Contemporary, Modern Art and Old Masters
Auction 172 - 2 March 2019
Le départ du vice-roi des Indes (1967)305 € 200 000 - 300 000Acrylic on paper on canvas - Sig. and sig. on the reverse 1967 with title - 133 x 189 cm - Label on the reverse Lefebre Gal., New YorkProvenance Lefebre Gal., New York
Sotheby's New York, 11th of November 1988, lot nr. 137
Gal. Willy D'Huysser, Brussels
PIERRE ALECHINSKY, LEFT-HANDED WRITER AND RIGHT-HANDED PAINTER
Encouraged by Christian Dotremont (1922-1979), Pierre Alechinsky (° 1927) undertook a trip to Japan in the mid-1950s. The East inspired him immensely, so he searched in his oeuvre for a bridge between the painterly traditions of East and West. Driven by his fascination for calligraphy, he handled a new medium: acrylic paint. This enabled him to work more fluently and to paint writerly, just like Chinese ink.
Both materials and techniques used in Japan appealed to his imagination. From that moment on he will place his paper or canvas on the ground and take a standing and bent posture during the painting process. This way his left hand and arm got complete freedom in their mobility. Remarkably, Alechinsky himself was left-handed. Although he wrote right-handed, having learned so well, it seemed that his left hand resisted the rigid and clumsy handwriting of the right.
What has become one of the main characteristics within Alechinsky's oeuvre is the game of the goose board' composition: a central image surrounded by various visual commentaries, a structure also related to Eastern tradition. Just like "Le départ du vice-roi des Indes" (1967), a central drawing is surrounded by small cases showing winding figures. This structure is not only reminiscent of glosses in illuminated medieval manuscripts, but also of contemporary comics. The artist himself wrote about this technique: "It worked in a peculiar way; the 'subordinate notes' (a concept derived from engraving art) in black and white surrounded the central colored field absorbing the spectator's view. But how should this be fully presented and preserved? Only the marouflage made this possible - a technique that was unknown to me until then. I have put myself to it as good and as bad as possible, hence the visible technical mistakes in the scenery."
Alechinsky was the first Belgian last summer to win the Praemium Imperiale, the Nobel Prize for Painting. This award not only crowns his influential role within expressionist painting and the CoBrA movement, but also emphasizes his importance in art history. He tried to enrich the Western tradition by walking the road to the East. Without becoming an Oriental himself, he took elements like calligraphy very seriously and tried to translate them to the West.
Woman on a horse (1998)535 € 260 000 - 360 000Sculpture - Bronze - Dark brown patina - Sig. - Ex. nr. 3/6 - 63 x 39,5 x 30 cmProvenance Sotheby's New York, 20 november 2001, lot nr. 54, purchased by the previous owner
"My whole life I have felt as though I had something to say in the language of sculpture. It is a powerful desire I have pleasure - that of being able to touch a new reality which one creates. With painting you may give the illusion of reality but with sculpture you can touch the reality If I paint a knife in my paintings it is imaginary; but if I sculpt it then the sensation of holding it in my hand is real. It is an object which comes from your mind, a sensual experience down to its execution. That brings a special joy to touching the material with your hands." (Fernando Botero in E. J. Sullivan, Botero Sculpture, New York, 1986)
His sculptures express Fernando Botero's unmistakable style even more prominently than his paintings. This unique boterismo overwhelms us by the monumental exaggeration of voluminous, voluptuous characters and figures. The viewer is attracted by forms radiating sensuality thanks to their fullness. The images long to be touched, their cold bronze to be cherished.
The desire for human interaction is the essence of Botero's work. His inspiration lies in the Italian Trecento and Quattrocento, where Renaissance artists such as Giotto and Paolo Uccello accord a special status to human form and figure and explore the space they occupy. Botero's work is a modern nod to great art historical motifs. He inscribes his art such as "Woman on a horse" in the long tradition of equestrian portraits, from the equestrian statue of Bartolomeo Colleoni by Andrea del Verrocchio (1480-88) to the equestrian portrait of Elizabeth of France (circa 1635) by Diego Velázquez.
Botero transforms this iconic subject into his own formal language. "Woman on a horse" is a symphony of rhythmic sequences of curves and smooth surfaces, a play of shadow and volume. The naked woman is Botero's archetype. Due to the lack of individual characteristics, she represents a universal motif. With an infinite view, she seems freed from every notion of time and space. She's a tangible ode to joy and beauty, the feminine in particular, permeated by a baroque exuberance and joie de vivre.
