Conditierapport

H 45 - 44 - 43,5 cm (the vases with cover)

H 39 - 38 cm (the two vases)

Condition: (UV-checked)
- The yenyen vases: the first with a 15mm hairline on the rim and a network of hairlines to the base, the second quasi excellent with a short 8mm glaze line to the underside of the neck.
- The covered vases: Two excellent, one with a tight ca. 4 cm glaze line.
- The covers: One excellent, one with a rim chip with short glaze line, one with a short glaze line, a small rim chip and a larger chip to the underside.

H 57,5 - 57 - 56 cm

Condition: (UV-checked)
- The vase on the right with a hairline to the base.
- The vase in the middle in excellent condition.
- The vase on the left in excellent condition.

H 57,5 cm

Condition: (UV-checked)
- Excellent.

H 20 - Dia.: 24,5 cm

Condition: (UV-checked)
- A short hairline extending upwards from the unglazed base, otherwise good.

H 18,5 cm

Condition: (UV-checked)
- Excellent.

H 34 cm (incl. the cover)
H 28 cm (excl. the cover)

Condition: (UV-checked)
- The vase excellent.
- The wooden cover reglued.
- Please note the height of the vase has been revised.

H 57,5 cm

Condition: (UV-checked)
- One excellent, one with a chip on the rim.

H 24,5 cm

Condition: (UV-checked)
- Both excellent.

H 46 cm

Condition: (UV-checked)
- Small chip to one of the handles, otherwise excellent.

H 13,5 - Dia.: 12,7 cm (the brushpot)
H 8,7 - Dia.: 12,5 cm (the bowl)

Condition: (UV-checked)
- The brush pot with a small rim chip.
- The bowl excellent.

H 59,5 cm (the vase)
Dia.: 37 cm (the dish)

Condition: (UV-checked)
- The dish with a 4 cm hairline.
- The vase with a very small rim chip and a baking flaw to the body.

H 35 - Dia.: 40 cm

Condition: (UV-checked)
- Excellent.

12,5 x 9 cm

Condition (UV-checked):
- Excellent, with some superficial dirt as visible.

Dia.: 33,5 cm

Condition: (UV-checked)
- Excellent.

H 42,5 cm

Condition: (UV-checked)
- Excellent.

H 44,5 cm

Condition: (UV-checked)
- Excellent.

H 58,5 cm

The vases enamelled with boys at play in a garden and figures riding on a mythical beast (qilin) surrounded by boys playing musical instruments and holding a canopy depicting the auspicious scene of 'qilin delivering another worthy son'.

Condition: (UV-checked)
- Excellent.

H 18,5 cm

Condition (UV-checked):
- Very good, with a baking flaw to the handle on the right, one to the back of the left handle and another on the back, on the lower part.

Dia.: 36 - 35 - 34,5 cm

Condition: (UV-checked)
- Two excellent, one with burst glaze bubbles along the rim.

H 57,5 - 43,5 - 41,5 cm

Condition: (UV-checked)
- One celadon vase with a hairline in the neck.
- The other vases in good condition.

H 57,2 cm

Condition: (UV-checked)
- All three in very good condition with minor superficial wear and minor baking flaws.

H 58,5 cm

Condition: (UV-checked)
- A ca. 7 cm hairline across the handle on the right and two rim chips.

H 61 cm

Condition: (UV-checked)
- Very good, with two small superficial rim chips and a flake to one handle.

H 61,5 cm

Condition: (UV-checked)
- Very good, with a 6 cm hairline to the base.

H 60 cm

Condition: (UV-checked)
- Excellent.

H 58 cm

Condition: (UV-checked)
- Very good, with minor wear to the overglaze enamels.

H 40,5 cm 

Condition: (UV-checked)
- Both very good, with some minor superficial wear.

H 58 cm

Condition: (UV-checked)
- One vase with two small rim chips.
- One vase quasi excellent, with a small chip to one of the rings on the handles and minor wear.

H 60,5 cm

Condition: (UV-checked)
- Quasi excellent, with a few small spots of loss to the enamels.

H 32,5 - Dia.: 36,5 cm 

Condition: (UV-checked)
- In good condition, with some spots of glaze loss along the rim.

H 43 cm

Condition: (UV-checked)
- The cover with a few small superficial chips to the rim of the finial and to the rim.
- The vase in good condition with some minor wear to the enamels and some fritting along the base rim.

H 44,5 cm

Condition: (UV-checked)
- One excellent, one with a very small rim chip and some minor spots of loss to the enamels.

Dia.: 12,5 cm (the saucer)

H 6,5 - L 29 - D 23,5 cm (the bowl)

H 5 cm - Dia.: 9,5 cm (the cup)

Condition: (UV-checked)
- The cup: two hairlines of 3-4 cm.
- The saucer: a 6 cm hairline to the center.
- The bowl: excellent.

H 63 cm 

Condition: (UV-checked)
- The upper rim with a few sections broken out and a repaired section, covering app. half of the circumference, over a height of ca. 2 cm. The base with a small chip.

H 32,5 cm

Condition (UV-checked):
- A large chip filled to one of the corners on the rim. Further rim chips and glaze loss along the extremities.

H 11 - L 13,5 cm 

Condition: (UV-checked)
- Teapot excellent, cover with repair to the finial and a rim chip.

H 60,5 cm 

Condition: (UV-checked)
- The vase with figures excellent.
- The vase with antiquities with a small rim chip.

H 10,5 - Dia.: 13,5 cm (the stem cup)
Dia.: 24,5 cm (the largest plate) 

Condition: (UV-checked)
- All excellent.

H 37 cm (the female sculpture)
H 21 cm (the pigeons)
H 18 - L 19 cm (the elephants)  

Condition: (UV-checked)
- Pigeons: excellent.
- Elephants: excellent.
- Lady: Very good, with a few negligible small touch-ups to small spots of enamel loss to the extremities.

H 35,5 - 29,5 cm 

Condition: (UV-checked)
- Two vases excellent.
- One from the pair with a 3 cm hairline running down from the rim.

H 21,5 cm 

Condition: (UV-checked)
- One with a star-shaped hairline to the base.
- Both with touch-ups to the overglaze enamels.

H 33 cm 

Condition: (UV-checked)
- Excellent.

H 8 - Dia.: 18,5 cm 

Condition: (UV-checked)
- Minor restoration to a chip on the rim.

H 58 cm 

Condition: (UV-checked)
- Excellent.

H 61 cm

Condition: (UV-checked)
- Excellent.

H 34,5 cm

Condition: (UV-checked)
- Excellent.

H 81,5 cm 

Condition: (UV-checked)
- Reglued breaks from the rim, across app. half of the circumference. Old repair visible, and some missing sections to the glaze along the breaks.

H 81 cm (the blue and white vase)
H 46 cm (the pair of vases) 

Condition: (UV-checked)
- The pair excellent.
- The blue and white vase with a missing section, reglued breaks, a number of chips to the surface and with a lamp fitting fixed on the inside.

H 56,5 cm 

Condition: (UV-checked)
- Quasi excellent, with negligible minor wear and baking flaws.

H 28 - 27,5 cm

Condition: (UV-checked)
- Very good, with minor wear to the overglaze enamels.

H 55 cm

Condition: (UV-checked)
- In very good condition, with a few negligible baking flaws and a baking-related glaze peeling crack to the base.

H 36,5 cm

Provenance:
- A Belgian private collection.
- Christie's, May 20-23, 1997, the 'Kasteel van Rumbeke' sale, lot 4583. (with a label on the cover's inside)

Condition (UV-checked):
- Excellent.

H 44 cm

Condition: (UV-checked)
- The lid with some restoration on the rim.
- The vase excellent.

24 x 28 cm (the blue-ground bowl)

D 25 - H 5,5 cm (the crackle-glazed brushwasher or censer)

H 8,5 - D 10 cm (the sugar bowl and cover)

H 4,5 - Dia.: 9 cm (the largest cup)

Condition: (UV-checked)
- the ge-type bowl excellent.
- ⁠the blue ground dish excellent
- ⁠the bat-shaped bowl excellent
- ⁠the doucai bowls: small baking spots on the rim
- ⁠the Wu Shuang pu bowls excellent
- ⁠the butterfly bowls excellent
- ⁠the covered bowl good, some wear

H 40,7 cm

 

Condition: (UV-checked)
First vase and cover
- The cover in quasi excellent with a small superficial chip to the base rim.
- The vase with six hairlines of ca. 3 cm to the rim.

Second vase and cover
- The cover with a superficial chip to the finial and a tension line of ca. 7 cm on the inside, invisible on the outside.
- The vase with four hairlines of ca. 3 cm and a break reglued of ca. 5 x 3 cm to the rim.
- A star-shaped hairline of ca. 7 cm to the base.

品相報告：（已用紫外線光檢查）
第一個將軍罐
- 蓋子進乎全品，底邊一個小飛皮。
- 罐子口沿六條約3釐米的衝線。

第二個將軍罐
- 蓋鈕一個飛皮，蓋子內一條約7釐米的衝線，不透。
- 罐子口沿四條約3釐米的衝線和一個已經粘合的約5 x 3釐米的磕崩。
- 罐子炸底約7釐米。

H 59,5 - 60,5 cm

Condition: (UV-checked)
- Both very good, with some baking-related discolouration.

H 44 - 19 - 18,5 - 18 cm (the four vases and jars)
H 14 - L 17,5 cm (the teapot)

Condition: (UV-checked)
- Teapot with a small rim chip.
- Smallest vase and cover: short hairline to cover, vase excellent.
- Bowl and cover: small chips to the finial, the bowl in good condition.
- The jar: lacking the cover, small rim chips.
- The tall vase in excellent condition, with a small chip to the finial on the cover.

H 19,5 - 6,4 cm (the tallest and the smallest sculpture)

Condition: (UV-checked)
- Pair of lions: very good.
- Pair of boys: very good.
- White-ground Buddha: minor glaze loss and wear.
- Pink-ground Buddha: very good.
- Small Buddha: missing one boy's head, missing a nipple, minor glaze loss.

H 62 cm

Condition: (UV-checked)
- Good, with minor losses to the enamel throughout.

