Tribal Art, Modern Art and 20th Century Furniture

Native

Tribal Art, Modern Art and 20th Century Furniture 30 January 2024 - Brussels

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

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, Modern Art and 20th Century Furniture 30 January 2024 - Brussels Auction 30 January 2024 19.00

Preview 25 - 29 January 2024 10.00 - 18.00 30 January 2024 10.00 - 16.00

Collection of Madame de Saint Hilaire As a youth, Michelle Saint Hilaire developed a fascination for African art that made her a privileged witness of the ever-growing interest in African art throughout Europe and especially in France during the second half of the twentieth century. At that time Paris - with its famous dealers specialized in African art, and the advent later on of museums like the Fondation Dapper or the Quai Branly - was the perfect place to be to satisfy any hunger or curiosity for non-European culture. Needless to say, Michelle Saint Hilaire was an avid visitor of all the places and events that were made available to her that way.

Long before daring to cross the threshold of the big Parisian galleries specializing in African art, she was a familiar face in the Quartier Latin, admiring the works the dealers had on display in their windows. Unrelentingly reading, studying, and visiting exhibitions, she took her sweet time to learn about African culture in all its richness and diversity before starting to collect herself. From the mid-1970s on, she would regularly buy pieces from the likes of Pierre Vérité, Jean Roudillon, or Guy Montbarbon a.o.

After a lifelong love for African art, Michelle Saint Hilaire, at the age of 92, has decided to part with some of her preciously collected pieces, hoping to pass on her passion to younger generations. We are honored to have been entrusted with sharing her passion with you.

001. Senufo Mask Ivor y Coast Wood, 32 cm Provenance: Pierre Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 1500 - 2000 Cer tificate with photograph

by Claude Vérité.

002. Senufo Figure Ivor y Coast Wood and cowries, 33,5 cm Provenance: Michelle Saint Hilaire Collec tion, Paris

€ 1500 - 2000

003. Senufo Heddle Pulley Ivor y Coast Wood, 24 cm Provenance: Pierre Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000 Cer tificate with photograph by Claude Vérité, dated April 2012

004. Baule Figure Ivor y Coast Wood, 50 cm Provenance: Pierre Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 12 000 - 18 000 Cer tificate with photograph by Claude Vérité, dated 3 Februar y 20 0 0 The style of this sculpture allows us to attribute it to the so-called Ascher Master. It can be compared to two sculptures of a seated figure by the Asher Master in the publication by Bernard De Grunne on Baule sculpture (Brussels, 2016), catalog numbers 5 and 6. The sof t facial features, with almond-shaped bulbous eyes and delicate rendering of the hairdo, are typical for the works by this ar tist.

This style of sculpture was first recognized in the Baule figure that belonged to Ernst Ascher (1888-1979). Asher star ted as an ar tist, but around 1915 he star ted dealing in African ar t in Paris, and besides being an impor tant collec tor, he became a much respec ted and appreciated ac tor in the African ar t market. Between the two World Wars, he owned a galler y on the corner of Rue des Beaux-Ar ts and Rue de Seine. He was also the owner of several objec ts included in the legendar y “Exposition d'ar t Africain et d'ar t Oceanien” at Galerie Pigalle in 1930.

005. Fante Figure Ghana Wood and beads, 29,5 cm Provenance: Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000

006. Lobi Figure Burkina Faso Wood, 89 cm Provenance: Michelle Saint Hilaire Collec tion, Paris

€ 3000 - 4000 Notwithstanding its average size, this sculpture by the highly praised 20th-centur y Lobi sculptor and diviner Tyohèpté Palé strikes us by its monumentality. The exaggeratedly big and downcast eyes, so typical for the ar tist, seem to refer to an ability to see fur ther than this mor tal realm, and its dignified attitude conveys a purposeful solemnity.

007. Ligbi Heddle Pulley Ivor y Coast Wood, 16,5 cm Provenance: Michelle Saint Hilaire Collec tion, Paris

€ 1000 - 1500

008. Guro Heddle Pulley Ivor y Coast Wood, 23,5 cm Provenance: Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000

009. Senufo Mask Ivor y Coast Wood, 32,5 cm Provenance: Pierre Vérité Collec tion until 1992, Paris Michelle Saint Hilaire Collec tion, Paris

€ 3000 - 4000 Accompanied by a cer tificate with a photograph by Claude Vérité, dated April 1995.

Seen in profile, the line running from the eyes over the cheeks to the exaggeratedly pronounced mouth is in the shape of a comma, allowing us to attribute this mask to the Master of the convex face. A mask by this master belongs to the collec tion of the Museum Rietberg in Zurich (provenance Roger Bediat collec tion, before 1939).

Surmounted by a seated figure and with elaborately car ved scarification marks, this old mask is exceptionally refined, betraying the extraordinar y ar tistr y of this master.

010. Baule Figure Ivor y Coast Wood, beads, and fabric, 72 cm Provenance: Pierre Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 5000 - 7000 Accompanied by a cer tificate with a photograph

by Claude Vérité, dated April 1995 Elegant standing Baule female figure with closed eyes and hands resting on the abdomen, conveying a tranquil and meditative attitude. The fluid symmetrical composition reflects the ideal of beauty that is typical for this type of statue called asye usu, a seat for the wild forest spirits.

These sculptures were used by Baule diviners as an intermediar y with the spirit world. During ceremonies, diviners applied kaolin to their eyes and lips, enabling them to communicate with the spirits when in trance. In this sculpture, this application of kaolin can also be found around the eyes, in analogy with the ritual during which it was used.

011. Tsogho Reliquary Mbumba bwiti Gabon Wood, vegetal fibers, and metal, 25 cm Provenance: Supposedly André Fourquet Collec tion, Paris Christie's, London, Impor tant Tribal Ar t, 17 June 1980, lot 269 Guy Montbarbon, Paris Michelle Saint Hilaire Collec tion, Paris

€ 8000 - 12 000 Cer tificate with a photograph

by Guy Montbarbon

012. Ci Wara, Bamana Mali Wood and beads, 40 cm Provenance: Pierre and Claude Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000

013. Agni Figure Ivor y Coast Wood and traces of kaolin, 41 cm Provenance: Guy Montbarbon, Paris Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000 Cer tificate with a photograph

by Guy Montbarbon

014. Teke Figure D.R. Congo Wood and pigment, 36 cm Provenance: Guy Montbarbon, Paris Michelle Saint Hilaire Collec tion, Paris

€ 2000 - 3000 Cer tificate with a photograph

by Guy Montbarbon

015. Baule Seated Chief's Figure Ivor y Coast Wood and fabric, 72 cm Provenance: Pierre Vérité Collec tion, Paris Michelle Saint Hilaire Collec tion, Paris

€ 15 000 - 20 000 Cer tificate with a photograph by Claude Vérité, dated April 1995 The image of a seated figure is usually linked to persons of high impor tance. Whether it be a pharaoh, a king, or a chief, the person depic ted on a seat inspires respec t and reverence. In African ar t, the chief would be seated when making impor tant decisions, and when speaking justice. Combined with the cult of the ancestors, sculptures like the one presented here refer to a highly respec ted chief, ac ting as an inspiration for the present leaders, and assuring the unbreakable connec tion between the living and the dead over generations.

Among the Baoulé, physical beauty was linked to moral qualities, and the sculptor of the piece presented here took great care in conveying this quality through the delicate rendering of the facial features.

The impor tant size and scarification marks fur ther enhance the aura of status, impor tance, and moral excellence.

End of collection

Collection of Dr. Alex Rafaeli From the extraordinary collection of Dr. Alex Rafaeli (1910 - 1996), we are proud to present an ensemble of masks and sculptures.

Rafaeli’s life was profoundly marked by the geopolitical turmoil of the 20th century. Being born in Riga in 1910 to Communist parents, he lived the last moments of the Russian Empire and the Revolution of 1917. He obtained a doctorate in political science at Heidelberg University during the 1930s, and witnessed the rise of fascism and antiSemitism, convincing him from an early age of the need for a Jewish state. During the Second World War, he was particularly active in the Zionist movement. In 1940 he fled to the U.S. and joined the U.S. Army in 1943, taking part in the Normandy landings.

Traveling extensively, Alex Rafaeli started a collection of African art during the 1930s and befriended a.o.

Paul Guillaume from whom he bought the famous Guro mask that was sold in 2015 by the Brussels dealer Didier Claes at the prestigious TEFAF fair in Maastricht.

During the 1950s (he settled in Jerusalem in 1954) Dr. Alex Rafaeli expanded and worked on his collection of African art, resulting in two major exhibitions of African art, the first in 1953 at the National Museum Bezalel in Jerusalem (also shown in Tel Aviv), then in 1955 at the Haifa Museum of Modern Art. During these exhibitions, he sometimes managed to convince other collectors to sell some of their pieces to him, such as is the case for lots 20 and 22 presented here.

Most of the lots presented in this auction were included in the aforementioned exhibitions, but the highlight is undoubtedly a Kota Reliquary Figure, that can be recognized on an archival photograph from the Ladislas Szecsi collection (Ladislas Segy Gallery, New York) in the Smithsonian’s National Anthropological Archives (lot 20).

