Native Auction, 17 October 2020/ Tribal Art, Contemporary Art and 20th Century Furniture

Native Tribal Art, Contemporary Art and 20th Century Furniture 17 October 2020 - Brussels

Tribal Art, Contemporary Art and 20th Century Furniture 17 October 2020 - Brussels Auction 17 October 2020 19.00

Preview 10 - 16 October 2020 10.00 - 18.00 17 October 2020 10.00 - 16.00 Ruisbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles

CATALOG EDITORS Nicolas Paszukiewicz Sébastien Hauwaert Gilles Marquenie

PHOTOGRAPHY BY Nicolas Paszukiewicz Sébastien Hauwaert Printed by Snel Grafics

Cover: Christo, Wrapped Walk Ways (Project for Jacob L. Loose Park Kansas City, Missouri) - 1978 (detail), lot 26

Native Auctions Ruysbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles BelgiĂŤ - Belgique

info@native-auctions.com T +32 (0) 2 514 04 42

Nicolas Paszukiewicz n.paszukiewicz@native-auctions.com SĂŠbastien Hauwaert s.hauwaert@native-auctions.com Gilles Marquenie g.marquenie@native-auctions.com Olivier Biltereyst obiltereyst@gmail.com

For our 17th cataloged auction, we had the privilege to be entrusted with selections from important private Belgian collections from different fields of interest.

From a private Brussels collection, we are presenting 30 works of post-war and contemporary art, including a unique sculpture by Giuseppe Penone, an overpainted photograph by Gerhard Richter, a superb diptych by Christo from 1978, and an impressive bronze sculpture by Per Kirkeby. Amongst the other artists represented we find Geneviève Asse, Francis Alÿs, Günther Brus, Marlène Dumas, Kees Goudzwaard, Ernesto Neto, ...

Rarely seen on the market, we are proud to include in our sale an important collection of rare Kongo crucifixes and Christian sculptures. This exceptional group of artifacts of which some are to be dated as from the end of the 17th century, bear witness of this intriguing history of two different cultures being blended into something as unique as African Christianism.

From the famous collection of Collette et Jean-Pierre Ghysels, we received in consignment an ensemble of pieces of wickerwork and ceramics of absolutely stunning quality.

Finally, a passionate collector who has patiently collected over decades African artefacts, confided us 14 African seats, stools, and backrests. As a group, they illustrate the beauty, diversity, and exceptional craftsmanship of different regions in Central Africa.

001

GUSTAVE SERRURIER-BOVY (BELGIAN, 1858 - 1910)

Vase - c.1904 Brass and glass 41 cm Literature: Françoise Bigot Du Mesnil Du Buisson, Etienne Du Mesnil Du Buisson, Serrurier-Bovy Un Créateur Précurseur 1858-1910, Faton, Dijon, 2008, p.213 € 5000 - 6000

002

HUIB HOSTE (BELGIAN, 1881 - 1957)

Two Constructivist Stools - c.1930 Painted wood 45 x 35,5 x 35,5 cm Provenance: Private collection, Antwerpen € 2500 - 3500

003

RARE GENYA STOOL Wood and brass tacks - 36 x 37 x 37 cm D.R.Congo A similar rare stool, collected in 1910, belongs to the collection of the RMCA (inventory number EO.0.0.2587-1) Provenance: Important private collection, Belgium â‚Ź 3000 - 5000

004

TUTSI SCREEN Fibers - 132 x 51 cm Rwanda Major panel in basket weaving technique of exceptional quality.

Provenance: Alain Guisson, Brussels Colette Ghysels collection, Lasne € 3000 - 4000

005

CUPBOARD WITH CONSTRUCTIVIST DECOR Belgium, c.1930 Original painted wood 188 x 99,5 x 46 cm The original decor of this piece in delicate hues of brick color remind us of the typical style of group "7 Arts".

The shapes remind us of those we find in the paintings of the 20s by Victor Servranckx, Karel Maes, Pierre-Louis Flouquet, and others, but despite the high quality of this decor, so far it has not allowed for attribution to an artist in particular. â‚Ź 2000 - 3000

006

LUCIEN ENGELS (1928 - 2015)

Gate Door - c.1949 Painted metal 179 x 70 cm One of the early buildings designed by Lucien Engels, the Baudon House in Vilvoorde was a rather classical style three-level house in a row. Its most distinctive feature was the entrance, which was constructed as a modern portal, with a trapezoid column to support the entrance roof.

The eye-catcher of the entrance was surely this metal door that lent the building its distinctly modern look. â‚Ź 5000 - 7000

007

LEON ZACK

(FRENCH, 1892 - 1980)

Composition rose - 1946 Oil on canvas - 224 x 135 cm Signature lower right Provenance: Collection L. Fierens, Brussels Sale Galerie Georges Giroux, Brussels, 14 November 1959 Published: Pierre Cabane, Léon Zack. Catalogue de l'œuvre peint, Éditions de l'auteur, Neuchâtel, 1993, cat.188, p.115 (ill. n/b) € 8000 - 12 000

008

MARCEL-LOUIS BAUGNIET (BELGIAN, 1896-1995)

Table Lamp - 1950s Brass and lacquered metal 61 cm Literature: Mil De Kooning, Fredie Floré, Iwan Strauven, Hedendaags design, Alfred Hendrickx en het fifties-meubel in België, OKV & Stedelijke Musea Mechelen, 2000, p.70 for similar model. € 800 - 1200

009

LOUIS HERMAN DE KONINCK (BELGIAN, 1896-1984)

Personal Desk of the Architect - c.1930 Elm wood, blue linoleum and Cubex units 74 x 185 x 112 cm With a certificate by Monique De Koninck, daughter of the architect.

De Koninck is to be considered as one of the most prominent architects of modernist and constructivist architecture in Belgium. The desk presented here was the personal worktable of the architect. It is made out of an assembly of found materials: a chest of drawers, a big slab of wood covered with linoleum and with hooks at the edges which allow large-sized plans to be rolled out and attached to by means of elastic bands, and a set of three modules of Cubex® cupboards.

At first sight a brutal assembly of diverse elements, this desk carries in it the history and genesis of so many designs and buildings that have become classics in Belgian architecture history.

