Arta 2013

88-Gallery Akanthos Ancient Art Antwerp Amma Tribal Art Arends & Tammes Fine Arts At the Gallery

SYNERGY in the antwerp art trade

Axel Pairon Axel Vervoordt Company Axel Vervoordt Gallery Honourable Silver Objects Cabinet of Curiosities Callewaert-Vanlangendonck Gallery Daroun Esprit de l’Art Galerie De Zwarte Panter Galerie jamar Galerie Raf Van Severen Galerie Schoots + Van Duyse Galerie Verbeeck Van Dyck Herwig Simons Antiquair

edition n° 003 2013

Marcel Nies Oriental Art ML Design Gallery Victor Werner WM Gallery J.M. Zeberg – Fine Art

Synergy in the Antwerp Art Trade

COLOPHON

PUBLISHER editor

ART-A DICK GRAAFF

coordinator

BRUNO CLAESSENS

photography

FERRY HERREBRUGH Erik Müllendorff

text

Ruud van der Neut

translation graphic design

Helen Simpson UN’DERCAST

“a high quality, out of the ordinary, cultural event IN ANTWERP that is literally bursting with finds”

& art direction printing

Albe de Coker

Art-A thanks Stad Antwerpen and

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“A journey of discovery into the world of fine arts, antiques and design”

“Ontdekkingsreis in de wereld van beeldende kunst, antiek en design” Dick Graaff

Van oudsher is Antwerpen een handelsstad en levendig centrum van de Schone Kunsten. Al in de loop van de zestiende eeuw bloeide er de handel en was de Antwerpse haven de plaats bij uitstek van waaruit een groot deel van Europa bevoorraad werd met exotische goederen, specerijen, kostbare mineralen en zelfs oosters porselein. Hier lag de wereld binnen handbereik.

De schilderkunst floreerde er en getalenteerde meubelmakers, ebenistes, vergulders en schrijnwerkers draaiden overuren om de fameuze Antwerpse kunstkabinetten te vervaardigen voor de Europese elite.

Nu, ruim vierhonderd jaar na dato vormt onze stad – zeker tijdens de Art-A dagen – in wezen eenzelfde centrum waar kunstliefhebbers, verzamelaars en mensen met oog voor bijzondere zaken samenkomen om er als het ware een ontdekkingreis te maken die meer dan twintig eeuwen beslaat. Want het aanbod tijdens deze inmiddels derde editie van de Art-A dagen nieuwe stijl belooft grootser, gevarieerder en mooier dan ooit te worden.

De Art-A manifestatie is een gezamenlijk initiatief van kunsthandelaren in oude- en moderne kunst, antiquiteiten en design in Antwerpen

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Dick Graaff

waarvan de eerste editie al in 1978 plaatsvond.

Sindsdien zijn deze kunst weekeinden, die gewoontegetrouw plaatsvinden rond eind november en het eerste weekend in december, het evenement waar reikhalzend naar uitgekeken wordt door het kunstminnende publiek. Met kunst in de breedste zin des woords als thema is het inmiddels uitgegroeid tot een alles omvattend evenement waarin kwaliteit, originaliteit en authenticiteit van het gebodene voorop staan.

Dit jaar organiseren de gezamenlijke antiquairs en kunsthandelaren – mede in nauwe samenwerking met een aantal toonaangevende galeries in eigentijdse kunst en design – de derde editie van Art-A nieuwe stijl. Waarin bewust het accent op tegenstellingen gelegd wordt. Laat U verrassen door de ambiance en smaakvolle setting waarin het geheel gepresenteerd wordt in de diverse locaties in Antwerpen en directe omgeving. En in tegenstelling tot een museumbezoek: hier kunt U favoriete objecten daadwerkelijk aanschaffen om uw eigen woon- en leefwereld mee te verfraaien.

Dick Graaff Voorzitter Antiquairs Antwerpen Coördinator Art-A

Antwerp has always been a merchant city and a major centre of the fine arts. In the sixteenth century, the port thrived and trade burgeoned: most of Europe’s exotic goods, spices, precious minerals and oriental porcelain passed through Antwerp. It was a meeting point for the whole world. The art of painting flourished and talented furniture makers, ébénistes, gilders and carpenters worked overtime to manufacture the famous Antwerp art cabinets for the European elite.

The Antwerp of today is still, in essence, that very same centre. This is especially true ­during ART-A, when art lovers, collectors and p ­ eo­­ple with an eye for exceptional objects come to­ gether and embark, as it were, on a journey of discovery through two thousand years of art history. The third edition of the new-style ART-A promises to be bigger, more varied and more beautiful than ever before.

one of the art-loving public’s most eagerly anticipated events. With the theme of art – in the broadest sense of the word – it has grown into a comprehensive event in which quality, originality and authenticity come first. This year, the antiquaries and art dealers have jointly – and in close cooperation with a number of leading galleries in contemporary art and design – produced the third edition of the new-style ART-A. The emphasis is on contradictions. Let yourself be surprised by the ambiance and tasteful surroundings in which the event is presented, both within Antwerp itself and the surrounding areas. And unlike a museum visit, during ART-A you can actually purchase your favourite objects, enjoy them in your own home and make them part of your life.

Dick Graaff Chairman Antiquairs Antwerpen Coordinator ART-A

The ART-A event is the joint initiative of Antwerp-based dealers in ancient and modern art, antiques and design. The first edition took place in 1978 and, since then, the art weekends, which traditionally take place around late November and the first weekend of December, have become

IntroductiON

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“Traditie, innovatie en een intense samenwerking over de grenzen heen: dat is het Leitmotif van Art-A” Philip Heylen

Beste kunstliefhebber, Traditie, innovatie en een intense samenwerking over de grenzen heen: dat is het Leitmotif van Art-A, het evenement dat de kunsthandel en de moderne en hedendaagse kunstgalerieën in Antwerpen nu al voor het derde jaar op rij samenbrengt. En de ambitie reikt verder, want Art-A wil ook bruggen slaan naar de Antwerpse musea.

Die ambitie wordt dit jaar wel heel tastbaar, want Art-A focust deze editie op de nieuwste parel onder de Antwerpse musea, het Red Star Line Museum.

Voor miljoenen mensen uit heel Europa waren de loodsen van de Red Star Line op het Antwerpse Eilandje de start van een nieuw bestaan in Amerika. De Nieuwe Wereld was het beloofde land voor wie op zoek was naar een beter leven.

Aan de Rijnkaai vertrokken tussen 1873 tot 1934 meer dan twee miljoen landverhuizers.

In de loodsen van de Red Star Line werd beslist of ze hun droom in de VS of Canada konden najagen. Het waren uren van bang en hoopvol afwachten. Wie goedgekeurd werd, mocht vertrekken. Wie afgekeurd werd, bleef achter.

Na een grondige restauratie en herinrichting, geeft het Red Star Line Museum nieuw leven aan deze plek, die geschiedenis ademt. U wandelt er in de voetsporen van de landverhuizers.

U ontdekt er hun verhalen en volgt hun reis door Europa en overzee.

Aan de oorsprong van de collectie van het Red Star Line Museum ligt de passie en de liefde van één verzamelaar voor alles wat Red Star Line was. Het is diezelfde passie en smaak voor antiek, (hedendaagse) kunst, vintage en hedendaags design die liefhebbers van heinde en ver vandaag op Art-A samenbrengt, en die Antwerpen internationale uitstraling geeft!

Philip Heylen Schepen voor Cultuur, Economie, Stads- en Buurtonderhoud, Patrimonium en Erediensten

Country Movers circa 1926. © Letterenhuis.

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VOORWOORD

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“Tradition, innovation and inspired cross-disciplinary collaboration: this is the essence of ART-A” Philip Heylen

Dear art lover,

Red Star Line poster.

Henri Cassiers. © Letterenhuis.

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Tradition, innovation and inspired cross-disciplinary collaboration: this is the essence of ART-A, an annual event organised by Antwerp’s antiques dealers and the gallery owners specialising in modern and contemporary art. Now in its third consecutive year, ART-A has an even greater ambition: to forge links with the Antwerp museums. This desire is going to be realised in a very tangible way because the 2013 edition of ART-A focuses on a new jewel in the Antwerp museum world: the Red Star Line Museum.

For millions of people from all over Europe, the Red Star Line port warehouses in Antwerp represented the start of a new life in America.

The New World was the promised land for those people in search of a better life.

Between 1873 and 1934, over two million emigrants set sail from the Rijnkaai. Their fate – whether or not they could pursue their dream in America or Canada – was decided in the Red Star Line warehouses. The process involved hours of scared and hopeful waiting. Whoever was accepted, could depart. Whoever was rejected, remained behind.

FOREWORD

After a thorough restoration and refurbishment, the Red Star Line Museum breathes new life into the warehouses, which are steeped in history. Here, you will walk in the footsteps of the migrants, discover their stories and follow their journeys throughout Europe and further overseas.

The origins of the Red Star Line Museum collection can be found in the passion and love of a collector for everything that the Red Star Line represented. It is that same passion and taste for antiques, art (both modern and old masters), vintage and contemporary design that today draws enthusiasts from near and far to ART-A – and which adds to Antwerp’s international radiance.

Philip Heylen Alderman for Culture and Tourism

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RED STAR LINE MUSEUM In de historische loodsen van de Red Star Line rederij kan het publiek sinds 28 september 2013 kennismaken met het nieuwe Red Star Line Museum.

Het is een belevingsgericht museum waar het verhaal verteld wordt van miljoenen Europeanen die met de oceaanstomers van de Red Star Line op zoek gingen naar een nieuw leven in Amerika en Canada. Het Red Star Line Museum kijkt bovendien verder dan de geschiedenis en brengt ook verhalen over hedendaagse migratie.

Het Red Star Line Museum vertelt het verhaal van miljoenen Europeanen die alles durven achterlaten en vertrekken, op zoek naar geluk en een beter leven. Met hun hele hebben en houden in enkele koffers nemen miljoenen mensen vanaf 1800 de boot van Europa naar de VS en Canada.

De nieuwe wereld is het beloofde land voor wie zoekt naar een beter bestaan. De reis erheen begint voor heel veel mensen in een havenloods in Antwerpen. Tussen 1873 en 1934 brengen de oceaanstomers van de Red Star Line meer dan twee miljoen passagiers en gelukszoekers naar de overkant en terug. Het is een verhaal over hoge verwachtingen en diepe teleurstellingen, over hoop en slapeloze nachten.

De oude gebouwen van de scheepvaartmaatschappij maken al die emoties en verhalen voelbaar, tastbaar en zichtbaar.

In de voetsporen van de landverhuizer Inhoudelijk volgt het museum de verschillende etappes van de af te leggen reis. Verspreid over twee verdiepingen worden acht thematische omgevingen ingericht: een reisbureau in Warschau, een treincoupé, de stad Antwerpen, het Red Star Line gebouw, het dek van een oceaanstomer, het leven aan boord van het schip, de aankomst

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Een verhaal van alle tijden

op Ellis Island en de nieuwe toekomst in de VS. Centraal in dit parcours staan de persoonlijke getuigenissen van passagiers van de Red Star Line. Authentieke getuigenissen, sfeervolle beelden, een sprekende scenografie en selecties van originele en persoonlijke objecten creëren de sfeer van de reis zoals die door de gemiddelde Europese landverhuizer aan het begin van de twintigste eeuw werd beleefd. Er wordt ingezoomd op de verwachtingen, de hoop, de ontgoochelingen en de successen.

Door middel van een reeks interactieve multimediale toepassingen leven de bezoekers mee met de passagiers van weleer.

Het Red Star Line Museum kijkt verder dan de geschiedenis. Migratie is universeel en van alle tijden; dus ook van vandaag, zeker in een havenstad. In het museum treden de bezoekers in de voetsporen van mensen die hun voorouders hadden kunnen zijn – en dat misschien ook effectief waren. Ze leren de stad door een nieuwe bril kennen. Antwerpen, en bij uitbreiding elke plek ter wereld, is wat het vandaag is immers ook door de mensen die er vroeger verbleven; net zoals de stad van morgen gemaakt wordt door de mensen die er vandaag wonen. Deze reflectie wordt gestimuleerd doorheen de scenografie.

In een eerste museumzaal wordt het Red Star Line verhaal gesitueerd binnen de geschiedenis van migratie. Een tijdlijn vertelt de geschiedenis van de mensheid aan de hand van twintig persoonlijke verhalen van ‘people on the move’.

Aan het einde van het rijk geduide parcours worden de toeschouwers opnieuw uitgenodigd tot reflectie.

Red Star Line Museum

Een ruimte gewijd aan hedendaagse migratieverhalen reflecteert over de nieuwe transitplaatsen in de stad.

De kunstfilm Dance van Hans Op de Beeck vormt een laatste halte voor de toeschouwers het museum weer verlaten. In de kennishoek kunnen de bezoekers een persoonlijke zoektocht naar de migratiegeschiedenis in hun familie starten. Persoonlijke migratieverhalen kunnen de steeds groeiende collectie verder ontwikkelen.

Toren en multifunctionele ruimte Wanneer de bezoekers de tentoonstelling verlaten worden ze uitgenodigd om de uitkijktoren te beklimmen. De toren weerspiegelt de ervaring en emotie van de reizigers die van op de boeg van een schip uitkeken naar een nieuwe toekomst. De bezoekers van het museum krijgen zo een volkomen nieuw perspectief over de stad en de rivier. Het museumbezoek kan worden afgerond in de museumbar of met een bezoek aan de museumshop.

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The Red Star Line Museum opened its doors to the public on 28 September.

Located in the shipping company’s historic port warehouses, the new museum uses real-life experiences to tell the story of the millions of Europeans who boarded the Red Star Line ocean liners to America and Canada. It is also a museum that looks beyond history: visitors to the Red Star Line Museum will also discover some of the many stories that lie behind migration today.

In the footsteps of the emigrant

Red Star Line poster.

Henri Cassiers. © Letterenhuis. 1923

Spread over two floors, eight thematic environments trace the various stages of the journey: a travel agency in Warsaw, a train compartment, the city of Antwerp, the Red Star Line building, the deck of an ocean liner, life on board the ship, the arrival at Ellis Island and a new future in the United States of America. The personal recollections of the Red Star Line passengers are pivotal to the story. Authentic testimonies, atmospheric photographs, voices and selections of historical artefacts and personal belongings recreate the atmosphere of the trip as it would have been experienced by the average European emigrant at the beginning of the twentieth century. The focus is placed on the expectations, the hope, the disillusionment and the successes. A series of interactive multimedia applications enables visitors to travel alongside the passengers of yesteryear.

A universal story The Red Star Line Museum tells the tale of the millions of Europeans who – in their quest for happiness and a better life – dared to leave everything behind. From 1800 onwards, countless people packed their worldly goods into a few suitcases and sailed from Europe to America and Canada. For those looking for a different life, the New World was the promised land. It was a journey that began, for many, in a port warehouse in Antwerp. Between 1873 and 1934, the

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Red Star Line ocean liners ferried more than two million passengers and fortune hunters across the Atlantic. It is a story of high expectations and deep disappointments, of hope and sleepless nights. The old shipping company buildings make all of those emotions and stories palpable, tangible and visible.

The Red Star Line Museum transcends history. Migration is a universal and never-ending phenomenon. It is thus a contemporary story and one that resonates particularly powerfully within a port city. In the museum, visitors can walk in the footsteps of people who might have been – or perhaps, in fact, were – their ancestors. They will learn to see the city through new eyes. Antwerp, and by extension every city in the world, was made into what it is today by the previous generations who settled there – just as

Red Star Line Museum

the people who live there today will create the city of tomorrow. The museum scenography is designed to stimulate these lines of thought.

The first room of the museum situates the Red Star Line story within the history of migration.

The evolution of human mobility is documented via a timeline constructed around twenty personal stories of ‘people on the move’. At the end of the richly interpreted route, visitors are invited, once more, to reflect upon their impressions. A space dedicated to contemporary stories of migration brings the new transit locations within the city into focus.

The art film Dance, by Hans Op de Beeck, is the final stop for visitors before they leave the museum. In the ‘knowledge corner’, visitors can start researching the personal migration histories within their own families. Individual narratives concerning emigration will continue to add to the ever-growing collection.

The tower Visitors leaving the exhibition are invited to climb the lookout tower. The tower reflects the experiences and emotions of the travellers who once looked out, from the prow of ship, towards a new future.

Museum visitors will see the city of Antwerp and the River Scheldt museum from a completely fresh perspective. A visit to the Red Star Line Museum can be concluded in the bar or the shop.

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Dialoog tussen traditie en vernieuwing Ruud van der Neut Tijdens de door de ‘fine fleur’ van Antwerpse kunsthandelaren, antiquairs en galeries gespecialiseerd in hedendaagse kunst georganiseerde kunst weekeinden komen heden en verleden samen in de gepresenteerde beeldende kunst, antiquiteiten, etnografica, juwelen, vintage design en eigentijdse kunstuitingen. Dat leidt niet zelden tot verrassende en spannende combinaties. Variërend van oude kunst die ooit vernieuwend was en nieuwe kunst die teruggrijpt op het verleden. Laat je er inspireren door al het memorabele dat de meer dan levenslustige Antwerpse kunst- en antiekmarkt anno 2013 te bieden heeft. Met een ongekend aanbod van antieke voorwerpen van ver vóór onze jaartelling tot eigentijdse kunstuitingen in velerlei facetten.

Maar ongeacht hoe oud – of recent – de gepresenteerde objecten ook zijn van makelij: kwaliteit en authenticiteit staan onveranderlijk hoog in het vaandel.

Vandaag de dag hanteert de collectioneur en geïnteresseerde kunstliefhebber andere principes dan de fanate verzamelaars van weleer die er hun levenswerk van maakten om themacollecties bij elkaar te sprokkelen, waarbij kosten nog moeite werden gespaard. Deze traditionele verzamelaars reisden stad en land af. Zowel in binnen- als buitenland om beurzen, veilinghuizen en lokale antiquairs te bezoeken. Bij de opening van kunst- en antiekbeurzen stonden ze onveranderlijk vooraan om coûte que coûte als eerste bij de deelnemende handelaar – die mogelijk iets van hun gading zou kunnen hebben – in zijn stand aan te komen. Op zoek naar nèt die onbrekende objecten om hun verzameling verder te perfectioneren. De vergaarde trofeeën werden vervolgens in de beslotenheid van hun woonhuis gekoesterd en slechts een enkele vertrouweling mocht er nadien een blik op werpen.

Met als motto: toch maar liever niet aankomen... Hun collecties bleven na hun verscheiden meestal in de familie, werden incidenteel gelegateerd aan musea of kwamen opnieuw in de

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kunst- en antiquiteitenhandel of veilingcircuit terecht omdat de erven weinig affiniteit hadden met de passie van de overleden collectioneur.

Weliswaar met een, zoals gebleken is bijkomend voordeel: door eventuele verkoop kreeg een nieuwe generatie verzamelaars eveneens de kans het nodige te verwerven. Althans: zo was het voorheen. Maar tijden veranderen en inmiddels zijn verzamelaars van de oude stempel zélf een rariteit geworden. Het werkterrein van de huidige op ‘hoog niveau’ opererende antiquair en serieuze kunsthandelaar met passie voor zijn vak bestrijkt in feite de hele wereld om nog kwalitatief goede kunst en antiek te kunnen bemachtigen. Waarbij hun – vaak in vele jaren opgebouwde - expertise en te hanteren kwaliteitsnormen een prominente rol spelen.

