Native
Tribal Art, Modern Art and 20th Century Furniture
12 November 2024 - Brussels
Native Auctions
Preview & Auction
Rue Américaine, 26 - 28
1060 Brussels
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info@native-auctions.com
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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
12 November 2024 - Brussels
Auction
12 November 2024 19.00
Preview
7 - 11 November 2024 10.00 - 18.00
12 November 2024 10.00 - 16.00
001 Perm Shamanic Amulet
Kulai culture, Lower Ob River Western Siberia c. 300 - 500 AD Bronze, 11,5 cm
Provenance: Private collection, France
€ 10 000 - 15 000
This important maskette belongs to a group of later bronze artifacts that probably evolved from the Ust-Polui culture that was widespread in the second half of the first millennium B.C. along the lower Ob River, north of the mouth of the Irtysh River.
In all likelihood, maskettes were used as face coverings for ‘dolls’ made of clay or wood representing a deceased person or were placed on top of a bundle of personal remains and possessions which was buried later with the departed. This tradition has a long versatile history and persisted into the 20th century among the Khanty-Mansi. For comparable maskettes see Richard Margolis (2019), «Ancient Bronze Art and Eth- nographic Objects from Siberia and the Urals», p. 29-30.
002 Marcel Breuer
(Hungarian, 1902 - 1981)
Model B3 Club Chair [Wassily Chair] 1925 - 1926 (designed)
Edited by Standard Möbel between 1927 and 1929
72,5 x 77 x 68 cm
Nickel-plated tubular steel and fabric
€ 15 000 - 20 000
Designed at the Bauhaus School in Dessau c.1925-1926, the B3 Club Chair was the first chair to be created in tubular steel. The technique was inspired by the bent metal tubes from Breuer's bike and was quite novel at the time. It allowed for a sturdy and light structure that could be produced on an industrial scale. The design aimed for visual transparency with a free flow of space and light such as was to be found in modernist architecture.
Standard Möbel was founded in Berlin by Breuer in 1927 and was acquired by Thonet in 1929. They were the first to produce this chair, but with its revolutionary looks, the production remained quite limited during the first years of its existence, and in reality, the B3 Club Chair was hand-made in small quantities. During WWII, Thonet stopped production altogether.
It was but in the 60s, when the Italian company Gavina included the chair in their catalog under the name Wassily Chair, that it became the ubiquitous design icon we know today.
003 . Marcel-Louis Baugniet (Belgian, 1896 - 1995)
Carpet Design - 1926
Gouache on paper, 11,5 x 10,5 cm (composition)
Signed and dated lower right
Inscribed lower left: Tapis / Vendu à Mme J. Errera
Provenance: Private collection, Brussels
Published: André Waedemon-Baugniet, Léon Wuidar, Marcel-Louis Baugniet. D'Euclide en Pythagore [exhibition catalog], Brussels, 2017, pp.34-35 (ill.)
Exhibited: Quadri, Brussels, Marcel-Louis Baugniet. D'Euclide en Pythagore, 4 October - 4 November 2017, pp.34 - 35 (ill.)
€ 1500 - 2000
004 . Shamanistic Plaque
Finno-Ugric, Perm region
Western Siberia
900 - 1100 AD
Bronze, 10,5 cm
Provenance:
Private collection, France
€ 5000 - 7000
A TRIBUTE TO DANIEL ABADIE (1945-2023)
Last year the art world lost one of its most prolific exhibition curators, Daniel Abadie. With groundbreaking exhibitions at the Centre Pompidou such as “Paris-New York” in 1977, the Dali retrospective in 1979 that became the first blockbuster show for the museum, Jackson Pollock in 1982, or “Les années 50” in 1988, to name but a few, he undoubtedly left a lasting impression.
Driven by his passion for art, his intelligence, and his brilliant way of writing, he was appreciated by museum directors as well as artists. He was close to some of the foremost post-war European artists such as Jean Hélion, Arman, César, Pierre Alechinsky, the Lalanne, and Antonio Ségui, to name but a few. He was left in charge of the Alberto Magnelli succession, made the catalogue raisonné of the artist, and was one of the foremost members of the Jean Dubuffet Foundation.
His success was by no means due to his concern for pleasing the crowds or giving in to the public’s expectations. On the contrary, it was his very personal take on looking at artists, and the way we look at art, that always made for a fresh and inspired result. He was also among the first to bring women artists like Dorothea Tanning and Marcelle Cahn to the fore, long before this became fashionable.
Next to his activities as exhibition curator and writer, Daniel Abadie taught art history, at the ESAG Penninghen in Paris (1969-1973), the HEC in Jouy-en-Josas (1978-1984), Paris-Sorbonne (1985), and the Brussels ULB Unversity (1991-2009).
His 2019 exhibition at the LAAC of Dunkirk “Un autre oeil. D’Apollinaire à aujourd’hui” (“Another Eye. From Apollinaire to today”), can be seen as a synthesis of his approach towards modern art: unveiling threads of connections between artists and art currents that are not obvious at a first glance. At the core of this selection was the idea of continuity in art throughout generations, even when the artworks might seem to have nothing to do with one another.
Alberto Magnelli’s wife Susi gave a greater part of her husbands tribal collection to Daniel Abadie in gratitude for the work he had done in the defense and recognition of his oeuvre. It was in that same spirit of
continuity shown by Susi Magnelli to Daniel, and by Daniel through his work to future generations, that it is now our honor to transmit some of the works from his collection during this auction.
By the late 60s Alberto Magnelli’s collection of African art counted about two hundred pieces: the result of a lifelong interest and love for an art that changed the face of modern Western art since the beginning of the 20th C. Magnelli bought his first African art piece in 1913, a Punu mask, from a sailor in Marseille. However, it was but upon his return to Paris in 1931 that he was able to start collecting African art seriously.
As to his motivation to collect tribal art, his answer to the questionnaire sent to him by Jean Laude on the occasion of the Musée de l'Homme's exhibition "Arts primitifs dans les ateliers d'artistes" in 1967, is telling: "I can't answer the questionnaire. What specifically attracts me to Negro art is above all the plastic power and invention of the forms. I'm obviously interested in the meaning of these masks, fetishes and objects, their use and their magic, but I'm more interested in the sculptural fact itself.”
Jacques Kerchache and Françoise Marin who both wrote about Magnelli’s collection remarked on its exceptional quality and profound coherence.
In his introduction to the catalog of Susi Magnelli’s donation to the Centre Pompidou of a selection from the African art collection of Magnelli, Jean-Paul Ameline attributes the originality of this collection to the combination of two types of primitive art collections, as defined by William Rubin in his introduction to "Primitivism in 20th Century Art". On the one hand we have the “artist’s collection”, generally characterized by stylistic choices favoring the raw, geometric and expressive distortion, and on the other hand collections of "amateur dealers" (notably Paul Guillaume and Charles Ratton after WWI), who, on the contrary, give preference to high-quality works displaying stylized realism and refined execution.
From the so-called artist's collection, Magnelli adopted a focus on geometrical form and expressive rhythm; from the connoisseur's collection, he retained a search for elegance and a particular taste for figures imbued with restraint and interiority. The explanation for this can probably be found in the provenance of the works: after the end of WWII, Magnelli developed his contacts with specialized dealers such as René Rasmussen, Olivier Le Corneur and Jean Roudillon, who supplied him with genuine masterpieces, often in line with the "classic" taste of primitive art enthusiasts.
AND THE LEGACY OF ALBERTO MAGNELLI
(1888-1971)
005 . Namba Gable Ornament - P'naret
Malekula, Vanuatu Fernwood, 118 cm
Provenance:
Collection Jean-François Jaeger, Paris
Collection Daniel Abadie, France
€ 8000 - 12 000
In northwest Malakula Island, among the Namba People, gable ornaments like the one presented here - called p’naret - surmounted the triangular facade of the amèl, the men’s ceremonial house. This building served as a meeting place and for the storage of sacred objects. The p'naret portrayed the face of the founding ancestor of the amèl, and was mounted horizontally, allowing the ancestor to gaze down at the entrance. As each man entered or left, he was scrutinized by the ancestor, who could inflict supernatural punishment on individuals unauthorized to enter or who had committed violations of customary law.
006 Alberto Magnelli (Italian, 1888 - 1971)
Untitled - 18 July 1931
Study for Pierres n°30 - 1933
Ink on paper, 26,7 x 19,8 cm
Signed and dated lower right: 31 / 18.VII
Provenance: Susi Magnelli, France
Daniel Abadie Collection, France
Exhibited:
Paris, Galerie Di Meo, Alberto Magnelli. Pierres, 16 October - 28 November 2009, pp.62-63, 96 (ill.)
Published:
Paris, Galerie Di Meo, Alberto Magnelli [exhibition catalog], 2009, pp.62-63, 96 (ill.)
Yves Bonnefoy, Alberto Magnelli, Pierres, Ides et Calendes, Neuchâtel, 2011, pp.100-101 (ill.)
€ 4000 - 6000
Study for the oil painting Pierres n°30 - 1933, Museum of the Twentieth Century, Florence (inv.00649916)
007 Malagan Totok Figure
New Ireland, Papua New Guinea
Wood, pigments, vegetal fibers, and operculi of the Turbo petholatus, 83 cm
Provenance: Alberto Magnelli, Paris (acquired in 1914)
Susi Magnelli, France
Daniel Abadie Collection, Paris
€ 30 000 - 50 000
The ephemeral Malagan (also Malangan or Malanggan) sculptures are the most sacred ritual objects in New Irish society, accessible only to the initiated. They are related to the cult of the dead and serve as “skins” that contain the life force of the deceased person during a funerary ritual. The name Malagan is given to both the carvings and the funeral ceremonies. The presence of these sculptures is essential during initiations and funeral ceremonies, which give rise to sumptuous festivities where the clan affirms its prestige. Performance of the final malagan rites frees the living from their obligations to the dead.
After their ceremonial use, effigies were destroyed or ritually deactivated, thus freeing the ancestral spirit from its material constraints and enabling them to be sold, or allowing the sculpture to decompose naturally. Fascinated and intrigued by these sculptures, anthropologists and early colonial collectors began collecting them soon after being discarded.
Standing figures like the one presented here are called totok. Executed in a spectacular open-work manner, this standing figure holds a bird in front of its torso. On his forehead, we recognize a bird, most likely a hornbill. The eyes are set with seasnail operculae of turbo petholatus, characteristic of Malagan sculpture. A huge mouth dominates the lower part of the face, and its open lips reveal black teeth. The figure's body is decorated with geometric designs, including a representation of "kap-kap" on the chest. A flying fish, depicted alongside his legs bites his elbow. The sharks, fish, birds, and snakes are agents in the transformation of the dead. They carry the dead away, or form repositories of the dead.
