century. Wooden structure with five original iron fittings running across the slightly vaulted lid. The middle fitting covers a double hinge with two separate bands that cover the keyhole. Crimson leather lining on the inside. Traces of wear. 9 x 18 x 12 cm Estimate â&#x201A;Ź1800 - 2500 Provenance Koldeweij Antiques, Helvoirt Part of a group of 30 items from the Koldeweij collection

Haute Epoque

Live online February 16 Link to catalogue (online January 27)

Old Master Drawings

GIUSEPPE MANNOCCHI CA. 1731-1782 Three sketches with the statue of Artemis of Ephesus, a pedestal and an ornament, before 1763 Pen in brown, brown wash; laid down. Inscription: 'fonte anticha'. 262 x 155 mm Estimate €400 - 600 Provenance Lodewijk Houthakker collection (two stamps L.3893 lower right, and L.4533 on the verso of the mount) Part of a group of 18 drawings from the Lodewijk Houthakker collection. Giuseppe Manocchi, was an engraver and draughtsman, who worked in Rome. After 1763 he spent a few years in London. Several of his designs made in London are held in different collections, especially in the John Soane’s Museum and the Royal Institute of British Architects (RIBA). The Österreichisches Museum für Angewandte Kunst in Vienna and the Musée the Louvre in Paris hold some of his work made in Rome. Peter Fuhring describes this particular drawing as a record of a grotesque ornament, an 'antique' fountain and the statue of Artemis. According to him, this drawing can be situated in Manocchi's Roman period.

Literature P. Fuhring, Design into art: drawings for architecture and ornament. The Lodewijk Houthakker collection, London, 1989, p. 60, no. 36.

Live online February 16 Link to catalogue (online January 27)

Old Master Drawings

Antiques

Two monumental alabaster vases, 19th-century work from Volterra. Both with a rectangular base and an egg-shaped body depicting the face of Bacchus in reliëf. One vase with overhanging leaves on the neck, the other with curling folds. Both vases with a spout in the shape of a bird's head and handle in the shape of a winged dragon. A similar pair of alabaster vases was sold at Christie’s, London, 03.05.2018, lot 99 H.: 183 cm; 175 cm Estimate €10000 - 12000 Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

Live online February 17 Link to catalogue (online January 27)

Antiques

Old Master Paintings

DAVID VINCKBOONS (1576 -1632) The sermon of Saint John the Baptist Oil on panel 82 x 128 cm Estimate €12000 - 15000 Provenance Stockholm, Bukowski, 9.12.1931, lot 89 (with an expertise of Gustav Glück); Stockholm, Bukowksi, 04-07.4.1962, lot 223; Luzern, Galerie Fischer Auktionen, 18-22.06.1963, lot 1919; Amsterdam, Art dealer P. De Boer, 1963-1964, Winter exhibition, cat. no. 31; Amsterdam, Art dealer, P. De Boer, 1964, Summer exhibition, cat. no. 46; Amsterdam, Art dealer P. de Boer and Brussel, Galerie A. De Heuvel, 19.02-09.03-1965, Spring exhibition, cat. no. 67; Private collection Belgium

ill. 1. Pieter Bruegel, The sermon of St John the Baptist, 1566, oil on panel, 95.1 x 161.6 cm, Boedapest, Szépmüvészeti Múzeum, inv. 51.282

Live online February 16 Link to catalogue (online January 27)

ill. 2. David Vinckboons, c. 1610, oil on panel, 98 x 135 cm, St Petersburg, Hermitage inv ГЭ-3024

Pieter Bruegel I (1525-169) is one of the first to paint the Sermon of Saint John in a setting of a dense, dark forest (ill. 1). To the right side, a vista offers a view on a background with marvellous mountains and castles. In the centre, a colourful crowd including noblemen, gypsies, soldiers and farmers, has gathered around the preaching saint, while some men have climbed the trees to have a better look at him. It is most likely, that David Vinckboons was familiar with Bruegel’s famous painting, and took inspiration from it to create this artwork. Yet unlike Bruegel, he addresses the foliage of the trees more elaborately showing the entire length of the trees. This attention for trees and the foliage, places the artwork early in his career, around 1602. At this point in his oeuvre, his style shows a great influence of the landscape painter Gillis van Coninxloo (1544-1606/07). The slightly older Van Coninxloo also fled Antwerp after the Spanish invasion after which he settled in Amsterdam. It is not known whether David Vinckboons was an apprentice of Gillis van Coninxloo. Korneel Goossens describes the relationship rather as that of an 'older colleague' (K. Goossens, David Vinckboons, Soest, Davaco, 1977). Several inventories mention paintings in which Vinckboons painted the figures in Van Coninxloo's landscapes. He also finished some of Van Coninxloo’s paintings, including 'Forest Landscape with Cows' (Strasbourg, Musée de la Ville de Strasbourg, inv./cat. nr MBA 51) and bought several drawings after his death during Van Coninxloo's estate sale (J.G.C.A. Briels, De Zuid-Nederlandse immigratie in Amsterdam and Haarlem circa 1572-1630, unpublished dissertation, Utrecht University, 1976, p. 235-244).

