Ma Doudou (1974)Sculpture - Bronze - Brown patina - Sig. 1974 - With inscription title and inscription "Susse Fondeur Paris" - 230 x 110 x 85 cmExhibition Gal. Artel, Genève 1975
"Roel D'Haese" KMSK, Antwerp 1976
"Roel D'Haese" Gal. Claude Bernard, Paris, 1976, ill. on cover and ill.
"Roel D'Haese" PvSK, Brussels 1978
"Roel D'Haese. Sculptures et Dessins" Gal. Claude Bernard, Paris 1987, cat. nr. 18, ill. on cover and ill. nrs. 18a, 18b, 18c and 18d
"Hommage aan Permeke en Roel D'Haese" Veranneman Foundation, Kruishoutem 1996
"Roel D'Haese - Marcel Pouget" Espace Paul Rebeyrolle, Eymoutiers 2004 Literature "Roel D'Haese. Sculpturen-Sculptures" Catalogue Raisonné, Various authors, Lannoo, Tielt 2007, p. 128-129 & 132 ill. Provenance coll. Arthur Vandekerckhove, Gages
Ma doudou turns her head in a recurring movement. Her body seems to doubt and have a will of its own, moving in the opposite direction, while her feet seem to be utterly lost. Her heavy body wobbles on skinny legs dancing on her feet, the soles of which barely touch the ground. The hopelessly short arms rhythmically go up. It is a miracle how she manages to keep her fragile balance despite gravity.
Ma Doudou's soft features, with eyes closed and relaxed lips, radiates warm tenderness. It is the Creole name for "my sweetheart" or "my nanny". She is a caring person, who is at the same time vulnerable but also protective. In fact, her assembled body and exceptional size are repulsive and menacing. Ma Doudou wears an armor of rough modeling, sharp protrusions and indefinable body parts that protect her inherent softness.
Roel D'Haese creates erratic creatures. He makes a jumble of human body parts, some touchingly underdeveloped, others dramatically enlarged, together forming an anatomically absurd body. Its human qualities are unmistakable, but it requires imagination and effort to look beyond the monstrous and find empathy. D'haese leaves his sculptures to the accidental, the unexpected, the fantastic and the grotesque. They dance through fantasy, dream and nightmare.
Composition N°31 (1972)Oil on hardboard on panel - Sig. on the reverse '72 with title - 100 x 122 cm
Two seated women (1982)Lot of 2 sculptures - Ceramic - Partially painted - On a plexi base (each) - Signature stamp 1982 (each) - H. 116 cm and H. 107 cmExhibition "José Vermeersch Retrospectieve" PMMK, Ostend 23.09.2001-13.01.2002, exhibition cat., p. 146 ill. Literature "José Vermeersch" Ed. Elsevier, Brussels-Amsterdam 1985, nr. 56 ill.
"José Vermeersch. Schilderijen, beelden, tekeningen" Rik Sauwen and Willy Van den Bussche, Openbaar Kunstbezit in Flanders, Sint-Niklaas 2001, p. 279 ill.
"Retrospectieve José Vermeersch" Willy Vanden Bussche, PMMK, Ostend 23.09.2001-13.01.2002 exhibition cat., p. 146 ill.
La colonne de Mercure (The column of Mercury) (1923)Oil on canvas on hardboard - Sig. and sig. on the reverse 1923 with title - 76,5 x 32,5 cmExhibition "Tentoonstelling van werken van de Belgische schilders Maurits Cantens en Jean-Jacques Gailliard" Beneluxhuis, Den Haag 1958
"Jean-Jacques Gailliard. Oeuvres de 1920 à 1930. Passé simple et Futur antérieur" Au cheval de verre, Brussels 1958, cat. nr. 7
"Jean-Jacques Gailliard. Mon langage, c'est la joie" Stadhuis van Sint-Gillis, Brussels 1961, cat. nr. 8
"Jean-Jacques Gailliard. En l'honneur d'un des grands maîtres surimpressionnistes de la peinture belge" Gal. van de XXste eeuw, Antwerp 1972
"Le plastique pure belge autour de Pierre-Louis Flouquet" Gal. Armorial, Brussels 1977
"Jean-Jacques Gailliard. Les jeux de l'abstrait entre 1920 et 1930" Gal. Armorial, Brussels 1979, cat. nr. 10
"Jean-Jacques Gailliard (1890-1976)" KMSK, Brussels 1989, cat. nr. 20, ill. on the cover & p. 36, 43 Literature "Jean-Jacques Gailliard. Les jeux de l'abstrait 1920-1930" Xavier Canonne, Antwerp 2017, Cahier N°1 "De l'abstrait", p. 19 ill. of the drawing mentioning the painting
The pink lane (ca. 1912)Watercolour on paper - 31,3 x 38 cmLiterature The authenticity was confirmed to us by Mr. Olivier Bertrand and the work will be included in the catalogue raisonné
Gustave De Smet
Trees along a country road (1911)Oil on canvas - Sig. - 65,5 x 50,5 cmLiterature "Sint-Martens-Latem" Paul Haesaerts, Brussels 1965, nr. 141 ill.
"Gust. De Smet. Kroniek, Kunsthistorische analyse" Piet Boyens, Antwerp 1989, nr. 166, p. 316 ill.
Fieldwork (ca. 1913)Pastel and mixed media on paper - Sig. - 50 x 67 cmLiterature To be included in the catalogue raisonné in preparation by Mrs. Anne Adriaens-Pannier
Sole caduto - A Galileo (1997)Sculptuur - Carrara-marmer - Met inschrift "Galileo, '97" - 280 x 500 x 450 cmLiterature "Veranneman. Visie en passie" Uitgeverij Lannoo,
Tielt 2002, p. 306-307 afb.