Théo Van Rysselberghe
Le collier rose III (1908)69 € 180 000 - 240 000Oil on canvas - Monogram "VR 08" - 73,5 x 60 cm - Exhibition labels on the reverseExhibition "Sezession" Ausstellungshaus Kurfürstendam, Berlin 1910
"XXXIe salon de l'oeuvre des artistes consacré aux figures et personnages" Salle de la société d'émulation, Luik 1910
Museum van Batavia, Jakarta 1935
Stedelijk Van Abbemuseum, Eindhoven 1947-48, nr. 114 reprod.
Stedelijk Museum & Amsterdams Historisch Museum, s.d., nr. 55
"Moderne Belgische kunst in Nederlands Bezit" Lakenhal, Leiden 1955, nr. 57
"Hommage to Seurat. Paintings, watercolours and drawings" Univ. of Arizona Art Gal., Tucson; The California Palace of the Legion of Honor, San Francisco 1968
"Holliday Collection of Neo-Impressionist Painting" Utah Museum of Fine Arts, Salt Lake City 1969 Literature "A l'oeuvre des artistes - Figures et personnages" P.S., L'express, Luik 30th of May 1910
"Catalogus van schilderijen, tekeningen en beeldhouwwerken in het Stedelijk Museum behorend aan en in bruikleen bij de gemeente Amsterdam" Stadsdrukkerij, Amsterdam 1924, nr. 119, pl. 58
G. Van Zype, nota "TVR" in "Annuaire de l'Académie Royale de Belgique" Brussels 1932
"De Waarheid" Amsterdam 30th of april 1948
"Les néo-impressionnistes" J. Sutter, Bibliothèque des Arts, Paris & Ed. Ides et Calendes, Neuchâtel 1970, p. 208 reprod.
"Théo Van Rysselberghe. Catalogue raisonné" Ronald Feltkamp, Brussels 2003, nr. 1908-001, p. 100 & 371 reprod. & reprod. on the cover
To be included in the catalogue raisonné in preparation by Mr. Olivier Bertrand Provenance coll. P.A. Regnault, Amsterdam
coll. W.J. Holliday, Indianapolis
coll. E. Hanley, Pennsylvania
coll. E. Molnar
coll. Michael Mc Kittrick
FOU DE PEINTURE
As a member of the Belgian avant-garde movement Les Vingt and as a pioneer of pointillism in Belgium today, Théo Van Rysselberghe (1862-1926) has great international appeal. He harbored great preference for portrait painting despite the diversity of genres within his oeuvre. The numerous portraits by his hand embodies his inner urge to interpret and represent man. In the preface of Van Rysselberghe's 1927 posthumous exhibition at Galerie Georges Giroux, his artistic friend Maurice Denis (1870-1943) wrote: "What happens behind a face interests him more than he dared to admit. He talked about volumes, color, composition, somewhat to conceal his unrest about character and psychological resemblance. Théo has only painted so many portraits, because he was driven by a curiosity of another order, by the search for man."
We consider the first decade of the twentieth century being Van Rysselberghe's golden age, when he ventures into more daring subjects such as sun-drenched landscapes, sunsets and nudes in front of the mirror, as in "Le collier rose". The summit of his creative yearning is in the years 1907-08, when he spends the summer in Jersey. To Marie Closset (1873-1953), the poet who also modeled the painting "La promenade", he even wrote: « Mais que ne fais-je, aussi! Je suis fou de peinture, j'en fais autant que je peux, et je me porte bien, Allah soit Loué. »
The pointillist technique he had used for so many years became more and more relaxed during this period. He applied vivid colors, intense contrasts and longer brush strokes, of which "Le collier rose" is an example. He repeated the subject several times playing with the image of the same woman in similar poses.
One leg in the Belgian avant-garde and another in French neo-impressionism, Van Rysselberghe succeeded in bringing together a subtle combination of Flemish and French elements. As Maurice Denis aptly concluded, Van Rysselberghe painted: "without being disturbed, without deception, without pride, sensitive and methodical".
Memoires van een vergeetal (Memories of a forgetful one) (1985)438 € 160 000 - 240 0002 oil paintings on canvas - Diptych - Monogram on the reverse '85 with title (each) - 100 x 170cm - 100 x 140cm - UnframedExhibition Gal. Barbara Jandrig, Krefeld 1985 Literature "René Daniëls: Kades-Kaden" Ulrich Loock & Bart Cassiman, exhibition cat., Kunsthalle Bern 1987, cf. reprod. of a similar dyptich Provenance 121 Art Gallery, Antwerp
THE CANVAS AS PLAYGROUND OF THE MIND
"First of all I need a framework, a hold-on to paint. This is the idea and I play with it until a conglomerate of ideas arises. These always relate to many facets of life."