Several paintings in Vinckboons’ early oeuvre depict a similar style and approach towards the religious subjects. The 1602-dated 'Forest with hunting scene' shows a similar style of painting branches and leaves (panel, 51 x 75.5 cm, see Goossens, 1977, p. 22, fig. 8; K. Ertz, David Vinckboons, Lingen, Luca, 2016, no. 59, p. 340). Landscape with the Baptism of a Eunuch by the Apostle Philip in the Hermitage in Saint Petersburg, dated c. 1610, also shows a similar handling of the brush (ill. 2) In addition, the landscape in the collection of the Museumlandschaft Hessen Kassel shows a very similar colour palette and style for depicting the trees and the background (ill. 3).

It should also be noted that during the 16th-and 17th-century, staffage figures were often painted by another painter than the painter who painted the landscapes. It seems unlikely that this panel is the result of such collaboration. The comparison with some other paintings suggests that Vinckboons also painted the figures: the grey tones that dominate the figures in the back and the many feathers on the hats, are typical for his style. These elements can also be found in a 1604 dated and signed 'Landscape with the Preaching of Jesus on Lake Gennesareth' (ill. 4). Later, after 1610, Vinckboons will develop himself as a prolific genre painter and talented draughtsman depicting figures in a humorous and moralising setting.

Several paintings in Vinckboons’ early oeuvre depict a similar style and approach towards the religious subjects. The 1602 dated 'Forest with hunting scene' shows a similar style of painting branches and leaves (panel, 51 x 75.5 cm, see Goossens, 1977, p. 22, fig. 8; K. Ertz, David Vinckboons, Lingen, Luca, 2016, no.

It should also be noted that during the 16thand 17th-century, staffage figures were often painted by another painter than the painter who painted the landscapes. It seems unlikely that this panel is the result of such collaboration. The comparison with some other paintings suggests that Vinckboons also painted the figures: the grey tones that dominate the figures in the back and the many feathers on the hats, are typical for his style. These elements can also be found in a 1604 dated and signed 'Landscape with the Preaching of Jesus on Lake Gennesareth' (oil on panel, 37 x 45 cm, Stockholm former collection of Einar Perman). Later, after 1610, Vinckboons will develop himself as a prolific genre painter and talented draughtsman depicting figures in a humorous and moralising setting.

ill. 3. c. 1601 or 1602, oil op panel, 65.5 x 76 cm, Kassel, Museumlandschaft Hessen Kassel, GK 964

Old Master Paintings

This attention for trees and the foliage, places the artwork early in his career, around 1602. At this point in his oeuvre, his style shows a great influence of the landscape painter Gillis van Coninxloo (1544-1606/07). The slightly older Van Coninxloo also fled Antwerp after the Spanish invasion after which he settled in Amsterdam. It is not known whether David Vinckboons was an apprentice of Gillis van Coninxloo. Korneel Goossens describes the relationship rather as that of an 'older colleague' (K. Goossens, David Vinckboons, Soest, Davaco, 1977). Several inventories mention paintings in which Vinckboons painted the figures in Van Coninxloo's landscapes. He also finished some of Van Coninxloo’s paintings, including 'Forest Landscape with Cows' (Strasbourg, Musée de la Ville de Strasbourg, inv./cat.nr MBA 51) and bought several drawings after his death during Van Coninxloo's estate sale (J.G.C.A. Briels, De Zuid-Nederlandse immigratie in Amsterdam and Haarlem circa 1572-1630, unpublished dissertation, Utrecht University, 1976, p. 235244).