As the designer of the Cubex® kitchen modules, De Koninck also played a pioneering role in the practical organization of kitchen interiors. Created in Belgium, these modules could be produced on an industrial scale. Units could be combined freely to adapt to every need of the modern kitchen. They were first presented at the CIAM (International Congress of Modernist Architecture) in 1930. Their distinctive style with rounded edges of the doors and chrome-plated rounded handles have made the Cubex® a timeless design classic.

In this sense, the versatility of these kitchen cupboards is simply pushed to its extreme by integrating them in an architect's working table.

Published: L. H. De Koninck, architecte, Catalogue Archives d'Architecture Moderne, 1.10-15.10.1973, ill. n° 63 (detail) € 6000 - 8000

010

TUTSI WICKERWORK Vegetal fibers Two trays: 26 x 33 cm; 26,5 x 33,5 cm Four cups: 12 cm Ø; 13,5 cm Ø; 13,5 cm Ø; 18 cm Ø Provenance: Colette Ghysels collection, Lasne € 3000 - 4000

011

MAURICE ESTÈVE

(FRENCH, 1904 - 2001)

Aquarelle n°1022 - 1970 Watercolor on paper - 50 x 43,5 cm Signature and date lower right In his watercolors, Maurice Estève applies a similar practice as to his paintings: they are created over a rather long lapse of time, allowing his compositions to grow almost organically. He considers his painting sessions as conversations with the artwork - taking multiple breaks in between sessions in order to be able to look at them each time with a fresh eye. This approach works for both painting and watercolors: the latter allowing for rich nuances in transparent layers and high complexity of interplaying and overlapping shapes.

In 1973, Galerie Claude Bernard in Paris dedicated a full show to the watercolors of Maurice Estève, during which the work presented here was acquired by a Belgian collector.

Provenance: Galerie Claude Bernard, Paris Exhibited: Maurice Estève. Aquarelles, Galerie Claude Bernard, Paris, 1973, cat.23 € 30 000 - 40 000

012

STANLEY WILLIAM HAYTER (BRITISH, 1901 - 1988)

Untitled - 1946 India ink wash on paper - 60 x 90 cm Signature, place and date lower left: Paris 9-7-46 As the founder of the printing studio Atelier 17, William Hayter played a significant role in the evolution of superior quality art prints both in Paris as in New York (during World War II).

In New York, Hayter was seen as a herald of the European avant-garde art, influencing a new generation of young artists, striving to break free from an all too American art they considered provincial.

Hayter was closely associated with the Paris surrealist movement and mainly attracted to the ĂŠcriture automatique. His surrealism was close to that of Miro, Masson, Arp, and Matta. Both as a printing teacher and as an artist, Hayter had an important influence on American post-war artists such as Jackson Pollock, Robert Motherwell, or Arshile Gorky.

Provenance: Galerie J.C. Riedel, Paris â‚Ź 1000 - 1200

013

MARCEL-LOUIS BAUGNIET (BELGIAN, 1896-1995)

Floor Lamp - 1950s Brass and lacquered metal 175 cm (maximum height) Literature: Mil De Kooning, Fredie Floré, Iwan Strauven, Hedendaags design, Alfred Hendrickx en het fiftiesmeubel in België, OKV & Stedelijke Musea Mechelen, 2000, p.75 for similar model. € 1000 - 1500

014

RENAAT BRAEM (BELGIAN, 1910 - 2001)

Chair - 1952 Brass, ash, and palmwood 81 x 58 x 40 cm One of the four chairs designed for the showroom of the Antwerp-based firm Haentjes (Plantijn-Moretuslei 60), which was specialized in tiles and stonework. See also lot 15 for the table which was designed for the same place.

Literature: Mil De Kooning, Fredie Floré, Iwan Strauven, Hedendaags Design, OKV Edition, pp.123-124-127 € 15 000 - 20 000

015

RENAAT BRAEM

(BELGIAN, 1910 - 2001)

Table - 1952 Ash, formica, and brass 65,5 x 100 x 50 cm Designed in 1952 for the showroom of the Haentjens firm in Antwerp, this unique table combines the original and cutting-edge style the firm wished to be identified with, as well as practical needs.

Haentjens sold ceramic and stone wall covering materials, and the samples were shown in the showroom which was entirely designed by Renaat Braem.

The black and white patterns do not only remind us of a constructivist composition, its design was also very functional. The units easily visualize centimeters and decimeters, thus allowing clients and salespersons to calculate the amount of material needed in a quick and efficient way.

Literature: Mil De Kooning, Fredie Floré, Iwan Strauven, Hedendaags Design, OKV Edition, pp.123-127 € 15 000 - 20 000

016

KAMBA STOOL Wood and copper - 9,5 x 18 cm Ă˜ Kenya Rare four-legged Kamba with a very refined brass and copper decorative pattern.

Provenance: Important private collection, Belgium â‚Ź 6000 - 8000

017

CARLA ACCARDI

(ITALIAN, 1924 - 2014)

Arancio su tela grezza - 1999 Vinyl on canvas - 60 x 50 cm Signature, number (690A) and date on verso Title, technique and dimensions on verso Accompanied by a certificate of authenticity by Galerie Meert Rihoux, Brussels, dated 30.06.2004.

One of the key figures of Italian Post-War abstract art, Carla Accardi is one of the founders of Forma 1 (1947-51), together with Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo (her future husband), and Giulio Turcato. Forma 1’s manifesto sought to reconcile Marxism with abstract art.

As from the fifties on, she develops her distinctive style of geometric interlocking forms, which would over the years become a personal visual language of almost calligraphic signs, During the sixties, she would paint on sheets of plastic (sicofoil), and with her participation at the 1976 Venice Biennale, she would become a major influence on Arte Povera.

In the eighties Accardi returns to painting on (raw) canvas, further exploring the path of her earlier paintings through the use of geometrical signs in chromatic juxtapositions.

Provenance: Galerie Meert Rihoux, Brussels Exhibited: 2004, Brussels, Galerie Meert Rihoux, Carla Accardi € 10 000 - 15 000

018

PIERRE CULOT

(BELGIAN, 1938 - 2011)

Three sculptures Earthenware 43 cm; 34 cm; 24,5 cm € 1000 - 1500

019

TUTSI VESSEL Terra cotta - 28 cm Rwanda, Burundi Remarquable mastery of applied geometric patterns on this rare vase, possibly made by a Twa potter.

Another exemplar of this rare type of vase can be seen in the collection of Barbier-Mueller in Geneva (inventory number 1027-180).

