Gallery overview
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Antoine Mortier Personnage biblique (I)
Olieverf op doek - Verso sig. 1980 met titel - 162 x 97 cm - Verso etiket tentoonstellingExhibition "Antoine Mortier ou la leçon de peinture" Centre d'art contemporain, Brussel 1988 "Hommage aan Karel Geirlandt" Museum van Hedendaagse Kunst, Gent 1989 "Antoine Mortier" Vera Van Laer Gal., La Réserve, Knokke 1990 -
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Rik Poot Ode aan een bergrivier (Ode to a mountain river) (ca. 1985)
Sculpture - 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 -
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Walasse Ting Three ladies
Acrylic on rice paper - Signature stamp - 177 x 95 cm -
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Gianni Dova Due insieme (1955)
Olieverf op doek - Sig. '55 en verso titel - 70 x 50 cm -
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George Grard La Mer - De Zee (ca. 1951-1954)
Sculptuur - Brons - Zwarte patina - Sig. - Ex. I/III (in een editie van 5 + III EA) - Met inschrift Gieterij Pakeshof Aalst - 45 x 185 x 100 cmLiterature "George Grard" door Eugénie De Keyser, 1983, p. 37, cf. 58-62 afb. "George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Uitg. Stichting Kunstboek 1995, cf. nr. 127 p. 107 kleurafb. -
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Théo Van Rysselberghe Fontaine aux statues à Mazargues - Grand panneau (ca. 1920-24)
Oil 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 to 24 (12 works of this series were exhibited there)
"Retrospectieve Théo Van Rysselberghe" MSK, Ghent 1962, cat. nr. 159 (here with title "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 has kindly provided for this work and it will be included in the catalogue raisonné Provenance coll. Léon Guinotte (1870-1950), industrialist, 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
Théo Van Rysselberghe - A touch of Côte dAzur in Mariemont
The south of Europe, in particular the Provence, had completely taken over Théo Van Rysselberghes 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, who also designed Théo's villa in Saint-Clair. The paintings were realized between 1920 and 1924. Van Rysselberghe, being a brother of two architects and friend of Henry Van de Velde, had a desire to create grandly arranged, harmonious ensembles for domestic interiors, such as the Villa Nocard in Neuilly. Other artists of his generation, such as Edouard Vuillard and Pierre Bonnard, also connected to this trend. According to them, the fundamental task of the artist lies in various aspects of life and their talent is not just limited to an easel.
In those years Van Rysselberghe abandoned the rigorous pointillism, his palette yet without losing its intensity. 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, Van Rysselberghes beloved moment to paint, 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, or as Emile Verhaeren states:
«Cet art plonge non point dance le rêve ou lextase mais dance une sorte de vie choisie qu'il montre sous ses aspects de santé et beauté. The bonheur frais y circule sans quon songe aux idylles des anciens poètes, ni au paradis classique. La donnée nen est en rien littéraire. Ce ne sont que de belles chairs, heureuses de se déployer, nues et claires, parmi les caresses de leau et du soleil. »
("This art plunges not dream dance or ecstasy but dance a kind of chosen life which it shows in its aspects of health and beauty. Fresh happiness circulates without one thinking of the idylls of ancient poets or of classical paradise. The subject is in no way literary. These are only beautiful skins, happy to unfold, naked and clear, among the caresses of water and sun. ")
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Paul Delvaux Murmures (1979/1982)
Druk op zijde - Sig. "S 5/8" en sig. in druk "Murmures / 5-7-'79 / P. Delvaux" - Op 8 exemplaren - 107,5 x 160 cm - In plexi box - Verso etiket tentoonstellingExhibition "Paul Delvaux" Salle du Quai Antoine 1er, Monaco 2001 -
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George Grard Torse dressé (1973-74)
Sculpture - Bronze - Brown patina - Sig. - With inscription "gieterij Pakeshof" - Ex. nr. 1/5 - 88 x 46 x 43 cmLiterature "George Grard" Provinciaal Museum Constant Permeke Jabbeke 1991, exhib. cat., cf. p. 84-85 reprod. "George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Ed. Stichting Kunstboek 1995, cf. nr. 201, p. 259 reprod. Provenance the artist's family -
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Roger Somville Simone au bouquet de fleurs (1963)
Canvas - Sig. - 60 x 73 cm -
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Rebecca Horn Ohne Titel (1984)
Sculpture - Object - Peacock feathers, gouache and white chalk - Sig. '84 with title H.C. 1 (aside from the 10 numbered) - 97,5 x 55 x 2,5 cm -
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José Vermeersch The Little Prince - Le petit prince (1973-1984)
Sculpture - Bronze - Brown patina - Ex. nr. 5/8 - 69 x 67 cmLiterature "José Vermeersch" Marcel Duchateau, Tielt 1978, cf. p. 57 reprod. of the ceramic sculpture -
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Georges Collignon Éclaircie (1963)