H 32 - 4 cm (the largest and the smallest jar with cover)

H 28,5 cm (the hat stand) 

Condition: (UV-checked)
- The lidded jar: lid and finial tip with a rim chip, the jar with small rim chips.
- The smallest covered bowl: cover with a superficial flake, 
- The other pieces: very good condition.

H 45,5 - Dia.: 21 cm

Condition: (UV-checked)
- Excellent.

H 36 - 35,5 cm (the vases)
H 31 cm (the jar with cover)

Condition: (UV-checked)
- One yenyen vase with a small rim chip.
- The other two pieces in very good condition.

H 28,5 cm

Condition (UV-checked):
- Excellent, with negligible minor superficial wear.

H 57,5 cm

Condition: (UV-checked)
- Quasi excellent, with a few 1-2 mm chips on the rim.

H 29,5 cm

Condition: (UV-checked)
- Good, with small losses to the enamels on the back.

H 54 cm

Condition: (UV-checked)
- The first vase in good condition, with a small chip to the outer rim, one just above it to the upper rim and a faint horizontal glaze line showing to the inside of the mouth. 
- The second vase in good condition, with wear to the gilding on the rim and some small losses to the enamel throughout, as well as further negligible minor superficial wear.

H 23,5 cm

Condition: (UV-checked)
- Star crack to the base, small chips to the unglazed rim.

H 30,5 - 29,5 - 22,5 - 22 cm

Condition: (UV-checked)
- The bottle vase with a chip and a hairline.
- ⁠The ‘animals’ vase with a Y-shaped hairline in the neck.
- ⁠The pair: both covers and one vase excellent, one vase with a long C-shaped hairline.

H 35 cm 

Condition: (UV-checked)
- A small rim section broken out and restuck, with an old metal repair, with related hairline on the inside.

H 17 - Dia.: 19 cm

H 16 - Dia.: 19,5 cm

H 16 - Dia.: 19 cm

Condition: (UV-checked)
- All excellent.

H 32,5 cm

Condition: (UV-checked)
- Excellent.

H 33 cm

Condition: (UV-checked)
- Excellent.

H 32 cm (the meiping vase)

Condition: (UV-checked)
- The meiping in excellent condition.
- The blue and white jar with phoenixes on the far right in excellent condition.
- The blue and white jar with figures on the far left broken and restored.
- The celadon jar without cover, front right, with small chips and a few hairlines.
- The celadon jar with cover, front left, with repairs to the cover and small chips and a few hairlines to the jar.

H 29 cm (the tallest figure)
H 26,5 cm (the smallest figure)

Condition: (UV-checked)
- The blue and white figure with a small repair to the low tip of the staff.
- The yellow-glazed fisherman excellent.
- The lady in pink in excellent.
- The blue-glazed figure with a small chip to the unglazed base.
- The black-glazed figure excellent.

H 46 cm

Condition: (UV-checked)
- A restored hairline extending upwards from the base of ca. 20 cm. Otherwise appearing in good condition, with minor wear and small losses to the enamels.

H 34 - Dia.: 40 cm 

Condition: (UV-checked)
- A hairline to the base and a star-shaped hairline to the body.

H 43 cm

Condition: (UV-checked)
- Both vases and covers excellent.

H 8,5 - Dia.:  10,5 cm (the bowl and cover on stand)

Condition: (UV-checked)
- All in very good condition with minor superficial wear.

H 57,5 cm

Condition: (UV-checked)
- Both excellent but not 100% straight.

H 57,5 cm 

Condition: (UV-checked)
- One excellent, one with a hairline to the base.

H 48,5 cm

Condition: (UV-checked)
- Both excellent.

H 40 - Dia.: 46,5 cm

Condition: (UV-checked)
- A reglued rim chip, further small superficial chips on the rim, otherwise excellent.

H 16 - L 27 - D 18,5 cm (the square tureen)
H 18,5 - Dia.: 26 cm (the bowl with cover)
H 10,8 - L 26,5 - D 22,7 cm (the basket with the saucer)
H 6 - L 14 - D 11,5 cm (the butter pot)

Condition: (UV-checked)
- Rectangular tureen: cover with a small crack to the handle, tureen with a handle reglued, dish in good condition.
- Round tureen: cover intact, tureen broken and lacking the handle.
- The reticulated basket with a small section of the lattice work lacking. The stand with numerous rim chips.
- The butter tub and cover in very good condition. The stand with a small rim chip.

H 42,5 cm

Condition: (UV-checked)
- A 20 cm hairline across the body and a small rim chip.

H 31 cm (the jar and cover)
Dia.: 17 cm (the largest plate)
L 21 cm (the octagonal qianjiang cai bowl)

Condition: (UV-checked)
- Jar: Associated cover with glaze loss to finial. The jar with a long vertical hairline.
- Octagonal bowl: two rim chips and a small hairline.
- Bat-shaped bowls: all with small rim chips.
- Phoenixes plate: two rim chips and four short hairlines.
- Bats and peaches plates: 1 cm hairline on front only.
- Figures plate: wear to gilding, otherwise good.
- Floral bowl: small rim chip.

H 47 cm (the garden seat)
H 18 - Dia.: 28 cm
H 17 - Dia.: 26,5 cm 

Condition: (UV-checked)
- The seat with a small chip to one of the nails.
- Both jardinières in very good condition.

H 3,5 - Dia.: 16 cm (the lobed tazza)
Condition: (UV-checked)
- Two excellent, one with a small spot if impact stress to the glaze on the bottom.

H 35,5 - 22 cm 

Condition: (UV-checked)
- The lid with a rim chip. The jar in good condition with some minor superficial wear and the unglazed base broken off unevenly.
- The vase with a crack to the neck and the unglazed base broken off unevenly.

H 6,5 - Dia.: 17,5 cm

Condition (UV-checked):
- Good, with glaze loss along the entire rim, as well as small, superficial rim chips and negligible minor superficial wear.

H 56,5 cm

Condition: (UV-checked)
- All four in very good condition, the bases with the glaze chunked off somewhat irregularly.

H 22,5 cm

Condition: (UV-checked)
- Excellent.

H 41,5 cm

Condition: (UV-checked)
- The vase excellent, with some minor wear. 
- The lid with two chips, one of these with a related 3 cm hairline.

Dia.: 24 - 15,5 cm (the largest and the smallest dish)

H 17 cm (the vase)

Condition: (UV-checked)
- Small repair to the vase.
- The lid of the sugar bowl restored.
- One of the two plates with central figural scene broken and restored, the other with a rim chip.
- The other pieces in good to very good condition.

H 28,5 cm

Condition: (UV-checked)
- Excellent.

H 42,5 cm 

Condition: (UV-checked)
- Excellent.

H 58 - 44,5 cm

Condition: (UV-checked)
- The unmounted vase in good condition with a baking flaw to the base.
- The mounted vase with a small repair to the leg of one dragon.

H 33,5 cm

Condition (UV-checked):
- Both excellent, with negligible minor superficial wear.

H 19 cm - Dia.: 21 cm

Provenance:
- Private collection, the Netherlands.

Condition (UV-checked):
- Excellent, with negligible minor superficial wear.

H 27 - Dia.: 18,5 cm

The chanab was placed in the centre of what was called in a Straits Chinese home, the sam kai altar, the most important altar in the family home. The sam kai altar was used for important ceremonies, particularly weddings. The chanab served as a platform on which upright bamboo skewers of crystallised papaya were placed as altar offerings.

Condition: Wear and superficial losses as visible.

H 36 cm

Condition:
- The base with a reglued break.
- The figure in good condition with minor wear.

H 49 - 35 cm (with and without base)

Condition: 
- In very good condition with minor superficial wear.

H 64 cm

Condition: (UV-checked)
- Generally in very good condition with normal minor superficial wear.

H 11,5 cm

Condition: (UV-checked)
- Excellent.

H 7 cm

Condition: (UV-checked)
- Excellent.

H 28 cm (incl. the base)
Total weight: 717 g

Condition: (UV-checked)
- The last link in the chain broken and reglued. Otherwise appearing very good condition, with minor superficial wear and possible small  losses to the extremities.

H 30 cm (incl the base)
Total weight: 635 g (incl. the base)

Condition: (UV-checked)
- Two small sections on the extremities with a reglued break, otherwise appearing in good condition.

H 21 cm

Weight: 610 grams

The base with a two-character signature.

Condition: Very good.

H 59 - 58 cm (the porcelain vases excl. stand)

H 38,5 cm (the pair of cloisonné vases) 

Condition: (UV-checked)
- All four in very good to excellent condition.

H 59 - 51,5 cm (with and without base)

Condition: (UV-checked)
- Both excellent.

H 11 - L 17 - D 8 cm

Condition: (UV-checked)
- Both in very good condition with minor superficial wear.

H 48 - 47,5 cm (excl. the later wooden stands)
H 53,5 - 53,5 cm (incl. the stands)

Condition: (UV-checked)
- One vase in excellent condition, one vase with some dents. 

H 51,5 - 48 cm (the tallest vases with and without base)

H 21 - 18 cm (the smallest vases with and without base)

H 14,5 - 10,5 cm (the covered bowl with and without base)

Condition: 
- The single dragon vase slightly deformed on the rim.
- The other pieces in good to excellent condition.

H 48 - L 127 - D 61 cm

Condition:
- Generally in good condition with typical superficial wear throughout. The top protected by a glass shelf.

H 86,5 - L 201,5 - D 50 cm

This type of cabinet was used as kitchen or dining room furniture, a sideboard for tea sets and crockery, a pantry and also as a household altar. Chinese families used such cabinets for both practical and ritual purposes, often even in the same room.

Condition: Generally in good condition with superficial wear and traces of use throughout.

H 184,5 - L 108 - D 7 cm (the back panel)
H 118 - L 125,5 - D 60 cm (the throne)
H 97,5 cm (the stands)
H 15,5 - L 80 - D 35,5 cm (the low table) 

Condition:
- Generally in good condition with typical minor superficial wear and small losses, mainly to the feet.
- The throne with visible losses on the back and to the left side on the lower part.
- The central panel with a visible puncture.
- The varnish layer on the back of the panel detaching.

H 39 - L 139 - D 59,5 cm

Condition: (UV-checked)
- Good, with superficial wear, a few minor scratches and scuff marks along the edges.

