Native Auction, 10 Years, Tribal Art, Contemporary Art and 20th Century Furniture, 15 May 2021

Native

10 years 15 May 2021 - Brussels

Native Tribal Art, Contemporary Art and 20th Century Furniture 15 May 2021 - Brussels

Auction 15 May Preview 8 - 15 May Rue Américaine, 26-28 1060 Brussels

Native Auctions Preview & Auction Rue Américaine, 26-28 Brussel 1060 Bruxelles Office and depot Ruisbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles

info@native-auctions.com T +32 (0) 2 514 04 42 Nicolas Paszukiewicz n.paszukiewicz@native-auctions.com Sébastien Hauwaert s.hauwaert@native-auctions.com Gilles Marquenie g.marquenie@native-auctions.com

Tribal Art, Contemporary Art and 20th Century Furniture 15 May 2021 - Brussels Auction 15 May 2021 19.00

Preview 8 - 14 May 2021 10.00 - 18.00 15 May 2021 10.00 - 16.00

Native celebrates its 10 years In the ten years of its young existence Native Auc tions has managed to take a unique place in the public auc tion market.

Star ting out as an auc tion house specializing in tribal ar t, its approach was quite unusual. With just 2 cataloged sales per year, a choice was made to of fer pieces that were chosen for their quality, regardless of their commercial potential or mere monetar y value. It was a risk y choice, cer tainly, but one that paid of f.

In a field that is of ten perceived as dif ficult or opaque, Native never waivered from of fering a ser vice to its clients that is not unlike the ser vice they would receive in a galler y. By making personal selec tions amongst the works of fered for sale, ex tensive research on provenance and availabilit y to guide potential buyers, a trust was earned which led to access to increasingly impor tant private collec tions and new discoveries to be shared.

The fields of specialization have since the early beginnings broadened in a way that allowed us to better express our personal interests. The juxtaposition of tribal ar t with modern or contemporar y ar t and design makes for a refreshing look on pieces that might be unjustly overlooked.

We are looking for ward to many more auc tions to come with more exciting pieces for which we can share our passion.

001. László Moholy-Nagy

(Hungarian - American, 1895-1946) Composition - 1922 Woodcut - 15,8 x 12 cm (plate); 20 x 17 cm (sheet)

€ 3000 - 4000 Stamp of the printer Emile Mayens, Antwerp Ar tist proof for Het Overzicht, n° 17, September 1923, p. 90

002. Siberian Shamanic Amulet Bronze - 9,4 cm Russia Provenance: Private collec tion, Belgium

€ 2000 - 3000

003. Marcel Breuer

(Hungarian, 1902 - 1981) Model B3 Club Chair [Wassily Chair] 1925-1926 (designed), Edited by Standard Möbel between 1927 and 1929 72,5 x 77 x 68 cm Nickel-plated tubular steel and fabric

€ 18 000 - 25 000 Designed at the Bauhaus School in Dessau c.1925-1926, the B3 Club Chair was the first chair to be created in tubular steel. The technique was inspired by the bent metal tubes from Breuer's bike and was quite novel at the time.

It allowed for a sturdy and light struc ture that could be produced on an industrial scale. The design aimed for visual transparency with a free flow of space and light such as was to be found in modernist architec ture.

Standard Möbel was founded in Berlin by Breuer in 1927 and was acquired

by Thonet in 1929. They were the first to produce this chair, but with its revolutionar y looks, the produc tion remained quite limited during the first years of its existence, and in reality, the B3 Club Chair was hand-made in small quantities. During W WII, Thonet stopped produc tion altogether.

It was but in the 60s, when the Italian company Gavina included the chair in their catalog under the name Wassily Chair, that it became the ubiquitous design icon we know today.

004. Phillip Lloyd Powell (American, 1919-2008)

Side Table - c.1964 Giltwood, metal, and marble 61 x 55,9 x 61 cm Provenance: Private collec tion, Belgium

€ 7000 - 9000

005. Anto-Carte

(Belgian, 1886-1954) Le Saltimbanque Oil on canvas mounted on panel - 42 x 34 cm Signed lower right Provenance: Galerie J. Bastien, Brussels Private collec tion, Belgium

€ 15 000 - 20 000 In this delicate study for "Le Repos de Saltimbanques", Anto-Car te focuses on the gracious profile of a saltimbanque, clearly referring to the similar type of Picasso’s blue period. Anto-Car te’s use of glowing, mother of pearl-like colors make for an intimate por trait of a gracious and melancholic figure. Here we are shown the fragile side of the carny man. In "Le Repos de Saltimbanques", this figure is surrounded by his fellow carny-folk, as belonging to a family.

The oil on panel painting presented here was clearly intended as an independent ar twork: the detailed rendering of the saltimbanque, the fragments of other figures in the background, and the signature of the ar tist in bold red leave no doubt about that.

006. Jean Hélion (French, 1904-1987) Composition - 1934 Ink, watercolor and gouache on paper - 20 x 25,5 cm Initialed, located (Paris), and dated lower right Exhibited: Hélion. 20 équilibres: 1932-1939, Linda Hyman Fine Ar ts, New York, November 1994 (ill.)

€ 3000 - 5000 In the 1930s, Jean Hélion was one of the leading proponents of abstrac t ar t. Spending his time between Paris and New York, he was also one of the founding members of the American Abstrac t Ar tists. Hélion's Equilibre series of the mid-1930s illustrate best the ar tist's view on abstrac tion. He painted his first Equilibre in late 1932. In these works the ar tist sought to build forms evoking nature, giving an undulating rhy thm to the works that distinguished them from the more rigid abstrac t compositions of his contemporaries Van Doesburg or Mondriaan.

He did however share with these masters a quest for equilibrium, tension, and suspension.

The watercolor presented here is a per fec t illustration of these concerns that shaped the histor y of abstrac t painting in the first half of the 20th Centur y and would have a major influence on the bir th of abstrac t painting in America.

007. Daled, Vally & Soriano Ferroniers Table Lamp - c.1924 Wrought and hammered iron, glass 47 x 20 x 20 cm Plaquette with the inscription "Daled & Soriano" on the base

€ 2000 - 3000 Desk lamp designed by Louis Guindez (French, 1889-1978) for the town counselor's of fice in the Town Hall of Saint-Quentin.

Construc tion of the room began in 1924, and Guindez designed ever y thing, from the wall paneling to the guardrail and the light fixtures.

Today it still stands as the Ar t Deco masterpiece of Louis Guindez, with its elegant equilibrium between vegetal arabesques and straight lines.

The execution of the intricate ironwork was given to the company Daled, Vally & Soriano.

A beautiful example of French Ar t Deco, this lamp is in per fec t condition, with all its original fixtures still intac t.

008. A Rare Bauhaus Wall Carpet Wool, loop-pile technique, on hand-woven cotton ground 168 x 133 cm Germany, 1930s Each side with dif ferent geometric color fields Unique

€ 3000 - 4000

009. Nanai figure Wood - 21 cm Siberia Provenance: Tishenko Galler y, Helsinki Private collec tion, Belgium

€ 2000 - 3000

010. Ossip Zadkine

(French, 1890 - 1967) The Bedroom - 1923 Gouache on paper - 62,5 x 42 cm Signed and dated lower right Provenance: Private collec tion, Belgium Exhibited: 1990, Ghent, Museum voor Schone Kunsten, Vlaams expressionisme in Europese context 190 0 -1930, p.316, cat.245 (ill.)

Registred in the Zadkine Research Center under number G931.

€ 35 000 - 45 000 All too of ten eclipsed by his sculptures, the gouaches by Ossip Zadkine represent an impor tant par t of his ar tistic produc tion which has only in the past decades been studied and appreciated to their due extent. In her introduc tion to the catalog of the exhibition in Arles from 1992 devoted to Zadkine’s gouaches of the 20s, Michele Moutashar per fec tly captures their essence: "Mainly dedicated to the architec ture of the human figure, with slanting shapes reminiscent of Picasso or Modigliani and Russian popular imager y, all these gouaches - it should be noted that they are by no means studies for sculptures, but works in their own right - seem to be as sculptural as a drawn sculpture."

True enough, in "The Bedroom", the male and female figures are rendered in such a bold abstrac ted manner, with faces that look like masks, that they remind us more of sculptures than people of flesh and blood. The distance thus created allows for an absolute emphasis on the distribution of volumes, as in a poem made of contrasting and rhy thmic shapes. The distor ted perspec tive of the room is not without reminding us of the architec ture in the movie "The Cabinet of Dr. Caligari" (Robert Wiene, 1920). In this gouache, the possible inspiration from the movie is devoid of its haunting dark atmosphere. What is of interest to Zadkine is the freedom to arrange the architectural elements in a carefully outbalanced composition.

011. Arthur Szyk

(Polish, 1894 - 1951) Le Statut de Kalisz -1932 38,5 x 32 cm Edition de la Table Ronde, Paris 23/50 0 Original burgundy half-morocco por tfolio, large armorial stamp showing the Polish eagle in silver and gilt, gold-stamped armorial devices and title on spine, marbled pastedowns and pocket, burgundy cloth slipcase.

€ 10 000 - 15 000 Facsimile edition of the original manuscript belonging to the collec tion of the Jewish Museum in New York.

Between 1926 and 1928 the Polish-Jewish illustrator Arthur Szyk illustrated the Statute of Kalisz, a charter of liberties which were granted to the Jews in 1264 by Bolesław the Pious, the Duke of Kalisz. Inspired by French 15th-century illuminated manuscripts, the original manuscript was created in a period that saw the uprising of increasing antisemitism in Poland and Europe. Today it belongs to the collection of the Jewish Museum in New York.

In 1932 a luxurious facsimile edition was edited by the Editions de la Table Ronde in Paris.

Printed in 50 0 copies, an estimated number of only 50 seem to have sur vived the bombing of the warehouse in Warsaw where they were stocked.

This copy bears number 23/50 0 and was one of the few books to sur vive a fire outbreak in an Antwerp Synagogue.

Printed in 1932 by F. Budmann in Munich for the Editions de la Table Ronde in Paris.

The original edition included 25 “Hors Commerce“ copies initialed H.C. and numbered I to X X V, and 50 0 copies numbered 1 to 50 0. Each copy is signed by the ar tist. Complete with 48 printed pages, and additional blanco pages (total of 51 sheets).

Collection of a gentleman "For me, primitive means basic, primar y, brutal, essential... Essential to life, essential to ar t, essential to creating. For me, primitive is a compliment."Berend Hoekstra in Conru, "the eye of the Moko", Tribal 3, summer 20 03.

Berend Hoekstra is a well-known Dutch ar tist residing in Brussels. Born in Roosendaal in 1958. His paintings and sculpture are extremely power ful.

At the age of 12, while visiting the satellite of the Leiden Museum in Breda, he entered in contac t for the first time with Oceanic Ar t. As a young ar tist in Amsterdam he finally met Loed and Mia van Bussel, who were specialists in Oceanic ar t and had an amazing collec tion. In those early days, he bought from them an impor tant Kanak sculpture, presented in this sale under lot X X. It gave him the unique oppor tunity to acquire impor tant pieces which today would be dif ficult to find.

Tribal art was by no means the only point of interest of this ever-curious collector. Contemporary art and Dutch applied arts found their way to his home alike, such as the E.S.K.A.F. ceramics. Produced between 1919 and 1934 they exemplify the bold sobriety of the so-called “Amsterdamse school“.