It is interesting to note that the right to execute this type of sculpture is subject to "copyrights", granted for considerable sums of money. Several motives used in this totok can also be found in a sculpture belonging to the collection of the Quai Branly (inv. 71.1939.52.4). Besides the large mouth with black teeth, the painted kapkap on the chest, and the bird held in front of the torso, we also find the less frequent motive of an animal (in the Branly sculpture a snake) biting the elbows of the figure.
According to Susi Magnelli, who gave this information to Daniel Abadie, Alberto Magnelli acquired this sculpture as early as in 1914. Apparently, it was in an exchange that Magnelli was able to receive it, but unfortunately, we do not know with whom the exchange was made.
008 . Henri Laurens
(French, 1885 - 1954)
L'epinette - 1940
Bronze, 12,8 x 20,4 x 8,1 cm
Monogrammed and numbered on the base: 5/6
Foundry mark Valsuani Cire Perdu on the base
Provenance:
Philippe Van Kessel, Brussels
Private collection, Brussels (acquired from above)
€ 30 000 - 40 000
Valsuani bronze cast after a plaster dating from 1940. A similar cast belongs to the collection of the Centre Pompidou in France and was donated by Claude Laurens to the museum in 1967, allowing us to date the Valsuani casts before 1967.
009 Kayanik Guardian Mask
Kayan people, East Kalimantan
Indonesia - 1700 - 1900
Wood, 39 cm
Provenance: Private collection, France
Published: Mark A. Johnson, The Kayanic Tradition, Kayanic Dayak Art from Borneo, Volume I: Guardian Sculptures, Mark A. Johnson
Tribal Art, 2020, p.246
Martin Doustar, Bruce W. Carpenter, Austronesia. In Pursuit of the Origins, Brussels, 2022, cat.38, pp.104-105 (ill.)
€ 8000 - 10 000
010 . Wanda Wulz (Inscribed) (Italian, 1903 - 1984)
Woman's Portrait with Glass
Vintage gelatin silver print , 21 x 16 cm Inscribed on the backing board: Wanda Wulz (1903-1984)
Provenance: Private collection, Brussels
€ 20 000 - 30 000
011 . Ernö Goldfinger
(Hungarian, 1902 - 1987)
Armchair Model A58 - 1937 (design) - 1995
Birch plywood, 67 x 54 x 83 cm
€ 2000 - 3000
Hungarian-born Modernist architect and designer Ernö Goldfinger moved to England in the 1930s. Having studied in Paris and greatly influenced by Le Corbusier, he designed in London several residential tower blocks that are now listed buildings.
In Hampstead, he built his family home, for which he also designed the furniture. There we find two chairs like the one here, painted in grey and red. They were never put into production, but when the National Trust took over the house in 1995, Nick Goldfinger, the architect’s grandson, made a small edition of the chair in natural birch plywood.
012 Pig Trap Charm - Tun Tun
Iban People, West Kalimantan
Indonesia Wood, 63 cm
Provenance: Private collection, France
Published: Martin Doustar, Bruce W. Carpenter, Austronesia. In Pursuit of the Origins, Brussels, 2022, cat.47, pp.124-125 (ill.)
€ 6000 - 8000
013 Toraja Tau Tau Figure
Sulawesi, Indonesia
Wood, 129 cm
Provenance: Daniel Abadie Collection, France
€ 6000 - 8000
Male ancestor figure with conical headdress and partially preserved tattoo patterns on the back.
014 . Jens H. Quistgaard (Danish, 1919 - 2008)
Pair of "Stokke" Lounge Chairs - 1966
Rosewood, chrome-plated steel, havana-colored leather
74 x 66 x 67 cm
€ 8000 - 12 000
015 . Tolai Mask
New Britain, Papua New Guinea Wood, pigments, raffia, feathers, and vegetal fibers, 90 cm
Provenance: Private collection, Barcelona
€ 2000 - 3000
016 . U'u War Club
Marquesas Islands, French Polynesia
Toa wood and fibers, 145 cm
Provenance:
Dr Guy Onghena, Ghent
Thence by descent
€ 40 000 - 60 000
Exceptional u’u war club with a typical bifacial top. Tiki figures function as the eyes and nose. An extra tiki face in low relief can be found on the rounded top.
U’u served multiple purposes: as a weapon but no less important as a symbol of high distinction. The rounded head of the club also allowed its owner to rest on the club placing it under his armpit, and as such the length of the u’u was made to measure. The sculptors of u’u (tahuna) were expert artists, and the carving of the heavy, dense-grained ironwood took considerable skill and time. The freshly carved club was cured in the mud of a taro patch, and further polished and rubbed with coconut oil, giving it its dark and glossy patina.
The lower part of the shaft still holds its fiber-covered grip, securing sections of grey hair, and the butt is slightly flared and pierced with a hole.
017 . Poul Kjærholm
(Danish, 1929 - 1980)
Adjustable PK 24 "Hammockchair" - 1965
Steel, leather, and wickerwork, 87 x 67 x 155 cm
Edited by Kold Christensen
Literature:
Noritsuga Oda, Danish chairs, San Francisco 1996, p.187
Michael Sheridan, The Furniture of Poul Kjaerholm: Catalogue Raisonné, Gregory R. Miller & Co., New York, 2007, pp.142-145 (ill.)
€ 12 000 - 18 000
018 . Finn Juhl (Danish, 1912 - 1989)
Table Bench - 1953
Palisander wood and brass, 225 cm
Produced by Bovirke
Stamped manufacturer's mark underneath
Literature: Christian Bundegaard, Finn Juhl, Life, Work, World, Phaidon Press, London, 2018, pp.158-159 (a 112 cm model illustrated), 202, 248
€ 6000 - 8000
019 . Sepik Mask
Papua New Guinea Wood, pigment, and shell, 62 cm
Provenance:
Private collection, France
€ 15 000 - 20 000
Lower Sepik masks, called brag or brag sebug, represented each a mythological being or specific spirit such as a bush or water spirit, or an ancestor.
Their purpose was multifold, from drawing power in battle, enabling peace-making, attracting women, changing people’s minds, or weakening the enemy. They were kept hidden from the uninitiated (women, children, and young men) except for ceremonies held on the occasion of the inauguration of a new men's house, the undertaking of a fishing expedition, initiation rites, the construction of a new pirogue, or funerals. During these events, the dancers were wearing spectacular costumes created from leaves.
The most powerful masks, such as the one presented here most likely is, were not used in public performances, but kept in the men's houses, attached to bamboo and wooden frames. They were consulted after receiving ritual offerings in exchange for supernatural assistance, particularly in warfare. They had the power to render men invulnerable to spears and even invisible to the enemy. The mask could tell which village to attack and when. After a successful raid, men would return with an enemy's head and present it to the mask, which would then “drink” the victim's blood.
In order to make such a powerful object, incantations known as timits were recited during the creation of the mask to ensure its efficiency.
020 . Tiki Figure
Marquesas Islands
Wood, 38 cm
Provenance: Alberto Magnelli, Paris
Christie's, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 98
Susi Magnelli, France
Daniel Abadie collection, France
€ 3000 - 4000
021 Poul Kjærholm (Danish, 1929 - 1980)
PK31 - Three Seat Sofa - 1958
Chromium-plated steel and leather upholstery
74 x 198 x 65 cm
Literature: Michael Sheridan, The Furniture of Poul Kjaerholm: Catalogue
Raisonné, Gregory R. Miller & Co., New York, 2007, pp.111-113 (ill.)
€ 3000 - 5000
022 . Poul Kjærholm (Danish, 1929 - 1980)
Rare Pair of PK22 Lounge Chairs - 1956
Steel and original linen
70 x 63 x 70 cm
Literature:
Michael Sheridan, The Furniture of Poul Kjaerholm: Catalogue
Raisonné, Gregory R. Miller & Co., New York, 2007, pp.73-76
€ 6000 - 8000
First edition by E. Kold Christensen (before 1981) With stamped mark EKC
A documentary short film on Christophe Gevers was made by Alexandre Humbert to accompany the Gevers exhibition at the Brussels Design Museum ADAM (November 2023 - March 2024). Its subtitle was “Il ne reste pas grand chose”: “There’s not much left”. This wisely chosen title goes straight to the heart of the spontaneous question we have on why the work of Christophe Gevers is not as well known as that of his contemporaries Jules Wabbes or Ado Chale, to name but two.
Those familiar with his work never cease to be astonished by the extraordinary quality of the materials Gevers used to work with, the beauty with which they age, the subtle little details that surprise us, or the perfectly balanced play between natural materials and daring bold color surfaces.
One of the main reasons why Gevers is rarely found on the art market, and to an extent lesser known as one of our most important post-war Belgian designers, lies in his way of working. From his early productions on, starting in the 50s, his desire for innovation and a truly innovative and contemporary style went hand in hand with a deep respect for craftsmanship and the use of noble materials, an approach did not really allow for a large-scale production. On the other hand, Christophe Gevers did not see himself in the first place as a designer, or simply an interior decorator: his furniture and light fixtures, and the way he integrated them in a given space, were always intricately linked to that space. His goal was to create a coherent space - whether it be a private residence, an office restaurant, a cinema theater, a fancy restaurant, or a fast-food restaurant.
Gevers became best known to a larger public for the interiors he created for restaurants: we can mention Le Cap d’Argent, a cafébrasserie that Gevers opened himself in 1958 during the Brussels World Fair and became an instant success, and La Taverne des Beaux-Arts opening the next year. After meeting the Niels brothers in 1966, he designed the interiors for all their restaurants: Les Trois Tonneaux, Le Duc d’Aremberg, Le Vieux Saint Martin, La Marie Joseph, Le Canterbury... Some of those are still classics in the Brussels restaurant scene.
But Gevers also designed the first restaurant for the hamburger chain Quick at the Avenue Louise in Brussels, to be followed by those in Grenoble, Paris, Lyon, Bordeaux, and Milan. Cruel fate: the fast-food chain replaced Gevers’ design after only a few years. Its major flaw was that clients enjoyed the place so much that they stayed too long…
This tailored approach for each of his projects explains a great deal why the art market today has so little to offer from one of our most original and inspiring designers Christophe Gevers. At Native, we love to bring to the fore design and designers that reflect a concern for the environment, and that tell a broader story than the one on the drawing board. With four exceptional lots, we have the rare opportunity to bring some high-quality pieces by Christophe Gevers at auction: some of the few that remain.