H 12,5 - L 20 - D 13,5 cm

Condition: (UV-checked)
- The cover with reglued breaks and losses to the lacquer.

H 18,5 cm 

Condition:
- Lacking an ornament to the head.
- Some wear to the base.

H 58 - 47 cm (with and without base)

The devatā is portrayed as a jewel-adorned woman with a mirror, originating from a pillar of the balustrade of a Buddhist stupa from the Kushan period.

A devatā (Sanskrit: “a being that embodies light, power or divine qualities”) is a divine or celestial figure, a “lower” divine entity, and may be a nature or place spirit, a protective force, or fulfil a role in the cosmic order. In Buddhist art, devatas are sacred architectural companions who inhabit and protect the sacred space of the stupa. Devatas are cosmic guardians and their sensual appearance has no erotic connotation but indicates energetic harmony and is intended to be both symbolic and magical-ritualistic. These figures later gave rise to the Hindu apsaras (celestial nymphs) found in Hindu temple structures. This image belongs to the “Mathura art”, which was concentrated around the city of Mathura during a period when Buddhism, Jainism and Hinduism flourished in India. Mathura is considered the first artistic centre to produce sculptures for all three religions and was the centre par excellence of religious artistic expression in India until the Gupta period.

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

Condition:
- The fragmentary sculpture overall well preserved, with small losses as visible, superficial wear, encrustation and dirt adhesion.

 

H 105 - L 61 - D 19 cm

Depicting Buddha Shakyamuni sitting in meditation posture (‘dhyanasana’) on a double lotus throne under a bodhi tree, his left hand is in dhyana mudra (meditation gesture) and his right hand touching the earth (bhumisparsa mudra) to call upon it as a witness to the truth of Buddhist teachings. He wears a sanghati robe and has long earlobes from wearing heavy jewellery. His hair is arranged in circular curls ending in a dome-shaped ushnisha topped with the bud-shaped cintamani. Beneath the throne are two followers, behind them images of yalis (mythical lions) and elephants. A carpet hangs from the lotus throne. Around his head, a halo is depicted, supported by elephants on both sides. Next to him are followers, and divine beings and apsaras (celestial nymphs) float in the air. This votive stupa or temple stele was placed in the wall or courtyard of a monastery (vihāra), or along a circumambulation path.

Typical Gupta characteristics are the lotus style, the nimbus (halo with double ring structure), the frontal, serene meditative figure, the architectural frame with upper cornice and the soft folds of the robe. Gupta sculpture is known for its idealisation and elegance, rather than exuberant decoration.

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

Condition:
- In good condition, with small losses as visible and one more important loss to the lower right arm. Other notable losses to the left hand and foot.

 

H 73 - 72 cm (with and without base)

This fine Pala temple stele depicts a four-armed Parvati standing in a slight tribhanga posture. She wears royal jewellery, a crown (kiritamukuta) and full band decoration. Surrounding her are smaller seated figures in meditation posture: monks, siddhas, yogis or bodhisattvas. At the top is the image of Buddha surrounded by apsaras (celestial nymphs).

Typical Pala characteristics are the rich strings of beads, horizontal belt, long hanging hip bands, feet on a lotus-shaped pedestal, hair in a complex knot or tiara, and miniature figures symmetrically arranged around the main figure. The body is highly sensual, but not erotic, and intended as a Devī-śakti manifestation.

The whole forms an architectural temple stele and is probably a side panel of a mandapa or nishka planche, originally built into the wall of a temple or chaitya together with other devatā steles as a ritual and cosmic frame. The figure is a ritual architectural inhabitant of the temple and is not the central deity.

The upper architecture has kudu arches and chaitya windows, which points to the Nalanda style with influence from Bodh Gaya. It is an architectural Devī in a Buddhist-tinged environment, typical of the Pala world.
The piece is artistically mature, iconographically rich and historically very interesting. Pala sculpture is considered among the most beautiful category of medieval East Indian architectural sculpture.

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

Condition:
- In good condition, with small losses as visible and one more important loss to the upper right arm. Superficial wear and encrustation throughout.

 

H 59 cm

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

 Condition:
- In good condition, with superficial wear throughout and traces of polychromy. 
- Possibly some polished filling to the left arm, starting from the shoulder. 
- Cracks in the stone, probably natural. 
- Some surface pitting to the back.

H 102,5 - L 63 - D 23 cm

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

 Condition:
- In reasonably good condition, with a section reattached to her cheek, a somewhat disturbing scratch to his lower right leg and possibly some old restoration to the draperies on his upper left leg. Superficial patination, dirt adhesion and wear throughout.

H 115,5 - L 30,5 - D 19,5 cm
Weight: ca. 97 kg

This is a large pillar of a balustrade or vedika, from a Buddhist stupa, with on one side the image of a devata. She is depicted as an upright woman adorned with jewels. On the other side, the pillar has carved medallions with lotus flowers and geometric motifs.

Such pillars were placed around the stupa at regular intervals and were connected by horizontal beams made of wood or stone. A devatā (Sanskrit: “a being that embodies light, power or divine qualities”) is a divine or heavenly figure, a “lower” divine entity, and can be a nature or place spirit, a protective force, or fulfil a role in the cosmic order. In Buddhist art, devatā images are often architectural frames of a stupa and are not intended as objects of individual worship in themselves. They are sacred architectural companions who inhabit and protect the sacred space of the stupa. In addition to being a monument, the stupa is also a ritual walking space (pradakṣiṇā). As you walk around, devatās come to your side to protect you and make the ritual acts prosperous and safe.

Devatas are cosmic guardians and their sensual appearance has no erotic connotation but indicates energetic harmony and is intended to be both symbolic and magical-ritual. These decorated pillars are among the highest artistic achievements of the Kushan period in northern India and belong to the “Mathura art” style, with its highly recognisable yellow-speckled red sandstone sculptures, which was concentrated around the city of Mathura during a period when Buddhism, Jainism and Hinduism flourished in India. Mathura is considered the first artistic centre to produce sculptures for all three religions and was the pre-eminent centre of religious artistic expression in India until the Gupta period.

Provenance:
- Ex-collection family Goethals de Mude de Nieuwland, Castle Borgwal (link), Gavere, Belgium. Acquired by this family in the 1930s-50s.
- The grandparents of the current owners (Mr. and Mrs. V.M.-L., Sint-Martens-Latem, Belgium) worked as live-in staff at the castle. Upon their retirement, the castle lord donated it as a token of appreciation. Then subsequently passed on to the current owners through inheritance. We have added old photos of the castle and of the couple, who worked as live-in staff.

 Condition: (UV-checked)
- A number of losses throughout:
- A missing figure top right corner.
- Sections missing to the frieze below.
- A section to her upper left arm and elbow.
- A section to an object in her right hand.
- A section to her right leg.
- Wear to the extremities and minor superficial damages throughout.

 

 

168,5 x 104 cm (the frame)
140 x 81 cm (the work)

In an attempt to reconstruct the truncated ink signature, it seems to translate into: 濠梁崔子卥製 or Haoliang Cui Zilu zhi, which translates to: made by Cui Zilu, called Haoliang, likely active as a painter in a workshop of a southern Chinese city.

This genre of figure painting without background, focusing entirely on the precise rendering of bodily form and the sensitive depiction of facial expression, enjoyed great popularity. Such occasionally caricature-like paintings at times also offer a glimpse into marginalized groups within the society of once-prosperous South Chinese cities has been popular from the Song dynasty onwards.

The eccentric old man, clad in a tattered yet colorful patchwork robe, is shown making his way with a blind man’s staff and a begging bowl. The finely detailed depiction of one closed eye and the other only slightly open indicates his blindness, which seems to contrast with his broad smile and cheerful disposition.

Condition:
- Generally well preserved, with a number of minor damages such as small punctures and two tears of ca. 8-12 cm.
- The whole somewhat discoloured.

H 12 - Dia.: 27,5 cm
H 9,5 - Dia.: 21,5 cm
H 7 - Dia.: 17 cm

Condition: (UV-checked)
- Largest bowl: Excellent, with baking flaws.
- Middle sized bowl: Broken and restored.
- Smallest bowl: Good, but with the glaze degraded due to salt water.

Dia.: 37,5 - 32 cm

Condition: (UV-checked)
- The smallest broken and restored.
- The largest with a restored hairline and a rim chip.

H 22 cm

Condition (UV-checked):
- Good, with a baking flaw to the neck and a small glaze chip to the base.

Dia.: 20,5 cm 

Condition: (UV-checked)
- One perfect, one with a small rim chip, one with some glaze loss (fritting) along the rim.

H 45 cm

Condition: A reglued break across.

Dia.: 38,5 cm

Condition: (UV-checked)
- Both in good condition.

Dia.: 38,5 cm

Condition: (UV-checked)
- Excellent.

H 12,5 - 7 cm (the tallest and the smallest vase)

Condition: (UV-checked)
- Tallest blue and white vase: excellent.
- Smalles blue and white vase: a small chip to the ring above the foot.
- Garniture: four vases very good to excellent, one with a small chip.

H 9,5 cm - Dia.: 20,5 cm 

Condition: (UV-checked)
- One bowl with a superficial chip on the outer rim and fritting along most of the rim.
- One bowl with a small rim chip with short related ca. 4 mm hairline and fritting along the rim.

H 13,5 cm

Condition: (UV-checked)
- Restored break to the neck.

Dia.: 21,5 cm

Condition: (UV-checked)
- One with a 5 cm hairline on the rim and another of ca. 10 cm through the body, as well as a few small superficial rim chips.
- One with fritting and small rim chips.

 

H 23,5 cm

Condition: (UV-checked)
- Excellent.

H 11,5 - L 17 cm

Condition: (UV-checked)
- The teapot with a rim chip with short related hairline, a small chip to the shoulder, one to the handle. The cover in very good condition.

Dia.: 43,5 cm (the plexiglass case)
The Chinese porcelain sweet meat set is housed in a sealed plexiglass display case that cannot be opened.

Condition: (UV-checked)
- Quasi excellent, with negligible minor superficial wear.