012. Two E.S.K.A.F. Vases

by Cornelis van der Sluys (Dutch, 1881-1944)

Pair of Vases - 1925-1930 Cream glazed ceramic - 31 cm (each) Each inscribed on the bottom: Model 306 Provenance: Collec tion of a gentleman, Brussels

€ 800 - 1200

013.

Tabua Sperm whale tooth - 15 cm Fiji Provenance: Finch & co, London Pierre Loos, Brussels Collec tion of a gentleman, Brussels

€ 2000 - 3000

014. Rare Pair of Bena Lulua Pendants Ivor y - 3,5 cm and 2,5 cm (width) D.R. Congo Provenance: Alain Guisson, Brussels Collec tion of a gentleman, Brussels

€ 1500 - 2000

015. Hugo Bernatzik

(Austrian, 1897 - 1953) Mangbetu Woman with Elongated Skull in Profile Photograph - 18,7 x 13,8 cm Circa 1930 Provenance: Collec tion of a gentleman, Brussels

€ 400 - 600

016. Zulu Beer Vessel Terra cotta - 29 cm South Africa Provenance: Collec tion of a gentleman, Brussels

€ 1000 - 1500

017. Two E.S.K.A.F. Vases 1) Hildebrand Lucien "Hildo" Krop (Dutch, 1884-1970) Vase - 1928-1929 Cream glazed ceramic - 18 cm Inscribed on the bottom: Model 125 2) Cornelis van der Sluys (Dutch, 1881-1944) Sphere-shaped Vase - 1925-1930 Cream glazed ceramic - 21 cm Inscribed on the bottom: Model 337 Provenance: Collec tion of a gentleman, Brussels Published: Wim Spitzen, Antoine Verschuuren, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Museum Princessenhof, Leeuwarden, 20 0 0, cat.337 (ill. of the green version)

€ 800 - 1200

018. Three E.S.K.A.F. Vases 1) Hildebrand Lucien "Hildo" Krop (Dutch, 1884-1970) Trumpet-shaped Vase - c.1925 Cream glazed ceramic - 15 cm Inscribed on the bottom; Model 421 Provenance: Collec tion of a gentleman, Brussels Published: Wim Spitzen, Antoine Verschuuren, Eerste Steenwijker Kunst-Aardewerk Fabriek 1919-1934, Museum Princessenhof, Leeuwarden, 20 0 0, cat.421 (ill.)

2) Piet Van Stam (Dutch, 1891-1970) Vase - c.1930 Cream glazed ceramic - 13,5 cm With fac tor y stamp and inscribed on the bottom; Model 806 3) Cornelis van der Sluys (Dutch, 1881-1944) Vase - 1925-1930 Cream glazed ceramic - 23 cm Inscribed on the bottom: Model 332-W Z

€ 1200 - 1500

019. Willem Hussem

(Dutch, 1900 - 1974) Untitled - c.1970 Gouache on paper - 74,8 x 49,7 cm Provenance: Collec tion of a gentleman, Brussels

€ 1500 - 2000

020. Two E.S.K.A.F. Vases 1) Kiek Vander (Dutch, 1906 - 1983) Small Vase Cream glazed ceramic - 15 cm Model 831 2) Unknown designer Vase Cream glazed ceramic - 26 cm Faded inscription on bottom Provenance: Collec tion of a gentleman, Brussels

€ 800 - 1200

021. Three E.S.K.A.F. Pitchers 1) Willem Hendrik van Norden (1883-1978) Disk Shaped Pitcher - c.1930 Cream glazed ceramic - 12,5 x 20,7 cm Ø Model 242-W Z 2) Hildebrand Lucien "Hildo" Krop (Dutch, 1884-1970) Cof fee Jug - 1920 Black glazed ceramic - 22 cm Model 113 Provenance: Collec tion of a gentleman, Brussels

€ 1000 - 1500

022. René Daniels (Dutch, 1950)

Heimwee Pencil and watercolor on paper 31 x 23,3 cm titled and dedicated top center Provenance: Collec tion of a gentleman, Brussels

€ 8000 - 10 000

023. René Daniels (Dutch, 1950)

Perspec tiefkorrek tie Pencil on paper - 26,8 x 21 cm Titled on top Provenance: Collec tion of a gentleman, Brussels

€ 1500 - 2000

024. T hree photographs of Marshallese Women Marshallese Women in Traditional Dress 19th Centur y 3 photographs mounted on cardboard 17,1 x 12 cm (photograph); 23,4 x 15 cm (mount) Inscribed lower right: Jaluit, Marshall Islands 17,8 x 11,8 cm (photograph); 23,2 x 16 cm (mount) Inscribed lower right: Jaluit, Marshall Islands 16,2 x 8,4 cm (photograph); 18,2 x 9,7 cm (mount) Provenance: Collec tion of a gentleman, Brussels

€ 1200 - 1500

025. Dieter Roth

(German, 1930 - 1998) Typogramme - 1962 Pencil on print - 14,7 x 9,9 cm initials and date lower right Provenance: Collec tion of a gentleman, Brussels

€ 500 - 700

026. Admiralty Islands Comb Wood, tuna putty, fiber, and pigments - 29 cm Papua New Guinea Provenance: Collec ted by Consul Max Thiel Linden Museum, Stuttgar t, N°7378 Ernst Heinrich, Bad Cannstatt, Germany Mia Van Bussel, Brussels Collec tion of a gentleman, Brussels Published: Kevin Conru, Bismarck Archipelago Ar t, 2013, 5 continents, p. 130

€ 2500 - 3500

027. Sepik Overmodelled Head Skull, shell, clay, ochres, hair - 25 cm Papua New Guinea Provenance: Museum of Berlin-Dahlem Exchanged with Loed and Mia Van Bussel Acquired from Loed and Mia Van Bussel Collec tion of a gentleman, Brussels

€ 10 000 - 15 000

028. Kanak Cradle Wood - 26 cm New Caledonia Provenance: Cazeaux & associés, Ar t Africain et Océanie, 17 November 20 07 Serge Schof fel, Brussels Berend Hoekstra, Brussels Sotheby's, Paris, 21 June 2017, lot 9 Collec tion of a gentleman, Brussels Exhibited: L'Ar t ancestral des Kanak, Char tres, Musée des Beaux-Ar ts, 6 June - 27 December 20 09 Published: Tribal Ar t, n° 20, Spring 20 08, p. 178 Ber thelier et Bihouée Bensa, L'Ar t ancestral des Kanak, 20 09, p.107 Frank Eerhar t, "De Kunstenaar en zijn etnografica - in gesprek met Berend Hoekstra", Objec t en Betekenis, V VE Jaarboek, n° 4, 2016, p. 9

€ 15 000 - 20 000

029. Kanak Figure Wood - 58 cm New Caledonia Provenance: Cornelis Pieter Meulendijk, Rotterdam Mia and Loed Van Bussel, Amsterdam Berend Hoekstra, Brussels Sotheby's, Paris, 21 June 2017, lot 11 Collec tion of a gentleman, Brussels Exhibited: Océanie. Signes de rites, symboles de pouvoir, Brussels, ING Ar t Center, 23 Oc tober 20 08 - 15 March 20 09 / Oceanië.

Tekens van riten, symbolen van gezag, Rotterdam, Wereldmuseum, 10 December 20 09 - 24 May 2010, p. 120, n° 118 Published: Océanie. Signes de rites, symboles d'autorité, Herreman, Frank & Ingrid Heermann & Bar t Suys & Karen Jacobs, Bruxelles, Fonds Mercator / ING Belgique, 20 08, n° 118 Frank Eerhar t, "De Kunstenaar en zijn etnografica - in gesprek met Berend Hoekstra", Objec t en Betekenis, V VE Jaarboek, n°4, 2016, p. 9

€ 20 000 - 30 000

Maurice Carlier Following in the footsteps of his father, Maurice Carlier was trained as an architec t, which would bring him af ter the First World War to the destroyed Belgian coast town Nieuwpoor t where he helped with the construc tion of temporar y housing. From this period dates an impor tant series of watercolors where remnants of buildings are treated as dramatic sculptures in a deser ted landscape, sharply profiled in the light of the coastal town. As would become clearer over the course of the following years, architec ture was not the real vocation of Maurice Charlier. Ranging from watercolors over monotypes - a technique he learned from his friend and colleague, the ar tist Aubin Pasque (1903-1981) - and paintings to furniture design and ultimately reliefs and sculptures, the variety of works lef t by Carlier reveal a complete and complex ar tist, who may easily be considered as one of the most original sculptors of Post War Belgium.

His growing interest in the relationship between sculpture and architec ture leads Carlier towards 1945 to put down his findings on the issue in writing. Here, the foundation is being laid of what he would call his heliosculptures. Sculptures related to architec ture, ancient or contemporar y, are by definition open-air sculptures, and thus subjec t to their surrounding light. Depending on the season, but also the latitude of where the building or sculpture is situated, the volumes will cast dif ferent shadows, enhancing or flattening the sculpted subjec t accordingly. This insight leads him to explain the dif ferences in sculptural styles - and especially reliefs - to be found in Egyptian or Greek temples, or gothic cathedrals. To the ar tist, it is obvious that a sculptor is aware of the surroundings where a relief will be placed, and how shadows will be cast through the position of the sun. As such, an Egyptian relief, placed in a European museum, is fundamentally deprived of its ar tistic brilliance, because shown under a light (whether it be ar tificial or natural) which is totally dif ferent from the sunlight for which it was intended.

Following up on this train of thought, Carlier embarks on a series of experiments in which he demonstrates the endless variations of how light and the shadows it casts can alter a sculpture or relief entirely. He even goes as far as to contac t the Royal Belgian Obser vator y to obtain data on the course of the sun over the year, for dif ferent latitudes of places in the world. These data allow him to build a "sun machine". His studio is par tly turned into a laborator y where he can experiment on plaster reliefs, created specifically for these experiments. Shallow reliefs, such as those to be found in ancient Egyptian ar t, or African masks with pronounced elements as eyes that are prominently jutting out from the sur face, allow him to show how light and volume cannot be seen separately from each other.

In his own sculptures, this will lead Carlier to the creation of complex abstrac t works that allow for endless variations with light and shadow, constantly changing their appearance. In 1953 the findings of these experiments were made public thanks to the movie "Vie des formes en plein air". The movie was enthusiastically received for making so clear the correlation between light and volume, but despite the recognized impor tance of his research, Carlier was never one to receive much recognition for his work during his lifetime.

Having lef t no children, the content of his studio was brought onto the market af ter his widow's death. An impor tant number of works were auc tioned of f in 1985 in Paris: for many collec tors the first time to be able to discover or acquire works by this extraordinar y ar tist.

We are happy to bring to light again some of these iconic and fascinating pieces by Maurice Carlier.

030. Maori Tiki Pendant c.1850

Nephrite and abalone shell eyes - 11 cm New Zealand Provenance: Old British Collec tion Ted Few, United Kingdom Private Collec tion, United Kingdom

€ 8000 - 12 000 Used as pendant indistinc tly by women and men, Hei Tiki were always worn by high-ranking dignitaries in the Maori society.

Beautiful light green Punamu, great use.

First half of 19th Centur y.