Central to Daniëls' oeuvre (° Eindhoven 1950) is the idea. His canvases are, as it were, visual ideas in which our gaze is guided through a poetic labyrinth of motifs. He addresses the viewer's engagement to give meaning to his work. That is why his paintings will always remain unfinished. They demand a certain way to look at a space, and by extension to the world.
From 1984 on, the bow tie motif plays a leading role in Daniëls' oeuvre. It resembles a window, or a perspective, floating through the suggested space and thus offering a view of the world outside. The perpetual dynamic between inside and outside, representation and reality and the vague border between them renders a vibrating aura through Daniëls' paintings. They encourage the spectator to reflect upon his own position and the work of art's in a certain space.
The repetition of motifs is beautifully expressed in the unique diptych "Memoires van een vergeetal" (1985). Both are spatial perspectives decorated only with windows or paintings. The large color fields, applied with a loose brushstroke, seem to absorb the spectator. One brightly lit on a deep blue background, the other dark on a sun-drenched background. Two opposites, day and night, each wanting to draw the viewer towards themselves. An inner struggle is triggered, accompanied by the guidance of the poetic title.
The technical aspect of Daniëls' painting offers the perspective its special stratification. A semi-transparent coat of white paint covers the image, on which new elements are then applied. "I made the layers translucent, as if looking through a candy wrapping" he explains his technique. The famous bow tie motifs hover on top of this haze.
The rhythmic repetition of motifs illustrate the importance of poetry and music in Daniëls' oeuvre. This era's music genres such as punk and new wave were an important source of inspiration for the artist. While working, tunes from bands like Talking Heads and Sex Pistols blazed through his studio.
La Chapelle Notre-Dame de Bonne Odeur (1913)96 € 120 000 - 150 000Watercolour and pencil on paper - Sig. 1913 and stamp "Vierge Folle a33" - 45,5 x 54 cm - Exhibition labels on the reverseExhibition "Salon Kunst van Heden" Antwerp 1914
Gal. Georges Giroux, Brussels 1914
"Tentoonstelling van de Rotterdamse Kunstkring" Rotterdam 1916
"Salon Kunst van Heden" Antwerp 1922
Gal. Georges Giroux, Brussels 1922
Gal. Georges Giroux, Brussels 1931
"Rik Wouters" PvSK, Brussels 1935, nr. 157
"Het Brabants Fauvisme" 9e kunstsalon, Hamme 1993, nr. 93
"Retrospectieve Rik Wouters" PMMK, Oostende 1994, cat. nr. 21-IV reprod.
"Rik Wouters. Bronnen en werken" PvSK, Brussels 2002, cat. nr. 110 reprod.
"De Brabantse Fauvisten - Een selectie door Nick Andrews" FeliXart Museum, Drogenbos 2016 Literature "Rik Wouters" Roger Avermaete, Uitgeverij Arcade, Brussels 1962, p. 219
The authenticity was confirmed to us by Mr. Olivier Bertrand and the work will be included in the catalogue raisonné Provenance Gal. Georges Giroux, Brussels
Coll. R. Deweert, Antwerp
Gustave Van de Woestyne
Portrait of Elisabeth Van de Woestyne, twin-daughter of the artist (1926)125 € 140 000 - 180 000Oil and gouache on paper - Sig. "Gve van de Woestijne" - 76,5 x 55 cmProvenance coll. Jozef De Coene, Kortrijk
coll. Oscar Mairlot, Ukkel
Untitled (B 00201003) (1975)393 € 30 000 - 50 000Sculpture - Round bar of wood, 21 segments - Painted red, yellow, green - 73,8 x 3,3 cmLiterature "André Cadere. Histoire d'un travail" 1982, nr. 17
"André Cadere. Catalogue raisonné" Karola Grässlin e.a., Buchhandlung Walter König, Köln 2008, nr. B43 reprod. Provenance Gal. Folker Skulima, Berlin
THE ORDER DISRUPTER
Somewhere in a corner, lying down or standing on the ground, wandering through the streets, ... one can bump anywhere into André Cadere's barre de bois. In any case, it won't be hung neatly on a wall, as a "normal" work of art should be. One cannot describe a barre de bois exclusively being a sculpture or a painting. The object is a performance. It is peripheral art officially being on the outside of conventional institutions such as museums and galleries, and infiltrating them in a parasitic manner.
André Cadere is a subversive figure in the art scene of the seventies. With or without an invitation, he appears in other artists' exhibitions. He announces his presence, promenades his barre de bois through the Parisian boulevards and then poses him in a corner or against the wall of a museum or gallery. This action causes a dramatic shift in the exhibition in question, which Cadere claims to be his own. This performance-based work contrasts with the established art world and is a statement similar to the early work of the British duo Gilbert & George, close friends of Cadere.