Dia.: 13 cm (the saucers)

H 4,5 cm - Dia.: 7 cm (the cups)

Condition: (UV-checked)
- One cup very good, one cup with small chips, two cups with hairlines.
- Two saucers with rim chips, three saucers with hairlines, one saucer with large chips.

Dia.: 22,5 cm (the plates)

H 12,5 cm (the vase)

Condition: (UV-checked)
- One plate excellent, one plate with a faint ca. 4 cm hairline, showing up under UV-light.
- The jar with a surface chip to the body.
- The verte biscuit tray with a tight ca. 3 cm hairline to one of the corners.

H 11,5 - Dia.: 22,5 cm
H 8,5 - Dia.: 20 cm

Condition: (UV-checked)
- The Kangxi bowl with a tight ca. 10 cm hairline.
- The 19th C. bowl broken and reglued.

H 20,7 - 5,8 cm (the tallest and the smallest vase)
Dia.: 14 - 13,5 cm (the two saucers)
H 7,2 - Dia.: 14,5 cm (the bowl)
H 12,5 - Dia.: 10 cm (the box)
H 11 - L 14,5 cm (the tallest blue and white teapot)
H 9 - L 12,5 cm (the Japanese teapot)
H 8,7 - L 15 cm (the smallest blue and white teapot)  

Condition: (UV-checked)
- Teapot left: broken and reglued.
- Jar second from left: hairline.
- Teapot third from left: very good.
- Stacking box: glued together.
- Japanese teapot: very good.
- Pair of vases: one with small rim chips, one with a big rim chip.
- Small water pot: good, small baking flaw.
- Large water pot: good, baking flaw.
- Miniature vase: rim repaired.
- Two saucers: one excellent, one with small rim chips.
- Bowl: small rim chips.

Dia.: 11,5 cm (the saucer)

H 3,5 cm - Dia.: 7 cm (the cup)

Condition: (UV-checked)
- Cup broken and reglued.
- Saucer with a 1 cm hairline.

Dia.: 11,5 cm (the saucer)

H 3,5 cm - Dia.: 7,5 cm (the cup)

Condition: (UV-checked)
- The saucer with a 5 mm hairline.
- The cup with two hairlines of ca. 3 and ca. 1 cm, and a few 1-2 mm fleabites on the rim.

Dia.: 21,5 cm 

Dated ca. 1725. A satirical comment on the 1720 financial speculation disaster using the Commedia dell'Arte.

Condition: (UV-checked)
- Broken and reglued in the upper half, and with a hairline across the cavetto. Some fritting on the rim.

Dia.: 22 cm

Provenance:
- A Belgian private collection.

Condition (UV-checked):
- Excellent.

H 14 cm (the milk jug)
H 11 cm (the vase with cover)
H 4 - 3,5 cm (the largest and the smallest cup)
Dia.: 10,2 cm (the saucers)

Condition: (UV-checked)
- The milk jug quasi excellent with minor wear to the enamels. The cover with small rim chips and glaze loss to the finial.
- The vase with repair to the rim. The cover with chips.
- The mandarin cup with a small superficial rim chip.
- The pink-yellow cup and saucer: small rim chips to both.
- The cup with deer: one with a hairline and small rim chips, one broken and reglued.
- The floral saucer: large rim chip and hairlines.

Dia.: 25 cm 

Ref.:
- Qing Export Porcelain, by A. Varela Santos, 2015/2016, cat. 57.
- Het Chinees en Japans Porselein in Het Fries Museum, by D.S. Lunsingh-Scheurleer, cover, p. 16, cat. 9 for a similar plate.

Condition: (UV-checked)
- The rim with a small filled chip.
- A short hairline to the center.
- Otherwise good with some superficial scratches to the glaze.

H 26 - L 35,5 cm

Condition: (UV-checked)
- In very good condition, but the bronze base detached from the bronze mount.

Dia.: 38,5 cm

Condition (UV-Checked):
- Small rim chips, otherwise in excellent condition. 

Dia.: 10 cm (the saucers)

H 3,5 cm - Dia.: 6,5 cm (the cups)

Condition: (UV-checked)
- The saucers: one with a hairline, two with small rim chips, one with wear to the enamels.
- The cups: two with a hairline, two with small rim chips.

Dia.: 13,5 cm 
H 4,5 - Dia.: 9 cm 

Condition: (UV-checked)
- Excellent, the cup with a small baking flaw.

H 53,5 cm - Dia.: 63 cm

Condition: (UV-checked)
- With a stable star-shaped hairline of ca. 30-35 cm. 

H 43,5 cm 

Condition: (UV-checked)
- The upper 2 cm of the rim gilt-lacquered, probably covering a corner chip, which is slightly visible. On the inside, also with a tight ca. 4 cm glaze line running down.

The plaque: 25 x 17 cm
The frame: 28 x 20 cm

Condition: (UV-checked)
- Typical small superficial damages, but overall in good condition.

H 34 cm (the vase)
H 6,5 - L 36 - D 27,5 cm (the serving dish)
Dia.: 23 cm (the plate)

Condition:
- Octagonal dish broken and restored.
- Plate with rim chips.
- Jar good, cover with hairlines and rim fill-ups.

H 12 - Dia.: 27 cm (the censer)
H 23,5 cm (the tallest yellow vase)
H 14,5 cm (the smallest yellow vase)

Condition: (UV-checked)
- The ribbed melon jar with an X-shaped crack to the body.
- The incised yellow-glazed yuhuchunping with butterflies excellent.
- The small yellow-glazed bottle vase excellent.
- The olive-glazed bowl excellent.
- The celadon jar with a chip on the unglazed rim, mostly on the inside.
- The turquoise-glazed jar with a rim chip.

H 15 - L 35 - D 19 cm

H 17,5 - L 32 - D 24 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in September 2009 and July 2011, according to the owner's inventory notes.

Condition:
- Both with encrustation, surface wear, verdigris, degradation and discolouration.
- The oval bowl and cover somewhat mismatching, possibly with the cover slightly deformed.

22,5 x 17 x 8,2 cm (the vase)
17 x 10,5 x 7 cm (the bell)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- The bianhu acquired from Het Magazijn, Ghent, in January 2011, according to the owner's inventory notes, previously in the Schlimper collection, Düsseldorf,  according to the owner's inventory notes.
- The bell acquired from Het Magazijn, Ghent, in November 2013, according to the owner's inventory notes.

Condition:
- Both with superficial wear, patination and encrustation throughout.

H 20 cm 

Condition: (UV-checked)
- A loss to the Buddha's left ear.
- A loss to the Buddha's right pink.
- The lotus throne somewhat deformed, mainly to the back.
- Some wear to the gilding throughout, mainly to the face and around the base, on the back.

H 27,5 cm

Condition: (UV-checked)
- Good, with some minor flaws, mostly to the base.

H 17,5 -  Dia.: 14 cm

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in November 2010, according to the owner's inventory notes.
- Previously in a private collection, Austria, according to the owner's inventory notes.

Condition: (UV-checked)
- In good condition, with some minor wear, patination and encrustation throughout.

H 35 cm 

Condition: (UV-checked)
- Lacking a section of the ribbon to the right of his head.
- The belly with a punctured hole.
- Casting flaws to the base.
- Wear to the polychromy all-over.

ca. 48 x 37 x 37 cm

Condition (UV-Checked):
- In poor condition: One of the feet detached and loose, lacking pieces, casting flaws, drilled holes on the base and to one of the sides.
- The cover probably not original and also with 3 drilled holes.

14 x 6,5 x 5 cm (the smallest)
10 x 20 x 5,5 cm (the largest)

Provenance:
- The collection of Mr. and Mrs. S., Ghent.
- Acquired from Het Magazijn, Ghent, in December 2002 and March 2003, according to the owner's inventory notes.
- Previously in the Hons Collection, Bangkok, according to the owner's inventory notes.

Condition:
- Both in good condition with minor superficial wear.

H 80 - 77,5 cm

Condition: (UV-checked)
- In general in good condition.
- Both vases with a drilled hole for attachment to the base.
- Surface wear throughout.
- Wax residue on the candlesticks and the vases.
- One vase with a section above the shoulder slightly dented outwards, with some enamel loss.
- One of the two lacking the 'shou' ornaments hanging from the central stem.

Work: 37 x 29 cm
Frame: 54 x 43 cm

Provenance:
- A Belgian private collection.
- Auctions Van de Wiele, Bruges, 2009.

A finely executed devotional miniature, likely created in a French monastic workshop. Christ, bound and crowned with thorns, appears seated on an inscribed pedestal, his head encircled by a radiant nimbus. He is flanked by Saints Francis, Clare, Peter, and Stephen. In the foreground, a kneeling nun—possibly the commissioning patron—unfurls a scroll inscribed “O bon Jesus.” Symbols of mortality and the Passion, including skulls and the instruments of the Crucifixion, evoke the theme of Christ’s suffering. Distant city towers and a dramatic sky complete the background. The composition is framed by a border richly decorated with colourful flowers, grapevines, and strawberry plants on a shimmering gold ground.
Rendered in vivid, luminous colours, the miniature is preserved in exceptional condition.

74 x 54 cm (the frame)
68 x 48 cm (the work)

Niko, or Antonio Pérez González (Ñiko), is a legendary Cuban graphic designer famous for his iconic, visually striking movie posters created for the Cuban Film Institute (ICAIC) and for political/cultural events, known for blending powerful imagery with simplicity, often using silkscreen for limited editions. Working in Cuba from the late 1960s, he became a key figure in revolutionary poster art, later moving to Mexico in 1988 where he continued designing and teaching, leaving behind a vast legacy of collectible art

'Maputo: The Ninth Meridian' is a Cuban documentary film (1970) by Santiago Álvarez. The title likely refers to the capital city of Mozambique, Maputo (formerly Lourenço Marques), a port city on the Indian Ocean, though the documentary itself is Cuban.

Condition:
- The poster in rather good condition, with some wrinkles and tears in the paper.
- See also the additional pictures.

 

8vo.
Spine with three raised bands.
First edition of this vernacular philosophic encylopedia and lexicon by the Italian humanist scholar Citolini, whose work was an important source for Florio's 'First Fruites' of 1578.

Ref.:
- USTC 822769.