Provenance: Colette Ghysels collection, Lasne. â‚Ź 2500 - 3000

020

KISALIAN VESSEL Terra cotta - 21 cm D.R. Congo The terracottas from the Kisalian period are dated from the 10th to the 12th century AD. They represent the only traces of artistic activity from the populations occupying previously the Luba kingdom from this period.

Provenance: Alain Guisson, Brussels Colette Ghysels collection, Lasne â‚Ź 1000 - 1500

021

GEORGES-CHARLES VAN RIJK (BELGIAN, 1933)

Lounge Chair and Ottoman Glasgow Model 1968 Manufacturer: Ets Verhaegen, Brussels Chromed tubular frame Black leather upholstery 75 x 80 x 110 cm (seat) 39 x 52 x 57 cm (ottoman) Literature: Frans Defour, L’art du Meuble en Belgique au XXème siècle, Lannoo, Tielt, 1997, p.141 € 2000 - 3000

022

ZULU BEER VESSEL Terra cotta and fibers - 28 cm Ă˜ South Africa Large beer vessel with rectangular and triangular patterns from the Melmoth area.

Provenance: Alain Guisson, Brussels Colette Ghysels collection, Lasne â‚Ź 1000 - 2000

023

MANGBETU SHIELD Wood and fibers - 118 x 74 cm D.R. Congo Provenance: Private collection, Belgium € 4000 - 6000

024

JUL DE ROOVER (BELGIAN, 1913 - 2010)

Three Modules Wood and metal 20 x 65,5 x 119,5 cm In his signature style of assembled rods that create a dynamic pattern, these three modules are quite versatile in their use. Jul De Roover used these typical constructions for tables, wall coverings, benches...

This set comes from a private apartment in Antwerp which De Roover had designed. â‚Ź 3500 - 4500

025

ANTONIO LAMPECCO (BELGIAN, 1932 - 2019)

Sculpture Matte glazed ceramic 22 x 33 x 25 cm (without base) € 1000 - 1500

026

CHRISTO

(AMERICAN, 1935 - 2020)

"Wrapped Walk Ways", in Jacob Loose Memorial Park, Kansas City, Missouri, consisted of the installation of 135,000 square feet (12,540 square meters) of saffron-colored nylon fabric covering 2.7 miles (4.4 kilometers) of formal garden walkways and jogging paths.

Installation began on Monday, October 2, 1978, and was completed on Wednesday, October 4.

84 people were employed by A. L. Huber and Sons, a Kansas City building contractor, to install the fabric. There were 13 construction workers, 4 professional seamstresses and 67 students.

After 52,000 feet (15,850 meters) of seams and hems had been sewn in a West Virginia factory, professional seamstresses, using portable sewing machines and assisted by many workers, completed the sewing in the park. The cloth was secured in place by 34,500 steel spikes (7 x 5/16 inch/17.8 x 0.8 cm) driven into the soil through brass grommets along the sides of the fabric, and 40,000 staples into wooden planks on the stairways.

All expenses related to "Wrapped Walk Ways" were borne by Christo and Jeanne-Claude, as in all their other projects, through the sale of preparatory works created by Christo: drawings and collages, as well as earlier works and original lithographs. The artists do not accept sponsorship of any kind.

The temporary work of art remained in the park until October 16, 1978, after which the material was removed and given to the Kansas City Parks Department for recycling, and the park was restored to its original condition. (christojeanneclaude.net) Provenance: Galerie Albert Baronian, Brussels € 30 000 - 50 000

027

GÜNTER BRUS (AUSTRIAN, 1938)

Gesamtweltliebe statt Gesamtkunstwerk - 1983 Pastel on Kraft paper - 123 x 82 cm Signature and date top right As a co-founder of the Viennese Actionism in 1964 - alongside Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler - Günter Brus has made an indelible mark on the European Post-War art scene. His actions, which often included self-mutilation and self-degradation, sought to shock a complacent Austrian bourgeoisie which had not yet dealt with its Nazi-past.

As a draughtsman, Günter Brus reminds us also of his Viennese roots: one cannot help to find similarities in his bold, aggressive traits with the style of the Wiener Werkstätte, and more specifically Egon Schiele, who shocked the bourgeoisie of his time. Dealing with timeless themes of art, death, and decay, the works on paper by Günter Brus are no less powerful and disquieting than the performances with which he shocked Austria (and the rest of the world) awake.As a co-founder of the Viennese Actionism in 1964 – alongside Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler - Günter Brus has made an indelible mark on the European Post-War art scene. His actions, which often included self-mutilation and self-degradation, sought to shock a complacent Austrian bourgeoisie which had not yet dealt with its Nazi-past.

Provenance: Galerie Petersen, Berlin Published: B.W., Kunst: Die friedlichen Feldzüge des Günter Brus, in Tip Magazin, Berlin, 18/11 - 1/12/1983, p.82 (ill.)

Exhibited: 1983, Galerie Farideh Cadot, FIAC, Paris, 1983, ill. p.300 1983, Galerie Petersen, Berlin, Günter Brus. Blindes Brot (color ill.) € 40 000 - 60 000

028

GÜNTER BRUS (AUSTRIAN, 1938)

Misslungene Andeutung einer Falschmeldung - 1990 Pastel and pencil on grey paper - 42 x 29,5 cm Signature and date lower right, title lower left Provenance: Galerie Beaumont, Luxemburg Exhibited: Galerie Beaumont, Luxemburg, Günter Brus: Bildfluchtwege, 1990, cat.21b (color ill.) € 10 000 - 15 000

029

MANGBETU STOOL Wood and brass tacks 26 x 28,5 Ø cm D.R. Congo Provenance: Jacqueline Loudmer collection, Paris Christie's, Jacqueline Loudmer collection, 23 June 2016, lot 123 Important private collection, Belgium € 8000 - 12 000

030

ADO CHALE

(BELGIAN, 1928)

Rare Occasional Table Hematite inlaid resin and lacquered steel 73 x 97,5 x 96 cm Signed on the edge of the tabletop Literature: Ilona Chale, Ado Chale, Aparté Editions, Brussels, 2017, p.326 for similar table top. € 10 000 - 15 000

031

IMPORTANT NGOMBE CHAIR Wood, brass tacks - 46,5 x 27,5 x 51 cm D.R. Congo Rectangular seat with curved backrest intricately decorated by brass tacks arranged in a wonderfully balanced geometrical pattern.

Provenance: Galerie Pierre Dartevelle, Brussels.