The barre de bois is an instrument of artistic intervention. Cadere uses a fixed formal idiom throughout his oeuvre with a conceptual approach that relates to the rise of semiotics. Thus he confuses the established art scene order: his work encourages to rethink how meaning functions and can be indicated, the object is a reference to something else. The spectator is challenged to reconstruct the underlying logic. Cadere questions the cultural sector, its institutes and its power, which, in his point of view, reflect a broader social system.
The barres de bois are composed by several painted cylindrical segments whose length corresponds to their diameter. The segments are arranged according to a mathematical permutation system, each time an error perturbing the sequence. Every barre can be distinguished by four parameters: color, permutation, size and error. The error disturbs any attempt to decipher the mathematical system all too easily. Cadere creates an ambiguous game, parallel to the infiltration of his work in the art world.
Instead of signing his works, Cadere provided every barre with an accompanying document that guarantees its authenticity and indicates the numerical code, diameter of the segments and the location of the error.
Can you find the error in this barre B 00201003 from 1975?
The applied sequence with its color code:
1 = red; 2 = yellow; 3 = green
123 213 132 321 312 132 123
Raoul De Keyser
Kalklijnen en twee groenen (Chalk lines and two greens) (1970-71)345 € 33 000 - 40 000Acrylic on canvas - Sig. on the reverse 1970-1971 with title - 150 x 120 cm - UnframedExhibition "Raoul De Keyser" Camden Arts Center, London 1973
"Raoul De Keyser" Provinciaal Museum, Hasselt 1973, cat. nr. 12
"Raoul De Keyser" CC de Bogaard i.s.m. CIAP, Sint-Truiden 2005, cat. nr. 9 reprod. Literature "Raoul De Keyser: het samengaan van gegeven en schilderij" Roland Jooris, Visueel 2, E. Veys, Tielt 1972, p. 23 & 30 reprod. Provenance Acquired directly from the artist by the current owner
Raoul De Keyser is a lover of football and art. Initially a sports journalist for various newspapers, he starts his career as an artist a late bloomer. Both passions melt together in work as "chalk lines and two greens". De Keyser is fascinated by his daily environment is converted into a simplified figuration. Only two white lines and green areas reveal this work as a football field.
In the first place his paintings represent themselves, i.e. their inherent nature and autonomy: the carrier and the pictorial layer. The abstraction of the subject enables the painter to reflect on the autonomy of the medium. The chalk lines and color planes focus our attention on the paint and the canvas, on color and perspective. Moreover, the plain of the football field refers to the two-dimensionality of the painting, the line drawing refers to the execution of a pictorial act.
Le Corbusier (Ch. Jeanneret)
La Femme et le Moineau (1957)251 € 60 000 - 90 000Tapestry - Sig. "Le Corbusier" and monogram "PF" in weaving - Ex. nr. 6/6 (an edition of 7 in total) - 218 x 222 cm
Don't wait for me in a borrowed home (1988)467 € 90 000 - 110 000Sculpture - Bronze - Dark brown patina - On an iron base - 170,5 x 100 x 42 cmExhibition Esposizione internazionale d'arte La Biennale di Venezia '43, 1988, Dutch Pavillion "Henk Visch", exh.of this work
Oncle aveugle - Rouge no.2 (2000)538 € 55 000 - 75 000Oil on canvas - Sig. on the reverse 07-2000 with title - 115 x 115 cm - UnframedProvenance Gal. Rodolphe Janssens (FIAC ca. 2001)
Ontmoeting van een abstractie en een werkelijkheid (Meeting of an abstraction and a reality) (1977)397 € 55 000 - 65 000Oil on canvas - Sig. and sig. on the reverse 1977 with title - 114 x 145 cm
Landscape with the Antwerp Cathedral (1681)4 € 10 000 - 14 000Oil on canvas - Sig. "AE. neÿts f. 1681" - 57,5 x 85 cmExhibition "Exposition rétrospective du paysage flamand, XVIe, XVIIe, XVIIIe siècles" KMSK, Brussels 1926, nr. 211, pl. XXII reprod. Literature "Le paysage flamand au XVIIe siècle" Y. Thiéry, Brussels 1953, p. 85 & 187
"Les peintres flamands de paysage au XVIIe siècle. Le baroque anversois et l'école bruxelloise" Y. Thiéry & M. Kervyn de Meerendré, Brussels 1987, p. 76 & 248, nr. 3
"Gillis Neyts. Un paysagiste brabançon en vallée mosane au XVIIe siècle" Dr. Pierre Gustot, Société Archéologique de Namur, Namur 2008, P15 reprod. Provenance auction coll. De Fursac, Brussel, 15th of Dec. 1923, nr. 158
auction coll. de Winter, Gal. Georges Giroux, Brussels, 12th of March 1928, nr. 40
Interior with farmers seated around the table - Farmers at the tavern
7 € 10 000 - 14 000Lot of 2 oil paintings on panel - Pendants - Sig. "R Brakenburg" (1x) - 24 x 20 - 24,2 x 20,5 cm - Framed separately in 18th century sculpted frames
The child and the little train (ca. 1879)34 € 26 000 - 36 000Oil on canvas - Sig. and stamp "Vente Pantazis 1885" - 76 x 100,5 cmExhibition Cercle Artistique et Littéraire de Bruxelles, 1879 Literature "La peinture en Belgique depuis 1830" Paul Colin, Ed. des cahiers de Belgique, 1930, nr. 302, p. 314 reprod.