De huidige tendens om te verzamelen wordt niet langer gekenmerkt om het in de loop der jaren verworvene ‘voor de heb’ achter slot en grendel in kasten of kluizen op te bergen. Tegenwoordig wordt kunst en antiek primair aangeschaft om er dagelijks van te kunnen genieten, om er je directe leefomgeving mee te verfraaien en daarmee die extra – op persoonlijke smaak gerichte en daardoor unieke - ‘touch’ te geven aan je bestaan. Waar traditionele antiekkopers destijds hun huizen bij voorkeur inrichtten als ware stijlkamers, waar ieder object uit eenzelfde periode – met dezelfde stijlkenmerken – stamt, benadrukt de liefhebber van nu met name zijn ­ – door visie en vergelijking ontwikkelde eclectische - stijl en smaak. In de praktijk blijkt: door tegenstellingen te accentueren kunnen objecten uit totaal verschillende tijdperken en culturen elkaar juist aanvullen en versterken. Zo kan in een minimalistisch vormgegeven interieur met strak meubilair een ‘streng’ ogend vroeg 17e eeuws portret of een Cobra-schilderij uit de jaren zestig in knallende kleuren een verrassende, toegevoegde dimensie geven. En wat te denken van een rijk, in notenhout, verguld meubelbeslag en schildpadfineer uitgevoerd Antwerps

kunstkabinet uit de 17e eeuw naast een primitief vormgegeven beeld uit de voormalige Belgische koloniën? Juist de tegenstellingen versterken het effect. Of durf eens een antieke Louis Quinze of Louis Seize fauteuil te laten stofferen met een eigentijdse bekleding in fel roodgetint leer, in ‘shocking colours silk’ of een gewaagde zebra­ print. Daarnaast doet de stelling ‘less is more’ steeds vaker opgang. Een 18e eeuwse vitrinekast, afgeladen met een spreekwoordelijke ‘tsunami’ aan blauwwit of gekleurd gedecoreerd Chinees porselein heeft in wezen minder impact dan enkele antieke kunstvoorwerpen op doordacht gekozen en subtiel uitgelichte plekken in het interieur.

Vormgeving, toegepaste kleuren, onmiskenbare ‘sporen des tijds’, gebruikte materialen en ‘beeldtaal’ bepalen in belangrijke mate de uitstraling van ieder object. Ook achtergrondverhalen over kunstwerken kunnen zeker een toegevoegde waarde verschaffen. Waar stond het destijds, door wie – en voor wie – werd het ooit vervaardigd? Het is evident: de ‘provenance’ telt zeker mee. Dat geldt ook voor ‘Kunstkamer’ objecten die aanvankelijk verzameld werden als ‘rariteit’ en een spreekwoordelijke ‘spiegel van de wonderen van de wereld’ vormden. Of artefacten, uitgevoerd in exotische materialen als ivoor, koraal, tropische houtsoorten en kostbare mineralen uit verre, tot voor kort onbekende streken.

Vanaf de zestiende eeuw maakten ze deel uit van spraakmakende collecties van de Europese elite.

Daarnaast kan de op het eerste gezicht ‘tijdloze’ uitstraling van een kunst- of gebruiksvoorwerp eveneens ‘woest’ aantrekkelijk zijn. Niet voor niets kreeg de schoonheid en eenvoud van etnografische ‘oer’kunst aan het begin van de vorige eeuw het eerst waardering van westerse kunstenaars als Pablo Picasso, Henri Matisse, Georges Braque en Constant Permeke. Zij waren de etnografica verzamelaars van het eerste uur en raakten in de ban van de indringende beeldtaal van de tijdloze, dikwijls rituele gebruiks-

voorwerppen die oorspronkelijk nooit als ‘kunst’ bedoeld waren. Want in de landen van herkomst bestond er geen scheiding tussen beeldende en toegepaste kunst. Waardoor dergelijke artistieke uitingen onmiskenbaar een ‘eigen’ signatuur hebben en uniek te noemen zijn. Bij ons maakte naast Maurice de Vlaminck de vandaag de dag wereldberoemde kunstenaar James Ensor (1860 – 1949) furore met zijn – mede door grillige maskers geïnspireerde - oeuvre.

Zelfs een oosters sculptuur, archeologische vondst of eeuwenoud, ogenschijnlijk simpel gebruiksvoorwerp kan volledig in harmonie zijn met 20e eeuws design. Wat te denken van een sereen vormgegeven Aziatisch beeld, Chinese of Japanse keramiek, bronzen voorwerp of met oosters lakwerk versierd object? Stuk voor stuk getuigen ze van verbluffend vakmanschap en ‘mixen’ ze wonderwel in onze hedendaagse, op ultiem comfort gerichte woonwereld. Tijdloze schoonheid en esthetiek spelen er overduidelijk een hoofdrol. Zo ook eigentijdse kunstuitingen als fotografie, videokunst, de toepassing van nieuwe media en uitzonderlijke installaties.

Humor, shockeffecten en innovatief materiaalgebruik vormen mede de pijlers waardoor ‘kunst van nu’ meer intrigeert dan ooit tevoren. In feite verbeelden dergelijke creatieve kunstuitingen het potentiële ‘antiek van de toekomst’, waarbij weliswaar de kanttekening gemaakt dient te worden dat de eeuwigheidswaarde ervan nog bewezen moet worden. Maar is het niet van alle tijden? In de loop der eeuwen werd praktisch iedere vernieuwing in de kunst in eerste instantie geconfronteerd met algemene publieke tegenstand. Kijk naar het impressionisme, kubisme of mondaine kunstuitingen in vroeger eeuwen toen religie de kunst nog dwingend dicteerde.

Maar laat U overtuigen; een bezoek aan de editie Art-A van 2013 biedt op tal van artistiek verantwoorde terreinen voor ‘elck wat wils’ en bewijst eens te meer dat de kunst- en antiekhandel nooit statisch is of zal worden.

Dialoog tussen traditie en vernieuwing

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Tradition and Innovation: a dialogue Ruud van der Neut During the weekends organised by Antwerp’s finest art and antique dealers, and the art galleries specialising in contemporary art, past and present meet in displays of fine art, antiques, ethnic art, jewellery, vintage design and contemporary art. That often leads to surprising and exciting combinations. Objects on view range from ancient art that was once innovative to modern art that harks back to the past. Prepare to be inspired by everything that the buoyant Antwerp art and antiques market has to offer in 2013. From antiquities to contemporary art in all its facets, there will be an unprecedented number of objects on view. But regardless of how old they are, or how recently the objects were made, the most important considerations are quality and authenticity.

Today’s collectors and art lovers operate in a very different way to the fanatical collectors of yesteryear. Such connoisseurs devoted their entire lives to assembling vast thematic collections, for which no expense was spared. Collectors traditionally travelled the country. They frequented local fairs, auction houses and antique dealers both at home and abroad. At the opening of art and antiques fairs, they were invariably first in line to secure, at any price, their heart’s desire from the stands of the participating dealers.

They sought far and wide for the ultimate object that would elevate their collection to the pinnacle of perfection. The trophies they amassed were cherished in the privacy of their homes and were only viewed, via special invitation, by trusted confidantes. Their motto: please do not touch…After their deaths, the collections remained in the family, were bequeathed to museums or, occasionally, if the heirs had little affinity with the passion of the late collector, they found their way back to the art and antiques trade or onto the auction circuit. There was, at least, one positive side to this: the sales gave a new generation of collectors the opportunity to acquire the treasures. At least, this is how it used

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to be. But times are changing and collectors of the old stamp are something of a rarity. Yet the ‘high-level’ antiquaries and serious art dealers of today, those with a passion for their subject, operate on a global playing field and are still able to obtain high-calibre art and antiques. With their accumulated expertise – that has often been built up over many years – and their obsession with quality, today’s dealers play a prominent role in shaping the collections of this day and age.

Current collecting tendencies are no longer characterised by ‘must have’ acquisitions that are kept in cabinets or safes under lock and key.

Today’s collectors primarily purchase art and antiques in order to enjoy them on a daily basis, to enhance their surroundings and thereby add that extra – personal and thereby unique – ‘touch’ to their existence. Whereas traditional antique collectors arranged their homes in true period style, in which every object came from the same epoch – and thus had the same stylistic characteristics – today’s art lovers are driven by vision and a comparatively eclectic sense of style and taste. What this means, in practice, is that juxtapositions of objects from completely different eras and cultures are seen to have a complementary and reinforcing effect. An ‘austere’ early seventeenth-century portrait, or a brightly coloured Cobra painting from the 1960s, are both capable of adding a surprising, unexpected dimension to a minimalist interior. And what about placing a decorative, seventeenth-century Antwerp cabinet in walnut, with gold plated furniture fittings and tortoiseshell veneer, alongside a primitive statue from the former Belgian colonies? In both cases, it is the contradiction that enhances the effect. Or why not be daring and upholster an antique Louis XV or Louis XVI armchair in contemporary bright red leather, a vibrant silk or a bold zebra print? In addition, the proposition ‘less is more’ is becoming ubiquitous.

An eighteenth-century display cabinet, overflowing with blue and white or coloured Chinese

porcelain has, in fact, much less impact in an interior than several carefully-selected antiques that are positioned in subtle, well-lit positions.

Form, the appropriateness of the colours, the unmistakable ‘traces of time’, the materials used and the ‘visual language’ determine, to a large extent, the look of any object. Background stories about works of art can certainly provide added value. Where did it come from and by whom – and for whom – was it made? It is true to say that ‘provenance’ is vitally important. This also applies to kunstkamer objects that were initially collected as ‘rarities’ or as a proverbial ‘mirror’ of the ‘wonders of the world’. As it does to artefacts executed in exotic materials such as ivory, coral, tropical wood and precious minerals from distant, until recently unknown, regions.

From the sixteenth century onwards, such objects formed part of the high-profile collections owned by the European elite. In addition to what, at first glance, appear to be ‘timeless’ works of art, or functional objects, there are also those that are ‘wildly’ attractive. It was not for nothing that, at the beginning of the last century, Western artists such as Pablo Picasso, Henri Matisse, Georges Braque and Constant Permeke were the first to appreciate the beauty and simplicity of ethnographic ‘primitive’ art. They were the ethnic art collectors of the first hour and were captivated by the penetrating imagery of the timeless ritualistic objects that, more often than not, were never intended to be viewed as ‘art’. This is because, in their countries of origin, there was never any separation between fine and applied art. Related artistic expressions certainly have their ‘own’ signature and are undeniably unique.

Here in Belgium, in addition to Maurice de Vlaminck, the world-famous artist James Ensor (1860-1949 also created a furore with an oeuvre that was, in part, inspired by whimsical masks.

perfect harmony with twentieth-century design.

What about elegantly carved Asian sculptures, Chinese or Japanese ceramics, bronze objects or lacquerware? Every piece is a masterpiece of craftsmanship and can ‘blend’ wonderfully well into our contemporary, ultimately comfortoriented, lives. Timeless beauty and aesthetics clearly play a leading role. Similarly, contemporary art forms such as photography, video art, new media and installations also find their place.

Humour, shock effects and the innovative use of materials form just one of the pillars that makes ‘the art of today’ more intriguing than ever before. In fact, such creative expressions have the potential to be the ‘antiques of the future’, although we should note, as an aside, that their eternal value has yet to be proven. But it is not of all time? Over the centuries, virtually every artistic innovation initially faced opposition from the general public. One only has to think of Impressionism, Cubism or the sophisticated art forms that developed in those centuries when art was dictated by religion. But convince yourself. A visit to ART-A 2013 offers, on many artistic fields, ‘something for everyone’ and proves, once again, that the art and antiques trade never has been, nor never will be, static.

Oriental sculptures, archaeological finds or ancient, seemingly simple utensils can be in

Tradition and Innovation: a dialogue

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Leopoldstraat 57 (p. 38)

Galerie Raf Van Severen Leopoldstraat 19 (p. 66)

Galerie Schoots + Van Duyse Napoleonkaai 15 (p. 90)

Axel Pairon

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Leopoldstraat 35 (p. 58)

Galerie Verbeeck Van Dyck Westkaai, Verbindingsdok 12 (p. 106)

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Herwig Simons Antiquair Sint Katelijnevest 61 (p. 62)

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Antiques & CONTEMPORARY ART GALLERIES

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“the ‘antiques of the future’ have acquired a definitive – and perfectly justified – place at the highest level of collecting.”

Erik Müllendorff

Antonio Scaccabarozzi, ‘monocromia prevalenze’, acrylic paint on canvas, 1977. 30cm x 30 cm

88-Gallery Leopoldstraat 4 / 2000 Antwerp / T +32 (0)3 231 33 81 / M +32 (0)475 79 81 17 info@88-gallery.com / www.88-gallery.com Opening Hours: Thursday, Friday and Saturday 11.00 – 18.00 And by appointment

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In recent years, there has been a huge increase in the number of twentieth century design classics appearing at the most exclusive art fairs.

It is obvious: the ‘antiques of the future’ have acquired a definitive – and perfectly justified – place at the highest level of collecting. Furniture, lighting ornaments, glass and ceramics, cutlery, jewellery and other manifestations of applied art are ‘hot’. Would-be buyers opt for leading design as a practical addition to their interiors, as a potential investment object or as a desirable collector’s item. For some, nostalgia also plays a role. ‘We had chairs by Charles and Ray Eames in my childhood home but, the truth is, only now do I realise how beautiful, functional and time-

88-Gallery

less they are,’ is a common refrain heard at many trade fairs, and from the lips of museum visitors, when confronted with design classics. The owners of the 88-Gallery, Erik Müllendorff and his business partner Philippe Rapin, have earned their spurs as champions and dealers of original design. Their Antwerp gallery, in the Leopoldstraat 4, opened its doors in 2007. Two years later, they established a branch in London and they have recently opened a new gallery on the Quai Voltaire in Paris. The 88-Gallery specialises in works by French, Italian, American and Belgian designers. To cite just a few names: Jacques Adnet, Gio Ponti, Jean Desprès, Ado Chale, JeanEmile Puiforcat and Paul Evans.

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Jean-Emile Puiforcat (France 1897 - 1945) A caviar dish by Jean E. Puiforcat in silver, amber and rosewood Hallmarks: makers mark Jean E. Puiforcat and the Minerva mark for Sterling Silver. Ø 11 cm. H. 8 cm.

During ART-A 2013, the 88-Gallery presents a magnificent silver Bayonne cutlery canteen designed by one of the most famous French silversmiths of the last century: Jean-Emile Puiforcat (1897-1945). Regularly commissioned by the beau monde and other notable figures, Puiforcat manufactured minimalistic cutlery and other high-quality tableware. This canteen was made in Paris in 1924 and each piece is decorated with a stylised monogram of the original owner. Comprising 195 individual pieces, the set includes: twelve complete place settings, dessert

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Jean-Emile Puiforcat (France 1897 - 1945) A French silver Bayonne table service of flatware and cutlery - 195 pieces Paris, designed in 1924 Placings for twelve, all with the same stylised monogram, comprising: table forks, table spoons, table knives, dessert/entree knives, dessert/entree forks, desert/entree spoons, fish knives, fish forks, butter knives, oyster forks, cake forks, ice cream spoons, tea spoons, coffee spoons, two cake slices and twelve serving pieces.

cutlery, fish knives and forks, oyster and cake forks, tea and coffee spoons, ice cream spoons and fourteen serving utensils. For the future owner, this canteen provides a unique opportunity to set a complete dining table in the style of the ‘roaring twenties’. Also from the hand of Jean-Emile Puiforcat is a spectacular, sterling silver caviar dish on a rosewood and silver base with handles partially executed in amber. This museum-quality piece can still be used as originally intended – it deserves to be filled, at the very least, with Beluga Caviar.

In the field of the visual arts, the 88-Gallery also has a number of important works available.

A flame red, monochrome painting entitled Monochromia prevalenze by Antonio Scaccabarozzi, dated 1977, is a particular highlight. What better complement could there possibly be for the Lucio Fontana that you might already have at home?

88-Gallery

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Bust of Dionysus.

Magna Graecia. Canosa. Terracotta. Hellenistic Period.

3rd century BC. Height: 14 cm.

Ex private coll. KV. Netherlands. Acquired about 1980.

“Centuries-old objects have unique and unmistakable characteristics that blend wonderfully well with sleekly furnished rooms.”

Karl Stimm

Imperial overlifesized, crowned portrait of a ruler.

Roman. White marble. Height 40 cm.

Acquired round 1980.

Provenance: Collection Barbier.

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Akanthos Ancient Art Antwerp Oever 7 / 2000 Antwerp / T +32 (0)3 248 18 55 / M +32 (0)486 28 23 54 akanthos@telenet.be / www.akanthos.be Opening Hours: Friday, Saturday and Sunday, 14.00 – 18.30 And by appointment

Classical antiquities, be they works of art or everyday objects, are enjoying a huge renewal of interest from enthusiasts and collectors.

In practice, however, it is becoming increasingly difficult to trace important objects and, ultimately, to purchase them. In order to satisfy this growing demand, dealers specialising in cultural objects from the beginning of our era, or even earlier, must travel far and wide, forge contacts with major collectors in the field and make optimal use of a network that has been carefully built up over the years.

In the eighteenth century, the upper echelons of society embarked on a ‘Grand Tour’.

These connoisseurs, who were mostly English,

shipped sculptures, fragments of historical buildings and other archaeological treasures home from Italy with the greatest of ease.

That time is long since gone. Drs Karl Stimm is considered an expert in his field. Together with his wife, Carmen Tonen, he established Akanthos Ancient Art Gallery thirty years ago.

Their clients come from all over the world and every object they sell comes with a full warranty, an in-depth appraisal and a provenance.

They deal primarily in sculptures, bronzes, fragments of friezes and columns and (everyday) artefacts from ancient Greece and Rome, but also in Egyptian objects and early Christian and Medieval European heritage.

Akanthos Ancient Art Antwerp

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Figure of a winged Eros.

Magna Graecia. Canosa. Terracotta. Hellenistic Period.

3rd century BC. Height: 14,3 cm.

Ex private coll. KV. Netherlands. Acquired about 1980.

Female figure.

Tanagra type. Magna Graecia. Canosa. Terracotta. Hellenistic Period.

3rd century BC. Height: 28,5 cm.

Ex private coll. KV. Netherlands. Acquired about 1980.

One of the highlights of their stand at this year’s edition of ART-A is an extremely beautiful, larger than life-sized, Roman head.

Depicting a ruler with a crown, this white marble Imperial ‘portrait’ is in surprisingly good condition and once formed part of the renowned Belgian collection assembled by P. Barbier.

Two other masterpieces belonging to Akanthos Ancient Art are, undoubtedly, the Greek terracotta bust of Dionysus, which dates from the third century BC, and the Hellenistic terracotta sculpture (14.3 cm high) of a winged Eros that

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was acquired from a private Dutch collection.

A late Roman – or early Byzantine – white marble fragment depicts a young man carrying a ram on his back. Measuring 38.5 cm large, and with an impressive provenance spanning several private collections, this object probably once formed part of a curved, beautifully crafted, frieze.

