Gallery overview
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Berenice Abbott Barclay Street Station (1936)
Gelatin silver print - Sig. in pencil - Ex. nr. 56/60 - 38 x 49,5 cm -
Yaacov Agam Agam Bout à Bout - Agam End to End (1974)
Kunstalbum omvat 5 kleurzeefdrukken - Arches papier - Sig. (elk) - Ex. nr. 87/180 - 75 x 75 cm -
Ernest Albert Zittend naakt - Nu assis
Aquarel - Signatuurstempel - 35,2 x 24,5 cm -
Ernest Albert Zittend naakt - Nu assis
Aquarel - Signatuurstempel - 35,5 x 24,3 cm -
Pierre Alechinsky Le bleu des fonds (1968)
Sculptuur - Multiple - 23/100Literature "Pierre Alechinsky - Les estampes de 1946 à 1972"
Yves Rivière 1973, cf. nrs. 364 t/m 368
"Pierre Alechinsky. The complete books" door
Ceuleers & Van de Velde, 2002, cf. nr. 30 -
Pierre Alechinsky L'invention de la brouette (1974)
Acrylic 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. -
Fernand Allard L'Olivier Gemengd boeket in een vaas - Fleurs diverses dans
un vaseDoek - Sig. - 60 x 45 cm (ovaal) -
Oscar Emmanuel Angenot Two children (1892)
Oil on canvas - Sig. 1892 - 40 x 61 cm -
Anonymous 18th Century A watermill in a landscape
Oil on canvas - 64 x 85 cm -
Anonymous 19th Century Bathers at Rest
Oil on canvas - 49,5 x 59 cm -
Armand Apol Interior with Still Life (1927)
Oil on cardboard - Sig. 1927 - 90 x 103 cm -
Karel Appel Big Head
Plate - Serigraph on ceramic - Sig. in print - Ex. nr. 101/999 - With stamp "Reflex / Modern Art Gallary" - 33 cm diam. -
Karel Appel Face
Plate - Serigraph on ceramic - Sig. in print - Ex. nr. 103/999 - With stamp "Reflex / Modern Art Gallery" - 32,7 cm diam. -
Karel Appel Petit animal (1991)
Acrylic on paper on canvas - Sig. '91 - 66 x 100 cmProvenance Gal. Guy Pieters, Knokke -
Arman (Armand Fernandez) Invitation for voor 'Arman' at the Galerie Lawrence, Paris 1965
Lot of 2 sculptures - Inclusions - Metal and resin - With text "Arman / Galerie Lawrence / 11 mai 1965 / de 5 à 8" - 3 x 4,5 x 3,8 cm (each)Literature Included in the Archives Denyse Durand-Ruel as number 5964 and in the archives of "Official Arman Studio New York" as number APA#8400.65.006 -
Berthe Art Stilleven met vruchten - Nature morte aux fruits
Pastel op papier - Sig. - 58 x 99 cm -
Louis Artan de Saint-Martin Marine
Olieverf op paneel - Sig. - 22,2 x 45 cm -
Atila Devant l'écran rouge (1973)
Doek - Sig. '73 en verso sig. 1973 met titel - 162 x 103 cm - N.I.Provenance Gal. Veranneman, Brussel -
Atila Compositie (1968) - Composition (1969)
Lot van 2 aquarellen op papier - Sig. '68 - Sig. 1969 - 90 x 60 cm (elk) - Afzond. ingelijst - Verso etiket Gal. Veranneman, Brussel (1x)Provenance Gal. Veranneman, Brussel -
Karel Aubroeck Eva - Ève
Sculptuur - Hout - 61 x 20,5 x 17 cm -
Paul Baeteman Liggend naakt - Nu allongé
Sculptuur - Wit en zwart marmer - Sig. - 30,5 x 91 x 36 cm -
César Bailleux Geelgroene compositie Composition jaune et verte
(1993)Sculptuur - Ceramiek - Beschilderd - Sig. 1993 - Ex. nr. 4/8 - 42 x 26 x 21 cm -
Enrico Baj Fiore (1969)
Kleurets - Sig. met potlood - Ex. nr. 98/153 - 15,5 x 12 cm -
Enrico Baj L'ultimo dei generali (ca. 1969)
Bord - Ceramiek en collage - Verso sig. - Ex. nr. 931/3.000 - Diam. 30,5 cm -
Stephan Balkenhol Männlicher Torso (2011)
Sculpture - Bronze - Patinated and painted - On a resin base - Sig. "St. Balkenhol 2011 / -03-" at the bottom - 42,5 x 23,5 x 16 cm -
Stephan Balkenhol Stehender Mann
Sculpture - Wood - Painted - 163 x 33,5 x 24 cm (total) - (Figure H. 46 cm)Provenance Deweer Gal., Otegem, purchased by the previous owner in 2002 -
Arthur - Alex. Bante Baadsters - Baigneuses (1924)
Aquarel, pastel en houtskool op papier - Sig. '24 - 39 x 47 cm -
John Batho Paris, couleurs de fête (1978-80)
Lot of 5 colour lithographs - Sig. (each) and title on the reverse and stamp "Photo /John Batho" - With mention "Tirage Michel Fresson" - 31 x 40,5 cm (each) - Unframed -
Horst Becking Composition
