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Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 16-22 Museumstraat 25 2000 Antwerpen T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be [email protected] Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500. No telephone biddings when estimation less than €500. Live Webcast Registratie tot dinsdag 10 oktober, 18U Registration till Tuesday 10 October, 6PM Silent Sale Lotnummers vanaf 5000 Enkel online van vrijdag 27 oktober tot maandag 6 november, 12U www.bernaerts.be > Veilingen > Enkel online ABK 111-2656241-87 IBAN BE67 1112 6562 4187 BIC ABERBE 22 BTW BE 0413 901 869 Veiling/ Sale: WERK OP PAPIER / WORKS ON PAPER donderdag/ Thursday 12 oktober/ October om 14U/ at 2PM en/ & om 19u/ at 7AM Expo: donderdag/ Thursday 5 oktober/ October vrijdag/ Friday 6 oktober/ October zaterdag/ Saturday 7 oktober/ October zondag/ Sunday 8 oktober/ October van 10 tot 18U/ from 10 AM to 6 PM Expertise: Elias Leytens & Peter Bernaerts Kantoor van Gerechtsdeurwaarders Briers-Dujardin Bailiffs Briers-Dujardin © SABAM/ © Digital photo, layout & prepress Studio Bernaerts Illustration cover p.1 detail lot 1366, p.4 lot 1150 VOLGORDE LOTEN ORDER OF THE SALE DONDERDAGNAMIDAG 1000 - 1344 THURSDAY AFTERNOON 12 OKTOBER 12 OCTOBER OM 14U AT 2PM Literatuur & Kunstenaarsboeken 1000 - 1065 Literature & Artists' Books Interbellumgrafiek 1066 - 1100 Interbellum Prints Interbellum tekeningen 1101 - 1155 Interbellum drawings Naoorlogse grafiek 1156 - 1344 Post-War Prints DONDERDAGAVOND 1345 - 1493 THURSDAY EVENING 12 OKTOBER 12 OCTOBER OM 19U AT 7PM Naoorlogse Tekeningen 1345 - 1439 Post-War Drawings Collectie Jan Hoet 1440 - 1493 Jan Hoet Collection VEILING / SALE Donderdag 12 oktober om 14 uur Thursday 12 October at 2PM Loten / lots 1000 - 1344 1213 LITERATUUR / LITERATURE KUNSTENAARSBOEKEN / ARTISTS' BOOKS 1000 1003 (avant garde) 7 Arts. Journal Hebdo- FERNAND LEGER (1881-1955) Collection of first six runs, 1962-1967. madaire d'Information et de Critique. Paul Eluard, Liberté j'écris ton nom. 24 issues. Stenciled, stapled/ glued Cinquième Saison nrs 1-25/ Sixième Paris, Imprimerie Union pour Pierre under original wrappers. We join: First Saison nrs 1-26 (lacking nrs 9, 10, 16 Seghers, 1953. Feuille in-folio repliée two runs of 'loslabrislos', together and 25). 47 fasc. in-fol., folder. 7 Arts en accordéon. Tir. lim. et num. à la 15 stapled issues. And five typewrit- was founded in 1922 by The brother main, un des 26 ex. marqués A-Z, ten letters. Ground braking when it Pierre and Victor Bourgeois, Pierre- celui-ci nr. X. Monté dans un cadre. comes the publication of visual poetry Louis Flouquet, Karel Maes and Légèrement insolé. in Flanders, and Belgium. Most im- George Monnier (later replaced by 320 x 1280 mm portant issue is the double one from Paul Werrie). In the course of seven (€ 2000-2200) the fourth year with a survey of avant years, these men turned the lights on garde poetry of that era. Stunning set. many architects, designers, painters, Complete set of Labris, 1962-73. writers and others artists, from home (€ 3000-4000) and abroad (Bauhaus, Constructi- 1004 Lit.: Reizende Bladen p. 23 e.v. / vism, Dutch Neo Plasticism...). One (tijdschrift) Labris. Literaris tijdschrift Le Fonds Paul Destribats nr. 964. of the most striking features of 7 Arts der 60 ers. 1962 - 1967. Collectie was it's frequency in appearance and van de eerste zes jaargangen. 