When appraising archaeological (art) objects, it is remarkable how often the size or overall condition (whether flawless or damaged) is of secondary importance.

A beautiful fragment may have greater impact

Relief with young man carrying a ram.

White marble. Late Roman - Early Byzantine.

Large 38,5 cm.

Several ex private collections. Art Trade Brussels.

than a life-sized, stereotypical image.

‘The great within the small’ is a motto worth bearing in mind when looking at high quality artefacts that date from the dawn of civilization.

Furthermore, the most striking antiquities deserve a carefully chosen place in a domestic interior. Centuries-old objects have unique and unmistakable characteristics that blend wonderfully well with sleekly furnished rooms.

With their subtle purity, they cannot help but lend a ‘timeless’ quality to your home.

Akanthos Ancient Art Antwerp

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Dogon Walu mask, middle 20th century, 122 cm h ex old Dutch collection

Camiel Van Breedam,, ‘Schuinsteun’, 28 x 28 x 3 cm; 2007

Amma Tribal Art Wolstraat 16 / 2000 Antwerp / T +32 (0)3 772 11 90 / M +32 (0)496 31 08 36 info@ammatribalart.com / www.ammatribalart.com Opening Hours: Thursday, Friday and Saturday 14.00-18.00 And by appointment

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Paris, August 1907. Pablo Picasso is putting the finishing touches to Les Demoiselles d’Avignon, a painting that would mark a turning point in his career and – as it would later emerge – change the course of art history. Les Demoiselles d’Avignon was revolutionary and led to widespread disagreement, even amongst Picasso’s closest associates and friends. The artist drew inspiration for his masterpiece from the African masks he purchased from Parisian flea markets and the art of Oceania, which he discovered in the Musée d’Ethnographie du Trocadéro.

Picasso was one of the first artists to appreciate such ‘pagan and barbaric rarities’ from an aesthetic perspective.

Amma Tribal Art

Ann de Pauw and Luc Huysveld met in the 1980s, when they were both in their twenties. Not long afterwards, they established Amma Tribal Art. The gallery was born out of their shared passion for African art: an interest that developed during frequent trips across the African continent.

Occupying several floors of an attractive building in the Wolstraat, Amma Tribal Art specialises in ethnographic art from Africa and Oceania. De Pauw and Huysveld also exhibit contemporary art in which there are parallels to be found with the masks and other ritual objects on display.

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“One of the ‘highlights’ presented during ART-A is the outstanding Dogon dance mask from Mali. Two antelope ‘horns’ crown a long, stylised face.”

Ann de Pauw and Luc Huysveld Luc Claus, charcoal drawing, (124,5 x 88 cm), 2004, published in ‘Luc Claus’, 2009

Moba figure, 19th century, 89 cm h

Fon kudio-bochio, 19th century, 67 cm h

One of the ‘highlights’ presented during ART-A object owes its longevity to the fact that it was is the outstanding Dogon dance mask from Mali. made out of a very hard – and difficult to carve Two antelope ‘horns’ crown a long, stylised – wood. Other objects, in more fragile materials, face. Picasso would almost certainly have been have long since perished. A figure of this age is inspired! The original patina is intact and the thus an exceptional find. In the Western world, interior shows significant signs of wear and tear. masks and other forms of ethnographic art are Hailing from an old Dutch collection, the mask considered to be ‘inanimate’. In their country dates back to the middle of the last century and of origin, however, the complete opposite is the measures no less than 132 cm. Also on display is a case: they are thought to be ‘living spirits’ that nineteenth-century Moba figure that is remarkonly the ‘initiated’ can handle. This is certainly able for its simplicity and purity. The so-called true of the nineteenth-century kudio-bocchio tchitcheri sakab figure is a rare survival. This figure from the Fon region of Benin, which

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would have originally functioned as a kind of ‘lightning rod’: kudio-bochio attracted evil spirits away from their owners and protected them from harm.

diverse materials to create three-dimensional assemblages. His minimalist work, Schuinsteun (2007), incorporates the pinewood planks that are typically used in domestic architecture.

Amma Tribal Art will also be showing the work by two contemporary Belgian artists: Camiel van Breedam (b. 1936) and Luc Claus (1930-2006).

It will come as no surprise that both artists are known for their collections of African art.

Claus is primarily recognised for his subdued charcoal drawings whereas Van Breedam uses

Amma Tribal Art

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Adriaen van Stalbemt, “ Landschap” (Antwerpen 1580- 1662 Antwerpen) Oil on copper 17 x 26.5 cm.

“During ART-A, Arends and Tammes are exhibiting two stunning paintings by Cornelis Mahu (16131689) and Adriaen van Stalbemt (1580-1662) who were born, and raised, in Antwerp.”

Henriëtte Tammes and Robert Arends

Cornelis Mahu, “Stilleven met meloen en kan” (Antwerpen 1613- 1689 Antwerpen) Oil on canvas 59.5 x 72.2 cm

Arends & Tammes Fine Arts Mechelsesteenweg 214 / 2018 Antwerp T +32 (0)3 248 21 23 / M +32 (0)473 933 603 arendstammes.finearts@skynet.be / www.arendstammesfinearts.be Opening Hours: Preferably by appointment

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It is hard to estimate the total number of modern and contemporary art dealers in the world today – but the figure would certainly run into tens of thousands. The range of artworks they offer is also as broad as it is diverse. From photography, video art and painting, to installations and design, contemporary dealers have a singular advantage: a constant supply of new art. The number of dealers specialising in Old Masters is much smaller. Furthermore, truly outstanding works are in scarce supply and, therefore, much harder to find. The high prices fetched by great masterpieces are also an important consideration – and such works only become more expensive over time. Museums are, of course, familiar with the problem. But for Old Master dealers, every sale to a museum has a downside: prestigious though the acquisition might be, it invari-

Arends & Tammes Fine Arts

ably means one less work on the market. Once an object enters a museum collection it is, in theory, safeguarded in perpetuity.

Henriëtte Tammes and Robert Arends originally opened a gallery dedicated to the sale of Old Masters in Amsterdam. In 1995, however, they relocated to Antwerp, where they are now the only dealers specialising in works of art from the Dutch Golden Age and by Flemish masters from the sixteenth and seventeenth centuries.

In addition, they also sell prints and drawings, and works by other artists, from the same period.

Located in a handsome building on the Mechelsesteenweg, Arends & Tammes Fine Arts boasts two floors of exhibition space. Robert Arends is also an Old Master paintings conservator and regularly works for auction houses, museums

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“Mercurius” Engraving 44.5 x 31.2 cm Printmaker: Gerrit Gauw (….- Haarlem 1638) Design: Jacob Matham (Haarlem 1571- 1631 Haarlem) Publisher: Claes Visscher (Amsterdam, 1587-1652 Amsterdam)

and private collectors in this capacity. Over the years, he has skilfully restored countless paintings to their former glory.

During ART-A, Arends and Tammes are exhibiting two stunning paintings by artists who were born, and raised, in Antwerp. An outstanding still life by Cornelis Mahu (1613-1689) depicts a gold-plated beaker, a (fallen) silver tazza and a tall drinking cup. The composition, which is painted in muted colours, also includes a Westerwald earthenware jug with silver mounts, an

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“Paulus” Engraving 45.5 x 35.0 cm Printmaker: Gerrit Gauw (….- Haarlem 1638) Design: Jacob Matham (Haarlem 1571- 1631 Haarlem) Publisher: Claes Visscher (Amsterdam, 1587-1652 Amsterdam)

intricate knife, a melon, citrus fruits and grapes.

The second work is small-scale painting on copper by Adriaen van Stalbemt (1580-1662).

This wooded landscape, with a farm to the left, and a church, is a jewel-like wonder. A peasant farmer and his wife can be discerned in the foreground. The background is painted in the blues and turquoises that are so typical of early Flemish paintings. Also executed on copper is the mountain landscape by the German painter, Pieter Schoubroeck (circa 1570-1607/8).

The many figures in this octagonal painting are

Pieter Schoubroeck (Herzheim ca. 1570- 1607/8 Frankenthal) “Berglandschap” Oil on copper 24 x 24.4 cm.

a metaphorical device and – according to the vision of the day – represent the insignificance of man in relation to the overwhelming majesty of nature. Also of note are two early engravings that depict, respectively, Saint Paul and the god Mercury (the latter happens to be patron of god of financial gain, commerce and thieves, but that is another story…).

Based on a design by Jacob Matham, the engravings were published in Amsterdam by Claes Visscher (1587-1652) and printed by Gerrit Gauw (active in Haarlem; d.1638).

Arends & Tammes Fine Arts

Arends & Tammes Fine Arts have a large international client base. This is due, in part, to the steady growth of interest in Old Master paintings. This sector of the market is also performing increasingly well at auction. For this reason alone, it makes sense to purchase an Old Master painting from a specialist. Furthermore, the global market for works of art is rapidly expanding thanks to the advent of digital auction catalogues and online bidding. But who wants to compete with the whole world when it comes to Old Master paintings…?

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Jan Fabre, Skull with miniature tree 2011, 24 x 28 x 38 cm

“During the ART-A weekends, the spotlight will shine on two Belgian artists.”

Kathy and Wilfried Keteleer

Jan Fabre, Skull with parrot 2010, 31 x 24 x 25 cm

At The Gallery Leopoldstraat 57 / 2000 Antwerp / M +32 (0)468 15 00 65 info@atthegallery.be / www.atthegallery.be Opening Hours: Wednesday to Sunday, 11.00 – 18.00

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There are certain galleries where the list of artists represented reads more like the inventory of a major museum than that of a gallery dealing in modern and contemporary art. And you would be further amazed to realise that everything is actually for sale… The list of international artists represented by ‘At The Gallery’ in the Leopoldstraat reads like a proverbial list of popular ‘favourites’ and a ‘who’s who’ of twentieth century modern art: Arman, Alexander Calder, César, Niki de Saint Phalle, Sam Francis and Robert Combas are all there. The artists Roger Raveel and Jean-Michel Folon are also represented, as are Robert Indiana (creator of the famous LOVElogo), Mimmo Rotella and William Sweetlove (whose surname alone might tempt you to purchase a work). There are pieces by Christo

At The Gallery

who, together with his late wife, became famous for his incredible wrapped buildings, bridges, landscapes and rivers. The extremely decorative and colourful work of the American artist Jim Dine is also available. But it takes more than a close relationship with the artists themselves, or their estates, before a gallery owner can deal in works by ‘first division’ twentieth-century artists. Money alone is not enough. For a gallery owner to be granted a work of art there needs to be trust. Furthermore, dealers must prove their credentials: that he or she is a serious gallery owner with the highest possible standards.

Only in these circumstances will a dealer be able to establish a good, varied and high-quality inventory.

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Arne Quinze, Chaosbox 2010 42 x 72 x 18 cm

Arne Quinze, Stilthouse My Home My House My Stilthouse 2009, 212 x 86 x 50 cm

The owners of ‘At The Gallery’, Kathy and Wilfried Keteleer, are participating in ART-A for the first time. Their gallery is housed in the former Van Herck auction house. Under the guidance of Belgian minimalist architect and designer, Vincent van Duyssen, they have intelligently rebuilt and adapted the former auction complex to suit their requirements. During the ART-A weekends, the spotlight will shine on two Belgian artists. From Jan Fabre – whom some regard as the enfant terrible of the Belgian art world – there will be various sculptures and installa-

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tions. A separate space has been set aside for the presentation of these masterpieces. The work of Jan Fabre – whose unbridled imagination has given birth to some of the most fabulous, bizarre and innovative artistic expressions imaginable – is world-famous. His installations have been acquired by numerous museums and they almost always make people smile. ‘At The Gallery’ is also showing Skull with Parrot (2010) and the intriguing work, Brein met minatuurboom [Brain with Miniature Tree], from 2011.

A number of characteristic installations by Arne Quinze (b.1971) will also be on show. Exhibiting in Antwerp for the first time, the artist will present his most recent work alongside earlier pieces, visual projections and models for international projects. Quinze became famous overnight as a result of his monumental, often controversial, urban installations. In 2008, he made Sequence – executed in orange- and natural-coloured wooden batons – for the exterior of the Flemish Parliament building in Brussels.

But it will not be there forever: the construction,

At The Gallery

which measures a staggering 16 by 80 metres, has an estimated shelf life of approximately five years. During the exhibition, Arne Quinze will be presenting works in more manageable sizes.

The bright orange installation entitled My Home My House My Stilthouse (2009) has the much easier to place dimensions of 212 x 86 x 50 cm.

And Chaosbox from 2010 (which measures a very modest 42 x 72 x 18 cm) can even, if desired, be placed in a glass showcase.

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’Yue’ vase, Zhou dynasty 11-8th BCE, 20.5 cm

“It is irrefutable: the sublime simplicity and beauty of the Chinese terracotta tomb figures are tangible evidence of a higher civilisation that has defied time.”

Bruno Laurent and Lut Decleer

Pair of Fat ladies, Tang dynasty 7-10th cent, 31.6 cm

Esprit de l’art Leopold de Waelplaats 4 / 2000 Antwerp / T +32 (0)3 216 14 44 M +32 (0) 475 75 08 66 / esprit.art@telenet.be Opening Hours: Wednesday to Sunday 11.00 – 18.00 And by appointment

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‘Sensational Grave Finds in China’: variations of this headline have been appearing in the international press since the middle of the last century. The extensive media coverage given to such discoveries is one of the things that once motivated – and, indeed, still does motivate – the removal of centuries old cultural heritage from its land of origin and subsequent purchase by private collectors the world over. It is irrefutable: the sublime simplicity and beauty of the Chinese terracotta tomb figures are tangible evidence of a higher civilisation that has defied time. China is a vast country – larger than the whole of Europe – with a culture that is thousands of years older than our own. Nowadays, many Western museums and private collections boast large

Esprit de l’art

numbers of ancient Chinese works of art and other ritual objects. But how do they find their way onto the Western art market? Despite the fact that the export of antiquities from China is under strict state control, the supply of highquality objects seems to be greater than ever before. The owners of Antwerp-based Esprit de l’art, Bruno Laurent and Lut Decleer, have been visiting China for many years. During this time, they have forged an invaluable network of local contacts and, as a result, are able to purchase high-quality artefacts and legally export them to Belgium. In order to provide their clients with a full guarantee in respect of the authenticity and date of the objects they acquire, Laurent and Decleer ensure that every antiquity under-

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Pair of courtiers, Early Tang dynasty, 7th cent, 31.5 cm

goes thorough scientific testing in specialised independent laboratories. Every work of art is accompanied by a certified test report.

‘Figures for the hereafter’ is a phrase commonly used to describe Chinese Imperial funerary statues. From the Han dynasty onwards, sculptures of servants, dancers, soldiers, musicians, watchmen, pets, horses, chariots and other earthenware objects were given as burial gifts.

Tang dynasty ‘fat ladies’ are characterised by their wonderfully expressive faces and elegant,

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Fat lady, Tang dynasty, 7-10th cent, 53.2 cm

pleated robes. The figures represent courtesans and they are much sought after by collectors and interior designers alike. Esprit de l’art shines the spotlight on several ‘fat ladies’ during ART-A, including a pair of eighth-century Tang Dynasty courtesans with voluminous hair, delicate expressions, wonderful colours, V-necked robes and long capes. Also amongst the current offerings at Esprit de l’art are two terracotta male courtiers (31.5 cm tall) dressed in putou caps and pointed boots. Figures such as these are known to date back to seventh century and thus to the

Pair of dancers, Tang dynasty, 7-10th cent, 24.7 cm

earliest years of the Tang dynasty. From the same period is an exceptionally well-preserved ‘fat lady’ still bearing traces of her original paint (53.2 cm tall). This remarkable archaeological find is from the Shaanxi province.

It would seem that elegant ladies are a speciality of the gallery: two attractive and rare seventhto tenth-century Tang dynasty Kucha ‘dancers’, grave finds from the Shanxi province, are waiting patiently for a buyer to fall under their spell.

Will it be you?

Esprit de l’art

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“memento mori: the artistic or symbolic reminders of transience and the inevitability of death.”

Dick Graaff and Theun van Beers

fragment of a memento morisculpture in wood child laying with his head on a skull 18th century. 16 x 22 cm

Early 18th century silver tabacco box with an engraving of Goltzius, displayed on this print.

Diam: 8 x 2,5 cm

Honourable Silver Objects – Cabinet of Curiosities LeopoldStrAAt 29 / 2000 Antwerp / T +32 (0)232 88 26 / M +32 (0)47526 76 85 info@silverobjects.be / www.silverobjects.be Opening Hours: Thursday, Friday and Saturday, 11.00 – 18.00 And by appointment

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One of the many achievements of the Renaissance was the emergence of the collection. In the late sixteenth century, it developed into an activity fuelled by an insatiable desire for objects from far-flung lands – a passion that manifested itself in highly personal collections overflowing with strange and eclectic objects. During the eighteenth century, collections were classified according to the distinctions made between natura facta (natural history), arte facta (everything created by human hands) and antiquities (historical objects). Consequently, shells and stones (whether not adorned with precious metals or ivory mounts) and stuffed animals found a place in collections alongside arte facta

such as prints and drawings, sculptures, medals and ethnographic objects. Antiquities included intaglios, plaster casts of coins, reliefs, cameos and Greek and Roman medallions. The collections were conceived as ideal representations of everything that existed in the world, with each object representing a specific element thereof. The whole formed a microcosm, a kind of encyclopaedia in three parts. These treasures and rarities were gathered together in a separate room, known variously as a ‘cabinet of curiosities’ or, in German, kunstkammer (‘art room’) or wunderkammer (‘wonder room’). Dick Graaff and Theun van Beers, the owners of Honourable Silver Objects, have dedicated over twenty-five

Honourable Silver Objects – Cabinet of Curiosities

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17th century Ivory spoon with scultured handle with a scene of a soldier a three and a woman with a skull in her hands. 13 x 4 cm Literature: Ivory Book Bayerisch National Museum

s-werelts BEGIN, MIDDEN, EYNDE besloten in den TROU-RINGH, met den proef-steen van den selven.

Door J.Cats. Amsterdam 1712.

With two ivory skulls, one 18th century with a little chain and the other with an inscriptin on the back of the skull ca. 1900 and a flemish 17th century memento mori child standing with his foot on the skull, on a later base. 3 x 3 & 3 x 2 cm & 9,5 x 3,5 cm

George III ivory and Tortoisshell fineer teacaddy with silver mounts and key ca. 1770. 11 x 9 cm

years of their lives to art and antiques. Sixteen years ago, they added ‘Cabinet of Curiosities’ to their gallery name: an indication of the unique field of expertise to which they have been dedicated ever since. In their beautifully designed gallery, which undergoes regular transformations, it is still possible to acquire some of the finest ‘wonders of the world’. Moreover, they put them within reach: visitors to the gallery will find the whole world at their fingertips in this veritable treasure trove.