Colour etching - Sig. in pencil and inscription 'Probe' - 217 x 122,5 cm -
Gabriel Belgeonne Belgeonne 6 (1990)
Kunstmap omvat 5 kleuraquatinten - Sig. met potlood (elk) - Ex. nr. 40/90 - 39,5 x 29,5cm (blad)Provenance coll. Jo Verbrugghen -
België De verpozende jager - Chasseur au repos
Doek - 55 x 44 cm -
Belgium Naval battle
Oil on canvas - 60 x 74 cm -
Hubert Bellis Stilleven met bloemen - Nature morte aux fleurs
Olieverf op doek - Sig. - 53,5 x 81 cm -
Paul Belmondo Naakt - Nu
Pen- en penseeltekening in inkt - Sig. - 25,5 x 19 cm -
Miguel Ortiz Berrocal Torso Benarrabà (Opus 61) (1962)
Sculpture - Folds open - Unique - Iron, forged and soldered - 2 elements and base - 159 x 92 x 32 cm (opened, with base) - 40 x 58 x 28 cm (closed)Exhibition "Berrocal. Exposition de sculptures" Gal. Kriegel, Paris 1962 Literature "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 would like to thank the Berrocal Foundation for their help when cataloging this work Provenance coll. Louis Bogaerts, Brussels ca. 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 its 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). -
Gaston Bertrand Étude pour Sainte Julienne III (1955)
Pen drawing in India ink on paper - Sig. juin '55 - 35,5 x 26 cm -
Gaston Bertrand Roma, Palais du Vatican (1953)
Watercolour on paper - Sig. "ROMA-XI-53" and title on the reverse - 27 x 37 cmLiterature "Gaston Bertrand. Catalogue raisonné de l'oeuvre peint" Caroline Bricmont & Serge Goyens de Heusch, Éd. Fondation Gaston Bertrand, Brussels 2001, nr. 601 reprod. -
Gaston Bertrand Religieuse noire I (1972)
Tempera and watercolour on paper - Sig. I.'72 and sig. on the reverse 1972 with title - 61 x 46 cmLiterature "Gaston Bertrand. Catalogue raisonné de l'oeuvre peint" Caroline Bricmont & Serge Goyens de Heusch, Éd. Fondation Gaston Bertrand, Brussels 2001, nr. 1263 reprod. -
Jean-Charles Blais Untitled (1985)
Gouache and collage on paper - Sig. "10 '85" - 75,5 x 118,5 cm -
Alfons Blomme Huizen in de duinen - Maison dans les dunes
Olieverf op doek op hardboard - Sig. - 58,5 x 63,5 cmProvenance coll. Gustave Van Geluwe, Brussel -
Anna Boch Pink Mediterranean Cliffs (ca. 1910-12)
Oil on canvas - Sig. - 48 x 73,5 cm -
André Bogaert Zuiders landschap - Paysage du sud
Olieverf op doek op board - Sig. - 26 x 50 cm -
Jules Boulez Bloemenvaas - Vase aux fleurs
Olieverf op doek - Sig. - 73 x 60 cm -
Dirk Braeckman Michel (1987)
Gelatin silver print - Bariet paper - Sig. 1987 - Unique - 100 x 100 cmProvenance Acquired directly from the artist by the current owner -
André Breton Gravures sur pomme de terre (ca. 1950)
Lot of 4 potato engravings - 6,5 x 9,2 cm - 6,5 x 7,3 cm - 6,4 x 6 cm - 5,8 x 5,8 cm - Framed togetherLiterature "Almenach surréaliste du demi-siècle" special edition of 'La NEF', nr. 63-64, p. 126 reprod.
"André Breton, Je vois, j'imagine" Octavio Paz & Jean-Michel Goutier, Ed. Gallimard, Paris 1991, nr. 32, p. 61 reprod. Provenance Auction André Breton, Calmels & Cohen, Paris 15 April 2003, lot 4133 -
Reno Brindisi Composition with figure
Drawing on aluminium - Sig. - 49 x 39 cm -
Cris Brodahl Swallow (2009)
Oil on canvas - Sig. and monogram - 46 x 36 cm - Labels on the reverse Gal. Xavier Hufkens, Brussels -
Marcel Broodthaers La Souris écrit rat (À compte d'auteur) (1974)
Relief print/typography in black and red (2nd series) - Sig. in blue ink "À compte d'auteur, M.B. '74" - Ex. nr. 79/150 - 76,3 x 56,5 cm - UnframedLiterature "Marcel Broodthaers. The Complete Prints and Books" Gal. Ronny Van de Velde, Knokke 2012, cf. nr. 21 reprod. -
Louis Buisseret Les voisines (1951)
Oil on hardboard - Sig. - 61 x 50 cmLiterature "Buisseret" Richard Dupierreux, Brussels 1956, nr. 54 reprod. -
Antonio Calderara Attrazione quadrata bichroma in quadrati bichromi (1965)
Oil on panel - Monogram 1965 and sig. on the reverse 1965 with title - 27 x 27 cm