Prelude April by Bernaerts Auctioneers

PRELUDE

Sale April 20 - 22, 2021

HIGHLIGHTS LIVE ONLINE IN ANTWERP

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 of the sales taking place at Bernaerts Auctioneers. It will highlight some of the precious items consigned for sale in the very near future.

FELIX LABISSE (1905-1982) (detail cover) Madeleine de la Palud, 1971. Canvas. Signed 'Labisse'. Signed and dated on the reverse 'Labisse/ 1971'. 30.5 x 24 cm, 48 x 42 cm Estimate € 2000-3000

Wait until Spring

The Le Grelle - Moretus Collection April 20 Old & Modern Masters April 21 Works on Paper & Editions April 22

Viewing days April 11 - 18 by appointment

Full catalogue From April 2nd you will be redirected to the full catalogue by clicking on the link. Additional photographs and details will be available as well as bidding forms.

Buyer's premium 22% In the room and by absentee bid 23% Works on Paper sale 25% Telephone bid 28% Webcast (Invaluable, Drouot or Bernaerts Live)

For more details contact our experts Experts The Legrelle - Moretus Collection and Old & Modern Masters Christophe Bernaerts & Elise Boutsen Experts Works on Paper Elias Leytens & Peter Bernaerts

The Le Grelle - Moretus Collection April 20 This exquisite collection consists of some 222 lots with a noble provenance featuring highlights such as a pair of 15th-century funerary statues and a double portrait of the 17th-century Geldorp Gortzius (1553-1619) next to a 19thcentury marble chimneypiece after Thomire. Amidst a wide array of antiques, refined furniture and sought-after artefacts from the 15th to the 19th century such as an ensemble of weaponry, Japanese and Chinese porcelain, majolica and silverware.

Old & Modern Masters April 21 A sale of about 300 works of art by Old and Modern painters and sculptors such as Hippolyte Alexandre Moulin, Ferdinand De Braekeleer, Albertus Steenbergen, Alberto Sicco Hempenius, Gerard Portielje, Gustave De Smet, Engelbert Van Anderlecht, Jef Van Tuerenhout, Arman, Karel Appel, Jan Cobbaert and Niki de Saint-Phalle amongst others.

Works on Paper & Editions April 22 In this thematic auction of 20th-century drawings, editions/ books and prints, about 500 high quality items will be offered for sale. Marcel Broodthaers is once again at the center of this auction. The original manuscripts for 12 of his 'Lettres Ouvertes', a perfect copy of 'Pauvre Belgique' (1974), a splendid copy of first invitation 'Moi aussi ...' (1964) and various rare ephemera will most certainly catch the eye. But striking graphic work and original drawings by Pierre Alechinsky, Cesar, Eduardo Chillida (with the sought-after suite 'La indetenible quietud' from 1998), David Claerbout, James Ensor ('Les bains d'Ostende'), José de Guimaraes and David Hockney a.o. will be present as well. A magnificent portrait of the celebrated Paul van Ostaijen, 'a flamish poet' (sic), by Walter Swennen stands shoulder to shoulder with a major drawing by Kati Heck. But also a complete set of the magazine 'Chorus' (1968-72), in a deluxe edition, an almost complete set of the Antwerp underground magazine 'Force Mental', rare editions by Thierry de Cordier, Gerhard Richter, Olafur Eliasson.... make this 'Paper'-Session a real treat for every art lover and connoisseur.

HOW TO BID

BIDDING

WAYS

Due to the changing circumstances of the Covid-19 restrictions, we have introduced a new way of auctioning: the Live Online Auction. This means that unlike in a regular Live Auction, the auctioneer will call without a live audience. The auction will be streamed live from the auction room. Therefore, it is not possible to bid live in the room but there are 3 alternative ways of bidding.

1. Online: from April 2nd you can place a 'prebid' or you can bid live during the auction. There are 3 online platforms that you can use for prebids and live bidding: Bernaerts Live, Invaluable or Drouotonline. Please note that you must register at least five hours before the start of the auction in order to participate. During the auction you will have to log in with your login details in order to follow the bidding live and place your bid. The auction fee is 28%. After registration you can also bid via the app 'Auctioneers Bernaerts Live' which can be downloaded from the App Store or Google Play.

2. Send your absentee bid form to info@bernaerts.be 12 hours prior to the auction at the latest. The auctioneer will try to acquire your lot at the best possible price. The auction fee is 22%.

3. Download the telephone bidding form and send it to info@bernaerts.be 12 hours prior to the auction at the latest. One of our staff members will call you during the auction to bid live. The auction fee is 25%.

The Le Grelle - Moretus Collection

A bronze wedding mortar of the family Kock Holstein. Germany, 1673. With inscription: 'Omnis salus a domino anno 1673' & 'iohan Holstein Catharina Gertrut Kock' and coat of arms of both families. Handles in the shape of a dolphin. H.: 33.5 cm, smallest diam.: 26.5 cm; largest diam.: 32.5 cm Estimate € 6000-7000 Provenance Antwerp, Collection Legrelle-Moretus

An early 17th-century tapestry from Brussels in wool and linen with the depiction of the archangel Michael in a wooded landscape with a village in the background. 170 x 145 cm, 185 x 160 cm Estimate € 1000-1500

A 19th-century bronze gribeauval type cannon with tapering multi-stage barrels, raised astragal mouldings and a coat-of-arms. Mounted on an iron-clad wooden field carriage with iron-shod spoked wheels. 70 x 10 x 7 cm (cannon) 51 x 106 cm (with bronze barrel on wooden stand) Estimate € 3000-4000 Provenance Antwerp, Collection Legrelle-Moretus

The Le Grelle - Moretus Collection

Provenance Antwerp, Collection Legrelle-Moretus

A late gothic oak cabinet, a so-called 'tresoor' from the second half of 15th century. Chest-shaped upper part. One door with a lock in the frontside attached with two wrought iron hinges. Panels at the front with pointed arch motifs. Sides consisting out of four-lobed panels with leaf patterns. Open lower part consisting of a shelf just above the floor surface between four straight legs with zigzag motifs. Top of a later date. The 'tresoor' was a relatively small cabinet on rather high legs. These legs were also the corner posts of the cabinet. One or two drawers could also be fitted directly underneath. Some had one door, while others had two or even three doors, which, like the side panels, were decorated in a Gothic style. Usually, the tresoor was placed against the wall as can be seen in Rogier van der Weyden's 'Annunciation' in the Musée du Louvre (ill. 1). Mostly the tresoor was covered with a fine linen or damask piece of textile, beautifully finished with crochet work or embroidery. Pewter objects such as bowls, plates and jugs were placed on top. Different kinds of objects were kept in this cabinet, varying from important papers, silverware and small household objects to carpentry tools.