For every edition of ART-A, Graaff and Van Beers curate a ‘cabinet of curiosities’ around a specific theme. This year, they turn their atten-

tion to memento mori: the artistic or symbolic reminders of transience and the inevitability of death. In sixteenth and seventeenth century paintings, various devices were used to symbolise the brevity of life: the trail of smoke from an extinguished candle, a skull and a Bible, a withered leaf or a wilted flower. For dramatic effect, memento mori were often painted in chiaroscuro. As in previous years, the owners of Cabinet of Curiosities have put together a truly unique display. Highlights include an eighteenth-century wooden sculpture of a skull and sleeping cherub (a particular tender memento mori) and a seventeenth-century Flemish ivory

depicting a child with his foot upon a skull. The beautiful engravings in Begin, Midden, Eynde besloten in den Trou-ringh, met den proef-steen van den selven [‘Touchstone of the Wedding Ring’] by Jacob Cats, a vellum-bound emblem book published in Amsterdam in 1712, are a more light hearted treatment of the theme. Also on display is a circular, silver tobacco box depicting an angel blowing bubbles on the lid, with leaves, flowers and a skull. The composition of this scene appears to derive from the engraving Vanitas by Hendrick Goltzius. Skulls abound within the exhibition. Take, for example, the intricately carved handle of a seventeenth-century

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European ivory christ early 18th Century. 22 x 5 cm

Pocket globe in mahogany case,

By Lane 1824. 12 x 9 cm

ivory spoon that shows a soldier standing next to a tree. A naked woman with a skull in her hands stands next to him. But there are also less ‘pious’ objects on offer, such as the Georgian tea caddy – in ivory and tortoiseshell veneer with silver mounts and key – that was made circa 1770.

But there is one object that really does symbolise the essence of the collection assembled by the Cabinet of Curiosities: a miniature globe in a mahogany case made by Lane in 1824. A truly ‘pocket-sized’ world indeed…

Honourable Silver Objects – Cabinet of Curiosities

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James Ensor (1860-1949), L’orgueil (‘Pride’), 1904 From the album ‘Les sept péchés capitaux’ (‘The Seven Deadly Sins’).

Plaque: 93 x 146 mm

“I love Alechinsky’s work from the 1970s. His distinctive ‘handwriting’ is incredibly powerful.”

Jos Jamar

Pierre Alechinsky, Human face, 1964 – 1965 Watercolour on paper Signed and dated Dim.: 100 x 64,5 cm

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Galerie Jamar Cockerillkaai 16 / 2000 Antwerp / T +32 (0)3 238 68 75 / M +32 (0)477 33 74 61 jos.jamar@telenet.be / www.galeriejamar.be Opening Hours: Wednesday to Saturday 14.00 – 18.00

Belgium has produced an extraordinary number auction and are very much sought after. of internationally successful artists over the Panamarenko’s playful ‘flying machines’ are course of last 150 years. One only has to think, guaranteed to put a smile on the lips of anyone for example, of Maurice de Vlaminck, James who encounters them for the first time. The artEnsor, Emile Claus, Gustave van de Woesteyne, ist’s unbridled imagination – for which he is apRik Wouters, Leon Spilliaert, Floris Jespers (and preciated throughout the world – is his greatest other representatives of the Sint-Martens-Latem source of inspiration. Gallery-owner Jos Jamar school), George Minne, Constant Permeke, Paul is loyal to his artists. Several prominent figures Delvaux, René Magritte and Pierre Alechinsky.

– now world famous – have been exhibiting with Furthermore, there is enormous interest in conhim for over twenty-five years. But Jamar also temporary Belgian artists such as Panamarenko, has an eye on the future. Visitors to the galJan Fabre, Roger Raveel, Michael Borremans and lery are therefore just as likely to encounter Luc Tuymans. Pierre Alechinsky is eighty-six the innovative work of an emerging talent such years old and still working. His paintings are as Laurent Cruyt (b. 1960), as they are masterexhibited internationally, fetch high prices at pieces by influential artists Marcel Broodthaers,

Galerie Jamar

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Leon Spilliaert (1881 - 1946), Roses devant une marine 1922 Aquarelle, gouache, pastel on paper Dimensions: 46,8 x 73,5 cm Signed and dated lower right

Jan Fabre, Kijkdoos –Boîte à image 1991-1992 Antomologist’s atelier and basement with bic drawings Cement, wood, beetle, textiles, glass, metal light & battery Dimensions: 43 x 51,5 x 33,5 cm Panamarenko Portable Air Transport I 1969 Metal, plastic, wood & fishing net Dimensions: 24 x 50 x 96 cm

Panamarenko, Jef Geys, Pierre Alechinsky or Jan Fabre.

Three Belgian artists are central to Galerie Jamar’s ART-A exhibition: James Ensor (18601949), Pierre Alechinsky (b.1927) and Panamarenko (b. 1940). Says Jos Jamar: ‘I love Alechinsky’s work from the 1970s. His distinctive ‘handwriting’ is incredibly powerful. Alechinsky has a very devoted following. We’ve attracted a number of regular customers over the years and they keep a close eye on which works I

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have in stock by their favourite artist. I’m also very lucky to have some prints and drawings

by James Ensor. But the oeuvre of this classicmodern artist is much easier to sell than it is to get hold of – which is also true of other Belgian ‘celebrities’ such as Leon Spilliaert and René Magritte. Demonic caricatures, masks, grotesque figures and skeletons populate many of Ensor’s works. Fears, obsessions and even nightmares are a driving force. His work doesn’t appeal to everyone at first sight, true, but art that is ‘unsettling’ or ‘disturbing’ also has its place.

I’ll also be showing a number of installations and drawings by Panamarenko – the artist’s name is a pseudonym and a combination of ‘Pan American Airlines and Company’. This year’s exhibition requires space but, luckily, that’s not something I lack here.’

James Ensor, who was born in Ostend, lived in his parent’s house, surrounded by the eclectic objects that his mother sold in her souvenir shop, until the day he died. That he had little confidence in the public appreciation of his oeuvre is

Galerie Jamar

evident from his cynical judgment of 1895: ‘the Ostendenaars abhor art. Last year, only thirty people from Ostend visited my exhibition. This year we will no doubt attract thirty-one.’ What a difference a century makes! Jos Jamar looks forward to welcoming – and partly because of Ensor’s work – a flock of art-lovers to his gallery during the ART-A weekends.

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“the undisputed masterpiece is Manjusri a gilt bronze standing figure.”

Marcel Nies

Tibet, standing Manjusri, 13th century, gilt bronze cast in the lost wax method, H: 39,2 cm, Formerly collection Mr. J. Gelpey, London, before 1997, Spink & Son Ltd, London, 1997-2002, collection Mr. and Mrs. J. Meijer, The Netherlands, 2002-2013, published and exhibited : Light of Compassion, Buddhist Art from Nepal and Tibet, Spink & Son, London, 1997; Cast for Eternity, Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections, Ethnographic Museum, Antwerp, 2005; Art Loss Register Certificate.

Indonesia, Central Java, eight-armed seated Cunda, 9th century, bronze, H: 18,2 cm, Formerly collection Ir. F.J.L. Ghijsels and thence by descent, Examination report by P. Meyers, March 2011, Art Loss Register Certificate.

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Marcel Nies Oriental Art Lange Gasthuisstraat 28 / 2000 Antwerp / T +32 (0)3 226 74 55 M +32 (0)475 65 10 85 / marcelnies@skynet.be / www.asianart.com/nies Opening Hours: Tuesday through Friday: 10.00 – 12.30 and 14.00 – 18.00 Saturday: 14.00 – 18.00

Public interest in the cultural heritage of Southeast Asia, India, Tibet, Nepal, Thailand and China has soared in the last decade. International auction houses Christie’s and Sotheby’s have broken record after record for their sales of important bronze statues. High-quality bronze objects, with well-documented provenances, are also achieving unprecedented prices at the Lempertz auction house in Cologne. A significant factor in the global market are the new collectors, often based in Southeast Asia and China, who are motivated by a desire to repatriate their cultural heritage. Marcel Nies founded his eponymous gallery in 1972 and is recognised as an international specialist in the field of

Marcel Nies Oriental Art

Southeast Asian, Himalayan and Indian art. His expertise, knowledge and commitment to only the best, and most beautiful, objects transform a visit to his gallery the Lange Gasthuislaan into an almost spiritual experience. The sculptures on display are nearly always of museum quality: prepare to be stunned into silence by the smile of a tenth-century bronze statue of Vishnu and utterly enchanted by the thirteenth-century gilt bronze figure of Manjusri. The latter is a unique object: cast in Tibet using the lost wax process, it is the only known sculpture of its kind. Or why not fall in love with a bronze twelfth-century dancing Krishna?

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Indonesia, South Sumatra, twelve-armed standing Avalokitesvara, Srivijaya period, 8th century, bronze, H: 41,5 cm, Formerly collection Ir. F.J.L. Ghijsels and thence by descent, Examination report by P. Meyers, August 2011, Art Loss Register Certificate

Over the years, Marcel Nies has forged an extensive network of contacts that includes a large number of international collectors and their descendants. He has drawn on this network in order to assemble yet another incomparable selection of works for ART-A. From South Sumatra, Indonesia, is a seated bronze figure of Vairocana with hands in the dharmachakra mudra position (33.5cm). This sculpture, which dates back to the ninth century, the Srivijaya period, once formed part of the collection of Asian antiquities assembled by the engineer F.J.L. Ghijsels

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Indonesia, South Sumatra, seated Vairocana in dharmacakra mudra, Srivijaya period, 9th century, bronze, H: 33,5 cm, Formerly collection Ir. F.J.L. Ghijsels and thence by descent, Examination report by P. Meyers, August 2011, Art Loss Register Certificate.

(1882-1947). Other works from this remarkable collection include the South Sumatran sculpture of twelve-armed Avalokitesvara (41.5 cm) and the ninth century Javanese eight-armed seated figure of Cunda. Born in Java in 1882, Frans Johan Laurens Ghijsels studied architecture in Delft from 1903 to 1909. From 1910 to 1929, he worked as a successful engineer and architect in Java, the former Dutch East Indies, where he realised numerous buildings in the Art Deco style. He also developed a passion for bronzes and used his knowledge to develop an outstand-

India, Himachal Pradesh, Standing Vishnu with attendants, 11th century, copper alloy, H: 31 cm, formerly collection Simon Digby, England.

ing collection. From the famous Simon Digby collection, Marcel Nies has also acquired a statue of a standing Vishnu flanked by two guards (31cm).

Executed in copper alloy, this eleventh-century figure originates from the Himachal Pradesh region of India. Simon Digby was born in India in 1932 as the son of an Indian high court judge. He would enjoy a lifelong attachment to the Indian cultural heritage resulting in his reputation as a historian and collector with a strong visual sense. Of all the works exhibited by Marcel Nies during ART-A, the undisputed masterpiece is

Manjusri – a gilt bronze standing figure that was included in the 2005 exhibition Cast for Eternity, Bronze Masterpieces from India and the Himalayas in Belgian and Dutch collections at the Ethnographic Museum in Antwerp.

‘There are gods and there are lesser gods’ – or so the saying goes. But one only has to step over the threshold of Marcel Nies Oriental Art to realise that only the finest gods are present...

Marcel Nies Oriental Art

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Two armchairs, Le Corbusier Casina, Product numbers: 1617 en 1624 circa 1968.

76 cm B x 70 cm D x 67 cm H

“Anyone who steps inside will immediately notice that the owner is ‘obsessed’ by vintage designer chairs.”

Axel Pairon

“ Joe” armchair Jonhatan De Pas, Danato D’Urbino and Paolo Lomazzi leather, ca. 1975, 170 cm B x 100 cm D x 88 cm H

Axel Pairon Leopold Street 35 / 2000 Antwerp / M +32 (0)498 102 815 info@axelpairon.com / www.axelpairon.com Opening Hours: Thursday, Friday and Saturday 12.00 – 18.00

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Twentieth-century design classics are now viewed as lasting investments: a fact born out by the large numbers of objects appearing at highend art fairs. Certain pieces fetch the same price as their genuine, eighteenth-century equivalents. Thanks to the role played by museums – including the Vitra Design Museum and the Design Museum in Ghent – these ‘antiques of the future’ are enjoying a huge surge in popularity.

A curious fact: one of the world’s most expensive chairs in the world is not, as you might expect, a unique, centuries-old masterpiece. It is, in fact, Marc Newson’s ‘Lockheed Lounge’ (1986). This contemporary chaise longue fetched € 950,000 at Christie’s in London at the close of 2007.

A Axel Pairon

The designer – who was born in 1963 – earned a place in history. Since the beginning of the twentieth century, chair designers have produced seating in a huge range of styles, materials and colours. Aluminium, textiles, glass, plastics, compressed cardboard, rubber, leather and even recycled fabric all have their place: nothing has ever been off-limits. Axel Pairon established his gallery in 1996 and opened his showroom in the Leopoldstraat in 2006. Anyone who steps inside will immediately notice that the owner is ‘obsessed’ by vintage designer chairs. But these are not ‘remakes’ of unclear origin and manufacture.

All of Pairon’s chairs are original pieces with a story to tell. In addition to timeless designs

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Kazushi Kobayashi, Green bug Material: paper lifesize Pièce unique

Desk in rosewood Kurt Ostervig ( 1912 – 1986 ) ca. 1964 160 cm b x 75 cm d x 76 cm h

by, for example, the architects and designers Le Corbusier and Mies Van Der Rohe, visitors to the gallery will also encounter iconic works such as ‘Joe’ – a spectacular leather chair in the form of an oversized baseball glove.

Axel Pairon has a passion for art, vintage design and antiques. He can provide advice and guidance on new spatial interior arrangements for every client with an interior ripe for metamorphosis. During ART-A 2013, Pairon presents two armchairs, circa 1968, designed by Le Corbusier.

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Both manufactured under license by Casina, the chairs have leather seats and are marked, respectively, with the production numbers 1617 and 1624. This year, Axel Pairon will also exhibit a classically minimalist piece of Danish design: a rosewood desk by Kurt Ostervig (1912-1986).

The ultimate ‘eye-catcher’, however, is the giant ‘baseball glove’. A collaboration between Italian designers Paolo Lomazzi (b. 1935), Danato D’Urbino (b.1936) and Jonathan De Pas (19321991), the ‘Joe’ chair is named after the famous American baseball player, Joe Di Maggio (who

Germán Gómez, Condenado XVII Photografic C-print, 191 x 91 cm 2008, Pièce unique

was also once married to Marilyn Monroe). Axel Pairon also exhibits contemporary photography alongside his stock of vintage furniture.

This year, talented young Spanish artist Germán Gómez presents, amongst other works, a C-print entitled Condenado XVII (2008, 191 x 91 cm).

Gómez’s genre defying works, which combine photography, collage and painting, are being exhibited in Belgium for the first time during the ART-A weekends.

Pairon will also be showcasing work by Japanese artist Kazushi Kobayashi. An exponent of the

Axel Pairon

art of paper folding, Kobayashi has crafted an incredibly lifelike green beetle out of a single sheet of paper. This unique piece was made in 2012. Kobayashi, who specialises in making trueto-life paper insects, brings a fascinating new dimension to the ancient Japanese art of origami.

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Pair of translucent carved Alabaster Ewers, griffin form handles and spouts, Bacchanal masques on bodies, on stepped square plinths.

Dimensions 154 cm high

“an object must sell itself. If you believe that something is truly wonderful then you should just go for it.”

Herwig Simons

Herwig Simons Antiquair Corpus: Ivory Corpus of Christ (1550 to 1650 Spain) Dimensions: 20 cm wide x 25 cm high (7.87 inches wide 9.84 inches high)

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Sint-Katelijnevest 61 / 2000 Antwerp / T +32 (0)3 227 11 57 M +32 (0)475 46 75 46 info@herwigsimons.be / www.herwigsimons.be Opening Hours: Thursday, Friday and Saturday 11.00 – 18.00 And by appointment Only open during the second weekend of ART-A

You might wonder, from time to time: what happened to all the general antiquarians? The ones who used to deal in a broad range of objects but, nevertheless, had the most impeccable standards? Where, indeed, can you go today for seventeenth- to nineteenth-century period furniture, Egyptian and Roman archaeological finds, artefacts from the ancient world or a choice of attractive paintings spanning three centuries? Who might have an early medieval religious sculpture in wood on display, not to mention oriental porcelain and kunstkammer objects in ivory, tortoiseshell, coral and the most wonderful exotic woods? It seems that, over time, antique dealers have started to specialise and develop individual

areas of expertise. But be honest. Which is more exciting? A saleroom full of eighteenth-century Chinese teapots (however beautiful they may be...) or an antique shop where you can wander for hours, take a virtual voyage around the world and where need to pay close attention for fear of missing something. In short, one of those places where you might stumble across an unexpected treasure, or spontaneously fall for an object that you have become convinced will change your life? Herwig Simons is an antique dealer of the ‘old school’ who values the emotional connection between an object and client. His inventive, playful displays are captivating: an outsize mirror on the wall or a sixteenth-century stone

Herwig Simons Antiquair

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Amber Necklace, Wonderfull early 17th. century. 22 small and 9 large beads of transparent Amber cut like crystal necklace.

Later strung. Dimensions 50 cm wide (19.69 inches wide) Probably owned by a Princess or a very important Lady.

For a similar example, Collection of the Malbork Castle Museum, necklace of Princess Sybilla Dorota of Brzeg ( 1590-1625)

Spa Casket inlaid with Brass and Mother of Pearl.

(1680 to 1720 Belgium) Dimensions: 29,70 cm wide - 10 cm high - 21,50 cm deep (11.69 inches wide - 3.94 inches high - 8.46 inches deep) Henk van Rensbergen, Kerk Zeliszow - Rays of Sun. Polen (c) 2012, Edition of 8 prints, 120 cm x 150 cm at diasec

baptismal font on a contemporary metal base?

Nothing is too outrageous and everything is possible – on the strict condition that the objects are genuine and of superlative quality.

Herwig Simons is located in a monumental building with arched windows in the centre of Antwerp. It was once the offices of the Companie Maritime Belge. Now it houses – in several stately rooms with high ceilings – an eclectic collection of antiques and artefacts, paintings, and art from all over the world and from every

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conceivable period. If you are looking for a three-metre high gilded Empire mirror there is good chance that Simons will have one in stock.

He might even have several from which you can choose. During the second ART-A weekend, Simons presents a pair of 1.5 metre-high semi-translucent alabaster ewers with handles and spouts in the shape of griffins. They were made in Volterra, Italy, at the beginning of the nineteenth century. On the bodies of the ewers are classic Bacchanalian masks carved in relief.

At the opposite end of the spectrum is a small,

but exquisite, museum-quality necklace with thirty-one differently sized amber beads. A similar seventeenth-century necklace, formerly belonging to Princess Sybilla Dorota of Brzeg (1590-1625), can be found in the Malbork Castle Museum in Poland. Also extremely rare is the rectangular casket made out of a type of wood known as bois de Spa. Inlaid with copper and mother of pearl flowers and exotic bird and insect motifs (circa 1680-1720). It is thought to be a precious and very early souvenir of the Belgian health resort of Spa.

Herwig Simons Antiquair

Of Spanish origin is an ivory Corpus Christi (circa 1550-1650) with a beautiful, centuries-old patina that will undoubtedly charm a collector.

But to get a full impression of what Herwig Simons has in stock, and what he has found worthy of acquisition, you need to pay him a visit.

And as Herwig Simons himself says: ‘an object must sell itself. If you believe that something is truly wonderful then you should just go for it.’

