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Last update: 2024-01-11, 15:25:45
H 20 cm (the jar and cover)
H 18 - L 15 cm (the largest teapot)
Dia.: 14 - 13 cm (the largest and the smallest saucer)
H 12 - L 10,2 cm (the largest box and cover)
H 12 - 10 cm (the brush pots)
H 7,5 - L 14,5 cm (the smallest teapot)
H 6,2 - 4,5 cm (the tallest and the smallest cup)
H 4,5 cm - Dia.: 8,5 cm (the smallest box and cover)
Condition: (UV-checked)
- The yellow ground famille rose bowl: in good condition, with a nigligible superficial chip to the rim and negligible losses of the enamel
- The turquoise ground famille rose vase: broken and restored
- The qianjiang cai brush pot: in very good condition
- The Nanking blue and white brush pot: in good condition, with negligible rim chips and some dirt
- The vase and cover with flower ladies and a crane: the body with a hairline, the top of the cover with a chip
- The quadrangular teapot and cover: the gilt decoration with some wear, one of the corners of the teapot with two small hairlines forming an Y
- The qianjiang cai teapot: in very good condition, the inner rim with a negligible baking flaw
- The iron-red teapot: a star-shaped hairline to the neck of the teapot, the spout with a chip
- The teapot with a crane on a branch: the top rim with one minor and one negligible chip, the spout with a small chip, the attachment of the handle with a tension hairline and a small hairline
- The teapot with the figures: the spout and the handle broken and restored, a small hairline starting from the attachment of the handle running downwards or 1 cm
- The tureen and cover: the handle of the tureen with chips and a possible tension hairline, furthermore in good condition
- The two qianjiang cai bowls and covers: one cover with a hairline and some chips, one cover with hardly visible fleabites: one bowl with a chip the the bottom inner rim, one bowl with with negligible fleabites to the inner top rim; furthermore in good condition
- The three bowls: in good condition, with negligible wear
- The seven saucers: one with hairline, one with chip and related hairline, one with three hairlines and a chip, four in good condition
- The three boxes and covers: the cover broken and restored and two fleabites to the rim (the one woth the floral design); one cover with a chip and related hairline and one cover with a fleabite to the inner rim and one lower part with some fleabites
H 30,3 cm
The decoration shows two dragons chasing the flaming pearl in the middle of the design, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality.
Condition: (UV-checked)
- Both vases with four hairlines starting from the top and running downwards. Some baking flaws, especially to the body of the dragons and one on a centimeter of the bottom rim of one of the vases. One vase with minor damage to a claw.
Dia.: 37,3 cm
Condition: (UV-checked)
- In good condition, with a restored chip to the outside of the top rim and some wear.
H 31,5 - 24,5 cm (the jars and covers)
H 10,5 cm - Dia.: 28 cm (the bowl)
Condition: (UV-checked)
- The smallest jar and cover: both jar and cover in good condition, with minor chips to the inner rim of the jar and the bottom rim of the cover (chips not visible when the cover stands on the jar).
- The largest jar and cover: the cover in very good condition, the jar in good condition with a negligible superficial hardly visible vhip to the top rim and some chips to the inner rim.
- The bowl: in good condition with minor wear and both top rims with some fleabites and minor glaze losses, as often is the case.
H 45,5 cm
The decoration shows dragons chasing the flaming pearl, a recurrent motif in Chinese art, with the pearl representing the attainment of wisdom, power or immortality.
Condition: (UV-checked)
- The base with a drilled hole and the top with negligible burst glaze bubbles, furthermore in very good condition.
H 59,5 cm
Condition: (Uv-checked)
- The top rim with a small and tight hairline of 1,5 cm, only visible on the inside.
- Minor losses of the enamel.
- Bottom rim with negligible fritting/chips.
- Some baking flaws and the body with a small superficial chip.
H 46,5 cm
Condition: (UV-checked)
- The base with two star-shaped hairlines.
- The inside top rim with overspraying.
- Two small star-shaped hairlines on the shoulder, only visible on the inside.
- The body with a 12,5 cm hairline with some small branches, visible on the inside and outside.
Dia.: 36,5 cm
Condition: (UV-checked)
- A baking irrigularity to the rim, furthmore in very good condition.
H 42,5 cm
Condition: (UV-checked)
- In very good condition.
Dia.: 37 cm
Condition: (UV-checked)
- The dish in good condition, with negligible chips to the bottom rim, a small chip to the rim and a hairline of ca. 2 cm.
- Negligible loss of the enamel, especially in the blue parts.
H 55,5 cm (incl. mount)
Condition: (UV-checked)
- Both vases in very good condition, with normal superficial wear.
- The bottoms of the vases with a drilled hole to attach the gilt bronze mount.
- The top mount of the left vase deattached. Normally easily to attach by loosening and fastening the screws.
H 59,2 cm
Condition: (UV-checked)
- The first vase with a restored break to the rim, otherwise good.
- The second vase with a star-shaped glaze line to the base, invisible on the inside.
品相：（已用紫外线光检查）
- 第一个花瓶口沿磕崩修复。
- 第二个花瓶炸底不透。
H 28 cm
Condition: (UV-checked)
- The vase in very good/excellent condition, with the usual negligible superficial wear.
H 60 - 44,5 cm
Condition: (UV-checked)
- The smallest vase with a number of small superficial chips around the foot rim. Otherwise good.
- The largest vase with a star-shaped glaze line on the bottom, invisible on the inside and a baking flaw just above the foot rim. Otherwise good.
H 42 - 41,5 cm
Condition: (UV-checked)
- Both vases in good condition, with the normal superficial wear.