Important private collection, Belgium € 12 000 - 15 000

032

FANG STOOL Wood and brass tacks 19,5 x 34 x 32 cm Gabon Provenance: Jean-Yves Coué, Nantes Important private collection, Belgium € 4000 - 5000

033

NGOMBE STOOL Wood and brass tacks - 21,5 x 23 x 26,5 cm Provenance: Important private collection, Belgium â‚Ź 2000 - 3000

034

GÜNTER BRUS (AUSTRIAN, 1938)

Das Lachen am Fusse des Weinens - 1983 Pencil and pastel on Kraft paper - 61 x 43,5 cm Title lower left, signature and date lower right Provenance: Galerie Farideh Cadot, Paris Exhibited: Günter Brus, Galerie Farideh Cadot, Paris, mai 1984 € 20 000 - 30 000

035

ZULU BEER VESSEL Terra cotta and fibers - 27,5 cm Ø South Africa Lower Thukela region.

Provenance: Alain Guisson, Brussels Colette Ghysels collection, Lasne € 1000 - 2000

036

JEAN-PIERRE GHYSELS (BELGIAN, 1932)

Nébuleuse - 1970 Bronze - 13,5 x 14,5 x 12 cm (base: 12 x 8 x 8 cm) Signed and numbered 1/5 € 1000 - 1500

037

GERHARD RICHTER (GERMAN, 1932)

Untitled - 1994 Overpainted photograph - 23,3 x 29,5 cm Date and signature lower left (faded): 4.2.94 Accompanied by a certificate by the Nolan/Eckman Gallery, NY, dated 27.06.1996.

"Now there’s painting on one side and photography – that is, the picture as such – on the other. Photography has almost no reality; it is almost 100 percent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture… I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it’s really good – better than anything I could ever say on the subject." Gerhard Richter Provenance: The artist Nolan/Eckman Gallery, New York € 30 000 - 40 000

038

PIERRE CULOT

(BELGIAN, 1938 - 2011)

Vase Glazed earthenware 19,5 cm € 400 - 600

039

GENEVIÈVE ASSE (FRENCH, 1923)

Espace gris - 1994 Oil on canvas - 100 x 100 cm Signature and date on verso Accompanied by a certificate of authenticity by the artist, dated 19.02.1997.

Geneviève Asse discovers the still life paintings by Chardin at the Louvre in the late 30s and for decades, he would remain a major influence on her. In quiet, subdued tones, Asse’s still lifes and landscapes would over the years evolve towards pure abstraction.

Mainly known for her monochrome paintings, sometimes marked by a line, suggesting an opening or a horizon, in a distinctive blue which became her trademark, these works can be retraced to her memories from Brittany, where she spent her childhood. Delicate nuances in hues of blue and grey are reminiscent of seascapes, where the colors of the sky and the water dissolve into each other.

Provenance: Galerie Thessa Herold, Paris € 8000 - 12 000

040

CLAIRE BATAILLE AND PAUL IBENS (BELGIAN, 1940)

Screen - 1994 Glass and stainless steel 4 panel of 163,5 x 46 cm each With manufacturer's label "Color of Glass" Created in 1994 at the request of the Belgian company "Color of Glass", in order to promote the versatility of glass, this piece is unique. € 3000 - 5000

041

GIUSEPPE PENONE (ITALIAN, 1947)

Arthur Rimbaud - Poésies - 1995 cristal and embroidered canvas with vegetal rubbing - 29,5 x 19 x 20 cm Signature and date underneath Accompanied by a certificate of authenticity by the artist dated 21.04.2004.

During the 90s Giuseppe Penone started working with silicon to create crystallized molds of tree trunks which were cut in two. The original idea was to show the similarity between books and wood. The texture of stacked papers resemble the texture of wood, and a text is the crystallization of a thought or an idea.

The inclusion of actual books in between the two pieces of crystallized wood turned out to be unsatisfying. Eventually, Penone would replace the book by a piece of cloth, folded in such a way that the folds on the edge reminded us of the spine of a book. On this edge, the title of a book, preferably poetry volumes, would be embroidered in white thread on the white cloth.

Provenance: Galerie Artiscope, Brussels € 20 000 - 30 000

042

ZANDE JAR Terra cotta - 32 cm D.R. Congo Provenance: Private collection, Belgium € 1000 - 1500 043

ZANDE JAR Terra cotta - 22,5 cm D.R. Congo Provenance: Private collection, Belgium € 800 - 1200

044

KEES GOUDZWAARD (DUTCH, 1958)

Compound Lines - 2010 Oil on canvas - 40 x 50 cm Signature, date and title on verso Goudzwaard’s paintings are based on carefully constructed collages of overlaying strips of masking tape and paper which are meticulously repainted on a 1:1 scale. After the painting is finished, the collage is destroyed.

At first, we think to be looking at an abstract composition. Only upon closer inspection we recognize the lines and grids as actually painstakingly rendered strips of paper and tape. These paintings not only bring together two opposite painterly traditions - modern abstract painting and Dutch 17th-century still life painting and more specifically the trompe l’œil - but they intentionally blur the lines between figurative and abstract art.

Provenance: Zeno X Gallery, Antwerp € 3000 - 4000

045

PER KIRKEBY

(DANISH, 1938 - 2018)

Kopf und Gegenstand - 1985 Bronze - 62 x 40 x 60 cm Initialed and numbered with foundry mark on the back, lower edge Per Kirkeby turns to sculpture in the mid-eighties when the artist finds himself in a period of artistic crisis in his painting. He is very much impressed by the work of Rodin, and Kirkeby’s sculptures from this period are mainly centered on the study of body parts: an arm, a torso, a head, a leg. In line with his paintings, these sculptures show a similar roughness in the surface, similar to the distinctive rough brushstrokes from his paintings.

Over the years, the rendition of these body parts shifts toward greater abstraction, resulting in volumes which remind us – just like his abstract paintings – of nature: a rock, a tree trunk…

Provenance: Galerie Beaumont, Luxemburg (Cologne Art Fair, 1991) Literature Ulrich Wilmes, Per Kirkeby. The Bronzes. Catalogue raisonné, Lenbachhaus München, Verlag Walther König, Cologne, KP 37 (ill.)