Apparently it can be as simple as that; finding and buying high-quality antiques…

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Auguste Michel Nobillet, 1850-1914, Elegante dame aan de rivier, oil on panel, 32 x 41 cm

“My interest in and love for art stems from when I was a child. In those days, my father collected the work of artists who had lived and worked for short or longer periods in the Belgian Congo.”

Raf van Severen

Jean Gouweloos, 1868 - 1943, ballerina, oil on canvas, 110 x 80 cm, dated 1930

Galerie Raf van Severen Leopoldstraat 19 / 2000 Antwerp / T +32 (0)3 231 02 33 / M +32 (0)495 54 14 11 raf.vanseveren@skynet.be Opening Hours: Monday, Tuesday, Thursday, Friday, 14.00 – 18.00 Saturday: 11.00 – 18.00

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Since 1991, Raf van Severen has been sharing his passion for paintings from the period 1850 – 1950, predominately by Belgian artists, with a loyal clientele. In addition, he regularly organises exhibitions of modern and contemporary artists for whom he has a personal fascination. Passion has no limits. Van Severen explains: ‘My interest in and love for art stems from when I was a child.

In those days, my father collected the work of artists who had lived and worked for short or longer periods in the Belgian Congo’. This meant that Van Severen grew up in a house filled with colourful paintings, drawings and watercolours, by artists such as Fernand Allard l’Olivier and Floris Jespers. Many years later, van Severen

Galerie Raf van Severen

proudly shows off a highly diverse offering at his gallery on Leopoldstraat. From elegant portraits to atmospheric landscapes, from adroitly painted townscapes to meticulous seascapes from the Romantic period – he is still surrounded with beautiful things.

For his participation in the 2013 edition of ART-A, van Severen has selected a number of attractive works, including a charming painting of a ballerina clad in a tulle dance costume, after the final applause. At least, this is what the bouquet of roses upon the couch next to her would have you believe. This painting, which measures 110 by 80 cm, executed in pastel colours, is by Jean Gou-

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Eugeen Van Mieghem, 1875-1930, Het aanzoek, Pastel, 26 x 34 cm

Auguste-François Gorguet, 1862-1927, Croquet op het strand, oil on canvas, 41 x 32,5 cm, dated 1889

Eugeen Van Mieghem, 1875-1930, De dans, pastel, 25 x 32 cm

weloos (1868-1943). Equally as young and attractive as the ballerina is the girl who, wearing a red summer dress and a straw hat, plays croquet with a younger companion on a sun-drenched beach. This Impressionist painting carries the signature of Auguste-François Gorguet (18621927) and is dated 1889. Rather heavier in tone are two works in pastels by the Antwerp-based artist Eugeen van Mieghem (1875-1930). Although the subjects chosen by the painter do have something ‘frivolous’ and even ‘naughty’ about them: both pastels feature a moustachioed,

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balding older man during an evening out. He is dressed in a dinner jacket. In one of the pastels, he is shown dancing with a rather voluptuous lady in his arms. In the other, he is sitting at a small table, a bit too close to the lady beside him, and with his hand dangerously close to her prominently displayed décolleté. The titles of the works are The Dance and The Proposal respectively. Fin de siècle at its best, you might say… In these dark times, Van Severen’s focus during the presentation is on exhibiting joyful, colourful works that radiate light. A further example

of this is Elegant Lady by the River by Auguste Michel Nobillet (1850-1914) painted on board.

It is well known that the choice of subject can affect the amount of profit you make on a painting. A summer beach scene will always sell, as people prefer to look at a charmingly portrayed, elegant young lady than at the portrait of an old dowager, clad in severe black, who looks as if she’s well past her sell-by-date. A still life with flowers or fruit also scores better than a nature morte with dead fish, skinned hares, rabbits

Galerie Raf van Severen

or too-recognisable slabs of meat on the table.

And marine landscapes with a calm sea charm the public more than a shipwreck portrayed on canvas, with a tempestuous sea full of drowning sailors. However well it might be painted.

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Shiro, Tsujimura (°1947), Vase Japan, Terracotta with natural ash glaze Height 47 cm - Length 44 cm - Width 40 cm

“Essentially, I love all the artistic disciplines, from all parts of the world and from all periods.”

Axel Vervoordt

Le Corbusier (1887-1965) The Judge’s Desk Chandigarh, India 1954, edition of 3, Indian teak-plywood Height: 74 - Length 322 cm - Width 138 cm

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Axel Vervoordt Company Kanaal Stokerijstraat 19 / 2110 Wijnegem / T +32 (0)3 355 33 00 info@axel-vervoordt.com / www.axel-vervoordt.com Visits on Thursday and Friday afternoon and by appointment

Axel Vervoordt, who started out in business at the end of the 1960s, has emerged as one of the world’s leading – and most diverse – art and antique dealers. Over the years, his business has evolved into an international company with over 100 employees. Alongside art and antiques, the company is also engaged in interior design and the creation of its own ‘Home Collection’.

Furthermore, he himself is a fervent collector of Oriental art, contemporary art and antiquities. His private collection, which includes work

by Anish Kapoor, Lucio Fontana and Jef Verheyen, has been consolidated into the Axel and May Vervoordt Foundation that, in a few years time, will find a permanent home in ‘Kanaal’ ].

Axel Vervoordt, who honed his talents during prestigious art and antiques fairs such as TEFAF in Maastricht, the International Art and Antique

Dealers’ Show in New York and other upmarket trade fairs in Paris, London and Cologne, has taken the art of combining eclectic pieces into a harmonious whole to an unprecedented new level. In 2007, he surprised the international art world by organising the now-legendary exhibition Artempo: Where Time Becomes Art in the Palazzo Fortuny during the Venice Biennale.

Axel Vervoordt puts it like this: ‘Essentially, I love all the artistic disciplines, from all parts of the world and from all periods. I am as moved by the High Baroque as I am by Arte Povera, or by ancient, incredibly simple everyday objects from past centuries. It is precisely this combination of extremes that can make a strong statement, but it must never become showy or superfluous. In my view, an interior mustn’t become a stage set.

It is a place in which to live – not an exhibition.

Axel Vervoordt Company

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Aphrodite of the Gardens, Roman 1st century A.D., white marble with original archaeological patina and calcification, Height: 107 cm

As an interior designer, you are always searching for a balance between art, objects and the architectural environment’.

In 1999, the Axel Vervoordt Company converted a former distillery and malting complex on the banks of the Albert Canal at Wijnegem into ‘Kanaal’. The industrial nature of the site has been deliberately preserved. The extensive collection of art, antiques and design comes perfectly into its own here. During this year’s edition of ART-A, a rare 70 cm high Egyptian false door in

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Egyptian False Door Old Kingdom, IIIrd- VIth Dynasty, Limestone Height: 70 cm

limestone will be on display. Made during the Old Kingdom, in the Third to Fourth Dynasty (around 2686 – 2181 BC), it will be one of the oldest objects in the event. A more recent object is a Roman sculpture in marble, Aphrodite of the Gardens, which dates from the 1st century BC. The work is over a metre high and is noteworthy for the exceptional carving of the figure’s pleated robe. During the ART-A weekends, a small exhibition dedicated to the contemporary Japanese potter Shiro Tsujimura will be held in a recently renovated apartment at the new ‘Kanaal’ site.

Jef Verheyen (1932-1984) ‘Matin’, 1975-1976 Matt lacquer on canvas 100 x 100 cm

Tsujimura produces ceramics in both traditional Japanese and Korean styles that reveal, via endless variations in texture and colour, the limitless potential of the medium. The exhibition premieres in Belgium and will be accompanied by a catalogue.

Right from the start, it was Vervoordt’s dream to breathe new life into the derelict industrial site of ‘Kanaal’. He has converted it into a harmonious place where not only art can be exhibited, but also where people can live and work, ‘a city

Axel Vervoordt Company

in the country’. The presence of the Axel and May Vervoordt Foundation, with ever-changing exhibitions, and concerts organised by Inspiratum, provides an additional dimension for the transformation of this site into an ambitious city surrounded by greenery. Vervoordt explains: ‘In collaboration with a number of notable architects, we are giving this striking, timeworn old place in the heart of the countryside a new lease of life. After all, we are living in an age where it is essential to re-use things.’ No antique dealer could better describe the essence of his work.

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Takis, Signal, 1970, iron and paint, 177 cm

“We believe in art whose ‘meaning’ can be found in the creative act itself, independent of time and place, because in this we see the fundamental values from which life is built.”

BORIS Vervoordt

Kazuo Shiraga, Composition T55, 1962, oil on canvas, 130 x 97 cm

Axel Vervoordt Gallery Vlaeykensgang (entrance at Oude Koornmarkt 16) 2000 Antwerp / M +32 (0)477 88 80 60 info@axelvervoordtgallery.com / www.axelvervoordtgallery.com Opening Hours: Wednesday to Saturday, 11.00 – 18.00 And by appointment

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The Axel Vervoordt Gallery was established in January 2011 as a natural outcome of Vervoordt’s ever-growing commitment to contemporary artists and his desire to provide a platform for their work. Ever since he founded his art and antiques business in 1968, it has been Vervoordt’s mission to reveal the universal nature of art through a dialogue between archaeological artefacts and the modern and contemporary art of our time.

In 2007, his vision culminated in the exhibition Artempo: Where Time Becomes Art, which he curated for the Palazzo Fortuny in Venice during the Biennale. He went on to curate the 2008 exhibition Academia – Qui es-tu? for the Chapelle de l’Ecole des Beaux-Arts in Paris. In 2009 and

Axel Vervoordt Gallery

2010 the Palazzo Fortuny once again provided the backdrop for In-finitum and Tra –The Edge of Becoming. This year, the series of exhibitions in Venice continued with Tàpies. Lo Sguardo dell’Artista. As a curator, Axel Vervoordt forged intense relationships with the artists whose work he exhibited. The deep appreciation he developed for their oeuvres led directly to the establishment of the Axel Vervoordt Gallery that is run, today, by his son Boris.

With six exhibitions a year, the gallery extends Vervoordt’s vision and philosophy further through the work of contemporary artists.

Boris Vervoordt: ‘The Axel Vervoordt Gallery

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Antoni Tàpies, Collage sobre matèria, 2001, mixed media and collage on wood, 240 x 300 cm

Lucia Bru, (grilles), 2011, galvanized iron wire of 0.4 and 0.7 mm, 139 x 136 x 83 cm

Richard Serra, High Vertical, 1977 paintstick on Belgian linen, 338,5 x 101,5 cm

represents artists whose work searches for the threads that connect past, present and future and who make an attempt to comprehend the essence of the world in which we live. We attach great importance to the artistic process, to the way in which art is created. We believe in art whose ‘meaning’ can be found in the creative act itself, independent of time and place, because in this we see the fundamental values from which life is built. As a gallery owner, you need to be open to the trends in the contemporary artistic climate, but always with an eye on the art of the

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past. This is the source of your inspiration and what determines your exhibition policy.’

The Axel Vervoordt Gallery is showing work by two different artists during the 2013 ART-A weekends. The first weekend is dedicated to the work of the American artist Richard Serra.

Serra began his career in the 1960s as a Minimalist artist. In his sculptures, but also in the paint stick drawings that will be shown in the gallery, Serra penetrates the intrinsic nature of the materials from which he constructs his

work. Concepts such as mass, gravity, weight, balance, strength and time form the basis of his sculptures, each the result of a human dialogue with matter. Serra’s oeuvre is experiential and extends beyond the purely visual. It aims to destabilise the perception of the viewer through a direct confrontation with matter in space. During the second weekend, the gallery will open an exhibition by the Catalan artist Antoni Tàpies.

Pure matter also plays a central role within this artist’s oeuvre. Tàpies constructed his work from crude, often worthless, found materials

Axel Vervoordt Gallery

and broke with the traditional notion of the pictorial plane. Often Tàpies scratched or painted his immense collages with abstract or symbolic marks that remain open to interpretation. The meaning of Tàpies’ work is never unambiguous, but refers to a universal, inconceivable, elusive truth. It reflects the uncontrollable chaos of our time but, simultaneously, provides a response.

Tàpies himself called his paintings ‘battlefields where wounds are multiplied to infinity’.

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François-Honoré-Georges JacobDesmalter (French, 1770-1841) Pair of Jacob-Desmalter folio stands Both folio stands rest on casters, are fitted with shelves and with a présentoir covered with red leather.

Ca. 1813-1825 Cuban mahogany and red leather +IACOB stamped on left beneath both tops H. 112 cm, W. 85,50 cm, D. 54 cm Provenance: Château de Tencin - Isère - le Marquis de Monteynard (France).

“As a dealer in art and antiques, Victor Werner has developed a practiced eye for quality over the years, and his collection is a true reflection of this.”

Victor Werner

Alfredo Morelli (Italian, 19th – 20th centuries) Mephistopheles Ca. 1900 Bronze face with red glass eyes and a red marble hood on a portor marble base Signed A. Morelli and with Florence engraved on the back of the sculpture Méphistophélès engraved on left of the base H. sculpture 29,50 cm, W. 16 cm, D. 17 cm; H. base 12,50 cm

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Victor Werner Schuttershofstraat 21 / 2000 Antwerp / T +32 (0)3 288 82 32 M +32 (0)486 67 79 68 / info@victorwerner.be / www.victorwerner.be Opening Hours: Tuesday, Thursday, Friday and Saturday, 11.00 – 18.00 And by appointment

Victor Werner’s interest in nineteenth-century art and furniture and, in particular, his passion for neoclassicism, led him to start up his antiques business in 1986. But over the years, the emphasis has shifted. Today, the collection has expanded to include sculptures, paintings, furniture and objets d’art. Although it now spans a period from around 1800 to the 1960s, Werner’s fondness for neoclassicism is still strongly apparent.

Chosen for inclusion in the catalogue of the ART-A 2013 open days were a pair of museumquality folio stands, a sober, discreet painting, and three completely different, but equally striking sculptures. The pair of folio stands in Cuban

Victor Werner

mahogany bears the signature of one of the most famous of all French furniture makers: FrançoisHonoré Georges Jacob-Desmalter (1770-1841), an important holder of a royal warrant who received commissions from Napoleon, his sister Pauline Borghese, and the Empresses Joséphine and Marie-Louise. These stands were commissioned for the library at the Château de Tencin (Isère), built in 1775 by the Marquis of Monteynard (1713-1791). Based on the +IACOB stamp, these folio stands can be dated to somewhere between 1813 and 1825. The documents kept in their open drawers would have included folios and maps that, thanks to the adjustable tabletop, could be easily consulted. The painting entitled Contemplation, by the English artist and textile

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Marthe Baumel-Schwenck (French, 1913-1992) Youth 1946, Plaster Signed Schwenck on right on the base H. 174 cm, W. 77 cm, D. 63 cm

designer Thomas Cantrell Dugdale (1880-1952), is from around 1900. As well as genre scenes, townscapes, landscapes and nudes, portraits make up a significant part of his oeuvre. This muted, delicate piece is a perfect example of just such a work. It originally formed part of the collection belonging to the English sculptor Mr Gilbert Ledward (1880-1960). The plaster sculpture of a naked young woman by the French artist Marthe Baumel-Schwenck (1913-1992) exudes purity and innocence and represents ‘eternal’ youth. This work was executed in bronze in

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Max Esser (German, 1885-1945) Rising Swan Ca. 1930 Patinated bronze on a brown marble base Signed M. Esser on the lower part of the bronze H. sculpture 48 cm, H. base 12,50 cm

1946 and stands on Louis Balsan Square in the historic French town of Rodez. A swan taking flight is an unusual subject in the field of animal sculpture. Max Esser (1885-1945), animalier and designer of porcelain figures, created this work around 1930. His career was chiefly spent in porcelain factories: the Schwarzburger Werkstätten für Porzellankunst and the Meissen manufactory (1920-1931). Later, he became a designer for Lorenz Hutschenreuther, the Königliche Porzellan-Manufaktur in Berlin and for Rosenthal.

Mephistopheles is an excellent testimony to the

Thomas Cantrell Dugdale (English, 1880-1952) Contemplation Ca. 1900 Oil on panel, Signed T.C. Dugdale at upper left H. 99,50 cm, W. 76 cm Provenance: the English sculptor Mr Gilbert Ledward (1880-1960) (RA), and thence by descent to his daughter.

skill of Alfredo Morelli, a sculptor who is known to have worked in the nineteenth and twentieth centuries. The materials used – red marble for the hood, bronze for the face and red glass for the eyes – all combine to lend this personification of the devil in the Germanic Faust legend a particularly satanic appearance. As a dealer in art and antiques, Victor Werner has developed a practiced eye for quality over the years, and his collection is a true reflection of this.

Victor Werner

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This mirror is a masterpiece, manufactured in Antwerp in 1640.

The frame is in tortoiseshell and ebonised wood. The gilded bronze ornaments in the corners represent the battle between Heracles and the Nemean lion.

This extraordinary beautiful mirror has been in possession of King Charles XV of Sweden and Norway, during the 19th century.

He ruled between 1859 and 1872. Later the mirror was offered to an aristocratic family.

Dimensions: H 64 cm x W 55 cm.

“J.M. Zeberg – Fine Art has a superb collection of 17th and 18th century mirrors, particularly from Italy, Scandinavia, France and Flanders.”

J.M. Zeberg – Fine Art

Danish commode, 18th century, in original polychrome.

Above: Paul Delvaux, “Flore” (1983), original drawing for etching (soft ground technique); H 60 cm x W 49,5 cm.

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J.M. Zeberg – Fine Art Vleminckstraat 3 / 2000 Antwerp / T +32 (0)3 345 40 37 info@zebergfineart.com / www.zebergfineart.com Opening Hours: Friday and Saturday: 11.00-18.00 And by appointment

J.M. Zeberg – Fine Art (Jelva M. Zeberg) always has a range of seventeenth century mirrors in its collection, particularly those with the characteristic black frames, or decorated with red-tinted tortoiseshell veneer, which dates back to the heydays of Antwerp and Florence. These mirrors can create marvellous combinations ­in an interior featuring predominately modern art and contemporary design furniture. The offer is always of the highest quality. This is also the address where you can choose between various early Flemish and Italian curiosity cabinets, sculptures with original polychromy and haute époque textiles. For the current presentation during the ART-A weekends, J.M Zeberg – Fine Art offers you what can only be described as the

J.M. Zeberg – Fine Art

‘mirror of all mirrors’. This is a true masterpiece, created in Antwerp around 1640.

The polished part-ebony frame is overlaid with tortoiseshell veneer, and the gilt-bronze corner ornaments depict Hercules fighting the lion.

The provenance of this museum-quality mirror is also worthy of note: it was once formed part of the collection belonging to King Charles XV of Sweden and Norway (1859-1872).

Also dating from the early seventeenth century is a Florentine curiosity cabinet, constructed from rosewood and inlaid with ivory. A Spanish walnut document chest with three original locks is equally interesting, due to an inscription on the front recording the fact that its owner, Señor Marcosall, escaped the Inquisition in Cordoba

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Little Spanish walnut chest in chestnut, with 3 original locks, dating from the 17th century, depicting following inscriptions: “Archive Of Papers, Foundation Of The Chapellenie That Was Founded At This Place By Senor Marcosall Who Fled From The Inquisition In Cordoba 1690”.

