Contemporary, Modern Art and Old Masters
Auction 177 - 5 December 2020
La terrasse de café (1907)75 € 260 000 - 340 000Oil on canvas - Sig. and sig. on the reverse - 60,5 x 74 cmExhibition Art dealer van Wisselingh & Co, Amsterdam 1962 Literature "Herbin. Catalogue raisonné de l'oeuvre peint" Geneviève Claisse, Éditions du Grand-Pont, Lausanne, Bibliothèque des Arts, Paris 1993, nr. 120 reprod. Provenance Art dealer van Wisselingh & Co, Amsterdam (1962)
coll. S. Frenk, Rotterdam
Art dealer van Wisselingh & Co, Amsterdam (1999)
private collection, The Netherlands (since 2001)
1907 was the year in which Auguste Herbin's fauvism reached its climax. At the Salon des Indépendants he exhibited alongside André Derain, Georges Braque and Maurice de Vlaminck. In spring he traveled to Corsica, where the bright light and the rich colors encouraged the artist to push the boundaries of his figurative expression. His most important fauvist artworks were created during this period and were exhibited at the fifth Salon d'Automne in the Grand Palais in Paris.
"La terrasse de café" shows a volatile street scene sketched in vigorous brush strokes. In the background, large areas of soft colors create a bright light, against which the flashy greens, oranges and reds fiercely stand out. Applied instinctively, they form trees and passers-by that make the surroundings vibrate. The energy reflected in this artwork, is undoubtedly influenced by Herbin's stay in Corsica and by his interaction with contemporaries at the Salons.
The terrace offers a unique view of the scenery. Herbin composes an atypical perspective, inspired by the upcoming photography. The tables and chairs on the foreground appear to by carelessly cut off to create the idea of a snapshot. The overhanging awning closes the framing. Our gaze is drawn further into the composition by the repetition of the tables and chairs, that have been simplified into circles and forms defined by solid black lines a harbinger of the artist's evolution towards geometric compositions.
Berlinde De Bruyckere
Kooi (Cage) (1990)521 € 100 000 - 140 000Sculpture - Wood and galvanized steel - 374 x 138 x 40 cmLiterature "Berlinde De Bruyckere" Angela Mengoni e.a., Mercatorfonds, Brussels 2014, fold-out II, nr. 16 reprod.
Grande île nocturne (Big nocturnal island) (1981)452 € 80 000 - 120 000Matt lacquer on canvas - Sig. on the reverse 1981 with title - 125,5 x 203 cm - Exhibition label on the reverseExhibition "Retrospectieve Jef Verheyen" PMMK, Ostend 1994, cat. nr. 122 Literature The work is registered by the Jef Verheyen Archive Provenance Acquired directly from the artist by the current owner's family
The poetic title "Grande île nocturne" (or: "Big nocturnal island") suggests a paradise dream of light and color. Jef Verheyen's wall-to-wall canvas is not just a painting, it is a materialized dream that seems to emerge from the wall to reflect our wishes and desires. It is a window to another dimension, another reality.
Verheyen uses a refined glazing technique in which he builds up multiple translucent layers, thus obtaining subtle color gradations. The colors transform within the veiled motif of a perfect geometric structure which is an optical illusion only unconsciously perceived by the viewer. Fluctuating between royal blue and aubergine purple, hues expand, rebound, envelop us. The mathematical perfection of geometric shapes combined with a color metamorphosis creates a satisfied feeling of well-being and safety.
The gradual shading also covers the modest framing and becomes one with its surrounding space. Unlike a classic "tableau", Jef Verheyen creates a spatial experience that surpasses materiality. He creates a transcendent experience in which we are enveloped and intoxicated by color, causing us to lose all sense of spaciousness. In his work we experience both light and dark, depth and surface, two-dimensionality and non-dimensionality.
Frits Van den Berghe
Picknick (1925)127 € 110 000 - 150 000Gouache and pencil on paper - Sig. - 43 x 56 cmExhibition "De werken van de schilder Frits Van den Berghe (ingericht door Sélection)", Koninklijke Kunst- en Letterkring, Antwerp 1926
"Zeitgenössische Belgische Kunst" Frankfurter Kunstverein, Frankfurt 1929; Kölnischer Kunstverein, Köln 1929, nr. 113 Literature Sélection, V.n°5, 1926, p. 365
"Frits Van den Berghe" Reeks Sélection chronique de la vie artistique, cahier 12, André De Ridder, Anvers 1931, p. 120 reprod.
