Native
20 th Century Furniture, Tribal and Contemporary Art 17 June 2025 - Brussels
Native Auctions
Preview & Auction
Rue Américaine, 26 - 28
1060 Brussels
Office and depot Ruisbroeck Galerij 5
Galerie de Ruysbroeck 5 1000 Brussels
info@native-auctions.com
T +32 (0) 2 514 04 42
Nicolas Paszukiewicz n.paszukiewicz@native-auctions.com
Sébastien Hauwaert s.hauwaert@native-auctions.com
Gilles Marquenie g.marquenie@native-auctions.com
17 June 2025 - Brussels 20 th Century
Auction
17 June 2025 18.00
Preview
12 - 16 June 2025 10.00 - 18.00
17 June 2025 10.00 - 15.00
001 . Cali
Fiji Islands
Wood, 110 cm
Provenance: Private collection, France
€ 8000 - 12 000
Elegant Cali with an intricately carved geometric pattern. The contrasting play of convex and concave curves, typical for this type of spurred club called cali is derived from the shape of the flower of the Cali, a species of the banana plant to be found in Fiji.
002 . Floris Jespers (Belgian, 1889 - 1965)
Untitled Composition - 1920
Gouache on paper, 26 x 50,5 cm
Signed and dated lower left
Provenance:
Galerij Terence Calleja, Antwerp
Private collection, Belgium
Published:
Jean F. Buyck, Floris Jespers 1889-1965. Tekeningen, aquarellen, gouaches, Sint-Niklaas, 1988, p.48 (ill.)
Jean F. Buyck, Floris & Oscar Jespers. De moderne jaren, SDZ/Pandora, Antwerp, 1996, p.116 (ill.)
Michel Draguet, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, Musée d’Ixelles / Racine, Brussels, pp.140-141 (ill.)
Johan De Smet e.a., Modernisme. Belgische abstracte kunst in Europa (1912-1930) [exhibition catalog], Mercatorfonds, Brussels, 2013, pp.111, 316 (ill.)
Exhibited:
Stedelijk Museum, Sint-Niklaas, Floris Jespers, 11 April - 23 May 1988, cat.19
Hessenhuis, Antwerp, Floris & Oscar Jespers. De moderne jaren, 22 June - 3 November 1996, cat.53
Musée communal d’Ixelles, Brussels, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, 11 October 2012 - 20 January 2013, pp.140-141
Museum of Fine Arts, Ghent, Modernisme. Belgische abstracte kunst en Europa (1912-1930), 2 March - 30 June 2013, cat.4.61 (ill.)
€ 4000 - 6000
003 Anton Pevsner
(Russian, 1884 - 1962)
Balloon - 1920
Pencil on tracing paper, 16 x 15 cm
Signed lower right; located and dated lower left: Moskva 1920
Provenance:
Leo Castelli, New York
Albright-Knox Gallery, New York 1968
Annely Juda Fine Art, London 1972
Galerie Liatowitsch, Basel 1972
Exhibited: New York, MOMA, Cubism & Abstract Art, 2 March - 19 April 1936, cat.196
€ 2000 - 3000
Rarotonga Island, Cook Islands Wood, 231 cm
Provenance:
Private collection, France
Private collection, Brussels
€ 20 000 - 30 000
004 Akatara Pole Club
005 Bulibuli War Club
Fiji Islands
Wood, 105 cm
Provenance:
Georges Goven Collection, Paris
Alexandre Bernand Collection, Paris Private collection, Belgium
€ 15 000 - 20 000
Fijian bulibuli clubs are comparable to the European mace. They are wellbalanced weapons with rounded heads and protuberances designed to inflict a lethal crushing blow on the head. Close combat kills were the ones that earned the Fijian warrior the rank of ‘Koroi’ or killer, and more than just a weapon, the bulibuli was also a symbol of status.
006 Jules Schmalzigaug (Belgian, 1882 - 1917)
The Beach at Scheveningen - The Hague, 1915-1917
Wax crayon on paper, 23,5 x 39 cm
Provenance:
Succession Jules Schmalzigaug
Walter Malgaud, Brussels
Raina Malgaud, Brussels
Private collection, Belgium
Published:
Hommage à Jules Schmalzigaug, L'Art Contemporain, Antwerp, 1923, cat.206
Peter J.H. Pauwels, Ronny Van de Velde, Jessy Van de Velde, Jules Schmalzigaug (1882-1917) Oeuvrecatalogus, Galerie Van de Velde, Berchem / Ludion, Brussels, 2020, p.217, cat.539 (ill.)
Exhibited: Feestzaal, Antwerp, L'Art Contemporain, Hommage à Jules Schmalzigaug, 28 April - 27 May 1923, cat.206
€ 5000 - 7000
007 Léon Devos (Belgian, 1897 - 1974)
La Parisienne - 1926
[The Parisian Woman]
Black crayon and gold leaf on paper
366 x 266 mm
Signed and dated lower right
Provenance:
Private collection, Belgium
Published: Michel Draguet, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, Musée d’Ixelles / Racine, Brussels, p.67 (ill.)
Exhibited: Musée communal d’Ixelles, Brussels, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, 11 October 2012 - 20 January 2013, p.67
€ 10 000 - 15 000
La Parisienne stands out as an unusual work within Léon Devos’s oeuvre. Executed in black crayon with a luminous gold leaf background, the drawing merges a meditative stillness with a quiet intensity. The starkness of the figure’s volumes and the sculptural rendering of the face lend it a sense of permanence, almost icon-like in effect. Its stillness and sculptural clarity seem at first sight rooted in the Belgian Symbolist tradition, but its deeper visual language can be more precisely traced to the revival of interest in the Flemish Primitives that followed the influential 1902 exhibition in Bruges. That exhibition had a profound impact, particularly on the first School of Laethem, including figures such as Gustave Van de Woestyne and George Minne. Devos, although a generation younger, inherits and reframes this distinctive aesthetic with its emphasis on clarity of form, solemnity, and devotional stillness. The golden background—central to both the Flemish Primitives and the Laethem School—meets the stylized elegance of the 1920s, when gold leaf also featured prominently in applied arts and Art Deco design. The figure’s frontal pose and timeless expression enhance this sense of continuity between past and present.
La Parisiennereflects Devos’s ability to bridge tradition and modernity, rooted in historical reference but unmistakably of its time.
008 . Malangan Statue
New Ireland
Wood and pigment, 126 cm
Provenance:
Johann Friedrich Gustav Umlauff (1833 - 1889), Hamburg
Dr. Ziegler Collection
Maurice Bonnefoy, New York
Ader-Picard-Tajan, Paris, Afrique, Océanie, Amérique du Nord, 21 May 1990, lot 94
Barbara and Joe Abensur Collection, London
Jean-Baptiste Bacquard, Paris
Private collection, France
Published:
Jean-Baptiste Bacquart, The Barbara and Joe Abensur Collection of Oceanic art, pp. 14-15
€ 20 000 - 30 000
009 Floris Jespers (Belgian, 1889 - 1965)
Seated Woman Seen from the Back Eglomisé, 40 x 31,5 cm
Provenance: Private collection, Belgium
Published: Michel Draguet, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, Musée d’Ixelles / Racine, Brussels, p.67 (ill.)
Exhibited: Musée communal d’Ixelles, Brussels, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, 11 October 2012 - 20 January 2013, p.67
€ 12 000 - 18 000
010 Joseph Ongenae (Belgian, 1921 - 1993)
Felio II - 1966
Oil on canvas, 51,5 x 145 cm
Signed, titled, and dated on verso
Provenance:
Galerie Ronny Van de Velde, Antwerp
Private collection, Belgium
Published: Michel Draguet, Belgitudes. 50 ans de passion du collectionneur Maurice Verbaet [exhibition catalog], MVEditions, 2022, pp.28-29 (ill.)
Exhibited:
LAAC, Dunkerque, Belgitudes. 50 ans de passion du collectionneur Maurice Verbaet, 2 April – 9 October 2022, pp.28-29 (ill.)
€ 18 000 - 25 000
011 Siane Headcrest
Eastern Highlands, Papua New Guinea
Wood, rattan, and feathers, 87,5 x 51 cm
Provenance: Jan Visser, Brussels
Christophe Evers, Brussels
Private collection, Belgium
€ 10 000 - 15 000
012 . Jean Rets (Belgian, 1910 - 1998)
Plexiglass
147 x 45 cm
Provenance
Plexiglass window installation from Liège-Guillemins railway station (1958 - 2009)
Private collection, Belgium
€ 10 000 - 15 000
013 . Hei Tiki
Maori, New Zealand
Nephrite, 14,7 cm
Provenance: The Mu-Fei Collection
Private collection, France
€ 40 000 - 50 000
014 Korwar Shield
Indonesia
Rattan and pigments, 58 cm
Provenance:
Berry De Bruijn Collection, Breda (inv. label on verso, n°132)
Private collection, Belgium
€ 4000 - 6000
Wood and pigment, 182 x 22,5
Provenance:
Boulanger Collection, Belgium
Private collection, Belgium
€ 8000 - 12 000
015 Yami Canoe Fragment
Tobago
cm
016 Dogon Figure
Mali Wood, 40 cm
Provenance:
Private collection, South of France
Galerie Nicolas Rolland, Paris
Private collection, France
Exhibited:
Bruneaf. Brussels Non European
Art Fair, Galerie Nicolas Rolland, Brussels, 15 - 19 June 2022
€ 10 000 - 15 000
017 Bongo Stool
South Sudan
Wood, 17 x 30 x 17,5 cm
Provenance:
Marc and Denyse Ginzberg Collection, U.S.A.
Sotheby's, Paris, 10 September 2007, lot 174
Private collection, Belgium
Published:
Marc Ginzberg, African Forms, Skira, Milan, 2000, p.21
Arthur Jack, Africa: Relics of the Colonial Era, London, Michael Graham-Stewart, 1991, p.29
Exhibited:
African Forms, Museum for African Art, New York, 2 February - 19 August 2001;
Davenport Museum of Art, Davenport, 8 September - 11 November 2001; Mingei International Museum, San Diego, 10 February - 15 September 2002; Mount Holyoke College Art Museum, Massachusetts, 30 January - 14 March 2003; The Herbert F. Johnson Museum of Art, Cornell, 9 September - 3 October 2004
€ 2000 - 3000
018 Bambara Mask - Suruku
Mali Wood, 46,5 cm
Provenance:
Alberto Magnelli Collection, Paris
Christie’s, New York, Important Tribal Art. Including a selection from the collection formed by Alberto Magnelli, 22 November 1996, lot 22
Hélène Leloup Collection, Paris
Paul and Jaqueline Canfrère Collection, Paris
Published:
Francine N'Diaye, L'art d'Afrique noire dans les collections d'artistes, Arles: Musée d'Arles, 1991, cat. 23
Bambara, Paris, Galerie Leloup, June 2000, p.25, cat.8
€ 20 000 - 30 000
019 Antoine Mortier (Belgian, 1908 - 1999)
Les porteurs de croix - 1952
[The Cross Bearers]
Indian ink on paper, mounted on canvas
230 x 150 cm
Signed and dated lower right
Provenance:
Françoise Mortier Collection
Private collection, Belgium
Published:
Karel Geirlandt, Lilian Dewachter, Françoise Knops-Mortier, Antoine Mortier. Dessins, Snoeck-Ducajou, Ghent, 1986, cat.11 (ill.)
Karel Geirlandt, Jan Hoet, Francine-Claire Legrand, France Borel, Françoise Knops-Mortier, Antoine Mortier, Lannoo, Tielt, 1989, p.134 (ill.)
Michel Draguet, Belgitudes. 50 ans de passion du collectionneur Maurice Verbaet [exhibition catalog], MVEditions, 2022, p.78 (ill.)
Exhibited:
Palais des Beaux-Arts, Brussels, Antoine Mortier, Dessins, 23 April - 8 June 1986, cat.11 (ill.)
LAAC, Dunkerque, Belgitudes. 50 ans de passion du collectionneur Maurice Verbaet, 2 April – 9 October 2022, p.78 (ill.)
€ 50 000 - 70 000
With Les porteurs de croix, Antoine Mortier demonstrates the expressive power of his large-scale works on paper, which he regarded with the same importance as his paintings. Executed with bold strokes in Indian ink and gouache, this striking black-and-white composition distills reality into signs and surface —a language of shapes hovering on the edge of abstraction. Rather than pursuing formal abstraction, Mortier reduces form to its essentials, stripping away detail to reveal something more immediate and forceful. The tension in this work lies precisely at that threshold: a moment where figuration dissolves but never fully disappears. The result is a visual field charged with controlled energy, where every stroke is balanced, every space considered. With minimal means, Mortier achieves maximum effect. Les porteurs de croix is a masterful example of the artist’s ability to channel intensity through restraint - an emblematic work that captures the unique place he occupies in post-war European abstraction.