"Périclès Pantazis 1849-1884" Fondation Evangelos Averoff-Tossizza, Athènes 1994, cat. nr. 268 reprod. Provenance auction Pantazis, Brussels 1885
coll. Léon Gauchez, 1885
Gal. Georges Giroux, Brussels 1924, nr. 61
Gal. Georges Giroux, Brussels 1925, nr. 83
La blague - Pleasanteries36 € 12 000 - 16 000Canvas - Sig. Antwerp and on the reverse certificate with dedication - 63 x 85 cm - Wax stamp by the artist on the reverseLiterature "Het oeuvre van Portielje Jan - Gerard - Edward" Ineke Bruynooghe, Crea, Roeselare 2001, cf. nrs. 130 and 131 p. 171 colour reprod. (works with a similar reproduction) Provenance S. & G. Gump Cie
L'homme à l'outre - The man with the water bag (1897)50 € 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, Bruxelles 1930, cf. nr. 23 Pl21
"George Minne en de kunst rond 1900" exhibition cat. MvSK, Ghent 1982, cf. nr. 59 p. 132-133
"George Minne: Das Frühwerk und seine Rezeption in Deutschland und Österreich bis zum Ersten Weltkrieg" Inga Rossi-Schrimpf, Verlag und Datenbank für Geisteswissenschaften, Weimar 2012, cf. cat., nr. P17 p. 370-371 (reprod. of another copy)
Eugeen Van Mieghem
Lady with a fan (ca. 1912)81 € 14 000 - 18 000Pastel drawing on paper - Sig. - 40 x 28 cmLiterature With thanks to Mr. Erwin Joos for his help in the cataloging of this work
Woman by the window (ca. 1912)94 € 17 000 - 20 000Brush drawing in India ink and blue watercolour - Van Gelder & zonen paper - 30,5 x 44 cm - Certificate on the reverse by Nel Wouters and stamp "Vierge Folle" nr. 645Literature "Rik Wouters" Roger Avermaete, Publisher Arcade, Brussels 1962, p. 247
The authenticity was confirmed to us by Mr. Olivier Bertrand and the work will be included in the catalogue raisonné
Winter in Flanders (ca. 1920)114 € 13 000 - 16 000Oil on canvas - Sig. - 150 x 200 cmProvenance coll. Cornelis, Denderleeuw
Gustave Van de Woestyne
L'innocent (ca. 1922)122 € 100 000 - 120 000Oil on canvas - Sig. - 59,5 x 50 cmExhibition "Gustave Van de Woestyne" Gal. Le Centaure, Brussels 1925, cat. nr. 32
"Kunst van heden" Feestzaal Meir, Antwerp 1927, cat. nr. 9
"Gustave Van de Woestyne" PvSK, Brussels 1929, cat. nr. 85
"Retrospectieve Gustave Van de Woestyne" Van Abbe-museum, Eindhoven; MSK, Ghent 1949, nr. 28
"Gustave Van de Woestyne" Hasselt & Deinze 1949-50, nr. 26
"Gustave Van de Woestyne" CC Burgemeester Antoon Spinoy, Mechelen 1967, cat. nr. 92 Provenance coll. Hippolyte Daeye, Antwerp
Gal. Georges Giroux, auction 28th of March 1953, cat. nr. 89
Seascape (1924)124 € 20 000 - 30 000Oil on canvas - Sig. 1924 - 75,5 x 100,5 cm - Exhibition labels on the reverseExhibition "Léon Spilliaert" MSK, Oostende 1996, exhibition cat., nr. 133 reprod.
"Beaufort - Marines in confrontatie" PMMK, Ostend 2003, cat. p. 194-195 reprod.