59, p. 340). Landscape with the Baptism of a Eunuch by the Apostle Philip in the Hermitage in Saint Petersburg, dated c. 1610, also shows a similar handling of the brush (ill. 2) In addition, the landscape in the collection of the Museumlandschaft Hessen Kassel shows a very similar colour palette and style for depicting the trees and the background (ill. 3).

Renaissance

A North Italian ivory inlaid ebony, rosewood and marquetry table cabinet with fall-front door. Lombardy, c. 1600-1625. 40.5 x 43 x 30 cm Estimate â&#x201A;Ź5000 - 6000 Provenance with H. De Paul and H. MĂźller Antiques, Aalst, 12.12.1986; private collection, Belgium Pine and walnut structure. Corners with gilt copper mounts. On the side iron handle in the shape of two mermaids on lionhead attachments. The front with a panel inlaid with scrolling foliage within geometric reserves and grotesques opening to reveal a central architectural niche with Perseus enclosing three drawers with a drawer below flanked by three drawers on either side, the whole inlaid with foliage. Traces of wear.

Old Master Drawings

A similar cabinet (44.5 Ă&#x2014; 53.3 Ă&#x2014; 35.6 cm) can be found in the collection of The Metropolitan Museum in New York (inv. X.203). This ebony and ivory inlaid table cabinet has a fall-front door that opens to reveal a number of secret drawers. When open, the door creates a functional writing surface, while the many drawers provide ample space to store "curiosities". Cabinets of this calibre were often commissioned as diplomatic gifts or exchanged among royalty.

Renaissance

Live online February 16 Link to catalogue (online January 27)

Old Master Paintings

ALEXANDER KEIRINCX (1600 -1652) A wooded landscape with the good Samaritan (Luke 10: 25-37), c. 1620. Monogrammed in the lower left ‘AK’ (entangled), Antwerp city mark and year letter 'A' on the verso of the panel. Oil on panel. 140 x 180 cm Provenance Cologne, collection Schmidt; Cologne, collection Mengelberg; Amsterdam, Frederik Muller and Cie, 18-21.06.1957; Amsterdam, collection Freling 1958; Amsterdam, Sotheby’s, 08.10.1973, lot 160; Private collection, Belgium

Live online February 16 Link to catalogue (online January 27)

Alexander Keirincx is born in the year 1600 in the city of Antwerp. He is a pupil of the landscape painter Abraham Govaerts (1589 - 1626). Already at the age of 18, he obtains the title of Master at the Saint Lukes guild, allowing him to sign and sell his work under his own name. Keirincx’s early work – such as this painting – is characterised by a complex composition depicted in vibrant colours typical for the Antwerp mannerist style. The religious scenes are portrayed by small figures who move in the woods. This type of landscape paintings is reminiscent of the work of Jan Bruegel (1568-1625) and Gillis van Coninxloo (1544-1606/07) who have greatly influenced the work of Abraham Govaerts. After 1618, Keirincx will paint in Antwerp for ten years. In 1629 he moves to the north where he is mentioned in Amsterdam and Utrecht while collaborating with the renowned staffage painter Cornelis van Poelenburch (1594-1667). Influenced by the Dutch landscape tradition, he develops a more realistic style using more earthy tones. From 1637 onwards, he continues his search for realism in England, where he works for Charles I (1600-1649), painting ten of his castles and estates in the north of England and Scotland. This monogrammed landscape with the Good Samaritan (Luke 10: 25-37) dates back to the first years of his career in Antwerp. The letter ‘A’ on the verso of the panel stands for the years of the Saint Lukes guild of 1619-20 and 1621 and 1622.

Old Master Paintings

ill. 2. 'Landscape with the Good Samaritan', formerly attributed to Adriaen van Stalbempt, oil on panel, 32.5 x 49.5 cm, at Gallery Daniel Vanhove.