Condition:
- [2]-14-[2]-552-[2]
- Nice copy, with negligible discoloration, foxing and traces of use.
- Leather spine, with the normal traces of use.

H 27 cm

Condition: (UV-checked)
- The ewer in very good condition, with minor wear to the polychrome design and negligible traces of use (minor scratches).
- Fine quality.

H 41 - L 37 - D 11 cm

Probably manufactured in the workshop of Pierre Louis Dagoty or Jean Népomucène Hermann Nast. 

Condition: (UV-checked)
- One eagle head broken off and reglued, with the break retouched.
- A hairline running down from the rim of ca. 20 cm, visible on the inside.
- Wear and retouching to the gilding overall, most notably on the rim.

H 72 cm

Condition: (UV-checked)
- One of the covers in very good condition, with a superficial chip to the inside bottom rim and negligible fritting.
- The second cover in very good condition, with negligible fritting along the rim.
- Both vases in very good condition, with the typical superficial wear, especially to the gilt decoration. The scenes signed Aly. Crazing all over. Mounts with some traces of use. 

Dia.: 27,5 - 21,5 cm

The dish with an underglaze blue 'crossed sword' mark, in the Meissen style.

Condition: (UV-checked)
- Both plates in very good condition, with the usual negligible supercial wear.

H 42,5 - L 69 - D 31 cm (incl. the mounts) 

Condition: (UV-checked)
- In good condition, however slightly warped in the mount. A pierced hole to the underside of the bowl, just next to the mount.

Dim.: 30 x 30 cm (the dish)
H 16 - L 15,5 cm (the tallest ewer and cover)

Decorated with the LP monogram for Louis-Philippe. The pieces marked with 'Château de Tuileries' and 'Sèvres 1840' marks.

Condition: (UV-checked)
- Generally in very good condition.

H 80 cm

Condition (UV-Checked):
- One vase and cover in good condition but the vase with numerous losses to the enamel.
- The second vase with rim sections broken out and restuck. The cover with the finial broken and reglued and with a restored break across. The vase with numerous losses to the enamel.

 

H 11,5 cm
Both bases with an apocryphal double arrow mark with date letter S.

Condition: (UV-checked)
- Both excellent.

H 81 cm

Condition: (UV-checked)
- In very good condition, with the normal superficial wear and minor traces of use.
- See also the additional pictures.

H 83 cm

Condition: (UV-checked)
- The bust in general in good condition, with superficial wear, minor traces of use and some small chips all over. The base with a small hairline. The left end of the neck of the vest restored.
- See also the additional pictures.

H 23,5 - 16,5 cm (the coffee and teapot)
Dia.: 19 cm (the plates)
Dia.: 14 - 11,5 cm (the saucers)
H 12,5 cm (the two bowls)
H 11,5 - L 11,5 cm (the milk jug)
8,5 x 7 cm (the butter tubs)
H 6 cm - Dia.: 6 cm (the cups)
H 5 cm - Dia.: 9 cm (the cups)

The collection consists of:
- 2 plates not matching to the set

The collection of bird-decorated pieces consist of: 
- 10 plates 
- 16 large saucers and 14 coffee cups
- 14 small saucers and 6 matching cups
- 2 coolers
- 2 single cups
- a condiment tray
- a tea and a coffee pot
- a milk jug
- 4 small trays 
- a bowl 

Condition (UV-Checked):
- The milk jug with a small restored rim chip.
- The teapot with small chips to the flower finial on the lid, the teapot itself intact.  
- The coolers both excellent.
- The sugar bowl excellent. 
- The coffee pot with small chips to the flower finial on the lid, the coffeepot itself intact.
- The four trays excellent.
- The six small cups excellent.
- The two single cups both in excellent condition.
- 13 of the small saucers excellent, 1 with tight hairlines on the bottom. 
- The condiment holder excellent.
- The large saucers all in excellent condition. 
- The large cups all in excellent condition. 
- The 2 non-matching plates in excellent condition. 
- One plate from the bird-service with a hairline through the center, all other plates excellent. 

    

H 30 - L 38,5 cm

Condition: (UV-checked)
- Very good, with typical small chips to the extremities.

H 23 cm

Condition: (UV-checked)
- With a reglued break just above the base, and a few small fill-ups to the base.

Ref.:

- An identical representation in the 'Delenne dictionnaire' has been identified as marathon runner. The 'JK' referring to Johannes Kruyck, who became master in 1662.

H 22 - L 20,5 cm

Marked with an axe for the De Porceleyne Byl workshop, Delft.

Condition: (UV-checked)
- Both ears with restoration.
- A reglued and retouched break to one of the legs. 
- Small rim chips and wear throughout.

H 19,5 cm

Condition: (UV-checked)
- A crack to the body, chips along the rim and some glaze loss where a pewter handle was once attached.

32,5 x 28 cm

Condition: (UV-checked)
- Lacking the ornaments on left and right handside.
- A drilled hole through the upper medallion.
- Small rim chips throughout.

25,5 x 24,5 cm

Condition: (UV-checked)
- In very good condition, with the typical minor rim abrasions and minor crazing.
- See also the additional pictures.

Dia.: 38 cm

Condition: (UV-checked)
- A few tight hairlines on the rim and typical chipping, otherwise in good condition.

H 58 cm

The covers inscribed 'Chateau de Chenoncau', possibly indicating the Château de Chenonceau as their provenance.
Spuriously marked WK on the bases. 

Condition: (UV-checked)
- Both covers and one vase in very good to excellent condition.
- One vase with a crack to the base.

22 x 22 cm
Dia.: 22,5 cm

Condition: (UV-checked)
- All in good condition with typical wear and small chips on the rim. One of the herring dishes with two tight hairlines on the rim.

H 27 - 22 - 16,5 cm

Condition: (UV-checked)
- The largest jug: various hairlines, some baking irregularities, minor glaze chips.
- The smallest jug: in good condition, with the usual baking irregularities and negligible glaze chips. The black layer can be removed.
- The bellarmine jug: in good condition, with a hairline running from the bottom to the middle of the body, the usual baking irregularities, the handle with a chip and the bottom rim with some glaze chips. 

H 15,5 - 9 cm (the tallest and the smallest) 

Condition: (UV-checked)
- All three in very good condition, with the normal wear and traces of use consistent with the age.

H 8 cm

Condition: (UV-checked)
- The cup in very good condition, with minor wear to the polychrome decoration and a small production error on the inside.

H 17,5 cm - Dia.: 18 cm
H 17 cm - Dia.: 17,5 cm

Provenance:
- A Belgian private collection.

Condition: (UV-checked)
- Both in very good condition.

H 11,5 cm - Dia.: 13,5 cm

Condition: (UV-checked)
- In very good condition. Nice appearance.

H 13,5 - L 32 - D 22 cm

The centrepiece marked 'Lalique France'.

Condition: (UV-checked)
- The centrepiece in very good to excellent condition, with hardly any traces of use. Mint condition.
- Added the original 'Lalique' box.
- Brown discoloration at the bottom of one side is merely superficial dirt.

H 6 - L 12,5 - D 3,2 cm
H 4 - L 3 - D 2,2 cm

Both vases signed 'Daum Nancy' and with the Lorriane cross (la croix de Lorraine). 

Condition (UV-Checked)
- Both in very good condition with the usual minor superficial wear. 
- See additional pictures. 

H 22 cm - Dia.: 29 cm

Condition: (UV-checked)
- In very good condition, with minor traces of use. Negligible fritting to one of the bottom corners. 

H 20,5 cm
The Scailmont factory originally specialising in non-crystal decorative glass, was established by H.R. Hirsch in 1901, in Manage, then one of at least 10 glass factories in the immediate area.
In 1908 Hirsch was replaced by Georges Sacré as new director of the company. He approached Henri Heemskerk in 1924 to become chief designer of the Scailmont glassworks, a job which Heemskerk gladly accepted. Heemskerk worked at Scailmont from 1924 until 1951 and made many designs for moulded and satin-finish vases with art nouveau and art deco decorations. The success of Charles Catteau following the Paris Exposition of 1925 led to increasing popularity of their products and S.A. Verrerie de Scailmont employed 800 people at it's peak in 1930.
Nearly all the art production is clearly marked with the factory name and often a designers mark as well (e.g. 'HH' or 'Catteau'). Some products were identified by paper labels. The factory is particularly associated with enamelled glass and satin finished vases in the art-deco style. They had a long association with Boch Freres and Val-St-Lambert (and produced designs for these companies) and also sometimes marketed their own designs under the (telex-)name 'Vermont'. In later years they survived to became one of the most long-lived pressed glass manufacturers in Belgium.

Condition: (UV-checked)
- The vase in very good condition, with negligible wear and traces of use. The top rim with negligible flea bites.
- See also the additional pictures.

H 70 cm 
Dim.: 52 x 52 cm (the base) 

Provenance:
- A Belgian private collection.
- Part of a demolished Brussels bridge (by repute). 

Condition: (UV-checked)
- In very good condition, with the usual wear and traces of use and rust.
- Very attractive couple.

74 x 69 cm

Provenance:
- A Belgian private collection (province of Antwerp).

Condition: (UV-checked)
- In general in very good condition, with wear and traces of use consistent with age and function.
- Flaking paint and retouched polychromy.
- The crown in the center reattached.

H 136 cm (total height)
H 90 - L 28 - D 28 cm (the base)
H 44,5 - L 72 - D 19 cm (the vertebra)

Condition: (UV-checked)
- In good condition, no remarks whatsoever.

H 83 - L 55 - D 40 cm

Condition:
- One in good condition with some minor damages and losses to mainly one Boulle style panel.
- One in fair condition with many losses to the Boulle style panels.
- Both in stable and useable condition.

H 69 - L 53 - D 38,5 cm 

Bearing the marks of this iconic Belgian furniture master.

