Contemporary, Modern Art and Old Masters
Auction 176 - 26 september 2020
Raoul De Keyser
Onderbroken kalklijn (Interrupted Chalk Line) (RDK 169) (1970)399 € 150 000 - 200 000Five-part polyptych - Acrylic and dispersion paint on canvas (5x) - Sig. on the reverse 1970 with title (each) - 42,7 x 34,7 cm (each) - Unframed - Exhibition label on the reverse (each)Exhibition "Raoul De Keyser" Povinciaal Begijnhof, Hasselt 1973, cat. nr. 10
"Raoul De Keyser" CC de Bogaard, i.s.m. CIAP, Sint-Truiden 2005, nr. 8, p. 22-23 reprod.
"Raoul De Keyser. Oeuvre" SMAK, Ghent 2018-19; Pinakothek der Moderne, München 2019, exhibition cat., p. 32-33 reprod. Literature "Raoul De Keyser. Retour 1964-2006" Steven Jacobs Ed. Ludion 2007, p. 70-71 reprod.
La passerelle (The footbridge) (1933)167 € 50 000 - 70 000Oil on canvas - Sig. 1933 - 90 x 101 cm - Exhibition label remains "... Belgische Kunst te / 1940"Exhibition "Hoe? Boer! Dada for NOW and for later, Dada for ever" MuZee, Ostend 2018, p. 118 reprod. Literature "Jean Brusselmans" Robert-L. Delevoy, Catalogue Raisonné established by G. Brys-Schatan, Ed. Laconti Brussels 1972, cf. nrs. 279-381C-381D-381 (reprod. of similar compositions)
"Retrospectieve Jean Brusselmans" Groeningemuseum, Bruges 1980, cf. nr. 132 (reprod. of a similar composition)
"Jean Brusselmans" Kunstmuseum aan Zee, Ostend 2011-2012, cf. nr. 17 (reprod. of a similar composition)
JEAN BRUSSELMANS - THE FOOTBRIDGE (1933)
It's a dull day in Brussels. Passengers brave the gray weather, a horse and carriage is on its way, a small boat sails by. The gracefully arched footbridge crosses a now filled branch of the Brussels-Charleroi canal, on the border between Anderlecht and Molenbeek-Saint-Jean. The young Brusselmans and his parents lived near this bustling working-class district, and the memory of childhood swims in the canal will become a motif throughout his oeuvre.
Being the protagonist of the composition, the footbridge unfolds over the canvas like a puppet theater. While delicate lines compose the bridge, the decor is a patchwork of defined flat shapes in even colors. Warm earth tones accompany the cool blues and grays. Frisky waves on the water alternate the static scenery. Compact clouds dominate the city. The interplay of various technical elements creates a melodic harmony. The artist highlights uniform color fields with expressive brushstrokes, straight and curved lines, movement and stillness.
Brusselmans has tackled this topic several times since 1929, the canal and the footbridge being his favorite subject. The systematic repetition of familiar motifs marks his oeuvre. He quotes himself, repeats themes or compositions and links them to current events. In this 1933 composition, something seems to be brewing underneath the silence of everyday worries.
Laser VII T V (1971)404 € 60 000 - 80 000Matte lacquer on canvas - Sig. on the reverse 1971 with title - 180 x 180 cmExhibition "Jef Verheyen & Albert Szukalski" Casino, Knokke 1971
"Retrospectieve Jef Verheyen" PMMK, Ostend 1994, exhibition cat. nr. 69, p. 63 Literature this work was registered by the Jef Verheyen Archive
I paint, so I see
Jef Verheyen intended not to paint with color, but to portray color itself. Color became the object of his art. In the late 1950s, the artist resolutely opted for the monochrome, something he will remain faithful to for the rest of his career. With his monochromes he wants to express the dialogue between light and color. For him it is the ultimate quest for tonality, nuance, tension and intensity within the boundaries of the same color. His motto was invariably "I paint to see".
In order to meticulously depict the subtle gradations of a color, Verheyen worked in various transparent layers of paint. In this way the degree of nuance was much higher and the light could penetrate through every thin layer. These acrobatics of light made the surface appear "fogged" rather than actually painted. Verheyen was one of the first monochrome painters in Western Europe and his artworks are therefore considered part of the canon of Belgian abstract art today.