Estimate € 2000-3000

Provenance Antwerp, Collection Legrelle-Moretus Literature B. Dubbe et al. Thuis in de late middeleeuwen, exhibition catalogue, Zwolle, Provinciaal Overijssels Museum, 1984, pp. 31-33

ill. 1. Rogier van der Weyden, The Annunciation, oil on panel, 86 x 93 cm, Paris, Musée du Louvre, inv. 1982.

The Le Grelle - Moretus Collection

Live online April 20 Link to catalogue (online by April 2nd)

The Le Grelle - Moretus Collection

A pair of rare Brussels or Tournai stone sculptures on their original consoles depicting two donors with their patrons Saint Michael and Saint Catherine. Carved stone, with old polychromy. Work from the 2nd half of the 15th century. This pair of remarkable 15th-century stone statues from show hardly any damages and still hold most of their old polychromy. Most exceptional is the fact that both sculptures are accompanied by the two original consoles, on which they have been standing for centuries. The left statue depicts a donor in prayer while kneeling down. He is dressed with a long blue mantle with a wide border, most likely an imitation of fur. On his left arm, a peculiar detail can be found: a piece of the mantle is missing under which we can see his undergarment. Behind him stands his patron, Saint Michael. He is accompanied by his attribute which is the devil represented as a monstruous creature lying at his feet. Originally, Saint Michael was holding a spear with his left hand (damaged and restored) with which he stabbed the devil. As an intercessor for the praying man next to him, Saint Michael lays his right hand on his shoulder. The console on which the donor and his patron are standing depicts a reclining man who plays the lute.

Underneath the console, we find a king with a crown and a sword. It is not certain who is portrayed. Usually, these "vices" or "bad examples from religious history" are depicted underneath consoles. They are literally trampled upon by the saints and those destined for heaven. In that sense, Emperor Maxentius would also be suitable for this position.

The Le Grelle - Moretus Collection

The pendant piece depicts the donor’s wife who is also kneeling in prayer. She is wearing a long 15th-century gown and a veil on her head. Her patron is Saint Catherine, easily recognisable by the sword resting on the head of Emperor Maxentius. He was the pagan emperor who had the deeply religious Catherine beheaded. Similarly to Saint Michael, she lays her hand on her protégé.

The Le Grelle - Moretus Collection

Because of the patron saints, we know that the two kneeling figures are called Michael (Michiel / Michel) and Catherine (Katrijn). Unfortunately, the exact identity of the couple remains unknown. We do, however, have a good idea of the function of these particular type of statues. Typologically, they are statues that originated in a funerary context. This is indicated by the presence of the two patron saints who act as intercessors. This means that they are depicted as "already partaking of salvation", i.e. after their death. In the presence of their patron saints, they are kneeling in adoration, begging to be taken up into heaven. The four figures face the centre where most likely a representation of Mary or Christ was depicted. Since the original consoles have been preserved, we can assume that the statues were placed somewhat higher and formed part of either a funerary monument (epitaph) or a burial church. The mantle and especially the hairstyle of the kneeling man refer to the fashion of the second half of the 15th century. The features of Saint Catherine do look similar to a number of late 15th-century sculptures originating from Brussels. On the other hand, the fact that the statues were carved from stone and the features of Saint Michael are more related to Tournai. We therefore situate this very fine pair of statues, which has been preserved in excellent condition, in Brussels or Tournai around 1470-1490. Both statues measure 120 x 40 x 25 cm (with console)

Estimate € 30000-40000 Provenance Antwerp, Collection Legrelle-Moretus

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The Le Grelle - Moretus Collection

An Antwerp relief from an alterpiece depicting ‘The Circumcision’, ca 1520. Marked with Antwerp hand in the lower left. The original polychromy has been removed. On an altar table, a high priest is conducting the circumcision of the infant Jesus (Luke 2:21). The holy Virgin holds her child by the arms while looking a bit distressed. In accordance with the Antwerp iconology of the first quarter of the 16th century, the high priest wears little glasses on his nose. Their clothing is depicted with a lot of imagination and splendour. The Virgin wears a long veil that hangs down from a turban-style hat. Two braids flank her finely sculpted face. A special mitre crowns the distinctive face of the high priest who is concentrating on his task. Presumably, this scene was part of a alterpiece with scenes from the life of the Virgin combined with the life and especially the childhood of Jesus. It may also stem from a Passion alterpiece in which scenes from the life of Mary and the infancy of Jesus were often added at the bottom. A comparable sculpture housed at a private collection shows a third figure on the left next to Mary. The great similarity between several Antwerp reliefs can be explained by the commercial orientation of the Antwerp sculpture workshops. As the number of foreign merchants passing through the Antwerp harbour increased, the alterpiece production was rationalised and attuned to serial production. Nevertheless, the fine details reveal a great deal of imagination and craftsmanship of in the present piece. 37.5 x 31 x 7 cm

Estimate € 5000-6000 Provenance Antwerp, Collection Legrelle-Moretus Literature Hans Nieuwdorp (ed.), Antwerpse retabels 15de-16de eeuw, exhibition catalogue, Cathedral of Antwerp, 1993, cat. no. 28 en 39.

The Le Grelle - Moretus Collection

GELDORP GORTZIUS (1553- after 1619 ) Double portrait of Martin Hureau (1575-1630) and Margaretha de Groote (1590-1670), Cologne 1608. Oil on panel. A pair. Both dated and monogrammed in the upper left and right corners: 'A°n°∙1608./ GG∙F'. 19th-century frames. Both paintings show the portrayed from the hip. Martin Hureau is facing left, with his left hand on his side, and Margaretha de Groote is facing right, with her arms loosely against her skirt. Two paper labels with an inscription are attached to the reverse of Martin Hureau's painting: an older label with an inscription in an 18th or 19th-century handwriting that is very damaged and a more recent label with a transcription of the older label ‘Dit is het Portrait / van Martin Hurian / Moederlijken Groot / vader van Louis van / Colen Heere van / Broechem ende / sijne huysvrouwe / was margareta de / groot gebortig van / Ceulen / Recuiescant in pace’ (This is the portrait of Martin Hureau, grandfather by motherside of Louis van Colen, lord of Broechem and his wife was Margaretha de Groote, born in Cologne. May they rest in peace.)