Jean-Joseph Chapuis was born in Brussels in 1765. He was trained in Paris, where he became a master craftsman, entitling him to use a personal mark (estampille) on his work. He had set up his workshop in his home town by 1795 and kept it active to 1830, regularly applying his mark on the pieces of furniture that he made. When the first reference guides on the history of French furniture in the 18th century appeared in Paris, this mark was attributed to Claude Chapuis, who was in fact only a simple trader, of whom little if anything is known. This deprived Jean-Joseph Chapuis of his fame and explains why pieces of furniture by Jean-Joseph Chapuis are rarely found in public collections outside France. The museum of Vleeshuis in Antwerp is an exception. Only single pieces made by Chapuis, not collections, have ever been found, so it is impossible to give a precise account of everything he produced during his lifetime. The museum of Saint-Josse-ten-Noode, Brussels, Belgium, is the only one to possess several marked pieces of Chapuis's furniture. They were collected by Joseph Adolph Van Cutsem, a collector of Empire furniture, who in 1865 supplemented his collection with two significant purchases made during Chapuis's funeral sale. However, these pieces do not reflect the full range of styles used by this cabinetmaker.

Condition: (UV-checked)
- In general in good condition, with the normal traces of use consistent with age.
- Missing parts and minor damage to the inlay and minor damages to the borders. 
- Two legs reglued. One leg with the missing end.
- See also the additional pictures.

L ca. 155 cm

Condition:
- Overall in stable condition.
- Traces of woodworm throughout.
- Losses to the feet.
- Lacking the upper arms.
- Lacking one nipple.
- Traces of polychromy.

H 58 cm

Condition: (UV-checked)
- The sculpture in general in good condition, with the wear and traces of use consistent with the age.
- Saint Anne with a missing finger and a restored nose. The eyes repainted. Polychromy retouched.
- Mary with a missing hand.
- Jesus with a restored head.
- See also the additional pictures.

21,5 x 21,2 cm

Condition: (UV-checked)
- In general in good condition, with some missing parts to the borders (left and right bottom 'corner', not touching the medallions).
- See also the additional pictures. 

Frame: 30 x 25,2 cm (the rectangular gilt brass and wood frame)
Frame: 27,5 x 27,5 cm (the gilt wood frame)
Frame: 21 x 12 cm (the pax)

Condition:
- The pax: very good to excellent.
- The crucifixion plaque: minor damages to the frame, the enamel plaque in very good condition.
- The 'Christ cosmique' plaque in excellent condition. Please note this is a type of painted glass plaque rather than enamel.

Ca. H 5 - L 10 - D 6,5 cm (the box)

Condition (Condition report not executed by a watch expert; observations are based solely on visual inspection without opening the watch or testing the movement):
- The watch is not currently running; battery status unknown and not tested.
- Crystal/glass shows light surface wear only, with no cracks or chips.
- Dial appears clean with no visible stains, spots, or damage.
- Case shows minor surface scratching consistent with normal wear, no bending observed.
- Bezel shows light surface scratching consistent with normal wear.
- Crown present, set with blue stone, turns smoothly and is not loose.
- Bracelet is securely attached, with minor surface wear and would benefit from a cleaning.
- Clasp opens and closes properly, with no missing parts or signs of bending.

H 21,5 - Dia.: 40 cm

Condition: (UV-checked)
- Broken and reglued.

390 x 295 cm 

Condition:
- Generally in good condition with the usual wear and traces of use.
- Some dirt spots. Could benefit of a cleaning.
- Fringes in good condition. 
- Minor discolouration. 

316,5 x 223,5 cm 

Condition (UV-checked):
- Generally in good condition with the usual negligible wear and traces of use (minor stains).
- The blue areas surrounding the central medallion are a little more worn, with the usual traces of use.
- The fringes are shortened and/or missing.
- See additional pictures.

348 x 252 cm 

Condition:
- Generally in good condition with the usual negligible wear and traces of use (minor stains).
- The fringes are shortened and/or missing.
- One of the blue corners is a little more worn.
- See additional pictures.

220 x 139 cm

Condition: (UV-checked)
- The rug in general in good condition, with some wear and minor traces of use.
- Fringes shortened and missing at one side.
- Central part of hunting scene at bottom centre more worn than the rest of the tapestry.
- See also the additional pictures.

370 x 302 cm

Condition: (UV-checked)
- In very good condition, with the usual negligible wear.
- Some dirt spots. Could benefit of a cleaning.
- Fringes shortened and/or missing.
- See also the additional pictures.

243 x 228 cm

Condition: (UV-checked)
- In general in rather good and hangable condition, consistent with the age, with wear and traces of use.
- Smaller restorations allover.
- Mid bottom: a smaller tear. Wires at some spots a little stretched.
- See also the additional pictures. 

H 47,5 - L 37 - D 14,5 cm

Thanks to the signature on its dial: Deverberie, rue Barbette No. 483 à Paris, its manufacture by the master himself is confirmed. Other bronze workers copied this popular design at the same time, and continued to do so until 1830. The address on rue Barbette (in the Marais district) allows us to determine the period of its creation: in the Paris trade almanac, Deverberie operates at this address from 1800 to 1804. He had also deposited the preparatory drawing for this clock with the Cabinet des Estampes (Prints Department) of the Bibliothèque nationale de France (National Library of France) in 1799.

Ref.:
- Christie's, New York, April 8, 2025, lot 10, for a later example. (sold USD 20.160) (link)
- Osenat, Fontainebleau, March 25, 2023, lot 101, for another example signed Deverberie and also bearing the Rue Barbette address, but of the 'pendule à l'Afrique'. (sold EUR 20.625) (link)
- Elke Niehüser, French Bronze Clocks, Munich 1999, Schiffer Ed., p. 146, fig. 236.
- Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, p. 381, Fig. 5.15.25.
- Pierre Kjellberg, Encyclopédie de la pendule française, Paris 1994, l'Amateur Ed. , p. 351.

Condition:
- Small losses to the palm tree branches.
- Lacking the left earring.
- Some wear to the bronze stand.
- No later additions, as far as we can discern, everything is original.
- Especially the lower half could use a professional cleaning.
- Losses and crazing to the enamel on the dial.
- The work inside original, but in need of revision as it is not in working order. We believe there are no missing parts.

H 70 cm - Dia.: 79,5 cm

Condition (UV-Checked):
- In good and hangable condition.
- With wear and traces of use. 
- Some leaves slightly bent.
- No missing parts. 

H 51 cm

Ref.:
- P. Kjellberg, Les bronzes du XIXe siècle, Paris, 1989, pp. 469-486.

Condition: (UV-checked)
- In very good condition, with the usual negligible superficial wear.

H 79 cm

Ref.:
- P. Kjellberg, Les bronzes du XIXe siècle, Paris, 1989, p. 353.

Condition: (UV-checked)
- The sculpture in very good condition, with the usual superfical wear and negligible traces of use. The base with some easy to remove dirt spots.
- Label 'Compagnie des bronzes Bruxelles Rue d'Assaut 28'.
- Left leg at the back with negligible small scratches.

H 91 cm

The base inscribed with 'Pinédo Bronzier Paris' and with the letters S and D. The sculpture marked 'Bronze garanti au titre'. 

Ref.:
- P. Kjellberg, Les bronzes du XIXe siècle, Paris, 1989, p. 547.

Condition: (UV-checked)
- In very good condition, with the usual negligible wear and traces of use.

 

 

H 76 cm

A handwritten certificate by the artist is part of the lot.

Condition: (UV-checked)

- In general in very good condition: the sculpture in very good condition and the base in good condition, with minor chips to the bottom rim.
- See also the additional pictures.

H 68 - L 81 - D 44 cm

Condition (UV-Checked):
- The sculpture in very good condition with the usual superficial wear.
- Very powerful expression and movement.
- A rather rare and hard to find example.
- The attachements visible with related hairlines.
- Some minor scratching, not disturbing the general appearance of the sculpture. 

H 116 cm 

Condition (UV-Checked):
- The sculputre in very good condition with the usual wear and minor traces of use. 
- Some dirt spots
- Attachements visible with the usual related hairlines (left ankle of the standing figure).
- Some minor scratching, not disturbing the general appearance of the sculpture.

H 59 - L 45 - D 29 cm

Provenance:
- A Belgian private collection.
- Horta, Brussels, June 11, 2007, lot 101. (Hammer price: €13.000)

Signed on the base and with the De Groeve foundry mark, this posthumous cast was made on behalf of the artist's daughter-in-law Jeanne Minne.
Another posthumous cast of a different work, 'Kneeled youth with a shell', is in the 'Vlaamse Kunstcollectie', presently in the MUDEL (Museum van Deinze en de Leiestreek)(link to Vlaamse Kunstcollectie).

Condition:
- Overall in good condition, the patination with some minor superficial wear and scuff marks, hardly noticeable in standard conditions but more visible under strong illumination. Images with a meter for reference purpose added to this description.

H 43 cm

 

A posthumous cast.

Condition: (UV-checked)
- The sculpture in very good condition with the usual wear and traces of use. Back right with a little more wear.
- See also the additional pictures.

Work: 25 x 16,5
Frame: 42 x 31,5 cm 

Condition: (UV-checked)
- The work in very good and hangable condition.
- Left margin of the paper with a logical and negligible discoloration.
- Not inspected outside the frame.

Work: 48 x 35 cm 
Frame: 71 x 58 cm

Provenance:
- A Belgian private collection. Acquired by the current owners in Bucharest in the 1970s.

Condition: (UV-checked)
- Work in general in good and hangable condition.
- Not inspected outside the frame.
- Some flaking paint to the right and the bottom side.
- Left top with some craquelures.
- See also the additional (UV-) pictures.

 

Paper: 30,5 x 21 cm (the largest)
Paper: 23,5 x 16,5 cm (the smallest) 

Provenance: The former Prekelinden Castle orangeries, Boulevard Brand Whitlock, Brussels.

Condition:
- In good condition, with some traces of use. Minor foxing and discoloration. One with smaller holes in it.
- Nice ensemble. 
- See also the additional pictures.

Work: 50 x 31,5 cm

Frame: 73 x 53 cm 

Provenance:
- A Belgian private collection.

- Ex-collection Van Langenhove, 2007, lot 71.

Countersigned on the back by the artist, accompanied by the text 'Je soussigné déclare que le tableau ci contre représente "Une vue de la Piazza d'Erbe à Padoue" (Italie) est peint par moi et original. Bruxelles 28 avril 1904. 71 Rue de la Poste'.

(I, undersigned, declare that this work, representing "A view on the Piazza d'Erbe in Padua" (Italy) is painted by me and is an original. Brussels 28 April 1904. 71 Rue de la Poste').