H 34 cm - Dia.: 39,5 cm
Condition: (UV-checked)
- In good condition, with the usual superficial wear.
H 22 cm (the ginger jars)
H 11,5 cm (the figure)
Condition: (UV-checked)
- One of the covers broken and restored and with a chip. The second cover in good condition, with glaze loss to the finial.
- Both jars in very good condition. One jar with a chip to the inside of the bottom rim.
- The figure in very good condition, with a baking flaw behind the left ear.
H 35,5 cm
Condition:
- The base with some star-shaped hairlines, furthermore in very good condition.
H 78 cm
Condition: (UV-checked)
- The vase generally in good condition, with normal superficial wear.
- One of the four applied dragons with a part of the front leg missing and another dragon with a chip from the green glazed hair.
H 13,5 - L 9 - D 9 cm
Condition: (UV-checked)
- Excelllent.
H 24 cm
Condition: (UV-checked)
- Both jars in excellent condition, with normal superficial wear.
- Both covers with minor superficial baking flaws and minor glaze losses. One cover with a superficial chip.
H 25 cm - Dia.: 20 cm (the box)
H 12,2 - L 14,5 cm (the teapot and cover)
Condition: (UV-checked)
- The box in general in good condition, with minor damage to the rims, one of the dragons with minor chips, the top rim with three small cracks, the silk with wear and damage and minor restoration to the top. No key present.
- The teapot and cover: in good condition, with negligible losses of the enamel.
H 15,5 cm
Condition: (UV-checked)
- Excellent.
H 60 cm
Condition: (UV-checked)
- The top rim with a glued break with related old overpainting, otherwise in very good condition.
H 21,5 - 20,5 cm
Condition: (UV-checked)
- One vase in very good condition.
- One vase with a broken and reglued handle, otherwise in very good condition.
H 32 cm
Condition: (UV-checked)
- In very good condition, with negligible superficial wear.
H 23,5 cm (the vase)
Dia.: 16,5 - 16 cm (the saucers)
H 8,3 - 7 cm (the cups)
Condition: (UV-checked)
- The vase in very good condition, with minor superficial wear to the gilt decoration and very minor losses of the enamel, especially to the top border.
- The smallest cup in good condition. The largest cup with a restored chip and related overspraying to the top rim.
- One saucer with a small negligible superficial 3 mm rim chip, furthermore in good condition. The second saucer in very good condition.
Work: 39 x 25,5 cm
Frame: 49,5 x 36 cm
Condition: (UV-checked)
- Both plaques in good condition, with negligible superficial wear.
- The inside corners of one of the frames a little loose.
39,5 x 26 cm
Provenance:
- Private collection, The Netherlands.
Condition: (UV-checked)
- In very good condition, with two small touch-ups.
H 20,5 cm
Condition: (UV-checked)
- The bottom rim with a negligible baking flaw, furthermore in very good condition.
H 36 cm
Condition: (UV-checked)
- In very good condition, with negligible superficial wear.
H 50 cm
Condition: (UV-checked)
- In excellent condition, with normal superficial wear and minor superficial losses of the enamels.
H 46 - 35,5 cm (the two vases)
H 28,3 cm (the hat stand)
H 15,5 - L 24 - D 24 cm (the stand)
Condition: (UV-checked)
- The stand in general in very good condition, with negligible wear.
- The hat stand with two negligible glaze chip to the top rim, furthermore in very good condition.
- The Nanking vase in good condition.
- The moon flask: with minor chips to the top rim, the ears missing and with overpaint and a star-shaped crack running in different directions (see additional pictures). Minor losses of the enamel.
Dia.: 34,8 cm
Condition: (UV-checked)
- Excellent.
品相：（已用紫外线光检查）
- 全品。
H 9,5 cm - Dia.: 22 cm
Condition: (UV-checked)
- In very good condition.
Dia.: 9 cm
Condition: (UV-checked)
- The item without doubt in good condition. The top with a minor baking line of 5 mm. The bottom with a small chip, a fleabite and a tension line, all to the inner rim.
H 5,5 - L 28 cm (the bowl on stand)
H 29 cm (the hat stands)
H 31 cm (the jar and cover)
H 15,5 cm (the jar)
Condition: (UV-checked) (from left to right)
- The bowl on stand with two superficial chips from the brown glazed rim.
- Both hat stands generally in very good condition, with superficial wear to the gilding and overglazed enamel design.
- The tip of the finial from the cover lacking. The jar with two small superficial chips from the unglazed rim.
- The jar generally in very good condition, with normal superficial wear and firing flaws.
H 5,5 cm - Dia.: 13,5 cm (the bowl)
Dia.: 19,5 cm (the plate)
H 4,5 cm - Dia.: 11,5 cm (the bowl on foot)
The 'dragon' bowl with a Tongzhi mark and of the period.
Condition: (UV-checked)
- The famille rose 'dragons' bowl generally in excellent condition, with minor superficial wear.
- The plate with superficial wear to the overglazed enamels and two hairlines.
- The bowl on foot generally in excellent condition, with normal superficial wear and superficial firing flaws.
H 68,7 cm (the vase mounted as lamp, incl. the mounts)
H 58 - 57,7 - 45,7 cm (the three vases)
Condition: (UV-checked)
- The pair of vases: one vase in very good condition, one vase with a superficial chip to the top rim and the body with some baking flaws.
- The famille rose vase: with a hairline starting 3cm above the bottom rim and running upwards to the dragon in relief design. The top rim broken and restored, with related overspraying. Some minor chips to the top rim.
- The lamp mounted vase: shortened, furthermore in good condition.