Pier with steamer (Ostend) (1884)31 € 100 000 - 150 000Oil on canvas - Sig. "ENSOR" - 40 x 60 cm - Exhibition label on the reverseExhibition "Kunst van Heden" Antwerp 1908, nr. 10 (?)
"James Ensor" Musée National d'Art Moderne, Paris 1954, nr. 10 ("Port d'Ostende")
"James Ensor" Stedelijk Museum voor Schone Kunsten, Ostend 1960, nr. 44 Literature "James Ensor" Emile Verhaeren, Brussels 1908, p. 112 ("Marine")
"James Ensor" Grégoire Le Roy, G. Van Oest & Cie., Brussels/Paris 1922, p. 178 ("Marine")
"James Ensor. Catalogue raisonné des peintures" Xavier Tricot, Pandora, Antwerp 1992, nr. 265 reprod. Provenance coll. Gustave Kéfer, Paris
coll. B.G. Désagnat, Paris
auction Gal. Georges Giroux, Brussels 23/6/1955, nr. 26
coll. William Murdoch, Schoten
auction Sotheby's, London 2/7/1980, nr. 125
JAMES ENSOR - PIER WITH STEAMER (OSTEND) (1884)
James Ensor's childhood home in Ostend was only a few steps away from the North Sea. No surprise he quickly became familiar with the gray body of water and its changing appearances. The endless shades of light and color interplaying with sun, clouds, mist and wind dazzled the young artist, who had just said his farewells to the Brussels academy.
"Pier with steamer" (1884) is an impressionist vision of the sea, which is, however, miles away from the meticulous, picturesque impressionism common at the time. Above all, the intoxicating gray of the North Sea creates a feeling. The smogginess and gloominess, the uncertain and disconcerting are captured in rough strokes applied with a flat palette knife, which not entirely cover the blank canvas. This raw vision emanates from the artist's enthusiasm, who is young and clearly looking for his own formal language.
A thick and dense atmosphere covers the sea like a blanket. The heavy mist, almost tangible, hovers over the still water and sea and sky converge. Despite the gray tones, a delicate play of light emerges depicting the artist's skill. Almost monochrome, foreground and background appear to be one abstract totality. In a most minimalist way, Ensor creates a dramatic effect of depth towards infinity.
Op stap met een tekenblad (Going out with a sheet of drawing paper) (1965)321 € 55 000 - 70 000Oil on canvas - Sig. '65 - 203 x 150 cm - Exhibition labels on the reverseExhibition "Roger Raveel" PvSK, Brussels 1966, exhibition cat. nr. 50
Documenta IV, Kassel 1968
"Roger Raveel" Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster 1983
"De wonderlijke werkelijkheid van Roger Raveel - Het vroege werk" Cobra Museum, Amstelveen 2004 Literature "Het verschrikkelijke mooie leven. Roger Raveel. Schilderijen 1934-1967" Bernard Dewulf, Octave Scheire & Hans Sizoo, Ludion/Cera Foundation, Ghent 2003, nr. 350, p. 170 reprod.
"Roger Raveel en de Nieuwe Visie" Marc Ruyters, Ed. Snoeck, Ghent 2006, p. 249 reprod.
"Roger Raveel. Het overzicht. Schilderijen 1934-2013" Octave Scheire and others, Ludion, Antwerp 2013, p. 131 reprod. and reprod. on the coverbox
Sept chiens (Seven dogs)(2003/2004)540 € 40 000 - 50 000Oil on canvas - Monogram on the reverse '03 - 120 x 100 cm - UnframedLiterature "Walter Swennen, So Far So Good" Raphaël Pirenne & Dirk Snauwaert eds., Wiels, Brussels 2014, exhibition cat. nr. 400 reprod.
Thinking with paint
Seven floating dogs in various colors and textures fill a bright blue background like a colorful mosaic. Different blocks and strips build the whole. In doing so, Swennen does not model or apply shadow. This is what a painting is in essence to him: a surface on which surfaces have been applied.