Condition: (UV-checked)
- The work in general in good and hangable condition.
- Hardly to no retouching. See also the UV-light pictures.
- Small tear in the canvas (at the height of the parasol on the terrace at the bottom left).
- Could benefit of a small cleaning.

Work: 31 x 23,5 cm

Frame: 64 x 56,5 cm

 

The 'Old cemetery of St. Donat' in Furnes (Veurne) refers to the Furnes Municipal Cemetery, often linked to the French Ossuary which commemorates soldiers who fell during the First World War. It is an important historical site with French and Belgian graves, including that of the poet Émile Verhaeren, and is located near the Church of St. Walburga, a place steeped in local history (link).

Condition: (UV-checked)
- In very good condition.
- The frame with minor damages to the extremities.

Work: 11 x 6,5 cm

Frame: 20 x 17 cm

 

Provenance:
- Ex-collection Van Langenhove, March 18 2006, lot 31.

Condition: (UV-checked)
- In good and hangable condition.
- The protection glass broken.

Work: 60 x 40,5 cm
Frame: 87 x 67,5 cm

 

The reverse with a written certificate by Charles Rommelaere: 'Je soussigne Charles Rommelaere, directeur de la salle 'Oud Oostende' 52 rue d'amsterdam Ostende, certifie que le tableau signé Franz Courtens et representant le couche de soleil avec une femmeau repos est authentique. Ostende, le 28 XII 54. Charles Rommelaere'.

Condition: (UV-checked)
- The work in good and hangable condition.
- Minor overpaint, especially to the top border and the right side, probably due to wear to the borders due to the framing.

Work: 28 x 23 cm

Frame: 39,5 x 35 cm

 

De Saegher was the founder and driving force behind the artists' association 'Vie et Lumière' in 1904. Along with Anna Boch, Georges Buysse, Emile Claus, William Degouve de Nuncques, Anna De Weert, Alois De Laet, James Ensor, Alfred Hazledine, Adrien-Joseph Heymans, Georges Lemmen, Jenny Montigny, Georges Morren, and Edmond Verstraeten, he advocated for the better dissemination of Belgian Luminism in Belgium and abroad. He participated in various exhibitions at home and abroad. He was a regular at the Salons of Ghent, Antwerp, Liège, the Société Nationale in Paris, La Libre Esthétique in Brussels, the Kunstkring in Rotterdam, the Vienna Session, the Venice Biennale, and several exhibitions in Budapest, Berlin, and Vienna. He passionately defended the pastel technique as the ideal medium for depicting light and atmosphere.

Condition: (UV-checked)
- The work in very good and hangable condition.
- A negligible small tear in the paper in the left top corner and the typical holes in the corners due to an earlier hanging system.

Work: 39 x 27 cm

Frame: 51 x 39,5 cm

 

De Saegher was the founder and driving force behind the artists' association 'Vie et Lumière' in 1904. Along with Anna Boch, Georges Buysse, Emile Claus, William Degouve de Nuncques, Anna De Weert, Alois De Laet, James Ensor, Alfred Hazledine, Adrien-Joseph Heymans, Georges Lemmen, Jenny Montigny, Georges Morren, and Edmond Verstraeten, he advocated for the better dissemination of Belgian Luminism in Belgium and abroad. He participated in various exhibitions at home and abroad. He was a regular at the Salons of Ghent, Antwerp, Liège, the Société Nationale in Paris, La Libre Esthétique in Brussels, the Kunstkring in Rotterdam, the Vienna Session, the Venice Biennale, and several exhibitions in Budapest, Berlin, and Vienna. He passionately defended the pastel technique as the ideal medium for depicting light and atmosphere.

Condition: (UV-checked)
- In very good and hangable condition, with the typical holes in the corners due to an earlier hanging system.

Work: 32,5 x 25 cm

Frame: 44,5 x 37 cm

 

De Saegher was the founder and driving force behind the artists' association 'Vie et Lumière' in 1904. Along with Anna Boch, Georges Buysse, Emile Claus, William Degouve de Nuncques, Anna De Weert, Alois De Laet, James Ensor, Alfred Hazledine, Adrien-Joseph Heymans, Georges Lemmen, Jenny Montigny, Georges Morren, and Edmond Verstraeten, he advocated for the better dissemination of Belgian Luminism in Belgium and abroad. He participated in various exhibitions at home and abroad. He was a regular at the Salons of Ghent, Antwerp, Liège, the Société Nationale in Paris, La Libre Esthétique in Brussels, the Kunstkring in Rotterdam, the Vienna Session, the Venice Biennale, and several exhibitions in Budapest, Berlin, and Vienna. He passionately defended the pastel technique as the ideal medium for depicting light and atmosphere.

Condition: (UV-checked)
- In very good and hangable condition, with the typical holes in the corners due to an earlier hanging system.

Work: 45 x 30 cm

Frame: 57,5 x 43,5 cm

 

De Saegher was the founder and driving force behind the artists' association 'Vie et Lumière' in 1904. Along with Anna Boch, Georges Buysse, Emile Claus, William Degouve de Nuncques, Anna De Weert, Alois De Laet, James Ensor, Alfred Hazledine, Adrien-Joseph Heymans, Georges Lemmen, Jenny Montigny, Georges Morren, and Edmond Verstraeten, he advocated for the better dissemination of Belgian Luminism in Belgium and abroad. He participated in various exhibitions at home and abroad. He was a regular at the Salons of Ghent, Antwerp, Liège, the Société Nationale in Paris, La Libre Esthétique in Brussels, the Kunstkring in Rotterdam, the Vienna Session, the Venice Biennale, and several exhibitions in Budapest, Berlin, and Vienna. He passionately defended the pastel technique as the ideal medium for depicting light and atmosphere.

Condition: (UV-checked)
- The work in very good and hangable condition.
- Nice colours.

26,5 x 21,5 cm (the work)
39 x 32,5 cm (the frame)

Condition: (UV-checked)
- The work in very good and hangable condition.

Work: 67 x 44 cm
Frame: 77 x 54 cm

With dedication: 'Affectueusement à ma tante Trinet'.
This early work by Baes reveals like no other the influence he enjoyed from Eugène Laermans (1864-1940).

Condition: (UV-checked)
- The work in general in good and hangable condition.
- Would benefit of a cleaning (some dirt spots, etc.).
- Under UV-light some minor retouching visible.
- Useal wear to the borders due to the framing.
- See also the additional pictures.

Work: 72,5 x 60 cm
Frame: 97,5 x 85 cm

Condition: (UV-checked)
- The work in good and hangable condition.
- Under UV-light no retouching or overpainting visible.
- Could benefit of a cleaning.
- Minor chip to the left top of the board.
- Some wear to the borders due to the framing.

Work: 45,5 x 33 cm 

Frame: 64,5 x 52 cm 

 

Doudelet created this painting when he and Franz Melchers had started a stained-glass studio in Veere, Zeeland Flanders. The region fascinated him at the time. He felt that the country and its inhabitants, all in traditional costume, possessed a naive quality; it was a land of charming houses populated by people who walked like dolls.

Charles Doudelet (1861–1938) occupies a singular position within the European Symbolist movement. A Belgian artist of exceptional range and erudition, Doudelet’s work spans painting, drawing, book illustration, scenography, cinema, sculpture, scholarship and art criticism. Though his name has long remained on the periphery of canonical art history, recent scholarship has begun to restore his reputation as one of the most intellectually ambitious and stylistically distinctive figures of the so-called fin de siècle (Thomas Deprez Fine Arts).

 

Ref.:
- The preparatory sketch of this work can be seen in the last picture. We would like to thank Mr. Jan Boddaert for sharing this information.
- A gouache of the work, dated 1897, is also known (in the collection Anna de Weert, Ghent); see the oeuvre catalogue of Charles Doudelet by Jan Boddaert, number 3629. 
- The work offered here will also be included in the oeuvre catalogue (third edition, number 3629).

Condition: (UV-checked)
- The work in good and hangable condition.
- Not inspected outside the frame.
- Negligible wear to the borders due to the framing.
- Two very small hardly visible spots of flaking paint (center top and center right).
- Would benefit of a new framing (frame a little loose) and a new protection glass, as well as a superficial cleaning. 

Work: 72,5 x 54,5 cm
Frame: 76 x 58 cm

 

Provenance:
- Ex-collection Van Langenhove, March 17 2007, lot 57.

Condition: (UV-checked)
- The work in very good and hangable condition.
- Not inspected outside the frame.
- Some wear.

Work: 58 x 50 cm
Frame: 78 x 68 cm

Condition: (UV-checked)
- The work in good and hangable condition.
- Not inspected outside the frame.
- Would benefit of a new framing.
- Negligible tear in the left bottom corner. Usual wear to the borders due to the framing.

Work: 57 x 42 cm
Frame: 78 x 65 cm

Condition (UV-Checked):
- Work in good in hangable condition.
- Signed and dated right bottom corner.
- Minor wear to the borders due to the framing.
- Under UV-light no retouching or overpainting visisble. 
- At the bottom negligible spots with flaky paint (see additional picture).
- Some crackling due to the panel.

Work: 60 x 47 cm
Frame: 61,5 x 48,5 cm

Ref.:

- A work by the same artist part of the MGML collection (Museum and Galleries of Ljubljana is the largest public institution established by the City Municipality of Ljubljana at the end of 2008 through the merger of the City Museum of Ljubljana and the City Gallery of Ljubljana, link).

Condition: (UV-checked)
- The work in general in good and hangable condition.
- Powerful portrait.
- Not inspected outside the frame.
- The paper with some water stains, minor foxing and minor discoloration.
- The glass with some mould. Would benefit of a new framing.