031. Maurice Carlier

(Belgian, 1894 - 1976) Maquette for the Unknown Political Prisoner 1951-1952 Lacquered plaster - 58 x 33,5 x 33,5 cm Provenance: Private collec tion, Belgium Exhibited: Maurice Carlier. Licht in Beweging, Felix Ar t Museum, Drogenbos, 4 Oc tober 20 09 - 31 Januar y 2010, ill. p.14

€ 4000 - 6000 This plaster model was exhibited in Antwerp in 1952 as Carlier's entry in the competition for Monument to the Unknown Political Prisoner.

Initiated by the London Institute of Contemporary Arts (ICA) in 1952, this international competition reflec ted a renewed ideological ar t policy and turned out to be a showcase for ar tists from all over the world, who were given a unique oppor tunity to show of f the latest tendencies in modern sculpture. Entries were first submitted to national juries that would pick a winner for a final selec tion of 20 0 projec ts that were to be exhibited at the Tate Galler y in London. No less than 350 0 ar tists applied, representing 57 countries.

Amongst the contestants for Belgium, we also find Madeleine Forani and Jacques Moeschal. Other noteworthy participants were Naum Gabo and Alexander Calder (USA), Barbara Hepworth and Lynn Chadwick (UK). Eventually it was the British sculptor Reg Butler who was selected as the winner.

Ironically enough, despite interest by the city of Berlin, the Monument to the Unknown Political Prisoner was never executed due to resistance from local authorities and lack of funds.

032. Sepik figure Wood - 21,5 cm Papua New Guinea Provenance: Old German collec tion, before 1914 Voyageurs & Curieux, Paris Private collec tion, Belgium

€ 7000 - 10 000

033. Tamara de Lempicka (Polish, 1898 - 1980)

Female Nude - c.1925 Pencil on paper - 20,5 x 13,5 cm Stamp of the estate lower to the right Provenance: Private collec tion, Belgium Cer tificate by Alain Blondel

€ 10 000 - 15 000 Few artists embody the aesthetics of the art deco period with more brilliance than Tamara de Lempicka. Her style might be best described as a synthesis of modern art movements and design: indeed, her elegant, sleek stylization of subject matters is perhaps closer to the formal language of the modern architecture, interior and industrial design of her times than the radical artistic experiments and evolutions of her contemporary painters.

This drawing of a nude bears witness to the excellent draughtsmanship of the ar tist. With a few lines, in an almost calligraphic style, the languid pose of a woman holding her arms over her head is rendered in a confident manner, as confident as the pose of the depic ted nude itself.

034. Gunnar Aagaard Andersen (Danish, 1919-1982)

Pair of "Milking Stools" - 1980 Ash - 33 x 73 x 37 cm Edited by PP Møbler

€ 8000 - 12 000

035. Edward Wormley

(American, 1907-1995) Chinese Block Cabinet - c.1957 Walnut, rosewood print blocks, Macassar ebony, and brass - 86 x 125 x 34 cm Manufac turer's brass plaquette inside the lef t drawer Produced for DUNBAR, Berne, Indiana

€ 6000 - 8000

036. Korewori fragment Wood and traces of pigment - 21 cm Papua New Guinea Provenance: Private collec tion, Belgium

€ 2000 - 3000

037. Maurice Carlier

(Belgian, 1894 - 1976) Principe d'équateur - 1950 Lacquered plaster - 38,5 x 14 x 13,5 cm Provenance: Estate of the ar tist Catherine Charbonneaux, Paris, 9 December 1985, lot 14 Private collec tion, Belgium Exhibited: Maurice Carlier, Palais des Beaux-Ar ts, Brussels, 13 May - 24 May 1950, cat.12 (Principe équatorial) Maurice Carlier. Licht in Beweging, Felix Ar t Museum, Drogenbos, 4 Oc tober 20 09 31 Januar y 2010, ill. p.113

€ 4000 - 6000 Principe d'Equateur is probably the most iconic of Carlier's produc tion as a sculptor in order to apply his theor y on the influence of shadows on the lec ture of a threedimensional objec t. It appears extensively in the documentar y movie made in 1953 by Gaston Vernaillen "Vie des formes en plein air". Depending on the angle of the light source, this simplified mask-like sculpture changes in spec tacular ways. Most probably inspired by an African mask which also figures in the movie, Carlier reduced the distinguishing features of a face to its bare essentials, suggesting volume rather by its shadows than by the ac tually sculpted volumes, a quality pushed fur ther to its extreme by the choice of a plain, monochromatic execution of the objec t. In one simple image, Principe d'Equateur of fers a per fec t synthesis of Carlier's theories about light and volumes. It is the "heliosculpture" par excellence.

038. Georges Jouve

(French, 1910 - 1964) Painted ceramic 20 cm; 38 cm including lampshade

€ 10 000 - 15 000 Lamp in the shape of a female torso.

039. Christian Dotremont (Belgian, 1922 - 1979)

Dansez herbes noires - 1965 India ink on paper - 25,5 x 17,5 cm (window) Signed and dated lower right Titled lower lef t Provenance: Samuel Van Hoegaerden Galler y, Knokke Private collec tion, Belgium

€ 2000 - 3000 One of the founding fathers of the CoBrA movement, Christian Dotremont remained forever a poet at hear t.

With his so-called peinture-mots, or logograms, he created calligraphic compositions where the words have become illegible, but appeal to us by the energy or elegance the brushstrokes manage to convey. The original texts of these logograms are usually written in pencil at the edge of the work, such as is the case here as well. Looking back at the ink drawing with the understanding of the words, content, and form all of a sudden seem to become one. The text "Dansez herbes noires", or "Dance black weeds", has found its equivalent in a visual poem.

040. Solomon Islands Ancestor Figure 19th centur y Wood and mother of pearl - 40 cm Solomon Islands (Roviana Islands, Lagoon Area of New Georgia) Provenance: Galler y Jean-Baptiste Bacquar t, London Private collec tion, U.K.

€ 6000 - 8000

041. Maurice Carlier

(Belgian, 1894 - 1976) Two Cathedrals. Black and White - 1954-1955 Gesso and pigment on panel - 70,5 x 55 cm Monogrammed lower right Provenance: Estate of the ar tist Sale Catherine Charbonneaux, Paris, 9 December 1985, lot 26 Private collec tion

€ 1500 - 2000

042. Easter Island Moai Kavakava 19th Centur y Wood, with bone and obsidian eyes - 44,5 cm Easter Island Provenance: Permanent collec tion of the Bishop Museum in Honolulu, Hawaii Traded in the 1960s with Leo For tress for a Hawaiian petroglyph By descent to his son Eric For tress who sold it to a collec tor in Massachusetts Charles Moreau, Saint Bar thelemy Private collec tion, United Kingdom Exhibited: Honolulu Academy of Ar ts (Inventor y number 2748)

€ 15 000 - 20 000

043. Maurice Carlier

(Belgian, 1894 - 1976) The Source - 1950 Lacquered plaster - 132 x 85 x 10 0 cm Provenance: Private collec tion, Belgium Published: Paul Caso, Maurice Carlier, pionnier de la sculpture abstraite, Brussels, 1975, ill. pp.13-15 Exhibited: Maurice Carlier, Palais des Beaux-Ar ts, Brussels, 13 May - 24 May 1950, cat.3 Gardens of the Easmus House, Anderlecht, 1953 Maurice Carlier. Licht in Beweging, Felix Ar t Museum, Drogenbos, 4 Oc tober 20 09 31 Januar y 2010, ill. p.136

€ 5000 - 7000 "Plaçons au centre de ce mouvement (celui de la nature) une sculpture orientée dont les volumes épouseraient des formes adéquates, dirigées, tendues vers la lumière avec un soin tel, que tous ces volumes soient révélés au maximum avec le souci de capter la lumière créatrice d'ombre, en laissant ses rayons s'échappe le moins possible." (M. Carlier, preface to the catalog of the Brussels exhibition at the Palais des Beaux-Ar ts in 1948)

044. Maori Post figure Wood - 60 cm New Zealand Provenance: Sotheby's, Primitive Ar t, New York, 15 July 1975, Lot 140 Mr. and Mrs. Klaus Perls, New York Sotheby's, Impor tant Tribal Ar t, 14 November 1995, Lot 133 James Stephenson, New York Private collec tion, United Kingdom

€ 30 000 - 50 000 Klaus and Dolly Perls were impor tant Modern Ar t dealers in the United States af ter W WII. They played a major role in the promotion of non-Western ar ts. Their exceptional collec tion of works of ar t from the Benin Kingdom is now par t of the collec tions of the Metropolitan Museum of Ar t in New York.

Maori House post figures are placed in the large communal meeting houses (Aotearoa).

This figure represents a clan ancestor whose interest comes from the balance between the strong struc ture of the figure and the abundance of the ornamentation of the traditional tattoos.

045. An Dugo Soninke Ancestor Figure Wood - 70 cm Mali C14 tested 1250 - 130 0 AD (GNS Science, New Zealand, 22 Oc tober 2015, NZ A 60 075) Provenance: Philippe Guimiot, Brussels Count Baudouin de Grunne, Brussels Bill and Ann Zif f, Brussels Binoche et Giquello - Ar ts d'Afrique et d'Océanie, 14 November 2019, lot 93 Private collec tion, Europe

€ 40 000 - 60 000 About this figure, Bernard de Grunne says: "La carac téristique formelle la plus remarquable de cette sculpture est le contraste extrême entre le naturalisme de la tête et l'abstrac tion sévère du corps aux bras levés. Ce remarquable sceptre monoxyle Soninke dont le modelé du visage est très similaire aux visages de la statuaire ancienne en terre cuite de Djenné-Jeno attribué aussi à des populations Soninké et dont l'ef florescence est datée entre le XIe et le X VIIIe siècle. J'ai identifié et décrit pour la première fois en 1991 un groupe de dix statues monoxyles appar tenant à ce style Soninké et l'ai attribué à des populations de souche Soninké arrivées dans la falaise et le plateau de Bandiagara 300 ans avant les Dogon, en même temps que les populations Tellem... Un critère stylistique pertinent de la statuaire Soninke est la présence sur la grande majorité de ces statues (31 sur 41) d'une barbe très typique en forme de plateau droit similaire au sceptre de l'ancienne collection familiale..." (Bernard de Grunne, Nov. 2016)

046. Maurice Carlier

(Belgian, 1894 - 1976) Man's Head - 1947 Bronze - 61 cm Monogram and edition number lower on the lef t side In an edition of 6, this sculpture is numbered 6/6 Provenance: Private collec tion, Belgium

€ 2000 - 3000

047. Bete-Grebo Mask Wood - 43 cm D.R. Congo Provenance: Javier Lentini Collec tion, Barcelona European private collec tion

€ 15 000 - 20 000

048. Jacques Moeschal

(Belgian, 1913 - 2004) Untitled Brass - 41,5 cm

€ 2000 - 3000 Small-scaled version of a sculpture Moeschal made for the Belgian collec tor Louis Bogar ts.

049. Baule Mask 19th Centur y Wood and pigments - 43 cm Ivor y Coast Provenance: Hans Heller Collec ton Hans Heller fought in W WI and worked in Africa until the 1950s.

He was a friend of Hemingway and Picasso.

He repor tedly acquired the mask in the 1930s, 1940s.