For Swennen, painting is not just about the result, but also about the process. He uses paint to think about what a painting can be. Each canvas is an exercise, a field where the artist thinks and acts simultaneously. Due to the great stylistic diversity, his oeuvre lacks a fixed "style". Swennen believes that the search for style is one for routine. Hence, his aversion to habit is the main reason he doesn't make series. His oeuvre is a great flux of images that evoke the painter's vision. It is about what surrounds him, without falling into metaphors, anecdotes or stories. He strongly believes in the autonomy of the painting. The primary purpose of painting is simply "to paint", without having to be "emotional" or "understood". His art is not a window. It is free, unattached and often humorous. As an unclassifiable painter' he is therefore more of an outsider within Belgian painting, one that invites you to look at his art unprejudiced and with open eyes.
Het Maartje, Veere (The little maid, Veere)(1897)53 € 50 000 - 70 000Oil on canvas - Sig. Veere '97 and on the reverse "Augustus / 1897 / E.C. Veere" - 45 x 55 cm
Tentation de L'esprit Humaine (Temptation of the human spirit) (1991)501 € 50 000 - 70 000Pierre noire, white ink and oil paint on board - Sig. with title 1991 - 25,5 x 32,3 cmProvenance Gal. 't Scoon Huys, Britselei Antwerp, acquired there by the father of the present owner ca. 1995
Michaël Borremans - La tentation de l'esprit humaine (1991)
A chaos of scratches, smudges and stains unveil a tangled group of people around a table. They discuss what is going on on the table top. The scene looks vaguely familiar, but at the same time alienating and illogical. Tiny, modern cars in the midst of a 19th-century bourgeois scenery? The anachronism disconnects the scene from time and space. Moreover, the seriousness of the figures does not correspond to the character they represent. Children, maids and servants normally do other things. Only the portrait at the top seems in place. The lady's clear eyes fall upon us. We have been caught. And are saddled with an uncomfortable feeling.
The strangeness of the scene is fascinating. The small size imposes its compelling power on us, forcing us to get closer and have a better look at what seems blurry at first. The nervousness of the technique emphasizes the gloominess, which becomes less and less defined towards the margin. Strange creatures emerge from the edges of what is perceptible. A demon, a little monster, an angel try to exert their powers on the central characters. A car hovers by. Doesn't the shadow of its wing look more like a devil's horn?
Borremans created a crack in reality through which we are offered a forbidden view into an obscure dimension. The scene is like a black, swelling cloud of smoke threatening to absorb the white sheet with its dark energy. Moreover, the cloud seems to rise from the smoldering debris of an undefined event. It is fate controlled by the manipulative gang above. In other words, the challenges of the human spirit, which Borremans also recognizes as an artist: "You start by drawing on a sheet of paper and then create an entire universe in which you can play God. In fact, I'm hungry for power. Fortunately I became an artist and things didn't turn out badly".
Léon De Smet
View of the Thames (1915)116 € 40 000 - 50 000Oil on canvas - Sig. "Léon De Smet / 1915" - 75,5 x 101,5 cm - Exhibition label on the reverseExhibition "Art belge, Londres"
The distinguished Belgian painter - Léon De Smet
London 1915, a busy day at Waterloo Bridge: a pleasant bustle fills the sidewalks and traffic lines the streets. One can almost hear the circulation and feel the movement in this play of vibrating keys and swipes. De Smet more often chooses to observe and display his street scenes from above. Even during his stay in England, he remains faithful to his impressionist style. This is in contrast to his Latem friends Permeke, Frits Van den Berghe, Gustave De Smet and Albert Servaes who took the path to expressionism. De Smet was an esthete who always orchestrated his palette with care, taste and a refined sense of color.
When the First World War broke out, Léon De Smet and his family managed to catch the last boat in Ostend and reach England. Here his artistic style was particularly well received and with an obvious ease he penetrated into the circles of high society. He was referred to as "The distinguished Belgian painter. ( ) He believes in brightness and you walk into an effulgence of reds, blues, yellows and other primary colors, which dazzle you long after you leave the room." Despite the appreciation De Smet enjoyed in London, and the chance of an even greater success, he decided in 1923 to leave the city and return to Belgium. Homesickness made his heart long. Provenance coll. George Bernard Shaw, London
coll. François Thoun, Brussels
Maria Gutierrez Blanchard
Le Vannier (The Basket-maker) (ca. 1924)132 € 70 000 - 90 000Oil on canvas on hardboard - Sig. - 99 x 62,5 cm - Exhibition label on the reverseExhibition "XVIIme Salon" Cercle Artistique et Littéraire, Charleroi 1953 Literature "Maria Blanchard" Waldemar George, Ceux de Demain, Brussels 1927, pl. IX reprod.
