Museum to Scale 1/7 - Portfolio I & Portfolio II (2013)Portfolio I x II - With 32 signed prints by Guillaume Bijl, Denmark, Karin Borghouts, Sergio De Beukelaer, Jan De Cock, Peter De Cupere, Peter De Meyer, Robert Devriendt, Nick Ervinck, Jan Fabre, Ann Veronica Janssens, Gideon Kiefer, Wesley Meuris, Ria Pacquée, Boy & Erik Stappaerts, Walter Swennen, Paul Van Hoeydonck, Etienne Van Doorslaer and Koen Vanmechelen. - Edition of 75 copies - 72 x 52 cm
Regret de buveur d'eau (1977)Acrylic on paper on canvas - Sig. and sig. on the reverse 1977 with title - 104 x 65 cm
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
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
ALECHINSKY - 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 its 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 Alechinskys 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 paintings 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.
"Linvention 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'Olivier1
Oscar Emmanuel Angenot1
Anoniem 19e eeuw1
Anonymous 17th-18th Century1
Anonymous 18th Century1
The wolf (X80-072) (1980)Oil on canvas - Sig. - 168 x 193 cmProvenance Gal. Guy Pieters, Knokke
Magical figure (NY #367) (1986)Oil on canvas - Sig. - 244,5 x 192 cm - Unframed - Exhibition label on the reverseExhibition "Karel Appel" Galerie Beyeler, Basel 1988, cat. nr. 36
Big HeadPlate - Serigraph on ceramic - Sig. in print - Ex. nr. 101/999 - With stamp "Reflex / Modern Art Gallary" - 33 cm diam.
FacePlate - Serigraph on ceramic - Sig. in print - Ex. nr. 103/999 - With stamp "Reflex / Modern Art Gallery" - 32,7 cm diam.
Composition (1959)Oil on canvas - Sig. 1959 and sig. on the reverse 1959 - 123 x 123 cmProvenance Estate of George B. Lester, owner of Gal. George Lester, Roma
Shannon's, Milford, USA, 15th of June 2017, lot 8
Composition (1960)Oil on canvas - Sig. 1960 and sig. on the reverse 1960 - 127 x 126,5 cm - Stamp on the reverse Gal. Bergamini, MilanoProvenance Gal. Bergamini, Milano
Estate of George B. Lester, owner of Gal. George Lester, Roma
Shannon's, Milford, USA, 15th of June 2017, lot 6
Louis Artan de Saint-Martin1
Devant l'écran rouge (1973)Canvas - Sig. '73 and sig. on the reverse 1973 with title - 162 x 103 cm - UnframedProvenance Gal. Veranneman, Brussels
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