020 . Djenne Pendant
Mali
Bronze, 7 cm
Provenance:
Private collection, Belgium
Published:
Karl-Ferdinand Schaedler, Earth and Ore. 2500 Years of African Art in Terra-cotta and Metal, Munich, Panterra Verlag, 1997, p.33, cat.33
Hélène Leloup, Dogon, Somogy Editions d'Art / Musée du Quai Branly, Paris, 2011, p.373, cat.118
Exhibited:
Burgrieden-Rot, Museum Villa Rot, Earth and Ore. 2500 Years of African Art in Terra-cotta and Metal, June-November 1998, cat.33
Musée du Quai Branly, Paris, Dogon, 5 April - 24 June 2011, cat. 118
€ 1200 - 1800
021 Lobi Stool
Burkina Faso
Wood and brass tacks, 14 x 40 x 13 cm
Provenance:
Marc and Denyse Ginzberg Collection, New York
Private collection, Belgium
Published: Marc Ginzberg, African Forms, Skira, Milan, 2000, p.18 (ill.)
€ 1000 - 1500
022 . Adrien Van de Putte
(Belgian, 1911 - 1994)
Composition en mauve
Acrylic on canvas, 70 x 60 cm
Provenance:
Family of the artist, Brussels
Exhibited :
Espace Bernier, Waterloo, Adrien Van de Putte (1911 - 1994), September - October 2005, cat.14
Galerie Lempertz, Brussels, 2006
Centre d'Art du Rouge-Cloître, Auderghem, Adrien Van de Putte. Arpenteur du réel / Topograaf van de verbeelding, 14 May - 18 July 2021
€ 2000 - 3000
023 . Alvar Aalto (Finnish, 1898 - 1976)
Vase
Glass, 60 cm
Manufactured by Littala, Finland
Originally designed in 1937 for the Savoy Hotel in Helsinki, this tall vase is not in production anymore.
€ 2500 - 3500
024 Bambara Ciwara
Mali
Wood, 26,5 x 70,5 cm
Provenance:
Dr Alexander S. Honig Collection, Bronxville
Sotheby’s, New York, The Alexander S. Honig Collection of African Art, 18 May 1993, lot 17
The Newark Museum of Art, Newark, New Jersey
Sotheby’s, Paris, Sculpture: Afrique, Océanie, Amériques, 4 December 2020, lot 12
Charles-Wesley Hourdé, Paris
Private collection, France
Published:
Bertrand Goy, Hommage aux chasseurs du Mandé, Paris, Charles-Wesley Hourdé, 2021, pp.38-41
Exhibited:
Paris, Charles-Wesley Hourdé, Hommage aux chasseurs du Mandé, Parcours des Mondes 2021, 7-12 September 2021, pp.38-41
€ 10 000 - 15 000
025 Guro Heddle Pulley
Ivory Coast
Wood, 15 cm
Provenance:
Private collection, France
€ 1000 - 1500
026 Bamana Ciwara
Mali
Wood and shells, 63 cm
Provenance:
Galerie Antilope (René and Odette Delenne), Brussels (1963)
Private collection, Belgium
€ 4000 - 6000
027 . Le Corbusier
(Swiss-French, 1887 - 1965)
Stairs for Unité d'Habitation, Marseille - 1959
La Cité Radieuse
Wood and metal, 71 x 393 cm
€ 10 000 - 15 000
028 Bete Mask - N-gré
Ivory Coast
Wood and metal, 26 cm
Provenance:
Jean Deyrolle (1911-1967), Toulon (acquired 1955-1960)
By descent
Ferri, Paris, Ancienne collection
Jean Deyrolle, 17 June 2011, lot 34
Serge Schoffel, Brussels (2013) Private collection, Belgium
Published:
Serge Schoffel, Masques Bété [exhibition catalog], Brussels, 2013, cat.8
Exhibited:
Brussels, Tour et Taxis, BRAFA, 58ème Brussels Antiques & Fine Arts fair, Serge Schoffel Gallery, Masques Bété, 19 - 27 January 2013
€ 10 000 - 15 000
029 . Walter Leblanc (Belgian, 1932 - 1986)
Abstract Composition - 1960 Oil on canvas, 81 x 100 cm
Signed on verso
Provenance:
Filip Tas Collection, Antwerp Olivier Fayt Fine Art, Knokke Private collection, Brussels
Published: N. Leblanc, D. Everaerts de Velp - Seynaeve, Walter Leblanc. Catalogue raisonné, 1997, Bruges, cat.296 (ill.)
€ 20 000 - 30 000
Painted in 1960, this work reflects a transitional moment in Walter Leblanc’s early practice. Closely related to his 1958–1959 compositions inspired by the curved forms of ship hulls in the Antwerp harbour, it shows these motifs gradually evolving toward the more distilled “archetype” shapes that would become central to his later visual vocabulary.
The subdued palette, leaning toward monochrome, is handled with unexpected delicacy. Rather than flattening the surface, the nuanced tonal shifts create a sense of depth and quiet tension, lending the work an atmospheric quality that borders on the meditative and mysterious.
030 . Christophe Gevers (Belgian, 1928 - 2007)
Coffee Table
Travertine, 41 x 120 x 120 cm
Provenance: Made for the artist's home
Private collection, Belgium
Published: Pierre Loze, Thierry Aughuet, Christophe Gevers Designer, Edition d’art Laconti, Brussels, 2008. p.16 (ill.)
€ 4000 - 6000
031 Englebert van Anderlecht (1918 - 1961)
Novembre n°92 - 1960
Oil on canvas, 157 x 121 cm
Signed, dated, and titled on verso
Provenance: Private collection, Belgium
Published:
Anouck Clissen & Camille Brasseur, Connexions One. Belgische Kunst 1945-1975, Antwerp, Pandora Publishers, 2015, p.56 (ill.)
Camille Brasseur, Collection Caroline et Maurice Verbaet, Paris, Selena éditions, 2016, pp.76-77 (ill.)
Christophe Duvivier & Camille Brasseur, Abstractions. Arts non figuratifs belges après 1945, Paris, Selena éditions, 2016, p.104 (ill.)
Michel Draguet, Hanna Alkema, Camille Brasseur e.a., Belgitudes. 50 ans de passion du collectionneur Maurice Verbaet [exhibition catalog], MVEditions, 2022, pp.110-111 (ill.)
Exhibited:
Palais des Beaux-Arts, Brussels, E. Van Anderlecht, 12 - 27 January, 1963, cat.58bis
A.P.I.A.W., Liège, Englebert Van Anderlecht, 23 April - 4 May 1966
Musée d'Ixelles, Brussels, E. Van Anderlecht, March 1968, cat.76
Witte Zaal, Ghent, Englebert Van Anderlecht, 2 March - 27 March 1999
mvAc, Antwerp, Connexions One. Belgische Kunst 1945-1975, 19 September – 20 December 2015, p.56
Musée Estrine, Saint-Rémy-de-Provence, Regards de collectionneurs –l’art belge d’après-guerre dans la collection Caroline et Maurice Verbaet, 6 March – 5 June 2016 [exhibition continued to Musée Jean Cocteau, Menton, 25 June - 31 October 2016], pp.76-77
Musée Tavet-Delacour, Pontoise, Abstractions. Arts non figuratifs belges après 1945, 17 September 2016 – 15 January 2017, p.104
LAAC, Dunkerque, Belgitudes. 50 ans de passion du collectionneur
Maurice Verbaet, 2 April – 9 October 2022, pp.110-111
€ 50 000 - 70 000
Novembre 92 commands attention through its impressive size and bold composition. The painting’s vigorous brushstrokes—fluid and unrestrained—reveal a mastery of gesture and structure, with each mark contributing to the painting’s dynamic energy. These strokes, at once deliberate and sweeping, evoke a rhythm that feels both spontaneous and precisely controlled, showcasing Van Anderlecht's ability to harness paint with remarkable fluidity and precision.
Subtle pinkish hues in the background provide an underlying warmth, allowing the dominant earthy tones of the brushstrokes to emerge with greater clarity and impact. he play of light and shadow within the composition enhances its depth, creating a striking balance between the organic flow of the paint and its solid presence on the canvas.
Executed near the end of Van Anderlecht’s career, Novembre 92 is a defining piece in his body of work, underscoring his importance within Belgian post-war lyric abstraction.
032 . Bete Mask - N'gré
Ivory Coast
Wood and brass tacks, 35 cm
Provenance:
Private collection, France
Yann Ferrandin, Paris (2015)
Private collection, Belgium
Published:
Yann Ferrandin, BRAFA Art Fair, Galerie Yann Ferrandin, Paris, 2015, cat.4
Exhibited: Brussels, Tour & Taxis, BRAFA Art Fair, 24 January - 1 February 2015
€ 20 000 - 30 000
Bete masks, especially older examples like the one presented here, are relatively rare. Known for their bold volumes, projecting forms, and brass tacks, these masks are believed to embody powerful spiritual forces tied to the forest. Scholars suggest the tradition was introduced by the We, the Bete’s western neighbors. Often called "war masks" due to their fierce appearance, they are linked to social control, addressing conflicts, local warfare, and combating negative forces like sorcery and illness. Bete masks serve various functions, including peace-making, moral messaging, and dispute resolution.
This Bete mask shows a striking resemblance to the one belonging to the collection of the Metropolitan Museum in New York (inv. 1985.418.1).
033 Baule / Akan Gold Weight
Ivory Coast Bronze, 7 cm
Provenance: Private collection, Belgium
Published: François Neyt, Trésors de Côte d'Ivoire, Antwerp, Mercator Fonds, 2014, p.267, cat.196 (ill.)
€ 1000 - 1500
034 Senufo Figure
Ivory Coast Bronze, 7 cm
Provenance: Private collection, Belgium
€ 2000 - 3000
035 Teke Figure
D.R. Congo
Wood, organic and inorganic materials, 27 cm
Provenance:
Private collection, France (acquired in the 1970s-1980s)
Galerie Nicolas Rolland, Paris (2020)
Galerie Lucas Ratton, Saint-Tropez/Paris
Private collection, Belgium
Published:
Winter Bruneaf 2020, Brussels, Nicolas Rolland, David Serra, Alain Lecomte, Eric Hertault Online publication, fig.14 (Rolland)
Exhibited:
Brussels, Winter BRUNEAF, 22 - 26 January 2020 (Galerie Nicolas Rolland)
Maastricht, TEFAF, 7 - 15 March 2020 (Galerie Lucas Ratton)
Paris, Parcours des Mondes 2020, Saint-Germain-des-Prés, 8 - 13 September 2020 (Galerie Lucas Ratton)
€ 4000 - 6000
036 Christophe Gevers (Belgian, 1928 - 2007)
Light Fixture - c.1970
Plexiglas and steel, 120 x 120 x 35,5 cm
Provenance: Private collection, Everberg
Published: Jean-Pierre Gabriel, Christophe Gevers, Brussels, 2024, pp.202-203 (ill.)
€ 1500 - 2500
037 Senufo Figure
Ivory Coast Wood, 19 cm
Provenance:
Maurice Nicaud (1911-2003), Paris
Marceau Rivière Collection, Paris (acquired from the above c. 1975, until 2019)
Sotheby's, Paris, Collection Marceau Rivière, 18 June 2019, lot 2
Private collection, Belgium
Published:
Marie-Louise Bastin, Introduction aux Arts de l'Afrique Noire, Arnouville, Arts d'Afrique Noire, 1984, p.111, ill.85
Raoul Lehuard, Art Africain, Paris, E.S.I.A.G., 1991, p.19
Arts d'Afrique Noire, no.78, Summer 1991, p.14 (ad. Galerie Sao, Paris)
Francine Ndiaye, Arts et peuples du Mali, Amiens, URBIS, 1994, p. 69, cat.107
Alain-Michel Boyer, Patrick Girard, Marceau Rivière, Arts premiers de Côte d'Ivoire, Saint-Maur, 1997, p.9
Exhibited:
Paris, Art Africain, ESIAG (Ecole Supérieure Internationale d'art et de Gestion), 23 April-3 May 1991
Amiens, Chapelle de la Visitation, Arts et peuples du Mali, 23 April - 3 May 1994
La Flèche, Château de Carmes, 11 January- 3 March 1997; Nogent-Le-Rotrou, Château Saint-Jean, 8 March-28 April 1997, Arts premiers de Côte d'Ivoire
€ 10 000 - 15 000
038 Keizo Kitajima (Japanese, 1954)
Portrait - 19 September 1983
Gelatin silver print
29,5 x 21 cm (mount window)
Edition 1/7
Provenance:
Amador Gallery, New York
Private collection, Belgium
Published: Keizo Kitajima, European Diary 1983-1984, Little Big Man, Los Angeles, 2019
€ 2500 - 3500
039
Igbo Mgbedike Mask
Nigeria
Wood, pigment, and vegetal fibers
40 cm
Provenance:
Private collection (1988)
Collection Robert Saintgéry, Bagneux (2012)
Olivier Castellano, Paris (2019) Montagut Gallery, Barcelona (2020)
Private collection, Belgium
Published:
Jacques Kerchache, Jean-Louis Paudrat and Lucien Stephan, L'art africain, Paris, Mazenod, 1988, p.407, cat.494
Jacques Kerchache, Jean-Louis Paudrat and Lucien Stephan, Art of Africa, Harry N. Abrams, New York, 1993, p.407, cat.494
Alain Lebas ed., Arts du Nigeria dans les collections privées françaises [exhibition catalog], 5 Continents, Milan, 2012, pp.172, 275, cat.105
Olivier Castellano. Parcours des Mondes 2019 [exhibition catalog], Paris, Olivier Castellano, 2019, pp. 34-35
Exhibited:
Quebec, Musée de La Civilisation, Arts du Nigeria dans les collections privées françaises, 24 October 201221 April 2013, cat.105 (ill.)