016. Baule Mask Ivor y Coast Wood, 45 cm Provenance: Alex Rafaeli Collec tion, Jerusalem

€ 5000 - 7000

017. Senufo Rider Figure Ivor y Coast Wood, 22 cm Provenance: Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.58 Haifa, Museum of Modern Ar t. Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from Other Collec tions, November 1955, cat.58

€ 3000 - 5000 With a handwritten label underneath the pulley: "A 9/15 Le Toubab envahisse le Dioula"

018. Kai Lyngfeldt-Larsen (Danish, 1920 - 1976)

8 Chairs Rosewood and leather H.79 cm, seat 41 cm Produced by Søren Willadsen Møbelfabrik, 1960s

€ 2000 - 3000

019. Baule Mask Ivor y Coast Wood, 34 cm Provenance: Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.1 (label on verso) Haifa, Museum of Modern Ar t.

Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from Other Collec tions, November 1955, cat.1

€ 4000 - 6000

020. Kota Reliquary Figure Gabon Wood and brass, 59 cm Provenance: Probably Frederick Wolf f-Knize (1890 -1949), New York Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat. cat.24 (ill., and with label on verso) Haifa, Museum of Modern Ar t. Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from other Collec tions, November 1955, cat.24

€ 50 000 - 70 000 Guardian figures such as these were made for the Mungala, a male secret society of the Kota.

In the archives of Ladislas Szecsi, now held at the Smithsonian’s National Anthropological Archives, we find a photograph (inv. 06000108) showing three Kota reliquary figures, amongst which this very one can be recognized on the right.

According to the Van Rijn Archives, this Kota Reliquary figure used to belong to Frederick Wolff-Knize, who left Austria during W WII for the U.S. For several years a part of his collection was kept at the Vienna Museum, only to be returned to its owner after the war.

021. Tsanghi / Punu Mask Gabon Wood and kaolin, 28 cm Provenance: Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.27 (label on verso) Haifa, Museum of Modern Ar t.

Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from Other Collec tions, November 1955, cat.27

€ 6000 - 8000

022. Pindi / Hungaan Figure D.R. Congo Wood, 38,5 cm Provenance: Max Arnold Collec tion Alex Rafaeli Collec tion, Jerusalem (since 1955) Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.59 Haifa, Museum of Modern Ar t. Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from other Collec tions, November 1955, cat.59

€ 6000 - 8000

023. Kongo Maternity D.R. Congo Wood, 28 cm Provenance: Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.63 (label underneath) Haifa, Museum of Modern Ar t.

Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from other Collec tions, November 1955, cat.63

€ 3000 - 5000

024. Sundi Kneeling Figure D.R. Congo Wood and organic material, 22 cm Provenance: Alex Rafaeli Collec tion, Jerusalem Exhibited and published: Jerusalem, The National Museum Bezalel, Masks of Primitive peoples from the collec tion of Dr. Alex Rafaeli, 7 Februar y - 7 March 1953, cat.64 Haifa, Museum of Modern Ar t. Cultural Depar tment, Ar t of Primitive People. Masks from the collec tion of Dr. Rafaeli, Sculptures from other Collec tions, November 1955, cat.64

€ 5000 - 8000

025. Ivi Po'o Figure Marquesas Islands Bone, 5,7 cm Provenance: Brought back by Roland Bonapar te (1858-1924) Emil Berger Collec tion, Paris, between 1910 -1925 Ernest Le Véel Collec tion, Paris Paolo Morigi, Lugano, (with Cer tificate 1982) Rassla Foundation, Zurich Published: Ligabue Magazine 26, Venezia 1995, p. 153

€ 6000 - 8000

026. Cali Fiji Club Fiji Island Early 19th c.

Wood, 106 cm Provenance: Michel Thieme Collec tion, Amsterdam De Baecque & Associés, Paris, 16 March 2016, Vente Objets de hasard - Ar t Africain - Ar t Populaire - Archéologie, lot 71 Galerie Monbrison, Paris (2017) Ligabue Collec tion, Venice Published: Steven Hooper, Power and Prestige. The Ar t of Clubs in Oceania [exhibition catalog], Skira, Milan, pp.202, 291 (ill.)

Steven Hooper, Pouvoir et Prestige. Ar t des massues du Pacifique [exhibition catalog], Skira/Musée du Quai Branly, Paris, 2022, pp.202, 291, cat.65 (ill.)

Exhibited: Palazzo Franchetti, Venice, Power and Prestige. The Ar t of Clubs in Oceania, 16 Oc tober 2021 - 13 March 20 02, cat.65 (ill.)

Musée du Quai Branly Jacques Chirac, Paris, Pouvoir et Prestige. Ar t des massues du Pacifique, 8 June - 25 september, cat.65 (ill.)

€ 8000 - 12 000 Exceptional and rare Cali with elaborate geometric patterns.

The contrasting play of convex and concave cur ves, typical for this type of spurred club called cali is derived from the shape of the flower of the Cali, a species of the banana plant to be found in Fiji.

027. Wahaika Short Club Aoteroa (New Zealand) Maori, 19th c.

Wood, 39,3 x 14,5 x 2,5 cm Provenance: Rober to di Giacomo Collec tion, 1970 Rassla Foundation, Zurich Published: Rapa Nuo, G. Orefici, 1994, p. 244 Ligabue Magazine, 13 Venezia 1988, p. 54

€ 10 000 - 15 000 Beautifully patinated, old Wahaika Rakau, the handle adorned with a Tiki.

The Wahaika Rakau was a ceremonial weapon not intended to be used in ac tual war fare but more in mock battles and dances. They were also worn as chiefly regalia items, usually through a belt.

The term ‘wahaika’ translates as ‘ fish mouth’ - a reference to the shape of the blade.

028. Culacula Fiji Island Early to Mid 19th c.

Wood, 106 cm Provenance: Alexandre Bernand Collec tion, Paris Alain Schof fel, Brussels Ligabue Collec tion, Venice Published: Steven Hooper, Power and Prestige. The Ar t of Clubs in Oceania [exhibition catalog], Skira, Milan, pp.196, 290 (ill.)

Steven Hooper, Pouvoir et Prestige. Ar t des massues du Pacifique [exhibition catalog], Skira/ Musée du Quai Branly, Paris, 2022, pp.196, 290 (ill.)

Exhibited: Palazzo Franchetti, Venice, Power and Prestige.

The Ar t of Clubs in Oceania, 16 Oc tober 2021 - 13 March 20 02, cat.60 (ill.)

Musée du Quai Branly Jacques Chirac, Paris, Pouvoir et Prestige. Ar t des massues du Pacifique, 8 June - 25 september, cat.60 (ill.)

€ 25 000 - 35 000 Ver y rare culacula dance-paddle in New Zealand Maori style.

029. Sepik Amulet Papua New Guinea, Sepik River Late 18th, early, mid-19th c.

Hardwood, 22 cm Provenance: Galerie Anthony Meyer, Paris Ligabue Collec tion, Venice

€ 3000 - 5000

030. Toki Pou Tangata Maori, New Zealand Pounamu stone, 14,5 cm Provenance: Sotheby’s New York, lot 139 Ligabue Collec tion, Venice

€ 1000 - 1500 Blade of a ceremonial adze

031. Apia Nie Bowl Wuvulu (formerly Matty Island), Papua New Guinea Wood, 6,2 x 31,5 x 14 cm Provenance: Ben Tursh Collec tion, Brussels By descent

€ 6000 - 8000 This type of dish, known as Apia nie, to be found on Wuvulu, is used specifically to collect coconut milk. Older dishes like the one presented here obtained their delicate glossy patina from the coconut oil. Apia nie strikingly reflect the pure and minimalistic aesthetics of Micronesian art. In his description of a similar dish from his collection, auctioned in 1978, George Ortiz wrote: "The most successful form for a dish ever made in any civilisation, of masterful abstract and pure line.

The relationship of curve and plane, of solidity and lightness, of strength and elegance to its form creates a volume which is a great sculpture - a sheer delight to the eyes, a homage of man to space."

George Or tiz, The George Or tiz Collec tion of Primitive Works of Ar t, Sotheby Parke Bernet, London, 29 June 1978, lot 86, pp. 76 -77

032. Jean-Dominique Cassini (French-Italian, 1625-1712)

Car te de la Lune - 1679 Engraving on paper 59 x 78 cm (sheet) - 56,5 x 55,5 cm (plate) Unidentified watermark Inscribed alongside the lower lef t rim of the plate: Car te de la Lune, and towards the right side: de Jean Dominique Cassini

€ 35 000 - 50 000

First state of Cassini IV’s reissue of Jean Dominique Cassini’s (1625 - 1712) famous Moon map that was presented to the Paris Académie des Sciences on 18 Februar y 1679.

Jean Dominique Cassini was the first astronomer of the Cassini dynasty who was to hold the reins of the Paris Obser vator y for 126 years. Upon his arrival in France at the invitation of King Louis XIV, his first assignment was to draw an accurate map of the moon that would allow the calculation of longitude at sea.

Cassini called on the draughtsman Jean Patigny (1647-1679) to make the preliminar y drawings. No less than 70 such drawings by Patigny are kept at the Paris Obser vator y librar y.