(This is the portrait of Margaretha de Groote, grandmother by mother’s side of Louis van Colen, Lord of Broechem. Her husband was Martin Hureau. May they rest in peace.) Below this a third inscription something is written in white paint which is a French summary of the above labels: 'portrait de marguerite de / groot épouse de martin / Hurian, grand-mère / maternelle de Louis Van / Colen. / peint par Gualdorp / en 1608 / moretus de Boechout'. (Portrait of Margaretha de Groote, wife of Martin Hureau, grandmother by mother’s side of Louis van Colen. Paint by Geldorp in 1608. Moretus de Boechout.)

The Le Grelle - Moretus Collection

The portrait of Margaretha de Groote bears three corresponding labels on the reverse. Again an old, damaged label with an 18th- or 19th-century inscription. A more recent label with a transcription of the old, damaged label: ‘Dit is het Portrait / van Margareta de / Groot, Moederlijke / GrootMoeder van / Louis van Colen / Heere van broechem E. / haren Man was / Martin Hurian. / Recuiescant in pace’

Provenance Cologne, Venice and Antwerp 1608-1670, collection of Martin Hureau and Margaretha de Groote. The couple stayed in Venice until Martin's death in 1630. Margaretha travelled to Antwerp in 1632 and stayed there until her death in 1670; Her daughter, Suzanne Hureau, Lady of Berchem (1612-1676) inherited her mother's paintings; Her son, Lodewijk van Colen Lord of Burcht, Broechem and Oelegem (1645-1715) inherited the paintings from his mother; Presumably inherited by their son Servaas van Colen, Lord of Brucht (1672-1705), married to Maria Catharina van Courtois Lady of Bouchout (1672-1730); Presumably inherited by their son Karel Joseph van Colen Lord of Bouchout (1694-1736), married to Catharina Therese Emptinck (1710-1764); Presumably inherited by their son Charles Joseph van Colen, Lord of Boechout and Burcht (1735-1791), married to Jeanne Marie Simone Joseph de Fraula (1742-1805); Presumably inherited by their son Lodewijk Paul Karel Joseph van Colen Lord of Bouchout (1766-1820) who died in as the last male member of the Van Colen family, married to Thérèse Marie Josèphe de Bosschaert (1760-1825); Presumably inherited by their daughter Maria Caroline Theresa Josepha van Colen de Boechout (1784-1836) married to Jean-Paul Moretus (1782-1850); Presumably inherited by their son Charles Paul Joseph Moretus de Boechout (1806-1880) married to Anne Joséphine Antoinette Marie du Bois (1819-1848); Presumably inherited by their son Emile Paul Joseph Marie Aloïs Moretus de Bouchout (1842-1917) married to Zoé Anne Marie Hubertine Ghislaine du Bois d'Aische (1847-1940); Presumably inherited by their son Philippe Adrien Marie Moretus de Bouchout (1874-1942) married to Valentine Marie Joséphine le Grelle (1880-1947); Presumably inherited by their daughter Hélèle Clémence Albertine Moretus de Bouchout (1915-2015) married to Jean Englebert Joseph Le Grelle (1911-1990); Inherited by their grandchildren

The Le Grelle - Moretus Collection

Roland Baetens, historian of the De Groote trading house, writes how the young Martin Hureau, is travelling to Cologne with a troubled mind to meet his fiancée of whom he only knows that she is rich but ugly. Around May 1608, Martin complains about this in a letter to his friend and business partner Louis du Bois (1583-1651). This letter is still kept in the Antwerp city Archives. Despite his concerns, the marriage was celebrated shortly after, on October 4th. The 33-year-old groom was right about the wealth of his young bride. Margaretha de Groote was the daughter of Nicolaas de Groote (15491613), an important merchant in spices, textiles and luxury goods who established his business during the Antwerp Golden Age. Due to the turmoil of the 80 year war, Nicolaas and his family fled the city in 1584. They immigrated to Cologne where he further expanded his trading empire and became one of the city's most prosperous citizens. Prior to the wedding, several family councils were held to adjust the trade organisation and partnership in the form of complex business contract. Hureau's new affiliation with the De Groote family and his link with the other trading families such as the Fourmenois and Pellicorne clan, were thus commercially settled. As early as November 1608 the young couple travels to Venice to represent the newly established trade organisation which also had branches in Cologne, Pesaro, Amsterdam and Leiden.

The Le Grelle - Moretus Collection

As for the appearance of his bride, Martin seems to have been wrong. Geldorp Gortzius depicts her with a soft face, mischievous eyes, full lips and luxurious attire. The beautiful details in the corset and the lace cuffs of her sleeves show his talent for painting textiles. Her mischievous eyes also reveal her intelligence. After her husband's death in 1630, Margaretha gives proof of an excellent nose for business. In 1632 she travels back to Antwerp where she continues to profit from her trade relations established in Venice. Roland Baetens writes how she is involved in an enormous transaction in raw Persian silk which she bought directly from the Dutch East India Company in 1633. Over Spain, this she trades in precious metals that she resells to the bank. She is also heavily involved in the exchange trade between Amsterdam and Venice, speculating on the currency. Even after the age of 68, she continues to invest a large part of her fortune together with trading family members. In 1670, she dies at the age of 80 in her house 'den dom van Ceulen' in Antwerp and, according to Roland Baetens, leaves her two daughters with one of the largest inheritances of the century. Also Geldorp Gortzius – only known by his two surnames, his first name is still unknown - emigrated from Flanders to Cologne. In 1553 he is born in Leuven and in Antwerp he is the apprentice of Frans Francken I (1542-1616) and Frans Pourbus I (1545-1581). Later, he is selected as court painter of Carlo d'Aragona Tagliavia, Duke of Terranova (1530-1599), who invites him to Cologne, where he will stay for the rest of his life. He mainly paints sober portraits of distinguished citizens in black clothes with a black background. Yet, he distinguishes himself from the traditional Cologne painters by using more colour and a softer approach for the faces. This made him very popular with the well-to-do classes, who were eager to be immortalised by his work. The Rijksmuseum in Amsterdam owns two family series by his hand, including two very similar portraits of Lucretia del Prado and her husband Jeremias Boudinois from 1610 (inv. SK-A-916 and SK-A-917).