Paris, Olivier Castellano, Parcours des Mondes 2019, 10 - 15 September 2019 (ill.)
€ 10 000 - 15 000
040 . Michel Frère (Belgian, 1961 - 1999)
Untitled - 1991
Oil on canvas, 175 x 162 cm
Initialed and dated on verso
Provenance:
Private collection, Belgium
€ 18 000 - 25 000
041 Mumuye Mask
Nigeria
Wood and pigment, 34 cm (depth)
Provenance:
David Serra, Barcelona
Pace Gallery, New York
Bob Dowling, San Francisco
Rosa Amoros & Gustavo Gili Collection, Barcelona
Ben Hunter, African and Oceanic Art, London
Private collection, Belgium
€ 3000 - 5000
Female monkey masks like the one presented here are used as the female counterpart for the male horizontal masks in Mumuye ceremonial performances during agricultural rites, funerals, and the initiation of young men into the Vaa-Bong society.
Carved in a monkey-like form and without horns, it is distinguished by deeply incised lines on one side of the face, referencing the elaborate braided hairstyles worn by Mumuye women. Unlike their male counterparts, which emphasize animal features, female masks incorporate more human features.
042 . Paul Van Hoeydonck (Belgian, 1925 - 2025)
Untitled - 1957
Oil on canvas, 80 x 99 cm
Signed and dated lower right
Name and address of the artist on the stretcher
Provenance: Private collection, Belgium
Published: Jan Ceuleers, Paul Van Hoeydonck, Pandora Publishers / FeliX Art Museum, Antwerp / Drogenbos, 2011, pp.142, 284, cat.307 (ill.)
€ 10 000 - 15 000
043 Mambila Figure - Tadep
Cameroon, Donga Valley Wood, 44 cm
Provenance:
Private collection, Germany (2003)
Robert T. Wall Family Collection
Adrian Schlag, Brussels
Marc Assayag, Québec
Private collection, Belgium
Exhibited:
Brussels, Adrian Schlag. Winter BRUNEAF. Brussels Non European Art Fair, Ancienne Nonciature, 24-28 January 2018
San Francisco, Assayag, Tribal & Textile Art, Virtual Show, 25 February - 3 March 2021
€ 8000 - 12 000
044 Andrea Branzi (Italian, 1938 - 2023)
Monolith - 2012
Plaster, 75 cm
Signed and dated along the lower edge
Unique
Provenance:
Galleria Clio Calvi Rudi Volpi, Milan
Private collection, Belgium
Published:
Monoliti. Andrea Branzi, Galleria Clio Calvi Rudi Volpi, Milan, 2012 (ill.)
Exhibited:
Milan, Fuorisalone, Galleria Clio Calvi Rudi Volpi, Monoliti by A.Branzi, 17 - 22 April 2012
€ 6000 - 8000
"Monoliths are heavy objects whose parts are tightly and indissolubly connected. Vases, receptacles, plinths, animals and insects belong to a single material universe.
In dull white plaster or sonorous black bronze, they interest me for the way they exclude joints, the separation of volumes, and become compact masses of one single material, difficult to move.
Perfectly motionless, they occupy space in a definite way. Indifferent to the fragmentation of the world and our knowledge, they are like macromolecules equipped with their own profound nucleus."
Andrea Branzi, introduction text to the exhibition "Monoliti" at Galleria Clio Calvi Rudi Volpi, Milan, 2012
045 Lumbo Maternity Figure
Gabon
Wood and glass, 31
Provenance: Private collection, France
€ 6000 - 8000
cm
046 . Christophe Gevers (Belgian, 1928 - 2007)
Office desk
Wood, 73,5 x 180 x 72 cm
Published: Jean-Pierre Gabriel, Christophe Gevers, Brussels, 2024, pp.174-175
€ 6000 - 8000
047 . Fang Figure
Gabon
Wood and copper, 20 cm
Provenance:
Henri Couillard, Vincennes
Jacques Tillieu Collection, Paris (acquired c.1970)
Galerie Bernard Dulon, Paris
Stephane Holvoet Collection, Antwerp
Sotheby's, Paris, Arts d'Afrique et d'Océanie, 21 June 2017, lot 68
Private collection, Belgium
€ 20 000 - 30 000
This exquisite statuette of a female Fang figure exemplifies the artistry of a master craftsman, whose skill is evident in the delicate carving of the head and the graceful, understated volumes of the body. Small-scale sculptures are rather uncommon in Fang art, and are predominantly attributed to the Fang Ntumu and the Betsi peoples of Rio Muni and Northern Gabon. Often they used to adorn small, portable reliquaries, while others once adorned ceremonial insignia, such as chief’s canes, fly swatters, or fans, reserved for lineage chiefs.
The statuette in question depicts a young female figure, likely crafted to adorn the top of a ceremonial staff known as an ntum eyema, “the staff bearing an image” in Fang language. It would have served as a symbol that its bearer was a custodian of the byeri, the head of a family responsible for safeguarding the ancestral remains of their lineage.
Despite its modest size, the face is beautifully carved, displaying the characteristic features of the Fang people, including the distinctive crested coiffure (nlo-ô-ngo). Scarification patterns on the forehead and torso, as well as the copper bracelets on arms and ankles, further enhance its overall sense of preciousness and beauty. Its smooth coppery patina attests to its extensive use over time.
048 Matthias Kaiser (Austrian)
Cracked Slip Roof Vase
Glazed ceramic, 38 cm
Unique
Provenance:
Acquired directly from the artist (2015)
Private collection, Belgium
€ 2500 - 3500
049 Pende Whistle
D.R. Congo
Ivory, 8 x 3 x 1,7 cm
Provenance:
Emile Lejeune (1883-1920) Collection, Liège (acquired between 1906 and 1914)
Boris de Starovietsky, Brussels (Émile Lejeune's nephew)
By descent
Sotheby's Paris, Arts d'Afrique et d'Océanie, 12 December 2012, lot 5
Private collection, Belgium
€ 10 000 - 15 000
Ivory whistle worn by Pende men and boys as an amulet, but mainly used as a signaling instrument for communication during hunting. They could also be used together with other instruments to accompany dance music. The whistle presented here is of a very specific type in the shape of a key with a hollow shaft. The head surmounting the whistle is rendered as a small “ikhokho” mask pendant.
According to Prof. F.M. Olbrechts (1899-1958), this particular shape was derived from European keys of wooden ship's chests, suitcases, or doors imported into Africa.
A Pende whistle similar in shape and style belongs to the collection of the MAS in Antwerp (inv. AE.0847), where it entered the collection in 1920. The striking similitude in shape, style, and patina allows us to date the one presented here at the beginning of the 20th century as well.
Pending CITES certificate
EUC2025/01255
This item is subject to CITES regulations and cannot be exported outside the European Union.
Gabon
Wood, pigment, and ratton
42 cm (60 cm incl. collar)
Provenance:
Bruno Frey, France
Private collection, Belgium
€ 20 000 - 30 000
050 Fang Mask
051 . Georges Braque
(French, 1882 - 1963)
Double portrait féminin – 1942
[Double Female Portrait]
Oil on paper mounted on canvas
51 x 48,8 cm
Provenance:
Atelier Georges Braque
Claude et Denise Laurens, Paris
Philippe Van Kessel, Brussels received from above
Private collection, Brussels By descent
Published:
André Berne Joffroy, Jean Paulhan à travers ses peintres, Editions des musées nationaux, Paris, 1974, cat.468
Exhibited: Galeries nationales d'exposition du Grand Palais, Paris, Jean Paulhan à travers ses peintres, 2 February - 15 April 1974, cat.468 (label on verso)
€ 80 000 - 120 000
052 . Charlotte Perriand (French, 1903 - 1993)
Pair of N°21 Armchairs - 1935 (design) Called "Chamrousse" Chairs
Wood and rattan, 78 x 55 x 64 cm
Literature: Boris Lacroix, Mobiliers et ensembles de vacances, in Art et Décoration, n° 9, 1948, pp. 4-5
Catalog for L'Equipement de la MaisonCollaborations: Pierre JeanneretCharlotte Perriand, December 1947, cat.21 Charlotte Perriand, "Délassement" in Techniques et Architecture, August 1950, p.74
Jacques Barsac, Charlotte Perriand, L'œuvre complète, Vol. 2: 1940-1955, Editions Norma, Paris, 2015, pp.155, 157, 171, 172, 200, 222, 250, 259, 476
Jacques Barsac, Charlotte Perriand: une architecture en montagne, Editions Norma, Paris, 2023, p. 51, 53
€ 15 000 - 20 000
053 . Kota
Gabon
Wood and copper, 67 cm
Provenance:
Maurice Ratton, (1903-1973), Paris
Drouot-Richelieu, Paris, 27 November 1991
Galerie Dutko-Piazzini, Paris
Christie's, Paris, Art Africain et Océanien, 13 December 2011, lot 289
2R Ritual Gallery, Brussels
Private collection, Belgium
Published:
Gazette Drouot, 15 November 1991, p.77
€ 30 000 - 50 000
054 Teke Figure
D.R. Congo
Wood, textile, organic, and inorganic materials, 18 cm
inv. n° K.V.1076
Provenance:
Private collection, Paris
Marc Leo Felix Collection, Brussels
Private collection, Belgium
€ 1500 - 2000
055 Bakongo Whistle
D.R. Congo
Wood, 8 cm
Provenance:
Private collection, Germany
Didier Claes Gallery, Brussels
Private collection, Belgium
€ 4000 - 6000
056 . Pierre Chapo (French, 1927 - 1987)
Four vintage S31 Stools - c.1974
Elmwood 46 x 32 Ø cm (each)
Produced by Atelier Pierre Chapo
Literature:
H. Magen et al., Pierre Chapo, un artisan moderne, Magen H. Gallery, 2017, pp.184-185 (ill.)
€ 4000 - 6000
057 Christophe Gevers (Belgian, 1928 - 2007)
Coffee Table - c.1970 Wood, 49 x 157 cm Ø
Provenance: Private collection, Everberg
Published: Jean-Pierre Gabriel, Christophe Gevers, Brussels, 2024, pp.189-191 (ill.)
€ 8000 - 12 000
058 Kongo Power Figure - Nkisi
D.R. Congo
Wood, textile, cowrie shell, mirror, and feathers 20 cm (30 cm incl. feathers)
Provenance:
Louis Pieter Cornelis van Rijn (Lode 1910-1997), Galerie Khepri, Amsterdam
Ludwig Bretschneider (1909-1987), Munich
Ludwig Schmidt (1920-1995), Munich (1973) By descent
Galerie Frank Van Craen, Brussels (2019)
Private collection, Belgium
Published:
Karl-Ferdinand Schädler, Afrikanische Kunst in deutschen Privat-Sammlungen, München, Münchner Buchgewerbehaus, 1973, p.333, cat.479
€ 6000 - 8000
059 Bakongo Flywhisk Handle
D.R. Congo
Wood and brass tacks, 26 cm
Provenance:
Belgian Colonial Collection
Pierre Dartevelle, Brussels (2007)
Private collection, Belgium
€ 2000 - 3000
060 . Kota Bracelet
Gabon
Bronze, 15 cm
Provenance:
Joaquin Pecci, Brussels
Private collection, Belgium
€ 600 - 800
061
Brent Wadden (Canadian, 1979)
Untitled - 2011
Oil on canvas, 52 x 42 cm
Signed and dated on verso
Artist's inventory n°9791
Provenance:
Peres Projects, Berlin
Private collection, Belgium
€ 5000 - 7000
D.R. Congo
Wood, rattan, and pigment, 18,5 cm (38 cm incl. beard and coiffe)
Provenance:
Philippe Guimiot, Brussels Collection Robert Giron, Brussels (acquired from above) By descent
€ 10 000 - 15 000
The mask closely resembles the one belonging to the collection of the Africa Museum in Tervuren (inv. EO.1953.74.5395), which is attributed to the carver Kiyova from Luaya-Ndambo. The strong formal parallels, particularly in the shape of the eyes and the distinctive rendering of the mouth, suggest the possibility of a shared origin or even the hand of the same artist.