"Brise d'Ostende: Léon Spilliart in Oostende" Venetiaanse Gaanderijen, Ostend 2006, cat. nr. 79 Literature To be included in the catalogue raisonné in preparation by Mrs. Anne Adriaens-Pannier
Felix De Boeck
Abstract (1922)132 € 16 000 - 20 000Oil on board - Sig. 1922 - 60 x 72 cm
Oiseau (Bird) (1927)135 € 70 000 - 85 000Sculpture - Wood - On a wooden base - Sig. - 81,5 x 9 x 7 cm (tot. h. 102cm)Exhibition "Oscar Jespers" Gal. Le Centaure, Brussels 1928, cf. nr. 7
"Floris Jespers & Oscar Jespers" Wereldtentoonstelling, Antwerp 1930, cf. nr. 3
"Oscar Jespers" Borgerhout 1986, cf. nr. 14
"Oscar Jespers" Museum Constant Permeke, Jabbeke 1988, cf.
"Van natuur naar abstractie" Gal. Ronny Van de Velde, Knokke 2016, cf. p. 92 Literature "Oscar Jespers. Beeldhouwer en tekenaar" José Boyens, 2013, cf. cat. nr. 104 reprod. (with mention of this copy in wood) Provenance coll. Carlo Van den Bosch
coll. J. and F. De Windt, Brussels
The Prayer before Meal (ca. 1927)142 € 30 000 - 40 000Oil on canvas - Sig. - 81,5 x 117,5 cm - Exhibition labels remains on the reverse
Rêverie (1928)151 € 22 000 - 30 000Eglomisé - Sig. - 155 x 80 cmExhibition "Floris Jespers" PMMK, Ostend 2004, cat. nr. 137 reprod. Literature "Floris Jespers - Achterglasschilderijen" Louise Fredericq, Brussels 1989, p. 129 reprod. (and reproduction of the etching with the same composition that Floris Jespers made in 1928)
Avenue de la Chasse, Bruxelles (ca. 1938)178 € 30 000 - 40 000Colour pencil drawing on paper - Sig. - 20 x 14 cmLiterature "James Ensor" Paul Haesaerts, New York 1959, nr. 86, p. 311 reprod.
"James Ensor. Fragmenten en echo's" Patrick Florizoone & Willem Coppejans, Gal. Ronny Van de Velde, Berchem 2017, p. 142-143 reprod. Provenance coll. Augusta Boogaerts
Private coll. (purchased from Augusta Boogaerts)
Auction Gal. De Vuyst, Lokeren 1992
Composition (1947)204 € 20 000 - 28 000Gouache, watercolour and chalk on paper - Double-sided - Sig. '47 - 59 x 70 cm - Park view on the reverse - Vue d'un parc (ca. 1946) - Gouache on paper
Juif errant au bord de mer (The wandering Jew along the Sea) (ca. 1948)209 € 33 000 - 40 000India ink, blue ink and pencil on paper - Signature stamp - 19,5 x 17,5 cmExhibition "Marc Chagall" Gal. Pascal Retelet, Saint-Paul de Vence 2000, exhibition cat., p. 14-15 reprod.
La sirène (ca. 1950-52)233 € 18 000 - 24 000Sculpture - Fountain - Bronze - Dark brown patina - Sig. - With inscription "gieter b. ghysels" - Ex. nr. 1/7 - 92 x 30 x 33 cmLiterature "George Grard" Provinciaal Museum Constant Permeke Jabbeke 1991, exhibition cat., cf. p. 66-67 reprod.
"George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Ed. Stichting Kunstboek 1995, cf. nr. 118b, p. 232 reprod. Provenance the artist's studio
Cavallo e Cavaliere (1954)243 € 55 000 - 70 000Tempera on paper - Sig. 1954 - 60,2 x 41,5 cm (day) - Verso "Cavallo e Cavaliere" - Brush drawing in India inkLiterature "M. Marini Complete Works" H. Read, P. Waldberg & G. Di San Lazzaro, Tudor publ, N.Y. 1970, cat. nr. 192, p. 428 reprod. Provenance private coll., Milan
"For me, to conceive of a form is to perceive a colour vision of colour, ardour of life, ardour of form. It's in colours I have looked for the point of departure for each idea which was to become a reality. Painting is to place oneself in the poetry of action; and action in coming about becomes true."
Although best known as a sculptor, Marino Marini has always continued to paint and draw. He wanted to create mythical images by reinterpreting classical themes in the light of contemporary ideas and theories. In his formal language he was inspired by archaic art such as Greek and Etruscan. The motif of the rider on horseback often returns in his works, as symbols of his own unique vocabulary that he uses to express reality.