Exhibited (not necessarily this cast): Per Kirkeby. Werke 1983-1988, Kunstmuseum Winterthur, 9/4-28/5/1989, cat.62, ill. p.45 Per Kirkeby, Gemälde, Arbeiten auf Papier, Skulpturen 1977-1990, Städtische Galerie im Städelschen Kunstinstitut, Frankfurt am Main, 7/6-19/8/1990 Per Kirkeby, Paintings and Sculptures, National Gallery of Prague, Palais Sternberk, Prague, 1994 In an edition of 6 +0, this sculpture bears number 1/6 Foundry Schmäke, Düsseldorf € 20 000 - 30 000

046

ANTONIO LAMPECCO (BELGIAN, 1932 - 2019)

Pebbles Glazed earthenware From 8 to 20 cm € 400 - 600

047

MAARTEN VAN SEVEREN (BELGIAN, 1956 - 2005)

Leather Lounge Chair 04 - 2003 Leather, stainless steel 111 x 130 x 79 cm Pastoe Edition € 5000 - 6000

048

ZANDE POT Terra cotta - 18 cm D.R. Congo Provenance: Private collection, Belgium € 600 - 800

049

ANGBA VESSEL Terra cotta - 16 cm D.R. Congo Aruwimi or Uele area.

Provenance: Private collection, Belgium € 300 - 400

050

MARLENE DUMAS

(SOUTH-AFRICAN, 1953)

Die Historikus - 1989 India ink on paper - 29,5 x 24 cm Signature and date lower right, title lower center Provenance: Galerie Paul Andriesse, Amsterdam (Basel Art Fair, 2010) € 10 000 - 15 000

051

YAKA HEADREST Wood and brass tacks - 14 cm D. R. Congo Very strong and dynamic sculpture with great patina of use and remains of brass tacks.

The Fowler Museum owns in its collection a sculpture from the same artist coming from the Jerome L. Ross collection (X88.958) Provenance: Colonial Belgian collection € 15 000 - 20 000

052

JEAN-LUC VILMOUTH 1952 - 2015

Vue d'une chaise - 1989 Metal chair, 14 mirrors in metal frame 98 x 43,5 x 24,5 cm 23 x 29 cm (mirrors, each) Provenance: Galerie Aline Vidal, Paris Accompanied by a certificate of authenticity by Galerie Aline Vidal, Paris, dated 02.02.2006. â‚Ź 2000 - 3000

053

COFFEE POT Wood - 35 cm Ethiopia Rare and well-balanced vessel most likely used in the coffee ceremony.

Provenance: Galerie SL, Paris Colette Ghysels collection, Lasne. â‚Ź 800 - 1200

054

FRANCIS ALŸS (BELGIAN, 1959)

Study for Gibraltar - 2006 Oil and pencil on tracing paper - 34,5 x 28 cm Title lower right Signature and date on verso lower right The bridge is a recurrent theme in Francis Alÿs’ work – whether it be in a literal or metaphorical sense. For his 2008 project "Don’t Cross the Bridge Before You Get to the River", the artist attempted to create an imaginary bridge between Tangier and Tarifa over the Street of Gibraltar. From both cities, a group of children, each carrying a toylike boat made out of shoes, swam in opposite directions, attempting to meet midway.

In this 2006 study, Francis Alÿs depicts the figure of a girl carrying a toy-boat, entering the sea. The use of tracing paper and transparent colors conveys a sense of fragility and delicate poetry which plays a beautiful contrast with the titanic endeavor the children are about to make of bridging Europe to the African continent Provenance: Galerie Peter Kilchmann, Zurich € 15 000 - 20 000

055

ADO CHALE

(BELGIAN, 1928)

Pair of Coffee Tables "Waterdrop" Bronze and lacquered steel 31 x 61,5 cm Ø (each) signature engraved on the edge Literature: Ilona Chale, Ado Chale, Aparté Editions, Brussels, 2017, p.326 for similar model. € 20 000 - 30 000

056

057

ZANDE VESSEL

LARGE TEKE JAR

Terra cotta - 24,5 cm D.R. Congo

Terra cotta - 34 cm D.R. Congo

Rare jug with three-lobed body.

Provenance : Private collection, Belgium € 2000 - 3000

Provenance: Private collection, Belgium € 1200 - 1800

058

ERNESTO NETO (BRAZILIAN, 1964)

Untitled - 1999 India ink and silver ink on paper - 109 x 37 cm Signature and date lower left Mainly known for his organic installations of suspended volumes in soft tissue, Ernesto Neto’s works on paper depict similar biomorphic shapes, created by the natural mingling of inks and water on paper. The result is surprisingly similar to his sculptures, the ink wash suggesting volumes and depth, which follow the same aesthetics as his semi-translucent sculptural installations.

Provenance: James Van Damme Gallery, Brussels â‚Ź 1500 - 2000

059

TUTSI WICKERWORK Vegetal fibers Two trays: 21,5 x 24 and 23 x 21 cm Three cups: 9 cm Ø; 12,5 cm Ø; 14 cm Ø Four disks: 6 cm Ø; 7,5 cm Ø; 8 cm Ø; 10 cm Ø Rwanda Superb ensemble of Tutsi basketery.

The two squares plates are of great refinement.

Provenance: Colette Ghysels collection, Lasne € 3000 - 4000

060

ALFRED HENDRICKX (BELGIAN, 1931)

Bench Wood, metal 34 x 51,5 x 180 cm Belform, circa 1955 € 2000 - 3000

061

LEGA STOOL Wood and elephant sole - 18,5 x 24,5 x 21 cm D.R. Congo Provenance: Important private collection, Belgium â‚Ź 2500 - 3000

062

HERMAN DE VRIES (DUTCH, 1931)

Junius effusius - 2001 Pressed vegetation mounted on cardboard - 72 x 101 cm Signature and date upper left Signature, date and title on verso Provenance: Galerie Aline Vidal, Paris Published: Included in the digital catalogue raisonnĂŠ of Herman de Vries with number hdv 2001.0 â‚Ź 1000 - 1500

063

PIERO GUCCIONE

(ITALIAN, 1935 - 2018)

Hymne à la nuit - 1988 Pastel on paper - 27,5 x 19,2 cm (image); 29 x 20 cm (sheet) Signature and date lower right Provenance: Galerie Claude Bernard, Paris € 3000 - 4000

064

PIERO GUCCIONE

(ITALIAN, 1935 - 2018)

Dopo il vento - 1983 Pastel on paper - 49,5 x 64,5 cm Date lower left, title lower center, signature lower right One of the main figures of the so-called Gruppo di Scicli, Piero Guccione created most of his art in the stillness of his studio in the south of Sicily. Never giving any interviews, and operating outside the obvious artistic centers, his work was nonetheless internationally acclaimed.