062 Pende Mask
063 . Raoul De Keyser (Belgian, 1930 - 2012)
Opdringerig duidelijk - 1966
Oil on canvas, 122 x 90 cm
Signed, dated and titled on verso
Provenance: Galerij Kaleidoscoop, Ghent
Private collection, Antwerp
Published:
Steven Jacobs, Raoul De Keyser. Retour 1964-2006, Ludion, Brussels, 2007, pp.19, 251 (ill.)
Jan Hoet, Raoul De Keyser 1964-1970 [exhibition catalog], Deinze, Museum van Deinze en de Leiestreek, 2013, cat.99 (ill.)
Steven Jacobs, Mit der Minolta zur Malerei. Raoul De Keyser und die Fotografie, in Raoul De Keyser. Œuvre [exhibition catalog], S.M.A.K., Ghent / Sammlung Moderne Kunst in der Pinakothek der Moderne, Munich, 2018, p.89, ill.61
Steven Jacobs and Hilde D'haeyere, Raoul De Keyser: Early Works: Catalogue of Paintings 1964-1980, Verlag der Buchhandlung Walther und Franz König, Cologne, 2024, cat.RDK-34 (ill. - titled "Deurklink")
Exhibited:
Kaleidoscoop, Ghent, Raoul De Keyser, 10 - 23 December 1965
Kaleidoscoop, Ghent, 1967
Deinze, Museum van Deinze en de Leiestreek, Raoul De Keyser 1964-1970, 9 October 2013 - 19 January 2014, cat.99
€ 40 000 - 60 000
Opdringerig duidelijk (1966) is a representative example of De Keyser’s early engagement with the visual language of Hard Edge painting. The composition is dominated by flat planes of color and sharply defined forms, reflecting the influence of Al Held, whose work De Keyser encountered in Amsterdam around this time.
The painting marks a brief but pointed dialogue with international abstraction, filtered through De Keyser’s restrained sensibility. Despite its structural clarity, the work retains a sense of ambiguity and hesitation—qualities that would come to define his later, more intuitive practice.
064 Chokwe Mask - Mwana Pwo
Angola
Wood and vegetal fibers, 33,5 cm
Provenance:
Acquired by Henrique Quirino de Fonseca (1902-1969), Dundo, Angola, before 1936
Henrique Quirino de Fonseca (1902-1969), Lausanne
By descent (1936-2003)
Bernard de Grunne, Brussels
Private collection, Belgium
Published:
Bernard de Grunne, BRUNEAF, Brussels Non European Art Fair XV, Brussels, 2005, p.47
€ 40 000 - 60 000
065 . Pol Bury (Belgian, 1922 - 2005)
Ponctuation - 1962
[Also titled Entité érectile]
Painted wood, nylon wire, and electric motor
101 x 40 x 22 cm
Provenance:
Private collection (acquired from the artist c.1962)
Sotheby's London, 24 June 1993, lot 109
Collection Lahumière, Paris
Published:
Galerie Lahumière. Trente ans après. Une collection, Paris, Galerie Lahumière, 1993, p.71 (ill.)
Gilles Marquenie, Pierre Alechinsky, Kurt De Boodt & Paul Dujardin, Pamela Lee, André Morain, Johan Pas, Pol Bury. Time in Motion, Mercator Fonds, Brussels, 2017, p.139
Gilles Marquenie, Pol Bury Online Catalogue Raisonné, R171
Exhibited:
BOZAR, Brussels, Pol Bury. Time in Motion, 23 February – 4 June 2017, cat.48 (ill.)
Casa Milà (La Pedrera), Barcelona, Open Works. Art in Movement, 1955-1975, 28 September 2018 – 27 January 2019
Fondation Villa Datris, L’Isle sur la Sorgue, Vaucluse, Mouvement et Lumière #2, 19 May – 1 November 2023
€ 40 000 - 60 000
In 1961, Pol Bury moved to France and settled in Fontenay-aux-Roses, near Paris. There, through his gallerist Iris Clert - an influential figure in the avant-garde scene - he connected with an international audience that would pave the way for his global breakthrough. With two solo exhibitions in 1962 and 1963, Bury captured the attention of art enthusiasts drawn to Clert’s daring and iconic shows, including Yves Klein’s Le Vide (The Void) and Arman’s response, Le Plein.
During this period, Bury further developed his Ponctuations series - monochrome, motorized reliefs featuring whitetipped nylon threads that moved slowly and unpredictably. These works explored the perception of time while also marking a radical departure from traditional art forms, a goal Bury achieved with striking originality.
Who better than Eugène Ionesco to articulate the sense of bewilderment one experiences when first encountering a Ponctuation by Bury?
En réalité, cet objet ne ressemble à rien. Il faut s'habituer à ce qu'il ne ressemble à rien, il n'est autre chose que lui-même, une chose incongrue qui n'était pas avant d'être inventé par Bury. C'est une forme nouvelle. Ce n'est pas un objet nommable. C'est une intrusion de l'ailleurs dans l'ici.
(In reality, this object resembles nothing. One must get used to its resemblance to nothing; it is only itself, an incongruous thing that did not exist before Bury invented it. It is a new form. It is not a nameable object. It is an intrusion of the elsewhere into the here.)
Unsettling in their strangeness, these reliefs harken back to Bury’s early surrealist influences. The Ponctuations from 1962, and especially the work presented here, deepen this sense of ambiguity. They reflect key surrealist traits: an attraction to the incongruous, the marvelous, and the poetic, often laced with humor, always keeping the viewer slightly off balance and intrigued.
That same year, Bury began incorporating materials like wood chips and sand into the backgrounds of his reliefs, giving them an even more otherworldly texture than the flatly painted surfaces of earlier works. In the relief shown here, the absence of recognizable forms, whether from nature or art, is paradoxically emphasized by the presence of a frame. Rather than offering clarity or reassurance, the frame only heightens our sense of disorientation.
066 Pierre Chapo (French, 1927 - 1987)
Round Table T 02 – 1963 (design)
Wood (with two sets of feet)
38 x 111 cm Ø, or 73 x 111 cm Ø
Literature: H. Magen et al., Pierre Chapo, un artisan moderne, Magen H. Gallery, 2017, pp.76-85
€ 6000 - 8000
067 Kongo Figure - Nkisi
D.R. Congo
Wood, vegetal fibers, organic and inorganic materials, 8 cm
Provenance:
Abla-Volta and Alain Lecomte, Paris
Private collection, Belgium
Published:
Alain Lecomte, ed., Bakongo. 'Les fétiches' mi-nkondi, mi-nkisi, Paris, Éditions A. Lecomte, 2016, p.57
€ 2000 - 3000
068 Yaka Figure
D.R. Congo
Wood, pigment, and vegetal fibers, 9 cm
Provenance:
Pierre Dartevelle, Brussels (2011)
Marc Leo Felix, Brussels
Private collection, Belgium
€ 800 - 1200
069 Pende Hairpin
D.R. Congo Ivory, 14 x 4,5 x 1 cm
Provenance:
Private collection, Europe Galerie Alain Bovis, Paris
Private collection, Belgium (acquired from the above in 2015)
€ 4000 - 6000
With European CITES certificate n°2025/BE01325/CE. This item is subject to CITES regulations and cannot be exported outside the European Union.
070 Pierre Chapo (French, 1927 - 1987)
T14 Table - 1964 (design)
€ 3000 - 5000
Wood, 73 x 140 x 68 cm
071 . Philip Pearlstein (American, 1924 - 2022)
Male and Female Models Reclining - 1966
Oil on canvas, 137 x 183,5 cm
Signed and dated lower right
Provenance:
Allan Frumkin Gallery (label on verso) Private collection, Belgium
Published:
Russel Bowman, Philip Pearlstein. The Complete Paintings, Alpine Fine Arts Collection, New York, 1983, cat.266
€ 50 000 - 80 000
By the mid-1960s, Philip Pearlstein had firmly established himself as one of the leading figures in postwar American realism. In Male and Female Models Reclining (1966), his rigorous, unsentimental approach to the nude is on full display. This large-scale composition exemplifies Pearlstein’s cool precision and his unwavering focus on the physicality of the human form at a pivotal moment in his development.
The male and female nude models are rendered with the detachment and exacting precision that became Pearlstein’s hallmark. Neither eroticized nor dramatized, they occupy the canvas with striking physical presence, illuminated in cool, clinical light. Cropped in unexpected ways and set against a sparse interior, they are less narrative subjects than formal elements—contours, colors, and textures to be studied and composed.
Pearlstein’s refusal to mythologize the nude, paired with his masterful technique, aligns his work with modernist concerns of form, space, and perception rather than the classical tradition. The result is a compelling visual tension between realism and abstraction, intimacy and distance.
072 . Jacques Moeschal (Belgian, 1913 - 2004)
Signe Brass, 41,5 cm
Initialed on the base
Provenance: Private collection, Antwerp
€ 2000 - 3000
Small-scaled version of a sculpture Moeschal made for the Belgian collector Louis Bogarts.
D.R. Congo
Wood and pigment, 62 cm
Provenance: Didier Claes Gallery, Brussels
Private collection, Belgium
€ 6000 - 8000
073 Songye Mask
074 . Stéphane Mandelbaum
(Belgian, 1961 - 1986)
Saint Nicolas Nazi - 1979
Oil on canvas
208 x 280 cm
Signed lower right
Provenance:
Private collection, Belgium
Published:
Gilles Sebhan, Mandelbaum ou le rêve d'Auschwitz, Les Impressions Nouvelles, 2019, pp.86-87
Bruno Jean, Stéphane Mandelbaum. Une monographie, Les Editions Martin de Halleux, Paris, 2022, pp.42, 365 (ill.)
Exhibited: Musée Estrine, Saint-Rémy-de-Provence, Regards de collectionneurs – l’art belge d’après-guerre dans la collection Caroline et Maurice Verbaet, 6 March – 5 June 2016 [exhibition continued to Musée Jean Cocteau, Menton, 25 June - 31 October 2016], (not in cat.)
€ 70 000 - 100 000
In this visceral tableau, Mandelbaum reimagines the traditional figure of Saint Nicholas, a symbol of benevolence and childhood innocence, which evolved into the modern-day Santa Claus as a menacing Nazi officer. The saint’s familiar bishop’s attire is distorted into a military uniform adorned with a swastika. In a threatening gesture, he holds his arm around three children who can be identified as Stéphane himself and his brothers, Ariéh, Alexandre.
The artist further includes his own likeness in a frame at the top left of the painting. It is both a window through which he observes the scene, and a framed self-portrait, asserting his position as an artist, highlighting Mandelbaum's position as both witness and storyteller.
Born in 1961 in Brussels to a Jewish father and an Armenian mother, Mandelbaum's art often delved into themes of identity, memory, and the scars of history.
The painting does not only focus on the victims of the Holocaust but also on the scars it left on future generations. The children in the work, along with the artist, represent how historical atrocities continue to affect those who did not directly experience them. Through this depiction, Mandelbaum emphasizes the importance of remembering the past, as the trauma of history reverberates long after the events have ended.
075 . Bram Bogart (Belgian, 1921 - 2012)
Deblack - 1977
90 x 75 x 21 cm
Signed and dated top right, on the edge
Published: Bram Bogaert, Jaak Van Damme, Bram Bogart, Klein Tableau, Stichting Kunstboek, Oostkamp, 2003, p.235 (ill.)
€ 35 000 - 45 000
Executed in 1977, Deblack presents a dense, nearly monochromatic surface of black pigment, interrupted by three slits of red—gestures that recall the spatial investigations of Lucio Fontana. Yet where Fontana’s cuts open onto the void, Bogart’s incisions are thick with materiality, embedded within the very substance of the work rather than beyond it.
At once painting and object, Deblack exemplifies Bogart’s mature practice, in which gesture is inseparable from mass.