 

Work: 72,5 x 44 cm
Frame: 88 x 59 cm

 

Ref.:

- This composition taken from 'Venus with Mercury and Cupid ('The School of Love')' by Correggio, nowadays part of the collection of The National Gallery, London. A young family enjoys a tender moment in a leafy glade. Venus, goddess of love, holds her son Cupid’s bow as his father Mercury, god of communication and wit, teaches him to read. Mercury looks down fondly at his child but Venus gazes dreamily towards us and smiles. Unusually, Venus is shown with wings. The painting was designed as one of a pair with Venus and Cupid with a Satyr (Louvre, Paris), in which a satyr draws back the cloth covering Venus and Cupid who lie fast asleep, revealing their naked bodies stretched out in voluptuous abandon. The Louvre’s painting represents the earthly Venus; the National Gallery’s painting represents the celestial Venus. The two pictures were meant to be displayed together, and an inventory of 1589 records that they were hung in a ground floor bedroom of a palace in Mantua. ‘The School of Love’ was always a very famous painting – elements from it have been copied by Titian, Annibale Carracci and Rubens. (link)

Provenance:

- A Belgian private collection.
- Ex-collection Galerie Jacobs, Brussels, Rue Ernest Allard 16.

Condition: (UV-checked)
- The work in good and hangable condition.
- Not inspected outside the frame.
- No retouching visible under UV-light.
- Negligible damage to the center of the board.
- 4,5 cm added to the top.

Work: 148 x 118 cm
Frame: 162 x 131,5 cm

From the late 16th C. onwards, 'The circumcision of Christ' was depicted very frequently in Antwerp, Brussels and Ghent, both on panels and on canvas. It was a popular subject for altarpieces and large devotional works in churches in the Southern Netherlands. Workshops and painters who created such large narrative scenes with many characters, elaborately detailed costumes and didactic or liturgical themes included the Antwerp school of Flemish Mannerists, the circles around Marten de Vos, Frans Francken I / II, Ambrosius Francken, Maerten Pepijn, Jeremias van Winghe, Hendrik van Balen, etc.  

Ref.:

- This composition taken from 'The Circumcision', from the series 'The Life of the Virgin' series by Hendrick Goltzius (1558-1617): the series to which this engraving belongs is commonly known as Goltzius's Meisterstiche, or masterpiece—by analogy with the three famous Meisterstiche by his great predecessor Albrecht Dürer. In a remarkable demonstration of virtuosity in the series, Goltzius imitated the styles of various masters in compositions of his own invention. In this case, he looked to the composition of Dürer's woodcut 'Circumcision' from the series 'The Life of the Virgin', but created his new work in the engraving style of the great master. Goltzius's imitation of Dürer was so successful, his biographer van Mander recounted, that art lovers bought impressions as original works by Dürer. Goltzius, however, revealed his deception by including his own portrait among the crowd in the right background, a scene he set in the local Church of Saint Bavo in Haarlem (link).

Provenance:
- Prive collection, Belgium, East Flanders.

Condition: (UV-checked)
- The work in good and hangable condition.
- Relined.
- Usual negligible wear to the borders due to the framing.
- Under UV-light foremost the typical colour of the varnish visible. Some smaller touch-ups visible. To the naked eye some overpainting is visible here and there, in various phases.
- A little worn at some spots.
- Central vertical seam slightly visible.
- See also the additional pictures. 

Work: 65 x 49 cm 
Frame: 92 x 76,5 cm

Ref.:
- This composition taken from 'The Rich man being led to hell' by David Teniers, nowadays - and since 1871 - part of the collection of The National Gallery, London: 'the fires of hell light up Teniers’s cave-like underworld with an eerie glow. An old man stands, hands raised in self-defence, his eyes wide with fear at the sight of the horrors around him. Weird creatures gather in glee to welcome another soul into the dreadful place that his greed and avarice have led him to. The story – a parable that Christ told his disciples about the evil of gathering wealth without doing charitable deeds – comes from the Gospel of Luke. This picture shows the fate of the rich man who rejected the beggar Lazarus in his last hours: while Lazarus was carried to heaven, the rich man went to hell as a punishment. Flanders was a Catholic country and the idea of hell was very real, but sinners could receive forgiveness for their trespasses. This is a picture meant as a moral message, but perhaps with a light tone'. (link)

Condition (UV-Checked):
- The work in good and hangable condition. 
- Relined.
- Minor wear to the border due to the framing.
- Unevenly varnished.
- Faint network of craquelures.
- Minor damage to the right leg of the flute player in the left corner. 
- Under UV-light some overpainting visible in different faces. 
- Very attractive scene.

Work: 66,5 x 51,5 cm
Frame: 79,5 x 65 cm

Condition: (UV-checked)
- The painting in general in good and hangable condition.
- The wooden panel with some horizontal cracks.
- With some overpaint and retouching, especially along the horizontal cracks. See also the additional pictures.
- More pronounced craquelures.
- The usual negligible wear to the borders due to the framing.
- At the level of the card player's right leg, the panel with negligible damage. 

Work: 48 x 37 cm
Frame: 73 x 62,5 cm

 

Ref.:
- This composition taken from 'Mary with Child' bij Hans Memling, nowadays part of the collection of the Royal Museums of Fine Arts Belgium. (link)

Condition: (UV-checked)
- The work in very good and hangable condition.
- Not inspected outside the frame.
- The usal and minor wear to the borders due to the framing.
- Under UV-light no overpaint visible.

Each work: ca. 51 x 39 cm

The Cusco school (escuela cuzqueña) or Cuzco school, was a Roman Catholic artistic tradition based in Cusco, Peru (the former capital of the Inca Empire) during the Colonial period, in the 16th, 17th and 18th centuries. It was not limited to Cusco only, but spread to other cities in the Andes, as well as to present day Ecuador and Bolivia.

Many colonial Cusco school paintings are preserved, most of them currently at Cusco, but also in other areas of Peru, the town of Calamarca (Bolivia) and in museums of Brazil, United States and England.

The Cuzqueña paintings were a form of religious art whose main purpose was didactic. The Spanish, who aimed to convert the Incas to Catholicism, sent a group of religious artists to Cusco. These artists formed a school for Quechua people and Mestizos, teaching them drawing and oil painting. The designation "Cusqueña," however, is not limited to the city of Cusco or to indigenous artists, as White Criollo artists participated in the tradition as well.

A major patron of the Cusco artists was Bishop Manuel de Mollinedo y Angulo, who collected European art and made his collection available to Peruvian artists. He promoted and financially assisted such Cusqueña artists such as Basilio Santa Cruz Pumacallao, Antonio Sinchi Roca Inka, and Marcos Rivera.

Condition: (UV-checked)
- Both in rather good and hangable condition, relined, worn, no retouching visible under UV-light, consistent with the age. Logic lightening up of the gold-coloured parts.
- The angel with the arquebus with minor flaking paint and the traces of a cloth that was once rolled up.

Work: 53,5 x 43,5 cm

 

The Cusco school (escuela cuzqueña) or Cuzco school, was a Roman Catholic artistic tradition based in Cusco, Peru (the former capital of the Inca Empire) during the Colonial period, in the 16th, 17th and 18th centuries. It was not limited to Cusco only, but spread to other cities in the Andes, as well as to present day Ecuador and Bolivia.

Many colonial Cusco school paintings are preserved, most of them currently at Cusco, but also in other areas of Peru, the town of Calamarca (Bolivia) and in museums of Brazil, United States and England.

The Cuzqueña paintings were a form of religious art whose main purpose was didactic. The Spanish, who aimed to convert the Incas to Catholicism, sent a group of religious artists to Cusco. These artists formed a school for Quechua people and Mestizos, teaching them drawing and oil painting. The designation "Cusqueña," however, is not limited to the city of Cusco or to indigenous artists, as White Criollo artists participated in the tradition as well.

A major patron of the Cusco artists was Bishop Manuel de Mollinedo y Angulo, who collected European art and made his collection available to Peruvian artists. He promoted and financially assisted such Cusqueña artists such as Basilio Santa Cruz Pumacallao, Antonio Sinchi Roca Inka, and Marcos Rivera.

Condition: (UV-checked)
- The work in good and hangable condition.
- Relined.
- A little worn; a little more where the canvas was folded.
- Under UV-light hardly any retouching visible.

Work: 66 x 57 cm 
Frame: 77,5 x 68,5 cm 

Ref.:

- This composition taken from 'Ecce Homo' by Titian, nowadays part of the collection of The Museo del Prado. Titian shows Christ in three quarter length and at an angle. He combines the inherent drama of the subject, visible in the whip marks and the blood, with the serenity of someone who accepts his tragic destiny (link).

Condition: (UV-checked)
- In good and hangable condition.
- Relined. Original canvas strongly worn in places.
- Faint network of craquelures.
- Under UV-light hardly any retouching visible, however with older retouches.
- Scratch on the elbow.
- See also the additional pictures. 

Provenance:
- Private collection, Belgium, East Flanders.

Work: 65 x 57,5 cm
Frame: 92 x 84 cm

Very nicely framed.

Condition: (UV-checked)
- In rather good and hangable condition.
- Nicely framed.
- With retouching and overpainting all over.
- Consistent with the age.
- Some spots with loose paint.
- Would benefit of a professional restoration.
- See also the additional pictures. 

Work: 123 x 75 cm

Frame: 139 x 91 cm

 

Ref.:

- This composition taken from 'The transfiguration' by Raffaello Sanzio, nowadays part of the collection of the Musei Vaticani. This altarpiece illustrates two episodes narrated in succession in the Gospel according to Matthew: the transfiguration above, with Christ in glory between the prophets Moses and Elijah, and below, in the foreground, the meeting of the apostles with the obsessed youth who will be miraculously cured by Christ on his return from Mount Tabor (in our version only the top part is shown). This is Raphael's last painting and appears as the spiritual testament of the artist. The work is considered in his biography, written by the famous artist and biographer of the 16th C., Giorgio Vasari, 'the most famous, the most beautiful and most divine'. (link)

Condition: (UV-checked)
- The work in general in good and hangable condition.
- Relined, due to some minor tears in the original canvas.
- Minor overpaint and some retouching in different phases.
- Top edge with overpaint.
- See also the additional pictures.

Work: 108 x 92 cm
Frame: 129 x 112 cm

Signed lower left.
The work previously attributed to Bartholomeus van der Helst (1613-1670).

Condition: (UV-checked)
- The work in general in very good and hangable condition.
- Relined.
- Negligible flaking paint at the level of the right forearm and a scratch on the collar.
- The usual minor wear to the borders due to the framing.
- Faint network of craquelures.
- Some overpaint, mainly in the background.
- See also the additional pictures.