By descent, Judy Kleppe, Heller's stepdaughter James Stephenson, New York, acquired from above Private collec tion, United Kingdom

€ 6000 - 8000

050. Dogon Mask Wood, 253 cm Mali Provenance: Collec tion Philippe Hiquily (1925-2013) Galerie Simonis, Düsseldor f Private collec tion, Europe Published: Ar ts primitifs dans les ateliers d'ar tistes, Société des Amis du Musée de l'Homme, 1967, Paris, Ill. 94 Exhibited: Ar ts primitifs dans les ateliers d'ar tistes, Musée de l'Homme, 27 April - 30 September 1967, Paris

€ 15 000 - 20 000 Sirige, "Un des masques les plus impor tants des Dogon. Son mât évoque la chaîne du métier à tisser, la descente sur la Terre de l'arche contenant les ancêtres de l'humanité et la maison à étages, demeure du patriarche de la famille. Toute sa danse, exécutable seulement par un athlète, exprime la manière dont l'arche est descendue et a pris symboliquement possession de l'univers." Ar ts primitifs dans les ateliers d'ar tistes, Nr. 94

051. Jacques Moeschal

(Belgian, 1913 - 2004) Model for "Signe de Lumière" - c.1998 Lacquered wood - 60 cm initials engraved on the black base, lower right corner

€ 3000 - 4000 The Belgian sculptor Jacques Moeschal is one of the rare sculptors who managed to make a career as a sculptor of monumental pieces, destined for public spaces. Of course, the "Flèche du Génie Civil" that he designed for the Brussels international fair of 1958, "Expo 58", made a spec tacular impression, and placed him immediately on the forefront of a post-war generation of abstrac t sculptors.

For Moeschal, with his formation as both sculptor and architec t, the surroundings of an ar twork are as determining a fac tor as any. His monuments for public spaces ac t as beacons and add rhy thm to places of transition or crossroads. In 1999, Brussels welcomes another monument by Moeschal on its grounds: for the Por te de Namur, a busy crossroads in uptown Brussels, Moeschal created " Signe de lumière".

During the day, commuters pass from there between their homes and of fices, at night, it is a lively neighborhood, close to Matonge, the African quar ter in Ixelles.

The model presented here is ver y close to the ac tual monument as it turned out, except for the joining elements that are placed in the model towards the bottom of the sculpture, whereas the full-scale sculpture has the connec tion towards its top. Three beams branch out at the top to reflec t the sun during the day, or the spotlights that illuminate it at night. It captures the soul of the place: oriented in dif ferent direc tions, they are never theless closely interlinked.

052. Joe Cesare Colombo (Italian, 1930 - 1971)

Sella 10 01 Lounge Chair- c.1963 Painted ply wood, steel, and leather upholster y 58 x 68 x 61 cm Edited by Comfor t, Milan between 1965 until the late 1960s Published: Ignazia Favata, Joe Colombo Designer 1930 -1971, Milan, 1988, pp.38-39 Mateo Kries, Joe Colombo: Inventing the Future, Weil am Rhein, 20 05, ill. 90, pp.146 -147 Charlotte and Peter Fiell, eds., Domus, vol. VI 1965-1969, Cologne, 20 06, p.164

€ 3000 - 4000

053. Bwa Mask Wood and pigments - 28,5 x 152 cm Burkina Faso Provenance: Galerie Simonis, Düsseldor f Private collec tion, Europe

€ 10 000 - 15 000 The bird masks and butter flies are the most abstrac t, consisting of a broad, horizontal plank, decorated with large concentric patterns. (Roy, 1987:270) Nature spirit mask in the Do pantheon, the Duho mask represents the hawk.

Despite its impressive size and shape, the dancer depic ts the movement and behavior of a hawk.

054. Joe Cesare Colombo (Italian, 1930 - 1971)

Untitled - c.1952 India ink, colored ink and gesso on paper - 48 x 61 cm Signed lower lef t Provenance: Private collec tion, Belgium

€ 10 000 - 15 000 The Movimento Nucleare (Nuclear Movement) was created in Milan in 1950, by Enrico Baj (1924-20 03), Sergio Dangelo (b. 1932), and Gianni Ber tini (1922-2010), and joined in 1951 by Joe Cesare Colombo.

Though the name of Joe Colombo has become became inseparably attached to his groundbreaking design in plastic furniture which shaped the 60s, it is in the Movimento Nucleare that he first developed his ar tistic talent. At the core of this movement was the awe and fascination for the nuclear discoveries in science, which had traumatized the world at the end of the Second World War, but at the same time opened paths for new scientific discoveries.

One of Colombo’s preferred techniques consisted of blowing ink on paper (in this ver y drawing black, Prussian blue, and red ink), creating dramatic clouds of tiny ink par ticles, reminding us both of a nuclear explosion as of the atoms our world is made of.

Surprisingly enough, Brussels played a key role in the development of the movement. At the occasion of an exhibition at Galerie Apollo in 1952, the " Manifesto tecnico della Pittura nucleare" was published.

It was their first manifesto, stating the views and ar tistic program of Movimento Nucleare. It is from this period that this drawing wound up in a private Belgian collec tion and never lef t the family.

055. Baule Monkey Wood, vegetal fibers - 70 cm Ivor y Coast Provenance: David Serra, Barcelona European private collec tion

€ 12 000 - 15 000

056. Willy Van der Meeren (Belgian, 1923 - 2002)

in collaboration with Jean Stuy vaer t (1924 - 1999) Wall-mounted Lamp - 1953 Lacquered metal and copper - 50 x 20 0 x 40 cm Edition Tubax Published: Mil De Kooning, Willy Van Der Meeren: furniture design [exhibition catalog], Atomium, Brussels, 27 September 20 07 - 30 March 20 08, pp.98-99 (ill.)

€ 25 000 - 35 000 Rare wall-mounted lamp in the original Tubax edition. Architec turally stark lines combined with a sure sense for elegant propor tions make this lamp one of the signature pieces of Willy Van der Meeren.

057. Maurice Carlier

(Belgian, 1894 - 1976) Fumée noire [Black Smoke] - 1948 Black lacquered plaster - 77 x 57 x 70 cm Provenance: Estate of the ar tist Sale Catherine Charbonneaux, Paris, 9 December 1985, lot 11 Private collec tion, Belgium Exhibited: Maurice Carlier, Palais des Beaux-Ar ts, Brussels, 17 April - 28 April 1948 Maurice Carlier, Palais des Beaux-Ar ts, Brussels, 13 May - 24 May 1950, cat.13 Maurice Carlier. Licht in Beweging, Felix Ar t Museum, Drogenbos, 4 Oc tober 20 09 - 31 Januar y 2010, ill. pp.3, 125

€ 3000 - 4000

058. Yoruba Mask Wood and pigments - 97 cm Nigeria Provenance: Gerd and Mareidi Stoll Collec tion, Munich Galerie Simonis, Düsseldor f European private collec tion Published: Gerd und Mareidi Stoll. Galerie für Negerkunst, in Sammler Journal, Schwäbisch Hall, n°11, November 1977, p. 652 (ill.)

Karl-Ferdinand Schaedler, Encyclopedia of African ar t and culture, 20 09 Panterra Verlag, Munich, p. 630

€ 4000 - 6000 Oloju foforo mask, the owner of the deep-set eyes in reference to the large holes through which the wearer sees.

This mask can be placed in the st ylistic tradition of Bamgboshe of Osi-Ilorin. It can be compared to several works of the sculptor who died around 1920.

Its most obvious reference is the Oloju foforo mask from the Smithsonian National of African Art attributed to the master. Another mask of this type can be seen in the collection in the British Museum and presents the same painted patterns.

059. 2 Urhubo / Igbo Bracelets Ivor y - 9,5 cm and 10,5 cm Ø Nigeria

€ 1000 - 1500

060. Large Urhubo / Igbo Bracelet Ivor y - 13 cm Ø Nigeria

€ 600 - 800

061. Jacques Moeschal

(Belgian, 1913 - 2004) Reclining Figure Bronze - 13 x 14,5 x 16,5 cm Initials on verso lower edge

€ 1000 - 1500

062. Lucien Engels

(Belgian, 1928 - 2015) Writing Desk and Model B Desk Chair - 1957 (design) Painted wood, wood, and metal Desk: 83 x 105,5 x 58 cm - Chair: 79 x 40,5 x 47,5 cm Provenance: Emile Vander velde house II , Oostduinkerke Private collec tion, Belgium Literature: Mil de Kooning, Fredie Floré, Iwan Strauwen, Hedendaags design, Alfred Hendrick x en het fif ties-meubel in België, OK V Edition 20 0 0, p.130 Mil de Kooning & Geer t Bekaer t, Lucien Engels, Architec ture Ar t Design, W ZW Editions and Produc tions, 20 09, pp.183-185

€ 10 000 - 15 000 Rare ensemble of a writing desk and Model B Chair designed for "Vacances heureuses" Home Emile Vander velde 2 in Oostduinkerke. In 1999 this complex was demolished, and the remaining furniture was thrown away or destroyed. A limited amount of chairs was saved, but of the writing desk, only two seem to have sur vived.

063. Pair of Ibeji Wood and glass beads - 32 cm Nigeria Provenance: Gerd and Mareidi Stoll Collec tion, Munich

€ 3000 - 5000

064. Shango Scepter Wood - 35 cm Nigeria Provenance: Michèle Yoyotte collec tion, Paris (acquired in 1980) Private collec tion, Belgium

€ 2500 - 3500

065. Fang Mask Wood and kaolin - 47 cm Gabon Provenance: Brought back by Olga Wieber, nurse in the Alber t Schweizer hospital in Lambaréné from 1929 to 1931 until she came back to Switzerland in 1932.

By descent Galerie Philippe Ratton, Paris European private collec tion Exhibited: Exhibition "Gabon", Galerie Philippe Ratton, 2017

€ 15 000 - 20 000

066. Luigi Benzoni (Italian, 1956)

Beatus Vir - 20 03 Murano Glass - 37,5 x 26 x 8 cm Signed lower right

€ 3000 - 4000

067. Ijaw Mask Wood, pigments, vegetal fibers - 94 cm Nigeria Provenance: Galerie Alain Dufour, Saint-Maur Galerie Simonis, Düsseldor f Private European Collec tion

€ 10 000 - 15 000 Owuamapu, water spirit headdress used in the Ekine society dedicated to the cult of water spirits. They represent a blend of human and aquatic animals. During the masquerades, the masks sometimes enter or exit from the water. The mask is the seat of these spirits. They are invoked for guidance and assistance.

068. Pol Bury

(Belgian, 1922 - 2005) Mélangeur - 1967 tinted wood, elec tric motor - 47,8 x 47,8 cm Edition of 15 by Sergio Tosi, Milan Provenance: Claudine Strebelle Collec tion, Paris Calmels Cohen, Paris, 15 November 20 02, lot 40 Private collec tion, Belgium NF Galler y, Knokke Private collec tion, Belgium Published (or other edition number): Rosemarie E. Pahlke. Pol Bur y, avec catalogue raisonné. Ghent, Crédit communal, 1994, p.173, cat.67-1 André Garitte. Un siècle d'ar t abstrait. 10 0 Abstraits belges. Bruxelles - Brasschaat, Musée René Magritte - Pandora Publishers, 2010, p.40, ill.

André Garitte. Diversité abstraite. Collec tion Musée d'Ar t Abstrait - Abstrac te veelzijdigheid.

Collec tie Museum voor Abstrac te Kunst. Brussels, Musée René Magritte - Pandora Publishers, 2019, p.43, ill.