With exhibitions at the Hirshhorn Museum in Washington (1984), the Metropolitan Museum in New York (1985) and several participations at the Venice Biennale (1966, 1972, 1978, 1982, 1988) he takes an important place in the Italian art scene of the second half of the 20th Century.

Guccione’s work mainly revolves around the subtle shifts in light as it presents itself in the surroundings of his native Scicli: how nature, the sea, and the sky sometimes blur into one, and colors vary by the slightest climatic change. It would take him long sessions to produce his paintings and pastels to capture exactly these kinds of subtleties, trying to grasp what cannot be grasped, such as in the case of this pastel, the wind. ₏ 4000 - 6000

065

KASPAR HAMACHER (BELGIAN, 1981)

Bench [Die Baumbank) Beechwood - 42,5 x 200 x 37 cm Signed € 2000 - 3000

066

STAN DOUGLAS (CANADIAN, 1960)

Creek at Mc Bride Bay - 1996 Photograph mounted on panel - 45,7 x 55,9 cm Numbered 2/7 "The Nootka Sound photographs complement Douglas’ video installation Nu*tka*, but their photographic crispness adds little clarity to Nu*tka*’s confusing, split video signals, which record the same historically contested site. Douglas’ home province has advertised its pristine tourist splendors as “supernatural British Colombia.” There can be no detail in images of the sublime. We are to presume that there is no industry in these coastal forests […]; no history of contact, commerce or transgression […]; indeed no history of people […]; and, certainly, no question of land rights. Visitors always presumed the same. Nu*tka* is the story of first encounters between expansionist European nations and Canada’s First Nations only two hundred years ago. Then as now, we use the screen of the sublime - not the sublime, but an image of it (as in Douglas mimicking Romantic landscape genres) - to obscure signs of what we presume and prefer to be absent: the native people."

Philip Monk, in Stan Douglas, Edited by the Friedrich Christian Flick Collection, DuMont Literatur und Kunst Verlag, Cologne, 2006, p.106 Provenance: Zeno X Gallery, Antwerp (Basel Art Fair, 1998) € 3000 - 4000

067

TEKE JAR

068

Terra cotta - 23 cm D.R. Congo

ZANDE JAR

Rare three-lobed Teke with red glaze.

Provenance : Private collection, Belgium â‚Ź 600 - 800

Terra cotta - 23 cm D.R. Congo Provenance: Private collection, Belgium â‚Ź 600 - 800

069

RARE KOTA STOOL Wood, embossed copper - 16 x 38 x 23 cm Gabon The technique of embossed copper that is traditionally used for the famous reliquaries from the Kota people has been used here to cover the seat of a dignitary's stool.

Provenance: Important private collection, Belgium â‚Ź 1500 - 2000

070

PETER ROGIERS (BELGIAN, 1967)

Grey Head - 2005 Polyester and steel - 37 x 21 x 25 cm Accompanied by a certificate of authenticity by the artist.

Provenance: Tim Van Laere Gallery, Antwerp Exhibited: Peter Rogiers, Tim Van Laere Gallery, Antwerp, 1/12 - 21/1/2006 € 2000 - 3000

071

TWO LOWER NIGER BELLS Bronze 14,5 cm and 16,5 cm Nigeria Provenance: Colette Ghysels collection, Lasne € 1500 - 2000

072

LUO STOOL Wood - 19 x 31 cm Ø Kenya Provenance: Important private collection, Belgium € 1500 - 2000

073

KIM JONES

(AMERICAN, 1944)

Untitled - 1974/2006 Acrylic and ink on photograph - 30 x 45,2 cm Signature and date on verso Kim Jones’ alter ego « Mudman » was born in the 70s, the heydays of performance and conceptual art: a persona wearing an elaborate brace-like structure made of mud and sticks, rope and electrical tape, referring to diverse archetypes such as homeless people, soldiers in camouflage, or shamans of all sorts.

Mudman appeared in public spaces, performing a non-descript primitive rite, addressing universal themes as the relationship between nature and culture, violence, pain, and suffering.

The photograph presented here depicts one of Mudman’s actions which took place in 1974, and which the artist has reworked in 2006 by overpainting and drawing on the image, taking the complexity of layers and associations to a next level.

Provenance: Zeno X Gallery, Antwerp Exhibited: Kees Goudzwaard - Kim Jones - Avery Preesman - Bart Stolle, Zeno X Gallery, Antwerp, 9/1 - 8/3/2008 € 4000 - 6000

074

KUBA OR TETELA STOOL Wood and brass tacks - 34 x 88 x 20,5 cm D.R. Congo Provenance: Important private collection, Belgium € 4000 - 6000

075

CONGO STOOL Wood and brass tacks - 26 x 37 x 36 cm D.R. Congo Provenance: Important private collection, Belgium € 1000 - 1500

076

PIERRE CULOT (BELGIAN, 1938 - 2011)

Square Bowl Glazed stoneware 42 x 42 x 9,5 cm € 600 - 800

077

KONGO POWDER FLASK Wood - 18,5 cm D.R. Congo Provenance: Private collection, Belgium € 1500 - 2000

078

CHRISTOPHE GEVERS (BELGIAN, 1928 - 2007)

Desk Lamp - c.1975 Lacquered metal 19,5 x 24 x 16 cm Edition "Light" Literature: Pierre Loze, Thierry Auguhet, Christophe Gevers Designer, Editions d’Art Laconti, Brussels, 2008, p.68 € 1000 - 1500

079

KATI HECK

(GERMAN, 1979)

Keine zeit für Meisterwerke (diptych) - 2007 Oil and watercolor on paper 34 x 46 cm (mount window); 32 x 43,5 cm (image) and 35 x 47 cm (mount window); 34 x 46 cm (image) Initials and date on one drawing, middle right Accompanied by a certificate of authenticity by Annie Gentils, dated 23.02.2008.

Keine Zeit für Meisterwerke (No time for Masterpieces), is a clear a wink at the Maja Vestida and Maja Desnuda by Goya. Whereas Goya depicted his model in a clothed and naked state, Kati Heck went a step further by depicting a nude and a skeleton in a similar pose. The “Keine Zeit” from the title becomes a reflection on the fleetingness of life.