H 67,8 cm (incl. the mounts)
Condition: (UV-checked)
- Generally in good condition, with normal superficial wear.
- The neck of the vase detached from the body and polished on the underside.
- The flower-shaped rim of the neck with a small superficial chip.
H 44,5 cm
Condition: (UV-checked)
- In very good condition, with negligible superficial wear.
H 47 cm
Condition: (UV-checked)
- In very good condition, with a baking flaw on the inside and on the bottom with a related hairline.
H 21 cm
Condition: (UV-checked)
- In excellent condition.
H 61 cm
Condition: (UV-checked)
- The bottom with star-shaped hairlines, otherwise in excellent condition.
Dia.: 18,7 cm
Condition: (UV-checked)
-All three plates in excellent condition, with normal superficial wear.
H 59,5 cm
Condition: (UV-checked)
- The vase on the left with one head of the four applied dragons reattached with related overpainting.
- The other vase with a star-shaped hairline on the bottom side, otherwise in very good condition.
H 40 cm
Condition: (UV-checked)
- In excellent condition, with a number of small firing flaws.
H 62,5 cm
Condition: (UV-checked)
- The first vase with a flake under the rim and the base completely oversprayed.
- The second vase with a reglued break to the rim and two vertical hairlines in the middle.
品相：（已用紫外线光检查）
- 第一个花瓶口沿下一个飞皮，底喷漆。
- 第二个花瓶口一个破裂修复，炸肚两条。
H 15,5 - 7,5 cm
Condition: (UV-checked)
- The coral red vase with two hairlines from the foot rim through the centre of the bottom.
- The hu vase in excellent condition, with minor firing flaws.
- The water pot in excellent condition.
L 13,9 - D 12,5 cm (the saucer)
H 8,2 cm (the cup)
Ref.:
- A very similar beaker and saucer offered at Sotheby's, New York, Sale N10131, Selected Meissen and other ceramics from the collection of Henry H. Arnhold, Oct. 24, 2019, lot 352 (link): "This rare type of Chinese export beaker and saucer is discussed in depth in David Sanctuary Howard and John Ayers, China For the West: Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, London, 1978, vol. II, cat. no. 539. The authors note that the original AR (Augustus Rex, referring to Augustus the Strong, Elector of Saxony) mark was used in Meissen porcelain between 1723 and 1736, yet the particular style of decoration on the present example did not appear in Meissen originals until after the iconic crossed-swords marks were introduced, therefore pointing out the contradiction in date between the mark and the decoration. The authors continue to note that it was known that in Dresden, during the second half of the 19th century, decorators used the AR mark to decorate German porcelain to imitate earlier Meissen wares. Helena Wolfsohn was one of the best well-known decorators who utilized the AR mark until the Meissen factory took legal action against her. It is therefore plausible that one such later reproduction of Meissen porcelain, was sent to China in order to be copied. This, in turn, marks the Chinese example as an imitation of an imitation. It appears that five other examples are known, including the example from the Mottahedeh collection. Another pair are in the Helena Woolworth McCann Collection in the Metropolitan Museum of Art, and illustrated in Clare Le Corbeiller, China Trade Porcelain: Patterns of Exchange, New York, 1974, cat. no. 37, and Elinor Gordon (ed.), Chinese Export Porcelain: An Historical Survey, New York, 1975, p. 80."
Condition: (UV-checked)
- The cup with a hairline of ca. 3,5 cm.
- The saucer in good condition.
- The gilt decoration with wear.
H 23,5 cm - Dia.: 26 cm
Condition: (UV-checked)
- Generally in good condition, with normal superficial wear and firing flaws.
H 46 cm
Condition: (UV-checked)
- Both covers in excellent condition, with minor superficial wear.
- The left jar in excellent condition with normal superficial wear.
- The other jar with a Y-shaped hairline from the top rim and a baking flaw with related short hairlines. Just under the shoulder a dent mark with related glaze lines.
H 29,5 cm
Condition: (UV-checked)
- Both porcelain bases in very good condition.
- Both lanterns in very good condition.
- Both wood bases with some damage.
H 59 cm (the yenyen vase)
H 35,5 cm - Dia.: 40 cm (the jardinière)
Condition: (UV-checked)
- The vase with two hairlines of ca. 10-12 cm each, one with traces of old repair.
- The jardinière with a reglued break around and some minor related damage, and a pierced hole.
H 57 cm
Condition: (UV-checked)
- In excellent condition.
H 21 cm
Condition: (UV-checked)
- In very good condition, with a baking flaw on the inside at the height of the shoulder.
H 41 cm
Condition: (UV-checked)
- The vase on the left with a part of the rim restored with related overpainting. The body with a restored circular break with related overpainting.
- The vase on the right hand side with a part of the top rim restored with related overpainting and both handles reattached with related overspraying. The base with a star-shaped hairline.
H 7,5 - 5,5 cm (the tallest and the smallest snuff bottle)
Condition: (UV-checked) (from left to right)
1) A superficial chips from the top rim. The stopper lacking the spoon.
2) In very good condition, with normal superficial wear. Some negligible losses from the overlay design.
3) In excellent condition. The stopper lacking the top.
4) In very good condition. Glued to the wooden stand.
5) With a superficial chip from the top rim and minor superficial wear.
6) Generally in very good condtion. The stopper lacking the spoon.
H 21 - L 19 cm
Weight: 3466 g
Provenance:
- Private collection, Belgium, Ghent.
Condition: (UV-checked)
- The figure in general in very good condition, with some small restorations here and there, as visible on the additional pictures.