076 Lega Head - Isengo
D.R. Congo
Terracotta, 16 cm
Provenance: Willy Mestach Collection, Brussels
Pierre Dartevelle Collection, Brussels
Private collection, Belgium
€ 8000 - 12 000
077 Otto Piene
(German, 1928 - 2014)
Untitled - 1961
Gouache on paper, 13,3 x 15,7 cm
(mount window 16,4 x 15 cm)
Signed and dated lower left
Provenance:
Galerie Ad Libitum, Antwerp (label on verso)
Private collection, Antwerp
Private collection, Belgium
€ 4000 - 6000
078 Max Ingrand (French, 1908 - 1969)
Mirror - c.1958
Mirror and blue coloured glass, 65 cm Ø
Edited by Fontana Arte
Provenance: Galleria Esempi Del Novecento, Milan
Private collection, Belgium
Exhibited: Milan, Palazzo Reale, 500 years of Italian Furniture Magnificence and Design, 22 April - 21 June 2009
€ 6000 - 8000
079 Michel Frère (Belgian, 1961 - 1999)
Untitled - c.1996
Oil on paper on canvas, 119 x 150 cm
Provenance: Private collection, Belgium
€ 4000 - 6000
080 David Nash (British, 1945)
Stoves - 1979-1987, 1998
6 black and white photographs
17,5 x 22,5 cm / 33 x 37 cm (incl. mount) each
Edited by Galerij S65, Aalst and the artist in April 1998
In an edition of 20 and five artist's proofs, this is number 7/20
Numbered and signed in pencil by the artist on the colophon in the portfolio
Provenance:
Galerij S65, Aalst, 1998
Private collection, Belgium
€ 4000 - 6000
Portfolio with six photographs (framed individually), titled:
Wood Stove, Maentwrog, North Wales 1979
Slate Stove, Blaenau Ffestiniog, North Wales 1981
Sticks and Clay Stove, Biesbos, Netherlands 1981
Snow Stove, Kotoku, Japan 1982
Bamboo Stove, Nikko, Japan 1984
Ice Stove, Vale of Ffestiniog, North Wales 1987
081 Songye Figure
D.R. Congo Wood and metal, 14,3 cm
Provenance: Karel Plasmans Collection, Belgium
Thence by descent
€ 4000 - 6000
082 Stéphane Mandelbaum (Belgian, 1961 - 1986)
Hotel Hotel
Pencil on paper, 150 x 124 cm
Provenance: Private collection, Belgium
Published: Bruno Jean, Stéphane Mandelbaum. Une monographie, Les Editions Martin de Halleux, Paris, 2022, p.138 (ill.)
Camille Brasseur, Regards de collectionneurs – l’art belge d’après-guerre dans la collection Caroline et Maurice Verbaet, Paris, Selena éditions, 2016, pp.192-193 (ill.)
Exhibited: Musée Tavet-Delacour, Pontoise, Abstractions. Arts non figuratifs belges après 1945, 17 September 2016 – 15 January 2017, pp.192-193
€ 20 000 - 30 000
Stéphane Mandelbaum’s oeuvre is marked by an unflinching engagement with the body, sexuality, and violence subjects rendered with a graphic intensity that confronts rather than comforts. Far from gratuitous, the explicit nature of his imagery serves as a deliberate aesthetic and political strategy. Drawing on influences as diverse as Francis Bacon, Jean Genet, and the raw visual language of underground pornography, Mandelbaum explored identity through transgression, using sex and obscenity as tools to expose power structures, historical trauma, and psychological vulnerability. His drawings fuse eroticism with autobiography, frequently implicating himself as both witness and subject, as is the case in this self-portrait (and the inscription “moi par moi”). In this way, his crude and explicit images transcend provocation, operating instead as uncompromising meditations on marginality, memory, and the unspeakable dimensions of human experience.
083 Songye Maternity
D.R. Congo Wood, 26 cm
Provenance: Karel Plasmans Collection, Belgium
Thence by descent
€ 4000 - 6000
084 Uruwa Friction Oracle Katatora
D.R. Congo, late 19th c Wood, 9,5 cm
Provenance: Commandant Kabwe (1990s)
Marc Léo Félix, Brussels
Private collection, Belgium
Exhibited: Congo Gallery, Brussels, Congo Women, 2013
€ 3000 - 5000
085 Kuba Cup
D.R. Congo Wood, 19 cm
Provenance: Philippe Laeremans Tribal Art, Brussels
Private collection, Belgium
€ 3000 - 5000
086 . Zande Jar
D.R. Congo Terracotta, 18,5 cm
Provenance: Pierre Dartevelle Collection, Brussels Private collection, Belgium
€ 1200 - 1800
087 Budja Headdress
D.R. Congo
Wood and vegetal fibers, 45 cm
Inventory number in white paint: FX 9118
Provenance: Marc Leo Felix, Brussels
Private collection, Belgium
Exhibited:
Congo Gallery, Brussels, La face cachée, 2006, cat.42
€ 800 - 1200
088 Jef Verheyen
(Belgian, 1932 - 1984)
Untitled - 1972
Color crayons on paper, 39 x 39 cm
Signed and dated in pencil on verso
Provenance:
Private collection, Antwerp
€ 8000 - 12 000
089 Jef Verheyen
(Belgian, 1932 - 1984)
Untitled - 1972
Color crayons on paper, 39 x 39 cm
Signed and dated in pencil on verso
Provenance:
Private collection, Antwerp
€ 8000 - 12 000
090 Jef Verheyen
(Belgian, 1932 - 1984)
Untitled - 1972
Color crayons on paper, 39 x 39 cm
Signed and dated in pencil on verso
Provenance:
Private collection, Antwerp
€ 8000 - 12 000
091 Jef Verheyen
(Belgian, 1932 - 1984)
Untitled - 1972
Color crayons on paper, 39 x 39 cm
Signed and dated in pencil on verso
Provenance:
Private collection, Antwerp
€ 8000 - 12 000
092 . Songye Figure
D.R. Congo
Wood and vegetal fibers, 21 cm
Provenance:
Collection Robert Giron, Brussels By descent
€ 1000 - 1500
093 . Thomas Joshua Cooper (American, 1946)
Midnight-Midday – 1998 black-white photography, 44 x 60 cm (x 2)
Provenance: Galerie S65, Aalst (acquired in 2005) Private collection, Belgium
Exhibited: Graeme Murray Gallery, Edinburgh (label on verso)
€ 3000 - 5000
094 Andrea Branzi (Italian, 1938 - 2023)
Animale Domestici Bench - 1985 / 2010
Painted MDF and tree branches
164 x 225 x 68 cm
(Bench slab: 180 x 60 cm)
Dedicated, dated, numbered, and signed underneath :
A Patrick con amicizia
Manufactured by Zabro
Number 1 from an edition of 8
Provenance:
Galleria Clio Calvi Rudi Volpi, Milan
Private collection, Belgium
€ 15 000 - 25 000
095 Alex Katz (American, 1927)
Isca - 2001
Red chalk on paper
184 x 152 cm
Provenance:
Galerie Thaddaeus Ropac, Salzburg
Private collection, Paris, Paris
€ 30 000 - 40 000
In Isca, Alex Katz renders a striking figure with the utmost economy of line, yet the result is anything but minimal in impact. The portrait depicts the painter Isca Greenfield-Sanders, captured in a bust-length profile, with her head turned slightly toward the viewer. The work, drawn in red chalk on a commanding scale, projects an arresting presence. Isca’s gaze is direct, somewhere between curious and inviting, creating a subtle but unmistakable tension between viewer and subject.
There’s a quiet contradiction at the heart of the work: its size and graphic simplicity lend it an almost abstract quality, yet the figure remains undeniably human, even vulnerable. Katz walks a fine line between distance and intimacy—using large, clean contours to construct an image that feels monumental, while the sitter’s pose and expression pull the viewer in, unexpectedly close.
As a preparatory drawing for the painting of the same title, Isca stands on its own as a complete and compelling statement, balancing scale, clarity, and emotion with Katz’s characteristic precision.
096 Hamish Fulton (British, 1946)
A Two Day Walk - 1980 photography, 38 x 65 cm
Printed full title underneath:
A TWO DAY WALK ROUND THE COASTLINE FROM PENZANCE TO ST IVES OVER SEVEN SMALL HILLS AND BACK TO PENZANCE CORNWALL SUMMER 1980
Provenance: Private collection, Bruges
€ 3000 - 5000
A Two Day Walk reflects Hamish Fulton’s core commitment to walking as both medium and message. Documenting a brief but intentional journey, the photograph is not a record of landscape in the traditional sense, but rather a residue of experience, a visual distillation of time, movement, and solitude. Created during a period when Fulton had firmly renounced studio-based production, the work exemplifies his practice of transforming ephemeral encounters with place into pared-down, contemplative forms. As with much of his output, it offers viewers not a scene to observe but a rhythm to imagine.
097 Mangbetu Figure
D.R. Congo
Wood, pigment, and raffia, 63 cm
Provenance:
Acquired in situ by Eugenia de Galberg c.1930By descent
Artcurial, Briest-Poulain-F.Tajan, Paris, Art Tribal, 22 June 2015, lot 38
Private collection, Brussels
€ 12 000 - 18 000
098 . Sam Francis (American, 1923 - 1994)
Untitled, SF 64-548 - 1964
Acrylic and gouache on paper (cut-out shapes)
313 x 407 mm
Signed, dated, and inscribed on verso: Sam Francis, 1964, Los Angeles C-2960
Provenance:
Collection of the artist
Sam Francis Estate, Glendale, California
Swiss Private Collection
Germann Auktion House, Zurich, 8 June 2015, lot 79
Private collection, Brussels
Exhibited:
New York, Pierre Matisse Gallery, Sam Francis. Exhibition of oil paintings and coloured drawings from 1962 to 1966 done in Tokyo and Los Angeles, 28 February - 18 March 1967
Zurich, Galerie Proarta, Sam Francis 1923-1994: Bilder 1949 bis 1968, Gedenkausstellung, 26 May - 10 July 2004
Published:
Roxana Pirovano, Sam Francis 1923-1994: Bilder 1949 bis 1968, Gedenkausstellung [exhibition catalog], Galerie Proarta, Zurich, 2004, p. 49 (ill.)
€ 18 000 - 20 000
The present work is registered at the Sam Francis Estate, Venice, California, under n° SF64-548. Created in 1964 in Los Angeles, Untitled (SF64-548)belongs to a body of works that reflect Francis’s sustained interest in spatial tension, negative space, and chromatic energy. Though modest in scale, this work holds the hallmark structure of his “frame” compositions, where color is pushed to the margins, leaving the central field largely open—an inversion of traditional compositional focus that he returned to throughout the 1960s. Here, cut-out shapes in acrylic and gouache hover near the edges of the sheet, creating a rhythmic interplay between density and emptiness. The result is a work that feels both structured and spontaneous, with Francis’s characteristic bursts of color holding the composition in place like visual anchors.
Rather than overwhelming the viewer with gesture, Francis plays with restraint, testing how far form and color can be reduced while still generating energy. Untitled (SF64-548) stands as a distilled version of his larger-scale investigations, offering a clear window into his process and compositional thinking during one of his most prolific periods.
099 . Luba Vessel
D.R. Congo Terracotta, 26 cm
Provenance: Pierre Dartevelle Collection, Brussels
Private collection, Belgium
€ 8000 - 12 000
100 Walter Leblanc (Belgian, 1932 - 1986)
Gouache - Relief Sable - 1961
Sand, perforations, and silver paint on paper, 18 x 14 cm Signed lower right
Provenance:
Private collection Switzerland
Germann Auktionshaus, Zurich, 28 November 2012, lot 1037
Olivier Fayt Fine Art, Knokke
Exhibited:
Grenchen, Galerie Toni Brechbühl, Walter Leblanc, 6 January - 1 February 1962
€ 3000 - 4000
101 . Antoine Mortier (Belgian, 1908 - 1999)
Femme assise Il - 1961 [Seated Woman II] Oil on canvas, 162 x 114 cm
Signed lower right
Provenance:
Albert and Philippe Niels Collection, Brussels
Private collection, Belgium
Published: Karel Geirlandt, Jan Hoet, Francine-Claire Legrand, France Borel, Françoise Knops-Mortier, Antoine Mortier, Lannoo, Tielt, 1989, p.173 (ill.)
Michel Draguet, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, Musée d’Ixelles / Racine, Brussels, p.159 (ill.)
Anouck Clissen & Camille Brasseur, Connexions One. Belgische Kunst 1945-1975, Antwerp, Pandora Publishers, 2015, p.56 (ill.)
Camille Brasseur, Collection Caroline et Maurice Verbaet, Paris, Selena éditions, 2016, pp.72-73 (ill.)
Exhibited: Musée communal d’Ixelles, Brussels, Art belge. Un siècle moderne. Collection Caroline et Maurice Verbaet, 11 October 2012 - 20 January 2013, p.159 mvAc, Antwerp, Connexions One. Belgische Kunst 1945-1975, 19 September - 20 December 2015, p.56 (ill.)
Musée Estrine, Saint-Rémy-de-Provence, Regards de collectionneursl’art belge d’après-guerre dans la collection Caroline et Maurice Verbaet, 6 March - 5 June 2016 [exhibition continued to Musée Jean Cocteau, Menton, 25 June - 31 October 2016], pp.72-73
€ 40 000 - 60 000
102 Kisi Figure
Tanzania
Terracotta, 19,5 cm
Provenance: Galerie Flak, Paris
Christophe Evers Collection, Brussels
Private collection, Belgium
€ 1000 - 1500
103 Zulu Container
South Africa, Northern Nguni Wood, 35 cm
Provenance: Pierre Dartevelle Collection, Brussels
Private collection, Belgium
€ 6000 - 8000
104 Walter Swennen (Belgian, 1946)
Untitled - 1989
Eglomisé, 102 x 102 cm
Initialed and dated on verso
Provenance:
Private collection, Belgium
Published:
Raphaël Pirenne, Dirk Snauwaert, Walter Swennen, Caroline Dumalin, Quinn Latimer, Olivier Mignon, Walter Swennen, So Far so Good [exhibition catalog Wiels, Brussels, 5 October 2013-26 January 2014], Les Presses du Réel, Dijon, 2013, p.179 (ill.)