Provenance: Annie Gentils Gallery, Antwerp Exhibited: Status Questionis, Annie Gentils Gallery, Antwerp, 7.12.2007 - 19.1.2008 € 1500 - 2000

080

KONGO BELL Wood - 23 cm D.R. Congo Provenance: Private collection, Belgium € 2000 - 3000

081

ED TEMPLETON (AMERICAN, 1972)

Crying Girl # 3 - 2006 Acrylic and watercolor on paper - 60,5 x 45,5 cm Signature, title and date on verso Accompanied by a certificate of authenticity by Tim Van Laere Gallery.

Provenance: Tim Van Laere Gallery, Antwerp Exhibited: Ed Templeton. Empty Plastic Echoes Reverberating through Time, Tim Van Laere Gallery, Antwerp, 7/12/2006 - 20/1/2007, color ill. (detail) The Cemetery of Reason. Ed Templeton, S.M.A.K., Ghent, 3/4 13/6/2010, p.61 (color ill.) â‚Ź 2500 - 3000

082

JOEP VAN LIESHOUT (DUTCH, 1963)

Untitled (Nail) - 2004 Acrylic on canvas - 150 x 105 cm Signature and date lower right Provenance: Galerie Beaumont, Luxemburg Exhibited: Atelier van Lieshout, Galerie Beaumont, Luxemburg, 18/9/2004 - 8/1/2005, fig. 28 € 3000 - 4000

083

BRAM BOO (BELGIAN, 1971)

High Chair - 2007 Oregon pine wood 188,5 x 40 x 65 cm Signed and inscribed underneath Prototype - unique piece € 2000 - 3000

084

KUBA – DENGESE BACKREST Wood, brass tacks - 41,5 x 18,5 x 39 cm D.R. Congo Provenance: Important private collection, Belgium € 1500 - 2000

085

PIERRE CULOT (BELGIAN, 1938 - 2011)

Two Vases, type "Tokyo" or "Citroën" Glazed earthenware 14,5 cm and 13,5 cm Monogrammed underneath € 400 - 600

086

BENOIT PLATÉUS (BELGIAN, 1972)

20th Century Boys - 2007 Acrylic and ink on paper - 110 x 72 cm Signature on verso Accompanied by a certificate of authenticity by the artist dated 26.04.2007.

Attracted by all sorts of new media, Benoît Platéus likes to explore the possibilities of mechanical means of reproduction, as a contemporary contribution to the debate started by Walter Benjamin in the 30s on the reproducibility of artworks. 20th Century Boys was created in a period the artist was experimenting with photocopies, a means of reproduction which has the appeal of being banal, devoid of any artistic intervention, and at the same time, because of its technical limits, the surprise it holds because of the apparent flaws in their reproduction of an original. Throughout his works, Platéus is especially drawn to these unexpected accidents and imperfections, and the deterioration of images. In a similar manner, the grid of manually applied, irregular horizontal stripes which fill 20th Century Boys, is in itself disrupted by coarse line drawings in poppy colors, referring to his interest in comic strips.

Provenance: Galerie Aline Vidal, Paris € 2000 - 3000

087

TUTSI WICKERWORK Vegetal fibers basket with lid: 42 x 27 cm three disks: 10 cm Ø; 13 cm Ø; 16 cm Ø double cup: 25,5 cm - cup: 13 cm Ø Rwanda Ensemble composed of a beautiful large basket, four cups and an extremely rare double cup.

Provenance: Colette Ghysels collection, Lasne € 4000 - 5000

088

PIETER DE BRUYNE (BELGIAN, 1931-1987)

Furniture "Figuur 1" - 1985 Lacquered Wood 153 x 150 x 45 cm With the original design plans of the artist, this piece is dated 21.07.85 Literature: L. Daenens, F. Defour, Meubeldesign en Kunst, Gemeentekrediet, Brussels, 1991, p.32 â‚Ź1500 - 2000

089

SERGE VANDERCAM (BELGIAN, 1924 - 2005)

L’oiseau-colombe - c.1977 Painted wood - 57 x 23 x 23 cm Exhibited: Serge Vandercam. Du regard à la main, BAM, Mons, 23/4 - 29/8/2010, ill. p.42 and leaflet € 2000 - 3000

Kongo Crucifixes By the end of the 19th and beginning of the 20th century, certain Kongo chiefs had crucifixes amongst their belongings which were mostly made locally. Quite a number of these objects were centuries old and were called nkangi kiditu/klistu (Christ the Protector). Owning a nkangi kiditu was a privilege reserved to certain groups related to the former Kingdom of Kongo, the so called "county and duchy" of Soyo and Mbamba, as well as to the Solongo, Mboma, Mushi-kongo and Ndibu.

Relics from the early years of the evangelization of Kongo, they were integrated over time in the Kongo creed and their use became similar to that of the other traditional objects of power.

Upon the demise of a chief, a nkangi kiditu was passed onto his successor during a ceremony where it was regarded as proof of his rightful place as new chief. During important talks that needed a statement of the mfumu, the nkangi kiditu could also have its place: the people involved by the judgment had to touch the crucifix of the mfumu and swear to speak the truth. Further, crucifixes of mfumu were used in important ceremonies that concerned both the living and the dead, such as the rites concerning the organization of common tombs. On those occasions, the chief would display the nkangi kiditu once the job completed.

Lots 90, 91, 93, 94, 95, 96 and 97 belong to the former collection of Charles M. J. Ralet (1896 - 1971). They were probably acquired during his second visit to Congo in 1947.

Upon his retirement from OTRACO (Office des Transports au Congo), he worked for the Jesuits of Kisantu on a newly started project initiated by the Centre Universitaire Congolais Lovanium. Apparently, his role consisted of finding a building lot and sponsors for the project. During his stay, he entertained a close relation to Alphonse Verwimp, a Jesuit missionary who was the bishop in Kisantu. Since Alphonse Verwimp owned a collection of crucifixes, one may assume that is was through his intermediary, and probably with his help, that Charles Ralet was able to acquire these Christian Kongo objects.

In 1948, Ralet gave no less than 27 objects in consignment for exhibition to the Tervuren Museum of African art. On some of the objects presented here, we can still find the specific inventory number from the museum, used in case of temporary consignments: a "D", standing for dĂŠpĂ´t (consignment), followed by "Ral" (abbreviation for Ralet), and a number from 1 to 27.