CHRISTOPHE GEVERS
023 . Christophe Gevers (Belgian, 1928 - 2007)
Suspended cupboard - 1971
Special order, unique piece Brass, marble, wood, and cork
48 x 240 x 40 cm
Provenance:
Dany De Schutter Collection, Waterloo Private collection, Brussels
Published:
Jean-Pierre Gabriel, Christophe Gevers, Brussels, 2024, pp.266-267 (ill.)
€ 30 000 - 50 000
024 Dogon Figure
Mali
Wood and metal, 46 cm
Provenance:
Lucques and André Trigaut Collection, Brussels
Thence by descent
€ 20 000 - 30 000
This Dogon figure is an outstanding example of the style described by Hélène Leloup in Dogon Statuary* as Bombou-Toro, a style that developed in the southern region of the Bandiagara cliff from the 17th century onwards.
The style is characterized by starkly contrasting volumes, as can be observed here in the way the breasts and shoulders form one volume, sharply setting them off from the slender neck and the way the bent knees define at the same time the hips. Despite these abrupt transitions, the overall image is of an impressive coherence and elegance, highlighting the sculptor’s brilliance in understanding interplaying volumes.
The hermaphrodite representation of the figure refers to Dogon cosmology. The creator god Amma and the female earth joined forces to create the primordial Dogon ancestor. The presence of masculine and feminine elements embodies this primordial union.
The thick crusty patina, the result of repeated offerings over generations, attests to the age of this sculpture and its importance.
*Hélène Leloup, Dogon Statuary, Edition Amez, Strasourg, 1994
025 . Christophe Gevers (Belgian, 1928 - 2007)
Blue Bar Cabinet - c.1974
Lacquered steel and plexiglass
44 x 230 x 32 cm
Provenance:
House of Christophe Gevers in La Garde-Freinet, Var Frederic Hooft and Stefan Boxy Collection, Belgium
Published: Pierre Loze, Thierry Aughuet, Christophe Gevers Designer, Edition d’art Laconti, Brussels, 2008. p.58 (ill.)
Exhibited:
Design Museum, Brussels, Christophe Gevers, l'architecture du détail, 11 October 2023 - 10 March 2024
€ 12 000 - 15 000
026 Guro Heddle Pulley
Ivory Coast Wood, 14,5 cm
Provenance: Alberto Magnelli, Paris
Christie's, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 23
Susi Magnelli, France
Daniel Abadie Collection, France
€ 800 - 1200
027 Christophe Gevers (Belgian, 1928 - 2007)
Dining Table - c.1975
Wood and lacquered steel, 75 x 215 x 104 cm
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Published: Pierre Loze, Thierry Aughuet, Christophe Gevers Designer, Edition d’art Laconti, Brussels, 2008. p.53 (ill.)
€ 6000 - 8000
028 Christophe Gevers (Belgian, 1928 - 2007)
Yellow Coat Hanger - 1973
Lacquered steel
180 to 285 cm x 148 cm
Provenance: Les Trois Tonneaux, Auderghem (Brussels)
Frederic Hooft and Stefan Boxy Collection, Belgium
Exhibited:
Design Museum, Brussels, Christophe Gevers, l'architecture du détail, 11 October 2023 - 10 March 2024
€ 3000 - 5000
029 . Georges Jouve (French, 1910 - 1964)
Extra Large Vase Boule - c.1957
Glazed ceramic, 28 cm Monogrammed underneath
€ 8000 - 12 000
030 . Lobi Figure
Dyema Palé (c.1910 - 1975)
Master of the Poyo style
Burkina Faso, Minkoro Wood, 65 cm
Provenance:
Maine Durieu, Paris (1980s)
Galerie Simonis, Düsseldorf
Private collection, Germany
Published:
Eberhard Fischer and Lorenz Homberger, Afrikanische Meister, Kunst der Elfenbeinküste, Zürich, Scheidegger & Spiess, 2014, p.187, fig.255
Eberhard Fischer and Lorenz Homberger, Les Maîtres de la sculpture de Côte d'Ivoire, Paris, Musée du Quai Branly, 2015, p.187, fig.255
Gerd Korinthenberg, Galerie Simonis AC2017, Düsseldorf, 2017, pp.8-9 (ill.)
Exhibited:
Museum Rietberg, Zürich, Afrikanische Meister: Kunst der Elfenbeinküste, 14 February - 1 June 2014
Bundeskunsthalle, Bonn, Afrikanische Meister: Kunst der Elfenbeinküste, 28 June - 5 October, 2015
De Nieuwe Kerk, Amsterdam, Magisch Afrika.
Maskers en beelden uit Ivoorkust - De kunstenaars ontdekt, 25 October 2014 - 15 February 2015
Musée du Quai Branly, Paris, Les Maîtres de la sculpture de Côte d'Ivoire, 14 April 2015 - 26 July 2015
€ 20 000 - 30 000
031 Maria Pergay (French, 1930 - 2023) "Vague" Stool - 1968 Steel, 40 x 120 x 40 cm
Literature:
Suzanne Demisch, Maria Pergay: Between Ideas and Design, The Working Dog Press, 2006, pp. 30, 43, 76, 77, 142
Suzanne Demisch and Stephane Danant, Maria Pergay Complete Works 1957-2010, Damiani, Bologna, 2011, pp. 111-112, cat. 21
€ 8000 - 12 000
032 . Jean Rets
(Belgian, 1910 - 1998)
Syrta - 1967
Oil on canvas, 90 x 100 cm
Signed and dated lower right
Provenance:
Gérard de Brigode Collection, Montignies-le-Tilleul
Private collection, Belgium
Exhibited:
Liège, Musée des Beaux-Arts, Rétrospective Jean Retz, 17 March - 23 April 1972, cat.105 (ill. in catalog and label on verso)
€ 10 000 - 15 000
033 Baule Portrait Mask Ndoma
Ivory Coast
Wood and brass tacks, 32 cm
Provenance: Herbert F. Rieser (1902 - 1978), London
Dartevelle Collection, Brussels
Private collection, Brussels
€ 30 000 - 50 000
From the former collection of the London-based art dealer Herbert F. Rieser comes this exceptional ndoma Baule mask. This type of mask was the prerogative of famous dancers, renowned for their exceptional beauty or political importance.
In this mask, the emphasis is placed on the beauty of the facial features: adorned with brass tacks and a delicate rendering of the typical Baulé trilobed hairdo, the mask is further crowned by a headdress that is closely related to the Yaure style.
With its perfectly balanced proportions between headdress and face, this mask is a stunning example of the extraordinary artistry of Baule sculptors.
Ghana
Wood and beads, 30,5 cm
Provenance: Galerie Simonis, Düsseldorf
Private collection, Germany
€ 4000 - 6000
034 Fante Doll
035 Willy Van Der Meeren (Belgian, 1923 - 2002)
Rare Tubax Wardrobe - c. 1950
Lacquered wood, natural wood, and lacquered steel
173 x 115 x 62 cm
Edited by Tubax, Belgium
Literature: Mil De Kooning, Willy Van Der Meeren Furniture Design, Edition ASBL Atomium, 2007, p.61 (ill. of a similar model)
€ 6000 - 8000
Very rare variant of the fifties design classic by Willy Van der Meeren for Tubax. Not only it sports three wooden handles, whereas the more common version of this cupboard only has two, its metal feet are also of the rare type in a crossed pattern, one of Van der Meeren’s trademark features. The more common version of this cupboard has simply four straight feet.
Published:
Le monde frotté à la mine de plomb par Max Ernst, Frottages 1925-1965 [exhibition catalog], Geneva, 1965, cat.18 (ill.)
036 Max Ernst (German, 1891 - 1976)
Un autre monde - 1963
Charcoal frottage on paper
22 x 21 cm
Signed lower right; titled lower left
Provenance:
Le Point Cardinal, Paris
Galerie D. Bénador, Geneva
G. Schwock collection, Geneva
Daniel Abadie Collection, France
€ 8000 - 10 000
John Russel, Max Ernst, Leben und Werk, Verlag M. DuMont Schauberg / Cologne, 1966, p.95
Werner Spies, Max Ernst, Frottagen, Stuttgart, 1968, cat.50
Art du XXe siècle - collections genevoises, [exhibition catalog], Geneva, 1973, p.110 (ill.)
Winfried Konnertz, Max Ernst, Zeichnungen, Aquarelle, Übermalungen, Frottagen, DuMont Buchverlag, Cologne, 1980, cat.133
Werner Spies, Sigrid and Günter Metken, Max Ernst, Werke 1954-1963, Menil Foundation, Houston / DuMont Buchverlag, Cologne, 1998, cat.3733 (ill.)
Exhibited:
Geneva, Galerie D. Benador, Le monde frotté à la mine de plomb par Max Ernst, Frottages 1925-1965, 1965, cat.18 (ill.)
Geneva, Musée d'Art et d'Histoire, Cabinet des Estampes, Max Ernst, Œuvre gravé, dessins, frottages et collages, 30 May - 9 August 1970, cat.141
Geneva, Musée d'Art et d'Histoire, Art du XXe siècle - collections genevoises, 28 June - 23 September 1973, cat.96, ill. p.110
Barcelona, MACBA, Art and Utopia. Restricted Action, 3 June 2004 - 12 September 2004, cat.717
037 Baule Mask
Ivory Coast Wood, 36 cm
Provenance: Alberto Magnelli, Paris
Christie's, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 32
Susi Magnelli, Paris
Daniel Abadie Collection, France
€ 3000 - 4000
038 . Pol Bury
(Belgian, 1922 - 2005)
49 boules sur une demi-sphère - 1968
Brass and electric motor, 42 cm Ø
Signed alongside the edge, lower right
Provenance:
Collection Claudine Strebelle, Paris
Calmels Cohen, Paris, 15 November 2002, lot 37
Daniel Abadie Collection, France
Published:
Gilles Marquenie, Pol Bury Online Catalogue Raisonné, cat. S126 (ill.)
€ 20 000 - 30 000
In 1967 Pol Bury embarks on a new series of sculptures in metal that fully explore the formal possibilities of the material. Not taking into account the Girouettes from the fifties - where the artist primarily used metal as a support to play in a three-dimensional manner with abstract geometric shapes - the sculptures in brass and stainless steel from the late '60s on, are the first sculptures by Bury to make full use of the formal potential of the material.
In previous years, Bury’s sculptures were made of wood, but this material had its formal limitations. The use of metal allowed him to play with round, curved, and swirling shapes that his practice of woodwork did not allow him hitherto. It should also be noted that his success in the States, and the support of his gallerists at the time, John Lefebre in New York and Aimé Maeght in Europe, provided him the financial means to work with this more expensive material.