Old Master Paintings

The dimensions of this panel are exceptionally large compared to other panel paintings in Keirincx’s oeuvre. Furthermore, a panel was an expensive support. That is why cabinet pieces on panel were often produced in a smaller size, which also made them more suitable for the smaller houses of the recently developed citizenry. The exceptionally large size may indicate that this landscape was painted on commission for a wealthy client who supplied the expensive panel in advance. Only in-depth archival research may provide more information on the commission of this artwork. A dense forest with two rows of gnarled trees with elaborately painted foliage is the setting for the parable of the Good Samaritan. In the background, the priest and the levite continue their way without taking care of the wounded. According to Ursula Härting, the figures in the foreground were painted by Keirincx himself. Frank Huygens and Constant Coone, however, attribute these figures to an anonymous master in which Keirincx only painted the priest and the Levite in the background. In addition, the group of figures appears a second time in Keirincx's oeuvre (ill. 1.). We also find the figures in smaller works by an anonymous master (ill.2.). It is precisely exceptional that groups of figures were reused as a kind of 'cut-and-paste work' in various landscapes. This exceptional panel painting illustrates one of the highlights of a landscape tradition that had been developing since the beginning of the 16th century. Landscape paintings were an important artistic export product of the region of Flanders. When artists emigrated to the north in the aftermath of the 80-year war, they took their skills with them, where the genre continued to flourish during the Dutch Golden age.

ill. 1. 'Forest Landscape with the Good Samaritan', oil on panel, 69.5 x 118 cm, Palais des Congrès (Paris), 10.5.1975, lot 60; Drouot (Paris), 2.12.1975; Sotheby's (Monaco), 2-3.12.1988, lot 626; Lit.: Huygens 1989, cat. 7; Coone 2013, cat. B. 15; Harting 2018, cat. 166.

Monogram

Old Master Paintings

JAN MARTENS DE JONGE (1609 - 1647) A Cavalry Battle beside a Stream With traces of later signature 'ESA..', lower right Oil on panel, 40.5 cm x 72.5 cm. Estimate â&#x201A;Ź8000 - 10000 Provenance With Gebr. Douwes, Amsterdam, The Netherlands; Collection of the John Herron Museum of Art (later named the Indianapolis Museum of Art), Indianapolis (Indiana), United Sates of America, inv. no. 57.135, by 1958; By whom sold, Christie's, New York, 09.02.2009, lot 54; With Floris van Wanroij Fine Art, Dommelen, The Netherlands; Private collection, The Hague (2011 â&#x20AC;&#x201C; 2018)

Exhibition The John Herron Museum of Art, Indianapolis (Indiana), United States of America, The young Rembrandt and his times. A loan exhibition of Dutch painting of the first four decades of the seventeenth century, 14 February 1958 - 23 March 1958, no. 37; The Fine Arts Gallery of San Diego, San Diego (California), United States of America, The young Rembrandt and his times. A loan exhibition of Dutch painting of the first four decades of the seventeenth century, 11 April 1958 18 May 1958, no. 37

Literature S. Slive. [Intro.], The young Rembrandt and his times. A loan exhibition of Dutch painting of the first four decades of the seventeenth century. Indianapolis, Herron Museum of Art, 1985, no. 37; G. Keyes, Esaias van den Velde. Doornspijk: Davaco, 1984, p. 194, no. REJ.6, figure 107 Know at the RKD, The Hague, The Netherlands, under no. 226562

Live online February 16 Link to catalogue (online January 27)

A French brass and red-stained tortoiseshell Boulle marquetry bureau Mazarin, c. 1700. Decorated overall with Bérainesque designs above a single frieze drawer and door flanked by three drawers to either side. 81 x 121 x 72 cm Estimate €15000 - 18000 Provenance Former collection Grüter, Antwerp

Antiques

Live online February 17 Link to catalogue (online January 27)

Antiques

JEAN-SIMON DEVERBERIE (1764 - 1824) An ormolu and gilt bronze mantel clock ‘l’Amour et la fidelité’. C. 1812-1824, Empire-Charles XVIII. 50 x 32 x 11 cm Estimate €5500 - 6500 Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques. See Antique- horlogy.org for information about Deverberie by Mr. Fred Kats

Live online February 17 Link to catalogue (online January 27)

Digital library of the French Institut National d'Histoire d'Art. Catalogue de vente Modèles des pendules de Deverberie.