Canvas - Sig. and sig. on the reverse 1963 with title - 80 x 100 cmLiterature "Georges Collignon - Abstracte schilderijen 1946-1966" F. Bonneure, Lannoo, Tielt 1990, p. 118 colour reprod. -
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Master of the Prodigal Son The Adoration of the Shepherds
Oil on panel - 109 x 78 cmLiterature "L'Atelier du Maître du Fils Prodigue" Georges Marlier, Jaarboek KMSK Antwerpen 1961, p. 109 nr. 10 (mention of this work) Provenance Auction Van Herck, Antwerp 15 March 1954, auction nr. 77 cat. nr. 24 reprod. (mentioned as identified by Max Friedländer as a work of this Master) -
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George Minne L'homme à l'outre - The man with the water bag (1897)
Sculpture - 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) -
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Adriaan Jozef Heymans The shepherdess (ca. 1885)
Oil on canvas - Sig. - 96 x 190 cm - Label on the reverse Gal. Artes, Antwerp -
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Constantin Meunier L'enfant prodigue ou le fils prodigue (The prodigal son) (1895)
Sculpture - Bronze - Dark brown patina - On a green marble base - Sig. - With inscription "Atelier/59 rue l'abbaye" - 44 x 41 x 20,5 cmExhibition "Exposition de l'oeuvre de Constantin Meunier" KUL, Leuven 1909, cf. nr. 14 "Constantin Meunier" Chicago 1913-14, cf. nr. 11 "Ausstellung Alter und Neuer Belgischer Kunst" Kunstmuseum und Kunsthalle, Bern 1926, cf. nr. 158 "Exposition Constantin Meunier" Gal. Breckpot, Brussels 1927, cf. nr. 3 Literature "Hommage à Constantin Meunier" Sura Levine & Françoise Urban, Gal. Maurice Tzwern, Brussels 1998 Ed. Pandora 1998, cf. cat. nr. 19 reprod. "Constantin Meunier. Sa vie, son oeuvre" Micheline Jerome-Schotsmans, Olivier Bertrand Éditions, 2012, cf. nr. 112 reprod. -
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Luc Peire Altea (1980)
Oil on canvas - Sig. on the reverse - 162 x 130 cm - Signed artist label on the reverse with iden. nr. 1519Exhibition "Luc Peire" Gal. de arte Lucas, Gandía 1980 "Luc Peire" Gal. Lucas, Valencia 1981, nr. 36 Literature "De ateliers van Luc Peire" Jenny Peire-Verbruggen & Marc Peire, Ludion, Ghent/Amsterdam, april 2001, p. 81 "Luc Peire. Catalogue Raisonné of the Oil Paintings" Marc Peire & Els Soetaert, in collaboration with Jaak Fontier, Stichting/Fondation Jenny & Luc Peire, Knokke-Heist and Lannoo, Tielt 2005, nr. 1282 reprod. -
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Pierre Alechinsky Les yeux ouverts (1971)
Watercolour on Japon (laid down on canvas) - Sig. 1971 "VIII" - 96,5 x 66 cmProvenance Gal. Stéphane Janssen, Brussels -
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Walter Swennen Rideau (1990)
Gouache on paper - Monogram '90 - 45,5 x 36,5 cmProvenance Gal. Marie-Puck Broodthaers, Brussels -
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Léon Spilliaert Lady on a sofa (1907) - Verso: Ostend, the city and the quays in springtime (1922)
Brush drawing in India ink, watercolour and colour pencil - Sig. and sig. on the reverse 1922 - 61,2 x 64,5 cm - Exhibition labels on the reverseExhibition "Léon Spilliaert" Musée des Beaux-Arts, Mons 2001, cat. nr. 3
"Léon Spilliaert - Un esprit libre" KMSK, Brussels 2006-07, cat. nr. 49 reprod.
"Ontmoetingen met Spilliaert" Het Spilliaert Huis, Ostend 2016, cat. nr. 8 Literature "Léon Spilliaert - Onbekende werken" Imelda Art Gallery, Casino, Knokke-Heist 2000, cat. nr. 20, p. 40-53-136 reprod.
"Spilliaert. De bezielde blik" Anne Adriaens-Pannier, Ludion 2006, cat. nr. 372 reprod.
The work will be included in the catalogue raisonné in preparation by Dr. Anne Adriaens-Pannier -
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Anto-Carte Le port de Veere (1928)
Canvas - Sig. 1928 and sig. on the reverse 1928 - 140 x 150 cm - Label remains on the reversee -
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George Minne Bust of a man (ca. 1910)
Sculpture - Plaster - Brown-grey patina - 46 x 62 x 35 cmLiterature "George Minne en de kunst rond 1900" M.S.K., Ghent 1982, exhibition cat., cf. nr. 155 (similar copy) "George Minne" Leo van Puyvelde, Collection Les Contemporains, Brussels 1930, cf. Pl. 51 (reproduction of another copy) -
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Frits Van den Berghe Flowers (ca. 1914)
Canvas - Sig. - 75 x 64,1 cmProvenance coll. Anton Johan Van Vessem, friend of the flemish poet René De Clerq, acquired ca. 1916 -
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Bram Bogart Composition (ca. 1953-54)
Matter painting on canvas - Sig. - 61 x 40 cmProvenance Redfern Gal., London -
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Thierry De Cordier Le promeneur de jardin (L'Escargot) (1990)
Pencil 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 ny rencontre personne
et je passe dexcellents après-midi. »
(Th. De C.) -
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Imi Knoebel Sunday Ed. (2003)
Acrylic on plastic - Sig. on the reverse 2003 with title - Ex. nr. 5/5 - 51 x 76,2 cmProvenance private coll. Düsseldorf -
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Dario Perez-Flores Prochromatique B-121 (1988)
Sculpture - Acrylic on canvas on panel and metal - Sig. on the reverse Paris 1988 with title - 72,5 x 72 x 10 cm