To obtain an image as clear and precise as possible of the Moon’s landscape, drawings were only made of that par t of the moon that a par ticular time during the lunar c ycle had the strongest contrast. Obser vations could not be made during a full moon when the relief would too flat tened out by the light. The painstaking task of making and assembling these dif ferent detailed drawings into a full view of the moon lasted from 1671 to 1678. It is thanks to this peculiar approach of assembling drawings of par tial views of the moon that such surprising relief and clarit y could be achieved.

Up until the advent of photography, Cassini’s Moon map remained the most precise map of the moon that was ever made. Not only from a scientific point of view but also from an ar tistic point of view, the print was absolutely ex traordinar y. It features some strange elements that have only increased its appeal over the centuries. There is the unusual orientation of the map, which shows the Moon upside down as if obser ved through an astronomical refrac tor and is turned clock wise by about 30°. But the most intriguing detail that has kept scholars puz zled over centuries is the presence of a woman’s head with flowing hair at the Heraclides Promontor y and a hear t-shaped figure in the lower lef t par t of the moon. The woman’s head can also be seen in three of the preparator y drawings

by Patigny, and whether it is some hidden message of love from Cassini or Patigny for their respec tive wives remains a myster y.

Amongst scholars, some claim that Jean Patigny himself engraved the copperplate for this map, although the name of Claude Melan (1598 - 1688) has been suggested as well. Indeed, the vir tuoso technique used to engrave the Moon map, using exclusively parallel lines of dif ferent thicknesses to create relief, is something that Mellan is famous for.

By the 1780s, Cassini IV (1748-1845) - by then the Direc tor of the Paris Obser vator y - advocated to have a reprint made of the 1679 map since barely any copies were still available. The original copperplate was kept in the Royal printing workshop, and in 1787 he was allowed to print one hundred copies, bearing alongside the lower lef t rim of the plate the inscription “Car te de la Lune”, and towards the right side “de Jean Dominique Cassini”. It is one of these hundred copies that is presented here. It is ver y rare to find a copy of these where the paper has not been trimmed.

033. Totokia Fiji Island Early to mid 19th c.

Hardwood, vegetal fibers, 95 cm Provenance: Galerie Monbrison, Paris (2017) Ligabue Collec tion, Venice Published: Steven Hooper, Power and Prestige. The Ar t of Clubs in Oceania [exhibition catalog], Skira, Milan, pp.20 0 -201, 290 -291 (ill.)

Steven Hooper, Pouvoir et Prestige. Ar t des massues du Pacifique [exhibition catalog], Skira/Musée du Quai Branly, Paris, 2022, pp.20 0 -201, 290 -291 (ill.)

Exhibited: Palazzo Franchetti, Venice, Power and Prestige. The Ar t of Clubs in Oceania, 16 Oc tober 2021 - 13 March 20 02, cat.64 (ill.)

Musée du Quai Branly Jacques Chirac, Paris, Pouvoir et Prestige.

Ar t des massues du Pacifique, 8 June - 25 september, cat.64 (ill.)

€ 8000 - 12 000 So-called “pineapple club”, this war club was designed to drive a neat hole through the enemy’s skull, the weight of the heavy head concentrated in the bent point at the top. Its shape was achieved by tying a sapling during its growth at an angle that would give the club its distinctive shape. Traditionally these clubs were carried by chiefs, and its fine decoration throughout the shaft with decorative geometric patterns attests to the importance of its owner. The shape of the head is actually based on the shape of the Pandanus fruit since pineapples were not known in the Fiji Islands.

This large Totokia has retained some of the fiber bindings that were applied to the head to decorate the club both in combat and in dance performances.

Three plain and two black cords remain.

034. Marquesas Islands Head Marquesas Islands Stone, 9 cm Provenance: Galerie Michel Koenig, Bruxelles, 1996 Rassla Foundation, Zurich

€ 2000 - 3000

035. Ambrym Slit Drum Ambr ym Island, Vanuatu Wood, 138 cm Provenance: Rassla Foundation, Zurich

€ 4000 - 6000 Old ver tical slit drum that is typical to be found on the central and southern islands of Vanuatu, par ticularly on Malekula and Ambr ym. Made from a hollowed-out log, they spor t a sculpted face at the top with big disk-shaped eyes, said to represent ancestral figures.

These slit drums play an integral role in the economic system and social stratification of Ambr ym society. When a man accumulates enough wealth, usually in the form of pigs, he pays for a drum to be made, as well as for a ceremony marking the man’s advancement to a higher societal status.

036. Batak Container Borneo Glazed ceramic and wood, 10 cm Provenance: Ben Tursh Collec tion, Brussels By descent

€ 1000 - 1500

037. Ifugao Bulul Seated Figure Luzon Island, Philippines Wood, 44 cm Provenance: Celso Al. Carunungan Collec tion, Philippines Rassla Foundation, Zurich

€ 6000 - 8000

038. Adolf Loos

(Austrian, 1870 - 1933) Two Chairs - c.1899 Mahogany and brass 79 cm (seat height: 43 cm)

€ 4000 - 6000

Collection of Monica Wengraf We are very proud to present an ensemble of tribal art from the renowned Arcade Gallery in London, opened in 1939 by Paul Wengraf (1894-1978).

Paul Wengraf came from Vienna, from a family of art dealers and collectors, and during his years as a young man in early 20th Century Vienna, he had the privilege to live in a place that was intellectually and culturally brimming with the presence of people like Sigmund Freud, Adolf Loos, Gustav Mahler and the artists from the Wiener Werkstatte. Egon Schiele became a personal friend, and in 1917 Paul Wengraf commissioned him his portrait which would result in three striking portraits of the young art dealer. (incl. in Schiele’s Catalogue Raisonné by Jane Kallir under n°s 2091-2093).

Between both world wars, Paul Wengraf emerged as a writer of novels, short stories, and essays that were published in several periodicals. Mainly dealing with art, his writings would turn during the 1930s more and more outspoken against the rise of Nazism. Under the pseudonym of Paul Harrison he published in 1935 Garantiert Echt, a novel which satirized the Nazi government. This outspoken stance would force him to flee Austria in 1938 after the Anschluss.

In December 1939, three months after the outbreak of the war, a solo show by John Heartfield was hosted, titled One Man’s War against Hitler. The Arcade Gallery would be among the few galleries to remain open during the war. By showing the work of émigré artists and Jewish artists trapped in Nazioccupied Europe, Wengraf hoped to win support for them and help them escape persecution.

In the 1960s, his children Monika and Peter joined their father at the gallery, and mainly thanks to the input by Monika, expanding the scope of the gallery that until then was mainly focused on old masters to oriental art, Egyptian art, and tribal art. The tribal art pieces were most often bought in Paris, from dealers such as Charles Ratton, Robert Duperrier, or de Monbrison a.o.

When Paul Wengraf passed away in 1978, Monika and Peter took over the gallery. It closed in 1989 and continued until 2004 as Arcade Arts.

Egon Schiele (Austrian, 1890 - 1918) Portrait of the art dealer Paul Wengraf - 1917 black chalk on paper, 45 x 29,5 cm Jane Kallir, Egon Schiele. The complete works, New York 1990, p. 592, cat.2093

039. Baule Figure Ivor y Coast Wood, metal, and beads, 45 cm Provenance: The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.8 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.8 (ill.)

€ 6000 - 8000

040. Baule Male Figure Ivor y Coast Wood, 15 cm Provenance: The Arcade Galler y, London acquired from Josef Herman in the 1970s, London Published: Miniature African Sculptures from the Herman Collec tion, Hermione Water field, David Attenborough, London: Ar ts Council of Great Britain, 1985, p.15 Exhibited: Miniature African Sculptures from the Herman Collec tion, Durham, Bristol, Swansea, Shef field, Coventr y, 1985

€ 3000 - 4000

041. Attie Figure Ivor y Coast Wood and beads, 50,5 cm Provenance: Khepri Van Rijn, Amsterdam, 1970s The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.17 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.17 (ill.)

€ 4000 - 6000

042. Baule Seated Figure Ivor y Coast Wood, beads, and fabric, 48 cm Provenance: Charles Ratton, Paris (Acquired by Peter Wengraf circa 1948) The Arcade Galler y, London Published: Peter and Monica Wengraf, An Exhibition of Baule Sculptures, London, The Arcade Galler y, 1978, p.28 (ill.)

Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.28 Arcade Galler y, London

€ 80 000 - 120 000 The most striking feature of this superb seated Baulé figure is undoubtedly its unusual elaborate asymmetrical hairdo. In the collec tion of the Wereldmuseum Berg en Dal (formerly Africa Museum, inv. AM- 43-28), we find a rare similar example of such a Baulé sculpture.

Its rich and dark patina comes from the multiple of ferings it received and testifies to its impor tance and use but allows also us to identif y its type as that of an asye usu sculpture. These were designed as dwelling places for nature spirits, allowing men and the diviner to whom it belonged to communicate with them. To attrac t and appease these wild nature spirits, great care was taken in the beautiful rendering of the figure. Not only the spec tacular hairdo, but the regal pose of the seated figure, the extensive scarification patterns over the body, and the stool (reminiscent of the Akan tradition) upon which this figure is seated all express this concern for beauty and dignity.