Both panels measuring 105 x 76.5 cm and 127 x 100 cm framed. Estimate € 15000-20000

ill. 1 Geldorp Gortzius, Jeremias Boudinois, signed and dataed ‘GG.F. Anº 1610', oil on panel, 103 x 81 cm, Amsterdam, Rijksmuseum, inv. SK-A-916

ill. 2 Geldorp Gortzius, Lucretia del Prado. Wife of Jeremias Boudinois, signed and dated ‘GG.F. Anº 1610', oil on panel, Amsterdam, Rijksmuseum, inv. SK-A-917

Live online April 20 Link to catalogue (online by April 2nd)

After PIERRE PHILIPPE THOMIRE (1751-1843) A fine Empire style ormolu and patinated bronze-mounted green granite chimneypiece, ca. 1840-1845. A rectangular green marble shelf above a frieze fitted with affronted griffons at the corners linked by floral garlands, each swag centered by a rosette. This mantle, raised on single-legged sphinxes with olive green patinated bronze busts resting on scrolling acanthus leaves entwined with ormolu serpents and lion heads. During the reign of Napoleon I (1769-1821), the sculptor Pierre-Philippe Thomire was the leading bronze caster of the First French Empire. He was mainly known for his decorative objects in patinated and gilded bronze. After he bought the furniture workshop of Marin-Eloi Lignereux (1751-1809) in 1804, he became very successful for his furniture fittings. In his workshop, which at its heigh point employed six to seven hundred workers, Thomire also produced many of the bronzes that were installed in imperial residences. An almost identical chimneypiece, stamped by Thomire, was sold at Sotheby’s, New York, 03.11.2005, lot 175. This New York piece once belonged to Général Le Marois (1776-1836), a trusted ally of Napoleon I (1769-1821). The frieze holds medallions depicting mythological figures instead of rosettes alternating the floral garlands in the present piece for sale in Antwerp.

The Le Grelle - Moretus Collection

A console table by Thomire of virtually identical overall design can be found in the collection of the Musée du Louvre (inv. OA 9969). It is fitted with an identical ormolu border beneath the top, identical frieze mounts, lacking the circular medallions on the piece sold in New York, and is raised upon identical term figures. The console was placed in the apartments of the ‘Fils de France’ at the Tuileries under the Restoration, then in the grand salon of the Empress at the Chateau de Compiègne under the Second Empire (cf. D. Alcouffe, et al., Furniture Collections in the Louvre, Vol. I, Dijon, 1993, no. 105, pp. 308-309). Another chimneypiece with the same frieze of garlands and atheniennes was delivered by Thomire in 1804 for the salon of Prince Eugène de Beauharnais in his hôtel on the rue de Lille in Paris; this is now the German Embassy. In our opinion the present chimneypiece can be dated around 1840-1845 when aristocratic interiors were decorated in the Empire style during the Louis Phillipe period such as the salon in Hôtel de Serres. A watercolour drawing by François-Etienne Villeret (1800-1866) from 1843 depicts this salon in which we can find an almost identical chimneypiece (cf. Bruno Pons, French Period Rooms 1650-1800, Dijon, Edtions Faton, 1995, p. 417). This room was deliberately furnished in such a way as to give it an Empire style atmosphere.

Provenance Antwerp, Collection Legrelle-Moretus

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The Le Grelle - Moretus Collection

Estimate € 8000-10000

The Le Grelle - Moretus Collection

JACOB BILTIUS (1633-1681) Hunting still life with hare, hunting horn, powder canisters and pistols. Canvas. Ca. 1670. Traces of a signature in orange paint underneath in the middle ‘… Biltius…’. Dated on a label on the ebony frame 1651, stylistically more likely originating from the 1670s. Wear marks in the lower part. Jacob or Jacobus Biltius was a Dutch still-life painter originally from The Hague who worked in various places including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden and Bergen op Zoom. He was known for his game still lifes, kitchen still lifes and trompe-l'œil still lifes with birds. By the middle of the 17th century, hunting still lifes had become very popular in the Dutch Republic. As an increasing number of Dutch people had become prosperous, they wished to display in their sumptuous country houses hunting still lifes, which expressed their high social status. Although the frame is dated 1651, this painting most likely originates from the 1670s, when Biltius painted game still lifes more related to the Flemish tradition as he was living in Antwerp by that time. A very similar game still live was sold at Christie’s Amsterdam in 1997, 19.02.1997, lot 38. The background of this piece is painted less delicately than the present piece in which the details of the weaponry and the horns in background are absolutely stunning.

Estimate € 8000-12000 Provenance Antwerp, Collection Legrelle-Moretus

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The Le Grelle - Moretus Collection

82 x 112 cm 103 x 131 cm

The Le Grelle - Moretus Collection

A German etched comb Morion, second half 16th century. Helmet with a one-piece skull rising to a tall roped comb encircled around the base with brass-caped lining rivets on brass rosette washers (three missing). Turned roped edge (two cracks on one side). Inside some retaining fragments of the leathers for the missing cheekpieces and spots with orange-coloured corrosion. Etched throughout with bands and panels of scrolling foliage on a granular ground. The comb decorated with a troubadour on one side and standard-bearer on the other side, each flanked by two eagles. The skull decorated with seven floral bands and a floral cartouche on each side: one depicting the Sacrifice of Isaac and the other a soldier on horseback. 30 x 34 x 18 cm Estimate € 2000-3000 Provenance Antwerp, Collection Legrelle-Moretus

Circle of CLAUDE MICHEL CLODION (1738-1814) A pair of Louis XVI period candelabra with five branches. Brown patinated and gilded bronze and pink-veined marble. In the shape of a little angel, standing on a base with a torch in his hands. H.: 78 cm Estimate € 2000-3000 Provenance Antwerp, Collection Legrelle-Moretus

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Old & Modern Masters

JERONYMUS VAN DIEST II (1634-1677) Several Dutch warships and traditional flat-bottomed boats, with (presumably) Dordrecht in the background. Canvas. Monogrammed 'I.V.D.' on the leeboard of the flat-bottomed boat. It is most likely the city of Dordrecht, with the rectangular tower of the Church of Our Lady, that is depicted in the background of this marvellous, and rare seascape of Jeronymus van Diest. On the junction between the Oude Maas and the Noord, we see two war ships on the right of which one is decorated with a red lion on its stern. Van Diest often uses a remarkable handling of the light in which the entire outer lower part of the seascape is casted in a large shadow of a cloud. He plays with the silhouette of the rowing boat and the people on board that contrasts with the bright light behind them. An impressive, yet smaller, painting with the title ‘The seizure of the English flagship 'Royal Charles' captured during the raid on Chatham (June 1667)’ is housed at the Rijksmuseum (inv. SK-A-1389) in Amsterdam. The present painting equals the Amsterdam canvas in technique, composition and style. Moreover, it is one of the largest canvases in his entire -relatively unknownoeuvre. The balanced composition, the sense of depth and the subtle handing of the light showcase Van Diest’s talent as an artist. They plead for more art-historical research on this underappreciated painter of marines. The canvas measures 110 x 170 cm and 135 x 195 cm framed.