"Frits Van den Berghe 1883-1939. Catalogue raisonné de son oeuvre peint" Emile Langui, Éd. Laconti, Bruxelles 1966, nr. 145 reprod.
"Frits Van den Berghe" Piet Boyens, with catalogue raisonné by Patrick Derom & Gilles
Marquenie, Pandora, Antwerp 1999, cat. nr. 394 reprod. Provenance coll. Walter Schwarzenberg, Brussels
coll. Gilbert Périer, Brussels
THE WOMAN IN THE LEADING ROLE
Between 1924 and 1926 Van den Berghe created various series in mixed techniques of pencil, watercolour and gouache, such as the cycle The woman' and unfinished series as The fair' and Country life'. These series were very important in the oeuvre of Van den Berghe as he could freely express his humor, satiric qualities and talent for sharp characterization.
The gouache "Picnic" is part of the series that focusses on the theme of the woman and that he created in a youthful enthusiasm. Van den Berghe addresses the relationship between men and women in a playful way, which results in a caricatural and clever design with humoristic and sometimes austere and moralizing side thoughts. Due to the voluminous and sculptural forms, the composition has a very modernist feel. In the primitivist influences and hallucinatory ambience of this series the artist's interest for surrealism is already showing. Dreams and imagination are slowly entering his oeuvre and in 1926 this will end up in a radical break with reality.
Diamant (2010)579 € 55 000 - 70 000Jewel Beetle elytra on wood - 228 x 173 x 8 cmExhibition "Jan Fabre. Hortus/Corpus" Stefan Hertmans & Evert van Straeten, Kröller-Müller Museum, Otterlo/Naj Publ., Rotterdam 2011, p. 175 reprod.
"Jan Fabre. Tribute to Belgian Congo (2010-2013)" Angelos bvba, The PinchukArtCentre, Kiev (UA) 2014, p. 31 reprod.
Le hangar du dirigeable (The Airship's hangar) (1910)93 € 60 000 - 80 000Watercolour, gouache, India ink and pastel on paper - Sig. '10 - 60,2 x 50,2 cm - Exhibition labels on the reverseExhibition "Léon Spilliaert of de schoonheid van een wijs hart" Anne Adriaens-Pannier/Ronny Van de Velde, Pandora 1998, cat. nr. 81, p. 153 reprod.
Offa Gal., Knokke 2002 Literature "Bulletin MRBAB/KMSKB" Anne Adriaens-Pannier, 1-3, 1989-1991, p. 526, reprod. 13, cat. 2
The work will be included in the catalogue raisonné in preparation by Dr. Anne Adriaens-Pannier
When the scientist Robert Goldschmidt, a collector of Spilliaert's work, requested that the artist make a series of drawings of an airship, he probably expected a symbiosis between science and art. Spilliaert was fascinated by the ingenuity of technical accomplishment.
Some fifteen large-format ink wash and pastel works dating from 1910 are based on the flight of the airship Belgique II. In terms of design and coloration, some come close to depicting the reality of the hanger and the airship whilst others portray a heavily stylised version of the subject.
In two gouaches, Spilliaert depicts the hangar as the holy of holies'. The threatening, stormy sky, and the discordant colours of dark purple, bright orange and green, all lend the building and its surroundings a sinister air. The diagonal lines delineating the hangar in a vanishing one-point perspective form an alarming antithesis to the upward spiral that catapults the balloon high up into the blue sky like a tiny phantom. The deep black area in the foreground which suggests a bottomless abyss seems almost to foreshadow the tragic conclusion to the flights of the Belgique II, which crashed three days after the first test flight.
(from: "Spilliaert, from the depths of the soul" Anne Adriaens-Pannier 2006, p. 110-112)
Théo Van Rysselberghe
Fontaine aux statues à Mazargues - Grand panneau (ca. 1920-24)119 € 160 000 - 240 000Oil on canvas - Monogram "VR" - 176,5 x 154,5 cm - Labels on the reverseExhibition "Exposition d'oeuvres récentes de Théo Van Rysselberghe" Gal. Georges Giroux, Brussels 10-21.04.1926, nrs. 13 tot 24 (12 works from these series on exhibition)
"Retrospectieve Théo Van Rysselberghe" MSK, Ghent 1962, cat. nr. 159 (titled "Fontaine aux statues") Literature "Théo Van Rysselberghe. Catalogue raisonné" Ronald Feltkamp, Les Éditions de l'amateur/Éditions Racine, Brussels 2003, nr. P-061, p. 454 reprod.