G. Marquenie, Pol Bur y Online Catalogue Raisonné, cat. R313 A /15 Exhibited (or other edition number): Kasmin Gallery, London, Pol Bury. Moving Sculptures and Cinetizations, 20 April-20 May 1967 Galerie Françoise Mayer, Brussels, Pol Bury. La boule et le cube, 4-28 October 1967, s.n.

Museum of Arts, Philadelphia, Multiples. The First Decade, 5 March-4 April 1971.

Museum am Ostwall, Dortmund, Allemagne, Pol Bury, Rétrospective 1939-1994, 14 August-12 October 1994, n°67-1.

Galleria Civica d’arte moderna e contemporanea, Turin, Italie, Pol Bury 1939-1995, 8 March-30 April 1995, n°67-1.

P.M.M.K, Ostende, Belgique, Pol Bury, Rétrospective 1939-1994, 6 July-8 September 1996, n°67-1.

New Museum, New York, Ghosts in the Machine, 18 July-7 October 2012, n°9, ill.

Pol Bury. Time in Movement, BOZAR, Brussels, 23 January 2017 - 4 June 2017, ill. cat.39 (this work)

€ 10 000 - 15 000 Pol Bur y always managed to take a special place amongst his contemporar y kinetic ar tists. His works are quite unique in the way they abandon the figurative tradition in painting, but also bear no resemblance to its younger sibling of abstrac t ar t. The reliefs and sculptures of Bur y are most of ten reflec tions not on forms, shapes, or color, but on a theme that is abstrac t in itself: time, and more precisely, our relation to and our experience of time. In order to show time, he introduced small motors in his reliefs, which would generate an exceedingly slow movement, the kind of movement which makes one wonder whether it is really there or not.

“Mélangeur“ was made as an edition of 15 for Sergio Tosi Gallery in Milan in 1967. It is quite unusual to find works Pol Bury that play with color. By the end of the 50s, a series of relief called “Ponctuations“ also made use of rotating panels with circular cut-outs, but in those works, the wooden panels were only in black and/or white.

Visually, the relief presented here reminds us of the famous rotoreliefs made by Marcel Duchamp in the 1920s.

During the legendar y “Mouvement“ exhibition at Galerie Denise René in Paris in 1955, Pol Bur y and other young ar tists using movement in their works exhibited alongside the works of Alexander Calder and Marcel Duchamp who were considered as the godfathers of the kinetic movement.

With its typical exceedingly slow movement, the ar tist created with this relief a piece that is both quintessentially Bur y and an hommage to one of the founding fathers of contemporar y ar t.

069. Finn Juhl

(Danish, 1912 - 1989) Table Bench - 1953 Palisander wood and brass, 225 cm

€ 8000 - 12 000

070. Alberto Giacometti (Swiss, 1901 - 1966)

Study af ter the Head of the Sumerian King Gudea - c.1937 Ink on paper - 26,8 x 20,8 cm Provenance: Collec tion Alice Tériade, Paris (gif t from the ar tist c. 1950) Christie's London, 24 June 20 03, lot 27 Peter Uhlmann Collec tion, Zurich Private collec tion, Belgium Exhibited: Zürich, Kunsthaus, Alber to Giacometti, Das Sehen im Werk, 11 March - 22 May 2011 With a photo-cer tificate of authenticity from the Comité Giacometti (Fondation Alber to et Annette Giacometti, Paris).

The work is registered in the archives of the Giacometti foundation under n°. AGD 3455 (https://w w w.fondation-giacometti.fr/fr/database/183139/dapres-une-sculpturesumerienne-tete-de-goudea)

€ 30 000 - 50 000 “The issue of the human head was the central subjec t of Giacometti’s research throughout his life, as well as the reason for his exclusion of the Surrealist group in 1935.

In that year, the representation of a head, which seemed to be a common-or-garden subjec t, was, for him, far from being resolved. The head and, above all, the eyes are the core of the human being and of life, whose myster y fascinated him.“ ( What is a Head?, published on w w w.fondation-giacometti.fr) The rupture with the Surrealist movement also meant the artist found himself in an artistic crisis, and during the period 1935-1937, he returned to studying ancient sculptures, mainly Egyptian, Greek, or Sumerian, that he was at leisure to see at the Louvre.

As clearly illustrated in this double study of the bust of the Sumerian king Gudea, Giacometti probes these sculptures by means of a multitude of pen strokes.

It becomes clear that a naturalistic rendition of the sculpture was not the ar tist’s goal.

These drawings are studies in the stric test sense of the word. As a sculptor, he is primarily interested in the arrangement of space, each line tr ying to render depth and volume almost as in a 3D-scan. In doing so, Giacometti literally draws a bridge between the three-dimensional objec t and its two-dimensional rendition.

071. Fang Figure Wood and copper - 42 cm Gabon Provenance: Collec ted by Henri Christen, circa 1920 By descent Bernard Dulon, Paris European Private collec tion

€ 80 000 - 120 000 Par t of the tradition of the nor thern Gabon sculpture, this Ntumu figure is a great illustration of the main ar tistic center of the Fang culture.

The oily patina and numerous ritual takings witness the importance of the figure in the community and the efficiency of its protective powers.

072. Pierre Caille

(Belgian, 1911 - 1996) Head - 1962 - 1965 Bronze - 29,5 x 40 x 31 cm

€ 6000 - 8000 To our knowledge, this bronze sculpture was made in an edition of three. One belongs to an important American private collec tion, another to a Belgian collec tion.

073. Kaka figure Wood - 50 cm Nigeria Provenance: Harr y A. Franklin Collec tion, Los Angeles Sotheby's, The Harr y A. Franklin Family Collec tion of African Ar t, 21 Apr. 1990, New York, lot 154 John and Nicole Dintenfass, New York Galerie Mar tin Doustar, Brussels Private European Collec tion Published: Expressions of Cameroon Ar t: The Franklin collec tion Uber der Kopf, 2019, n°17 (M. Doustar) Exhibited: Expressions of Cameroon Ar t: The Franklin collec tion Los Angeles County Museum of Natural Histor y, 1986 Baltimore Museum of Ar t, 1986 Hood Museum of Ar t, Dar tmouth College, 1986

€ 20 000 - 30 000 In the rare corpus of Kaka sculptures, the presented figure is one of the most abstrac t. Synthetised to the core by an assemblage of geometric sur faces, the ar tist didn't miss the point to generate humanity in its attitude. This is, with no doubt, the creation of a great ar tist. It can be related to the figure from the Kuhn collec tion auc tioned by Sotheby's in 1991.

Great crusted patina.

074. Joaquim Tenreiro

(Brazilian, 1906 - 1992) Three-seater Sofa - circa 1958 Brazilian rosewood, cane 72 x 184,7 x 70 cm Provenance: Private collec tion, Belgium Published: Soraia Cals, Tenreiro, Rio de Janeiro, 1998, p.115 Aric Chen, Brazilian Style, in Ar t & Auc tion, vol. X XIX, n°8, April 20 06, p.126

€ 20 000 - 30 000

075. Gao Xingjian (French, 1940)

Rêverie - 2011 India ink and wash on rice paper - 74 x 144 cm Provenance: Galerie J. Bastien, Brussels Private collec tion, Belgium Exhibited: Gao Xingjian. Vision Intérieure, Galerie J. Bastien, 13 Oc tober - 4 December 2011, ill.

With cer tificate of authenticity by the ar tist dated 12 Oc tober 2011.

€ 10 000 - 15 000 Af ter being awarded the Nobel Prize for literature in 20 0 0, Gao Xingjian became know to the great public as a novelist, but parallel to this, he has been working as a painter ever since 1964.

At the center of his work, both literar y as painterly, we find an ar tist tr ying to find ways to express the essence of humanity. Gao Xingjian experienced the brutality of his homeland during the Chinese Cultural Revolution and the events of Tian'anmen, and it is exac tly this humanity that was threatened.

Although deeply interested in Western art and literature, Gao Xingjian never denied his Chinese identity, nor does he seek to revolutionize art or literature. For a writer, the words which allowed authors centuries ago to speak of their time, are the very same words that are used today to talk about our time. Similarly, so can painting - in this case, Chinese ink painting - become a means of expression for the contemporary man as well.

Traditional Chinese ink painting is in essence two dimensional, and what attrac ted Xingjian to Western painting was the depth that was created in them. His longing to create a sense of perspec tive was not one in the common sense of the word, through the use of vanishing points, but through what he calls an interior perspec tive, close to a dream-like perspec tive, quite similar to the atmosphere we find in his writings.

More than that, the brush strokes and traces left by the ink are more than just means to create shapes or images. They possess a quality of their own: one can enjoy the feel or texture of the material used, a notion which is absent from traditional Chinese painting.

As such, the distinction between abstract and figurative becomes of minor importance.

The subjec ts of Xingjian’s paintings do always circle back to that ver y question of what it means to be human, in relation to our surroundings, nature, or others. To the ar tist, it is a way to safeguard the human condition from the barbarism of histor y.

076. Punu Mask Wood and pigment - 40 cm Gabon Provenance: Collec ted by the French administrator Oc tave Mariani, circle commander then chief of the subdivision of Mbigou between 1913 and 1923.

Bernard Dulon, Paris Philippe Ratton, Paris European private collec tion Published: Gabon, Galerie Philippe Ratton, June 2017, Paris, p. 88-89

€ 60 000 - 80 000 "In the tradition of Punu masks from South Gabon, with their kaolin whitened faces, the entity depicted in this mask is an idealized image which celebrates both the beauty of women and their importance in the social organization and in the spirit world." (Perrois, 2009) "If Punu statuary (which is rare) illustrates 'a regional tradition of portraiture', created for therapeutic or protective purposes" (LaGamma in Horstmann, 2002: 136) The presence of a figure car ved on top of the mask allows us to read the therapeutic or protec tive dimension the sculptor wanted to induce in the masquerade. The presence of a flask in the hand of the figure contributes to this thinking.

Stylistically the mask can be compared to a mask collec ted by René Labat between 1912 and 1920. It shares many common facial features (upper forehead scarification, nose, lips,..) and has been presented by Bernard Dulon in 20 08 in Brussels.

077. Emiel Veranneman (Belgian, 1924 - 2003)

Chest of Drawers - 1977 Lacquered wood - 79 x 130 x 45 cm Published: Emiel Veranneman, Gemeentekrediet, Ghent, 1994, pp.143, 150, 241, 245 (ill.)

Frans Defour, L’ar t du Meuble en Belgique au X X ème siècle, Lannoo, Tielt, 1997, pp.149, 151 (ill.)

Emiel Veranneman, Ilya Prigogine, Veranneman: visie & passie, Tielt, Lannoo, 20 02, p.174, 176, 179 Willy Van den Bussche, Lieven Daenens ... [et al.], Emiel Veranneman, Hommage [exhibition catalog], Jabbeke, Museum Constant Permeke, 16 Oc tober 20 04 - 16 Januar y 20 05, Oostkamp, Stichting Kunstboek, 20 04, p.69 Exhibited: Möbel aus Belgien. Ab Henr y van de Velde bis heute, Düsseldor f, Museum für Volk und Wir tschaf t, 1978 (ill.)