In sculptures like 49 boules sur une demi-sphère , presented here, we recognize the artist’s roots in Surrealism: little spheres moving slowly and erratically up and down on a sloping plane, surprise and intrigue us, we do not trust our eyes and doubt the law of gravity. There is at the same time a sense of the uncanny, of the mysterious, but there is also a sense of poetry, in the imposed experience of time that seems slowed down. Formally one could not be further removed from Surrealism, but the underlying sense shares the same DNA.
To some, this relation to Surrealism might sound far-fetched, but in 1973 Pol Bury himself wrote: "Tout compte fait, ces sculptures qui font appel à des formes géométriques pour parfois se comporter comme des éléments de films d'épouvante sont tout autant surréalistes que d'autres. Des sphères qui remontent une pente par leurs propres moyens, semble-t-il, ont quelque chose de surréel, étant bien entendu que la loi de la pesanteur est réaliste et même hyperréaliste. [...] Sur-, hyper-, ou réalisme tout court?"
It seems as if the artist spoke these words with exactly this sculpture in mind.
*P. BURY, quoted in A. Balthazar, Pol Bury, Rencontres et connivences, La Louvière, 2002, s.p.
039 Pair of Ibeji Figures
Yoruba, Nigeria
Wood and beads, 31 cm and 30,5 cm
Provenance:
The Arcade Gallery, London
Monica Wengraf Collection, London
€ 2000 - 3000
040 Pair of Ibeji Figures
Yoruba, Nigeria
Wood and metal, 30,5 cm each
Provenance:
Marvin Chasin Collection, London
The Arcade Gallery, London
Monica Wengraf Collection, London
€ 1000 - 1500
041 Jules Wabbes
(Belgian, 1919 - 1974)
Desk - Table - 1960
Solid wenge wood and steel with gunmetal grey finish
76 x 216 x 104 cm
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
€ 2000 - 3000
Why does Maarten Van Severen’s work - whether a table, a chair or a cupboard - fascinate us? There is nothing to it. His tables, chairs and cupboards are all recognisable, but they are totally stripped down and reduced almost to a conceptual prototype - a simple hieroglyph. Taken a step further, that concept too dissolves, leaving a nameless thing. It is as if the table, chair or cupboard had yet to be invented, as if they existed before their design had been formulated. Each work is certainly executed with the utmost care and it evidences the requirements of perfection. The material is emphatically recognisable in its original state. The proportions are often unusual and the dimensions sometimes striking. But that’s all there is to it.
These objects may be pleasurable to an ascetic aesthete, interested only in pure beauty, but an aesthetic interpretation fails to answer the question of why they grip and excite us. This is precisely what distinguishes Van Severen’s work - the way it casts off its beautiful skin and exposes itself, naked, to the world.
Geert Bekaert, “Hors d’âge. The Work of Maarten Van Severen”, in Maarten Van Severen, Ludion, Brussels, 2000, p.67
Maarten Van Severen’s keen eye for proportions, and the architectural rigor applied to his designs made him a natural candidate to collaborate with architects and create site specific furniture. His multiple collaborations with Rem Koolhaas and his firm OMA can be found in the Villa Dall’Ava in Paris, Seattle’s public library, the Casa da Música in Porto and the Dutch embassy in Berlin, a.o.
Closer to home he created the furniture for the Dewaele clothes shop in Ghent, and the kitchen pavilion for the catering company of the Boxy brothers in Deurle.
Stephan Boxy has also been collecting historical and rare pieces by Maarten Van Severen, together with interior designer Frédéric Hooft. It is from this exceptional collector’s duo that we have the privilege to include some unique pieces in this sale, alongside a number of incomparable classics. An hommage.
MAARTEN VAN SEVEREN THE STEFAN BOXY / FREDERIC HOOFT
COLLECTION
Project design by Maarten Van Severen for the Boxy Pavillion in Deurle, the only project for which Maarten Van Severen also conceived the architecture.
042 . Maarten Van Severen (Belgian, 1956 - 2005)
T88 A - 1988
Table Aluminum
Aluminum, 72,5 x 250 x 90 cm
Manufactured by Maarten Van Severen Meubelen, Belgium
Stamped mark MVS underneath
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.18-20, 71 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.248 (ill.)
€ 12 000 - 18000
043 . Edo Figure
Benin Kingdom
Bronze, 25,5 cm
Provenance: The Arcade Gallery, London (acquired by Peter Wengraf) Monica Wengraf Collection, London
€ 20 000 - 30 000
044 Maarten Van Severen (Belgian, 1956 - 2005)
T88 W Table - 1988 (design) Oak, 275 x 80 cm Produced by Top Mouton (between 1999 and 2001)
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature: Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.20, 23, 56, 57 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.248 (ill.)
€ 7000 - 9000
Provenance: The Arcade Gallery, London Monica Wengraf Collection, London
€ 2000 - 3000
045 . Yoruba Torque Nigeria Bronze, 27 cm Ø
046
Maarten Van Severen (Belgian, 1956 - 2005)
CN°II - 1992 Chair
Beech plywood and aluminum, 82 x 38 x 56,2 cm
Manufactured by Maarten Van Severen Meubelen, Belgium
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.5, 56, 57 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.36-38, 249 (ill.)
€ 2000 - 3000
047 Maarten Van Severen (Belgian, 1956 - 2005)
Kast - 2005
Sideboard
Aluminum, MDF, multiplex, and steel
58 x 244 x 40,5 cm
Edited by Vitra (no longer in production)
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
€ 3000 - 5000
048 . Igala Janus Mask
Nigeria Wood, pigments, and metal, 73 cm
Provenance: Roger Azar Collection, Paris (till 2002)
Lombrail-Teucquam, Paris, Arts Premiers, 30 September 2002, lot 22
Galerie Simonis, Düsseldorf 2007 Private collection, Germany
Published:
François Neyt and Ramon Sarro, Nixeria, Santiago de Compostela, Auditorio de Galicia, 1995, p.91
Gerd Korinthenberg, Igala [exhibition catalog], Galerie Simonis, Düsseldorf [2007]
Exhibited: Santiago de Compostela, Auditorio de Galicia, Nixeria, 4 March - 28 May 1995, cat.45
€ 6000 - 8000
049 Idoma - Akweya Mask
Nigeria - Early 20th C. Wood, textile, metal, and kaolin, 23 cm
Provenance:
Private collection, Paris (early 1970s)
Galerie Simonis, Düsseldorf
Private collection, Germany
Published:
Klaus Volprecht, Afrikanische Kunst, Galerie Simonis, Düsseldorf (c.1988)
Gerd Korinthenberg, Galerie Simonis
AC2017, Düsseldorf, 2017, pp.22-23 (ill.)
€ 6000 - 8000
Delicately carved Idoma mask with typical trilobed hairdo, protruding halfopen mouth, slit eyes, and scarification patterns that run from the ears to the temples and on the forehead.
050 Gogotte
Sables de Fontainebleau, Seine-et-Marne, France
Natural Sandstone Concretion
47 cm
Provenance:
Sotheby's Hong Kong, 1 april 2019, lot 3052
€ 5000 - 7000
The so-called Gogottes that can be found in the sand quarries of Fontainebleau are sandstone formations composed of very fine and exceptionally uniform sand particles encased in silica. These ultrapure sands are still used today in high-end glassmaking and the silicon industry.
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 extraordinary shapes of these concretions have inspired both collectors of natural history and artists 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.
n the 20th century, they were a.o. much admired by the Surrealists, and sculptors such as Jean Arp, Henry Moore (who owned a gogotte), or Louise Bourgeois.
051 Maarten Van Severen (Belgian, 1956 - 2005)
K7V 90 - 1990
Suspended Cupboard
Aluminum, 280 x 40 x 40 cm
Produced by Top Mouton, early production
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.36-37, 60, 61 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.234, 235, 249 (ill.)
€ 15 000 - 20 000
Van Severen's design models usually bear the initials of the simplest description of the piece of furniture. In this case, K7V stands for "Kast 7 Vakken", or cupboard with 7 compartments.
052 Herbert Zangs
(German, 1924 - 2003)
Composition - 1953
Gouache on cardboard, 46 x 88 cm
Signed upper to the left
Published:
Georges Didi-Hubermann L'Empreinte, Paris, Centre Georges Pompidou, 1997, p.276, cat.216 (ill.)
Emmy de Martelaere, Herbert Zangs, Catalogue raisonné of the Abstract Works, vol. I 1952-1960, Fascicule n°3 1955-1956-1957, p.85, ill.63, n° I.3.63
Exhibited:
Westfälischer Kunstverein, Münster, Herbert Zangs, 23 February - 25 March 1974
Centre Georges Pompidou, Paris, L'Empreinte, 9 February - 12 May 1997, cat.216 (ill. - reproduced vertically)
€ 4000 - 6000
With certificate of authenticity by Emmy de Martelaere, dated 10 December 2013
053 Maarten Van Severen (Belgian, 1956 - 2005)
CN°II - 1992
Chair
Aluminum, 82 x 38 x 56 cm
Produced by Top Mouton, early production
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Literature: Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.36-38, 249 (ill.)
€ 1500 - 2000
054 . Maarten Van Severen (Belgian, 1956 - 2005)
LC93 B - 1993
Low Chair
Beech plywood and aluminum, 75 x 48 x 78 cm Produced by Top Mouton (since 1999)
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.16, 17, 58, 59, 75 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.32-33, 250 (ill.)
€ 3000 - 5000
055 . Urhobo Staff
Nigeria
Wood, cowries, and textile, 129 cm
Provenance: Galerie Simonis, Düsseldorf
Private collection, Germany
€ 1500 - 2000
056 . Babanki Figure
Cameroon
Wood, 52 cm
Provenance:
Martial Bronsin Collection, Brussels
Didier Claes Gallery, Brussels
Private collection, Brussels
€ 20 000 - 30 000
Throughout the Cameroonian Grassland, anthropomorphic representations celebrate the majesty and strength of kings (fon) through the decorative elements of buildings, furniture, and statues. These include kings, queens, mothers, princesses, and certain servants attached to their service (nwala). These commemorative statues are displayed at major celebrations, such as royal enthronements and funerals.
The theme of the libation horn bearer is recurrent in Bamiléké country. One of the important functions of a king's sister or aunt is to watch over the king's diet, particularly his drinks, to protect him from any attempts at poisoning.
This statue represents in all likelihood such a person. We observe a double gesture of royal etiquette: the right hand is holding the drinking horn and the left hand is placed with fingers spread on the belly, evoking royal fecundity.
A thick crusty patina testifies to its old age and use and covers some engraved motifs. Both forearms and ankles are adorned with monoxyle bracelets.