"Mons & Coeur du Hainaut: Guide d'architecture moderne et contemporaine 1885-2015" Ed. Mardaga, Brussels 2015, p. 268-269 (ivm 'Le Pachy')
We thank Mr. Olivier Bertrand for the information he kindly provided us about the work mentioned above, that will be included in the catalogue raisonné in preparation Provenance coll. Léon Guinotte (1870-1950), industrial, lawyer and politician.
coll. Max Boël - Anna Guinotte, Brussels
auction Palais Galliéra, Paris 15.06.1965, lot 157
auction Campo nr. 79, Antwerp 19.10.1969, lot 562
A TOUCH OF CÔTE D'AZUR IN MARIEMONT
The south of Europe, in particular the Provence, had completely taken over Théo Van Rysselberghe's artist's heart. He was enthused by the warm colours, the Mediterranean light and the enchanting environments. It is in this region that he will reside for a large part of his career. In 1917, when he was commissioned by the Brussels industrial and philanthropist Léon Guinotte (1870-1950) to paint 17 works for his villa Le Pachy in Mariemont, Van Rysselberghe was inspired by the poetry he found in the idyllic garden views of which the Côte d'Azur offers a great wealth. "Fontaine aux statues à Mazargues" proposes a view of the park and the water features around the Villa Magalone in Mazargues, Marseille. Le Corbusier will later build his famous "Cité Radieuse" on a part of this domain.
The series for Le Pachy was part of a larger-scale renovation project led by Théo's brother and Art Nouveau architect Octave Van Rysselberghe. The paintings were realized between 1920 and 1924. In those years Van Rysselberghe has abandoned the rigorous pointillism. The touch is freer and more varied, the colors are more nuanced and blend into one another. The delicate pink, green and blue shades shine in the Mediterranean light. The shadow of the afternoon sun offers some cooling. The peaceful garden is disturbed only by the rippling of the water surface, which is suggested by ingeniously applied brush strokes. An ideal image where the residents of Le Pachy can dream away.
Site avec sept personnages (1961)329 € 30 000 - 40 000India ink drawing on paper - Sig. "J.D. déc. '61" with dedication - 32 x 39,5 cmLiterature "Catalogue des travaux de Jean Dubuffet" élaboré par Max Loreau, Fascicule XIX : "Paris Circus (1961-1962)" J.-J. Pauvert Éditeur 1965, nr. 243, p. 127 reprod.
L'invention de la brouette (1974)422 € 200 000 - 300 000Acrylic on paper on canvas - Sig. and sig. on the reverse "Sundsvall (S) 1974" with title - 154 x 228 cm - Labels on the reverseProvenance Gal. Van de Loo, München
Simoens Gal., Antwerp
FREEDOM AND HAPPINESS
"Would I start? Would I start with small lines, small crosses, small dots, with a big thing going from there to there, with a big spot that would watch me, with an idea? Would I start by stroking the canvas because I dream it's already finished? No, I'm starting." (Alechinsky, Paris, September 1953)
And so Alechinsky starts this extraordinary work. He casually follows his feeling while he applies the acrylic to the canvas. The artist gives free rein to his hand: sometimes the lines are calm and elegant in warm ocher, sometimes he applies brusque, heavy brush strokes in bright blue and green. It is this same hand that tells Alechinsky's fantastic stories and gives expression to the world as he experiences it. The result is a painting bursting with spontaneous energy. The gesture is explicitly present as an expressive tool, reminiscent of American abstract expressionism rather than of Cobra
The painting is a joyful color play evoking instant delight and cheerfulness. But coincidence and the subconscious also have an important role: the images veiled by the splendor of color are not at all unambiguous. Fortunately Alechinsky also loves to play with language, as illustrated by the poetic title which pushes us more or less in the direction of the painting's story. Furthermore, we, as spectator, are challenged to use our own creativity and thus contribute to the creation of the final image. The image of the artist also becomes the image of the viewer.