Estimate € 40000-50000 Provenance Antwerp private collection

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Old & Modern Masters

Wunderkammer A collection of different lots, assembled according 18th-century fashion

No small talk after dinner. After all, the 18th-century aristocracy and wealthy bourgeoisie tried to entertain their guests with a trip around the world by showcasing their 'Wunderkammer'. This curious and provocatively eclectic way of interior decorating is still copied by collectors today. Unique objects such as the Medici vases exhibited here, a bust of Hendrik Conscience on books, small musical figures from Congo, a set of prehistoric axes, academic models in plaster or a portrait of Napoleon I are displayed disorderly but not without care in order to convince the guests of the host's eloquence, historical knowledge, sense of aesthetics or cosmopolitan nature. Such a personal collection would often hold several souvenirs brought back from the Mediterranean countries along their the so-called ‘Grand Tours’. Some exquisite Wunderkammer were the actual basis for the creation of several impressive museums such as the Sir John Soane’s Museum in London, the Teylers Museum in Haarlem, and the British Museum.

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Old & Modern Masters

ALBERT MULLER-LINGKE (1844-1930) Tyrolean gathering. Canvas. Signed 'Müller-Lingke'. Period gilt frame. 68 x 83 cm 106 x 125 cm Estimate € 3000-4000

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A fine mallet shaped blue and white vase 'yaolingzung'. Xuande mark, Kangxi period. Qing dynasty. Finely decorated on the lower part with an encounter of two masters on a donkey each accompanied by a scholar in a rocky landscape with flowering rock. H.: 28 cm

Estimate € 5000-6000

Old & Modern Masters

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A fine Transitional style blue and white bottle vase. Qing dynasty, Kangxi period. With a pear-shaped body supported on a foot, sweeping up to a long slender neck collared by a central bulb and a flared rim, brightly painted around the exterior in shades of cobalt with a composite floral band centred with a large lotus on each side surrounded by long palm leaves, flanked by a pair of camellias and further chrysanthemum and hibiscus, all borne on a continuous meandering scroll between a row of petals skirting the base and pendent lappets draping the shoulder, the neck further collared by a narrow band of foliate florets and a blue-ground border picked out with white blossoms, all below four pendent elongated panels enclosing a white lotus around the lower neck, a lotus scroll on the central bulb and upright flowers at the rim, the base glazed. H.: 42 cm Estimate € 12000-15000

Old & Modern Masters

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Old & Modern Masters

A blue and white beaker vase of archaic Gu-form. Qing dynasty, Kangxi period. Painted with a band of two t'ao t'ie masks on the globular body and the flared neck between narrow bands with meandering scrolls and triangles. Neck decorated left and right with a biscuit figure of a priest on a lotusflower. One figure of one handle restored. Restorations on the upper and lower rim. Restored chips. H.: 38 cm Estimate € 6000-8000

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Old & Modern Masters

KAREL APPEL (1921-2006) Untitled. Ca. 1972-1978. Acrylic on paper, mounted on canvas. Signature bottom left 'appel'. Playful, colourful and clear in structure, that is how this drawing by Karel Appel should be read. This description also sums up the artist's style of the 1970s. In those years, the painterly character of his work became more important. Appel applied the paint thicker. More and more often, however, he built up his images, such as faces, trees, animals and still lifes, from uniform brushstrokes. Through an explosion of colours and surfaces, one of the most recognisable painters of the Low Countries reveals himself. 50 x 63 cm Estimate € 10000-15000

NIKI DE SAINT-PHALLE (1930-2002) Poisson Vase, 1992. Painted polyester resin on metal stand and ceramic vase inside. Signed and numbered '6/50 Niki de Saint Phalle' (on a metallic plaque inside) with the editor's stamp 'R. HALIGON' (inside next to the metal plaque). 56 x 82 x 20 cm Estimate € 15000-20000

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Old & Modern Masters

ENGELBERT VAN ANDERLECHT (1918-1961) Ombre, 1957. Canvas. Signed 'Van Anderlecht'. Small perforation. The painter Engelbert van Anderlecht (1918-1961) studies at the art academy of Sint-Joost-ten-Node. Here, he experiences his first encounter with animism and later on influences of Cézanne can be found in his work. From 1957 onwards, he adopts an extremely iconoclastic attitude towards realism in painting and gradually, he devotes himself to abstract expressionism. Art critic Willem Elias would even go that far as to list him amongst international names such as Willem de Kooning (1904-1997) and Georges Mathieu (1921-2021). Unfortunately, this abstract expressionistic period came to an abrupt end, when he died unexpectedly in 1961. Van Anderlecht aimed at implementing an unspoiled purity. A beauty and simplicity he could find in animals and primitive artwork. This painting from 1957, titled "Ombre", was already implemented in an exhibition of the PSK in Brussels (1958) only one year after its execution. It was also part of an exhibition in the Musée d'Ixelles in 1968. In a more recent past (1990), this painting was exhibited once more in the Belgian capital in the exhibition 'E. Van Anderlecht 1918-1961'. 145 x 115 cm (unframed) Estimate € 15000-18000 Exhibition: Brussels, Paleis voor Schone Kunsten, 1958; Elsene, Musée d'Ixelles, 1968; Brussels, KMSKB, 'E. Van Anderlecht 1918-1961', 15.3-13.5.1990, cat.no. 39.

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HERBERT ZANGS (1924-2003) Untitled, 1960. Mixed media on canvas. Signed 'Zangs'. Signature and date '60 on stretcher on the reverse. 57.5 x 50.5 cm 71 x 61 cm Estimate € 5000-6000 Provenance Edebau, Ostend

Oil on canvas. Signed in the bottom right 'René Guiette'. 51 x 43 cm 69.5 x 62 cm Estimate € 10000-12000 Provenance Edebau, Ostend

Old & Modern Masters

RENE GUIETTE (1893-1976) Composition with Maison Guiette, around 1928.