24 by doing so keeping a very close eye losse nummers. In-4°. Geniet/ gelijmd on many artistic outcoming during the onder orig. omslagen. Met enkele 1005 1920's. getypte brieven en 'bijvoegsels'. GUY VANDENBRANDEN (°1926) (€ 600-800) Derde nr jaargang een ontbreekt Raymond Quinot, La Lampe d'Aladin. voorkaft. Bijgevoegd: Loslabrislos. Illustrations de Guy Vandenbranden. Lit.: Le Fonds Paul Destribats nr. 193. 1ste jaargang, 1969. 11 nummers, Malines, Aux Editions du C.E.L.F., geniet. 127 pp. geniet. En: 2e jaar- 1952. In-8°. Een van de 500 reg. gang, eerste vier nummers, geniet. ex., met handgeschreven opdracht. 1001 En: Vijf getypte brieven/ rondzend- Ingenaaid. Bijgevoegd van dezelfde: (revue) Documents Internationaux brieven. Twee gericht aan Dirk de Blues. Couverture et Illustrations de de l'Esprit Nouveau. Nr. 1. Direction: Jong, ondertekend door Edmond Guy Vandenbranden. Id., 1955. Inge- Paul Dermée et M. Seuphor. Paris, Devoghelaere. Uitermate belangrijk naaid. En: Nul. Guy Vandenbranden. 1927. In-4°. 32 pp. Orig. wrappers. tijdschrift dat tijdens zijn eerste vijf Gr. in-8°. Ingenaaid. Uit het voorma- Some minor defects to the spine (re- jaargangen onder leiding stond van lige bezit van Dirk Claus. En: Twee cently glued). Only issue published. Max Kazan, Leon van Essche, Marcel expocatalogi (Guy Dorekens e.a.). (€ 600-800) van Maele en Hugo Neefs (vanaf de (€ 100-150) tweede kwamen door ondermeer Lit.: Le Fonds Paul Destribats nr. 259. Wybrand Ganzevoort, Ivo Vroom e.a. bij). Vanaf jaargang zes tot het einde, 1006 1002* de tiende, werd de redactie over- PIERRE ALECHINSKY (°1927) (magazine) Zenit, revue internationa- gedragen aan ondermeer Edmond Louis Scutenaire, Pointes. Suite de le. Belgrade, 1925. Nrs 36/ 37. 2 vol. Devoghelaere, Pierre Anthonissen, 17 gravures Pierre Alechinsky. Paris, in-8°. Orig. wrappers. This magazine Frans Denissen en Paul Lambrechts. Editions Georges Visat, (1972). In-fol. was founded in 1921 by Ljubomir Mi- De oude garde bleef echter actief op en ff. 41 pp.num. Tir. lim. et num. à la cic, in Zagreb, and from 1923 à 1926 redactioneel vlak. Internationaal er- presse, un des XXV ex. réservés aux in Belgrade. It was the very first avant kend tijdschrift dat baanbrekend werk collaborateurs, nr. XXIII. Six planches garde magazine to be founded in the publiceerde op het vlak van concrete monogrammées, les autres signées à former Yugoslavia, and is to this day en visuele poëzie, met bijdragen, op la mine de plomb. Sous couv., étui et regarded as one of the most important dat gebied, van alle grote der aarde, emb. orig. magazines from that era. zoals: Chopin, Orlovsky, Bukowski, (€ 2800-3000) (€ 600-800) Sanders, Cobbing, Heidsieck, Lit.: Pierre Alechinsky. Ceuleers & Finlay e.a. Lit.: Le Fonds Paul Destribats nr. 165. Van de Velde nr. 35. 6 detail lot 1002 7 1007 1011 1015 GUY VANDENBRANDEN (°1926) DAN VAN SEVEREN (1927-2009) HUGO HEYRMAN (°1942) Wilfried Adams/ Guy Vandenbranden, Roland Jooris, De dwang van het vlak. Michel Oukhow/ Hugo Heyrman, Lettre de cachet. Antwerpen, s.n., Dan Van Severen. (Gent), Octave 'De Kringloop van het Straatleven'. 