"L'invention de la brouette" is the title of this oeuvre majeure so to say in the words of the artist himself. Alechinsky does not make it easy for us as viewers. We can indeed see some wheels. Do the lines form a wheelbarrow? Does the mysterious head at the bottom represent the inventor? Maybe the artist wants to tell us about the invention of the wheel and he mingles title and image as a totum pro parte. Or maybe there is another approach that has to do with Alechinsky's trip to Lapland in 1974, where he makes this painting in the studio of his friend Bengt Lindström in Sundsvall (Sweden). The local stories and legends - which he loves so much - have certainly reached his ears and must have when creating this image. After all, it is up to the viewer and his imagination to complete the story.
César (César Baldaccini)
Animal imaginaire (ca. 1955)293 € 85 000 - 100 000Sculpture - Welded iron - Monogram "CB" - 38 x 63 x 29 cmLiterature "César. Catalogue Raisonné. Vol. I 1947-1964" Denyse Durand-Ruel, Éditions de la Différence, Paris 1994, nr. 99 reprod. Provenance Martha Jackson Gal., New York
coll. Marc Moyens, Alexandria (Virginia)
Do you like me ? (1979)424-A € 50 000 - 70 000Acrylic on canvas - Sig. on the reverse '79 with title - 102 x 127 cmProvenance Lens Fine Art, Antwerp
Gustave Van de Woestyne
Boy at the piano (1920)113 € 160 000 - 200 000Oil on canvas - Sig. '20 and on the reverse monogram Waerechem 1920 with title - 126 x 90 cm - Exhibition label on the reverseExhibition "Retrospectieve Gustave Van de Woestyne" Mechelen 1967, nr. 83
Englebert Van Anderlecht
La gare de triage (The railway yard) (1955)289 € 40 000 - 50 000Oil on canvas - Signature stamp on the reverse 1955 with title and invent. nr. 88 - 123 x 185 cm - Exhibition labels on the reverseExhibition "Kontrasten 1947-1967. Schilderkunst in België" KMSK, Antwerp 1968
"Englebert Van Anderlecht" K.M.S.K., Brussels 1990 Literature "Englebert Van Anderlecht" Serge Goyens de Heusch, Mercatorfonds, 1998, p. 81 reprod.
Saint Barbara1 € 11 000 - 15 000Sculpture - Sandstone - Polychromed - 65 x 25 x 17 cm
Mars and Bellona4 € 12 000 - 20 000Oil on canvas - 47 x 65 cm - Label remains on the reverseProvenance coll. J.E. Weber, Brussels
auction Weber, PvSK, Brussels 1926, cat. nr. 103
The jewels (1872)22 € 8 000 - 12 000Oil on panel - Sig. 1872 - 86 x 59 cm - Old label remains on the reverse
Villa Albert (1876)41 € 28 000 - 36 000Oil on pink cardboard - Sig. "ENSOR / 76" and title on the reverse "Villa Albert à Ostende en 1876" - 23,5 x 16 cm - Label on the reverse Van Geluwe, BrusselsExhibition "James Ensor" PvSK, Brussels 1929, nr. 14
"La peinture sous le signe de la mer" Galeries Royales, Ostend 1951, nr. 43
"Hedendaagse Vlaamse meesters uit de verzameling G. Van Geluwe" Groeningemuseum, Bruges 1957, nr. 13
"James Ensor en Oostende" James Ensorhuis, Oostende 2020, exhib. cat., p. 68 reprod. Literature Liber Veritatis, f. 55
Haesaerts, nr. 3, p. 235 reprod.
Delevoy, nr. 212, p. 281 reprod.
"James Ensor Catalogue raisonné des peintures" Xavier Tricot, nr. 58 reprod. Provenance coll. Marcel Mabille, Sint-Genesius-Rode
coll. Gustave Van Geluwe, Brussels
The Corn Field Road (1888)45 € 15 000 - 20 000Oil on canvas - Sig. 1888 and sig. on the reverse - 36,5 x 49 cmProvenance coll. Jan Van Rijswijck (Antwerp, 1853-1906).
This work was a gift from Claus in 1888 to Van Rijswijck in 1888, who in his turn gave it to the current owner's family.