- The plate at the bottom not original.
H 35 - L 29 cm
Condition: (UV-checked)
- The left elephant vase with normal superficial surface wear. The top section with the vase with minor losses from the extremities. The elephant with one ear reattached with pewter. Misses one of the two tusks and the other tusk replaced with pewter as wel as the tip of the tail. The underside of the belly with a superficial scratching marks between the two back legs.
- The second elephant vase with normal superficial surface wear and minor losses of the extremities of the top section. The top rim of the vase lacks a piece as visible on the photos. Furthermore the elephant lacks a part of the tail and both ears. Both tusks with the tips replaced with pewter.
H 16,5 - 6,5 cm (the biggest and smallest statuette)
Condition: (UV-checked) (from left to right)
1) In very good condition, with normal superficial wear.
2) In very good condition, with normal superficial wear.
3) In very good condition, with normal superficial wear.
4) The head reglued to the body. A piece from the foot
5) In very good condition, with normal superficial wear.
6) In very good condition, with normal superficial wear.
7) In very good condition, with normal superficial wear.
8) In very good condition, with normal superficial wear.
9) A tear between the Buddha and the throne. The Buddha's head reattached to the body and a part of the ear lacking.
10) The floral ornament near the shoulder with a small tear.
H 87 - 86 cm (with base)
Condition: (UV-checked)
- Both cranes generally in very good condition, with normal superficial wear, minor losses of the enamel and some small retouches.
- One of the cranes wiith traces of glue between the legs and body, most likely to reinforce.
- The wooden bases with minor superficial wear.
5 x 4 cm
Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear. The underside with minor natural tension lines.
5,2 x 3,5 cm
Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear.
- The top left front corner with two negligible
8,6 x 4,2 cm (the pendant )
H 6,8 - W 17,5 - D 12 cm (the box)
Condition: (UV-checked)
- With a tension line on the top of ca. 2cm, furthermore in very good condition.
H 17,7 - W 10,5 cm (plaque with stand)
W 6,8 - H 2,8 cm (water pot)
H 6,3 cm (snuff bottle)
Condition: (UV-checked)
- The water pot in very good condition, with normal superficial wear.
- The top rim of the snuff bottle damaged.
- The plaque with numerous tension lines and a few chips from the rim.
10,5 x 7,5 cm
Condition: (UV-checked)
- Three of the four corners with irregularities or small losses.
- Some natural tension lines, some of which with discoloration.
Work: ca. 46 x 36 cm
Frame: 58,5 x 48,5 cm
Condition: (UV-checked)
- All frames with visible damages and wear.
- All works in stable, hangeable condition, ready to be displayed.
- The one with the carriage, far left, in good condition, with normal negligible wear. The frame lacking the glass.
- The scene with the gate, second from left, with some tears to the lower left corner, a loss to the middle of the left edge and another small loss to the lower right corner.
- The scene by the table, in the middle of the back row on the first image, with some tears and losses to the middle of the top edge and to the upper left corner.
- The scene by the well with a mild horizontal tear just below the middle of the upper edge.
- The carriage scene, on the far right, with tears and losses to the upper left part.
Dia 21,5 - H 18,3 cm
Condition: (UV-checked)
- Generally in good condition, with normal superficial wear. The top rim with two restored chips and a number of chips from the foot rim.
H 28 cm
Condition: (UV-checked)
- Generally in good condition, with normal superficial wear. Some of the inset stones lacking.
- The lotus throne with some casting flaws.
H 46,5 - L 42 cm
Ref.:
- Levine-Urban, 19.
- Jerome-Schotsmans, 112.
- Marjan Sterckx, 'The prodigal son revisited. male bodies and bonds in two fin de siècle sculptures by Constantin Meunier and Georges Minne', in: Thijs Dekeukeleire, Henk de Smaele and Marjan Sterckx (eds.), Male bonds in nineteenth century art, Leuven, 2021, pp. 83-100. Another example of this bearded version is part of the collection of the Waldemarsudde in Stockholm.
Condition: (UV-checked)
- The sculpture in very good condition, with the usual and minor superficial wear.
H 67 cm
Condition: (UV-checked)
- The sculpture in general good condition, with negligible glaze chips (see additional pictures).
- The back side of the pillow with restoration and overspraying. The right hind leg of the dog and the right side of the pillow overspraying.
H 80,3 cm
The motif of kneeling comes about in the oeuvre of Minne for the first time in the sculpture group Man and Woman Kneeling from 1889. Worthy of note is the vulnerability and the resignation of the figures, a position that we also find again in the illustrations that Minne made in the same period for the poetry collections of Serres Chaudes by Maurice Maeterlinck and Mon coeur pleure d'autrefois by Grégoire Le Roy. The sculpture group is also known as Adam and Eve and would then depict the moment of the subjugation after the Fall. Minne, however, departed from the existing biblical iconography in order to bring to expression general human feelings of suffering and mourning.
In his sketchbook from circa 1894-1896, we see how Minne further developed the motif of kneeling and searched for the ultimate position as the externalisation of a complex emotional condition, in which self-protection, internalisation and narcissism blend together. The sketch pages show various kneeling figures: youths, a kneeling pair, mourning figures and John the Baptist, which he further worked out into a sculpture in 1895, of which the Museum for Fine Arts Ghent possesses a plaster and bluestone version. In that sketchbook are also a few drawings of youths to be seen as immediate preparation for Small Figure Kneeling from 1896, the prototype of Minne's kneeling youths. Already in that sculpture is the typical attitude established of the kneeling ones around the fountain: a youth with bowed head, kneeling on a block, with the arms crossed over the chest, while the hands embrace the shoulders. According to reports, for the Small Figure Kneeling stood "a delicate young Flemish model with a John the Baptist face". From the sculpture versions in plaster, bronze and marble exist. Both the Museum of Fine Arts Ghent and the Museum of Deinze and the Leie Region have a marble version of the Small Figure Kneeling.