057 Maarten Van Severen (Belgian, 1956 - 2005)
70% T93 - 1993
Coffee Table
Bakelite, 50 x 70 x 70 cm
Produced by Top Mouton No longer in production
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.251 (ill.)
€ 5000 - 7000
058 Ib Geertsen (Danish, 1919 - 2009)
Untitled - 1966
Lacquered metal, 25 x 55 cm
Provenance: Private collection, Brussels
€ 1000 - 1500
With a certificate of authenticity by Birthe Geertsen (widow of the artist)
059 . Per Kirkeby
(Danish, 1938 - 2018)
Seated figure - 1979
Paper cutout used for silkscreen print, mounted on cardboard
120 x 82 cm
Mounted and inscribed by John Hunov upper right: Skabelon af Per Kikreby, 23.10.1979, kasseret efter trykningen. Den er tegnet efter Abildgaard Parcerne hos Ceres 1809 i cat. Thorvaldsens Museum 1978, p. 33. Det var den første skabelon han skar til silketrykkene til Tranegaarden. Opklæbet 27.10.79.
Provenance:
John A. Hunov Collection
Private collection, Brussels
€ 20 000 - 30 000
As mentioned in the top right inscription on this work, Per Kirkeby drew this silhouette from a fragment of a painting by Abilgaard, “Parcae” (full title Apollo charging the Parcae to visit Ceres , who has fled from the earth, belonging to the National Gallery of Danmark). Kirkeby did not draw from the actual painting but from its reproduction in a catalog of the Thorvaldsen’s Museum. According to Lucas Haberkorn (Chief Curator & Head of Research and Collections of the Museum Jorn in Silkeborg, where the Per Kirkeby Archives are located), the inscription was most likely written by art collector and curator John A. Hunov who arranged the Kirkeby show at the exhibition space Tranegaarden in Copenhagen. The cutout was used to print silkscreens in 1979, and afterward Hunov mounted it on cardboard.
Nicolai Abraham Abildgaard (1743 - 1809) is the precursor of the so-called Golden Age of Danish Painting. His Wounded Philoctetes (1775), also belonging to the National Gallery of Denmark is by far his best-known work, and it played a major role in Per Kirkeby’s artistic practice. A famous quote by Kirkeby on Abildgaard Philoctetesis “The figure itself is the design”.
Kirkeby's term design might indicate a pictorial image's comprehensive composition or figuration; it also suggests the application of a structure or plan. Given Kirkeby's observation that here, the figure is the design, an element or part appears to have assumed the function of the whole. A similar approach can be found in this cutout for a screenprint after yet another painting by Abilgaard. The silhouette of one of the Parcae is barely recognizable as such. We find a condensed image, where the material quality of the form is put to the fore.
We would like to express our gratitude to M. Lucas Haberkorn for providing us with the background information on this work.
060 Large Cameroon Seated Figure
Cameroon
Wood, 111 cm
Provenance:
Martial Bronsin collection, Brussels
Didier Claes Gallery, Brussels
Private collection, Belgium
€ 60 000 - 80 000
The peculiar hairdo of this seated male figure is quite uncommon. In the former collection of the Provincial Museum of Hannover (inv. IV 55.541) we find a rare example of a seated royal figure with a comparable coiffe. In Arts Anciens du Cameroun by Pierre Harter, the Hanover sculpture is identified as having originated from the Banka Kingdom.
061 . Maarten Van Severen (Belgian, 1956 - 2005)
LC 95 A Chair - 1995
Aluminum and rubber
57 x 50 x 105 cm
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature: Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.12, 13, 56, 57, 92 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.174 - 177, 252 (ill.)
€ 3000 - 5000
Manufactured by Maarten Van Severen Meubelen, Belgium
062 . Vuvi Mask
Gabon
Wood and pigments, 33,5 cm
Label with inventory number of the Baltimore Museum of Art on verso (BMA 7526.3)
Provenance:
Merton Simpson Collection, New York
Victor J. Schenk Collection, Baltimore
Didier Claes Gallery, Brussels
Private collection, Antwerp
Published:
Glenn A. Long, Social Rite & Personal Delight: African Art from Baltimore Collections, Baltimore [exhibition catalog] 1975, fig. 16
Exhibited:
Baltimore, The Baltimore Museum of Art, Social Rite & Personal Delight: African Art from Baltimore Collections, 17 June - 3 August 1975, fig.16
€ 12 000 - 18 000
Vuvi masks played a central role during public performances in which the afterlife 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, as is beautifully illustrated by the mask presented her, and their color palette is typically limited to white, black, and red.
The superimposed layers of pigment and the wear and tear of the mask's fastening system bear witness to repeated use and attest to its age.
063 . Jean Dubuffet
(French, 1901 - 1985)
Le verre d'eau n° 2 - 17 November 1966
Colored felt tip pens on paper
51 x 25 cm
Signed and dated lower right
Dedicated lower left
Provenance:
Collection Max Loreau, Belgium
Christie's, London, Contemporary Art, 26 May 1994, lot 13
Private collection, Brussels
Published:
Max Loreau, Catalogue des travaux de Jean Dubuffet, Cartes, ustensiles (1964 - 1967), fasc.XXII, Paris/Genève, Weber, 1972, cat.191
Exhibited:
New York, Solomon R. Guggenheim Museum, Jean Dubuffet, April 26 - July 29 1973, cat.233 (ill.)
Paris, Grand Palais, Rétrospective Jean Dubuffet, 27 September - 20 December 1973
€ 20 000 - 30 000
This work comes from the former collection of Max Loreau (Brussels, 1928 - 1990), a professor of modern philosophy at the Brussels University, but also a prolific art critic and close friend of a.o. Pierre Alechinsky, Christian Dotremont, and Jean Dubuffet. He wrote several books, essays, and articles on Dubuffet, and contributed to several volumes of the artist’s catalogue raisonné.
Jean Dubuffet made a sculpture of the same subject in December 1966, which now belongs to the Hirshhorn Museum and Sculpture Garden collection, Smithsonian Institue, Washington D.C. (inv. 72.104)
064 Punu Mask - Okuyi Gabon Wood, 28 cm
Provenance:
John J. Klejman (1906 - 1995) Collection, New York (1974)
Private Collection, New York, (until 2012) Bonhams, New York, African, Oceanic and Pre-Columbian Art, 12 May 2012, lot 296
Galerie Simonis, Düsseldorf
Private collection, Germany
€ 10 000 - 15 000
065 Maarten Van Severen (Belgian, 1956 - 2005)
KL 95 - 1995
Kast Liggend - Horizontal Bookcase Aluminum, 106 x 199 x 33 cm
Produced by Top Mouton, early production
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.253 (ill.)
€ 10 000 - 15 000
066 Fang Harp
Gabon
Wood, hide, and fibers, 58 cm
Provenance:
Alberto Magnelli, Paris
Christie's, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 78
Susi Magnelli, France
Daniel Abadie Collection, France
€ 10 000 - 15 000
Ritual Fang harps - called ñgomi - are surprisingly rare. It has been suggested that compared to the multitude of eyema byeri effigies found in collections and museums, the relatively scarce Fang harps - sacred instruments - were carefully kept hidden from outsiders. This Fang harp from the former Alberto Magnelli collection is remarkable in many respects. Underneath the sound box, we find a tenon-shaped foot, that allows the instrument to rest on the top of the musician’s thigh. The presence of this particular element testifies to the instrument’s great age. In Le Gabon de Fernand Grebert 1913-1932 (2003, folio 59), we note the disappearance of this foot from Fang harp designs around 1914-1920.
Typically, a sculpted ancestor head surmounts the neck of the harp, a reminder that the music played was the “voice” that permitted contact with another world, that of the spirits and the deceased. The style of the ancestor's head on this harp distinguishes itself from that of most of the other known ñgomi. With its high and rounded forehead and minimalist but elegant facial features dominated by a heart-shaped construction, suggesting the eyebrows, cheek lines, and chin, and the absence of the representation of a mouth, it is closer to the typology of ngil masks. Since ngil masks evoked the continuous connection between the living and the dead, it is unsurprising to find a similar typology on a ñgomi, serving the same purpose.
067 . Maarten Van Severen (Belgian, 1956 - 2005)
Folding Screen and Cabinet - 1991
Galvanized steel
240 x (3x) 59 cm
79,5 x 80 x 80 cm
Special order, unique
Provenance:
Kledingwinkel Dewaele, Ghent
Frederic Hooft and Stefan Boxy Collection, Belgium
€ 25 000 - 30 000
In 1991 Maarten Van Severen designed the interior of the fashionable clothes shop Dewaele in Ghent. From display tables to storage shelves, everything was made to measure to create a unique and edgy shop environment.
068 Kota Reliquary
Gabon
Wood and copper alloy, 70,5 cm
Provenance: Alberto Magnelli, Paris
Christie's, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 74
Susi Magnelli, France
Daniel Abadie Collection, France
€ 10 000 - 15 000
069 Maarten Van Severen (Belgian, 1956 - 2005)
2MB 93 - 1993
Twee meter boeken - Suspended Bookcase
Aluminum, 30 x 24 x 300 cm
Produced by Top Mouton, early production
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.35, 58, 59, 75 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, p.251 (ill.)
€ 15 000 - 20 000
Special edition of the 2MB bookcase (2MB stands for "Twee meter boeken": Two meters of books), realized at three meters in length instead of the standard two meters.
070 . Olivier Debré (French, 1920 - 1999)
Terres d'ombre - 1961
Oil on canvas, 81 x 100 cm
Signed, located, dated, titled, and dedicated on verso: Touraine nov 61
Provenance: Daniel Abadie collection, France (gift from the artist)
€ 20 000 - 30 000
071 . Kongo Loango Figure
D.R. Congo
Wood, mirror, fibers, metal, and resin, 37 cm
Provenance: Acquired by Swedish missionaries between 1905-1925
Wilhelm Kåge (1889 - 1960) Collection, Stockholm
Pontus Grate (1922 - 2018) Collection, Stockholm (1961)
Jan Lundberg (1929 - 2021), Malmö
Alain de Monbrison, Paris (2013)
Private collection, Brussels
Published:
Katia Samaltanos-Stenström, Before Picasso, African Art in Swedish Collections [exhibition catalog], Stockholm, Liljevalchs Konsthall, 1988, p.129, cat.339
Tribal Art, Arquennes, Primedia, Summer 2013 (ad for Galerie de Monbrison)
Exhibited:
Before Picasso. African Art in Swedish Collections, traveling exhibition: Stockholm, Liljevalchs Konsthall, 2 December 1988 - 15 January 1989; Humlebaek, Louisiana Museum of Modern Art, 18 March - 11 June 1989, cat.339
€ 15 000 - 20 000
From a single Belgian family, we have two collections that were respectively constituted around 1890, and another between 1926 and 1933 and have since remained untouched in the family.