Mademoiselle de Maupin49 € 30 000 - 36 000Watercolour, gouache, white ink, conté pencil - Sig. - 24,8 x 18,9 cm (sheet)Literature "L'Oeuvre gravé et lithographié de Félicien Rops" Maurice Exsteens, Paris 1928, cf. nr. 390 reprod. of the engraving
"Félicien Rops. Catalogue raisonné de l'oeuvre gravé et lithographié" E. Rouir, Brussels 1992, cf. nrs. 895-903 & p. 706 reprod. of the engraving
L'homme émacié (1902)65 € 10 000 - 15 000Lavis India ink on paper - Monogram - 30 x 19 cm (day)Literature To be included in the catalogue raisonné in preparation by Dr. Anne Adriaens-Pannier Provenance 50 years in possession of the family of the current owner
Haystacks in the Flemish Campine (1906)73 € 34 000 - 44 000Oil on canvas - Sig. - 100,7 x 141 cm - Label on the reverse R.E. (Reine Elisabeth)Literature "Eugène Laermans" Gustave Vanzype, G. Van Oest & Cie, Brussels 1908, p. 58 reprod.
"Eugène Laermans" Paul Colin, éd. Cahiers de Belgique, Brussels 1929, nr. 154, pl. 81 reprod.
"La vie et l'oeuvre d'Eugène Laermans" Armand Eggermont, Ed. Office de Publicité, 1943, p. 79-80 Provenance coll. Queen Elisabeth of Belgium
A Day at the Fair in Machelen (ca. 1906-08)79 € 50 000 - 60 000Oil on canvas - Sig. - 71,5 x 88,5 cmProvenance Acquired directly from the artist by the current owner's grandfather
FAIR AT THE RIVER LYS
Barracks, stalls, tents here comes the village fair! Joy and amusement tempt people to the banks of the river Lys. It's terribly busy. A merry bunch of men and women dressed in their Sunday best occupy the scene. It's a beautiful, warm and sunny day. While only a few dare the sun, the majority searches for coolness in the shade of the trees.
From 1903-1904, Machelen and its surroundings attracted the attention of Modest Huys. There he found the perfect incentives to depict popular exuberances like processions, fairs, fireworks and other entertainment. He always painted with refined colors and with a striking sense of observation. His entire oeuvre is situated at the river Lys. He was drawn almost obsessively to the banks of the "Golden River". His artworks thus create a strong historical and documentary image of his everyday environment in the first decades of the 20th century.
The poppies (ca. 1908)89 € 15 000 - 24 000Oil on canvas - Sig. - 152 x 92,7 cm
La famille (1920)117 € 22 000 - 28 000Gouache on paper - Sig. Paris 1920 - 55 x 49,5 cm
Seated woman143 € 12 000 - 16 000Charcoal and pastel on paper - Sig. - 119 x 84 cm
Demetre H. Chiparus
Actrice153 € 15 000 - 20 000Sculpture - Bronze and ivory - Patinated and painted - On an onyx base - Sig. with nr. 67 - With foundry stamp "L.N / Paris / J.L" (Les neveux de J. Lehmann) and stamp "Made in France" - 42,5 x 19,5 x 9 cm (incl. base)Literature "Chiparus. Master of Art Deco. Second Edition, Expanded and Updated" Alberto Shayo, Abbeville Press Publishers, New York/London 1999, cf. nr. 54 reprod.
Femme au buste nu (1930)164 € 22 000 - 30 000Watercolour and India ink on paper - Monogram "P.D. 4-'30" - 60 x 46 cm - Exhibition labels on the reverseExhibition "Expressionnisme wallon" Gal. du Crédit Communal, Brussels 1993
"Paul Delvaux" Palazzo Corsini, Firenze 1998, cat. nr. 12
"Paul Delvaux. Dibujos de una vida" Fundación Carlos de Amberes, Madrid; Museo de Pasión, Valladolid 1998
"Paul Delvaux. Acuarelas y Dibujos" Fundación Juan March, Museu d'Art Espanyol Contemporani, Palma de Mallorca 1999, reprod. on the website
"Paul Delvaux. Les jardins secrets" Gal. Patrick Derom, Brussels 2000
"Paul Delvaux" Salle du Quai Antoine 1er, Monaco 2001, p. 47 afb.