Old & Modern Masters

"In the 1920s, René Guiette was captivated by the artistic innovations that were taking place at that time in Paris. As a supporter of the rigorous ideals of the art magazine L’ Esprit Nouveau, he took an initiative that was considered revolutionary at the time: for the building of an atelier in Wilrijk, he called upon the modernist architect Le Corbusier (1883-1965). After Guiette had written a letter to Le Corbusier in November 1924, the latter gave his first vision for Maison Guitte in March 1926. The plans arrived four months later and in 1926/1927 the house arose in the Populierenlaan in a style of severe austerity, like the superstructure of a ship. The design is free of decoration and sentiment, giving it a fresh and luminous appearance. While meeting all practical needs, the house is a place for meditation and an environment of pure beauty. Guiette likes to call the house ‘Les Peupliers’. He had two poplars planted in the garden because, strangely enough, there were none in the ‘Populierenlaan’ (Poplar Avenue)”. (Source: Siska Beele & Bob Daems, ‘René Guiette en Le Corbusier’, KMSKA blogt, November 7th, 2013)

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Works on Paper & Editions

PANAMARENKO (1940-2019) 'Magnetische spullen' (Magnetic stuff), late 1970s-early 1980's Notebook completely filled with numerous sketches, calculations etc. 20 pp. in-4.° Pencil, ball point pen, marker. Flickering through these pages, it's as if you are given direct access to the mind of the artist. All the pages are densely written and drawn upon, descriptions and scientific calculations rub shoulders. From the second half of the 1970's onwards, Panamarenko sets on an investigation into a way to fly with flying discs through space, thereby making use of magnetic fields. To get to know these fields, and how to use them, the artist builds his Great Plumbite in 1984. But before arriving at this experiment, Panamarenko dives into this 'magnetic stuff', as he writes in red marker along the left edge of the first page, and years and years of experimenting and 'studying' are to follow. In this magic realm between dream, science and experiment, the artist leads us through his labyrinth. Before our eyes unfolds what looks like an essential part of his everlasting quest to conquer the stars.

Per aspera ad astra! Estimate € 15000-20000

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Works on Paper & Editions

DANNY MATTHYS (°1947) 'Object/ Subject', 1975. Diptych, 101 orig. black & white photographs. Signed in black ball point pen on label on reverse. One of the only five copies realised (from an envisioned edition of ten). Framed. Object becomes subject. Danny Matthys often subjects the observation to an investigation: depicting the passage of time in space. And although photography is a medium that cannot directly grasp the dimensions of time and space, they feature consciously and frequently in his work. In the first section, 'Object', each photograph is a representation of a 'historical' moment on a plane background, more precisely the photograph itself. Only form rules here. Reality can be read unambiguously from each image. In the second part, 'Object-Subject', he makes the form coincide with a content. He creates a tension by placing an action in each perceived image, i.e. the mounting of the photo that has just been taken. That very photo is immediately integrated into the further construction of a series, it determines its own logical structure and makes the growth process of its own design visible. Time and space, form and content, are captured in the image of perception. 125 x 90 mm (x 101) 1470 x 1125/ 920 x 1115 mm Estimate € 3000-4000 Literature Danny Matthys, De Baere, B. en Imschoot, D. Gent, Imschoot Uitgevers, 1989, p. 127 e.v./ Danny Matthys, J.P. De Paepe, 2002, p. 20-21, ill.

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Works on Paper & Editions

KATI HECK (°1979) 'Hauruck Bürger', 2007. Watercolour, coloured pencil and crayon. Initialled. Framed. 1940 x 1120 mm 2180 x 1360 mm Estimate € 15000-20000

Works on Paper & Editions

'Hau Ruck' could be translated as 'Heave Ho', a phrase that you say or shout when you are making a big effort to pull or lift something. Difficult though to try to dismantle this early work by the Antwerp painter Kati Heck (°1979). Her colourful oeuvre is consistently characterised by irony, drama and a highly original sense of the grotesque. But 'Heck's paintings reward dissection by art historians, they contain enough puzzles to keep the professors busy' as stated Ben Eastham recently in the introduction of the catalog of the The Hague soloshow (Hauruck d’Orange, Kunstmuseum 6 June to 8 November 2020). 'Their most compelling quality is their resistance to paraphrase, ... the paintings play in that teasing space between meaning something else - something exterior, something translatable - and meaning exactly what they depict'. 'Since the great success of Neo Rauch and others, figurative painting has become omnipresent again in Germany and Austria. Canvases with all kinds of, not seldom, large-scale bizarreness are presented monumentally and theatrically and give an image of a complex society in which psychologists and philosophers can lick their lips, and in which the public is offered a colourful mixture of entertainment, profundity and quasi-profoundness. Kati Heck's painting connects the German New Objectivity of the interbellum period with the verve of a contemporary cartoonist' (source: B. Pieters, 'Goed, veel maar dan? Kati Heck, Hauruck d'Orange; GEM, Den Haag', Villa La Repubblica, Wordpress, October 20th, 2020) This 'Hauruck Bürger' drawing on four sheets, sewn together, was first shown at Annie Gentils in Antwerp, and afterwards shown in the New York Mary Boone Gallery where it was acquired in the 'Gsuffa, der eiserne Pomoment' show. It was then purchased through auction by the present owner. Provenance: Annie Gentils Gallery, Antwerp/ Mary Boone Gallery; New York (label on the reverse); Private collection, Antwerp

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Works on Paper & Editions

FRANZ M.MELCHERS (1868-1944) L'an. Poëmes par Thomas Braun. Bruxelles, E. Lyon-Claesen, 1897. In-4°. With the sixteen chromolithograph plates by Franz Melchers. And with an astonishing Art Nouveau title page with the title heightened by hand. The fragile cover in near perfect condition. Orig. half green leather, back with raised bands, guilt top, orig. covers. The chef-d'oeuvre of the painter Franz M. Melchers (Münster 1869 - Antwerp 1944). Melchers studied in Brussels at the Academy and for some time under Toorop in the Hague. In 1896 he was invited to exhibit with La Libre Esthetique for the second time that year. In 1896 he showed an important ensemble 'Rêves de Bonheur', inspired by a stay in the Dutch town Veere, on the isle of Walcheren. After the summer of 1896, when he had spent some time in Bruges, he began the series of gouaches (now in the Wittamer - Decamps collection) for this set of illustrations for his friend's cycle of poems on the seasons and the months of the year. The illustrations (253 x 253 mm) are reproduced in chromolithography, and not in woodblock, as often mentioned, and they are remarkable for their static, dreamlike quality and exquisite colour combinations, clearly inspired by the places he often stayed at or visited (Bruges, Veere). Estimate € 750-1000