Emiel Veranneman, Palais des Beaux-Ar ts, Brussels, March 1978 Emiel Veranneman, Guest of Honor, Biënnale Kor trijk 1982 Lak x kunst x meubel x design, De Brakke Grond, Amsterdam, 4 July -23 August 1987 Belgian Pavillion, Expo 92, Sevilla, 1992

€ 30 000 - 50 000 This exceptional chest of drawers in bold bright yellow embodies per fec tly the essence of Emile Veranneman's furniture design of the 1970s. Without ever becoming frivolous, Veranneman's furniture design is charac terized by a simple but sound construc tion, paired with a monumental feel that is achieved through the use of high gloss lacquer in primar y colors. The end result is never bulk y nor heav y thanks to some subtle graphic details such as in this case the sloping drawers that pur vey an elegant rhy thm and radically break with the traditional horizontality of this kind of furniture.

Of this chest of drawers, only two are known. The other exemplar belongs to the collec tion of the Design Museum in Ghent.

078. Kota Reliquary Figure Wood and copper - 50 cm Gabon Provenance: Hélène and Philippe Leloup, Paris European private collec tion

€ 15 000 - 20 000

079. Hans Hartung

(German - French, 1904 - 1989) Untitled - 1958 Pastel on paper - 49 x 65 cm Signed and dated lower right

€ 30 000 - 40 000 Included in the Hans Har tung Archives under number P1958-194 To be included in the for thcoming catalogue raisonné of the ar tist.

080. Jo Delahaut

(Belgian, 1911 - 1992) Black and Green Composition - 1952 Gouache on paper - 35 x 26 cm Initialed and dated on verso Provenance: Galerie Quadri, Brussels Galerie Patrick Derom, Brussels Private collec tion, Belgium

€ 3000 - 5000

081. Sikasingo Boyo figure Wood - 51 cm D.R. Congo Provenance: David Lebard, Brussels Alexandre Claes, Brussels European private collec tion

€ 18 000 - 20 000

082. Luba/Hemba Caryatide stool Wood - 36 x 26 x 25 cm D.R. Congo Provenance: Bernard Dulon, Paris John Giltsof f, London/New York /Girona Didier Claes, Brussels Galerie Simonis, Düsseldor f European private collec tion Published: Expo cat: "TEFAF - Basel 98", Galerie Bernard Dulon, 1998:86 Exhibited: Basel, Switzerland: "TEFAF - Basel 98", Messe Basel, 7-15 November 1998, Galerie Bernard Dulon

€ 50 000 - 70 000 The Hemba people situated in the eastern par t of the Democratic Republic of the Congo is ver y aristocratic and struc tured society with social codes and symbols. The car yatid stool is one of the most impor tant symbols of the dignitaries also called "seat of power".

Car ved in a single piece of wood, it represents two figures, female and male, back to back, according to the tradition of idealized por traits of the nor thern Hemba area.

The man represents authority and wisdom while the woman possesses the power to ac t as an intermediar y between living beings, and spirits of the natural world and of the realm of the ancestors. The Museum Prins Hendrik in Rotterdam owns a stool probably car ved by the same ar tist.

083. Jens H. Quistgaard (Danish, 1919-2008)

Pair of "Stokke" Lounge Chairs - 1966 Rosewood, chrome-plated steel, suede 74 x 66 x 67 cm

€ 8000 - 12 000

084. Gaston Bertrand

(Belgian, 1910 - 1994) Mer et dunes - 1948 Watercolor on paper - 27,2 x 36,8 cm Signed and dated lower right Provenance: NF Galler y, Knokke Private collec tion, Belgium Published: Caroline Bricmont, Serge Goyens de Heusch, Gaston Ber trand. Catalogue raisonné de l'œuvre peint, Editions Fondation Gaston Ber trand, Brussels, 20 01, cat. 292 Not reproduced in the ar tist's catalogue raisonné, the number given here is the one most likely to correspond to this watercolor. We would like to thank Mme Caroline Bricmont for her help in identif ying it in the catalog.

€ 1000 - 1500

085. Gaston Bertrand

(Belgian, 1910 - 1994) La cathédrale - 1950 Watercolor and ink wash on paper - 36,8 x 27,2 cm Signed and dated lower right Provenance: Gaston Ber trand Foundation, Brussels Private collec tion, Brussels Published: Caroline Bricmont, Serge Goyens de Heusch, Gaston Ber trand. Catalogue raisonné de l'œuvre peint, Editions Fondation Gaston Ber trand, Brussels, 20 01, ill. cat.423

€ 2000 - 3000 As one of the leading figures of the Jeune Peinture belge Gaston Ber trand develops his ver y personal style only af ter the dissolution of this group in 1948. During the time of the Jeune Peinture belge Ber trand’s painting remained deeply rooted in a figurative tradition. It is but from 1948 on that he evolves towards greater freedom of forms. As from then, and never entirely giving up the reference to what is ac tually represented, his interest goes out increasingly to the subtle arrangement of geometrical shapes, allowing him with a sparseness of means, to suggest the ver y essence of what is represented.

086. Rare Tabwa Staff Wood, metal, beads, and copper - 55 cm D.R. Congo Provenance: European private collec tion

€ 8000 - 12 000

087. Hemba Ancestor Figure Wood - 44 cm D.R. Congo Provenance: Kathy and Lothar Steinke, Luzern

€ 6000 - 8000

088. Oreste Vistosi

(Italian, 1917 - 1982) Floor or Table Lamp - 1964 Murano glass - 30 cm Ø Vistosi Editions

€ 3000 - 4000 Brother of Guglielmo Vistosi, Oreste took over the management of the glassworks at the family fac tor y af ter the death of Guglielmo. Although he only worked but for a few years as a designer, he managed to dramatically renew the produc tion line specialized in lighting fixtures. The lamp presented here doubles as a table and floor lamp and is exceedingly rare. It is a beautiful illustration of how the Vistosi fac tor y caught up with its time and would even become a leader in daring and innovative lighting fixtures.

089. Poul Kjaerholm

(Danish, 1929-1980) Pair of PK 20 Lounge Chairs - 1960 - 1969 (produced) Leather and steel - 80 x 75 x 81 cm Produced for E. Kold Christensen

€ 8000 - 12000

090. Songye Figure Wood, metal, brass tacks, vegetal fibers, animal skin - 47 cm D.R. Congo Provenance: Collec ted by Karel Plasmans Marc Leo Felix, Brussels Margaret Wells Collec tion, Boston Bernard Dulon, Paris European private collec tion

€ 60 000 - 80 000 Thanks to the architec ture of its body and legs, this figure can be related to the famous figure of the Museum aan Stroom of Antwerp. It helps us to located the workshop in the area of the Lubefu and Lomani rivers.

Power ful and refined in ever y detail.

Collection S. The Belgian family from whom we have the pleasure to present an exceptional collec tion of traditional african ar t star ted traveling and working in Congo in 1923. The first one to discover and collec t African ar tifac ts was sent on a threeyear mission in the Musonoie area. Later, he went on a mission in what was then known as Rwanda-Urundi in an ef for t to combat the famine that had struck the Rukira area. Many missions would follow later, primarily dedicated to reforestation and swamp drainage. He would remain in Central Africa with his family until 1949 working for territorial administrations in dif ferent regions. It was during his father's missions that our collec tor discovered the work of the Tutsi people, and star ted collec ting.

Upon his return to Belgium, his interest in Congo ar t only grew, and his main interest was direc ted to the ar t of the Songye. Over the years his collec tion of several Songye figures would result in a comprehensive ensemble in which sculptures of dif ferent sizes and types represented Songye ar t in all its richness and diversity.

Mr and Mrs S., around 1925, Musonoie, Congo.

091. Songye Power Figure Wood, glass beads, vegetal fibers, animal skin, metal, brass tacks, seeds, and cowries - 38,5 cm D.R. Congo Provenance: Acquired from Emile Deletaille in 1970, with cer tificate.

Collec tion S., Belgium

€ 20 000 - 30 000 To reach the full extent of its sacred potential, the Songye wooden figure, at the stage of its creation considered as an empty shell, has to be completed by the medicine composed of various materials of organic, animal, and mineral origins chosen for their magical proper ties.

They will be incorporated into the body or packed in bundles.

Figures like these were usually dismantled in Western collec tions and it is exceptional to find a figure in a state of preser vation like this.

092. Songye Power Figure Wood, metal, brass tacks, raf fia, and fabric - 17 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 10 000 - 15 000

093. 3 Tutsi screens Wicker work 72 x 39 cm 58 x 39 cm 72 x 40 cm Rwanda Provenance: Collec ted in the 1920s By descent Collec tion S., Belgium

€ 2000 - 3000

094. Songye figure Wood, copper, glass beads, bronze bells, brass tacks, horn, vegetal fibers, and cowries - 54 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 20 000 - 30 000

Tutsi woman - Photography - Collection S. - Circa 1920

095. 5 Tutsi baskets Fibers 8,8 cm; 21 cm; 8 cm; 16,5 cm; 23,5 cm; 16 cm Rwanda Provenance: Collec ted in the 1920's By descent Collec tion S., Belgium

€ 1000 - 1500

096.

B akongo Basket Fibers - 16 x 62 x 31 cm D.R. Congo Provenance: Collec ted in the 1920s By descent Collec tion S., Belgium

€ 1000 - 1500

097. Songye/Tetela figure Wood, glass beads, animal hair, vegetal fibers, fabric, tooth - 44,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 10 000 - 15 000

098.

Yaka Figure Wood, twigs, and vegetal fibers - 40 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 3000 - 5000

099. Songye figure Wood - 23,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 4000 - 6000

100. Large Bamun Knife Metal, wood, leather, brass tacks, vegetal fibers, and fabric - 67 cm (including sheath) Provenance: Collec tion S., Belgium

€ 2000 - 3000

101. Songye Figure Wood, metal, animal skin, vegetal fibers, and cowries - 56 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 6000 - 8000

102.

L obala / Ngbaka Knife Metal and wood - 77 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 600 - 800

103. Nzombo Lobala Knife Metal and wood - 60 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 800 - 1200

104. Salampasu Mask Wood - 27 cm R.D. Congo Provenance: Collec tion S., Belgium

€ 3000 - 5000

105. Teke Figure Wood and vegetal fibers - 16,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 2000 - 3000

106. Six Tutsi Wickerwork Disks Fibers - 21,5 to 23 cm Ø Rwanda Provenance: Collec ted in the 1920s By descent Collec tion S., Belgium

€ 1000 - 1500

107. Yaka Figure Wood, fabric and vegetal fibers - 38 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 4000 - 6000

108. Yaka Figure Wood - 23,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 1500 - 2000

109. Teke Figure Wood and vegetal fibers - 11,5 cm D.R. Congo Provenance: Old collec tion number T10 0 04 Collec tion S., Belgium

€ 1000 - 1500

110. Pende Masquette Bronze - 5,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 400 - 600

111. Yaka Figure Wood, glass beads, and vegetal fibers - 19,5 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 2000 - 3000

112. 12 Small Tutsi basketry Disks Fibers - 8,5 cm Ø (each) Rwanda Provenance: Collec ted in the 1920's By descent Collec tion S., Belgium

€ 500 - 800

113. Yaka-Suku Figure Wood - 51 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 3000 - 4000

114. Kongo Nkisi Figure Wood, mirror, iron nails, glass, and fabric - 31 cm D.R. Congo Provenance: Collec tion S., Belgium

€ 4000 - 6000

115. 3 Tutsi Screens Fibers 71 x 42 cm 70 x 40 cm 68 x 38 cm Rwanda Provenance: Collec ted in the 1920s By descent Collec tion S., Belgium

€ 2000 - 3000

116. Ngombe Sword Metal, copper, and wood - 51 cm R.D. Congo Provenance: Collec tion S., Belgium

€ 600 - 800

117. Ashanti Doll Wood and glass beads - 30 cm Ghana Provenance: Collec tion S., Belgium

€ 2000 - 3000

118. Gelede mask Wood and pigments - 46 cm Nigeria Provenance: Collec tion S., Belgium

€ 3000 - 4000

119. Dan Mask Wood and brass tacks - 22 cm Ivor y Coast Provenance: Collec tion S., Belgium

€ 4000 - 6000

CONDITIONS OF SALE - NATIVE SPRL Taking part in auctions constitutes unconditional acceptance of these Conditions of Sale.