Dimensions: W 88 cm x H 32,5 cm x D 30 cm.

On the chest (from left to right): -little chest, Switzerland, end of the 16th century.

W 19cm x D 12 cm x H 10 cm.

-Margaret the Virgin, Brussels ca. 1500, original polychrome (marked).

Above the chest: Paul Van Hoeydonck, “Boum, Boums” (2003), white relief, mixed media, W 61 cm x H 83 cm.

in 1680. The eighteenth-century two-drawer, neoclassical chest of drawers is of Danish origin, with original polychromy in steel blue and gold.

But anyone who believes that J. M. Zeberg – Fine Art exclusively focuses on the sixteenth and seventeenth centuries is mistaken. Their range of twentieth century art –which harmonises perfectly with the early furniture, stoneware, silver and bronze – creates a modern, fresh and well-balanced effect.

Among the artworks that J.M. Zeberg – Fine Art is currently presenting is Leon Spilliaert’s

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Italian cabinet (Florence), early 17th century, in rosewood and inlaid with ivory. Dimensions: W 64 cm x D 30 cm x H 33 cm.

On the cabinet: Italian chest in taxis, 18th century, with dimensions: W 22cm x D 11 cm x H 9 cm.

Above: Leon Spilliaert, “Femme new présentant use coupe” (1910), Indian ink and gouache on paper. Dimensions: H 64,5 cm x W 50,4 cm.

colourful gouache entitled “Femme nue présentant une coupe” from 1910. Alongside the 1938 drawing by Paul Delvaux “Flore”, which was used as a template for the later etching, is an almost monochrome canvas of a reclining nude

by Latvian-born artist Ritmus Ivanovs. Executed in acrylics, this work dates from 1968.

A white-tinted relief by Paul van Hoeydonck from 2003 entitled “Boum, Boums” hangs above a sturdy seventeenth-century Spanish chest and creates the now widely appreciated ‘timeless Zeberg experience’.

On the table (from left to right): - 3 Vietnamese rice pots in clay, province Than Hoa, Dong Son ca. 3th century B.C. - Antwerp chest in tortoiseshell and silver ornaments, dating from the 17th century.

Dimensions: W 21,5 cm x D 15,5 cm x H 11,5 cm.

- little chest in walnut and copper fittings, France, 17th century - Leather chest, France, 17th century.

Dimensions: W 44 cm x D 28 cm x H 17 cm.

J.M. Zeberg – Fine Art

Long Spanish table in walnut of exceptional quality, early 17th century.

Dimensions: W 273 cm x D 73,5 cm x H 79 cm.

Above the table: Ritums Ivanovs, (2001-2005), acrylic paint on canvas, H 170 cm x W 45 cm.

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Fred Bervoets, 2012 Zelfportret, 100 x 70 cm Raised etching with acrylic on paper Photography Dominique Provost – Brugge

Fred Bervoets, 2013 De laatste optocht, 200 x 280 cm Raised etching with acrylic on paper Photography Dominique Provost Brugge

Galerie De Zwarte Panter Hoogstraat 70 - 74 / 2000 Antwerp / T +32 (0)3 233 13 45 / M +32 (0)474 54 54 72 galerie@dezwartepanter.be / www.dezwartepanter.com Opening Hours: Thursday, Friday, Saturday and Sunday 13.00-18.00

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For a gallery specialising in contemporary art to be successful, a good rapport between artist and gallery owner is essential. And it is through this relationship that a market is created in which interested potential buyers evolve into avid collectors (and hopefully remain so).

Gallery owners offer a platform to novice artists, as well as to those who have successfully established their reputations and ‘arrived’. Sometimes, they will launch an artist whose work takes off and catches on with the public, garners glowing reviews from art critics and, partly because of this, is included in leading art collections and museums. The other side of the coin, however, is that an artist can price the gallery owner ‘out of the market’, can find buyers for his work ‘whilst the canvas is still wet’ and have no time left to

build a stock inventory large and diverse enough for a solo exhibition in the gallery of his debut.

Nevertheless, most gallery owners have a (fixed) stable of artists whose recent work is regularly exhibited. As does Adriaan Raemdonck, the owner of Galerie De Zwarte Panter and widely respected éminence grise of the Antwerp contemporary art circuit. Since he opened his gallery in 1968, Adriaan Raemdonck has staged more than five hundred (solo) exhibitions. Galerie De Zwarte Panter functions as an exhibition space but also as a semi-permanent art centre with an ‘open house’ policy, offering a warm home to artists and art-lovers alike.

The gallery even occasionally acts as temporary studio for artists in residence.

Galerie De Zwarte Panter

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Fred Bervoets, 2009 Buite-Verblijf, 200 x 335 cm Raised etching with acrylic on paper Photography Hugo Maertens

Atelier Fred Bervoets working in his studio De man van baksteen met luchtballon, Photo: Dirk Vermeirre

“In my opinion you should always have the proverbial “range” in terms of artists, styles, materials and formal language.

After all, an artist has a palette of many colours. But a gallery owner also has a multicolour “palette of artists”

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Fred Bervoets, 2010 Onverwachts bezoek, 200 x 335 cm Raised etching with acrylic on paper Photography Hugo Maertens

Adriaan Raemdonck is loyal to ‘his’ artists: ‘I have been working with some of them since the earliest years of the gallery. If their work intrigues me then I will support the artist concerned through thick and thin and be a perpetual advocate for their oeuvre, even if it sometimes goes against the flow and public opinion.’ In his choice of artists, whom to a large extent fixed the ‘face’ of Galerie De Zwarte Panter, the owner is resolute: ‘In my opinion you should always have the proverbial “range” in terms of artists, styles, materials and formal language. After all, an artist has a palette of many colours. But a gallery owner also has a multicolour “palette of art-

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ists”. For this edition of ART-A, I have organised a solo exhibition of recent work by the graphic artist, draughtsman and painter Fred Bervoets (b.1942). A multifaceted artist if ever there was one. I’ve followed his artistic career since the very beginning. For a long time, he was also one of the leading teachers at the Antwerp Academy of Fine Arts. What fascinates me the most is that his work constantly changes, both thematically and stylistically. It is never static; his recent, often large-scale works are best described as colourful, psychedelic narratives. Many of the paintings contain images of Bervoets himself.’

In addition to ART-A, Bervoets’ work is also

Adriaan Raemdonck

featured in the exhibitions Happy Birthday Dear Academie at the Museum aan de Stroom (until 26 January 2014) and Museum to Scale 1/7 at the Museum of Fine Arts of Belgium, Brussels (until 2 February 2014).

Bervoets’ recent oeuvre is often categorised as ‘Neue Wilde’ but in reality no single label adequately describes his work. There are parallels between Bervoets’ colourful works and the spontaneity and ‘wildness’ of those by JeanMichel Basquiat, the American graffiti artist who died before his time. It is worth noting that Bervoets exhibited alongside this now world-

Galerie De Zwarte Panter

famous artist in Scottsdale, Arizona, in 1994.

Bervoets’ canvases and works on paper – etchings highlighted with acrylic paint (which are, in part, assemblages) – are often characterised by the numerous details and images that fill the entire surface area of the picture plane. In art historical terms this phenomenon is referred to as horror vacui: the fear of empty spaces in a painting or drawing. On the occasion of the ARTA 2013 exhibition, Galerie De Zwarte Panter presents a new publication dedicated to the work of Fred Bervoets. Published by Hannibal, the book contains essays by Paul Huvenne, Katharina Van Cauteren and Johan Pas.

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Stijn Bastianen, Untitled Mixed media on canvas 51 x 41 cm

“We have decided to focus on two solo presentations: work by the Los Angeles-born artist James Brown, and that of the young, talented Antwerp artist Stijn Bastianen.”

Roland Janssen

Stijn Bastianen, Untitled Mixed media on canvas 51 x 41 cm

Galerie Schoots + Van Duyse Napoleonkaai 15 / 2000 Antwerp / T +32 (0)3 689 13 14 / M +32 (0)468 18 89 28 info@galerieschoots-vanduyse.com / www.galerieschoots-vanduyse.com Opening Hours: Wednesday, Thursday, Friday and Saturday 12.00 – 18.00

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Sometimes, one needs to be daring in life and make radical decisions. Which is exactly what Roland Janssen – the owner of Galerie Willy Schoots in Eindhoven (est. 1968) – did. When he first opened, the phenomenon of the ‘modern art gallery’ was still in its infancy in the Netherlands. With five exhibitions a year – and with quality and depth as a starting point – Galerie Willy Schoots was one of the pioneers in the métier. The following decades were marked by explosive growth. But there were changes to come.

Roland Janssen explains: ‘The economic climate in the art world has changed substantially in recent years, but not for the better… There were two options: wait for the Dutch gallery world to pick up again or actively seek out new opportunities. I opted to shift both my boundaries and myself and chose, in collaboration with the Antwerp gallery Van Duyse, to settle in a city where

not only the visual arts flourish, but also fashion and design. I see a favourable set of circumstances in Antwerp for the creation of a wider stage for my audience and artists. My business partner Marleen van Duyse and I both feel that it is possible to realise an innovative concept here, one that focuses on the wider European market.’

The present day Galerie Schoots + Van Duyse opened in April last year in a dream location: to the north of ‘het Eilandje’ and just a stone’s throw from MAS, the Museum aan de Stroom.

The new gallery boasts a surface area of approximately 190 square metres spread over two levels. A vast ground floor exhibition space­­ has 4.2-metre-high ceilings, plentiful natural light and pristine white walls. In short, a space where the art takes centre stage and nothing can distract from the works on display. White walls

Galerie Schoots + Van Duyse

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James Brown, The Vow of Poverty, 1987 – 2006 Bronze, Edition 6 + 2 EA 140 x 62 x 62 cm

and partitions also define the basement space.

This is the second time that Galerie Schoots + Van Duyse has participated in the ART-A weekends. Says Roland Janssen: ‘We have decided to focus on two solo presentations: work by the Los Angeles-born artist James Brown (b. 1951), who has already exhibited several times with me, and that of the young, talented Antwerp artist Stijn Bastianen (b.1987). In the exhibition space on the ground floor, we are showing James Brown. In addition to works on canvas and paper, we will also be exhibiting his bronze sculptures. There

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James Brown, Without title, 1995 mixed media on paper 90 x 62,5 cm

are several strands to Brown’s work. Brown studied – after training in America between 1973 and 1975 – at the Ecole Supérieure des Beaux Arts in Paris. Dissatisfied with the traditional nature of the teaching, he decided to discover Europe and set off on what was to become an extended period of travel. At the end of the 1970s, he returned to New York and, from that point onwards, his work was more or less aligned with the ‘Bad Painting’ movement that emerged out of the New York art scene centred on the East Village. In the 1980s, Brown began to divide his

James Brown, Hymn to Priapus VII, 2004 Watercolour on folded linen mounted on canvas 59 x 88 cm

time between the United States and Paris, where his work is now regarded as a prime example of post-war Western European modernism. In the mid-1990s, Brown’s oeuvre became more spiritual and intuitive. He often paints on the backs of maps reinforced with linen, something that links his works to the oeuvres of Cy Twombly and Joan Miró.

In the basement space, Galerie Schoots + Van Duyse are also showing a number of colourful works by Stijn Bastianen. This is an artist who

works in the style of the Surrealists. Apparently without any preconceived plan, Bastianen improvises with different techniques. Taboos are not shunned and both humour and sexuality play an important role in his work. It is hardly surprising to learn – when one considers the free and playful qualities of his work – that Basitianen was active in the Antwerp graffiti movement during his teens. And, of course, it was the graffiti scene that also launched the artistic career of Jean-Michel Basquiat.

Galerie Schoots + Van Duyse

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Embroidery Azerbeidjan, 19th century, 78 cm x 87 cm

“Museums and private collectors have done a great deal of catching up and responsible textile restoration has evolved into an independent science.”

Liban Pollet

Himalaya ‘guardian’ Mask in leather, 33 cm x 37 cm

Daroun Minderbroedersrui 41 / 2000 Antwerp / F +32 (0)55 42 71 54 M +32 (0) 475 27 13 81 / galerijdaroun@hotmail.com / www.daroungallery.com Opening Hours: Wednesday to Saturday: 13.00 – 18.00 And by appointment

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To be able to buy and sell antique textiles requires a specialist knowledge that very few people in the world possess. And we are talking not about the preponderance of traders in twentieth-century Persian, Indian or Turkish rugs, decorative wall hangings or the antique Flemish verdure tapestries that once graced the houses of the aristocracy and upper middle classes. What we are referring to here are the centuries-old textiles, mainly fragments, which are found during excavations in Peru, Egypt or China. For archaeological discoveries are not just limited to pottery, metalwork or objects made of stone or bronze. Just think, for a moment, of the pre-Columbian and Egyptian garments excavat-

Daroun

ed from burial sites, Chinese embroideries and printed Indian chintzes. Daroun, in Antwerp’s Minderbroedersrui, has specialised in the sale of antique textiles since 1986. The gallery often has particularly fine examples of embroidered clothes and shawls from nomadic tribes, cloth from North Africa and India and many other original garments and personal effects on display. In other words: items not intended for tourism or export. The gallery also stocks an ever-changing selection of ethnic jewellery.

Visitors to Daroun might also be tempted by one of gallery-owner Liban Pollet’s superlative examples of Madagascan funerary sculpture.

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Textile 19th century Suzani, Moghul, 207 cm x 113 cm

During the ART-A weekends, Daroun presents an exceptionally well-preserved nineteenthcentury embroidery from Azerbaijan. Worked in brownish-red, ochre and off-white vegetabledyed thread, the sleek geometric patterns of this embroidery – with just a few stylised animal figures down one side – feel utterly timeless.

Also on display is a large white suzani panel from the Mughal-era with a repeating motif worked in red and green. The motifs are similar to those seen on sixteenth century Iznik tiles from Turkey or the tiled panels, also from the

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same era, which decorated the walls and domes of mosques in Isfahan in the former Persian Empire. Yet the design of this suzani has such a ‘modern’ feel that one could easily be forgiven for thinking that it was, so to speak, ‘only made yesterday’.

In reality, it dates back to the nineteenth century.

A particularly arresting sight is the leather Himalayan ‘watchman’ mask. Dating such an object is never simple. Many of the motifs found on Himalayan masks did not change, stylistically, for hundreds of years. This mask, with its

Bone goldspoon, Moche Culture, Peru, 5th century AD, 26 cm

intriguing grin, almost looks friendly – not a character trait, perhaps, that one might expect to find in a watchman... Also noteworthy is a Moche Indian ‘gold’ spoon. Carved from bone and surmounted by an abstract bird figure, this outstanding piece of craftsmanship was made in Peru around the fifth century AD. In the past, very few people recognised the historical importance of antique textiles. Scholarship was limited and conservation techniques for such fragile materials were rudimentary.

Daroun

Consequently, many valuable artefacts were lost over the years. The situation today is very different. Museums and private collectors have done a great deal of catching up and responsible textile restoration has evolved into an independent science.

This is due, in part, to the pioneering efforts of specialist antique textiles galleries like Daroun who, almost thirty years ago, had the unique anthropological foresight to begin the urgent task of securing this heritage for posterity.

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Miguel Ybáñez (°1946) La Mirada que se posa en un Sudario (1) 2013, w 290 h 270 cm, oil and canvas

“Partly inspired by Art Brut, Ibañez attempts to make emotions an essential part of his artworks.”

Marie-Louise van Overdijk-Reek

ML Design Gallery Miguel Ybáñez (°1946), Untitled 2012, w 125 h 105 x d 45 cm Plaster, cardboard, metal, rope

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Arthur Goemaerelei 32 / 2018 Antwerp / M +32 (0)475 86 55 30 info@mlgallery.be / www.mlgallery.be Opening Hours: Saturday: 11.00 – 18.00 And by appointment

Some people’s entire lives – both professional and private – seem, as it were, to be intertwined with everything that is memorable and beautiful, for which centuries-old cultures worldwide have laid the foundations, and for which they serve as a source of inspiration. The owner of the ML Design Gallery, Marie-Louise van Overdijk-Reek, is apparently one of the chosen ones who have, since time immemorial, succeeded in transforming their passion and a love of art into their profession. For over forty years, she has been a respected presence in circles where cutting-edge clothes, accessories and fabrics, socially responsible design and furniture, contemporary and historic art, antiques and design exemplify time-

ML Design Gallery

less good taste. Marie-Louise originally began her career as a designer, stylist and co-ordinator for the Dutch Fashion Institute. For three of the ten years that she worked there, she acted as president of Intercolor in Paris: the institute and ‘semi-secret society’ made up of fashion and fabric experts and trend-watchers from some twenty-three countries. To a significant extent, they determine which colours will be ‘in’ next season, and can put a figurative curse on colours that, according to some unwritten law, are simply ‘out’. This is business of trend forecasting… Afterwards, Marie-Louise van OverdijkReek opened her own international consultancy to provide fashion and styling advice for men,

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Miguel Ybáñez (°1946) Lejana Máscara Cercana Identidad, 2012 h 73 x d 26,5 w 39 cm pedestal: h 101,5 x w 55 x d 40 cm Ceramic

women and children, as well as on (upholstery) fabrics, and on which colour schemes to use in interiors. She was one of the first professional interior designers.

Since then, she has been enthusiastically active on a wider terrain. A regular participant in leading European art and antique conferences, for many years she ran her business M & L Interiors, Art and Antiques from the famous Maastricht Convent, located on the Vrijthof square in the heart of the city. But that is history.

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Marie-Louise van Overdijk-Reek is today celebrating the ART-A debut of the ML Design Gallery in Antwerp, which she opened in 2008.

She is presenting a selection of her favourite contemporary artists. From Spanish-born Miguel Ibañez (b. 1946), who has been living in the Netherlands for many years, is the imposing, recently-completed painting La Mirada que se posa en un Sudario (1), as well as a number of other works on canvas and a monumental ceramic sculpture created in 2012. Partly inspired

by Art Brut, Ibañez attempts to make emotions

Manfred Müller (°1950) Been Surprised Pigment color print on Crane Museo Max papergrid paper 2008 89 x 117 cm

Manfred Müller (°1950) UMS XLarge 1007 Oil pastel on Manila paper 2009 132 x 89 cm

an essential part of his artworks. And as he puts it himself: ‘these works are just there. Without any underlying idea or doctrine, they don’t belong to a particular art movement, or a defined era. For me, they are expressions of human consciousness in a universal language’. Ibañez’ work has been acquired by various museums, including the Museo Nacional de Bellas Artes in Rio de Janeiro and Museo Español de Arte Contemporaneo in Madrid.

The ML Design Gallery is also presenting a number of intriguing works on paper by the art-

ML Design Gallery

ist Manfred Müller, born in Dusseldorf in 1950, whose work manifestly reflects his fascination for both architecture and the ‘language’ of the image. These include the 2008 work entitled Been Surprised, partly executed in a vivid red, and an oil pastel entitled UMZ XLarge 1007 in a variety of off-white, dark grey and black tones.

The out line-play of the (folded) paper in this work displays similarities with the oeuvres of Le Corbusier, Naum Gabo and Erwin Heerich.

This is work from which you need to take a step back in order to be able to ‘draw close’.

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Luc Peire, Lapar, etching, 1976, 39 x 55 cm signed and numbered, edition of 30.