Cercle Royal Gaulois Artistique et Littéraire 2008
"Paul Delvaux. Une sélection d'oeuvres sur papier" Museum Elsene 2008-2009
Anna De Weert
A view of the river Lys with daisies (1933)166 € 26 000 - 30 000Oil on canvas - Sig. and sig. on the reverse "Afsnee juin 1933 9 1/2 11 1/2" with title - 50 x 61,5 cmLiterature "Sint-Martens-Latem" Johan De Smet, Tielt 2000, p. 111 reprod. Provenance Gal. Oscar De Vos, Sint-Martens-Latem
Arlequinade168 € 14 000 - 18 000Églomisé - Sig. - 62,5 x 78,5 cm (day)Provenance acquired directly from the artist in Knokke ca. 1940-44 by the current owner's family.
Musical clown with guitar (1934)183 € 10 000 - 14 000Églomisé - Sig. '34 (2x) - 112 x 63,5 cm (day)Exhibition "Retrospectieve Floris Jespers" PMMK, Ostend 2004, cat. nr. 141 reprod.
Sha Qi (Sadji)
Brussels, the Palace of the Nation (ca. 1945)193 € 50 000 - 100 000Oil on canvas - Sig. - 90 x 100 cm - Exhibition label on the reverse 8 octobre 1945
The pears (1948)262 € 16 000 - 20 000Oil on canvas - Sig. 1948 - 38 x 36,5 cm - Exhibition label on the reverseExhibition "Jean Brusselmans" Groeningemuseum, Brugge 1980, cat. nr. 172 reprod. (mentioned as dated 1948) Literature "Jean Brusselmans" Robert-L. Delevoy, Catalogue Raisonné établi par G. Brys-Schatan, Ed. Laconti Brussels 1972, cat. nr. 252 reprod. (as 1928) Provenance coll. Motteu, Brussels (acquired directly from the artist)
Hagar II (or: "Hagar") (1949)266 € 42 000 - 50 000Sculpture - Bronze - Green black patina - Sig. "Lipchitz" - Ex. nr. 1/7 - 33 x 37 x 23 cmLiterature "The Sculpture of Jacques Lipchitz. A Catalogue Raisonné. The American Years 1941-1973" Vol. 2, Alan G. Wilkinson, New York 2000, cf. nr. 439 reprod.
Study for a Monument (Spirit of Enterprise) (1951)275 € 42 000 - 50 000Sculpture - Bronze - Dark brown patina - Sig. "Lipchitz" with thumbprint - Ex. nr. 2/7 - With stamp "Modern Art Fdry. / NY. NY." - 84 x 76 x 45 cmLiterature "The Sculpture of Jacques Lipchitz. A Catalogue Raisonné. The American Years 1941-1973" Vol. 2, Alan G. Wilkinson, New York 2000, cf. nr. 454 reprod.
Louis Van Lint
Mare aux grenouilles (1959)312 € 12 000 - 16 000Oil on paper on panel - Sig. '59 and sig. on the reverse 1959 with title - 150,5 x 100 cm - Exhibition labels on the reverseExhibition "5a Bienal de São Paulo" Museu de Arte Moderna, São Paulo 1959, cat. nr. 33
"50e Nationaal Salon voor Schone Kunsten" MSK, Ghent 1960 Literature Will be included in the online catalogue raisonné in preparation by the Louis Van Lint Institute
César (César Baldaccini)
Buste aux jambes fines (1959/88)316 € 80 000 - 90 000Sculpture - Bronze - Dark brown patina - Sig. - With inscription "bocquel" - Ex. nr. 1/8 - 99 x 27,5 x 37 cmLiterature "César. Catalogue Raisonné. Vol. I 1947-1964" Denyse Durand-Ruel, Éditions de la Différence, Paris 1994, cf. nr. 258 reprod. Provenance Gal. Sabine Wachters, Knokke-Heist
Untitled (1961)327 € 75 000 - 100 000Oil on canvas - Sig. on the reverse 1961 with title with dedication "voor Lydi" - 80 x 50 cm - Label on the reverse Cotthem GalleryLiterature The work is registered by the Jef Verheyen Archive Provenance coll. Guy Vaes
Untitled (1971)411 € 50 000 - 70 000Matt lacquer on canvas - On the reverse "I links" - 130 x 130 cmExhibition "Retrospectieve Jef Verheyen" PMMK, Ostend 1994, cat. nr. 68, p. 63
"Jef Verheyen LUX EST LEX" Axel Vervoordt, Kanaal, Wijnegem 2004 Literature The work is registered by the Jef Verheyen Archive
L'esprit de famille (Family feeling) (ca. 1963)347 € 28 000 - 36 000Blue ballpoint drawing on paper - Monogram - 8,5 x 15,4 cmLiterature "René Magritte. Catalogue Raisonné III: Paintings, Objects and Bronzes 1949-1967" Sarah Whitfield & Michael Raeburn, Ed. David Sylvester, Antwerp 1993, cf. nr. 970 Provenance coll. Giovanni Arpino, author and screenwriter (1927-1987)
Les baigneuses (1962)340 € 12 000 - 14 000Oil on canvas - Sig. - 149 x 149,5 cm - Exhibition labels on the reverseExhibition "Roger Somville" Neue Berliner Galerie, Berlin 1969, nr. 25 Literature "Roger Somville et le nouveau réalisme" Guy Dornand, Bruxelles 1966, p. 46 reprod.