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Works on Paper & Editions

JOZSEF RIPPL RONAI (1861-1927) 'Les Vierges', 1895. (Paris, S. Bing, 1895) Four full-colour lithographs. The strip of each pamphlet is illustrated with an original woodcut in olive green. The inside with four colour lithograph illustrations on a text by Georges Rodenbach. Original edition not justified, but 500 copies were printed on regular paper. Printed "à la japonaise" (only one side of the sheet), exquisitely delicate. This edition forms one part of the famous 'diptych' published by the great Siegfried Bing at Christmas 1895. The other part 'Les Tombeaux' has the illustrations by the Scottish artist James Pitcairn-Knowles. These truly Art Nouveau gems are the only publications given by Siegfried Bing, who on the moment of publication was about to open his now world famous gallery 'L'Art Nouveau'. It's hard to imagine nowadays, but the gallery and its name came first, the movement/ style, so widely known today, was 'only' named after it. Will we someday talk the 'Gagosian' style as well? Estimate € 800-1200 Literature Monod 9810; H. Hofstätter, Jugendstil, p. 260.

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Works on Paper & Editions

WALTER SWENNEN (°1946) Untitled ('a flamish poet'), 1980. Pencil, charcoal, coloured crayon and collage. 'Antwerpen 1896 - 1980', these two dates flutter above a faithfully drawn reproduction of a famous photograph of the Antwerp avant-garde poet Paul van Ostaijen (1896-1928), a sketchy mouse and typical . '1896' is the date of birth of the latter and the city of Antwerp is the place of birth of both the poet and artist. '1980' on the other hand, marks the period, as Swennen declares today, in which he aimed 'to liquidate a certain heritage, to get rid of poetry....'. And Van Ostaijen holds a special place for Walter Swennen, as he got to know, or better, experienced his poetry through his mother at a very young age. Without fully understanding the meaning of this poetry, a true fascination was born and stayed with him. This impressive drawing was shown at 'Occupations', 'a formative group exhibition', held together with Bernard Villers (°1939) at their common studio and living spaces. As Van Ostaijen famously pronounced: 'ik wil naakt zijn en opnieuw beginnen', Swennen also makes a re-entrance and again takes up his artistic activities. A move, although not taken intently, which thankfully now lasts over four decades: so far, so good! 2260 x 1535 mm Estimate € 15000-20000 Literature Walter Swennen, So far so good. Wiels, 2013, p. 150, nr. 8.

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Works on Paper & Editions

JEF GEYS (1939-2018) 'Untitled', 2003. Bluestone and bronze. Signed in black marker 'Jef Geys' and numbered 1/5. The fruit reliefs appear early in the practice of Jef Geys (1966) and return regularly. The theme is inspired by Geys's interest in ecology and man's relationship with nature. The series 'Zaadzakjes' (seed bags) and his proposals to use part of the Paris Tuileries or the Middelheim Museum as a field are also well-known. The reliefs are of different types of fruit (apple, plum, banana, cherries, etc.), which reappear in the same form, but in different sizes, weights and especially colours. Like the bodies of cars, they hang on the wall in vivid paint colours, stripped of their actual function or purpose, merely form and attraction. The criticism of the consumerism of the sixties is not far off. At the beginning of the 2000s, Geys won a commission for an in situ artwork in the Flemish Administrative Centre in Hasselt. The fruit reliefs are placed on columns in front of the building and become, with a vital irony, objects of devotion and worship. At hip height, they lie there to be touched and felt by passengers ('rubbing objects'). The reference to lucky images is done, but you can also sit on them, take a break. The edition in patinated bronze that we present here lies entirely in that line. Because of its height, it seems to be a child-sized version. A fruit becomes an art object that invites to a very intimate experience. Credit: Bart Janssen 440 x 170 mm

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Works on Paper & Editions

Estimate € 12000-14000

Works on Paper & Editions

MARCEL BROODTHAERS (1924-1976) Collection of original manuscripts for 12 of his famous 'Lettres Ouvertes', 1968 - 1970. Broodthaers' Open Letters include a set of texts on various subjects written and designed by himself. They were either distributed or sent by mail, balancing between 'Wahrheit' and 'Dichtung', shedding light on his own position but definitely also commenting on art and cultural policy. Given the artistic context and practice of that time, there is a direct link to mailing art and artworks typical from that period, taking the form of posters, leaflets, handouts etc. And given the fact that Broodthaers had a previous 'career' as poet and journalist, it comes as little surprise that most of them are most eloquently formulated and touch on stylistic devices such as paradox, irony, subversion and contradiction. Quite a few of these letters are also directly related to his long running and large scale project 'Musée d'Art Moderne, Département des Aigles', hence the imprint and the official tone he often deploys. In an interview with the Belgian art critic Ludo Beckers of 13 December 1969 Broodthaers stated: 'Ces lettres sont un peu le contraire d’un moyen de communication, elles communiquent plutôt le nom du musée. Par leur enseigne et la situation de ce musée, elles s’opposent vivement au style officiel et à la communication rationnelle des musées et des organismes culturels existants.' As no other manuscripts for his 'Lettres Ouvertes' have ever surfaced, we can safely say that the ensemble we offer for sale, are the only surviving ones. We join the 'Lettres Ouvertes' as printed and distributed at the time. Full list and detailed description on demand. Estimate € 55000-60000

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Works on Paper & Editions

EDUARDO CHILLIDA (1924-2002) 'La Indetenible Quietud', 1998.

Barcelona, Boza Editor, 1998. Loose in-fol. One of the 100 regular copies, after 20 'HC' and 'PA' marked copies with suite. Signed by artist and author. All six etchings signed and numbered in pencil. Orig. cover, cloth covered box and slipcase. Orig. wooden box.