Opgenomen in het Archivio Gio Pomodoro Provenance Stichting Veranneman, Kruishoutem
Running fence - Project for Sonoma County and Marin County, State of California (in 3 parts) (1975)Mixed media on paper with pencil, charcoal, color pencil, fabric and printed material - Sig. 1975 with text - 56,5 x 71,8 cm (1x) - 28,9 x 42,8 cm (2x) - 57,8 x 114,9 cm (total)
Een Griekse Overwinning (A Greek victory) (1981)Installation - Polyester and acrylic, tomato - 1 of 2 copies - 14,5 x 33 x 18 cm
Abstract composition (1956/59)Mixed media on panel - Sig. - 72,5 x 54 cmExhibition "Walter Leblanc" FS Gallery, Leuven 1982
"Kunst en Antiek" Jordaens, Mortsel 2011 OFFA, BRAFA 12, Brussels 2012 Literature "Walter Leblanc. Addendum to the catalogue raisonné: II" Géraldine Chafik, Nicole Leblanc e.a., Ed. Ludion 2019, cat. nr. 62bis, p. 41 and 64 ill.
Ballerini (1995)Sculpture - Relief - Bronze - Dark brown patina - Sig. "Botero" - With foundry stamp "Fonderia F.lli Da Prato Pietrasanta" - Ex. nr. 6/6 - 58 x 45 x 11,5 cmLiterature "Selling Botero" Felipe Grimberg, Silvana Ed., Milano 2015, cf. p. 266-267 ill. (shown there in mirror image) Provenance Gal. Raphaël Imbert, Paris
L'antre d'apelle, Bruxelles (2002)Sculpture - in 2 parts - Plâtre amorphe on canvas and wooden bar - Sig. on the reverse 2002 with title (2x) - 186 x 186 x 7 cm (canvas) - 184 x 21,5 x 7 cm (bar)
Disjoncteur bleu II (Blue circuit breaker II)(1972)Acrylic and assemblage on canvas - Sig. on the reverse 1972 with title - 100 x 73 cm
Untitled (1999)Acrylic on canvas - Sig. on the reverse 1999 - 173,5 x 223,5 cm - Unframed - Label on the reverse Paula Cooper Gallery, New York
Compositie - Composition (1946-47)Olieverf op doek - Verso sig. 1946-47 met titel - 194 x 130,5 cm
Berlinde De Bruyckere
Kooi (Cage) (1990)Sculpture - Wood and galvanized steel - 374 x 138 x 40 cmLiterature "Berlinde De Bruyckere" Angela Mengoni e.a., Mercatorfonds, Brussels 2014, fold-out II, nr. 16 reprod.
CCP - 11th Generation - Mechelse Cubalaya (276) (M) (2008)Installation - 1 stuffed rooster, 1 index card and 2 portraits - On metal table - 56 x 20,5 x 34 cm (chicken) - 26 x 21 cm (index card) - 30 x 30 cm (photo 2x) - 125 cm (height table)Exhibition "Tussen Taal & Beeld / Verzamelde Verhalen #4" Kunstenfestival Watou, Watou 2012
"Koen Vanmechelen - Ten Generations" Deweer Gallery, Otegem 2007
"Koen Vanmechelen - The Chicken's Appeal" Museum Het Valkhof, Nijmegen 2008
"Against Exclusion - 3rd Moscow Biennale", CCC - The Garage, Moscow 2009 Literature "Superstories, 2nd Triennal of Contemporary Art, Fashion and Design" Stichting Kunstboek 2009, p. 226
Forever (2008)Remains of chickens in 3 glass urns - On iron table - 63 x 23 x 20 cm (each urn) - 75,5 x 120 x 60 cm (table)
Untitled (ca. 2003)Mirror in cut out plexi - 111 x 188 cmProvenance Gal. Rodolphe Janssen, Brussels
Painting in three parts (1990)Acrylic on canvas - Triptych - Sig. on the reverse 1990 - 234 x 234 cm (tot.)Provenance Gal. S65, Aalst (purchased by the current owner)
THE EXPRESSIVENESS OF GRAY
"Alan Charlton is an artist who makes a gray painting" - is the self-proclaimed adage of the artist. In the 1970s, Charlton decided to create monochromatic paintings using only shades of gray and canvasses whose dimensions have a scale factor of 4.5 cm, the thickness of the stretcher. He chose gray because for him it was the embodiment of everyday life, but he soon realized the potential and expressiveness of this color. While working within these strict frameworks, Charlton explored a wide variety of formal possibilities and combinations with his limited materials. He tends to work in series and methodically through iterations of an idea. "I want my paintings to be: abstract, direct, urban, simple, modest, pure, quiet, honest, absolute," Charlton says of his work.
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.
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).
Composition (1953)Gouache - Sig. '53 - 51 x 66 cmProvenance acquired directly from the artist
Still life (1944)Gouache - Sig. 17 XI 44 - 45 x 63 cm (day)Literature To be included in the supplement of the catologue raisonné by Mrs. Manuela de Kerchove d'Ousselghem
Léon De Smet
Still life with flowers (1910)Oil on canvas - 67 x 55 cm - Label on the reverseExhibition "75 jarig bestaan van de Galerij Campo" Antwerp, 20.10-05.11.1972, nr. 122 ill. Literature "Léon De Smet" Piet Boyens & Hans Bosschaert, Lannoo 1994, p. 74 ill.