About the Work

We are proud to present at TEFAF this exceptional Egyptian ibis, widely regarded by experts and collectors as one of the finest—if not the finest—examples in private hands. A highly sought-after subject, it appeals equally to connoisseurs of Egyptian art and to discerning, eclectic collectors.

The sculpture is remarkable for its impressive scale and its extraordinary state of preservation. The body retains an extremely delicate gesso preparatory layer, entirely intact—an exceptional survival. The original polychromy and gilding are likewise superbly preserved. Its boldly defined silhouette combines rare elegance with an extraordinary command of proportion and volume, qualities that elevate the work to the level of a true sculptural masterpiece.

Its distinguished provenance further enhances its significance. The ibis was acquired in the 1960s by Emiel Veranneman (1923–2003), one of Belgium’s leading gallery owners with an international reputation, best known for his dedication to 20th-century modern art. A nephew of Constant Permeke, Veranneman organized exhibitions with major artists such as Fernando Botero, Christo, Hans Hartung, Willem de Kooning, César, Manolo Valdés, Pierre Soulages, Victor Vasarely, Lynn Chadwick, Constant Permeke, and Roger Raveel. The Veranneman E. Foundation also participated in TEFAF on several occasions during the 1990s.

The ibis held a prominent place in the various homes where Veranneman lived, a quiet yet constant presence reflecting his exceptional eye. Published repeatedly over more than thirty years, it appears in a particularly iconic photograph from around 1970, showing the young Emiel Veranneman with the sculpture in the background—an eloquent testament to his refined taste and outstanding collecting expertise.

Upon his passing, the work was inherited by his daughter Anne, from whom we were able to acquire it directly, making this masterpiece once again available to collectors and connoisseurs of the highest calibre.

Exhibition:

• Jubileum 25, Veranneman Foundation, Kruishoutem, 1978.

Scientific reports:

• CIRAM, Radiocarbon Analysis of the wood body (May 2024): The analysis confirms the dating of the sculpture with a 95.4% probability. Two main date ranges are possible: 394–350 B.C. (39.9%) and 301–210 B.C. (55.5%).

• X-ray radiography by Dr. N. Favoreel, Radiology, Sint-Amandsberg (Belgium), November 2025.

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Provenance

Emiel Veranneman, Belgium; by descent to his daughter, Ann Veranneman. The provenance can be traced back to 1970, thanks to an iconic photograph of the collector E. Veranneman seated at a table with the sculpture in the background.

Literature

• Claus, H., et al., Veranneman. Antwerp: Mercatorfonds, 1985, pp. 98, 143, 295–296.

• De Geest, Joost. Emiel Veranneman: 50 jaar meubelcreaties. Brussels: Gemeentekrediet; Ghent: Snoeck-Ducaju & Zoon, 1994, p. 296.

• Van den Bussche, W., et al., Emiel Veranneman, Hommage. Oostkamp: Stichting Kunstboek, 2004, p. 61.