1. Auctions and state of the objects a) The objects at auction are put up for auction by Native on behalf and in the name of the person who has deposited them ("Vendor").

Adjudication is made in favour of the highest bidder in Euros acknowledged by Native at the time of the auction ("Buyer") and the Sales Contract between the depositor and the Buyer is concluded by this adjudication.

The object being sold is released to the Buyer only against payment in cash or bank transfer. To be accepted as means of payment, cheques must be cleared by the bank on which they are drawn before the object auctioned can be released. b) Objects are put in the auction in the state in which they are found at the time of the auction. Subject to point 1c. below, any guarantee for material damage or legal damages is excluded.

The objects are on display during the event. The descriptions shown in catalogues, advertisements, brochures or any other article or document issued by Native are given purely by way of illustration. They in no way commit the liability of Native.

Consequently, Native guarantees neither the accuracy of the explanatory notes contained in the catalogue, nor the origin, date, age, cultural background or provenance of the objects put up for auction. It is the depositor who is solely liable for the explanatory notes in the catalogue. Native agrees to reproduce them in the catalogue only in its capacity as agent for the depositor.

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

In addition, if the payment due by the Buyer does not take place or is not made in time, Native can, as it chooses and in the name of the depositor, either continue to demand that the sales contract be executed or, without being bound to set a fixed time, waive the right to require execution of the sales contract and claim damages for nonexecution or even renounce the contract. The Buyer is liable in respect of Native and the depositor for all damages resulting from non-payment or late payment. d) According to the law of 30 June 1994 on authors’ rights, the Buyer shall pay in addition to the hammer price an Artist Resale Right (droit de suite) of 4% on the part of the hammer price from 0 € to 50,000 €, of 3% on the part of the hammer price from 50,001 € to 200,000 €, of 1% on the part of the hammer price from 200,001 € to 350,000 €, of 0.5% on the part of the hammer price form 350,001 € to 500,000 € and of 0.25% for the last part of the hammer price above 500,001 €. e) The exporting of any object from Belgium and the importing into a third country may be subject to particular authorisations. The Buyer is responsible for obtaining all necessary export or import licences. Refusal of these authorisations or any delays after they have been obtained will in no case be grounds for a cancellation of the sale or a delay in payment.

c) Native freely states that it is prepared to cancel the auction on behalf of the depositor and refund only the hammer price, commission and VAT if an object sold should prove, within 1 year from the date of the auction, to be a modern intentional fake. By modern intentional fake is to be understood a reproduction which it can be proved has been made with the intention of falsely deceiving others whether in respect of origin, date, age, cultural background or source, without this having been shown in the catalogue.

3. Registration and attendance at the Sale

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

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

d) Buyers must, at their own expense, come and collect the objects auctioned within 7 days from the end of the auction during opening times at Native, namely from Monday to Friday 10.00 to 13.00 and 14.00 to 17.30. If sufficient time is available, objects will be released after each session. In accordance with point 1, handover will be against payment in cash.

During the abovementioned period, Native is liable for the loss, theft, damage or destruction of the objects auctioned and paid for, although only up to the amount of the price of the auction, commission and VAT. On the expiry of this period, Native’s liability ceases. If the objects auctioned are not withdrawn within 7 days, they will be stored at the expense and risk of the Buyer. e) Each Buyer is personally responsible for the item awarded to him at auction.

Proof of powers of attorney may be required from persons acting as third-party representatives or as an organ of a corporate body. The representative is jointly and severally liable with the person represented for meeting all commitments.

2. Hammer price, commission, risk transfer, ownership transfer, payment, invoicing, VAT, importing and exporting a) In addition to the hammer price, the Buyer owes a supplement ("commission") on the hammer price. Commission is 20% of the hammer price. In case of bidding through an internet platform, an extra commission will be added by those.

Commission for drouot.com is 1,5% on the hammer price, for invaluable.com 3%.

The Buyer must also pay Belgian VAT (21%) calculated only on the commission.

For lots where the Vendor is a non-resident of the EU (lots indicated by ‡), the Buyer will pay an import tax of 6% in addition to the bid price plus legal costs. The amount of this tax will be reimbursed on presentation of proof of export outside the EEC. b) Ownership of the object auctioned passes to the Buyer once the hammer has come down finally. Until full payment of the hammer price, commission and VAT, Native reserves a right of retention and lien on all objects in its keeping. The release of the auctioned object to the Buyer is not made until after full payment of the hammer price, commission and VAT.

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

c) Native is free to reject a bid without giving reasons. Similarly, it is within its rights to hold an auction without selling or withdraw objects from the auction. Native reserves the right to refuse any person access to its commercial premises or forbid any person from taking part in one of its auctions. d) Bids from interested parties who do not wish to attend the auction personally will be taken into consideration if they communicate such a wish in writing 24 hours before the start of the auction.

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

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

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

4. Miscellaneous The auction is held under the joint authority of a huissier de justice (Court Justice).

Any liability on the part of Native arising from acts attributable to the huissier involved is excluded. b) The foregoing stipulations are an integral part of each individual sales contract concluded at sales by auction. Amendments to them are in no way binding unless Native has given its agreement to them in writing. c) Any dispute on the validity, interpretation and execution of these Conditions of Sale and any dispute on the conducting of the auctions will be subject to Belgian law, with the exception of (a) the stipulations of the Vienna Convention on international sales contracts and (b) the rules of referral to Belgian international private law. d) Only the courts and tribunals of Brussels are competent to rule on any disputes.

CONDITIONS DE VENTE - NATIVE SPRL La participation aux enchères emporte l’acceptation inconditionnelle aux présentes conditions de vente.

de l’objet adjugé à l’Acheteur n’intervient qu’après complet paiement du prix de l’adjudication, de la commission et de la TVA.

1. Enchères et état des objets

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

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

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

L’objet de la vente n’est remis à l’Acheteur que contre un paiement en espèces ou transfert bancaire. Pour être admis comme moyens de paiement, les chèques doivent être confirmés par la banque tirée avant la délivrance de l’objet adjugé. b) Les objets sont mis aux enchères dans l’état dans lequel ils se trouvent au moment de l’adjudication. Sous réserve du point 1c. ci-dessous, toute garantie pour dommages matériels ou juridiques est exclue.

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

La condition de ce remboursement est que l’Acheteur adresse une réclamation immédiate, sous pli recommandé adressé à Native, dès la découverte du vice et au plus tard dans un délai de 1 an à compter de la date de l’adjudication, et qu’il restitue immédiatement l’objet falsifié à Native dans le même état que le jour de l’adjudication et exempt de toute prétention de tiers. L’Acheteur doit fournir la preuve que l’objet adjugé est un faux par rapport à la description du catalogue et que l’objet est identique à la chose adjugée. Toute autre prétention de l’Acheteur est exclue. d) Les Acheteurs doivent venir chercher, à leurs propres frais, les objets adjugés dans les 7 jours qui suivent la clôture de la vente aux enchères, pendant l’horaire d’ouverture de Native, soit du lundi au vendredi de 10h00 à 13h00 et de 14h00 à 17h30. Si le temps à disposition est suffisant, les objets seront délivrés après chaque séance. Conformément au point 1., la remise a lieu contre paiement en espèces.

Pendant le délai précité, Native est responsable de la perte, du vol, de l’endommagement ou de la destruction des objets adjugés et payés, à concurrence toutefois du montant du prix de l’adjudication, de la commission et de la TVA. À l’expiration de ce délai, la responsabilité de Native cesse. Si les objets adjugés ne sont pas retirés dans les 7 jours, ils seront entreposés aux frais et aux risques de l’Acheteur. e) Chaque Acheteur répond personnellement de l’adjudication qui lui a été faite. La preuve de pouvoirs de représentation peut être exigée de personnes qui agissent comme représentants pour le compte de tiers ou comme organe d’une personne morale. Le représentant répond solidairement avec le représenté de l’accomplissement de tous les engagements.

2. Prix de l’adjudication, commission, transfert des risques, transfert de la propriété, paiement, facturation, TVA, importation et exportation a) Outre le prix d’adjudication, l’Acheteur est débiteur d’un supplément ("commission") sur le prix d’adjudication. La commission est de 20% du prix d’adjudication.

En cas d'enchère via une plateforme internet, une commission supplémentaire sera ajoutée par celle-ci. Pour drouot.com cette commission s'élève à 1,5% sur le prix marteau, pour invaluable.com à 3% sur le prix marteau. L’Acheteur doit également s’acquitter de la TVA belge (21%) calculée uniquement sur la commission.

Pour les lots dont le vendeur est non-résident de l’ E.U (lots signalés par ‡) l’adjudicataire paiera une taxe importation de 6% en sus de l’adjudication, plus les frais légaux. Le montant de cette taxe sera remboursé sur présentation de la preuve d’exportation hors CEE. b) La propriété de l’objet adjugé passe à l’Acheteur dès l’adjudication. Jusqu’au complet paiement du prix de l’adjudication, de la commission et de la TVA, Native se réserve un droit de rétention et de gage sur tous les objets sous sa garde. La délivrance

En outre, si le paiement dû par l’Acheteur n’a pas lieu ou n’intervient pas à temps, Native peut, à son choix et au nom du déposant, soit continuer à exiger l’exécution du contrat de vente, soit sans être tenu d’impartir un délai renoncer au droit de demander l’exécution du contrat et réclamer des dommages et intérêts pour cause d’inexécution ou encore se départir du contrat. L’Acheteur est responsable vis-à-vis de Native et du déposant de tous les dommages découlant du non-paiement ou du paiement tardif. d) Conformément à la loi du 25 juin 1921 frappant d’un droit les ventes publiques d’œuvres d’art au profit des artistes et auteurs des œuvres vendues, l’acheteur devra payer en sus du prix de vente et pour les artistes un droit de suite qui s’élève à 4% pour autant que l’adjudication soit égale ou supérieure à 2.000 Euro. Le droit de suite s’éteint lorsque l’artiste est décédé depuis plus de 70 ans. e) L’exportation de tout objet hors de la Belgique et l’importation dans un pays tiers peuvent être sujettes à des autorisations particulières. L’Acheteur est responsable de l’obtention de toutes les autorisations requises à l’exportation ou à l’importation.

Le refus de ces autorisations, ou tous retards consécutifs à leur obtention, ne justifiera en aucun cas l’annulation de la vente ni un retard de paiement.