"Somville" Marcel Fryns, Éd. Dereume, Bruxelles 1973, p. 137 reprod.
"Roger Somville" Gita Brys-Schatan, Atelier Vokaer Bruxelles 1988, p. 34 & 170 reprod.
Miguel Ortiz Berrocal
Mujer - Opus 45 (1961)328 € 50 000 - 70 000Sculpture - Bronze - Green-brown patina - Signature stamp - Ex. nr. 6/6 - 57 x 103,5 x 39 cmLiterature "La sculpture de Berrocal" G. Marchiori, La Connaissance, Brussels 1973, cf. cat. nr. 45 reprod. nr. 28-29
"Antologica Berrocal (1955-1984)" exhibition cat. Ministero de Cultura, Madrid 1984, cf. p. 436, Opus 45 reprod.
"Berrocal" Jean Louis Ferrier, Éd. de la Différence, Paris 1989, cf. p. 116 Provenance Gal. Carrefour (Marcel Stal), Brussels 1966
Attrazione quadrata bichroma in quadrati bichromi (1965)355 € 34 000 - 44 000Oil on panel - Monogram 1965 and sig. on the reverse 1965 with title - 27 x 27 cm
Texte putatif (1966)385 € 10 000 - 15 000Felt-tip pen drawing on paper - Sig. "J. Dubuffet '66" with dedication - 26,9 x 21 cmLiterature "Catalogue des travaux de Jean Dubuffet" élaboré par Max Loreau, Fascicule XXI : "L'Hourloupe II (1964-1966) J.-J. Pauvert Éditeur 1968, nr. 293, p. 162 reprod.
Homme en buste (1971)397 € 20 000 - 30 000Pencil drawing on paper - Sig. '71 - 43 x 34,5 cm
Bram Van Velde
Composition (1971)401 € 24 000 - 28 000Gouache on paper - 58 x 42,5 cmProvenance coll. Mme Krebs, Brussels
José de Guimaraes
O pintor e o modelo Flamengo (1977)423 € 22 000 - 30 000Oil on canvas - Sig. 1977 and sig. on the reverse 1977 with title - 150 x 220 cm
Raoul De Keyser
Genolhac (1975)432 € 60 000 - 80 000Acrylic on canvas - Sig. on the reverse 1975 with title - 140 x 140 cm - Unframed
Magma et Pagpa (1977)437 € 10 000 - 14 000Logogram - Brush drawing India ink on rice paper - Sig. 1977 with title - 46,5 x 62 cmExhibition "Christian Dotremont: Logogrammes" Centre Pompidou, Galerie d'art graphique, Paris 2012, exhib. cat., nr. 60 p. 76 reprod.
Nous aux fruits (1979)439 € 20 000 - 30 000Oil on canvas - Sig. on the reverse 1979 with title - 65 x 100 cm - Unframed - Exhibition label on the reverseExhibition "Eugène Leroy" Richard Foncke Gal., Ghent 1985
Untitled (jouet) (1987)447 € 20 000 - 30 000Oil on wood and hardboard - Monogram on the reverse 8/87 - 54,3 x 44,4 cmLiterature "How to paint a horse. Walter Swennen" Koen Leemans & Luk Lambrecht, Strombeek-Mechelen 2008, exhib. cat., nr. 70 reprod.
"Walter Swennen, So Far So Good" Raphaël Pirenne & Dirk Snauwaert eds., Wiels, Brussels 2014, exhib. cat., nr. 141 reprod.