“Our exhibitions strive to emphasise the lyrical and geometric qualities of abstract art.”

Yoeri Vanlangendonck and Brecht Callewaert

Guy Vandenbranden, Composition, oil on canvas, 1959 114 x 87 cm, signed and dated on verso. Exhibited at Galleria Pater Milano, the gallery that represented Piero Manzoni.

Callewaert – Vanlangendonck Gallery Wolstraat 21 / 2000 Antwerp / M +32 (0)476 444 611 - Yoeri Vanlangendonck M +32 (0)475 926 724 - Brecht Callewaert gallery@callewaert-vanlangendonck.com / www.callewaert-vanlangendonck.com Opening Hours: Wednesday, Thursday, Friday and Saturday: 13.00 – 18.00

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Regardless of whether it has been created threedimensionally or on a flat surface: behind every artwork there lies both an idea and the desire to display this reality, emotion or fantasy in a particular form. Henri Matisse understood the art of putting a drawing down on paper in a single, concise line that was complete in every way. Piet Mondriaan elevated the pure line to a new art form. And continuing to embellish on his vision, post-war artists like Serge Poliakoff and Victor Vasarely produced their own colourful interpretations, constructed using surfaces, lines and dots. In these works, horizontal and vertical lines create a static (and soothing) composition, and oblique and curved lines produce a dynamic, active effect. The Callewaert – Vanlangendonck Gallery is a newcomer to the Antwerp art circuit but, thanks to its targeted choice of post-1945 Belgian abstract artists, it is a welcome presence amongst the galleries specialising in highquality modern artworks. The gallery focuses

on the artists’ groups ‘Art Abstrait’, ‘Art Construit’, ‘Formes’, ‘G 58’ and the ‘Nieuwe Vlaamse School’. The opening exhibition in late 2012 was a ‘retrospective’ of the Belgian artist Guy Vandenbranden, born in 1926, who was one of the leading representatives of post-war abstraction, and a co-founder of the ‘Nieuwe Vlaamse School’ group. Vandenbranden, who started off making montages, reliefs and objects, focussed on painting purely abstract, geometric works from the mid-1950s onwards. In these works, artistic expression is determined by the autonomy of the visual means, through a harmonic interaction of line, surface and colour.

The gallery’s owners, Yoeri Vanlangendonck and Brecht Callewaert, have both lost their hearts to the post-war avant-garde. In their opinion, the Belgian abstract artists are still undervalued, both with regard to the quality of their work, and, for example, to the international

Callewaert – Vanlangendonck Gallery

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Luc Peire, Ariane, oil on canvas, 1964, 54 x 72,5 cm, signed and numbered ‘Peire 685’ on verso.

Mark Verstockt, Composition, oil on canvas, 1966 100 x 100 cm, signed on verso.

role they played in the Zero movement. They explain: ‘Our exhibitions strive to emphasise the lyrical and geometric qualities of abstract art. And we always have work by artists such as Mark Verstockt (b.1930), Guy Vandenbranden (b.1926), Paul Van Hoeydonck (b.1925), Pol Mara (1920-1998), Jef Verheyen (1932-1984), Wybrand Ganzevoort (b.1930), René Guiette (1893-1976) and Luc Peire (1916-1994), amongst others, in stock. These artists were part of a strong international network, which led to exhibitions in Milan, Dusseldorf, Frankfurt, Leverkusen,

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Geneva and the United States. In 1959 and 1960, for example, Vandenbranden and Verstockt exhibited together in the Galleria Pater in Milan, the gallery of Piero Manzoni. Jef Verheyen also exhibited at Galleria Pater.’ More than forty years later, their works are once again the subject of joint exhibitions: only this time at the Callewaert-Vanlangendonck Gallery in Antwerp rather than in Milan.

During the 2013 ART-A weekends, the spotlight will be on the ‘Art Abstrait’ group. This group,

which initially involved the abstract painters who were participating in the contemporary Belgian art exhibitions entitled Jeune Peinture Belge, rose to prominence in 1952. The founding members were Pol Bury, the French artist Georges Carrey, Georges Collignon, Jo Delahaut, Jean Milo, Léopold Plompteux and Jan Saverys. Artists such as Kurt Lewy, Jean Rets, Guy Vandenbranden and Paul Van Hoeydonck joined them later. The group exhibition at the Callewaert-Vanlangendonck Gallery aims to both highlight and promote this avant-garde

group afresh, by means of paintings, graphics and archive material.

The radical opinions and visionary eye of British artist and designer Walter Crane (1845–1915) were apparent as early as 1889. He spoke of the ‘line determinative, line emphatic, line delicate, line expressive, line controlling and uniting’. It is evident – and this also applies to the art on offer at the Callewaert – Vanlangendonck Gallery – superfluity is redundant and the line rules.

Callewaert – Vanlangendonck Gallery

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“in the policy and objectives pursued by our gallery we strive to find a balance between works of art with a strong visual and aesthetic presence, genuine power, quality and international market potential.”

Paul Verbeeck

Fen de Villiers at Galerie Verbeeck Van Dyck, May 2013 © A.SiX

Naïma Aouni, Self-portrait, Oil on paper, 60 x 70 cm, 2012

Galerie Verbeeck Van Dyck Verbindingsdok 12, Westkaai / 2000 Antwerp / T +32 (0)3 231 36 85 M +32 (0)475 34 23 88 / Paul.Verbeeck2@telenet.be / www.verbeeckvandyck.be Opening Hours: Friday, Saturday and Sunday 13.00 – 18.00 And by appointment

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Contemporary art is now extremely p ­ opular amongst collectors. Recent international research has shown that twice as much contemporary art is collected than modern art from the twentieth century. One of the most attractive aspects of collecting contemporary art, say collectors, is that they can actually meet and talk to the artists. This makes collecting contemporary art much more of a social affair than collecting older art. This social aspect is provided directly by the national or international art market.

Galerie Verbeeck Van Dyck is housed in a beautifully renovated nineteenth-century building and opened its doors in early January 2013. It is strategically located in the old port area of ‘het

Galerie Verbeeck Van Dyck

Eilandje’ (the Islet) and close to the MAS, the Museum aan de Stroom. This district, which is characterised by an interesting mix of old, industrial and brand-new minimalist buildings, is rapidly developing into the new ‘hot spot’ and the contemporary art mecca of Antwerp. Says Paul Verbeeck: ‘we have created a ground floor exhibition area of 220 square metres. In short, a space that provides the optimal conditions for viewing art. Promoting young talent is our mission and the ultimate challenge. We want to exhibit the work of talented young Belgian artists in combination with works by international artists and ‘art superstars’ who have already earned their spurs. Consider, for example, Roberto Salas

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Herman Selleslags, Twinfestival Limburg Baryt Print, Number 1 of 5

Bruno Vekemans, Man with suitcase, Oil on canvas, 117 x 160 cm

Ward Bal, Sculpture, 1972

(b.1940), the award-winning photographer. Our exhibition policy, however, will not only focus on contemporary figurative works and photography. Abstract and conceptual art will also have a place. With us, the image, let’s say the visual, has the leading role, but the ‘story’ behind the artwork comes a close second place.’

Paul Verbeeck and Anne Van Dyck, who are partners in both business and real-life, are participating in the ART-A weekends for the first time.

In this magazine, they present an intriguing

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oil painting by Bruno Vekemans. Born in 1952, Vekemans creates stylised portraits that conjure up an utterly private – but at the same time, recognisable – universe. On the one hand, his portraits of mostly (young) men are p ­ owerful – as evidenced by the colours, the interplay between light and shadow and the brushwork.

On the other hand, these are also deeply layered paintings that only partially reveal their secrets.

In many ways, they are reminiscent of the work of Edward Hopper. The painting entitled ‘Man With Suitcase’ undoubtedly tells a compelling

story but it is one that only the artist himself can recount. In terms of atmosphere, his work certainly chimes with that of Naïma Aouni. Witness the quiet ‘Self-portrait’, painted in oil on paper, in which the artist portrays herself wearing a typical seventeenth-century pleated ‘millstone collar’. By Antwerp artist and constructivist Ward Bal (1927-1999) is a work entitled ‘Sculpture’ dating from 1972. This artist, who seems to have been ‘forgotten’ by the general public, belonged in the 1970s to an avant-garde movement aligned with Zero art. Fortunately, the oeuvre of

Galerie Verbeeck Van Dyck

Ward Bal, who also made beautiful collages, has found a new stage.

Paul Verbeeck: ‘in the policy and objectives pursued by our gallery we strive to find a balance between works of art with a strong visual and aesthetic presence, genuine power, quality and international market potential.’ On the occasion of ART-A 2013 Galerie Verbeeck Van Dyck has organised a monographic exhibition of the work of Herman Selleslags, one of the most famous Flemish photographers. His oeuvre is so strong that it speaks for itself.

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Pol Mara, Jadran op 9 uur, 1962 oil on canvas, 198 x 130 cm

“No More Blablabla. This could be interpreted as a word of advice to young artists.

Not words, but deeds.”

Patrick Declerck

Delphine Boël, No More blabla, 2013 acrylic paint on canvas, 150 x 150 x 7,5cm photo JF Dewitte

WM Gallery Wolstraat 45 / 2000 Antwerp / M +32 (0)475 25 14 02 info@wmgallery.be / www.wmgallery.be Opening Hours: Thursday, Friday, Saturday and Monday, 11.00 – 18.00 Sunday: 14.00 – 18.00 and by appointment

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It must be said that the founder of the WM Gallery – which stands for WO-MEN IN FINE ART – is at home in many different markets. For over twenty-five years, Patrick Declerck worked as an antique dealer, specialising in objects and furniture from the Empire period. At least, that was until he was drawn to an historic building with a seventeenth-century annexe on the Wolstraat in Antwerp’s historic city centre.

Declerck: ‘the house was the perfect setting for a gallery specialising in modern art. Because even though you might not immediately expect it from a dyed-in-the-wool antique dealer, contemporary art is a second passion of mine.’ Following a thorough renovation, where the construction of a glass-panelled roof allowed beautiful light to pour into a relatively narrow passageway, the gallery ‘that is so different from all the others in so many ways’ opened its doors. Artists, including several big international names, adore

WM Gallery

the intimacy and atmosphere of the building, which seems to ‘embrace’ their oeuvre, and thus strengthen it. There is no doubt that Patrick Declerck has a flair for publicity. In autumn 2012, he organised an exhibition with the title Talking to the Deaf, which featured striking Op Art and Pop Art style works by the Belgian artist Delphine Boël who, for many years, has lived in London. In her work, Boël speaks the direct, no-nonsense language of ‘today’. As an artist and creator of somewhat ‘brutal’ art, she playfully integrates contemporary themes, such as the current economic crisis, into her oeuvre. Her colourful neon sculptures, paintings and objects featuring English texts have titles such as Love Child, Life is not a Rehearsal and The Golden Age of Finance. These generated a great deal of media attention and an enthusiastic stream of buyers.

During the current ART-A event, the WM Gallery is presenting recent work by Boël.

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Matteo Pugliese, Zeitgeist bronze, 140 x 45 x 16 cm

Matteo Pugliese, Zeitgeist bronze, 140 x 45 x 16 cm detail Matteo Pugliese, Plectrodera bellica cornata bronze, ceramic, mixed media, 73 x 40 x 16 cm

But Declerck has further strings to his bow. After just two years, the WM Gallery exclusively represents internationally renowned artists such as Magdalena Merino (Spain), Dianora Niccolini (Italy) and Matteo Pugliese (Italy). Declerck is presenting the latter artist’s (part) bronze sculptures, described by the artist himself as depicting ‘the strength of human culture’. His sculpture Zeitgeist, from the series Extra Moenia, depicts an athletic man – seen on his back – who appears to be trying to wrest himself from the wall. Almost life-size, it makes a striking impact.

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A series of ‘XXXL’ insects by the same artist, executed in bronze, ceramic and mixed media, are also on display. The dangerous-looking bronze Plectrodera bellica cornata measures some 73 cm. Declerck also presents powerful work by the Belgian artist Pol Mara (1920-1998), from the private collection of Mara’s eighty-five-year-old widow, Maria Mara. Only last summer, the WM gallery pulled off quite a stunt: some thirty ink drawings by Pol Mara from the 1940s and 1950s were offered for sale at a fixed price of €300 each.

With only one restriction: the buyer could not be

over thirty-five years old. This promotion proved to be a praiseworthy enterprise by Maria Mara, who wanted to give the younger generation the chance to acquire a unique artwork for a prix d’ami. Mission accomplished: all the drawings were sold within half an hour.

An initiative that certainly deserves attention is the exhibition Three Royal Masters of the Antwerp Academy for Fine Arts. In collaboration with the Academy, the exhibition will, from now on, be organised annually. It focuses on the work

WM Gallery

of three young artists who have recently graduated. As a possible prelude to the next edition, during the ART-A days there will be a painting on display by Delphine Boël with a universal title: No More Blablabla. This could be interpreted as a word of advice to young artists. Not words, but deeds: art is something you need to undergo, something you need to make.

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‘Wist u dat de zeventiende eeuwse kunstenaar Jacob Jordaens hier zijn studenten onderrichtte in de kunst?

En dat Vincent Van Gogh er zelfs lessen heeft gevolgd?

Met als saillant detail dat zijn toenmalige docent, Eugène Siberdt, zijn gerede twijfel uitsprak over de kunde van Van Gogh’...

‘Happy Birthday Dear Academie’ Ruud van der Neut

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tentoonstelling hebben we heel bewust niet Dr. Paul Huvenne, administrateur-generaal van het Koninklijk Museum voor Schone Kunsten(K- gekozen voor een puur historische benadering van de geschiedenis en het mogelijk wel en MSKA), is lyrisch over de tentoonstelling, die wee van de Academie; dan loop je het gevaar te momenteel ter gelegenheid van het 350-jarig beverzanden in een ‘overkill’ aan dorre feiten en staan van de Koninklijke Academie voor Schone documenten. Met de voor de hand liggende rijen Kunsten plaatsvindt in het in 2011 geopende Mugelijksoortige kunstwerken aan de wanden. Nee, seum aan de Stroom (MAS). En er valt nóg een het is een uitgesproken ‘speelse’ tentoonsteljubileum te vieren: de Mode Academie in Antling geworden. Met als ultieme blikvanger de werpen viert haar vijftigjarig bestaan. Paul Hu‘Golden Wall’, de wand die letterlijk geheel met venne: ‘al met al reden genoeg voor een feestje!

Tot 26 januari 2014 vindt hier de ‘Happy Birthday bladgoud is bedekt. Hier hangen schilderijen en kunstwerken van illustere leerlingen, docenten Dear Academie’ getitelde tentoonstelling plaats en voormalige directeuren van de Academie die ik in samenwerking met de Belgische modeuit ruim drie eeuwen. Niet in chronologische ontwerper Walter Van Beirendonck heb mogen realiseren, nadat we in nauw overleg het concept, volgorde; dat zou te makkelijk en te voorspelbaar zijn. Het zijn ‘spannende combinaties geworden; de te kiezen invalshoeken en de vormgeving zoals een magistrale ‘dood van Rubens’van Matvan de jubileumexpositie hadden bepaald’. De theus Ignatius Van Bree, naast een ludiek object keuze van Van Beirendonck als gastconservator van Panamarenko. Ook hebben we een creatieve is zeker niet toevallig. De flamboyante trendinterpretatie van de aloude Schilderskamer setter en modeontwerper voltooide zijn studie gerealiseerd: een driedimensionale reconstrucaan de Academie in Antwerpen in de jaren tie met een zwevende zoldering en daarin een tachtig en geeft inmiddels zélf al een hele tijd les aantal schilderijen die destijds een plek hadden aan dit instituut. Van Beirendonck bouwde de in de pronkkamer. Met als letterlijk hoogtepunt: afgelopen drie decennia een indrukwekkende het ‘Pegasus’ getitelde plafondstuk door Jacob internationale carrière op en kreeg onder meer Jordaens. Tevens zijn er op gezette tijden huibekendheid door kleurrijke collecties van zijn dige studenten van de Academie aan het werk, signatuur, zijn spectaculaire defilés in Parijs in tijdens de lessen die ze volgen in de – hier in het de jaren negentig en de maatschappijkritische MAS gebouwde – tekenklas. Met aan de wanden thema’s die hij onveranderlijk in zijn ontwerpen foto’s die zijn genomen vanuit de Academie en aansnijdt. In het Antwerpse straatbeeld zélf het uitzicht op de omringende Antwerpse daken geniet de ontwerper alom bekendheid door zijn weergeven. Natuurlijk zijn er ook historische doflitsende ontwerp van de bedrijfskleding voor de cumenten en gravures te bewonderen; daar kun Antwerpse vuilnismannen. je niet omheen. Maar ze worden niet belerend Paul Huvenne: ‘Met het samenstellen van de

Happy Birthday Dear Academie

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als de spreekwoordelijke ‘omgevallen boekenkast’ gepresenteerd. En zijn er circa 180 werken te zien van kunstenaars die op welke manier dan ook voor korte of langere tijd verbonden waren aan de Koninklijke Antwerpse Academie voor Schone Kunsten. Een opsomming? Dat zou een té lange lijst opleveren. Maar om een aantal namen te noemen: David Teniers, Andries Cornelis Lens, Mattheus Ignatius Van Bree , Alma Tadema, Floris Jespers, Emile Claus, Gustaaf Van De Woestyne, Constant Permeke, de voornoemde Vincent van Gogh, Henry van de Velde, Roger Raveel en kunstenaars van recenter datum als Cindy Wright, Jan Cox, Luc Tuymans, Fred Bervoets, Jan Fabre en Anne-Mie van Kerckhoven.

De tentoongestelde kunstwerken komen deels uit het bezit van het Koninklijk Museum voor Schone Kunsten Antwerpen, maar daarnaast zijn er talloze bruiklenen uit particulier bezit en semi-openbare verzamelingen te bewonderen.

Ze vormen een ongekende staalkaart van de meest uiteenlopende kunstuitingen uit de laatste 350 jaar’. Waarvan er trouwens een behoorlijk aantal het virtuele stempel ‘Made in Antwerpen’ draagt’.

De Koninklijke Academie voor Schone Kunsten in Antwerpen is één van de oudste en meest illustere Europese opleidingsinstituten in de kunst. De Academies van het eerste uur dateren uit de tweede helft van de zestiende eeuw.

Waardoor alleen de vestigingen in Rome, Perugia, Florence en Parijs een langere bestaansgeschiedenis kennen dan het Antwerpse instituut.

Destijds was het kunstonderwijs gebonden aan strikte regels, waarbij de tekenkunst als basis van elk kunstwerk werd beschouwd. De menselijke figuur primeert sinds de renaissance van de klassieke oudheid terug in de beeldende kunst, waardoor de proporties ervan minutieus bestudeerd moesten worden en de anatomie tot ‘onderhuids’ onderzocht. Het natuurgetrouw afbeelden werd op die manier ‘wetenschappelijk’ behandeld. Als kunstenaar in wording onderging men een intensief en jaren durend leerproces. Na beheersing van het ‘perspectief ’ tekenen moest men zich bekwamen in het ‘accuraat’ na-

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‘‘Did you know that the seventeenth-century artist Jacob Jordaens once taught at the Academy? And that Vincent Van Gogh also followed lessons at the school? It’s interesting to note that Van Gogh’s former tutor, Eugène Siberdt, expressed doubts about the abilities of his pupil.”

tekenen van koppen en lichaamsdelen. In eerste instantie naar gravures en sculpturen, volgens het principe ‘al doende leert men’. Terwijl het tekenen naar ‘levend’ model als laatste fase in de opleiding werd beschouwd. Tegenwoordig kent het kunstonderwijs een totaal andere insteek, lesmethoden en toe te passen technieken. En het inmiddels ongekende scala aan hedendaagse kunstuitingen en stijlen wordt gestaag uitgebreid door de ontwikkeling van innovatieve, op alle fronten grensoverschrijdende media, materiaalkeuzes en eigentijdse ‘vormentaal’.