Also for the Fountain with Kneeling Youths from 1898 -also called the Narcissus Fountain- there are a large number of studies known, both for the kneeling figures as well as for the supporting water basins. In his studio in Vorst, Minne made five different versions for the water basins in plaster. The first version he exhibited in the spring of 1899 with the art circle La Libre Esthétique in Brussels. In 1900, he showed a second version in the Wiener Secession. In photos from the exhibitions in Budapest and Venice we see a basin with only four instead of five kneeling figures. On the marble version in the Folkwang Museum in Hagen -made circa 1900 and ordered by the German mecenas Karl Ernst Osthaus- the plinths of the sculptures stand erected on the flat edge of the basin. In the version of the Museum of Fine Arts Ghent, the plinths are integrated plastically into the entirety of the basin. The water basin of the Ghent version is from circa 1927-1930; the kneeling figures themselves date from circa 1905. Various versions of the youthful figure also exist: at the Wiener Secession the kneeling figures have out-stretched feet on the plinths, which sink into the basin itself. In all other versions the plinths stand on top of the basin and the feet lie bowed over the edge of the plinth.
As with the majority of the works from Minne's Symbolist period, the meaning of the Fountain with Kneeling Youths is also not simple. The decorative rhythm of five identical, turned inwardly, delicate youths, kneeling around a water basin, gives the work a certain lightness and at the same time enhances the inwardness of the figures, the emphatic turning away from the outside world. With the water basin Minne possibly refers to the demi-god Narcissus who fell in love with his own mirror image and perished from it. We can interpret the sculpture group, however, also in a religious sense. The water basin than suggests the Source of Life such as we also find in the Ghent Altarpiece of the brothers Van Eyck. A small study of a pulpit with a sketch of the Fountain with Kneeling Youths at the foot of it shows how Minne situated The Fountain, perhaps initially, in a liturgical context. The nakedness of the figures suggests, however, broader and more universal meaning in which budding sexuality and narcissism clearly play a role in addition to mystical experience. The later returns to The Fountain in the 1930's not only miss the starkness of form, but also the complex meaning that distinguishes the original version.
The sculpture of the kneeling youth, known as the Kneeling Youth from the fountain, is also frequently viewed as a stand-alone sculpture and is undoubtedly the prime example of sculpture with which the work of Minne is identified. There are executions known in plaster, bronze and marble. With a stark, stylised delineation and clear simplification of form, Minne anticipates the art that originates around and after 1900 in Vienna. We also find naked, protracted figures in the symbolist work of Klimt, Schiele and Kokoschka, as the articulation of a new mystique and a new religiosity that is closely bond with eroticism and sexuality.
With The Small Relic Bearer (KMSKA) from 1897 and The Kneeling Youth (large version) (Vienna, Kunsthistorisches Museum) from 1898, Minne varies the theme of the kneeling youth. In The Small Relic Bearer, Minne places more emphasis on the religious context than in the Fountain with Kneeling Youths. The combination of the bowed head and the carrying of the relic give the sculpture a sphere of resignation and religious introversion. For this presentation, the artist is probably inspired by the Caryatide of Rodin. In 1929, Minne made a larger and more inspired version. Herein he also changes the position of the arms, by which the youth seems hide his face behind the left arm. Both the Museum of Deinze and the Leie Region and the Museum of Fine Arts Ghent have an identical, bronze version of The Large Relic Bearer (link).
Provenance:
- Private collection, France. Acquired directly from the artist by the owner's family and has remained in the same collection ever since. (by repute)
Ref.:
- Van Puyvelde, 26.
- 'George Minne en de kunst rond 1900', Museum voor Schone Kunsten Gent, 18 september 1982 tot 5 december 1982, Kruishoutem, 1982, pp. 148-149.
Condition: (UV-checked)
- With a number of chips to the base.
- Some damage to the grey design, especially to the left shoulder, to one of the fingers of the right hand and to the head.
- Right calf with a scratch.
- Both hamstrings with a crack.
- See also the additional pictures.
H 32 - L 18 cm
Condition: (UV-checked)
- In general in very good condition, with some negligible wear and traces of use.
- With a number of small chips around the bottom rim. The left foot with a negligible chip and a baking flaw.
- See also the additional pictures.
Dia.: 30,5 - 30 - 18,5 cm
Condition: (UV-checked)
- All three plates in general in good condition, with the normal rim fritting.
- The smallest plate with a restored rim chip. The largest lobed plate with a small hairline.
- The third plate with minor rim chips and some glaze lines, typical for Delftware.
H 17,5 - L 15 cm (the flower holder)
H 14,5 cm (the tea caddy)
11,7 x 11,7 cm (the saucer)
H 10 cm (the figure)
Condition: (UV-checked) (from left to right)
1) With chips, glaze losses and crazing of the glaze.
2) Generally in good condition, with minor typical superficial glaze losses.
3) The cover generally in very good condition. The teacaddy with two chips from the top rim and minor typical superficial glaze losses.
4) The flower holder with a hairline.
H 44,5 cm (lidded vase)
H 43 - 36 cm (the tallest and the smallest vase)
Marked with 'D-PAUW' for the De Paauw factory from 1651 to 1774.
Condition: (UV-checked)
- All vases with the normal rim fritting typical for Delftware and minor rim chips.