Marini states that the complete history of man and nature in any era can be found in the figure of horse and rider. At the end of the 1940s, however, Marini's rider was increasingly unable to restrain his horse. The animal becomes more agitated as the style of the artist becomes more abstract. Figuration remains, but the energy emanating from his brushstroke reflects his recent encounter with abstract expressionism in New York, where he exhibits for the first time in 1950.
"Cavallo e cavaliere" (1954) expresses beautifully this formal and intrinsic evolution. The horse rears, the rider raising his arms to heaven in desperation. Only a few subtle scratches in the black tempera depict a black all-absorbing chaos. The scarlet hue near the heads of the figures, as if they caught fire, increases the panic. The blue, oppressive framework emphasizes the composition. The brushstroke's texture is rough and uneven, amplifying the painting's raw character.
Overall chaos and torment of the figures, the dark tonality and the vibrating composition: these are typical elements for Marini's oeuvre in this period. Fear and dismay play a dominant role. The struggle between horse and horseman symbolizes the human condition and expresses Marini's fear of moral decay. The Second World War devastation and the upcoming nuclear threat of the Cold War prevailed in the 1950s. Not only Marini but a whole generation of artists such as Alberto Giacometti struggle with this feeling and try to give it a place in art.
Orpheus (1960)279 € 110 000 - 140 000Sculpture - Bronze - Green black patina - On a plexi base - Sig. "O. Zadkine" - With inscription "Susse Fondeur Paris" - Ex. nr. 4/6 - 98,5 x 29 x 31 cmExhibition "Ossip Zadkine" Gal. Im Erker, St. Gallen, 10.06-29.07/1961, cf. nr. 16 reprod.
"Ossip Zadkine" Gemeentemuseum, Arnhem, 08.07-16.09/1962, cf. nr. 54
"Zadkine et les poètes" Librairie Fischbacher, Paris, 12/1962-01/1963, cf. nr. 1
"Ossip Zadkine" Casino, Knokke-Heist, 30.06-09.09/1963, cf. nr. 49
"Ossip Zadkine" Gal. am Dom, Karmelitenkloster, Frankfurt, 20.10-07.12/1963, cf. nr. 23 reprod.
"Ossip Zadkine" Kunsthaus, Zürich, 01.09-24.10/1965, cf. nr. 119
"Ossip Zadkine" Kunsthaus Lempertz, Köln, 02.04-14.05/1966, cf. nr. 68
"Ossip Zadkine" Palais de la Méditerranée, Nice, Saison 1966/1967, cf. nr. 14 reprod.
"Ossip Zadkine & Valentine Prax" Contemporary Sculpture Centre, Tokyo, Osaka, 01.09-15.10/1977, cf. nr. 12 reprod. Literature "30 ans d'art moderne" Gilles Néret, Fernand Nathan, Paris 1988, cf. p. 124
"Ossip Zadkine. L'Oeuvre sculpté" Sylvain Lecombre Éd. Paris-Musées 1994, cf. nr. 516, p. 579 reprod. Provenance auction Christie's, New York 9th of Nov. 2000, lot nr. 289
Twisted strings 40F X 279 (1965)288 € 40 000 - 60 000Cotton wires and white latex on canvas - Sig. on the reverse "'65 40F X 279" - 99,5 x 80,7 cmExhibition "Walter Leblanc" Miroir d'Encre, Brussels 1972
"Concert Muet" Miroir d'Encre, Brussels 1980
"Matières" Miroir d'Encre, Brussels 1981
"Walter Leblanc" Miroir d'Encre, Brussels 1981 Literature To be included in "Walter Leblanc. Addenda du catalogue raisonné" in preparation as number 668 bis Provenance coll. Miroir d'Encre, Brussels
Fish Sweetener (1966)303 € 20 000 - 30 000Oil on canvas - Sig. on the reverse Nov. 1966 with title - 153 x 122 cm - Label on the reverse André Simoens Gal., Knokke
Composition (1968)306 € 14 000 - 18 000Oil on canvas - Sig. '68 - 73,5 x 100 cm
C'est à prendre ou à laisser, c'est apprendre à l'essai (1973)346 € 14 000 - 18 000Logogram - India ink on paper - Sig. 1973 with title - 52 x 66,5 cmProvenance coll. Emiel De Hantsetters
Double face (1972)360 € 26 000 - 36 000Sculpture - Marbre blanc de Grèce - On a travertine base - 70 x 45 x 36 cmExhibition "Cardenas" Gal. de France et du Benelux, Brussels 1974, cat nr. 24 reprod. (reprod. of this copy) Provenance Gal. Veranneman, Brussels
Bedroom Collage (1974)389 € 20 000 - 28 000Liquitex and collage on canvas on board - Sig. and sig. on the reverse 1974 with title - 11,5 x 21,5 cm - Labels on the reverseLiterature "Tom Wesselmann" Slim Stealingworth, Abbeville Press, New York & Taschen, Köln 1980, cf. p. 285 reprod. Provenance Hokin Gal., Palm Beach
Taglialatella Gal., New York
Personnage (1976-1978)403 € 14 000 - 18 000Sculpture - Blue freestone - On a bluestone base - Monogram - 139 x 49 x 40 cm
Series of an Unknown Cosmos XL (1979)420 € 24 000 - 33 000Sculpture - Wood, paper, metal on panel - Sig. with pencil - 91 x 61 cm - Labels on the reverseExhibition "Nevelson. Wood Sculptures and Collages" Wildenstein & Co., New York 1980
"Land of the Free. Home of the Brave" Crane Kalman Gal., London 2000 Provenance Pace Gal., New York
Crane Kalman Gal., London
private coll., Paris
Pyramid #1 (1985)442 € 24 000 - 33 000Ink on paper - Sig. '85 - 46 x 55,5 cm (image) - 50 x 59,3 cm (sheet) - Label on the reverse John Weber Gal., New YorkProvenance private coll. New York, purchased at John Weber Gal.