1982. Los in-4°. Een van de 39 de Achtste, 2005. In-fol. Geïllus- Antwerpen, De Zwarte Panter, reguliere ex. met vijf kleurenzeef- treerd met vijf etsen. Een van de 48 1989. In-4°. 10 gen.pp. Een van drukken, nr. 12. Gesigneerd door reguliere ex. gen. in potlood, nr. 16, de 100 in pot. gen. ex., nr. 48, auteur en kunstenaar. Orig. beige gesigneerd. Met suite van drie etsen, gesigneerd. Orig. oranje linnen linnen overslag- en schuifdoos. alle getekend, gedateerd en genum- band en schuifdoos. (€ 200-300) merd in potlood. Orig. omslag en (€ 100-150) schuifdoos. 1008 (€ 200-250) (Vanriet) Fernand Auwera/ Jan Vanriet; Mooie, gekwetste ziel. S.d.n., (1984). In-4°. Een van de 20 romeins 1016 gen. auteursexemplaren. Met drie KAREL DIERICKX (1940-2014) aparte serigrafieën in apart mapje. 1012 Luuk Gruwez/ Karel Dierickx, De kerf Grijs linnen kaften en schuifdoos. REINIER LUCASSEN (°1939) in je wang. Gent, Octave de Achtste, Bijgevoegd: Dertig dagen robot zijn. Francis Ponge, Vijf Sapates. Etsen 2011. In-fol. Een van de 36 reguliere Acht etsen van Vic Gentils bij de Lucassen. (Gent), Ergo Pers, (2001). met de hand in potlood gen. ex., nr. gelijknamige roman van Piet Ster- In-fol. Een van de 60 reguliere ex. 7, gesigneerd. Met vijf etsen en suite ckx. (Antwerpen), Uitgave Galerij De gen. in potlood, nr. 11. Met twee met dezelfde prenten, alle getekend Zwarte Panter, (1981). Los in-fol. etsen in suite, beide getekend en en genummerd in potlood. In orig. Een van de 20 romeins gen. ex., genummerd in potlood. In orig. kaft kaft en schuifdoos. nr. XVI. Blauw linnen overslagdoos. en schuifdoos. (€ 300-350) (€ 150-250) (€ 100-200) 1009 MICHAEL BASTOW (°1943)/ FREDDY DE VREE (1939-2004) 1017 Ex voto. Box met zeven gedich- 1013 MARIO DE BRABANDERE (°1963) ten door Freddy De Vree en zeven JURGEN PARTENHEIMER (°1948) Roland Jooris, Mario De Brabandere, linosneden door Michael Bastow. Francis Ponge, A la rêveuse matière/ Naderhand. (Gent); Octave de Uitgegeven door de auteur, z.d.. Aan de dromende materie. (Gent), Achtste, (2016). In-fol. Een van Gelimiteerde uitgave 5/7, ac. Met Ergo Pers, (2002). 2 vol. in-fol. Een de 36 reguliere met de hand in handtekeningen van de kunstenaar van de 24 ex., nr. 7. De Nederlandse potlood gen. ex., nr. 10. Met de en opdracht 'Voor Hugo'. Volledig vertaling met handgeschreven op- suite van de vijf prenten, alle met originele pasteltekening gemon- dracht aan Alex Vermeulen. In orig. getekend en genummerd in teerd in bovenste gedeelte van linnen kaft en schuifdoos. potlood. Ingenaaid onder orig. opbergbox én damesslip. (€ 100-200) omslag, schuifdoos. 790 x 590 x 80 mm (€ 250-300) (€ 350-500) 1010 1014 ROGER RAVEEL (1921-2013) (Ergo Pers) Een verzameling van vijf 1018 Hugo Claus/ Roger Raveel, Thuis. Ergo Pers-uitgaven: Roland Jooris/ ROGER RAVEEL (1921-2013) Gent, Octave de Achtste, (1999). Raphaël Buedts, Houtaarde; Yves Roger Raveel, Tegenover het vlak. In-fol. 13pp. Een van de 60 met de Bonnefoy/ Alexandre Hollan, De (Gent), (2007). In-fol. 19pp. Een van hand in potlood gen. ex., nr. 17. druiven van Zeuxis; Christine D'Haen, de 100 met de hand in potlood gen. Getekend in potlood door de auteur Dodecaeder. Frontispice Jean Bilquin; exemplaren, nr. 39. Geïllustreerd met en de kunstenaar. Geïllustreerd met Roland Jooris, Omheen; André du een ets.