Antiques

Attributed to Thiebaut FrĂ¨res Paris, c. 1890 Eight-light chandelier. Ormolu and black patinated bronze. Bowl in diamond cut crystal, supported by stylised palm leafs and with draperies. Crown with stylised palm leafs. Upper crown carried by four standing female Victory figures. Second Empire, c. 1890. Restored. Height: 80 cm Diam.: 90 cm Estimate â&#x201A;Ź4000 - 6000 Provenance Private collection, Bruges

Antiques

Live online February 17 Link to catalogue (online January 27)

Antiques

A pair of Medici vases. Porcelain. Brussels, Première Manufacture d’Ixelles, period of Frederic Faber (1824-1830) Painted with the Brussels Town Hall and the St. Gudula Cathedral. Certificate: Brussels, Michel Pinckaerts, 6.4.2009 27.5 x 20.5 cm Estimate €1400 - 1600

Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

Live online February 17 Link to catalogue (online January 27)

Antiques

(ill. 1) Guido Reni, Aurora, fesco, 2.8 x 7 m, Rome, Palazzo Pallavicini-Rospigliosi

Live online February 17 Link to catalogue (online January 27)

A pair of vases and covers. Vienna porcelain, Franz Dörfl company, 1878-1930. Painted with mythological scenes after Ovid’s Metamorphoses. One vase depicting on one side Aurora and Apollo after Guido Reni's fresco in the Palazzo Pallavicini Rospigliosi in Rome (1614) (ill. 1) and on the other side Diana killing Actaeon. The second vase, Mercury falling in love with Herse, after Jan Boekhorst's painting in the Kunsthistorisches Museum in Vienna (ill. 2), and a firelight dance with twelve nymphs by the water. Underneath the bases German title of each depicted scene. H.: 54 cm Estimate €2000 - 3000 Provenance Private collection, Antwerp

Antiques

(ill. 2) Jan Boekhorst, Mercury falling in love with Mercury, 1654/1655, 118 cm × 178,5 cm, oil on canvas, Vienna, Kunsthistorisches Museum, inv. 379

EMILE LOMBART (1859-1938) / FAIENCERIE ST. GHISLAIN A St Ghislain flower pot and stand by Emile Lombart painted with a shepherdess with sheep. Signed. 154 x 46.5 cm Estimate â&#x201A;¬3000 - 4000 Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

Antiques

Live online February 17 Link to catalogue (online January 27)

Antiques

A Venus with Amor in shell wagon drawn by doves and swans. Meissen porcelain. 20th century. After the model by Johann Joachim KĂ¤ndler, January 1774. Underglaze blue sword mark. Model number 28. Impressed number 76. Showing the goddess seated in wagon on magenta shawl with precious stones, holding in her right hand the golden bow and looking to the right, the arrow of love is lying on her lap, she is directing the swans with her left hand, before that Amor is standing with the golden drawbar and reining in the doves. 29 x 43 x 18 cm Estimate â&#x201A;Ź2000 - 3000 Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

Live online February 17 Link to catalogue (online January 27)

Antiques

An impressive Chinese 12-part folding screen in coromandel wood depicting court scenes and at the back flowers and birds, c. 1920. H.: 270 cm W.: 588 cm

Estimate â&#x201A;Ź8000 - 10000 Provenance

Campo & Campo, Antwerp Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

Live online February 17 Link to catalogue (online January 27)

ARTHUR WAAGEN (1869-1910) Kabyle or the return of the hunt, circa 1875. Bronze, brown patina, gilt rifle. Signed 'Waagen sculp(sit)'. 66 x 58 x 30 cm Estimate â&#x201A;Ź5000 - 6000 Literature P. Kjellberg p.647, ill. Sold for the benefit of the Caluna Foundation

19th Century

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19th Century

ACHILLE VERTUNNI (1826-1897) Bedouins on the banks of the Nile. Canvas. Signed 'A. Vertunni. Cairo.'. Original canvas and period frame in Moorish style in ebonised brown wood. 66 x 58 x 30 cm Estimate â&#x201A;Ź5000 - 6000

Sold for the benefit of the Caluna Foundation

Live online February 18 Link to catalogue (online January 27)

19th Century

EMILE EDMOND PEYNOT (1850 -1932) Jeune Arabe verifiant son arme (A young Arab man checking his weapon) Bronze, brown patina, gilt rifle. Signed 'Waagen sculp(sit)'. 66 x 58 x 30 cm Estimate â&#x201A;Ź5000 - 6000 Literature P. Kjelberg, p. 540, ill. Sold for the benefit of the Caluna Foundation

Live online February 18 Link to catalogue (online January 27)

19th Century

FRANCOIS LUCKX (1802-1849)

An unexpected visit, 1849. Panel (mahogany). Signed and dated 'Luckx 1849'. 62 x 77 cm 81 x 97 cm Estimate â&#x201A;¬1000 - 1250 Provenance Private collection, Antwerp

Live online February 17 Link to catalogue (online January 27)