The first member of the family to collect African art was Georges Yannart (1865 - 1932). Hailing from a family of wood dealers in Mons, he went to D.R. Congo for the family business and started collecting Kongo art. Among the pieces he acquired there is a beautiful and rare Phemba maternity figure (lot xxx).
A generation later, and from the other branch of the family, Franz Saeytydt left for the D.R. Congo as a land surveyor in the district of Lomami from 1926 till 1933. We have an interesting group of Luba artifacts from this collection, among which four divination pestles, objects that are very rare to find, and it is quite exceptional to find a coherent group of them in a single collection.
072 . Luba Divination Pestle
D.R. Congo
Wood and brass tacks, 24 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933
By descent to the present owners Private collection, Belgium
€ 3000 - 4000
With their base originally wrapped in a skin pouch, the rare luboko divination pestles were used by diviners in the western Luba region to grind kaolin and communicate with the spirits.
073 . Kongo Maternity, Phemba
D.R. Congo
Wood, mirror, and beads, 28 cm
Provenance:
Georges Yannart (1865 - 1932) Collection, Mons, acquired in situ c.1900
By descent to the present owners
€ 20 000 - 30 000
In this phemba, we find all the typical elements for this type of maternity figure, with the mitered coiffure - fashionable among high-rank women - , elaborate scarification patterns, and traditionally filed teeth representing the ideal of womanhood and beauty.
The tradition of maternity sculptures emerged in the last millennium among the Kongo in western Congo. These phemba were associated with women's cults and found their highest expression among the Kongo-Yombe. They evoke the notion of fertility and also reflect the idea of lineage continuity.
The position of this sculpture however is exceedingly rare. Whereas usually the mother figure is represented seated with crossed legs, we find in our sculpture the very rare position where she is kneeling on one knee, supporting the child’s head with her left hand and her right hand with an upturned palm resting upon a recipient. This last gesture refers to ritual libation practices.
Only three other phemba with this specific iconography are known: the first that comes to mind is the Kunin phemba, formerly in the Rubin collection, with its whopping US$ 3 500 000 result during the Sotheby’s sale of November 11, 2014. Another comparable phemba belongs to the collection of the Berlin Ethnologisches Museum (accession no. III C 6286). Finally, we find the same position in the sculpture that belongs to the Louvre’s collection of Abu Dhabi (LAD 2015.037).
074
Maarten Van Severen (Belgian, 1956 - 2005)
F88 - c.1988
Easy chair, black
Leather and steel, 66 cm
Manufactured by Maarten Van Severen Meubelen, Belgium
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.10, 11, 62, 63, 68 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp. 228-229 and 248 (ill.)
€ 4000 - 6000
075 Bertil Herlov Svensson (Swedish, 1929 - 2012)
Fragmentarisk sfär III - 1985 Brass, 30 x 59 x 59 cm
Provenance:
Stockholms Auktionsverk, Stockholm, 22 October 2014, lot 686 Private collection, Brussels
€ 1500 - 2000
Conceived in 1985 for an exhibition at Galleri Nordenhake, Stockholm.
076 Kongo Figure
D.R. Congo
Wood and pigment, 29 cm
Provenance: Georges Yannart (1865 - 1932)
Collection, Mons, acquired in situ
c.1900
By descent to the present owners
€ 1000 - 1500
077 Songye Bust
D.R. Congo
Wood, 12 cm
Provenance:
Georges Yannart (1865 - 1932)
Collection, Mons, acquired in situ
c.1900
By descent to the present owners
€ 600 - 800
078 . Kongo Dog Figure
D.R. Congo
Wood, 21,5 cm
Provenance:
Georges Yannart (1865 - 1932)
Collection, Mons, acquired in situ
c.1900
By descent to the present owners
€ 400 - 600
079 Maarten Van Severen
(Belgian, 1956 - 2005)
LK 94 - 1994
Lage Kast
Low cupboard with sliding doors on castors
Aluminum, 48,5 x 297,5 x 41 cm
Produced by Top Mouton (from 1999 to 2012)
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.38, 39, 60, 61 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.246-247, 252 (ill.)
€ 18 000 - 25 000
080 Kongo Maternity, Phemba
D.R. Congo
Wood and mirror, 37 cm
Provenance:
Georges Yannart (1865 - 1932) Collection, Mons, acquired in situ c.1900
By descent to the present owners
€ 6000 - 8000
081 . Luba Divination Pestle
D.R. Congo
Wood and vegetal fibers, 24 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners
€ 1000 - 1500
082 Ib Geertsen (Danish, 1919 - 2009)
Dobbelt - form - 1952
Brass, 15 x 15 x 25 cm
Provenance:
Private collection, Brussels
€ 1500 - 2000
With a certificate of authenticity by Birthe Geersten (widow of the artist)
083 . Jean - Pierre Raynaud
(French, 1936)
Poste de secours - 1988
Enamel and glazed tiles on metal, 77 x 61 cm
Signed and dated on verso
Provenance:
Private collection, Brussels
€ 3000 - 5000
Cette œuvre est répertoriée sous le n° 3536 dans les archives de Madame Denyse Durand - Ruel
084 . Luba Figure
D.R. Congo Wood, 24 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners
€ 8000 - 12 000
085 Sol Lewitt
(American, 1928, 2007)
Fold Piece - 1972
Paper, 49,5 x 49,5 cm
Signed, located, and dated lower right: Paris / July 12 1972
Inscribed on verso: NOT TO BE SOLD FOR MORE THAN $ 100. -
Provenance:
Daniel Abadie Collection, France
Exhibited:
Les Sables-d'Olonne, Musée de l'Abbaye Sainte-Croix, Vos papiers S.V.P.. Le papier dans l'art contemporain, 15 May - 8 July 1976, cat.29 (label on verso)
€ 8000 - 10 000
Between roughly 1971 and 1980, Sol LeWitt created a corpus of works on paper that he called “one hundred dollar drawings”. Three types of these so-called drawings can be distinguished: folded, cut, and ripped papers. By 1971 and later on, LeWitt's installations had reached quite hefty prices on the art market, and the artist wished to produce works that could be accessible to (almost) everyone. He wanted these drawings to be sold for no more than $ 100 in perpetuity.
The Fold Piece from 1972 presented here, with the famous inscription NOT TO BE SOLD FOR MORE THAN $ 100. - on the verso, belongs to this very series. Unsurprisingly, these works on paper, and especially the Fold Pieces, turned out to be so quintessentially Sol LeWitt, embodying elegantly and appealingly his minimalist and conceptual practice, that it shouldn’t come as a surprise that the artist’s wishes could not be respected for a long time.
086 Maarten Van Severen (Belgian, 1956 - 2005)
F88 - c.1988
Easy chair, natural leather
Leather and steel, 66 cm
Manufactured by Maarten Van Severen Meubelen, Belgium
Provenance: Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.10, 11, 62, 63, 68 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp. 228 - 229 and 248 (ill.)
€ 4000 - 6000
087 Luba Divination Pestle
D.R. Congo
Wood and vegetal fibers, 29,5 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners
€ 1000 - 1500
088 . Pierre Chapo (French, 1927 - 1987)
Four vintage S31 Stools - c.1974 Elmwood, 46 x 32 Ø cm (each)
Produced by Atelier Pierre Chapo
Literature:
H. Magen et al., Pierre Chapo, un artisan moderne, Magen H. Gallery, 2017, pp.184-185 (ill.)
€ 4000 - 6000
089 . Luba Bowstand
D.R. Congo Wood, 91 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners € 2000 - 3000
A similar bow stand - also acquired in the 1930s - can be found in the collection of the Museum der Weltkulturen in Frankfurt am Main (N.S. 30 689)
090 Luba Neckrest
D.R. Congo Wood, 18 cm
Provenance:
Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners
€ 8000 - 12 000
091 Maarten Van Severen
(Belgian, 1956 - 2005)
TW 04 - 2004
Carpet
Wool, 270 x 360 cm
Limited edition of 9# commissioned by the Design Museum, Ghent
This carpet bears number 5/7
Produced by Atelier Vera Vermeersch
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Literature: Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp. 214 - 217, 263 (ill.)
€ 8000 - 12 000
092 Maarten Van Severen (Belgian, 1956 - 2005)
T88 A Table - 1988
Aluminum, 72,5 x 135x 135 cm
Custom-made piece (only two were made with these dimensions)
Manufactured by Maarten Van Severen Meubelen, Belgium
Provenance:
Michel Simon, Ligne, Brussels (custom-made order c.1999)
Private collection, Hoeilaart Frederic Hooft and Stefan Boxy Collection, Belgium
€ 8000 - 12 000
With certificate by Michel Simon, dated 3 May 2019
093 Luba Divination Pestle
D.R. Congo
Wood and brass tacks, 38 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933
By descent to the present owners
€ 1000 - 1500
094 Joao Carlos Galvao (Brazilian, 1941)
Relief noir RG058 - 2007 [Black Relief]
Painted wood, 70 x 69 x 14 cm
Signed, dated, located, titled, and numbered on verso
Provenance: Private collection, Brussels
€ 1000 - 1500
095 Luba Neckrest - Musamo
D.R. Congo Wood, 12 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933
By descent to the present owners
€ 600 - 800
096 Marta Pan (French, 1923 - 2008)
Cylinder D4 - c.1970
White Carrara marble, 20 cm Ø
Monogrammed and titled on the edge: MP D4 edition of 8
Provenance: Artcurial, Paris, Art abstrait et contemporain, 5 July 2010, lot 216
Private collection, Brussels
€ 1000 - 1500
097 Jean-Pierre Raynaud (French, 1936)
Untitled - 1990
Glazed tiles and metal ring, 80,5 x 46 cm
Provenance: Willy D'Huysser Gallery, Brussels Private collection, Brussels
Exhibited: Willy D'Huysser Gallery, Brussels, Jean-Pierre Raynaud. Recent Works 1985 - 1991, 19 February - 5 April 1992 (ill.)
Published: A.M. Hammacher, Jean-Pierre Raynaud. Recent Works 1985-1991, Willy D'Huysser Gallery, Brussels, 1992 (ill.)