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  • Antwerp Art Weekend for the Third Time, Art Venues in and Around Antwerp Are Putting Their Hands Together to Celebrate Contem

    Antwerp Art Weekend for the Third Time, Art Venues in and Around Antwerp Are Putting Their Hands Together to Celebrate Contem

    Antwerp Art Weekend For the third time, art venues in and around Antwerp are putting their hands together to celebrate contem- porary art. Experience the city and its flourishing art scene with over 60 galleries, art spaces, temporary exhibitions and museums during this intense, three day, citywide manifestation. General opening hours: Note: some museums and spaces keep 19 May, Fri 12h − 22h and 20− 21 May, Sa/Su 12h− 18h to their regular opening hours and entrance fees. 1 DE Studio functions as a central location for the Antwerp Art Weekend, hosting exhibitions, talks and the Nacht van de Beeldende Kunst or the Night of the Visual Arts. WAYS OF TELLING Vandaele, Liese Vanhove, Sine Van Menxel and Ken Verhoeven. Inspired by Lis Rhodes ground-breaking 1978 film Light Reading, The party itself is hosted by TRAP, which is a tiny event space in this exhibition brings together moving image works from the LUX central Antwerp with an infinite capacity for all manners of art and collection that engage with storytelling and narrative in complex, music. It is operated, programmed and scrubbed clean by Roman often mysterious ways. Words are seen and heard, uncoded, un- Hiele, Allon Kaye, and Milan Warmoeskerken. done and questioned. Rebelling against the entrapment of lan- TRAP invites musicians Rashad Becker (DE) and Das Ding (NL) to guage, these films invite a constant re-evaluation of what and how perform and TRAP’s DJ’s will be playing all night long. The Night of we see and hear. With works by Beatrice Gibson, Laida Lertxundi, the Visual Arts takes place on Saturday, May 21 and starts at 9pm.
  • 9 Vintage Silverprints (9 X) 69 X 95 Mm Provenance: the Artist

    9 Vintage Silverprints (9 X) 69 X 95 Mm Provenance: the Artist

    Marc Mendelson (London 1915 - Ukkel 2013) 9 vintage silverprints (9 x) 69 x 95 mm Provenance: the artist Artist description: Marc Mendelson was born in London on November 6, 1915, but his Belgian father moved the family to Antwerp, Belgium, in 1922. He studied at the Institut supérieur des beaux-arts from 1934 to 1939, and his first solo exhibition took place in 1942 at Salle Lamorinière, Antwerp. Mendelson was a founding member of the avant-garde group Jeune Peinture Belge (also known as Jonge Belgische Schilderkunst, young Belgian painters, 1945–48). Aiming to promote the progressive work of young Belgian artists in the immediate post–World War II period, the group’s main exhibition took place in 1947 at the Palais des beaux-arts, Brussels. Mendelson subsequently showed at the Venice Biennale (1948) and the São Paulo Biennial (1951, 1953), and he received an honorable mention at the Carnegie International, Pittsburgh (1952). He was also included in Younger European Painters: A Selection (1953–54) at the Guggenheim Museum. This same year he was commissioned to produce murals for Kursaal Oostende, Ostend, Belgium, and, in collaboration with fellow Jeune Peinture Belge member Louis van Lint and architect Roger Thirion, murals for Restaurant Canterbury, Ostend. In 1951, Mendelson joined the faculty at the École nationale supérieure d’architecture et des arts décoratifs (La cambre), a renowned school of architecture and art in Brussels. Frequent visits to Spain in the 1950s intensified Mendelson’s engagement with abstract painting. In the 1960s he increasingly experimented with surface variations and matiérisme (matter art), the method of inserting materials such as sand, mud, or cement into thick impasto and applying it to the canvas.
  • The Sea. a Tribute to Jan Hoet & Collection Study III: Art in Europe

    The Sea. a Tribute to Jan Hoet & Collection Study III: Art in Europe

    Mara de Wachter, Ellen. "The Sea. A Tribute to Jan Hoet & Collection Study III: Art in Europe After 1968,” Frieze.com, December 15, 2014. 'Collection Study III: Art in Europe after 1968', exhibition view There we were: a damp shrivel of critics tramping along a rainy beach in the Belgian town of Ostend, hoping for an epiphany. We were on our way to see the artist Kris Martin’s newly commissioned Altar (2014), part of ‘The Sea. A Tribute to Jan Hoet’, a cit ywide project that grew out of an exhibition, ‘The Sea’, which the Belgian curator Jan Hoet was working on when he died in February 2014. In his last days, Hoet handed the project over to Mu.ZEE’s director, Philip Van den Bossche, and a small team of curators, who assembled a show of over 200 works in the museum and site-specific installations across town. As we approached Martin’s sculpture, a metal frame planted in the sand resolved into a shape resembling the Ghent Altarpiece (1432), Hubert and Jan Van Eyck’s Northern Renaissance masterpiece. Martin’s empty structure looked like a derelict billboard facing and framing the sea, out of which the pictorial content – so vital to the history of art in this Flemish region – had been dropped in favour of a view of nature itself. But the sacred tenor of the altarpiece remained, in spite of the disclaimer Martin gave us: ‘I am a believer but I don’t bother anyone with that.’ Some 60 kilometres away, in the exhibition ‘Collection Study III: Art in Europe after 1968’ at S.M.A.K.