"Catalogue raisonné des oeuvres de Maria Blanchard" Liliane Caffin Madaule, London 1992-94 Tome II, p. 246 reprod. Provenance coll. Franck Flausch, Brussels
Sur quel pied danser (1980)453 € 40 000 - 50 000Acrylic on paper on canvas - Sig. and sig. on the reverse 1980 with title - 65 x 103 cmProvenance acquired by the present owner from Gal. Kunstforum, Schelderode (Albert Van Wiemeersch) (1981)
Le poète dans la forêt, coquillage. Le pot de tabac (The poet in the forest, seashell. The smoking pot) (1935)174 € 40 000 - 60 000Gouache, watercolour, pastel and pencil on paper - Sig. 1935 - 69,5 x 50,8 cm (day)Literature To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier Provenance Gal. Christian Fayt, Knokke
David I Teniers (attributed)
Mercury Lulling Argus to Sleep4 € 10 000 - 15 000Oil on copper - 55 x 73 cm -
Viewed with Argus eyes
In his Metamorphoses Ovid tells the story of Argus and Mercury. The 100-eyed giant Argus had been appointed by Iuno to guard the priestess Io, transformed into a cow. Since he only closed 2 of his 100 eyes at a time, nothing could escape his sight. Mercury, however, managed to put Argus completely to sleep with his flute playing and set Io free. This popular theme was depicted by Peter Paul Rubens and Jacob Jordaens, among others.
César De Cock
The Edge of the Wood (1864)19 € 14 000 - 18 000Oil on canvas - Sig. 1864 - 80 x 119,5 cmLiterature To be included in the forthcoming catalogue raisonné by Mr. Richard Comyn
César De Cock
Wood gatherers near a river in the forest (1875)22 € 11 000 - 14 000Oil on canvas - Sig. 1875 - 47,5 x 68,5 cm - Wax stamp on the reverseLiterature To be included in the forthcoming catalogue raisonné by Mr. Richard Comyn
The Nile in Bulaq, Cairo (ca. 1880)23 € 26 000 - 33 000Oil on canvas - Sig. Boulacq - 78 x 110 cm
L'entrée du Christ à Bruxelles en 1889 (The Entry of Christ into Brussels) (1898)41 € 16 000 - 20 000Etching - On Simili Japon - Sig. in pencil with title and sig. in print - Sig. on the reverse with title - 3rd state of 3 - 24,8 x 35,5 cm - UnframedLiterature "James Ensor" A. Taevernier 1973, cf. nr. 114
Enchanted mermaid on a rock (Lorelei) (1903)52 € 12 000 - 16 000Brush drawing in India ink and pencil on paper - 31 x 19,2 cm (sheet)Literature To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier
The man with the water bag (1897)70 € 20 000 - 26 000Sculpture - Bronze - Dark brown patina - Sig. - 64 x 42,5 x 27,5 cmLiterature "George Minne" Leo van Puyvelde, Collection Les Contemporains, Brussels 1930, cf. nr. 23 Pl21
"George Minne en de kunst rond 1900" MvSK, Ghent 1982, exhibition cat., cf. nr. 59 p. 132-133
"George Minne: Das Frühwerk und seine Rezeption in Deutschland und Österreich bis zum Ersten Welt-krieg" Inga Rossi-Schrimpf, Verlag und Datenbank für Geisteswissenschaften, Weimar 2012, cf. cat. nr. P17 p. 370-371 (reprod. of another copy)
Loïe Fuller (ca. 1900)73 € 26 000 - 32 000Sculpture - Table lamp - Bronze - Gilded brown patina - Sig. - With stamp "Siot-Decauville Fondeur Paris" and nr. J201 - 46 x 26 x 24 cmLiterature "Les bronzes du XIXe siècle" Pierre Kjellberg, cf. p. 413
Mother and child (1900)74 € 18 000 - 26 000Oil on canvas - Sig. 1900 - 94 x 118,5 cmExhibition "Salon de l'Art Contemporain. XXXe Anniversaire de la Société" Brussels 1935, nr. 166 Literature Included in the catalogue raisonné by Georges Frédéric, son of the artist, nr. 324