Exhibited:
Wiel's, Brussels, Walter Swennen. So Far so Good, 5 October 2013 - 26 January 2014, cat.88 (ill.)
€ 20 000 - 30 000
105 . Inuit Snow Goggles
Alaska Marine ivory, 15,3 x 3 x 1,5 cm
Provenance: Private collection, Belgium
€ 4000 - 6000
106 Johan Tahon (Belgian, 1965)
Untitled - 1997
Charcoal on paper, 56 x 99 cm
Signed and dated lower right
Provenance:
Private collection, Belgium
€ 600 - 800
107 Hanne Darboven (German, 1941 - 2009)
Untitled - 1973
Pecil on paper, 21 x 29,7 cm (x 4)
Each paper initialed and dated lower right
Provenance: Private collection, Bruges
€ 3000 - 5000
Composed of four sheets in pencil, this 1973 work exemplifies Hanne Darboven’s rigorous conceptual practice, where the act of writing becomes both method and material. With its sparse, serial arrangement, the composition embodies the quiet intensity and nearmusical cadence characteristic of her early 1970s output. Eschewing narrative and overt imagery, the work unfolds as a visual score: precise, meditative, and resolutely personal, reflecting Darboven’s pursuit of time made visible through repetition and structure.
108 Kikuyu Bracelet
Kenya
Ivory, 16 x 10 x 7,2 cm
Provenance:
Sotheby's, Paris, 16 June 2010, lot 78
Private collection, Belgium
€ 10 000 - 15 000
With European CITES certificate n°2025/BE01323/CE.
This item is subject to CITES regulations and cannot be exported outside the European Union.
109 Charles Gaines (American, 1944)
Shadows - 1980
Photograph (2#) and ink on paper (2#)
50 x 40 cm each
Both drawings titled, dated, and signed on the lower edge
SHADOWS IV: SET 3, IMAGE 3, ANGLE 180°, PLANT AT 0°, 90° AND 180°, RED NUMBERS
SHADOWS IV: SET 3, IMAGE 4, ANGLE 180°, SHADOWS OF PLANT AT 0°, 90° AND 180°, RED NUMBERS
Provenance:
Private collection, Bruges
€ 10 000 - 15 000
In the Shadows series (1978–1980), Charles Gaines employed a systematic approach to explore the nature of perception and representation. Each set comprises four panels: a photograph of a plant, a photograph of its shadow, a drawing of the plant, and a drawing of its shadow. The works in Shadows IV: Set 3 document the plant from multiple rotational angles—0°, 90°, and 180°—with each drawing layering previous positions into a grid-like schema. This analytical method reflects Gaines’s interest in structures that reveal, rather than obscure, the instability of visual meaning.
The series exemplifies Gaines’s use of rule-based systems to interrogate the boundary between image and idea. By methodically mapping shadows—ephemeral, shifting impressions—onto fixed, numbered grids, he dismantles traditional hierarchies between the subjective and the objective, the natural and the constructed. In doing so, Gaines aligns with conceptual practices that emerged in the 1960s and ’70s, yet his work stands apart for its sustained focus on representation, identity, and language through a nonexpressive lens.
A foundational figure in American conceptual art, Gaines has influenced generations of artists engaging with systems, language, and race. He is closely associated with the California conceptual scene and has long been a faculty member at CalArts. His work is held in major public collections, including MoMA, the Whitney Museum, and the Los Angeles County Museum of Art, and he has been the subject of significant retrospectives, most recently at the Dia Art Foundation and the Hammer Museum.
THE COLLECTION OF DR. ALBERT COCHAUX
The following lots (108 - 121) come from the collection of Dr. Cochaux, a dedicated collector with a long-standing interest in modern and African art. Among his patients were the African art dealers Martial Bronsin and Willy Mestach, who was also a painter, both key figures in the world of tribal art. Their shared passion sparked lifelong friendships marked by rich intellectual exchange and a steady flow of artworks between them.
The pieces presented here reflect that ongoing dialogue. They speak not only to Dr. Cochaux’s discerning eye but also to the personal connections and conversations that shaped his collection. Included is a portrait of the doctor by Mestach - one among many traces of a friendship grounded in curiosity, trust, and a mutual love of art.
110 Willy Mestach (Belgian, 1936 - 2014)
Portrait of Dr. Cochaux
Pastel on paper
61,5 x 46,5 cm (mount window)
Signed lower right
Provenance: Dr. Cochaux Collection, Belgium
Published: Willy Mestach, Wim Toebosch, L'accomplissement des formes. Œuvres de Jean-Willy Mestach de 1950 à 2000, Tribal Arts, Brussels, 2006 (ill.)
€ 1000 - 1500
111 Léopold Plomteux
(Belgian, 1920 - 2008)
Untitled - 1953
Oil on panel, 76,5 x 50,5 cm
Signed and dated lower right
Provenance: Dr. Cochaux Collection, Belgium
Exhibited:
Liège, Musée d'Art Moderne, Rétrospective Léopold Plomteux, 18 May - 1 July 1984 (label on verso)
€ 2000 - 3000
112 Nande Musical
Instrument - Mumbira
D.R. Congo
Wood and pigment
51 cm
Provenance:
Dr. Cochaux Collection, Belgium
€ 2000 - 3000
113 Mwenze Kibwanga (Congolese, 1925 - 1999)
"La métamorphose du papillon" sous l'effet du chanvre - 1950
[The Metamorphosis of the Butterfly - under the influence of cannabis]
Gouache on cardboard, 32 x 45 cm
Signed lower right
Provenance: Dr. Cochaux Collection, Belgium
€ 800 - 1200
114 Luba Mask
D.R. Congo
Wood, 35 cm
Provenance: Dr. Cochaux Collection, Belgium
€ 12 000 - 18 000
115 Pili Pili (Congolese, 1914 - 2007)
Feu dans la Brousse [Bushfire]
Goauche on paper, 49 x 62 cm (mount window)
Signed lower right
Provenance: Dr. Cochaux Collection, Belgium
€ 2000 - 3000
116 Pindi Figure
D.R. Congo Wood, 58 cm
Provenance: Dr. Cochaux Collection, Belgium
€ 2000 - 3000
117 Bela Sara (Chadian, 20th C)
Two Antelopes - c.1955
Gouache on paper, 40,5 x 50 cm
Signed lower right
Stamp on verso of the Academie Congolaise d'Art populaire, dated in ink 15/II/1955
Provenance: Dr. Cochaux Collection, Belgium
€ 2000 - 3000
118 Ada Figure
Ghana
Wood, 19,5 cm
Provenance:
Willy Mestach, Brussels (certificate)
Private collection, Belgium
€ 1000 - 1500
119 Nafana Mask
Ivory Coast
Wood and pigment, 106 cm
Provenance: Dr. Cochaux Collection, Belgium
€ 1500 - 2000
120 Jo Delahaut (Belgian, 1911 - 1992)
Woman Sitting - 1945
Oil on canvas, 50 x 60 cm
Signed and dated top right
Provenance: Dr. Cochaux Collection, Belgium
€ 3000 - 5000
121 Sylvestre Kaballa ((Congolese, 1920)
Bushfire - 1956
Gouache on paper, 49 x 59,5 cm
Signed, located, and dated lower right: E/ville
Provenance: Dr. Cochaux Collection, Belgium
Published: Roger Pierre Turine, Les Arts du Congo. D'hier à nos jours, La Renaissance du Livre, 2007, p.44 (ill.)
€ 3000 - 5000
122 Nande Figure
D.R. Congo Wood, 39 cm
Provenance: Dr. Cochaux Collection, Belgium
€ 6000 - 8000
123 Luba Mask
D.R. Congo Wood, 35 cm
Provenance: Dr. Cochaux Collection, Belgium
€ 6000 - 8000
124 . Sylvestre Kaballa (Congolese, 1920)
Perdrix, fleurs et chenilles - 1951 [Partridges, flowers, and caterpillars]
Oil on canvas, 57 x 75 cm
Signed and dated lower right
Provenance: Dr. Cochaux Collection, Belgium
Published: Roger Pierre Turine, Les Arts du Congo.
D'hier à nos jours, La Renaissance du Livre, 2007, p.44 (ill.)
€ 3000 - 5000
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 consigned them ("Vendor").
Adjudication is made in favor of the highest bidder in Euros acknowledged by Native at the time of the auction ("Buyer") and the Sales Contract between the Vendor and the Buyer is concluded by this adjudication.
The object being sold is released to the Buyer only against cash or bank transfer payment.
b) Objects are put in the auction in the state in which they are found at the time of the auction. Subject to point 1c. below, any guarantee for material damage or legal damages is excluded.
The objects are on display during the event. The descriptions shown in catalogs, advertisements, brochures, internet site or any other article or document issued by Native are given purely by way of illustration. They in no way commit the liability of Native. Consequently, Native guarantees neither the accuracy of the explanatory notes contained in the catalog, nor the origin, date, age, cultural background or provenance of the objects put up for auction. It is the Vendor who is solely liable for the explanatory notes in the catalog. Native agrees to reproduce them in the catalog only in its capacity as an agent for the Vendor.
c) Native freely states that it is prepared to cancel the auction on behalf of the Vendor and refund only the hammer price, commission and VAT if an object sold should prove, within 1 year from the date of the auction, to be a modern intentional fake. By modern intentional fake is to be understood a reproduction which it can be proved has been made with the intention of deceiving others whether in respect of origin, date, age, cultural background or source, without this having been shown in the catalog.
The condition for this refund is that the Buyer sends an immediate claim by registered letter to Native as soon as the defect has come to light and at the latest by 1 year from the date of the auction and that he immediately return the fake object in the same state as on the day of the auction and exempt of any third-party claim. The Buyer must provide proof that the object auctioned is a fake compared with the description in the catalog and that the object is identical to the item auctioned. Any other claim by the Buyer is excluded.
d) Buyers must, at their own expense, come and collect the objects auctioned within 10 working days from the end of the auction during opening times at Native, namely from Monday to Friday 10:00 to 16:30. If sufficient time is available, objects will be released after each session. In accordance with point 1, handover will be against payment in cash for lots up to € 2 999.
During the abovementioned period, Native is liable for the loss, theft, damage or destruction of the objects auctioned and paid for, although only up to the amount of the price of the auction, commission and VAT. Upon the expiration of this period Native’s liability will cease. If the objects auctioned are not withdrawn within 10 working days, they will be stored at the expense and risk of the Buyer.
e) Each Buyer is personally responsible for the item awarded to him at auction. Proof of powers of attorney may be required from persons acting as third-party representatives or as an organ of a corporate body. The representative is jointly and severally liable to the person represented for meeting all commitments.
2. Hammer price, premium, risk transfer, ownership transfer, payment, invoicing, VAT, importing and exporting
a) In addition to the hammer price, the Buyer owes a supplement ("premium") on the hammer price. Premium is 30% of the hammer price and includes all taxes. In case of bidding through an internet platform, an extra premium will be added by those. Premium for drouot.com is 1,8% on the hammer price, for liveauctioneers.com 5%.
For lots where the Vendor is a non-resident of the EU (lots indicated by ‡), the Buyer will pay an import tax of 6% in addition to the bid price plus legal costs. The amount of this tax will be reimbursed on presentation of proof of export outside the E.U.
b) Ownership of the auctioned item passes to the Buyer once the hammer has come down. Until full payment of the hammer price, premium and VAT, Native reserves a right of retention and lien on all objects in its keeping. The release of the auctioned object to the Buyer is not made until after full payment of the hammer price, premium and VAT.
c) An auctioned object must be paid for within 7 days after the auction. If the Buyer remains in default on payment 30 days after the auction, any sum due at that time will, as of right and without any formal notification being necessary, be subject to interest on arrears of 10% per annum. Moreover, in the event of non-payment by the final deadline, any sum due will be increased as of right by a flat-rate indemnity of 15%, without prejudice to Native’s right to seek full reparation of the damage suffered.
In addition, if the payment due by the Buyer does not take place or is not made in time, Native can, as it chooses and in the name of the Vendor, either continue to demand that the sales contract be executed or, without being bound to set a fixed time, waive the right to require execution of the sales contract and claim damages for non-execution or even renounce the contract. The Buyer is liable in respect of Native and the Vendor for all damages resulting from non-payment or late payment.
d) According to the law of 30 June 1994 on authors’ rights, the Buyer shall pay in addition to the hammer price an Artist Resale Right (droit de suite) of 4% on the part of the hammer price from 0 € to 50,000 €, of 3% on the part of the hammer price from 50,001 € to 200,000 €, of 1% on the part of the hammer price from 200,001 € to 350,000 €, of 0.5% on the part of the hammer price form 350,001 € to 500,000 € and of 0.25% for the last part of the hammer price above 500,001 €. The resale right ceases when the artist has been deceased for more than 70 years.
e) The exporting of any object from Belgium and the importing into a third country may be subject to particular authorisations. The Buyer is responsible for obtaining all necessary export or import licenses. Refusal of these authorisations or any delays after they have been obtained will in no case be grounds for a cancellation of the sale or a delay in payment.