The gesture where the figure touches her right breast is commonly seen in African sculpture as a sign of fer tility. Both the sculpture formerly in the Maurice De Vlaeminck collec tion (now in the Barbier-Mueller collec tion BMG 10 07-76) and the one in the New Orleans Museum of Ar t (inv. 77.159) show female seated figures with this gesture.

043. Baule Figure Ivor y Coast Wood, 30,5 cm Provenance: Acquired by The Arcade Galler y, London, 1976 Wooley and Wallis, UK, acquired 2016

€ 6000 - 8000

044. Yoruba Bronze Figure Nigeria Bronze, 11,5 cm Provenance: The Arcade Galler y, London

€ 1000 - 1500

045. Dogon Figure Mali Wood, 10,3 cm Provenance: The Arcade Galler y, London

€ 3000 - 5000

046. Baule Figure Ivor y Coast Wood and beads, 40 cm Provenance: Galerie Khepri, Amsterdam Leo and Karin van Oosterom, The Hague Sotheby's, London, Primitive Ar t, Tibetan Tankas, Indian, Khmer, Tibetan and Thailand Sculpture.

The Proper ty of Frau Maria Fischer and Herr Bernd Fischer, L.M.W. Van Oosterom, Eric A. Peters, 7 December 1971, lot 195 The Arcade Galler y, London Exhibited: African Tribal Ar t, The Arcade Galler y, London, 12 - 21 June 1975, cat.4 An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.9 Published: African Tribal Ar t, The Arcade Galler y, London, cat.4 (ill.)

Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.9 (ill.)

€ 15 000 - 25 000

047. Vuvi Mask Gabon Wood and pigments, 33 cm Provenance: Arcade Galler y, London

€ 4000 - 6000 Vuvi masks played a central role during public per formances in which the af terlife was evoked as a parallel realm to that of the living. It was a way to express the unbroken link between the lives of the deceased ancestors and their living descendants.

Formally Vuvi masks are highly stylized, and their color palette is typically limited to white, black, and red. The coloration of the mask presented here has been par tially worn of f, most likely due to its extensive use and age.

048. Seated Baule Figure Ebrie Figure Ivor y Coast Wood, beads, and fabric, 50 cm Provenance: The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.33 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.33 (ill.)

€ 10 000 - 15 000

049. Baule Figure Ivor y Coast Wood, 39 cm Provenance: Acquired in France, probably Charles Ratton, Paris The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.25 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.25 (ill.)

€ 8000 - 12 000

050. Baule Figure Ivor y Coast Wood and beads, 42 cm Provenance: Acquired in France?

The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.15 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.15 (ill.)

€ 10 000 - 15 000

051. Baule Seated Figure Ivor y Coast Wood, 43 cm Provenance: Galerie A.A.A. / Rene Rasmussen, Paris, 1960s Alan Davie Collec tion, Her tfordshire, UK (probably acquired in Paris in the 1960s) Sale Toovey’s, Sussex, Tribal Ar t, 21 Februar y 2018, lot 707 The Arcade Galler y, London Published: Mark Hudson, Alan Davie in Her tford, Unicorn Publishing Group, 2022, p.39 (interior photograph in the ar tist’s house)

€ 15 000 - 20 000

052. Baule Figure Ivor y Coast Wood and beads, 41,5 cm Provenance: Galerie Khepri, Amsterdam The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.11 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.11 (ill.)

€12 000 - 18 000

053. Baule Hammer and Gong Ivor y Coast Hammer: Bone, 22 cm Gong: Metal, 19,5 cm Provenance: Felicia Diolissin, Paris The Arcade Galler y, London Published and Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p 58

€ 600 - 800

054. Baule Heddle Pulley Ivor y Coast Wood and metal, 14,5 cm Provenance: The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.51 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.51 (ill.)

€ 3000 - 5000

055. Baule Seated Figure Ivor y Coast Wood, pigment, and beads, 49 cm Provenance: Herber t F. Rieser, London, 1960s The Arcade Galler y, London Exhibited: An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.34 African Sculpture from private collec tions in London, An exhibition selec ted by Ian Auld & Tom Phillips, South London Ar t Galler y, London, 19 Oc tober-8 November 1979, cat.34 Published: Peter and Monika Wengraf, An Exhibition of Baule Sculptures, The Arcade Galler y, London, 1978, p.34 (ill.)

African Sculpture from private collec tions in London, An exhibition selec ted by Ian Auld & Tom Phillips, South London Ar t Galler y, London, 1979, p.9, cat.34

€ 12 000 - 18 000

End of collection

056. Ado Chale

(Belgian, 1928) Lamp with Fossilized Wood - c.1975 Brass and fossilized wood 48 x 40 x 4,5 cm

€ 4000 - 6000 With a cer tificate of authenticity by the ar tist, dated 5 September 2022

057. Dogon Figure Mali Wood and metal chain, 44 cm Provenance: Private collec tion, Antwerp

€ 4000 - 6000

058. Bernard Aubertin

(French, 1934 - 2015) Clous - 1969 Acr ylic, and nails on wood, 30 x 30 cm Signed and dated on verso, lower right Provenance: D.G. Ar te, Treviso Montecatini Terme, Fabiani Ar te, 2 April 2017, lot 41 Private Collec tion, Bergamo Private collec tion, Brussels

€ 2000 - 3000 With a cer tificate of authenticity by D.G. Ar te Case D'ar te, Treviso With a photo cer tificate of authenticity by the Bernard Auber tin Archives, Brescia, dated December 2016, numbered TCLR96 10 0 0133423

059. Bernard Aubertin

(French, 1934 - 2015) Clous - 1969 Acr ylic, and nails on wood, 50 x 50 cm Signed and dated on verso, lower right Provenance: D.G. Ar te, Treviso Fabiani Ar te, Montecatini Terme, Dipinti Disegni, Sculture e Grafica di Ar tisti dell'80 0, del '90 0, Moderni e Contemporanei, 4 June 2017, lot 202 Private collec tion, Brussels

€ 5000 - 7000 With a photo cer tificate of authenticity by the ar tist, numbered 1152/0 '69 (Archivio Opere - Bernard Auber tin - Italia RG) With a cer tificate of authenticity by D.G. Ar te Case D'ar te, Treviso, numbered 1152/0 '69 With a photo cer tificate of authenticity by the Bernard Auber tin Archives, Brescia, dated May 2016, numbered TCLR96 - 10 0 0108323

060. Dogon Toguna Housepost Mali Wood, 163 cm Provenance: Lode & Therese Van Rijn Collec tion, Amsterdam (1970 -1997) Guy Van Rijn Collec tion, Antwerp Marcel Nies, Antwerp Private collec tion, Antwerp Published: African Ar ts, 1979, Vol.XII, No.4, p.17

€ 10 000 - 15 000

061. Baule Monkey - Gbekre Ivor y Coast Wood, 55 cm Provenance: Johan Henau, Antwerp Private Collec tion, Antwerp

€ 6000 - 8000

062. Mende Helmet Mask Ndoli Jowi Sierra Leone Wood, 40 cm Provenance: Vittorio Mangio Collec tion, Monza Serge Schoef fel Ar t Premier, Brussels Rassla Foundation, Zurich Published: Ligabue Magazine 28, 1996, p. 76 G. Rossi-Osmida, Dea Madre, Elec ta, Milano 20 06, p. 21

€ 2000 - 3000

063. Sapi Figure (Nomoli) Sierra Leone Soapstone, 30 cm Provenance: Georges Rodrigues, New York Hope and Todd Makler, Philadelphia, acquired from the above in the early 1970s Sotheby's New York, 18 November, 1997, lot 93 Rudolph Leopold Collec tion, Vienna Sotheby's New York, 11 May 2012, lot 108 Proper ty from a Princely collec tion

€ 20 000 - 30 000

064. Dan Spoon Ivor y Coast Early 20th c.

Wood, vegetal fibers, metal, and pigment, 72 cm Provenance: Emmanuel Bordier Collec tion, Paris Ar tcurial, Paris, Ar t Tribal, 17 June 2014, lot 47 Ligabue Collec tion, Venice

€ 12 000 - 18 000 Impressive ceremonial Dan spoon, called Mèvuochlümia, meaning literally “ladle with a human face”. The female head that shapes the handle of the spoon presented here is topped with an elaborate hairdo shaped in two large crescents, and the slender neck is decorated with incised, linear patterns.

Big ceremonial spoons are generally called wake mia or wunkirmian, meaning "spoon associated with feasts”. They were given to elder women, called wa ke de, who were in charge of feasts. It was a title of high distinc tion given to the one who excelled in all the skills needed to cater for a big feast.

More than just a status symbol, the wunkirmian also have a spiritual power, connec ting the wa ke de with the spiritual world, in a way masks do for men. The ample shape of the spoon can be seen as a symbol of the womb, for womanhood in general, and as such as a source of food and life.