- The two smaller vases: one with a chip to the bottom rim and restored top.
- The two larger vases: one with a restored top. One with a restoration and related overpaint to the body and a chip to the top and the bottom rim.
- The vase and cover: in general in good condition.
- See also the additional pictures.
H 40 - 36 cm (the tallest and the smallest vase)
Marked with an apocryphal 'AK' for Adrianus Kockx, owner of the Grieksche A factory from 1687 to 1701.
Condition: (UV-checked)
- The garniture in general in very good condition, with the normal rim fritting typical for Delftware and minor rim chips (see the additional pictures).
H 24,5 cm
Condition: (UV-checked)
- In good condition, with superfical circular scratches on the inside of the neck and negligible traces of use.
- See also the additional pictures.
H 104 - L 160 - D 65 cm (the sofa)
H 103 - L 70 - D 60 cm (the armchairs)
The set with a 'Sormani Ameublements Paris 134 Bould Hausmann label'. In 1914, Paul-Charles Sormani (1848-1926) joined forces with Thiebault Frères to create a store at 134, Boulevard Haussmann in Paris. The House Thiebault-Sormani, will exhibit in particular furniture at the International Exhibition of Decorative Arts and Industrial Modern, in Paris, in 1925. This store, which produced high quality pieces in the Louis XV and Louis XVI style, lasted until 1934.
Condition: (UV-checked)
- The set in general in very good condition, with minor superficial wear and traces of use (see additional pictures).
- The gilt decoration with negligible traces of use.
- Stable.
- The upholstery with some damage and some restorations, especially in the medallions (see additional pictures).
197 x 132 cm
Condition: (UV-checked)
- No fringes at both sides.
- Some wear and traces of use, especially in the centre zone, and the border.
- One of the corners with a small piece missing.
- See also the additional pictures.
216 x 139 cm
Condition: (UV-checked)
- The rug in good condition, with the usual and negligible wear.
- The fringes shortened at one side.
- See also the additional pictures.
301,5 x 202,5 cm
Condition: (UV-checked)
- The rug in good condition, with the usual and minor wear.
- Especially the sides with some wear.
- See also the additional pictures.
275,5 x 179 cm
Condition: (UV-checked)
- In general in good condition, with the normal wear and traces of use.
- In one of the corners a small loss to the fringes and some minor damage.
327 x 223 cm
Condition: (Uv-checked)
- More than likely produced in France.
- In good condition.
- Could benefit of a cleaning.
- 3 à 4 knots/cm, ca. 12 knots/square cm.
H 11 - L 11,5 cm (the teapot)
H 7 cm - Dia.: 4,7 cm (the largest box and cover)
H 5 - L 10,5 cm (the bowl)
H 4,5 cm - Dia.: 8,5 cm (the 'dragons' box and cover)
H 4,5 cm - Dia.: 5,5 cm (the smallest box and cover)
Condition: (UV-checked)
- The 'dragon' box and cover in excellent condition, with normal superficial wear and minor firing flaws.
- The teapot and cover in excellent condition, with normal superficial wear.
- The square bowl with wear to the turqoise glaze, burst glaze bubbles, enamel losses and a number of chips from the rim.
- Three flat covers in excellent condition. One flat cover with a small superficial rim chip. The cover with finial with a chip from the unglazed rim.
- Four boxes in excellent condition, with normal superficial wear. One box with a chip from the rim.
H 9,5 cm - Dia.: 7,4 cm (the bowl and cover)
H 9 cm - Dia.: 18 cm (the largest bowl)
H 8 cm - Dia.: 14,5 cm (the smallest bowl)
Condition: (UV-checked)
- The largest bowl: the top rim with a minor superficial chip, the rim with a chip and related hairline of ca. 8 cm and a tight hairline of ca. 7 cm.
- The smallest bowl: with three superficial chips to the top rim and a fleabite to the bottom rim.
- The bowl and cover: the cover with minor chipping and a negligible baking line to the inner rim, the bowl with a hardly visible negligible fleabite to the inner top rim.
Dia.: 34,3 - 27,5 cm (the largest and the smallest dish)
25,3 x 17,3 cm (the rectangular dish)
Dia.: 23,8 - 21,5 cm (the largest and the smallest plate)
Condition: (UV-checked)
- The rectangular dish: negligible fleabites to the rim, furthermore in very good condition.
- The largest dish: in very good condition, with negligible fleabites and minor glaze losses to the top rim.
- The octagonal plate: with two hairlines and negligible glaze losses to the top rim.
- The 'frogspawn' plate: in good condition.
- The plate on the left side: with two chips.
- The plate on the right side: with a negligible baking flaw to the rim, otherwise in very good condition.
- The 'flower basket' plate: both rims with minor chips, one chip with a related hairline.
Dia.: 23,7 - 22 cm (the largest and the smallest plate)
Condition: (UV-checked)
from left to right, from bottom to top.
- 1: in good condition, with four negligible and hardly visible chips.
- 2: with a star-shaped hairline and a negligible glaze chip.
- 3: in good condition.
- 4: with a hairline and a star-shaped hairline.
- 5: two small chips to the under side of the rim, furthermore in good condition.
- 6: with some superficial rim chips and a hairline.
- 7: with a negligible fleabite and a hairline.
- 8: in good condition.
- 9: with some (superficial) rim chips and some losses of the enamel
H 25 cm
Condition: (UV-checked)
- In very good condition, with negligible horizontal crazing at the height of the ears on one side (see also the additional pictures).
H 6,2 cm - Dia.: 12,5 cm
Condition: (UV-checked)
- With a restored chip to the top rim and related overspraying, furthermore in good condition.