3. Registration and attendance at the Sale
a) The submission of a bid or an absentee bid unconditionally and irrevocably binds the bidder. The bidder remains bound to his offer until this becomes the subject of a higher bid or is rejected by Native. Double bids become the subject of an immediate new call to bid; in cases where there is doubt, the auction management decides by drawing lots.
b) Bidders who are not personally known to Native are bound to give legitimate proof of identity before the beginning of the auction. Native reserves the right to request proof of the bidder’s solvency. If this latter document is not available, Native is authorised to demand the immediate payment of a cash deposit equal to 10% of the auction price or the lodging of a guarantee. If this deposit is not paid or guarantee lodged, Native is authorised on behalf of the Vendor to cancel the auction.
c) Native is entitled to reject any bid without having to to give any explanation. Similarly, it is entitled to adjudicate without a sale or to withdraw items from the auction. Native reserves the right to refuse any person access to its commercial premises or forbid any person from taking part in one of its auctions.
d) Bids from interested parties who do not wish to attend the auction personally will be taken into consideration if they communicate such a wish in writing 24 hours before the start of the auction.
Interested persons can bid by telephone if they have not announced their wishes in writing at least 24 hours before the start of the auction. Native accepts bids by telephone for lots whose lowest estimate reaches at least € 1,000.
Native disclaims all responsibility for offers that have not been taken into account as well as for bids made by telephone which may not have been taken into account.
The rules set down in point 3b with respect to providing proof of identity and solvency also apply to persons bidding by telephone or in writing. For bidders who place their offer via the Internet, in other words an absentee bid, point 3b applies only in respect of solvency.
In order to comply with the ML/TF law of Sept. 18, 2017, any buyer who has purchased for an amount from €10,000 must submit a photo of the identity card (recto and verso) or passport.
Native cannot be held responsible in the event of dysfunction of the platforms used to bid online. The user must read and accept, without reservation, the conditions of use of this platform.
4. Miscellaneous
The auction is held under the joint authority of a huissier de justice (Court bailiff). Any liability on the part of Native arising from acts attributable to the huissier involved is excluded.
b) The foregoing stipulations are an integral part of each individual sales contract concluded at sales by auction. Amendments to them are in no way binding unless Native has given its agreement to them in writing.
c) Any dispute on the validity, interpretation and execution of these Conditions of Sale and any dispute on the conducting of the auctions will be subject to Belgian law, with the exception of (a) the stipulations of the Vienna Convention on international sales contracts and (b) the rules of referral to Belgian international private law.
d) Only the courts and tribunals of Brussels are competent to rule on any disputes.
CONDITIONS DE VENTE - NATIVE SPRL
La participation aux enchères emporte l’acceptation inconditionnelle aux présentes conditions de vente.
1. Enchères et état des objets
a) Les objets d’enchères sont mis aux enchères par Native pour le compte et au nom de celui qui les a déposés ("vendeur").
L’adjudication a lieu au plus offrant en Euros reconnu par Native lors de la vente aux enchères ("Acheteur") ; le contrat de vente entre le déposant et l’Acheteur est conclu par cette adjudication.
L’objet de la vente n’est remis à l’Acheteur que contre un paiement en espèces ou transfert bancaire.
b) Les objets sont mis aux enchères dans l’état dans lequel ils se trouvent au moment de l’adjudication. Sous réserve du point 1c. ci-dessous, toute garantie pour dommages matériels ou juridiques est exclue.
Les objets sont visibles pendant l’exposition. Les descriptions figurant dans les catalogues, site internet, annonces, brochures ou tout autre écrit émanant de Native ne sont données qu’à titre purement indicatif. Elles n’engagent en aucun cas la responsabilité de Native. Par conséquent, cette dernière ne garantit ni l’exactitude des notices explicatives reprises dans le catalogue, ni l’origine, la date, l’âge, le cercle de culture ni la provenance des objets mis aux enchères. Les notices explicatives reprises dans le catalogue relèvent de la seule responsabilité du déposant. Native n’accepte de les reproduire dans le catalogue qu’en tant qu’intermédiaire de ce dernier. c) Native se déclare librement disposée à annuler l’adjudication au nom du déposant et à rembourser uniquement le prix de l’adjudication, la commission et la TVA, si un objet vendu devait s’avérer, dans un délai de 1 an à compter de la date de l’adjudication, être le résultat d’un faux intentionnel moderne. Il faut entendre par faux intentionnel moderne une reproduction dont il est prouvable qu’elle a été faite dans l’intention de tromper fallacieusement autrui, que ce soit en ce qui concerne l’origine, la date, l’âge, le cercle de culture ou la source, sans que cela ressorte du catalogue.
La condition de ce remboursement est que l’Acheteur adresse une réclamation immédiate, sous pli recommandé adressé à Native, dès la découverte du vice et au plus tard dans un délai de 1 an à compter de la date de l’adjudication, et qu’il restitue immédiatement l’objet falsifié à Native dans le même état que le jour de l’adjudication et exempt de toute prétention de tiers. L’Acheteur doit fournir la preuve que l’objet adjugé est un faux par rapport à la description du catalogue et que l’objet est identique à la chose adjugée. Toute autre prétention de l’Acheteur est exclue.
d) Les Acheteurs doivent venir chercher, à leurs propres frais, les objets adjugés dans les 10 jours ouvrables qui suivent la clôture de la vente aux enchères, pendant l’horaire d’ouverture de Native, soit du lundi au vendredi de 10:00 à 16:30. Si le temps à disposition est suffisant, les objets seront délivrés après chaque séance. Conformément au point 1., la remise a lieu contre paiement.
Pendant le délai précité, Native est responsable de la perte, du vol, de l’endommagement ou de la destruction des objets adjugés et payés, à concurrence toutefois du montant du prix de l’adjudication, de la commission et de la TVA. À l’expiration de ce délai, la responsabilité de Native cesse. Si les objets adjugés ne sont pas retirés dans les 10 jours ouvrables, ils seront entreposés aux frais et aux risques de l’Acheteur.
e) Chaque Acheteur répond personnellement de l’adjudication qui lui a été faite. La preuve de pouvoirs de représentation peut être exigée de personnes qui agissent comme représentants pour le compte de tiers ou comme organe d’une personne morale. Le représentant répond solidairement avec le représenté de l’accomplissement de tous les engagements.
2. Prix de l’adjudication, commission, transfert des risques, transfert de la propriété, paiement, facturation, TVA, importation et exportation
a) Outre le prix d’adjudication, l’Acheteur est débiteur d’un supplément ("commission") sur le prix d’adjudication. La commission est de 30% du prix d’adjudication et inclut toutes les taxes. En cas d'enchère via une plateforme internet, une commission supplémentaire sera ajoutée par celle-ci. Pour drouot.com cette commission s'élève à 1,8% sur le prix marteau, pour liveauctioneers.com à 5% sur le prix marteau.
Pour les lots dont le vendeur est non-résident de l’ E.U (lots signalés par ‡) l’adjudicataire paiera une taxe importation de 6% en sus de l’adjudication, plus les frais légaux. Le montant de cette taxe sera remboursé sur présentation de la preuve d’exportation hors E.U.
b) La propriété de l’objet adjugé passe à l’Acheteur dès l’adjudication. Jusqu’au complet paiement du prix de l’adjudication, de la commission et de la TVA, Native se réserve un droit de rétention et de gage sur tous les objets sous sa garde. La délivrance de l’objet adjugé à l’Acheteur n’intervient qu’après complet paiement du prix de l’adjudication, de la commission et de la TVA.
c) Un objet adjugé doit être payé dans les 7 jours dès la clôture de la vente aux enchères. Si l’Acheteur est resté en défaut de paiement 30 jours après l’adjudication, toute somme due à ce moment portera, de plein droit et sans mise en demeure préalable, un intérêt moratoire de 10% par an. En outre, en cas de non paiement à l’échéance, toute somme due sera majorée de plein droit d’une indemnité forfaitaire de 15%, sans préjudice du droit de Native de postuler la réparation intégrale du dommage subi.
En outre, si le paiement dû par l’Acheteur n’a pas lieu ou n’intervient pas à temps, Native peut, à son choix et au nom du déposant, soit continuer à exiger l’exécution du contrat de vente, soit sans être tenu d’impartir un délai renoncer au droit de demander l’exécution du contrat et réclamer des dommages et intérêts pour cause d’inexécution ou encore se départir du contrat. L’Acheteur est responsable vis-à-vis de Native et du déposant de tous les dommages découlant du non-paiement ou du paiement tardif.
d) Conformément à la loi du 30 juin 1994 sur les droits d'auteur, x doit payer en plus du prix d'adjudication un droit de suite de 4 % sur la partie du prix d'adjudication comprise entre 0 € et 50 000 €, de 3 % sur la partie du prix d'adjudication comprise entre 50 001 € et 200 000 €, de 1 % sur la partie du prix d'adjudication comprise entre 200 001 € et 350 000 €, de 0,5 % sur la partie du prix d'adjudication comprise entre 350 001 € et 500 000 € et de 0,25 % sur la dernière partie du prix d'appel au-delà de 500.001 €. Le droit de suite s’éteint lorsque l’artiste est décédé depuis plus de 70 ans.
e) L’exportation de tout objet hors de la Belgique et l’importation dans un pays tiers peuvent être sujetties à des autorisations particulières. L’Acheteur est responsable de l’obtention de toutes les autorisations requises à l’exportation ou à l’importation. Le refus de ces autorisations, ou tous retards consécutifs à leur obtention, ne justifiera en aucun cas l’annulation de la vente ni un retard de paiement.
3. Enregistrement et participation à la vente
a) La remise d’une enchère ou d’un ordre d’achat " absentee bid ’ lie inconditionnellement et irrévocablement l’enchérisseur. L’enchérisseur demeure lié à son offre jusqu’à ce que celle-ci fasse l’objet d’une surenchère ou qu’elle soit écartée par Native. Les enchères doubles font l’objet d’un nouvel appel immédiat ; dans les cas douteux, la direction des enchères tranche par tirage au sort.
b) Les enchérisseurs qui ne sont pas personnellement connus de Native sont tenus de se légitimer avant le début de la vente aux enchères. Native se réserve le droit d’exiger une preuve de la solvabilité de l’enchérisseur. Si ce dernier document fait défaut, Native est habilitée à exiger le paiement immédiat d’un acompte en espèces équivalent à 10% de l’adjudication ou le dépôt d’une garantie. À défaut du versement de cet acompte ou du dépôt de cette garantie, Native est autorisée au nom du déposant à annuler l’adjudication.
c) Native est libre d’écarter une enchère sans indication des motifs. De même, elle est en droit d’adjuger sans vente ou de retirer des objets de la vente aux enchères. Native se réserve le droit de refuser à toute personne l’accès à ses locaux commerciaux ou d’interdire à toute personne de participer à l’une de ses ventes aux enchères.
d) Les offres d’enchères émanant d’intéressés qui ne souhaitent pas assister personnellement à la vente aux enchères seront prises en considération par écrit jusqu’à 24 heures avant le début de la vente aux enchères.
Les personnes intéressées peuvent enchérir par téléphone si elles se sont annoncées par écrit au minimum 24 heures avant le début des enchères. Native accepte les enchères par téléphone pour des lots dont l’estimation basse atteint au moins 1000 €.
Native décline toute responsabilité pour les offres n’ayant pas été prises en considération ainsi que pour les enchères téléphoniques qui n’auraient pas été prises en compte.
Les normes prévues au point 3b. concernant la légitimation et la preuve de la solvabilité s’appliquent également aux enchérisseurs par téléphone et par écrit. Pour les enchérisseurs, qui donnent leur offre via Internet dans le cadre d’un ordre d’achat (absentee bid), le point 3b. ne s’applique qu’en ce qui concerne la solvabilité.
Afin de se conformer à la loi ML/TF du 18 septembre 2017, tout acheteur ayant acquis pour un montant supérieur ou égal à 10 000 € doit soumettre une photo de carte d'identité (recto et verso) ou de passeport.
Native ne peut être responsable en cas de dysfonctionnement des plateformes utilisées pour enchérir en ligne. L’utilisateur doit prendre connaissance et accepter, sans réserve, les conditions d’utilisation de cette plateforme.