065. Dan Mask Ivor y Coast Wood, metal, and vegetal fibers 24 cm Provenance: Rassla Foundation, Zurich Published: Ligabue Magazine 28, Venezia 1996, p. 77

€ 8000 - 12 000

066. Fulvio Bianconi

(Italian, 1915 - 1986) Pezzato Hanging Lamp - c.1950 Glass, 38 cm (including fitting) Venini & Co, Murano

€ 6000 - 8000

067. Eket Plank Mask Nigeria Wood and pigments, 60 x 66 cm Provenance: Galerie Simonis, Düsseldor f Private collec tion, Germany Published: Francois Ney t, L’Ar t Eket, Abeille International, Paris, 1979, n°35

€ 10 000 - 15 000

068. Yaure Mask Ivor y Coast Black patinated wood and kaolin, 46 cm Provenance: Galerie Alain de Monbrison, Paris Private collec tion, Belgium

€ 7000 - 10 000 With a cer tificate by Alain de Monbrison, 1984.

Beautiful Yaure mask of elegant propor tions with silk y black patina.

In Yaure ar t, the combination of human and animal features conveys the deity’s dual nature.

By both ennobling the animal and idealizing the human, this Yaure ar tist expressed his people’s obscure alliance with the creatures of the bush. The humanized animal thus becomes an image of a natural harmony perpetually put in question, of tamed savager y, and of energy so subjugated it becomes decoration (Alain-Michel Boyer, 20 07).

069. Bwa Mask Burkina Faso Wood and pigments, 107 cm Provenance: Galerie Simonis, Düsseldor f Private collec tion, Germany

€ 6000 - 8000 So-called luruya or dwar f mask with beautiful patina that testifies of its age and extensive use.

“There is a strong sense of theater in Bwa per formances, as the families reenac t the encounters between the ancient spirits and their ancestors. The small plank mask, luruya, represents the dwar f ancestor of the Gnoumou family of the town of Boni.

The family tells of an ancestor who never grew above two feet tall, and who had a par ticular ability to communicate with the wild and dangerous animals that inhabited the wilderness that, in those days, surrounded ever y Bwa village. He was able to wander at night into the wilderness to speak with the animals, and although his father greatly feared that a lion or a hyena would devour him, he always returned safely home. When the dwar fed man was ver y old and was on his deathbed, his nieces and nephews came to him and asked how they could honor him af ter he had gone. He told them how much he had always wanted to per form with the great broad plank masks for which the southern Bwa are famous, but which were far too large for a person of such small size to wear. He asked them to car ve a small mask, identical to the great planks in ever y detail, but small enough for him to wear in per formance. The result was the dwar f masks named luruya, af ter this dwar f ancestor.”

Thomas G.B. Wheelock in “Land of the Flying Masks. Ar t and Culture in Burkina Faso. the Thomas G. B. Wheelock Collec tion”, Prestel, 20 07, p.53

070. Blinky Palermo

(German, 1943 - 1977) Design for Wall Painting "Blue Triangle" for the Palais des Beaux-Ar ts in Brussels - 1969 Gouache and biro on graph paper, 30 x 41,8 cm Signed and dated top right Inscribed top lef t: "Projek t fur Brussel / Maßstab 1:20 / blaue Dreiecke als for tlaufendes Band ohne Unterbrechung über alle Wande des Raumes / (mit Hilfe einer Sjablone direk t auf die Wand gemalt) Abstand zwischen den einzehnen Dreiecken 138 cm"

€ 10 000 - 15 000 One of the key figures in 1960s Germany, Blink y Palermo was a student of Joseph Beuys and a friend of Gerhard Richter, Imi Knoebel, and Sigmar Polke. In his site-specific wall paintings, he of ten made use of isosceles triangles.

The installation for the Palais des Beaux-Ar ts in Brussels in 1970 for which this is the projec t drawing, and where blue triangles were painted onto the walls and evenly spaced, is regarded as one of his most impor tant installations.

071. Ado Chale

(Belgian, 1928) Two Side Tables "Goutte d'eau" - c.20 02 Bronze and black painted steel 60,5 Ø x 72 cm and 60 Ø x 80 cm

€ 15 000 - 20 000 With two cer tificates of authenticity by the ar tist for each table, dated 18 November 2022

072. Kilia Type Figurine "Stargazer" Eastern Thrace (nowadays Turkey) 450 0 - 350 0 B.C. White marble, 11,5 cm Provenance: Collec tion Dr. E.T., Munich (1960 -1980s) Private collec tion, Brussels

€ 80 000 - 120 000 Figurines of the Kilia-type as the one presented here are named af ter the homonymous village of Kilia on the peninsula of Gallipoli in Eastern Thrace - the European par t of Turkey nowadays - where the first of such figurines were found.

They can be dated to the Middle and Late Neolithic era, from the end of the 5th millennium to the middle of the 4th millennium BC. Because of their schematic rendering of the human figure, they are considered as the forerunners of Cycladic sculpture. With Cycladic sculpture, they also have in common the absence of sculpted facial features, except for the nose and ears - the eyes and mouth were painted.

Most of the Kilia-type figurines have their head tilted upward, and they are more commonly known under the name of “Stargazers”, as if looking up at the stars.

073. Gogotte Natural Sandstone Concretion Sables de Fontainbleau, Seine-et-Marne, France 63 cm

€ 15 000 - 20 000 The so-called Gogottes that can be found in the sand quarries of Fontainebleau are sandstone formations composed of ver y fine and exceptionally uniform sand par ticles encased in silica. These ultra-pure sands are still used today in high-end glassmaking and the silicon industr y.

The sand itself was deposited in this region during the Oligocene Period, ca. 30 million years ago, but it remains unclear when the concretion itself took place. Its organic and fluid lines are the result of much later geological processes where water, rich in silica, gradually cemented the loose sand.

The extraordinar y shapes of these concretions have inspired both collec tors of natural histor y and ar tists for centuries. Even Louis XIV, the Sun King was fascinated by these “poupées de grés” (sandstone dolls) as they were called at the time. In the Versailles palace and gardens, they can still be found in L’Encelade, Les Trois Fontaines, and La Salle de Bal. In the 20th centur y, they were a.o. much admired by the Surrealists, and sculptors such as Jean Arp, Henr y Moore (who owned a gogotte), or Louise Bourgeois.

074. Nok Head Nigeria Terracotta, 25 cm Provenance: Galerie Deletaille, Brussels Private collec tion, Luxemburg

€ 4000 - 6000 Cer tificate by Emile Deletaille, Brussels

075. Eshu Dance Vestment Yoruba, Nigeria Village: Oshogbo / Erin Wood, shells, seed pods, and vegetal fibers, 65 cm Provenance: Gerd Stoll, Munich Galerie Simonis, Düsseldor f Private collec tion, Germany Published: Gerd Korinthenberg, Afrikanische Kunst, Düsseldor f, Galerie Simonis, n.d., cover ill.

€ 4000 - 6000

076. Pol Bury

(Belgian, 1922 - 2005) Plans Mobiles - 1953 Painted masonite panels Variable dimensions: 63 x 86 cm to 65 x 110 cm Provenance: Rober t L. Delevoy Collec tion, Brussels Private collec tion, Brussels Published: Milan, X Triennale di Milano, 28 August - 15 November 1954, n°29, ill., 3, p.5 (not exhibited) K.N. Elno, Luc Peire. Vormen van Heden, Knokke, 1957 (exhibition catalog) ill.

Jean Séaux, "Pol Bur y" in Quadrum, Brussels, n°5, 1958, p.142, ill.

Wieland Schmied, André Balthazar, Pol Bur y, Kestner-Gesellschaf t, Hanover, 1971 (exhibition catalog), p.32, ill.

Michèle Moutashar, Jean Tardieu, Anne Tronche, Roger Bordier, André Balthazar, Simon Watson Taylor, Dore Ashton, Gilber t Lascault, Eugène Ionesco, Daniel Marchesseau, Pierre Descargues, Pol Bur y, Arles, 1979 (exhibition catalog), p.52, ill. n/b.

Karel Geirlandt, Phil Mer tens, Jean Dypréau, Wim Van Mulders, Hedwige Verschaeren, L'Ar t en Belgique depuis 45, Fonds Mercator, Anvers, 1983, p.68, ill.

Rosemarie E. Pahlke, Pol Bur y, avec catalogue raisonné, Crédit communal, Ghent, 1994, p.120, cat.53-11 Gilles Marquenie, Pol Bur y Online Catalogue Raisonné, cat.R0 03 Exhibited: Galerie Apollo, Brussels, Pol Bur y. 10 plans mobiles, 4 - 17 December 1953.

A.P.I.A.W, Liège, Pol Bur y - Jean Rets, 23 Februar y -7 March 1957, ill.

Galerie Le Rouge et le Noir, Charleroi, Jean Rets - Bur y - Fernand Carette - Jo Delahaut - Paul Van Hoeydonck - Guy Vandenbranden, 6 - 19 April 1957, ill.