Springtime in Brakel (1908)88 € 40 000 - 60 000Oil on canvas - Sig. and sig. on the reverse "Brakel mei 1908" - 75 x 125,5 cm
Gustave De Smet
The River Lys at Sint-Martens-Latem (ca. 1910-11)91 € 15 000 - 20 000Oil on canvas - Sig. "Gustave De Smet" - 59 x 109,5 cmLiterature The authenticity of this work was confirmed to us by Mr. Piet Boyens Provenance Gal. Willy d'Huysser, Brussels, acquired there by the present owner in the early 1990s
Children playing in the schoolyard, Deurle104 € 40 000 - 50 000Oil on canvas - Sig. and sig. on the reverse - 45,5 x 71,5 cmProvenance owned by the family of the present owner for approx. 50 years
At Waregem Racecourse (1910)107 € 40 000 - 60 000Oil on canvas - Sig. and on the reverse monogram 1910 "Koersplein Waereghem" - 45 x 64,5 cmExhibition "Salon Vie et Lumière" Brussels 1910 (probably)
Gustave De Smet
Still Life with Statuette (1917)108 € 24 000 - 30 000Oil on canvas - Sig. 1917 - 70 x 80 cmExhibition Giroux, Brussels 1929, nr. 24
Antwerp 1961, nr. 44
Sint-Martens-Latem 1973, nr. 7 reprod. Literature "Gust De Smet. De mensch en zijn werk" Emile Langui, Manteau, Brussels 1945, nr. 123
"Gust. De Smet. Kroniek, Kunsthistorische analyse" Piet Boyens, Antwerp 1989, p. 139 reprod., nr. 464, p. 350 Provenance coll. P.A. Regnault, Laren
coll. M.L. De Boer, Amsterdam
Untitled (1914)109 € 8 000 - 10 000Oil on canvas - Sig. - 63,5 x 47 cm - Exhibition labels on the reverseExhibition "Paul Joostens" ICC, Antwerp 1976, nr. 31 reprod.
"Retrospectieve Paul Joostens" Campo, Antwerp 1982
"Cinema Joostens" MuZee, Ostend 2014, p. 68 reprod. Provenance coll. Jos Lebacq, acquired directly from the artist by him in the early 1930s
A Campine hamlet110 € 34 000 - 40 000Canvas - Sig. and monogram - 106 x 117 cm
Théo Van Rysselberghe
Nude blond lady with legs crossed (1919)117 € 40 000 - 50 000Oil on canvas - Monogram 1919 - 92 x 73 cm - Label on the reverseLiterature Included in the online catalogue raisonné by Ronald Feltkamp as number 1919.030
To be included in the forthcoming catalogue raisonné by Mr. Olivier Bertrand
Anna De Weert
Ducklings in an orchard (1925)118 € 32 000 - 40 000Oil on canvas - Sig. and sig. on the reverse "Afsnee Sept-Oct 1925" - 42 x 53,5 cm
Théo Van Rysselberghe
Pièce d'eau à Mazargues, après-midi (1924)119 € 30 000 - 40 000Oil on canvas - Monogram 1924 - 65 x 81 cmExhibition "Théo Van Rysselberghe" Gal. Georges Giroux, Brussels 1926, nr. 41 Literature "Théo Van Rysselberghe. Catalogue raisonné" Ronald Feltkamp, Les Éditions de l'amateur/ Éditions Racine, Brussels 2003, cf. nr. P-006 reprod. of the larger version (152 x 175 cm)
Included in the online catalogue raisonné by Ronald Feltkamp as number P-68
To be included in the forthcoming catalogue raisonné by Mr. Olivier Bertrand
Dynamic City (1912)121 € 12 000 - 16 000India ink drawing on paper - Sig. "c. carrà 912" - 14,4 x 17,5 cm (day)
Collage 22 (1922)126 € 10 000 - 15 000Collage of cardboard and paper - Sig. 1922 - 26 x 37 cm - Exhibition labels on the reverse and stamp Gal. Saint-Laurent, BrusselsExhibition "Paul Joostens. Papiers collés 1920-1957" Gal. Saint-Laurent, Brussels 1957, cat. nr. 17
"Peinture moderne belge" Belgian State (s.d.)