De huidige tentoonstelling staat dan ook in het teken van ‘de toekomst van de traditie’, terwijl het voortleven van de traditie in wezen de basis legt voor de ‘canon van de toekomst’. Belangrijk is daarbij de erkenning van het beelddenken – denken in beelden en verbeelden – op eenzelfde niveau als het universitaire wetenschappelijke denken: de academisering waarover zoveel te doen is en waardoor het eerbiedwaardige instituut ook op de respectabele leeftijd van 350 jaar onveranderd ‘alive & kicking’ is. En blijft, want de stad Antwerpen, de metropool waar de beeldende en toegepaste kunsten floreren, staat ook internationaal op de kaart. En dat al 350 jaar...

Dr. Paul Huvenne, Director of the Royal Museum of Fine Arts, waxes lyrical about the exhibition to celebrate 350 years of the Royal Academy of Fine Arts at the new Museum aan de Stroom (until 26 January 2014). And there is yet another birthday to celebrate: the Antwerp Fashion Academy is celebrating its 50th anniversary.

Says Paul Huvenne: ‘All in all, that’s reason enough for a party! I curated the exhibition Happy Birthday Dear Academie in collaboration with the Belgian fashion designer Walter Van Beirendonck and together we formulated the concept, identified the angles we would take and determined how the exhibition would look.’

The choice of Van Beirendonck as guest curator is certainly not accidental. The flamboyant trendsetter and fashion designer graduated from the Antwerp Academy in the 1980s and he has long been a teacher at the school himself. Over

the past three decades, Van Beirendonck has built an impressive international career and is famous for his trademark, brightly coloured collections, the spectacular fashion shows he staged in Paris in the 1990s and the socially critical themes that he invariably raises in his designs.

The designer is also well known on the streets of Antwerp for the vibrant uniforms he designed for the city refuse collectors.

Paul Huvenne: ‘We made a conscious decision to approach this exhibition from an anti-historical standpoint and to avoid delving into the various ups and downs of the Academy; in exhibitions like these, you run the risk of getting bogged down in a slew of barren facts and documents, and are also compelled to hang the artworks in traditional linear way. No, this is very much a ‘playful’ exhibition. The ultimate eye-catcher

Happy Birthday Dear Academie

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is the ‘Golden Wall’, completely covered in gold leaf, upon which we have hung works by some of the most illustrious pupils, teachers and former directors of the Academy from the past 350 years. But it is not a chronological display: that would be too easy and too predictable. The works are installed in exciting combinations, such as a magisterial ‘Dead of Rubens’ by Mattheus Ignatius Van Bree, next to a playful object by Panamarenko. We have also realised a creative re-interpretation of the historic ‘painters’ room’: a three-dimensional floating reconstruction including number of works that, in the past, would have hung in the cabinet of curiosities. The literal highpoint, however, is Pegasus: a ceiling painting by Jacob Jordaens. Also on display will be works of art by the current crop of Academy students who, for the duration of the exhibition, will be following drawing classes in the MAS building. They have also taken photographs from atop the Academy and captured views of the surrounding rooftops. Of course, there are also historical documents and engravings to be admired; you can’t get around it. But they are not presented in an encyclopaedic, didactic way.

Furthermore, there are approximately 180 works by artists who, in various ways, and for different periods of time, were connected to the Royal Academy of Fine Arts in Antwerp. An enumeration? The list would be too long. But to cite just a few names: David Teniers, Andries Cornelis Lens, Mattheus Ignatius van Brée, Laurens Alma Tadema, Floris Jespers, Emile Claus, Gustave Van de Woestyne, Constant Permeke, the aforementioned Vincent van Gogh, Henry van de Velde, Roger Raveel and contemporary artists such as Cindy Wright, Jan Cox, Luc Tuymans, Fred Bervoets, Jan Fabre and Anne-Mie van Kerckhoven.

The exhibited works are drawn, in part, from the Royal Museum of Fine Arts’ own collection, but countless works are also on loan from private and semi-public collections. Together, they form an unprecedented and incredibly diverse overview of three hundred and fifty years of art history. Moreover, a fair number of works bear the virtual stamp: ‘Made in Antwerp’.’

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The Royal Academy of Fine Arts in Antwerp is one of the oldest and most illustrious art schools in Europe. The earliest Academies date back to the second half of the sixteenth century. Which means that only the Academies in Rome, Perugia, Florence and Paris have a longer history than the Antwerp institution. During the early years of the Academy, art education was governed by strict rules and drawing was considered to be the basis of every work of art. The human figure traditionally played a central role. Anatomy and proportion were examined meticulously and the body was even dissected and studied on a ‘subcutaneous’ level. True-to-life portrayals were thus treated ‘scientifically’. An artist in the making underwent an intensive training process that lasted for many years. Once students had mastered perspective, they were required to be proficient in making accurate drawings of heads and body parts copied from prints or classical sculptures. In the first instance, engraving and sculpture were taught according to the principle of ‘learning by doing’. Life drawing was considered to be the last phase in the training. The art education of today takes a totally different approach with regard to teaching methodologies and appropriate techniques. And the hitherto unprecedented range of contemporary artistic expressions and styles is steadily being expanded by the development of innovative, boundarycrossing media, materials and a new formal language. The current exhibition is very much about ‘the future of the tradition’, a tradition that is constantly being enriched and which will live on by laying the foundations for the ‘tradition of the future’. Thus the venerable institute is very much ‘alive and kicking’ at the ripe old age of 350 years. And it will continue to be so, because the city of Antwerp, a metropolis in which the visual and applied arts flourish, is firmly on the international map. As it has been for over 350 years…

Happy Birthday Dear Academie MAS, Museum aan de Stroom, until 26 January 2014 www.happybirthdaydearacademie.be www.mas.be

Happy Birthday Dear Academie

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DANIEL ENKAOUA

GAGOSIAN VERKOOPT IN ELKE METROPOOL

BIËNNALE VERRASSINGEN IN VENETIË

33ste Jaargang nr. 1 februari 2011

10 CITY TRIPS

DE KUNSTSTEDEN VAN HET NAJAAR

TOPGALERIES

MODERNIST VAN HET EERSTE UUR

ATELIERBEZOEK IN BARCELONA

25

PARIJS DANST

BRILJANTE LEERLING VAN DE NATUUR

IN HET CENTRE POMPIDOU

WEENSE VROUWEN

33ste Jaargang nr. 5 oktober/november 2011 Adviesprijs: € 9,95

DE LIEFDES VAN GUSTAV KLIMT

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PAUL KLEE

INSPIRATIEBRON VAN COBRA

AAN TAFEL!

FEESTVIEREN IN DE GOUDEN EEUW

LEONARDO DA VINCI

JAAR PAN EEN BRUISEND LUSTRUM

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NWCoverDEFAUG 2011.indd 3

33ste jaargang nr. 6 - december 2011/januari 2012

STADSGIDS NEW YORK MODERNIST LUCAS VAN LEYDEN

33ste jaargang nr. 5 - oktober/november 2011

TEFAF 2011

ONTHULLINGEN

33ste jaargang nr. 4 - augustus/september 2011

33ste jaargang nr. 1 - februari/maart 2011

Vermogensadvies.

Veelzijdige expertise.

Persoonlijk en op maat.

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rafaël

rOndje mOkum

Joke hermsen

in het SPOOr van ann gOldStein

Jeff koons’

suikerzoete feestJes

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de verzameling Jan des Bouvrie

citytrips

KUNST & COUTURE

medailles voor de kunsten

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DE LOTGEVALLEN VAN EEN RESTAURATOR

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de fAscinAtie vAn koen vermeuLe

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hollandse schilders aan zee

8 7 1 8 1 82 56070 1

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anCover JULI-AUGzonder2012.indd 1

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34ste Jaargang nr. 4 september/oktober 2012 Adviesprijs: € 9,95

het vernieuwde Stedelijk Pakt uit

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Tableau Tableau

15 05 → 20 05 2013 AMSTERDAM zaterdag 13.00- 21.00 uur zondag 11.00- 18.00 uur maandag 11.00- 18.00 uur

woensdag 18.00- 22.00 uur donderdag 13.00- 21.00 uur vrijdag 13.00- 21.00 uur

OPen

naar het strand met isaac israels

34ste Jaargang nr. 2 mei/juni 2012 Adviesprijs: € 9,95

hAngJongeren

HET PORTRET ALS HOOFDZAAK CoverCHUCK FEB 2012.indd 2

van BilBao tot hong kong

olympisch!

NIET POETSEN!

CHUCK CLOSE

34ste jaargang nr. 4 - september/oktober 2012

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34ste jaargang nr. 1 - maart/april 2012

degAs

gLuren in het bordeeL

CARDIN

HOCKNEY

VAN POP ART NAAR IPAD

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wOnderkind van de renaiSSance

over verstiLLing in de kunst

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Tableau

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meet zich met collega's

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van appel tot dumas in het singer

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enfant terrible van de sieraadkunst

sjoerd buismans

kopstukken

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tussen traditie & technologie

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zomertips op reis naar highlights

100 jaar hollandse portretten

russen in de ruimte

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Bel +31 (0)161-459535 of ga naar www.tableaumagazine.nl/arta Deze aanbieding is alleen in België geldig als u langer dan een jaar geen abonnee bent geweest. De verzendkosten voor deze aanbieding zijn éénmalig e5. Abonnementen gelden tot wederopzegging. Wilt u binnen Nederland een abonnement afsluiten, ga dan naar www.tableaumagazine.nl/abonneren (40% korting).

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Kunst- en Antiekveilingen Kunst- en Antiekveilingen Schattingen en verdelingen Schattingen en verdelingen

Ventes aux enchères Ventesetaux enchères d’art d’antiquités d’art et d’antiquités Estimations et partages Estimations et partages Geïllustreerde catalogus Geïllustreerde catalogus Catalogue illustré Catalogue illustré Terninckstraat 6-8-10 Terninckstraat 6-8-10 2000 Antwerpen 2000 Antwerpen Tel: +32 (0)3/ 226 99 69 Tel:www.amberes.be +32 (0)3/ 226 99 69 www.amberes.be amberes.veilingen@pandora.be amberes.veilingen@pandora.be

M. & M. BASCOURT

Rik Dupain Rik Dupain Olivier Geurts Olivier Geurts Marc Royer Marc Royer

artexpert - deskundige

M. & M. BASCOURT

Meer dan 30 jaar hebben Michel en Mireille Bascourt als stichtend lid actief deelgenomen aan de Opendeurdagen van Antiquairs Antwerpen. artexpert - deskundige Met ingang van dit jaar willen zij zich beperken tot de EXPERTISE en het SCHATTEN van antiquiteiten en hun handel in exclusief CHINEES PORSELEIN en DELFTS AARDEWERK.

M. & M. BASCOURT

L I C H T A D V L I C H T A D V

Meer dan 30 kunt jaar hebben Michel en doen Mireille Bascourt alservaring stichtend aan devoor Opendeurdagen van Na afspraak u blijvend beroep op veertig jaar dielidzijactief graagdeelgenomen ten dienste stellen het schatten van Antiquairs Antwerpen. inboedels voor verzekeringen of verdelingen en regelingen van schadegevallen. artexpert - deskundige Met ingang van dit jaar willen zij zich beperken tot de EXPERTISE en het SCHATTEN van antiquiteiten en hun handel in exclusief CHINEES PORSELEIN en DELFTS AARDEWERK. Voor contactname raadpleegt u onze website www.bascourt.be of via e-mail info@bascourt.be Na afspraak kunt u blijvend beroep doen op veertig jaar Meer dan 30 jaar hebben Michel en Mireille Bascourt als Meer dan actief 30 kunt jaardeelgenomen hebben Michel en doen Mireille Bascourt alservaring stichtend actief deelgenomen aanstellen devoor Opendeurdagen van van ervaring die zij graag ten dienste voor het schatten stichtend lid aan de Opendeurdagen Na afspraak u blijvend beroep op veertig jaar dielidzij graag ten dienste stellen het schatten van Antiquairsvoor Antwerpen. inboedels voor verzekeringen of verdelingen en regelingen van Antiquairs Antwerpen.

Met ingang van dit en jaarregelingen willen van inboedels verzekeringen of verdelingen schadegevallen.

Metbeperken ingang van willen zij zich tot de EXPERTISE en het SCHATTEN antiquiteitenraadpleegt en hun handel van schadegevallen.

Voorvan contactname u onze zij zich totditdejaar EXPERTISE enbeperken het SCHATTEN website www.bascourt.be of via e-mail info@bascourt.be van Voor antiquiteiten en hun handel in exclusief CHINEES expert@bascourt.be in exclusief CHINEES PORSELEIN en DELFTS AARDEWERK. contactname raadpleegt u onze website www.bascourt.be of via e-mail info@bascourt.be PORSELEIN en DELFTS AARDEWERK. Na afspraak kunt u blijvend beroep doen op veertig jaar ervaring die zij graag ten dienste stellen voor het schatten van inboedels voor verzekeringen of verdelingen en regelingen van schadegevallen.

Voor contactname raadpleegt u onze website www.bascourt.be of via e-mail info@bascourt.be

Michel et Mireille Bascourt ont pris la décision de ne plus participer aux ‘Portes-Ouvertes’ des “Antiquaires-Anversois” malgré le fait qu’ils en fassent partie depuis plus de 30 ans comme membres fondateurs.

A partir de cette année, ils ont décidé de se consacrer exclusivement à l’EXPERTISE et l’ESTIMATION d’Antiquités et au commerce spécialisé de PORCELAINES de CHINE et FAÏENCES de DELFT. N’hésitez pas à faire appel à leurs connaissances résultant Michel et Mireille Bascourt ont pris la décision de ne plus de 40 ansaux d’expérience en la des matière.

Ils restent à votre participer auxet‘Portes-Ouvertes’ des “Antiquaires-Anversois” Michel Mireille Bascourt ont pris la décision de ne plus participer ‘Portes-Ouvertes’ N’hésitez pas à faire appel à leurs connaissances résultant de 40 ans d’expérience en la matière.

Ils“Antiquaires-Anverrestent à votre disdisposition, uniquement sur rendez-vous, pour l’estimation malgré le fait qu’ils en fassent partie depuis plus de 30 ans sois” malgré le fait qu’ils en fassent partie depuis plus de 30 ans comme membres fondateurs. position, uniquement sur rendez-vous, pour l’estimation de vos biens en vue d’assurance ou partage ainsi que pour le de vos biens en vue d’assurance ou partage ainsi que pour le comme membres fondateurs. partir de cette ils ont A partir dede cette année, ilsAont décidé de seannée, consacrer exclusivement à l’EXPERTISE et l’ESTIMATION d’Antiquités règlement dommages. dededommages. décidé de commerce se consacrer exclusivement à l’EXPERTISE et etrèglement et au spécialisé de PORCELAINES de CHINE FAÏENCES DELFT. Consultez: www.bascourt.be ou contactez nous: expert@bascourt.be info@bascourt.be l’ESTIMATION d’Antiquités et au commerce spécialisé de Consultez : www.bascourt.be ou contactez nous : info@bascourt.be PORCELAINES deà CHINE et FAÏENCES DELFT. Michel et pas Mireille ont pris lade décision de ne plus aux ‘Portes-Ouvertes’ desIls“Antiquaires-AnverN’hésitez faireBascourt appel à leurs connaissances résultant departiciper 40 ans d’expérience en la matière. restent à votre dissois” malgré le fait qu’ils en fassent partie plus dede 30vos ansbiens comme fondateurs. position, uniquement sur rendez-vous, pourdepuis l’estimation en membres vue d’assurance ou partage ainsi que pour le A partir dede cette année, ils ont décidé de se consacrer exclusivement à l’EXPERTISE et l’ESTIMATION d’Antiquités MECHELSESTEENWEG 17 - B-2018 ANTWERPEN règlement dommages. et au commerce spécialisé de PORCELAINES de CHINE et FAÏENCES de DELFT. expert@bascourt.be www.bascourt.be - Tel. 03 233 71 20 - info@bascourt.be Consultez : www.bascourt.be ou contactez nous : info@bascourt.be N’hésitez pas à faire appel à leurs connaissances résultant de 40 ans d’expérience en la matière. Ils restent à votre dis108132 I ART-A position, uniquement sur rendez-vous, pour l’estimation de vos biens en vue d’assurance ou partage ainsi que pour le MECHELSESTEENWEG 17 - B-2018 ANTWERPEN règlement de dommages.

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www.bascourt.be - Tel. 03 233 71 20 - info@bascourt.be

Consultez : www.bascourt.be ou contactez nous : info@bascourt.be

www.dellafaille.eu www.dellafaille.eu

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Van Meterenkaai 1 - 2000 Antwerpen Van Meterenkaai 11 -- 2000 Antwerpen Van Antwerpen T: 03Meterenkaai 20 20 345 - F: 032000 20 20 392 T: 03 20 20 345 F: 03 20 20 T: 03 20 20 345 - F: 03 20 20 392 392 call@steinacher-logistics.be call@steinacher-logistics.be call@steinacher-logistics.be www.steinacher-logistics.be www.steinacher-logistics.be www.steinacher-logistics.be

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Focus on the total supply chain and the logistics process Focus Focus on on the the total total supply supply chain chain and and the the logistics logistics process process A dynamic Team qualified and specialized in: A dynamic Team qualified and specialized in: A dynamic Team qualified and specialized in: handling & shipping of fine arts, antiques and paintings handling & shipping arts, antiques and paintings handling & international shipping of of fine fine organizing fairsarts, antiques and paintings organizing international fairs organizing international fairs maritime and multimodal transports maritime and multimodal transports maritime and multimodal handling of dangerous andtransports harmless chemical products handling of dangerous and harmless chemical handling of dangerous chemical products products custom formalities and and fiscalharmless representation custom formalities and fiscal representation custom formalities and fiscal representation

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HET ORIGINEEL – DE kOffER mET DE RIbbELs In 1950 komt RIMOWA met de eerste koffer met de onmiskenbare ribbels. Sindsdien is deze uitgegroeid tot een cultobject.

De originele reisbagage van RIMOWA heeft tot de dag van vandaag niets aan fascinatie ingeboet. Het blijft de keuze van al diegenen die het buitengewone zoeken – zoals Alessandra Ambrosio en Johannes Huebl.

RIMOWA Store Belgium: Leopoldstraat 6 – 2000 Antwerpen

www.rimowa.com

Kanaal A City in the Country

— View towards Silos — To discover your apartment in this Axel Vervoordt project call +32 3 355 38 00 or visit www.kanaal.be