€ 40 000 - 60 000 Une des raisons principales qui m’a poussé vers ces recherches [il s’agit des Plans mobiles] est la lassitude à l’ égard du tableau de chevalet, convention archaïque. Depuis mes premiers plans mobiles, il ne m’a plus été possible de peindre le moindre tableau; les formes figées, limitées au rectangle, ne peuvent plus me passionner. Je ne m’interroge pas de savoir si par ces recherches je suis entré dans le domaine de la sculpture. À mon sens, il ne faut pas s’arrêter aux frontières sculpture-peinture, les deux finiront par s’entremêler, et la convention qui les sépare n’est pas une nécessité.

Pol Bur y in a letter to Roger Bordier, 17 Januar y 1955, published in Cnacarchives 7, Pol Bur y, Ivr y, 1972, p. 61 Although aesthetically closely linked to his geometric paintings from 1952 and early 1953, the Plans mobiles were literally and figuratively a turning point in Pol Bur y’s œuvre. During the “10 Plans mobiles” exhibition at Galerie Apollo in Brussels (4 -17 December 1953) where this ver y relief was exhibited, the public was invited to manipulate the works, spinning them on their axis.

Possibly referring to Marcel Duchamp’s Prière de toucher (1947), the works were accompanied by a label that read Veuillez toucher.

At least as impor tant as breaking free from classic, static canvas painting, was the visit to the exhibition by the Parisian gallerist Denise René. It was Vic tor Vasarely, who had close ties with many impor tant Belgian ar t collec tors who drew her attention to this exhibition in Brussels. The Plans mobiles guaranteed Pol Bur y a place in the exhibition Denise Renée was preparing, which eventually took place in 1955: Le Mouvement. This exhibition, accompanied by a text by Pontos Hultén, brought together work by Yaacov Agam, Pol Bur y, Alexander Calder, Marcel Duchamp, Rober t Jacobsen, Jesús Rafael Soto, Jean Tinguely and Vic tor Vasarely.

As such, the Plans mobiles are the works that firmly placed Pol Bur y among the leading post-war avant-garde ar tists, and allowed him his international break through.

077. Yoruba Gelede Mask Nigeria Wood and pigments, 23 cm Provenance: Galerie Simonis, Düsseldor f Private collec tion, Germany Published: Anne Leurquin in Utotombo: L'Ar t d'Afrique noire dans les collec tions privées belges, Bruxelles, 1988, p.284, cat.106 Exhibited: Utotombo: L'Ar t d'Afrique noire dans les collec tions privées belges, Bruxelles, Palais des Beaux-Ar ts, 25 March - 5 June 1988, p.168, cat. 106 (ill.)

€ 6000 - 8000 This par ticular type of mask was used among the Western Yoruba during efe and gelede ceremonies, in honor of the old women of the society, respec ted for their special powers and called “mother sorceresses”. They expressed the pivotal role in Yoruba social and cultural ethics of the mother figure and by extension referred to the “Great Mother”, goddess of fer tility.

The mask with a human face, and spor ting an elaborate hairdo was worn on top of the head of the dancer whose body was hidden by ample garments.

078. Ekoi Dance Headcrest Nigeria Wood, skin, fur, and vegetal fibers, 33 cm Provenance: Galerie Helena Kamer Leloup, Paris (1976) Galerie Simonis, Düsseldor f, (1988) Private collec tion, Germany Published: Hélène Kamer Leloup, Les “Duen - Fubara”, Galerie Hélène Kamer, Paris, 1976, cat. 17 Sabrina Förster, Afrikanische Kunst, Galerie Simonis, Düsseldor f, s.d.

€ 10 000 - 15 000

079. Igbo Izzi Mask Nigeria Wood and pigments, 40 x 29 x 56 cm Provenance: Galerie Simonis, Düsseldor f Private collec tion, Germany

€ 4000 - 6000 Spec tacular helmet mask that is typically found in the nor theastern Igbo region among the Izzi.

It represents an elephant spirit (ogbodo enyi), and large masks such as these were reser ved for members of the highest ranks, who were the only ones to be allowed to embody the most feared and power ful spirits. The dances per formed with these masks were aggressive and even violent and intended to maintain law and order The mask presented here shows traces of extensive use, and the quality of the carving is exceptional. A well-balanced play of angular and rounded shapes is paired with a delicacy in the rendering of details, especially on the human face to be found at the back of the mask.

080. Bangwa Female Figure Cameroon Wood and hair, 95 cm Provenance: Franco Monti, Italy Ar te Y Ritual, Antonio Casanovas, Madrid Private Collec tion, Antwerp

€ 30 000 - 60 000

081. Fang Ancestor Figure Eyema-o-byeri Cameroon, 19th c.

Wood and copper, 40 cm Provenance: Walter Kaiser Collec tion (1921-20 09), Stuttgar t Dr. Helmut Zake Collec tion, Heidelberg Egon Guenther (1921-2015), Collec tion Johannesburg (from 1971 to 20 0 0) Sotheby's, New York, African Ar t from the Egon Guenther Family Collec tion, 18 November 20 0 0, lot 79 Philippe Guimiot & Domitilla de Grunne Collec tion, Brussels, 20 09 Sotheby's, Paris, "Philippe Guimiot et Domitilla de Grunne Collec tion d'Ar t Premier", 17 June 20 09, lot 29 Private collec tion, 20 09 Ligabue Collec tion, Venice (2017) Published: Gigi Pezzoli, Act two: 'Traditional African art' in the exhibition, in ”Il Cacciatore Bianco / The White Hunter. Memorie e rappresentazioni africane, in: "Il Cacciatore Bianco / The White Hunter", ed. by Marco Scotini & Elisabetta Galasso, Berlin, Archive Books, 2017, p.122 Exhibited: Milan, FM Centre for Contemporar y Ar t, Il Cacciatore Bianco. Memorie e rappresentazioni africane / The White Hunter. African memories and representations, 31 March- 6 June 2017

€ 130 000 - 180 000 Exceptional Fang ancestor figure.

Its provenance, the Stuttgar t dealer, Walter Kaiser, as well as its age, indicated by its beautiful patina, point to German acquisition before 1915. Later on, it found its way to the fabulous collec tion of Philippe Guimiot. During this collec tor’s lifetime, and af ter his passing, the objec ts chosen by Guimiot never failed to be exceptional. His vast knowledge and critical eye enabled him to discern flawlessly the dif ferent stylistic canons of African ethnic ar t, and his interest was solely focused on the pieces that were of the greatest aesthetic quality, as the Fang sculpture presented here proves so eloquently.

Among the Fang, bodily relics of revered ancestors held great spiritual power. They were kept in reliquary boxes that were topped by sculptures such as this one to protect their content.

Vehicles of mediation between the world of the living and that of the dead, Fang reliquar y guardians or Eyema-o-byeri were seen as symbolic incarnations of the power of the ancestors. Like the sacred bones, the sculpted ef figies were also the objec t of ritual libations to renew their potency.

082. Fang Mask Cameroon Wood and pigment, 37 cm Provenance: Louise Muller-Van Isterbeek Collec tion, Brussels Aaron Furman, New York Private collec tion, Brussels

€ 12 000 - 18 000 With a copy of the cer tificate of authenticity by Aaron Furman, dated 4 november 1966.

After its acquisition at the Furman Gallery, this mask was submitted to Christian Duponcheel who was able to identify this mask as a Fang mask from the Ougoué River region. He observes the similitudes with a mask belonging to the Ethnographic Museum of Geneva (inv. ETHAF 013415), especially in the general structure of the mask, the black patina, and the shape of the nose, deformed by a disease that indicated a local type of leprosy called gangosa.

According to the description of the mask from the Geneva Museum, its use and dance ritual remain mainly unknown, but the name under which it is commonly known asu ngyel, or ngil suggests its func tion as a mask of justice.

083. Shigeru Uchida (Japanese, 1943 - 2016) 'Come Rain' Chest of Drawers - 1991 Oak-veneered wood, walnut-veneered wood 161 x 55 x 25 cm Manufac tured by Pastoe, Netherlands Produc tion limited to 12 From the 'Furniture as Remembrance' series Provenance: Private collec tion, Brussels Literature: Shigeru Uchida, e.a., Interior Design: Uchida, Mitsuhashi, Nishioka & Studio 80 Vol. II, Cologne, 1996, pp. 93, 166 Ger t Staal, Anne van der Zwaag, Pastoe. 10 0 Years of Design Innovation, Rotterdam, 2013, p.108 (drawing ill. p.220)

€ 8000 - 12 000 Tall chest of drawers consisting of two columns of 14 small superimposed drawers each, topped and connec ted by 2 wide drawers.

“Come Rain” is a prime illustration of the Pastoe philosophy, providing high-quality design for sustainable furniture that can be industrially manufac tured. The “Furniture as Remembrance” line that Uchida designed for Pastoe also reflec ts the firm's trademark austerity, but an ingenious play of alternating colors of wood for the drawers conveys them also a sculptural, monumental quality.

084. Tsogho Reliquary - Mbumba Bwiti Gabon Red tinted wood, wicker work, relics, and metal, 46 cm Provenance: Raoul Lehuard, Paris Alain de Monbrison, Paris (20 03) Private Collec tion, Antwerp

€ 30 000 - 40 000 In the Tshogo Bwiti cult, ancestors were commemorated and venerated through this type of reliquaries, consisting of a half-figure surmounting a basket with the remains of the deceased. It is ver y rare to find these reliquaries intac t - usually, only the sculpted half-figure remains - but what makes this reliquar y even more exceptional is the outstanding quality of the sculpture.