Subway Drawing444 € 20 000 - 30 000White chalk on black paper from New York billboard - 116 x 152 cmProvenance private coll., New York
private coll., Los Angeles
Three ladies457 € 30 000 - 38 000Acrylic on rice paper - Signature stamp - 177 x 95 cm
Ode aan een bergrivier (Ode to a mountain river) (ca. 1985)459 € 24 000 - 33 000Sculpture - Bronze - Brown-grey patina - Sig. - Ex. nr. 2/3 - 61,5 x 54 x 23,5 cmLiterature "Rik Poot" Frans Boenders, Herman Vandormael & Harold Van de Perre, Mercatorfonds, 2004, cf. p. 126-127 reprod. of the monumental version (H. 3,20 m) from 1985 currently at the subway station Herrmann-Debroux in Brussels
"Paysages" III (1990)488 € 30 000 - 36 000Acrylic on canvas on wooden and metal frame - Sig. on the reverse 1990 with title - 94 x 243 x 9,5 cm
Thierry De Cordier
Le promeneur de jardin (L'Escargot) (1990)490Pencil and charcoal on paper - Sig. "RTTY/1990" - 29,5 x 20,5 cm - Artist label on the reverseExhibition "Thierry De Cordier. Tekeningen (1983-1999)" SMAK, Ghent 1999, exhib. cat., p. 46 reprod. Literature "Thierry De Cordier. De wijnjaren/Fugues (1982-2002)" Ed. Ludion, Ghent 2002, p. 100 reprod. Provenance Acquired directly from the artist by the current owner
« Ah, quel immense bonheur que celui de faire
des tours en rond dans mon jardin ; je n'y rencontre personne
et je passe d'excellents après-midi. »
(Th. De C.)
Thierry De Cordier
Souvenir de Flandre (1999)491Charcoal on paper - Sig. "Thierry De Cordier" '99 with title - 24 x 15 cm - Artist label on the reverseExhibition "Thierry De Cordier. Tekeningen (1983-1999)" SMAK, Ghent 1999, exhib. cat., p. 96 reprod. Provenance Acquired directly from the artist by the current owner
Dog with child and suckling pup (1995)505 € 16 000 - 20 000Sculpture - Bronze - Brown-green patina - Sig. '95 (2x) - Ex. nr. 3/8 - 83 x 70 x 39 cmProvenance Gal. Jos Depypere, Kuurne
Over the River (Project for Arkansas River, State of Colorado) (1997)526 € 22 000 - 30 000Pencil, enamel paint, wax crayon, topographic map, photograph by Wolfgang Volz and tape on card - Sig. 1997 with title and sig. on the reverse (C)Christo 1997 - 22,4 x 28,7 cm - In plexi box
Moule et frite (1999)539 € 12 000 - 16 000Oil on canvas - Monogram on the reverse '99 - 59,5 x 49,5 cm - UnframedLiterature "How to paint a horse. Walter Swennen", Koen Leemans & Luk Lambrecht, Strombeek-Mechelen 2008, exhibition cat. nr. 241 reprod.
"Walter Swennen, So Far So Good", Raphaël Pirenne & Dirk Snauwaert eds., Wiels, Brussels 2014, exhibition cat. nr. 334 reprod. Provenance Gal. des Beaux-Arts, Brussels