€ 2000 - 3000
This work is included in the archives of Madame Denyse Durand-Ruel under n° 4025
D.R. Congo
Wood and metal, 47 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners € 3000 - 5000
098 Luba Knife
099 Luba Bowstand
D.R. Congo Wood, 95 cm
Provenance: Franz Saeytydt Collection, Mons, acquired in situ between 1926 and 1933 By descent to the present owners
€ 2000 - 3000
100 . Jacques Moeschal (Belgian, 1913-2004)
Model for the "Flèche du Génie Civile" - 1958
Painted metal, 41 cm
Provenance: Family of the artist
Cornette de Saint Cyr, Brussels, Arts & Design Belge, 18 November 2014, lot 81
Private collection, Brussels
€ 4000 - 6000
Metal model for what was to become one of the most daring and visually striking constructions during the Brussels 1958 World Fair, the “Flèche du Génie Civil”. It represented the prowess of Belgian industry, combining visual art, architecture, and engineering.
101 . Suku Figure
D.R. Congo Wood, 36 cm
Provenance:
Robert Reisdorff (1885 - 1949) Collection, Brussels
Acquired from the Robert Reisdorff's widow in 1966
Lucques and André Trigaut collection, Brussels
Thence by descent
€ 6000 - 8000
102 . Songye Figure - Nkisi
D.R. Congo
Wood, 36 cm
Inventory number painted underneath: 2.4.R
Provenance:
Robert Reisdorff (1885 - 1949) Collection, Brussels
Acquired from the Robert Reisdorff's widow in 1966
Lucques and André Trigaut collection, Brussels
Thence by descent
€ 20 000 - 30 000
This Songye figure was brought to Brussels by Robert Reisdorff (1885 - 1949), Director General at the Ministry of the Belgian Colonies, who was assigned in Congo between 1913 and 1928. During his missions that took him to Lomami, Kabinda, and Katanga he acquired several pieces, including this Nkisi. After his demise, his widow sold the better part of the collection, and before 1966, it was acquired by Lucques and André Trigaut. It has remained in the family since.
The sculpture, with a serene expression and composed attitude, can be attributed to the same sculptor of the Nkisi from the Karel Timmermans collection that was sold at Sotheby’s in Paris in 2006 (5 December, lot 122). The area of the navel and the top of the head are hollowed out to hold magical substances (bishimba) of which traces remain.
The rendering of the beard and the hairdo with three braids show similarities with the Luba style.
A similar sculpture, published in François Neyt’s book on Songye sculpture (Brussels, 2004, cat.46) attributes this style - distinguished in particular by the bold rendering of the body volumes, serrated eyebrows, and round pastilleshaped knees - to the Eki workshops, in the western part of Songye country.
Superb reddish-brown patina.
On behalf of the Cotongo (la Cotonnière du Congo), agricultural engineer Karel Plasmans worked and traveled across the Songye region between 1955 and 1972. Captivated by their culture, he started a collection of Songye masks and sculptures, from which we are presenting five pieces in this sale.
More than just collecting art and artifacts, Plasmans conducted in-depth research on Songye oral traditions. His research was never published, but he made it available to Dunja Hersak for her publication Songye Masks and Figure Sculpture (1985) and Jean Willy Mestach for his Songye Studies. Form and Symbolism. An Analytical Essay (Galerie Jahn, München, 1985). Plasmans’ extensive research, knowledge, and collection also allowed for further studies on Songye art, such as the seminal Songye publication by François Neyt (Songye: the formidable statuary of Central Africa, Prestel Verlag, Munich, 2009).
SONGYE FIGURES FROM THE KAREL PLASMANS
COLLECTION
103 Songye Power Figure - Nkisi
D.R. Congo
Wood and beads, 20 cm
Provenance:
Karel Plasmans Collection, Belgium
Thence by descent
€ 20 000 - 30 000
Powerful Nkisi figure with gorgeous oily patina. The iconography of this sculpture, with its head turned to the right, is exceedingly rare.
104 Songye Figure - Nkisi
D.R. Congo
Wood, 15 cm
Provenance:
Karel Plasmans Collection, Belgium
Thence by descent
€ 2000 - 3000
105 . Songye Figure
D.R. Congo
Wood, 10,5 cm
Provenance:
Karel Plasmans Collection, Belgium
Thence by descent
€ 1000 - 1500
106 . Emiel Veranneman (Belgian, 1924 - 2004)
Lampstand “Langui” - 1960
Steel and fabric - 163 cm
€ 7000 - 9000
107 . Josh Smith
(American, 1976)
Untitled - 2016
Oil on canvas, 122 x 91,5 cm
Signed, dated, and numbered on verso: JSP16029
Provenance:
Luhring Augustine, New York
Xavier Hufkens, Brussels
Private collection, Belgium
€ 20 000 - 30 000
108 Songye Figure - Nkisi
D.R. Congo Wood, 23 cm
Provenance: Karel Plasmans Collection, Belgium
Thence by descent
€ 4000 - 6000
109 . Marcel-Louis Baugniet (Belgian, 1896 - 1995)
Floor lamp - 1958
Metal and burlap shade
154 cm
Provenance:
Acquired directly from the artist
Private collection, Brussels
€ 1500 - 2000
Created by Marcel-Louis Baugniet for the Brussels World Exhibition of 1958.
According to the artist, only three of these floor lamps had been made.
110 Songye Figure - Nkisi
D.R. Congo Wood, 29,5 cm
Provenance: Karel Plasmans Collection, Belgium
Thence by descent
€ 8000 - 12 000
111 George Nakashima
(American, 1905 - 1990)
Rare Pair of Slab I Coffee Tables - 1969
American walnut wood and rosewood butterflies, 38 x 125 x 92 cm (each)
Provenance:
Dr. Howell Cook, Margate, New Jersey
Private collection, Brussels
€ 60 000 - 80 000
The Slab I Coffee Table is one of the earliest table designs by Nakashima, and dates from the forties. Every piece is unique and sizes differ according to the slab of wood used for the top. The model became an immediately recognizable classic with its distinctive support: on the one side, two elegantly tapered and outward-leaning feet are balanced on the other side by a vertical slab of wood that in its lower half reminds us of the profile of a butterfly joint which we so intimately associate with Nakashima’s creations. Every Slab Coffee table is designed in a manner that brings out the natural beauty of the wood, its irregular shapes subtlely contrasting with a signature butterfly joint in rosewood. This technique of assuring the structural integrity of the table top adds to the very tactile qualities of this type of furniture and reflects the harmony between man and nature.
It is exceedingly rare (if not unique), to find a pair of these tables, where the table tops were made out of the same trunk, and placed book-matched.
This pair of tables is exceptionally well-documented since it comes with George Nakashima’s letter to Dr. Howell Cook, an important client of his. With a detailed sketch of the table, the wood chosen and the dimensions, it further reads: “2 walnut Tables selected. / Dear Dr. Cook, Herewith 2 fine rich pieces of walnut for your tables. Please confirm if satisfactory.”
The original letter by Gorges
to his client Dr. Howell
dated March 21, 1969, with the offer and design will be transmitted to the buyer.
Nakashima
Cook,
112 . Hemba Ancestor Figure Singiti
D.R. Congo
Wood and raffia, 67 cm
Provenance: Axel Vervoordt Gallery, Antwerp
Private collection, Brussels
€ 15 000 - 20 000
Lusingiti (plural of singiti) or ancestral sculptures such as this old and beautifully patinated effigy reflect the importance of ancestral worship among the Hemba. Each ancestor’s figure is individualized by distinctive elements. The shape of the face is that of a teardrop, with a fine double row suggesting the beard that follows the jawline.
The Hemba are also known for their highly individualized hairdos: here in two double rows of braids, placed in a cross one over the other. The striking bulbous forehead further expresses the importance the Hemba held for intellect and wisdom.
In style, we can situate this singiti among the classical Niembo, as described in François Neyt, La grande statuaire Hemba du Zaïre, Louvain-la-Neuve, 1977.
113 Kusu Figure
D.R. Congo
Wood, pigments, and vegetal fibers, 57,5 cm
Provenance: Gianluca Spinosa Collection, Barcelona Alain de Monbrison, Paris
Private collection, Antwerp
€ 6000 - 8000
Kusu statuary is relatively rare and little is known about its use. This fetish features a headdress that allowed to contain magical charges, such as can be found in Kongo and Songye sculpture. The lower part of the body contains a magical charge as well.
114 . Charlotte Perriand (French, 1903 - 1993)
Two "Berger" Stools - 1953 (design)
Beech wood, 28 x 32 Ø cm (each)
Literature:
Jacques Barsac, Charlotte Perriand, Un art d'habiter, Paris, 2005, pp.400 and 405
Charlotte Perriand, exhibition catalogue, Centre Pompidou, Paris, December 7, 2005 - March 27, 2006, pp.83 and 144
Steph Simon Retrospective 1956 - 1974, exhibition catalogue, Galerie Downtown François Laffanour, Paris, 2007, pp.20 and 22
Jacques Barsac, Charlotte Perriand et le Japon, Paris, 2008, pp.16, 207, 235, 238 and 241
Patrick Favardin, Les Décorateurs des années 50, Paris, 2012, p. 137
Charlotte Perriand, L'Aventure japonaise, exhibition catalogue, Musée d’Art Moderne Saint - Etienne Métropole, February 23 - May 26, 2013, pp.144, 145, 151, 154 - 156, 160 and 161
Jacques Barsac, Charlotte Perriand, L'œuvre complète, Vol. 2: 19401955, Paris, 2015, pp.349, 443, 444, 467, 468, 473 and 515
€ 6000 - 8000
115 Nyamwezi Figure
Tanzania
Wood, 72 cm
Provenance: David Henrion, Brussels
Private collection, Brussels
€ 18 000 - 25 000
In the exhibition catalog by Jens Jahn and Marc L. Felix, Tanzania: Meisterwerke afrikanischer Skulptur (Haus der Kulturen der Welt, 29.4.1994 - 7.8.1994 ; Städtische Galerie im Lenbachhaus. Kunstbau, 29.9.1994 - 27.11.1994, ed. Jahn Verlag, Munich) we find a similar sculpture with disproportionate members. This type of sculptures is very rare, and to the Western eye it is quite attractive in its “modern” appeal.
116 . Charlotte Perriand (French, 1903 - 1993)
Wall-mounted Cabinet from l'Unité d'Habitation Air France, Brazzaville - 1952
Mahogany, enameled aluminum, enameled steel
86,5 x 101,5 x 18 cm
Produced by Ateliers Jean Prouvé
Provenance:
L'Unité d'Habitation Air France, Brazzaville, Congo
Stefan Boxy Collection, Belgium
€ 6000 - 8000
117 . Lega Mask
D.R. Congo
Ivory, 20 cm
Provenance:
Julius Carlebach Gallery, New York (1954)
Robert and Jean Shoenberg Collection, Saint Louis, MO (1954 - 2008)
Christie's New York, 14 November 2008, lot 61
Galerie Afrique Alain Dufour, Paris
Dr Guy Onghena, Ghent
€ 10 000 - 15 000
Within the very limited corpus of large Lega ivory masks this one stands out for the extreme rarity of its iconography with frontal diadem and representation of the ears, and for its style, combining an ornamentation with elaborate geometric patterns and finesse in the rendering of the slender nasal bridge ending in an arrow.