085. Kongo Nkisi D.R. Congo 19th - 20th c.

Wood, metal, feathers, fiber, organic materials, 29 cm Provenance: Ir win Smiley Collec tion, New York Didier Claes, Brussels Ligabue Collec tion, Venice Exhibited: Urbana-Champaign, Kranner t Ar t Museum and Kinkead Pavilion, 11 November - 17 December 1989; Nor thampton, Smith College Museum of Ar t, 3 Februar y - 26 March 1990, Discoveries: African Ar t from the Smiley Collec tion, pp.66 - 67 Venice, Palazzo For tuny, Intuition (curated by D. Ferretti and A xel Ver voordt), 13 May - 26 November 2017 Published: Alfred Scheinberg and Anita J. Glaze, Discoveries: African Ar t from the Smiley Collec tion [exhibition catalog], Kranner t Ar t Museum, University of Illinois, 1989, pp.66 - 67 Alain Lecomte, Bakongo. 'Les fétiches' mi-nkondi, minkisi, Paris, Éditions A. Lecomte, 2016, p.60 (ill.)

€ 30 000 - 50 000

086. Guy Degobert

(Belgian, 1914 - 1988) Ruysbroeck, Sint-Pieters-Leeuw - 1987 Oil on canvas, 70,5 x 120 cm Signed and dated on verso Provenance: Private collec tion, Brussels

€ 10 000 - 15 000 The urban landscapes by Guy Degober t from the 1970s and 1980s might share a stylistic similarity with Hyperrealist painting, but contrar y to his American counterpar ts in this movement, there is no room for embellishment or idealization through attrac tive light reflec tions and sleek lines of modern buildings here. Degober t enjoys showing the clashing of styles and periods, as in this painting where the neo-gothic Jan Ruusbroec and Onze-Lieve-Vrouw church stands in dignified austerity next to the garish adver tisement wall of the then popular (and today still existing) supermarket chain specializing in carpets from “Tonton Tapis”, or in the Flemish commune known as “Nonkel Tapijt”.

087. Guy Degobert

(Belgian, 1914 - 1988) Drogenbos - 1986 Oil on canvas, 65 x 85 cm Signed and dated on verso Provenance: Private collec tion, Brussels

€ 10 000 - 15 000

088. Teke Figure D.R. Congo Wood, organic and inorganic materials, 28,5 cm Provenance: Peter Loebar th, Germany Galerie Simonis, Düsseldor f Private collec tion, Germany

€ 3000 - 5000

089. Kongo Figure D.R. Congo Wood, fabric, and organic materials, 16,5 cm Provenance: Joaquin Pecci, Brussels Private collec tion, Antwerp

€ 2000 - 3000

090. Fang Armlet Mask Gabon Wood, 13 cm Provenance: Ben Tursh Collec tion, Brussels By descent

€ 3000 - 5000

091. Bena Biombo Mask Mulwalwa Helmet Mask D.R. Congo Wood and pigment, 50 cm Provenance: Museum für Völkerkunde, Basel, No. III 95/5 Lorenz Ecker t, Basel (1971) Galerie Simonis, Düsseldor f (af ter 20 0 0) Private collec tion, Germany

€ 6000 - 8000

092. Bembe Mask D.R. Congo Wood and pigments, 26 cm Provenance: Private collec tion, Germany (1989) Marc Léo Felix, Brussels H. Kellim Brown, Brussels (2015) Private collec tion, Brussels Published: Marc L. Felix, Maniema. An Essay on the Distribution of the Symbols and My ths as Depic ted in the Masks of Greater Maniema, Fred Jahn, Munich, 1989, p.97, fig.21

€ 25 000 - 35 000

093. Female Bakongo Figure D.R. Congo Wood and metal, 54 cm Provenance: Collec tion Mar tial Bronsin

€ 35 000 - 50 000 This impressive Bakongo female figure in a defiant pose with hands on her hips, is depic ted with a turned head, or a pose known as kebo kebo, which signifies “standing guard” (against evil spirits). This pose is known, but ver y rare to find in Bakongo sculpture.

094. Lwalwa Mfondo Mask D.R. Congo Wood, 33 cm Old inventor y number on the edge, verso: "AM0 02" Provenance: Private collec tion, Belgium

€ 10 000 - 15 000 This old Lwalua mask with its mar velous patina of use and dotted decoration, is a per fec t example of the mondo (or mvondo) type.

Famous for their masks, the Lwalua know four types of masks used in the ceremonies of the Ngongo, a society that is responsible for the initiation and circumcision of young men. Besides one female type of mask, three male types exist. Of those the mkaki and mondo (or mvondo), are similar in design except for the shape of the nose, which represents the bill of a certain bird. With its strongly projecting triangular nose, the mvondo represents the powerful bill of the hornbill. This bird is a recurrent figure in African sculpture. Hornbills mate for life, and every year the female lays her eggs in the hollow of a tree that is sealed off with clay, so the female can safely hatch her eggs inside. This passing from outside into the nest stands as a metaphor for communication with the spirits. As such, hornbill masks like the mvondo were also used in hunting and fertility rites, to gain the goodwill of the spirits.

095. Zulu Spoon South Africa Wood, 39 cm Provenance: Patrick & Ondine Mestdagh, Brussels Private Collec tion, Antwerp

€ 6000 - 8000

096. Kikuyu Shield Kenya, early 20th c.

Wood and pigments, 60 cm Provenance: Rolf de Maré (1888 - 1964) Collec tion, Paris (acquired in the 1930s-1940s in Kenya) RR Galler y, Brussels

€ 15 000 - 25 000

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 favor 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 a 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 catalogs, 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 catalog, 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 catalog. Native agrees to reproduce them in the catalog only in its capacity as an agent for the depositor.

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 €. The resale right ceases when the artist has been deceased for more than 70 years. e) The exporting of any object from Belgium and the importing into a third country may be subject to particular authorisations. The Buyer is responsible for obtaining all necessary export or import licenses. Refusal of these authorisations or any delays after they have been obtained will in no case be grounds for a cancellation of the sale or a delay in payment.

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 deceiving others whether in respect of origin, date, age, cultural background or source, without this having been shown in the catalog.

3. Registration and attendance at the Sale

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

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

During the abovementioned period, Native is liable for the loss, theft, damage or destruction of the objects auctioned and paid for, although only up to the amount of the price of the auction, commission and VAT. On the expiry of this period, Native’s liability ceases. If the objects auctioned are not withdrawn within 10 working days, they will be stored at the expense and risk of the Buyer. e) Each Buyer is personally responsible for the item awarded to him at auction.

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

2. Hammer price, premium, risk transfer, ownership transfer, payment, invoicing, VAT, importing and exporting a) In addition to the hammer price, the Buyer owes a supplement ("premium") on the hammer price. Premium is 25% of the hammer price. In case of bidding through an internet platform, an extra premium will be added by those. Premium for drouot.com is 1,5% on the hammer price, for liveauctioneers.com 5%.

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

For lots where the Vendor is a non-resident of the EU (lots indicated by ‡), the Buyer will pay an import tax of 6% in addition to the bid price plus legal costs.

The amount of this tax will be reimbursed on presentation of proof of export outside the E.U. b) Ownership of the object auctioned passes to the Buyer once the hammer has come down finally. Until full payment of the hammer price, premium and VAT, Native reserves a right of retention and lien on all objects in its keeping. The release of the auctioned object to the Buyer is not made until after full payment of the hammer price, premium and VAT. c) An auctioned object must be paid for within 7 days after the auction. If the Buyer

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 that have not been taken into account as well as for bids made by telephone which may not have been taken into account.

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

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

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

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

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

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

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

L’objet de la vente n’est remis à l’Acheteur que contre un paiement en espèces ou transfert bancaire. 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 10 jours ouvrables qui suivent la clôture de la vente aux enchères, pendant l’horaire d’ouverture de Native, soit du lundi au vendredi de 10:00 à 16:30. Si le temps à disposition est suffisant, les objets seront délivrés après chaque séance. Conformément au point 1., la remise a lieu contre paiement.

Pendant le délai précité, Native est responsable de la perte, du vol, de l’endommagement ou de la destruction des objets adjugés et payés, à concurrence toutefois du montant du prix de l’adjudication, de la commission et de la TVA. À l’expiration de ce délai, la responsabilité de Native cesse. Si les objets adjugés ne sont pas retirés dans les 10 jours ouvrables, ils seront entreposés aux frais et aux risques de l’Acheteur. e) Chaque Acheteur répond personnellement de l’adjudication qui lui a été faite. La preuve de pouvoirs de représentation peut être exigée de personnes qui agissent comme représentants pour le compte de tiers ou comme organe d’une personne morale. Le représentant répond solidairement avec le représenté de l’accomplissement de tous les engagements.