"De Abstracte Schilderkunst in Vlaanderen" Hessenhuis, exhibition cat. by Michel Seuphor, Antwerp 1963-64, cat. nr. 95
"Paul Joostens. Le retour ... des choses" Gal. Saint-Laurent, Brussels 1964
"Retrospectieve Paul Joostens" PMMK, Ostend 1989-90, p. 80 reprod. & p. 165
"Kunst is niet eetbaar. Over verzamelingen en verzamelen" De Warande, Turnhout 1998, p. 63-66 reprod.
"Cinema Joostens" MuZee, Ostend 2014, p. 130 reprod. & p. 323 Literature Magazine 'EDDA', nr. 1, Summer 1958
"De Abstracte Schilderkunst in Vlaanderen" Michel Seuphor, Antwerp 1963-64, cat. nr. 19 reprod. & p. 128 record Provenance coll. Philippe Toussaint, Gal. Saint-Laurent, Brussels
Acquired there by the present owner
The fig tree in winter, Grasse (1922)133 € 20 000 - 30 000Watercolour and gouache on paper - Sig. 1922 - 49,2 x 61,4 cm (sheet)Literature To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier
Figure in the dunes and boats (1927)147 € 24 000 - 32 000India ink, brush and watercolour on paper - Sig. 1927 - 67 x 50 cm (day)Exhibition "Hommage à Léon Spilliaert" Christian Fayt Art Gal., Paris 1981, cat. nr. 45 reprod. Literature "Léon Spilliaert of de schoonheid van een wijs hart" Anne Adriaens-Pannier/Ronny Van de Velde, Pandora 1998, nr. 132 reprod.
To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier
Spilliaert's walks took him beside the sea and across the beach, but his favourite pastime was to stroll through the dunes. Sometimes there is barely any discernable difference between the sandy hillocks and the view of the sea. The banks become a foreground motif, while the sea and sky fill the background. Here, the two areas possess an equivalent formal arrangement. When he is not bathing the dunes in a golden evening sunlight, Spilliaert opts for a more realistic allusion to colour and treats their undulations like waves on the water. In a limited series, he depicts the landscape as a light-coloured sandy desert punctuated here and there with clumps of marram grass. The different focal depths are bordered by diagonal lines and, high above the horizon, white cloudscapes are suspended in the sky. Unusually, the terrain is populated by a female apparition. Compositions like this recall an early treatment of the theme, although there is a gap of some twenty years.
("Spilliaert: from the Depths of the Soul" Anne Adriaens-Pannier, Ludion, Brussels 2006, p. 169)
Two ladies in the harbour (1927)150 € 12 000 - 16 000Watercolour and brush drawing India ink on paper - Monogram 1927 - 64 x 49 cmExhibition "Frans Masereel" Gal. Lempertz Contempora, Köln 1985, cat. nr. 16 reprod. Literature "Masereel. Catalogue raisonné" Pierre Vorms, Antwerp 1976, watercolors nr. 178
Bathers (orange and yellow) (1926)155 € 14 000 - 18 000Gouache and watercolour on paper - Sig. 1926 - 55,8 x 38,5 cm - UnframedLiterature To be included in the fortcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier
Le maitre et son modèle (ca. 1934)164 € 20 000 - 30 000India ink, watercolour and lavis on paper - Sig. - 70 x 89,5 cm - Exhibition labels on the reverseExhibition "Paul Delvaux" Palazzo dei Diamanti, Ferrara 1986
La retraite (1953)239 € 8 000 - 12 000Oil on canvas - Sig. and sig. on the reverse '53 with title - 92 x 65,5 cmExhibition "Pittura Belga Contemporanea" Palazzo de la Permanente, Milano 1954
"Antoine Mortier" Palais des Beaux-Arts, Brussels 1955
Stadshallen, Bruges 1956 Literature "Antoine Mortier" Karel Geirlandt, Jan Hoet and others, Lannoo, Tielt 1989, p. 97 reprod. Provenance Acquired directly from the artist by the present owner
Singulier personnage' ou 'Femme à la viole' ou 'Violoncelliste' (1958)246 € 15 000 - 20 000Sculpture - Bronze - Dark brown patina - Sig. "O. ZADKINE" - Ex. nr 1/5 - With stamp "SUSSE Fres / PARIS / CIRE PERDUE" - 54 x 20 x 17 cmExhibition Gal. de Paris, Paris 1959, cf. nr. 17
Tate Gal., London 1961, cf. nr. 35
Gal. Lucie Weill, Paris 1962, cf. nr. 4
Gemeentemuseum, Arnhem 1962, cf. nr. 51
Casino, Knokke 1963, cf. nr. 90
Gal. am Dom, Karmeliterkloster, Frankfurt 1963, cf. nr. 47
Gal. Madoura, Vallauris 1963, cf. nr. 20
Gal. Dantesca, Torino 1965, cf. nr. 10
Kunsthaus, Zürich 1965, cf. nr. 108
Kunsthaus Lempertz, Köln 1966, cf. nr. 63 reprod.