19th Century

ÉMILE GALLÉ (1846-1904) & GUSTAVE-ROGER SANDOZ (1867-1943) Opaque orangey brown glass vase acid-etched with floral motifs by Gallé held in an Art Nouveau vermeil mounting with waterlily on top and set in a Louis XVI style base by Sandoz. Around 1885-1890. Signed at the base 'Emile Gallé fecit' and marked 'Gustave-Roger-Sandoz. Orfèvre à Paris' at the rim and on the bottom ‘G.R. Sandoz’. H.: 28 cm Estimate €20 000 - 25000 Provenance Private collection Antwerp since 1940

Live online February 17 Link to catalogue (online January 27)

19th Century

20th Century

ETABLISSEMENTS GALLÉ 1906-1936 A colourful Emile Gallé ‘daisies’ table lamp in cameo glass. Period 1918-1936, c. 1925 Mushroom-shaped, multi-layered blown glass, with yellow and mauve in the layers underneath and etched decoration. The shade and base each signed ‘Gallé’. H.: 24.5 cm

Estimate €4000 - 5000 Provenance Private collection, Antwerp

20th Century

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Girl with tambourine

72 F. PREISS Estimate: â&#x201A;¬4500-5500

An exquisite collection of artdeco sculptures by Ferdinand Preiss (1882-1943), Georges Omerth (1895-1925) and Otto Poertzel (1876-1963) amongst others. Provenance Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

G. OMERTH Estimate: €500-600

F. PREISS Estimate: €2500-3500

20th Century

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F. PREISS Estimate: €1000-1200

FERNAND ALLARD L'OLIVIER (1883-1933) L'HumilitĂŠ, 1922. Oil on canvas. Signed and dated 'Fernand Allard L'Olivier 1922'. 209 x 158.5 cm Estimate â&#x201A;Ź6000 - 8000 Provenance Brussels, Galerie Moderne, 23.11.2004, lot 367; Brussels, Horta, 12.02.2007, lot 159; Brussels, Horta, 12.01.2009, lot 154; Part of a distinguished Flemish collection of a total of 100 pieces of fine antiques.

20th Century

Live online February 17 Link to catalogue (online January 27)

20th Century

Presumably inspired by the drawings entitled 'Dans les coulisses' by Felicien Rops (1833-1898) Around 1878, the Parisian bibliophile, Jules Noilly, asks the artist Félicien Rops to make two albums with drawings: 'Cent légers croquis sans prétention pour réjouir les honnêtes gens' and 'Album du Diable'. From the latter album, one drawing stands out, the sheet 'Dans les coulisses' (ill. 1). We see Satan, seated on a chair, watching/judging an almost undressed girl backstage at the theatre. This drawing will mark the beginning of Rops' 'satanic period'. In 2008, this drawing was acquired by the King Baudouin Foundation and donated to the museum in Namur. In this painting by Fernand Allard l'Olivier, entitled 'Humilité/ Contrition hypocrite' (Humility/ Hypocritical Repentance), we see a similar composition, with a naked woman who appears to be preparing herself in front of a toilet mirror with a dark figure observing her. Above the toilet mirror, we see the feet of Christ on the cross. Therefore, the naked woman could also refer to the figure of the weeping Maria Magdalena in a traditional depiction of the Lamentation. The title 'Hypocritical Repentance' could have a moralizing meaning. The woman, having committed sin, regrets her actions, and shows remorse. Hypocritical, however, for who else but the devil knows men better in his pursuit of pleasure and lust. He looks amused because he knows that this sorrow will be short-lived.

ill. 1. Félicien Rops, Dans les coulisses, ca. 1878 - 1881, coloured chalk, pastel, aquarel, on paper, 260 x 165 mm, Namur, Musée Félicien Rops.

Jewellery

An 18 carat gold minaudiĂ¨re with matching comb and lipstick holder and a mirror inside. +/- 460 g net weight. Set with 39 brilliant cut diamonds, 1.35 kt, colour G, clarity VS1. Estimate â&#x201A;Ź20000 - 22000

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Jewellery

A platinum ring set with a diamond of 4.08 ct, colour F, clarity VS1 and with 33 diamonds of 0.28 ct, colour G, clarity VS1. Sold with a certificate of the Antwerp HRD (no. 200000089285), dated 1.10.2020. Estimate â&#x201A;Ź50000 - 60000

Live online February 17 Link to catalogue (online January 27)