2. Prix de l’adjudication, commission, transfert des risques, transfert de la propriété, paiement, facturation, TVA, importation et exportation a) Outre le prix d’adjudication, l’Acheteur est débiteur d’un supplément ("commission") sur le prix d’adjudication. La commission est de 25% 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 liveauctioneers.com à 5% 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 E.U. b) La propriété de l’objet adjugé passe à l’Acheteur dès l’adjudication. Jusqu’au complet paiement du prix de l’adjudication, de la commission et de la TVA, Native se réserve un droit de rétention et de gage sur tous les objets sous sa garde. La délivrance de l’objet adjugé à l’Acheteur n’intervient qu’après complet paiement du prix de l’adjudication, de la commission et de la TVA. c) Un objet adjugé doit être payé dans les 7 jours dès la clôture de la vente aux enchères. Si l’Acheteur est resté en défaut de paiement 30 jours après l’adjudication, toute somme due à

ce moment portera, de plein droit et sans mise en demeure préalable, un intérêt moratoire de 10% par an. En outre, en cas de non paiement à l’échéance, toute somme due sera majorée de plein droit d’une indemnité forfaitaire de 15%, sans préjudice du droit de Native de postuler la réparation intégrale du dommage subi.

En outre, si le paiement dû par l’Acheteur n’a pas lieu ou n’intervient pas à temps, Native peut, à son choix et au nom du déposant, soit continuer à exiger l’exécution du contrat de vente, soit sans être tenu d’impartir un délai renoncer au droit de demander l’exécution du contrat et réclamer des dommages et intérêts pour cause d’inexécution ou encore se départir du contrat. L’Acheteur est responsable vis-à-vis de Native et du déposant de tous les dommages découlant du non-paiement ou du paiement tardif. d) Conformément à la loi du 30 juin 1994 sur les droits d'auteur, l'acheteur doit payer en plus du prix d'adjudication un droit de suite de 4 % sur la partie du prix d'adjudication comprise entre 0 € et 50 000 €, de 3 % sur la partie du prix d'adjudication comprise entre 50 001 € et 200 000 €, de 1 % sur la partie du prix d'adjudication comprise entre 200 001 € et 350 000 €, de 0,5 % sur la partie du prix d'adjudication comprise entre 350 001 € et 500 000 € et de 0,25 % sur la dernière partie du prix d'adjudication comprise entre 500 001 € et 500 000 €. 5% sur la partie du prix d'appel de 350.001 € à 500.000 € et de 0,25% pour la dernière partie du prix d'appel au-delà de 500.001 €. Le droit de suite s’éteint lorsque l’artiste est décédé depuis plus de 70 ans. e) L’exportation de tout objet hors de la Belgique et l’importation dans un pays tiers peuvent être 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.

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

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

VERKOOPVOORWAARDEN - NATIVE BVBA Deelname aan de veiling veronderstelt de onvoorwaardelijke aanvaarding van onderhavige voorwaarden.

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

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

Het verkochte lot wordt alleen aan de koper geleverd tegen contante betaling of betaling per bankoverschrijving. Om als betaalmiddel te worden geaccepteerd, moeten cheques door de bank van de debiteur worden bevestigd voordat het geveilde item wordt geleverd. b) De kavels worden geveild in de staat waarin zij zich op het moment van de veiling bevinden. Onder voorbehoud van hierna vermeld punt 1c. is elke garantie voor materiële of juridische schade uitgesloten.

De kavels kunnen worden bezichtigd tijdens de tentoonstelling. De beschrijvingen in de catalogi, advertenties, brochures 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 kavels. Alleen de verkoper is aansprakelijk voor de in de catalogus opgenomen beschrijvingen. Native neemt deze beschrijvingen alleen in zijn catalogus op als tussenpersoon van de verkoper. c) Native verklaart vrijelijk bereid te zijn de veiling namens de inbrenger te annuleren en alleen de hamerprijs, commissie en BTW terug te betalen indien binnen 1 jaar na de datum van de veiling blijkt dat een verkocht object een moderne opzettelijke vervalsing is. Onder moderne opzettelijke vervalsing wordt verstaan een reproductie waarvan kan worden aangetoond dat deze is gemaakt met de bedoeling anderen te misleiden met betrekking tot herkomst, datering, ouderdom, culturele achtergrond of bron, zonder dat dit uit de catalogus blijkt.

Voorwaarde voor deze terugbetaling is dat de koper onmiddellijk na de ontdekking van het gebrek en uiterlijk binnen een termijn van 1 jaar te rekenen vanaf de datum van de verkoop aangetekend klacht bij Native indient, en dat hij het nagemaakte kavel onmiddellijk aan Native terugbezorgt in de staat waarin het zich op de dag van de verkoop bevond en vrij van elke aanspraak van derden. De koper moet het bewijs leveren dat het verkochte kavel een vervalsing is ten opzichte van de beschrijving in de catalogus en dat het kavel wel degelijk het verkochte kavel is. Elke andere vordering van de koper is uitgesloten. d) De koper dient op eigen kosten en binnen een termijn van 10 werkdagen na het afsluiten van de veiling de gekochte stukken af te halen. Dit kan tijdens de openingsuren van Native: van maandag t/m vrijdag van 10:00 tot 16:30. Indien er voldoende tijd is kunnen de aangekochte loten na de veiling overhandigd worden mits contante betaling en indien de prijs lager is dan € 3 000.

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

Deze aansprakelijkheid beperkt zich tot maximaal het bedrag van de verkoop, de commissie en de btw. Na deze termijn eindigt de aansprakelijkheid van Native. Indien de verkochte kavels niet zijn afgehaald binnen een termijn van 10 werkdagen, worden zij bewaard op kosten en voor risico van de koper. e) Elke koper is persoonlijk verantwoordelijk voor het hem in de veiling toegewezen voorwerp. Van personen die optreden als vertegenwoordiger van een derde of van een rechtspersoon kan een bewijs van volmacht worden vereist. De vertegenwoordiger is samen met de vertegenwoordigde persoon hoofdelijk aansprakelijk voor het nakomen van alle verplichtingen.

2. Hamerprijs, commissie, risico-overdracht, eigendomsoverdracht, betaling, facturatie, btw, import en export a) Naast de prijs van de verkoop is de koper ook een toeslag ("commissie’) op de hamerprijs verschuldigd. De commissie bedraagt 25 % 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 liveauctioneers.com 5%.

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.U. b) De eigendom van het verkochte kavel gaat over op de koper vanaf het ogenblik van de verkoop. Tot op het ogenblik van de volledige betaling van de hamerprijs, de commissie en de btw, kan Native pandrecht en retentierecht inroepen voor de stukken die het in bewaring heeft. Het overhandigen van het aan de koper verkochte kavel vindt pas plaats na volledige betaling van de hamerprijs, de commissie en de btw. c) Een verkocht kavel moet binnen de 7 dagen na sluiting van de veiling betaald zijn. Indien

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

Indien de door de koper verschuldigde betaling niet of niet tijdig plaatsvindt, kan Native bovendien naar eigen keuze en in naam van de verkoper hetzij de uitvoering van de verkoopovereenkomst eisen, hetzij - zonder daarom gehouden te zijn tot het toekennen van een termijn - afstand doen van het recht om uitvoering van de verkoopovereenkomst te eisen en schadevergoeding vragen voor niet-naleving van het contract, hetzij afzien van het contract. De koper is aansprakelijk ten opzichte van Native en de verkoper voor alle schade ingevolge niet-betaling of laattijdige betaling. d) Overeenkomstig de wet van 30 juni 1994 betreffende het auteursrecht betaalt de koper bovenop de hamerprijs een volgrecht (droit de suite) van 4% over het gedeelte van de hamerprijs van 0 € tot 50.000 €, van 3% over het gedeelte van de hamerprijs van 50.001 € tot 200.000 €, van 1% over het gedeelte van de hamerprijs van 200.001 € tot 350.000 €, van 0,5% over het gedeelte van de hamerprijs van 350.001 € tot 500.000 € en van 0,25% voor het laatste gedeelte van de hamerprijs boven 500.001 €. 5% op het gedeelte van de hamerprijs van 350.001 € tot 500.000 € en van 0,25% voor het laatste gedeelte van de hamerprijs boven 500.001 €. Het volgrecht dooft uit wanneer de artiest sedert meer dan 70 jaar is overleden. e) Voor export van een kavel buiten België en import in een ander land kunnen bijzondere vergunningen vereist zijn. De koper is verantwoordelijk voor het verkrijgen van alle vereiste export- of importvergunningen. Niet-toekenning of vertraging door de laattijdige toekenning van de nodige vergunning vormt geen geldige reden voor annulatie van de verkoop of uitstel van betaling.

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

Bovendien heeft Native het recht om kavels 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. d) Personen die niet persoonlijk aan de veiling wensen deel te nemen, kunnen hun bod schriftelijk uitbrengen tot 24 uur voor de aanvang van de veiling.

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

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

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

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

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

CATALOG EDITORS Nicolas Paszukiewicz Sébastien Hauwaert Gilles Marquenie

PHOTOGRAPHY BY Nicolas Paszukiewicz Sébastien Hauwaert Printed by Snel Graphics

Native auctions Telephone bid Absentee bid Auction 26 30 January 2024 - 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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