Gal. Stendhal, Milano 1967, cf. nr. 17 reprod.
Gal. Schmit, Paris 1970, cf. nr. 91 reprod.
Hirschl & Adler Gal., New York 1971, cf. nr. 67 reprod.
Paris 1973, cf. nr. 111 reprod.
Artcurial, Paris 1979 Literature "Zadkine. Catalogue Raisonné des sculptures" Ionel Jianou, Éd. Arted, Paris 1979, cf. nrs. 432 & 453
"Ossip Zadkine. L'Oeuvre sculpté" Sylvain Lecombre Éd. Paris-Musées 1994, cf. nr. 499 reprod.
Forme sans nom (A form without a name)(1961)282 € 20 000 - 26 000Watercolour and India ink on paper on canvas - Sig. '61 and sig. on the reverse and monogram '61 with title - 156 x 205 cm - Exhibition labels on the reverseExhibition "XXXII. Biennale Internazionale d'Arte di Venezia" Venice 1964
"Antoine Mortier Dessins" PvSK, Brussels 1986, cat. nr. 24 reprod. Provenance Gal. Lucien Bilinelli, Brussels
Gal. Cotthem, Knokke
Miguel Ortiz Berrocal
Torso Benarrabá (Opus 61) (1962)287 € 46 000 - 60 000Sculpture - Unique - Iron, forged and soldered - 2 elements and base - 159 x 92 x 32 cm (opened condition with base) - 40 x 58 x 28 cm (closed condition)Exhibition "Berrocal. Exposition de sculptures" Gal. Kriegel, Paris 1962 Literature "Berrocal" Annette Michelson, Gal. Kriegel, Paris 1962, exhibition cat., reprod.
"Berrocal" Denys Chevalier, Gal. Kriegel, Paris 1965, reprod.
"La Sculpture de Berrocal" Giuseppe Marchiori, La Connaissance, Brussels 1973, p. 52 reprod.
"Berrocal Catalogo General / Obras Recientes 1974" Miguel Berrocal, 1974, p. 68 reprod.
"Antologica Berrocal (1955-1984)" Ministero de Cultura, Madrid 1984, exhibition cat., p. 118 and p. 439 reprod.
"Retrospective Berrocal (1955-1985)" Centre Culturel de la Communauté Française Wallonie-Bruxelles, Brussels 1985, p. 26 reprod.
"Berrocal. 25 Ans de Sculptures editées 1964-1989" Miguel Berrocal, Artcurial, Paris 1989, p. 24 reprod.
"Berrocal" Jean Louis Ferrier, Éd. de la Différence, 1989, p. 129 reprod.
We thank the Berrocal Foundation for their assistance in cataloging this work. Provenance coll. Louis Bogaerts, Brussels approx. 1965-1995
For the majority of his iconographic works, Berrocal chose themes from the classical antiquity without losing sight of other sources of inspiration. His topics are male torsos, women figures, heads and portraits. In general it's about the stylized, reconstructed, maimed parts of the human body. These anthropomorphic themes are apt to the most imaginative metamorphoses and have been a source of infinitive variation in art for thousands of years through the ages and for all art forms. If one studies objectively the artistic evolution of torsos, one can determine that after early baroque, during which the physical appearance is in contrast with the inner complexity and the abstraction, follows a more anatomical morphology "in which the organization of structures tend more towards the essence, the joints become more functional and the technical performances of the composition are concentrated on organic tensions" (Jean Dypréau, Brussels, 1983).