3. Enregistrement et participation à la vente a) La remise d’une enchère ou d’un ordre d’achat " absentee bid ’ lie inconditionnellement et irrévocablement l’enchérisseur. L’enchérisseur demeure lié à son offre jusqu’à ce que celle-ci fasse l’objet d’une surenchère ou qu’elle soit écartée par Native. Les enchères doubles font l’objet d’un nouvel appel immédiat ; dans les cas douteux, la direction des enchères tranche par tirage au sort. b) Les enchérisseurs qui ne sont pas personnellement connus de Native sont tenus de se légitimer avant le début de la vente aux enchères. Native se réserve le droit d’exiger une preuve de la solvabilité de l’enchérisseur. Si ce dernier document fait défaut, Native est habilitée à exiger le paiement immédiat d’un acompte en espèces équivalent à 10% de l’adjudication ou le dépôt d’une garantie. À défaut du versement de cet acompte ou du dépôt de cette garantie, Native est autorisée au nom du déposant à annuler l’adjudication. c) Native est libre d’écarter une enchère sans indication des motifs. De même, elle est en droit d’adjuger sans vente ou de retirer des objets de la vente aux enchères. Native se réserve le droit de refuser à toute personne l’accès à ses locaux commerciaux ou d’interdire à toute personne de participer à l’une de ses ventes aux enchères. d) Les offres d’enchères émanant d’intéressés qui ne souhaitent pas assister personnellement à la vente aux enchères seront prises en considération par écrit jusqu’à 24 heures avant le début de la vente aux enchères.

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

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

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

4. Divers a) La vente aux enchères se déroule sous l’autorité conjointe d’un huissier de justice. Toute responsabilité de Native du fait d’actes imputables à l’huissier instrumentant est exclue. b) Les dispositions qui précèdent font intégralement partie de chaque contrat individuel de vente conclu à l’occasion des ventes aux enchères. Leurs modifications n’ont de portée obligatoire que si Native leur a donné son accord écrit. c) Tout litige relatif à la validité, l’interprétation et l’exécution des présentes conditions de vente et tout litige relatif au déroulement des enchères sera soumis au droit belge, à l’exception (a) des dispositions de la Convention de Vienne concernant les contrats de vente internationale et (b) des règles de renvoi du droit international privé belge. d) Seuls les cours et tribunaux de Bruxelles sont compétents pour connaître d’éventuels litiges.

VERKOOPVOORWAARDEN - NATIVE BVBA Het deelnemen aan het opbod veronderstelt de onvoorwaardelijke aanvaarding van onderhavige voorwaarden.

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

De toewijzing gebeurt aan diegene die tijdens de veiling door Native als hoogste bieder in euro wordt erkend ("koper’) en geldt als verkoopovereenkomst tussen de verkoper en de koper.

Het voorwerp van de verkoop wordt alleen aan de koper overhandigd tegen contante betaling of na bankoverschrijving. In geval van betaling per cheque dient de uitgeschreven cheque te worden bevestigd door de bank waarop hij getrokken wordt, alvorens het toegewezen voorwerp wordt overhandigd. b) De voorwerpen worden geveild in de staat waarin zij zich op het moment van de veiling bevinden. Onder voorbehoud van hierna vermeld punt 1c. is elke garantie voor materiële of juridische schade uitgesloten.

De voorwerpen kunnen worden bezichtigd tijdens de tentoonstelling. De beschrijvingen in de catalogi, advertenties, brochures of andere geschriften afkomstig van Native hebben een louter indicatieve waarde en stellen Native geenszins aansprakelijk. Native biedt dus geen garantie met betrekking tot de juistheid van de beschrijvingen in de catalogus, de oorsprong, de datum, de leeftijd, de cultuur of de afkomst van de geveilde voorwerpen. Alleen de verkoper is aansprakelijk voor de in de catalogus opgenomen beschrijvingen. Native neemt deze beschrijvingen alleen in zijn catalogus op als tussenpersoon van de verkoper. c) Native verklaart zich bereid om de verkoop in naam van de verkoper te annuleren en de hamerprijs, de commissie en de btw terug te betalen, indien binnen 1 jaar na de verkoopdatum zou blijken dat een verkocht voorwerp het resultaat is van een opzettelijke moderne vervalsing. Onder opzettelijke moderne vervalsing verstaan wij een reproductie waarvan bewezen kan worden dat zij is gemaakt met het opzet een ander te bedriegen, hetzij met betrekking tot de oorsprong, hetzij op het vlak van de datum, de leeftijd, de cultuur of de bron, zonder dat dit duidelijk uit de catalogus blijkt.

Voorwaarde voor deze terugbetaling is dat de koper onmiddellijk na de ontdekking van het gebrek en ten laatste binnen een termijn van 1 jaar te rekenen vanaf de datum van de verkoop aangetekend klacht bij Native indient, en dat hij het nagemaakte voorwerp onmiddellijk aan Native terugbezorgt in de staat waarin het zich op de dag van de verkoop bevond en vrij van elke aanspraak van derden. De koper moet het bewijs leveren dat het verkochte voorwerp een vervalsing is ten opzichte van de beschrijving in de catalogus en dat het voorwerp wel degelijk het verkochte voorwerp is. Elke andere vordering van de koper is uitgesloten. d) De koper dient op eigen kosten en binnen een termijn van 7 dagen na het afsluiten van de veiling de gekochte stukken af te halen. Dit kan tijdens de openingsuren van Native: van maandag t/m vrijdag tussen 10.00 en 13.00 uur en tussen 14.00 en 17.30 uur. Indien er voldoende tijd is, worden de voorwerpen na elke zitting overhandigd.

Zoals bepaald in punt 1, worden de voorwerpen overhandigd tegen contante betaling.

en de btw, kan Native pandrecht en retentierecht inroepen voor de stukken die het in bewaring heeft. Het overhandigen van het aan de koper verkochte voorwerp vindt pas plaats na volledige betaling van de hamerprijs, de commissie en de btw. c) Een verkocht voorwerp moet binnen de 7 dagen na sluiting van de veiling betaald zijn.

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

Indien de door de koper verschuldigde betaling niet of niet tijdig plaatsvindt, kan Native bovendien naar eigen keuze en in naam van de verkoper hetzij de uitvoering van de verkoopovereenkomst eisen, hetzij - zonder daarom gehouden te zijn tot het toekennen van een termijn - afstand doen van het recht om uitvoering van de verkoopovereenkomst te eisen en schadevergoeding vragen voor niet-naleving van het contract, hetzij afzien van het contract. De koper is aansprakelijk ten opzichte van Native en de verkoper voor alle schade ingevolge niet-betaling of laattijdige betaling. d) Overeenkomstig de wet van 25 juni 1921, die de openbare verkopingen van kunstwerken ten voordele van de artiesten en auteurs der verkochte werken met een recht bezwaart, zal de koper bovenop de koopprijs en voor de artiesten een volgrecht betalen van 4% indien de toewijzingsprijs gelijk of hoger is dan 2.000 Euro. Het volgrecht dooft uit wanneer de artiest sedert meer dan 70 jaar is overleden e) Voor export van een voorwerp buiten België en import in een ander land kunnen bijzondere vergunningen vereist zijn. De koper is verantwoordelijk voor het verkrijgen van alle vereiste export- of importvergunningen. Niet-toekenning of vertraging door de laattijdige toekenning van de nodige vergunning vormt geen geldige reden voor annulatie van de verkoop of uitstel van betaling.

3. Inschrijving en deelname aan de verkoop a) Het uitbrengen van een bod of het doorgeven van een aankooporder "absentee bid’ is onvoorwaardelijk en onherroepelijk bindend voor de bieder.

De bieder blijft gebonden door zijn bod tot er een hoger bod gedaan wordt of het bod door Native verworpen wordt. In geval van een dubbel bod wordt onmiddellijk opnieuw afgeroepen; bij twijfel beslist de directie van de veiling door loting. b) Bieders die niet persoonlijk bij Native bekend zijn, dienen zich bij aanvang van de veiling te legitimeren. Native behoudt zich het recht voor een bewijs van kredietwaardigheid van de bieder te vragen. Indien dit document niet kan worden voorgelegd, is Native gemachtigd onmiddellijk betaling van een contant voorschot van 10 % van de toewijzing of een borg te eisen. Bij afwezigheid van voorschot of borg is Native gemachtigd om de verkoop in naam van de verkoper te annuleren. c) Native mag naar eigen inzicht een bod verwerpen zonder verklaring van zijn beslissing.

Bovendien heeft Native het recht om voorwerpen te gunnen zonder verkoop of uit de veiling terug te trekken. Native behoudt zich het recht voor aan personen toegang tot de handelslokalen of deelname aan de veiling te weigeren.

Tijdens de hierboven vermelde termijn is Native aansprakelijk voor verlies, diefstal, beschadiging of vernieling van de verkochte en betaalde goederen.

Deze aansprakelijkheid beperkt zich tot maximaal het bedrag van de verkoop, de commissie en de btw. Na deze termijn eindigt de aansprakelijkheid van Native.

Indien de verkochte voorwerpen niet zijn afgehaald binnen een termijn van 7 dagen, worden zij bewaard op kosten en voor risico van de koper.

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

e) Elke koper staat persoonlijk in voor de verkoop die aan hem werd gedaan. Aan personen die handelen als vertegenwoordiger en voor rekening van derden of als een orgaan van een rechtspersoon, kan een bewijs van machtiging tot vertegenwoordiging worden geëist. De vertegenwoordiger is solidair verantwoordelijk met de vertegenwoordigde voor het naleven van alle verplichtingen.

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

2. Hamerprijs, commissie, risico-overdracht, eigendomsoverdracht, betaling, facturatie, btw, import en export a) Naast de prijs van de verkoop is de koper ook een toeslag ("commissie’) op de hamerprijs verschuldigd. De commissie bedraagt 20 % van de hamerprijs. Indien geboden wordt via een internet platform zal een extra commissie aangerekend worden door deze. Voor drouot.com bedraagt deze commissie 1,5 % op de hamerprijs, voor invaluable.com 3%.

De koper is eveneens de Belgische btw (21 %) op de commissie verschuldigd.

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

Het bedrag van deze taks wordt terugbetaald op vertoon van het bewijs van export buiten de E.E.G. b) De eigendom van het verkochte voorwerp gaat over op de koper vanaf het ogenblik van de verkoop. Tot op het ogenblik van de volledige betaling van de hamerprijs, de commissie

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

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

4. Varia a) De veiling vindt plaats onder medetoezicht van een deurwaarder. Native weigert elke aansprakelijkheid met betrekking tot daden die toe te schrijven zijn aan de instrumenterende deurwaarder. b) Voormelde bepalingen maken integraal deel uit van elk individueel verkoopcontract dat ter gelegenheid van een veiling gesloten wordt. Wijzigingen aan deze voorwaarden zijn slechts bindend indien Native zich hiermee schriftelijk akkoord heeft verklaard. c) Voor geschillen over de geldigheid, interpretatie en uitvoering van onderhavige verkoopvoorwaarden en het verloop van de veiling, is het Belgische recht van toepassing, met uitzondering van (a) de bepalingen van de Conventie van Wenen met betrekking tot internationale verkoopovereenkomsten en (b) de regels die verwijzen naar het Belgische Internationale Privaatrecht. d) In geval van geschil zijn alleen de rechtbanken van Brussel bevoegd.

CATALOG EDITORS Nicolas Paszukiewicz Sébastien Hauwaert

Gilles Marquenie

PHOTOGRAPHY BY Nicolas Paszukiewicz Sébastien Hauwaert Printed by Snel Grafics

Native auctions Telephone bid Absentee bid Auction 18 15 May 2021 - Brussels Ruysbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles T +32(0)2 514 04 42 info@native - auctions.com

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