The objects were actually exhibited in the Tervuren Museum from 1948 until the early 60s, the time when Ralet took back his objects, which the exception of a number of objects the museum bought. The remaining pieces which were recuperated by Ralet (amongst which the pieces presented here) remained in the collection of the Ralet family or were sold to other collectors (see Volper 2016, fig.36 for example).

We would like to thank Dr Julien Volper from the Royal Museum of Central Africa in Tervuren for all the precious informations he provided us about the religious context of the objects, their history and the details on the period they were on loan at the museum..

090

CRUCIFIX 18TH CENTURY

Brass - 11 x 5,5 cm D.R. Congo This type of small crucifix, of which an important number were found in Kongolese tombs, were more used as jewelry than as regalia (see Volper, 2016, fig.136). Its production was quite common in the Iberian peninsula in the 17th and 18th centuries.

Typically we find the representation of the Immaculate Conception and the skull from Golgotha underneath the figure of Christ.

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 â‚Ź 2000 - 3000

091

CRUCIFIX LATE 18TH CENTURY

Bronze - 21 x 13,8 cm D.R. Congo Collector’s inventory number on verso Nkangi kiditu in an uncommon style but the orants on the edges of the cross are typical for the Kongo crucifixes made in copper alloy.

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 â‚Ź 3000 - 4000

092

CRUCIFIX

18TH CENTURY

Bronze and wood 39 x 21,5 cm (cross); 13 x 13,5 cm (Christ figure) D.R. Congo The wooden cross of this crucifix is from a later date. It was not uncommon that over time, the wooden crosses from the nkangi kiditu, worn by age and use, were replaced. These recent additions or replacements were sometimes even done by European, Christian collectors (e.g. missionaries).

Provenance: Private collection, Belgium â‚Ź 6000 - 8000

093

SAINT ANTHONY OF PADUA 18TH CENTURY

Bronze - 7 cm D.R. Congo But very few figurines of this type are known (see Julien Volper 2011, pl.15). They were intended as fixtures on a wooden support (maybe a crucifix). In style they bear a close resemblance to certain orants which we find on the lateral branches of the large nkangi kiditu in copper alloy.

The subject here is Saint Anthony of Padua, holding a cross and baby Jesus. This Franciscan saint held a very special place in the Kingdom of Kongo. At the beginning of the 18th century, Dona Beatriz Kimpa Vita, a young Kongolese lady from high descent, had a vision from Saint Anthony, who inspired her to restore the greatness of the Kingdom of Kongo. The religious movement which found its origin in this vision is known as Antonianism or the Antonian Sect.

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 â‚Ź 800 - 1200

094

PRAYING MADONNA 18TH CENTURY

Bronze - 7,8 cm D.R. Congo Very few of these small pendants in brass representing the Virgin Mary in prayer exist. A number of them appeared in the early 18th century, at the time when a Congolese prophet, know by her Christian name Appolonia, started a messianic movement that was centered on the worship of the Holy Virgin. As such, she was also called nsundi Malau, or Virgin of good fortune. During the 19th and 20th centuries, these objects were reused for apotropaic magic and were used during healing rites. The three notches on the face were applied later in order to suggest again the facial features which had faded over time due to frequent rubbing and manipulations.

For similar objects, see Volper, 2011, pl.24 and Volper, 2016, fig.51 Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 â‚Ź 2000 - 3000

095

CRUCIFIX

17TH-18TH CENTURY

Bronze and wood - 21,5 x 11,5 cm D.R. Congo Collector’s inventory number on verso: Ra 21 A very nice example of a Nkangi kiditu of which the original cross has been preserved. The Christ figure seems to be a European model which can be found quite often during the 17th and 18th centuries.

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 â‚Ź 6000 - 8000

096

CRUCIFIX 18TH CENTURY

Bronze and wood - 53,5 x 27,5 cm D.R. Congo Beautiful and intact example of a large Nkangi kiditu, of the same type as the one held by the solongo chief Makosso-Tati on the photograph made by J. Vissers in the 1940s-50s in Yenga, Angola.

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 € 20 000 - 30 000

EP.0.0.13505, collection MRAC Tervuren; photograph by R.P. J. Vissers, s.d.

097

CHRIST FIGURE 18TH CENTURY

Bronze - 15,5 x 6 cm D.R. Congo Collector’s inventory number on verso Christ of a Nkangi Kiditi without its cross. The very peculiar position of the arms does not seem to be accidental or by chance. Some known examples of Christ figures show a very similar posture (see Julien Volper 2011, pl.17). It remains difficult the interpret its profound symbolism.

This sculpture - just like the ones presented in this sale under lot n°s 92 and 96 - seem to be European, or overmoldings from European models, sporting a style that was very fashionable at the time.

Examples of this style were found at different places in Angola and Kongo (see Wannyn 1961, PL.XVII).

Provenance: C. Ralet collection, Brussels Exhibited: On loan and exhibited in RMCA in Tervuren from 1948 to 1960 € 4000 - 6000

098

HILT OF A MESTRE STAFF 17TH-18TH CENTURY

Copper alloy - 16,5 x 10,8 cm D.R. Congo Hilts of this type were commonly known under their local denomination Santu Spilitu (Holy Spirit).

According to some hypotheses, they were conceived to adorn the staffs of the maestri (interpretors of missionaries from noble descent). This piece shows close resemblance to two hilts belonging to the collection of the Africa Museum in Tervuren (HO.1953.100.1 and HO.1955.9.29). One of these pieces was collected in Congo-Kinshasa (Songa region), but was supposedly manufactured further to the south, in Bembe in Angola.

This hilt from the Walschaerts collection was exhibited at the 1958 Brussels World’s Fair and is described under number 35 in the exhibition’s catalog. It is noteworthy that during the same exhibition, another hilt was shown (n°36 in the catalog), which is also published in Julien Volper 2016, fig.25 Provenance: Collection Walschaerts, Antwerp Exhibited: Universal exhibition of Brussels, 1958 Published: Art traditionnel: Exposition universelle et internationale de Bruxelles 1958, n°35, not illustrated € 30 000 - 40 000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Enchères et état des objets

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Native auctions Telephone bid Absentee bid Auction 17 17 October 2020 - Brussels Ruysbroeck Galerij 5 Galerie de Ruysbroeck 5 Brussel 1000 Bruxelles T +32(0)2 514 04 42 info@native - auctions.com

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