Cardinale Seduto (1961)318 € 36 000 - 44 000Sculpture - Bronze - Brown patina - Signature stamp "MANZÙ / N.F.M.M" (Nuova Fonderia MAF Milano) - 45 x 25,8 x 27 cmProvenance Tasende Gallery, La Jolla (CA)
Cardinale Seduto (1961)
When Giacomo Manzù attends a ceremony in St. Peter's Cathedral in Rome in 1938 and sees a group of cardinals standing together, their enveloped bodies leave a deep impression on him. The shape and appearance inspire him to a long reflection on this theme, one with which he will continue to experiment with for the rest of his career. In his sculptures he studied all possible variations on the shape of the cloaks, the folds, as well as the synthesis of volumes.
The stylized costume of this seated cardinal creates a pyramidal shape. The figure is reduced to a conical whole, with the broad base ending in the top of the miter. The body seems invisible in this inseparable whole. The simplicity and serenity are carried through to the face of the cardinal. He is modest and seems to be absorbed in meditation. The anonymity, austerity and monumentality give a universal character to the sculptures.
Manzù's relationship with faith was rather fragile. He repeatedly claimed to be an atheist. For him, his sculptures had no religious approach. His motive was the fascination for the shape, the imposing silhouettes and the grandeur of the cardinals. His sculptures were a celebration of the sublimity of the form.
From 1938 until his death in 1991, Manzù produced more than 300 versions of his cardinals. It is by far the most iconic theme in his entire oeuvre.
Raoul De Keyser
Camping (test IV) (1969)322 € 28 000 - 38 000Acrylic on canvas - Sig. on the reverse 1969 with title - 70 x 70 cm - Unframed - Exhibition label on the reverseExhibition "Raoul De Keyser, rondom de werkelijkheid" Groninger Museum, Groningen; Frans Halsmuseum, Haarlem; Noordbrabants Museum, 's-Hertogenbosch 1970, cat. nr. 50
Korrekelder, Bruges 1970 Literature Included in the archives of Raoul De Keyser Provenance Veranneman Foundation, Kruishoutem
Composition (1965)327 € 26 000 - 36 000Oil on panel - Sig. on the reverse "voor Freddy van Jef Verheyen '65" - 56 x 68 x 1 cmLiterature this work was registered by the Jef Verheyen Archive Provenance coll. Freddy De Vree, wedding gift from Jef Verheyen to Freddy De Vree in 1965.
Freddy De Vree (1939-2004) was a Belgian poet, essayist and radio producer
Campbell's Soup I "Green Pea" (1968)338 € 15 000 - 20 000Screenprint on paper - Verso signed "Andy Warhol" with ballpoint pen and numbered with a rubber stamp "118/250" - Ex. nr. 118/250 - 88,9 x 58,4 cmLiterature "Andy Warhol Prints. A Catalogue Raisonné 1962 - 1987" Artur Danto & Donna De Salvo, Fourth Edition revised and expanded by Frayda Feldman & Claudia Defendi, Ed. Schellmann, 2003, cf. nr. II.50, p. 72-73 reprod.
Spentcock Man (1966)340 € 22 000 - 30 000Watercolour and black chalk on paper - Monogram "CO 66" with title - 55,9 x 76,2 cm - Labels on the reverseProvenance Hirschl & Adler Modern, New York
Paula Cooper Gal., New York
Sao Paulo Structuur no. 7, Oostenrijk, Adolf Loos354 € 10 000 - 15 000Sculpture - Construction - Wood and metal screws and nails - 174 x 206 x 181,5 cm
Sur des accents brun-vert et bleu (1973)400 € 14 000 - 18 000Oil on canvas - Sig. '73 and sig. on the reverse 1973 with title n°456 - 146 x 97 cmExhibition "Hommage à Gaston Bertrand" Écuries du Roi, Brussels 1997 Literature "Gaston Bertrand" Serge Goyens de Heusch, Mercatorfonds 1997, p. 281 reprod.
"Gaston Bertrand. Catalogue raisonné de l'oeuvre peint" Caroline Bricmont & Serge Goyens de Heusch, Éd. Fondation Gaston Bertrand, Brussels 2001, nr. 1275, p. 166-167 reprod. Provenance Acquired directly from the artist by the present owner in 1974
Arman (Armand Fernandez)
Empreintes de violons (1975)409 € 10 000 - 15 000Acrylic on canvas - Sig. '75 - 127 x 162,5 cm - UnframedLiterature Included in the "Archives Denyse Durand-Ruel" as number 4068 and in the archives of "Official Arman Studio New York" as number APA#1001.75.016