The large scale sculptures of the Basque sculptor Eduardo Txillida Juantegi (1924-2002) can be seen on display in museums, parks and public squares throughout the world. Yet, since 1959 - when he returned from France to his native San Sebastian area where he deceased in 2002 the artist also conceived a distinguished oeuvre of etchings, lithographs and woodcuts. This series, ‘La Indetenible Quieted’ (lit.: The unstoppable Stillness) containing six original etchings illustrating 32 poems by Clara Janès, dates from 1998. Although the sheets are rather big (440 x 355 mm), the etchings, printed on special 'Eskulan' paper, are small (140 x 95 mm) but striking. As if Chillida’s steel sculptures arise from the paper. Of utmost rarity. Estimate € 8000-10000

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Works on Paper & Editions

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JAMES ENSOR (1860-1949) 'The baths at Ostend', 1899. Etching on simili Japan paper. Signed in the plate. Signed, dated and titled in pencil. Some minor foxing, some visible traces of foldings. Framed (opened). Nine years after the execution of the painting in 1890 (since 2007 on the 'Topstukkenlijst' of the Flemish Community, now in Ghent, Museum of Fine Arts, inv.nr. 2011-GP), Ensor made an etching of this satirical scene. This etching is also the only one for which Ensor used tracing paper in order to counter the mirror image otherwise obtained when etched and printed. He wanted to have the exact view in print as people would watch the beach in real time from the boardwalk. It is a sparkling and striking sketch of the fin de siècle madness in the most important Belgian coastal city around 1900. On the left are beach huts that were pulled to the water with a horse, after which the usually distinguished ladies and gentlemen could enter the water and - through Ensor's eyes - immediately lost all dignity as bathers. The mass spectacle is watched attentively by an audience from all walks of life, on the beach and in the cabins. Some of them even carry binoculars to get a better look at the details. A photographer has taken up position on one of the booths, perhaps a reference by Ensor to contemporary photographs and postcards that portrayed Ostend bathers.

225 x 280 mm, 730 x 530 mm Literature/sources: Ghent, MSK, online collection The Baths at Ostend (inv. 2011-GP); U. Becks-Mahony, James Ensor 1860 - 1949. Masks, Death and the Sea. Cologne, Taschen, 1999, p. 55; A. Taevernier, Catalogue illustré de ses gravures, leur description critique et l'inventaire des plaques, Ghent, SDZ, 1999, nr. 115. Estimate € 7000-9000

Works on Paper & Editions

When exhibited at 'La Libre Esthétique', even Maus and Picard thought the painting (actually drawing on panel) too offensive and hung it on a secluded spot. When King Leopold II visited the exhibition and asked whether they had more works on view, both gentlemen hesitantly showed him the work. Word has it that the King was very much impressed by the work and noted: 'Monsieur Ensor has done the subject very well; he has not exaggerated, this is exactly how one bathes in Ostend. The sea and bathing do sometimes hold pleasant surprises in store for us.'.

Works on Paper & Editions

HENRI EVENEPOEL (1872-1899) 'Tombée du soir sur le fleuve, Anvers', 1895. Oil on cardboard. Intialled. With authentification stamp on the reverse. Framed. In the early summer months of 1895 Evenepoel spends some weeks in Antwerp, as a sort of self-confinement, to prepare himself for the 'Prix de Rome'. But he doesn't feel at ease in this city and he thinks its inhabitants are 'souverainement antipathiques'. During these weeks he locks himself up during the daytime. In the evening he wanders through the narrow city streets and makes long walks along the river Scheldt. It must be on one of the these strolls that he delicately catches the mighty flow of the water, as the sun sets on the left bank. Ultimately, Evenepoel fails his test for the Prix de Rome, but looking at this moody and sensitive work, you can hardly feel sorry for that. 245 x 325 mm 370 x 440 mm Estimate € 4000-5000 Provenance Louise van Mattemburgh, Brussels; Paul van der Perre, Brussels; Private collection, Brussels Expo Antwerp, KMSKA, Retrospectieve H. Evenepoel 1953, cat. nr. 73; Nürenberg, Fränkische Galerie am Marientot, nr. 38. Literature Derrey-Capon nr. 114.

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Works on Paper & Editions

(Richter) Gerhard Richter, Atlas. Cologne, Walther König, 2015. Four vol. large in-fol. 828 pp. Orig. grey linen, slipcase and cardboard box. Monumental set in pristine condition, as issued. Gerhard Richter (1932°) began mounting parts of his extensive collection of pictorial material, the pieces that he considered important, on cardboard, more than 50 years ago. He did so guided by the desire to create order and clarity: private photos, cuttings from newspapers and magazines, sketches, drawings, construction plans, designs for rooms, collages, overpainted photographs as well as draft versions and paintings. The Atlas soon developed into an independent 'Gesamtkunstwerk' mirroring biographical and historical facts. In 2012, Richter began to consider not only reproducing the Atlas, but rearranging it as a book. His decision to show all of the plates at a scale of 1:2 makes the monumental archive, with more than 5,000 images, visible in all its details for the first time. Estimate € 500-750

(Eliasson) Olafur Eliasson, An encyclopedia. Taschen, 2008. Large in-fol. One of the 200 numbered copies, this one being nr. 153, apart from 50 artist's proofs. Comprised of 26 offset lithographs, on wove paper, with text by Philip Ursprung. Original artist designed high gloss polished cold formed steel cover and contained in the original clamshell box (upper lid loosened, some minor handling traces). 'An Encyclopedia, commissioned by Taschen, and designed by Andreas Koch and Stefan Stefanescu, presents a conglomeration of artworks and ideas based on the research and production at Studio Olafur Eliasson. The projects revolve around the experience of space and time, movement, and the ways in which personal engagement changes spatial dimensions and social spheres. The backbone of the book is its twenty-six chapters, each devoted to a letter of the alphabet and an associated concept that is central to Eliasson’s practice. These concepts are elucidated in twenty-six short conversations between Eliasson, Philip Ursprung, and Anna Engberg-Pedersen. An abundant number of artworks, from photo series and light sculptures to installations and larger architectural projects, are distributed throughout the book, each work included in the chapter to whose concept it relates.' Source: olafureliasson.net Estimate € 800-1200

Works on Paper & Editions

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Voilà l'été

Sale June 15 - 17, 2021

FOR CONSIGNMENTS AND INFORMATION PLEASE CONTACT

Art & Antiques christophe@bernaerts.be Works on Paper elias@bernaerts.be Design info@bernaerts.be

Canvas. Signed 'A. Handrick'. Period gilt carved frame. 228 x 137 cm Estimate € 6000-8000

INVITATION TO CONSIGN until April 16

A HANDRICK XIX Girl with peacock at an antique monument by the Mediterranean.

Works on Paper June 17

Photo archive Jan Vanhoenacker The building of the 'Boerentoren', Antwerp, 1929-30.

Collection

Bpost Original drawings from a.o. Hergé.