4. Divers
a) La vente aux enchères se déroule sous l’autorité conjointe d’un huissier de justice. Toute responsabilité de Native du fait d’actes imputables à l’huissier instrumentant est exclue.
b) Les dispositions qui précèdent font intégralement partie de chaque contrat individuel de vente conclu à l’occasion des ventes aux enchères. Leurs modifications n’ont de portée obligatoire que si Native leur a donné son accord écrit.
c) Tout litige relatif à la validité, l’interprétation et l’exécution des présentes conditions de vente et tout litige relatif au déroulement des enchères sera soumis au droit belge, à l’exception (a) des dispositions de la Convention de Vienne concernant les contrats de vente internationale et (b) des règles de renvoi du droit international privé belge.
d) Seuls les cours et tribunaux de Bruxelles sont compétents pour connaître d’éventuels litiges.
VERKOOPVOORWAARDEN - NATIVE BVBA
Deelname aan de veiling veronderstelt de onvoorwaardelijke aanvaarding van onderhavige voorwaarden.
1. Veiling en staat van de kavels
a) De ter veiling aangeboden kavels worden door Native geveild voor rekening en in naam van de persoon die ze hiervoor heeft afgeleverd ("verkoper’).
De toewijzing gebeurt aan diegene die tijdens de veiling door Native als hoogste bieder in euro wordt erkend ("koper’) en geldt als verkoopovereenkomst tussen de verkoper en de koper. Het verkochte lot wordt alleen aan de koper geleverd tegen contante betaling of betaling per bankoverschrijving.
b) De kavels worden geveild in de staat waarin zij zich op het moment van de veiling bevinden. Onder voorbehoud van hierna vermeld punt 1c. is elke garantie voor materiële of juridische schade uitgesloten.
De kavels kunnen worden bezichtigd tijdens de tentoonstelling. De beschrijvingen in de catalogi, advertenties, brochures en op de website van Native hebben een louter indicatieve waarde en stellen Native geenszins aansprakelijk. Native biedt dus geen garantie met betrekking tot de juistheid van de beschrijvingen in de catalogus, de oorsprong, de datum, de leeftijd, de cultuur of de afkomst van de geveilde kavels. Alleen de verkoper is aansprakelijk voor de in de catalogus opgenomen beschrijvingen. Native neemt deze beschrijvingen alleen in zijn catalogus op als tussenpersoon van de verkoper.
c) Native verklaart vrijelijk bereid te zijn de veiling namens de inbrenger te annuleren en alleen de hamerprijs, commissie en BTW terug te betalen indien binnen 1 jaar na de datum van de veiling blijkt dat een verkocht object een moderne opzettelijke vervalsing is. Onder moderne opzettelijke vervalsing wordt verstaan een reproductie waarvan kan worden aangetoond dat deze is gemaakt met de bedoeling anderen te misleiden met betrekking tot herkomst, datering, ouderdom, culturele achtergrond of bron, zonder dat dit uit de catalogus blijkt.
Voorwaarde voor deze terugbetaling is dat de koper onmiddellijk na de ontdekking van het gebrek en uiterlijk binnen een termijn van 1 jaar te rekenen vanaf de datum van de verkoop aangetekend klacht bij Native indient, en dat hij het vervalste kavel onmiddellijk aan Native terugbezorgt in de staat waarin het zich op de dag van de verkoop bevond en vrij van elke aanspraak van derden. De koper moet het bewijs leveren dat het verkochte kavel een vervalsing is ten opzichte van de beschrijving in de catalogus en dat het kavel wel degelijk het verkochte kavel is. Elke andere vordering van de koper is uitgesloten.
d) De koper dient op eigen kosten en binnen een termijn van 10 werkdagen na het afsluiten van de veiling de gekochte stukken af te halen. Dit kan tijdens de openingsuren van Native: van maandag t/m vrijdag van 10:00 tot 16:30. Indien er voldoende tijd is kunnen de aangekochte loten na de veiling overhandigd worden mits contante betaling en indien de prijs lager is dan € 3 000.
Tijdens de hierboven vermelde termijn is Native aansprakelijk voor verlies, diefstal, beschadiging of vernieling van de verkochte en betaalde goederen. Deze aansprakelijkheid beperkt zich tot maximaal het bedrag van de verkoop, de commissie en de btw. Na deze termijn eindigt de aansprakelijkheid van Native. Indien de verkochte kavels niet zijn afgehaald binnen een termijn van 10 werkdagen, worden zij bewaard op kosten en voor risico van de koper.
e) Elke koper is persoonlijk verantwoordelijk voor het hem in de veiling toegewezen voorwerp. Van personen die optreden als vertegenwoordiger van een derde of van een rechtspersoon kan een bewijs van volmacht worden vereist. De vertegenwoordiger is samen met de vertegenwoordigde persoon hoofdelijk aansprakelijk voor het nakomen van alle verplichtingen.
2. Hamerprijs, commissie, risico-overdracht, eigendomsoverdracht, betaling, facturatie, btw, import en export
a) Naast de prijs van de verkoop is de koper ook een toeslag ("commissie’) op de hamerprijs verschuldigd. De commissie bedraagt 30 % van de hamerprijs en alle belastingen inbegrepen. Indien geboden wordt via een internet platform zal een extra commissie aangerekend worden door deze. Voor drouot.com bedraagt deze commissie 1,8 % op de hamerprijs, voor liveauctioneers.com 5%.
Voor kavels waarvan de verkoper niet-inwoner is van de E.U. (kavels aangeduid met ‡) betaalt de koper een invoertaks van 6 % op de hamerprijs, plus de wettelijke kosten.
Het bedrag van deze taks wordt terugbetaald op vertoon van het bewijs van export buiten de E.U.
b) De eigendom van het verkochte kavel gaat over op de koper vanaf het ogenblik van de verkoop. Tot op het ogenblik van de volledige betaling van de hamerprijs, de commissie en de btw, kan Native pandrecht en retentierecht inroepen voor de stukken die het in bewaring heeft. Het overhandigen van het aan de koper verkochte kavel vindt pas plaats na volledige betaling van de hamerprijs, de commissie en de btw.
c) Een verkocht kavel moet binnen de 7 dagen na sluiting van de veiling betaald zijn. Indien de koper 30 dagen na de verkoop nalaat te betalen, worden alle bedragen die op dat ogenblik verschuldigd zijn van rechtswege en zonder voorafgaande ingebrekestelling verhoogd met een verwijlinterest van 10 % per jaar. Bij niet-betaling op de vervaldag wordt elk verschuldigd bedrag bovendien van rechtswege verhoogd met een vaste vergoeding van 15 %, ongeacht het recht van Native om de volledige vergoeding van de geleden schade te eisen.
Indien de door de koper verschuldigde betaling niet of niet tijdig plaatsvindt, kan Native bovendien naar eigen keuze en in naam van de verkoper hetzij de uitvoering van de verkoopovereenkomst eisen, hetzij - zonder daarom gehouden te zijn tot het toekennen van een termijn - afstand doen van het recht om uitvoering van de verkoopovereenkomst te eisen en schadevergoeding vragen voor niet-naleving van het contract, hetzij afzien van het contract. De koper is aansprakelijk ten opzichte van Native en de verkoper voor alle schade ingevolge nietbetaling of laattijdige betaling.
d) Overeenkomstig de wet van 30 juni 1994 betreffende het auteursrecht betaalt de koper bovenop de hamerprijs een volgrecht (droit de suite) van 4% over het gedeelte van de hamerprijs van 0 € tot 50.000 €, van 3% over het gedeelte van de hamerprijs van 50.001 € tot 200.000 €, van 1% over het gedeelte van de hamerprijs van 200.001 € tot 350.000 €, van 0,5% over het gedeelte van de hamerprijs van 350.001 € tot 500.000 € en van 0,25% voor het laatste gedeelte van de hamerprijs boven 500.001 €. Het volgrecht dooft uit wanneer de artiest sedert meer dan 70 jaar is overleden.
e) Voor export van een kavel buiten België en import in een ander land kunnen bijzondere vergunningen vereist zijn. De koper is verantwoordelijk voor het verkrijgen van alle vereiste export- of importvergunningen. Niet-toekenning of vertraging door de laattijdige toekenning van de nodige vergunning vormt geen geldige reden voor annulatie van de verkoop of uitstel van betaling.
3. Inschrijving en deelname aan de verkoop
a) Het uitbrengen van een bod of het doorgeven van een aankooporder "absentee bid" is onvoorwaardelijk en onherroepelijk bindend voor de bieder. De bieder blijft gebonden door zijn bod tot er een hoger bod gedaan wordt of het bod door Native verworpen wordt. In geval van een dubbel bod wordt onmiddellijk opnieuw afgeroepen; bij twijfel beslist de directie van de veiling door loting.
b) Bieders die niet persoonlijk bij Native bekend zijn, dienen zich bij aanvang van de veiling te legitimeren. Native behoudt zich het recht voor een bewijs van kredietwaardigheid van de bieder te vragen. Indien dit document niet kan worden voorgelegd, is Native gemachtigd onmiddellijk betaling van een contant voorschot van 10 % van de toewijzing of een borg te eisen. Bij afwezigheid van voorschot of borg is Native gemachtigd om de verkoop in naam van de verkoper te annuleren.
c) Native mag naar eigen inzicht een bod verwerpen zonder verklaring van zijn beslissing. Het staat Native vrij om een bod zonder opgave van redenen te weigeren. Evenzo heeft zij het recht om een toewijzing te doen zonder verkoop of om kavels uit de veiling terug te trekken. Native behoudt zich het recht voor aan personen toegang tot de handelslokalen of deelname aan de veiling te weigeren.
d) Personen die niet persoonlijk aan de veiling wensen deel te nemen, kunnen hun bod schriftelijk uitbrengen tot 24 uur voor de aanvang van de veiling.
Ook Telefonisch bieden is mogelijk, indien de telefonische bieder zich ten minste 24 uur voor de aanvang van de veiling schriftelijk heeft aangemeld. Native aanvaardt telefonische biedingen voor kavels waarvan de waarde op minstens 1000 euro is geschat.
Native weigert elke aansprakelijkheid voor biedingen die niet in aanmerking zijn genomen of indien geen rekening werd gehouden met een telefonisch bod.
De criteria vermeld in punt 3b met betrekking tot de legitimatie en het bewijs van kredietwaardigheid zijn ook van toepassing voor personen die hun bod per telefoon of schriftelijk uitbrengen. Voor bieders die hun bod via de website uitbrengen in het kader van een aankooporder (absentee bid), geldt alleen de vermelding in punt 3b met betrekking tot de kredietwaardigheid.
Teneinde te voldoen aan de ML/TF wet van 18 september 2017 moet elke koper die voor een bedrag vanaf € 10 000 aangekocht heeft een foto van de identiteitskaart (recto en verso) of paspoort laten geworden.
Native kan niet aansprakelijk worden gesteld voor eventuele storingen van de platforms die worden gebruikt om online te bieden. De gebruiker moet de gebruiksvoorwaarden van dit platform lezen en zonder voorbehoud aanvaarden.
4. Varia
a) De veiling vindt plaats onder medetoezicht van een deurwaarder. Native weigert elke aansprakelijkheid met betrekking tot daden die toe te schrijven zijn aan de instrumenterende deurwaarder.
b) Voormelde bepalingen maken integraal deel uit van elk individueel verkoopcontract dat ter gelegenheid van een veiling gesloten wordt. Wijzigingen aan deze voorwaarden zijn slechts bindend indien Native zich hiermee schriftelijk akkoord heeft verklaard.
c) Voor geschillen over de geldigheid, interpretatie en uitvoering van onderhavige verkoopvoorwaarden en het verloop van de veiling, is het Belgische recht van toepassing, met uitzondering van (a) de bepalingen van de Conventie van Wenen met betrekking tot internationale verkoopovereenkomsten en (b) de regels die verwijzen naar het Belgische Internationale Privaatrecht.
d) In geval van geschil zijn alleen de rechtbanken van Brussel bevoegd.
CATALOG EDITORS
Nicolas Paszukiewicz
Sébastien Hauwaert
Gilles Marquenie
PHOTOGRAPHY BY
Nicolas Paszukiewicz
Sébastien Hauwaert
Brice Vandermeeren
Printed by Snel Grafics
Auction 29
17 June 2025 - Brussels
Amerikaanse Straat, 26-28
Rue Américaine, 26-28
Brussel 1060 Bruxelles
T +32(0)2 514 04 42 info@native-auctions.com
VAT BE0835 325 693
I have read and accept the conditions of sale of Native. Please bid on my behalf for the following lots up to the hammer price mentionned on this form. These bids are to be executed as cheaply as is permitted by other bids.
If any bid is successfull, I agree to pay in addition to the hammer price the buyer’s premium and the VAT mentionned in the conditions of sale.
Please attached a copy of the identity card or passport to this form.
Native auctions
Telephone bid Absentee bid
NAME ADDRESS
ADDRESS FOR INVOICING EMAIL
BIC/SWIFT
VAT NUMBER
DATE
SIGNATURE