Large ivory masks are rare. Unlike Lukungu masks, which are no taller than the palm of a hand, large Lega ivory masks are of major importance to the Bwami institution. They belong either to the idimu type and are the exclusive, individual property of initiates of the highest rank, the lutumbo lwa kindi and placed under the authority of the community's most senior initiate, or to the even rarer muminia type, collectively owned by a large ritual and spiritual community, and presiding over every ceremony of the eight ritually-linked clan communities.
A mask similar in style and collected in the 1930s belonged to the collection of M. Fernand Stradiot, published in Bernard de Grunne, Lega. Masques éburnéens, Brussels, 2021, cat.34.
With CITES certificate 2024/BE02023/CE
This item is subject to CITES regulations and cannot be exported outside the European Union.
118 . Pierre Caille (Belgian, 1911 - 1986)
Untitled Untitled - c.1965 Bronze, 66 cm
Provenance: Private collection, Belgium
€ 3000 - 4000
119 . Nam Tchun Mo (Korean, 1961)
Beam - 2016
Waxed canvas on wooden panel, 115 x 100 cm
Signed, titled, and dated on verso
Provenance: Private collection, Brussels
€ 8000 - 12 000
"Nam Tchun-Mo’s use of monochromes, his relationship to nature, his obsession with mediums, and his repetitive gestures obviously originate in the principles of Dansaekhwa as set by Park Seo-Bo, one of the eminent members of this art movement from the 70s (alongside Ha Chong-Hyun and Chung Sang-Hwa), of which Nam Tchun-Mo seems to be a proud heir (as well as Lee Bae, as another example). But like all the artists of the second Dansaekhwa generation (meaning "monochrome" or "Korean monochrome"), Nam TchunMo broke free from the movement, never intending to reproduce or repeat its concepts. Instead, he pushes them further to open new fields of experimentation and perspectives within a very different contemporary framework, looking to turn his lines into landscapes." Henri-François Debailleux, Nam Tchun-Mo. Master of lines, March 2020, introductory text to the exhibition at the Ceysson & Bénétière Gallery, Paris.
120 . Mangbetu Anthropomorphic Jar
D.R. Congo Terracotta, 29 cm
Provenance: Private collection, Belgium
€ 2000 - 3000
The superbly rendered noble features of the woman’s head, with typically elongated skull and sophisticated hairdo bear witness to the Mangbetu ideal of beauty.
121 . Medicinal Antropomorphic Container
Tanzania Zigua or Mbugu Wood, 58 cm
Provenance: Private collection, Brussels
€ 8000 - 12 000
Hollowed out to be used as a vessel, this sculpture was created for divination practices and doubles as a medicine container. The carved head is a removable stopper of the type used throughout eastern Africa to dispense ritual substances. A similar container belongs to the collection of the Art Institute in Chicago (inv.2007.347).
122 . Pol Mara (Belgian, 1920 - 1998)
Untitled - 1962
Watercolor and ink on paper, 65 x 49,5 cm
Signed and dated lower right
Provenance:
Private collection, Belgium
Exhibited: Antwerp, Callewaert & Vanlangendonck Gallery, Pol Mara, Pol Mara, 5 November - 26 December, 2021
€ 2000 - 3000
123 Amédée Cortier (Belgian, 1921 - 1976)
Untitled - 1970
Indian ink on paper, 45,5 x 37 cm
Initials lower right
Signed and dated on verso
Provenance: Private collection, Belgium
€ 1500 - 1200
124 Amédée Cortier (Belgian, 1921 - 1976)
Untitled - c.1970
Indian ink on paper, 45,5 x 37 cm
Initials lower right
Signed on verso
Provenance: Private collection, Belgium
€ 1500 - 1200
125 Konso Funerary Figure
Ethiopia Wood, 141 cm
Provenance:
Galerie Simonis, Düsseldorf
Private collection, Germany
€ 8000 - 12 000
Waga commemorative post depicting a stylized male figure. In the weathered relief of the wood, the lines of the narrow silhouette can still be seen, the head featuring a sagittal crest.
Sculptures of this type were commissioned by high-ranking men and warriors and placed along roadsides and fields to commemorate their exploits.
126 Marcello Fantoni (Italian, 1915 - 2011)
Vase - 1956
Glazed ceramic, 52 cm
Signed, dated, and located underneath: Firenze
€ 2500 - 3000
127 Pierre Caille (Belgian, 1911 - 1986)
Decorated Serving Tray
Glazed ceramic, 30,5 x 48 cm
Signed on verso
€ 3000 - 4000
128 Herbert Zangs
(German, 1924 - 2003)
Untitled - c.1956
Gouache on masonite panel, 78 x 100 cm
Signed lower left
Provenance:
Galerie Benden & Klimczak, Viersen, Germany
Galerie Parade, Amsterdam
Galerie Whiterouge, Maastricht
Galerie Drouard, Paris
Jean Cherqui Collection , Paris
Private collection, Brussels
Published:
Emmy de Martelaere, Herbert Zangs, Catalogue raisonné of the Abstract Works, vol. I 1952 - 1960, Fascicule n°3 1955 - 1956 - 1957, p.116, ill.92, n° I.3.92
€ 4000 - 6000
129 Maarten Van Severen (Belgian, 1956 - 2005)
LC 95 A Chair - 1995
Blue
Painted aluminum and rubber
57 x 50 x 105 cm
Manufactured by Maarten Van Severen Meubelen, Belgium
Probably unique
Provenance:
Frederic Hooft and Stefan Boxy Collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.12, 13, 56, 57, 92 (ill.)
Maarten Van Severen and Lieven Daenens, ed.,
Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.174-177, 252 (ill.)
€ 4000 - 6000
130 Bertil Herlov Svensson (Swedish, 1929 - 2012)
Triangle Brass, 27,5 cm
Provenance: Private collection, Brussels
€ 1500 - 2000
131 . We Gere Bracelet - Bell
Ivory Coast Bronze, 23 cm
Provenance: Galerie Simonis, Düsseldorf Private collection, Germany
€ 1000 - 1500
132 . Walter Swennen (Belgian, 1946)
Untitled (Pince à linge) - 1990 [Clothes Peg]
Oil on panel, 122 x 125 cm
Initialed and dated on verso
Provenance:
Galerie Micheline Szwajcer, Antwerp Private collection, Belgium
Published:
Walter Swennen, How to Paint a Horse [exhibition catalog 29 March11 May 2008], bksm, Mechelen, 2008, p.35 (ill.115)
Raphaël Pirenne, Dirk Snauwaert, Walter Swennen, Caroline Dumalin, Quinn Latimer, Olivier Mignon, Walter Swennen, So Far so Good [exhibition catalog Wiels, Brussels, 5 October 2013-26 January 2014], Les Presses du Réel, Dijon, 2013, p.174 (ill.190)
€ 10 000 - 15 000
133 . Maarten Van Severen (Belgian, 1956 - 2005)
CK94 Copyright Bookcase - 1994
Aluminum honeycomb sheet and translucent polycarbonate 223,5 x 120 x 33,9 cm
Provenance:
Private collection, Belgium
Literature:
Geert Bekaert and Maarten van Severen, Maarten Van Severen, Ludion, Brussels, 2000, pp.44, 60 - 61 (ill.)
Maarten Van Severen and Lieven Daenens, ed., Maarten Van Severen: Work, Stichting Kunstboek, Oostkamp, 2004, pp.101, 244, 252 (ill.)
€ 8000 - 12 000
134 . Pierre Caille (Belgian, 1911 - 1986)
Vase
Glazed ceramic, 30 cm
Signed and inscribed underneath: "fait à Ratilly"
€ 2000 - 3000
135 . Guido Gambone (Italian, 1909 - 1969)
Vase - 1958
Glazed ceramic, 27,5 cm
Signed, monogrammed, located, and dated underneath: Italy
€ 1000 - 1500
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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 consigned 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 Vendor and the Buyer is concluded by this adjudication.
The object being sold is released to the Buyer only against cash or bank transfer payment.
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, internet site 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 Vendor 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 Vendor.
c) Native freely states that it is prepared to cancel the auction on behalf of the Vendor 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.
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.
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. Upon the expiration of this period Native’s liability will cease. 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 1,8% on the hammer price, for liveauctioneers.com 5%.
The Buyer must also pay Belgian VAT (21%) calculated 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 auctioned item passes to the Buyer once the hammer has come down. 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 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 Vendor, 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 non-execution or even renounce the contract. The Buyer is liable in respect of Native and the Vendor 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.
3. Registration and attendance at the Sale
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 auction management decides by drawing lots.
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 Vendor to cancel the auction.
c) Native is entitled to reject any bid without having to to give any explanation. Similarly, it is entitled to adjudicate without a sale or to withdraw items 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.
In order to comply with the ML/TF law of Sept. 18, 2017, any buyer who has purchased for an amount from €10,000 must submit a photo of the identity card (recto and verso) or passport.
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.
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, site internet, 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 1,8% 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, x 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'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 sujetties 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.
Afin de se conformer à la loi ML/TF du 18 septembre 2017, tout acheteur ayant acquis pour un montant supérieur ou égal à 10 000 € doit soumettre une photo de carte d'identité (recto et verso) ou de passeport.
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.
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 en op de website 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 vervalste 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 1,8 % 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-inwoner 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 nietbetaling 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 €. 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. Het staat Native vrij om een bod zonder opgave van redenen te weigeren. Evenzo heeft zij het recht om een toewijzing te doen zonder verkoop of om kavels 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.
Teneinde te voldoen aan de ML/TF wet van 18 september 2017 moet elke koper die voor een bedrag vanaf € 10 000 aangekocht heeft een foto van de identiteitskaart (recto en verso) of paspoort laten geworden.
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
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Auction 27
12 November 2024 - Brussels
Ruysbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles
T +32(0)2 514 04 42 info@native-auctions.com
VAT BE0835 325 693
Native auctions
Telephone bid Absentee bid
NAME
ADRESS
ADRESS FOR INVOICING EMAIL
I have read and accept the conditions of sale of Native. Please bid on my behalf for the following lots up to the hammer price mentionned on this form. These bids are to be executed as cheaply as is permitted by other bids.
If any bid is successfull, I agree to pay in addition to the hammer price the buyer’s premium and the VAT mentionned in the conditions of sale.
Please attached a copy of the identity card or passport to this form.
VAT NUMBER
DATE
SIGNATURE