H 14,3 cm
This kraak style kendi is very similar to the ones found in the Hatcher Junk, ca. 1643.
Condition: (UV-checked)
- In very good condition, with negligible minor glaze chips to the borders.
H 22,5 cm
Condition: (UV-checked)
- Handle missing and restored.
- Restored chips and a break along the rim with related overpainting.
- The foot with a few restored chips with related overspraying.
- Extensive overpainting to cover glaze loss throughout.
H 28 - L 9,5 - D 9,5 cm
Condition: (UV-checked)
- The neck missing. Cover replaced.
- The top with two small hairline of ca. 1 cm.
- The sides with glaze losses all-over.
H 24 cm
Condition: (UV-checked)
- The top rim with restored chips and related overspraying. The exact extent of the restoration difficult to assess due to the overspraying.
- One of the ears broken and restored.
- The bottom rim with a baking flaw (no chip as it is glazed!).
- Small glaze chips to the ears and the meander.
Dia.: 35 cm
Condition: (UV-checked)
- Generally in good condition, with a few restored small superficial rim chips and three hairlines.
H 8,5 cm - Dia.: 56 cm
Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear.
- The rim with a small superficial chip and firing flaws with related glaze loss.
H 11,5 - 5,5 cm (the tallest and the smallest vase)
Condition: (UV-checked)
From left to right:
- 1: a minor chip to the inner bottom rim, furthermore in good condition
- 2: in good condition
- 3: in good condition
- 4: in good condition
- 5: a minor chip to the inner bottom rim, furthermore in good condition
- 6: in good condition
- 7: a chip to the inner bottom rim, the base with a hairline slightly running upwards for 1 cm, the top rim with a chip
Dia.: 29 cm
Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear.
- Between 10 and 11 o'clock a small superficial rim chip and another small superficial chip from the unglazed foot rim.
- Between 4 and 5 o'clock a negligible fleabite from the rim.
41,5 x 32,6 cm
Condition: (UV-checked)
- Generally in very good condition, with normal superficial wear and typical burst glaze bubbles on the backside of the rim.
Dia.: 21 cm (the plate)
Dia.: 13,2 - 13 cm (the largest and the smallest saucer)
H 4,8 cm - Dia.: 9,2 cm (the cups)
Condition: (UV-checked)
- The plate with restored breaks with related extensive overpainting.
- The saucer with the blue border with glued breaks.
- One saucer with two hairlines, one with a related chip.
- One saucer in very good condition, with superficial wear and minor losses of the overglazed enamels.
- One cup with a lacking chip with a related hairline.
- One cup with a superficial chip from the rim. Another chip from the rim with two related hairlines.
H 18 - 13,5 cm (the tallest and the smallest vase)
Condition: (UV-checked) (from left to right)
1) The top section of the vase with traces of overpainting. The top rim restored. A verticale hairline from just under the shoulder towards the footrim.
2) The top section of the vase with traces of overpainting. The top rim restored.
3) The neck with an old repaired break and four retouched holes.
4) The top rim and both ears with numerous glued breaks. The foot rim with two chips.
5) The top rim and the foot restored, with related overspraying.
Dia.: 10,5 cm (the saucers)
H 3,5 cm - Dia.: 6,5 cm (the cups)
Condition: (UV-checked) (from left to right)
The saucers:
1) In nearly excellent condition, with a superficial chip from the rim near 7 o'clock.
2) With a glued break and minor chips from the rim.
3) In very good condition, with a superficial chip from the rim near 6 o'clock. Minor losses of the enamels.
4) With numerous fleabites, a few chips from the rim and hairlines.
5) With numerous chips and a hairline. Minor losses of the enamel.
6) Small chips from the rim and glaze losses from the rim.
7) A number of superficial chips from the rim.
8) In very good condition, with a superficial chip from the rim near 8 o'clock.
The cups:
1) With a glued break and numerous fleabites from the rim.
2) Numerous chips from the rim and three hairlines.
3) A few superficial chips from the rim and two hairlines.
Dia.: 12 cm (the saucers)
H 4 cm - Dia.: 7,5 cm (the cups)
Condition: (UV-checked)
- Both saucers with the usual wear to the gilt decoration and a hairline of ca. 2 cm. One saucer with a superficial rim chip.
- One cup with a negligible baking flaw, otherwise in very good condition.
- One cup with minor fleabites/chips to the top rim.
Dia.: 38,6 cm
Condition: (UV-checked)
- The rim with a few restored breaks and related overspraying.
Dia.: 22,6 - 22,2 cm (the largest and the smallest plate)
Condition: (UV-checked)
From left to right:
- (1): With a small hairline (less than 1 cm) and two negligible superficial chips to the underside of the rim. Minor losses of the enamel.
- (2) : with a number of fleabites and negligible chips to the rim.
- (3): with a number of fleabites and negligible chips to the rim.
- (4): with a negligible glaze chip and a baking flaw.
- (5): with two hairlines (one related with a chip) and some minor rim chips/fleabites all over.
Dia.: 22,8 cm
Condition: (UV-checked)
- With a restored break to the rim and related hairline of ca. 10 cm.
- Two negligible chips and a fleabite to the underside of the rim.
Dia.: 28 cm
Condition: (UV-checked)
- In very good condition, with superficial wear and three negligible rim/glaze chips.
Dia.: 25,8 cm
Condition: (UV-checked)
- A number of filled small chips to the rim, a circular hairline around the central medallion and the plate covered with extensive overspraying.
H 16,5 cm
Condition: (UV-checked)
- In good condition, with a chip to the spout and superficial wear.
H 10,5 cm - Dia.: 16,5 cm (the bowl with stand)
H 6,5 cm - Dia.: 15 cm (the bowl without stand)
Condition: (UV-checked)
- In very good condition, with a baking flaw to the top rim and some fleabite to the bottom rim.
H 13,8 - 13 - 7 cm
Total weight: 1023 g
Condition: (UV-checked)
- All three pieces in very good condition, with the usual negligible traces of use.
Dia.: 16,5 cm (the saucer)
H 8 cm (the cup and saucer)
Weight: 338 g
Marked with the 'Minerve casquée' and the number 1.
Condition: (Uv-checked)
- In very good condition, with the normal superficial wear.
- The top rim with a hardly visible and negligible dent (see the additional picture).
H 12,5 - L 16,5 cm
Total weight: 923 g
Condition: (UV-checked)
- In good condition, with the usual traces of use and wear to the gilt decoration.
H 23 - L 33 cm
Condition: (UV-checked)
- Both candlesticks in very good condition, with the usual superficial wear and minor traces of use.
Work: 72,5 x 71 cm
Folder: 74,5 x 73 cm
'The Valley' is a portrait of a boy that indirectly illustrates the power relations and restrictive moral codes of the early 1950s. The intimate portrait is based on a still from the film 'The Village of the Damned', metamorphosed by Tuymans as 'The Valley (of the Doomed)'. The work is charged with the characteristic Tuymans tension: the boy is prematurely aged and tormented. He averts his eyes: his gaze, haircut and clothes all bear witness to training and discipline (link).
Condition: (UV-checked)
- In very good and hangable condition.
- The right side with negligible tears.
- Unsigned and without a number.
Work: 80 x 60 cm
Frame: 105,5 x 85,5 cm
Condition: (UV-checked)
- The painting in very good and hangable condition.
Work: 84,5 x 64,5 cm
Frame: 98,4 x 78,4 cm
Condition: (UV-checked)
- The painting in very good to excellent and hangable condition. If we need to make a remark - but actually it's not worth mentioning-, there is a negligible and hardly visible scratch in the upper center part, already occured during the production process.
Work: 100 x 80 cm
Frame: 116 x 96 cm
Condition: (UV-checked)
- The painting in very good and hangable condition. If we need to make a remark - but actually it's not worth mentioning-, there is a negligible and hardly visible spot of flaking paint (in the middle on the left side, in the roof).
Work: 28,7 x 29,7 cm
Frame: 35 x 34,8
Provenance:
- Private collection, Belgium, East Flanders.
Condition: (UV-checked)
- In very good and hangable condition.
- Not inspected outside the frame.
Work: 37 x 49,5 cm
Frame: 62 x 74,5 cm
Provenance:
- Private collection, Belgium, Ghent.
Condition: (UV-checked)
- Both works in good and hangable condition.
- One work cleaned, one work would benefit of a cleaning.
- Both frames with some chips and some parts missing.
- The painting on the right side: the usual minor wear to the borders due to the framing, the right top corner with a scratch in the clouds, UV-light shows foremost the typical colour of the varnish.
- The painting on the left side: the usual minor wear to the borders due to the framing, some dirt spots here and there, UV-light shows foremost the typical colour of the varnish.
Work: 65,5 x 51 cm
Frame: 86 x 75,5 cm
Ref.:
- T. De Doncker, Hupsicheyt en hantgedaet. Kunstacademie en ambachtsgilden te Gent ca. 1748-1800, Ghent, 2013, Database nr. 698.
Condition: (UV-checked)
- The painting without any doubt in good and hangable condition.
- Relined.
- With a typical network of craquelures.
- The usual minor wear to the borders due to the framing, a little more pronounced in the right top corner.
- The UV-light shows the typical colour of the varnish.
Work: 60,7 x 48,7 cm
Frame: 63,5 x 59 cm
Provenance:
- Private collection, Belgium, Brussels.
Condition: (UV-checked)
- The painting in hangable condition.
- Relined, due to a tear in the original canvas at the level of the Madonna's right cheek
- The UV-light shows foremost the typical colour of the varnish, with some touch-ups (accents halo of Madonna and child, flowers on the bust of the Madonna and some accents in the bottom left corner of the work). With UV-light no overpaint can be seen on the faces or hands.
- Some flaking paint here and there, as visible on the pictures.
Work: 106,3 x 93 cm
Frame: 108,5 x 96,5 cm
The blazon on the Virgin's garment refers to the Order of Malta, which may have commissioned the painting.
Provenance:
- Private collection, Belgium, Brussels.
Condition: (UV-checked)
- Painting in general in quite good and hangable condition.
- Original canvas / prima tella, which is exceptional for a painting of this period.
- The UV-light shows the typical colour of the varnish, with hardly any touch-ups.
- The right top corner with a restored tear.
- Flaking paint all over.
L 160 cm (outer curve)
L 135 cm (inner curve)
Dia.: 44 cm
Weight: 20,5 kg
With CITES certificate for commercial activities inside the EU (Certificate N° 2017/BE24423/CE). The tusk inscribed with the code 'BE/0108/2017/20,5'.
Condition:
- The tusk with a superficial chip, located ca. 25 cm from the tip.
- Normal superficial wear and age related tension lines.
- Please refer to the photos for a better image of the condition.
L 92 cm
Condition: (UV-checked)
- The mechanism marked 'A. J. Paris Brevete'.
- In working condition, with some minor wear and traces of use.
- The handle is slightly split and the walking stick with a short hairline.
- The mount of the stick with a small dent.