Contemporary, Modern Art and Old Masters
Auction 175 - 7 March 2020
Gilles et Sauvage (1891)56 € 550 000 - 700 000Oil and pencil on panel - Sig. "Ensor" and sig. on the reverse with title "Gilles et Sauvage / H12 L16 / James Ensor / 27 rue de Flandre ostende" - 12 x 16 cm - Wax stamp Galerie Georges Giroux and exhibition labels on the reverseExhibition "Hommage à Ensor" Gal. Georges Giroux, Brussels 1945, nr. 67
"Kunst van Heden" Stedelijke Feestzaal, Antwerp 1950, nr. 80
"Retrospectieve James Ensor" KMSK, Antwerp 1951, nr. 111 (dated there 1893)
"Ensor" KMSK, Brussels 1999-2000, nr. 103 reprod. Literature "James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen" Xavier Tricot, Mercatorfonds, Brussels 2009, nr. 338 reprod.
"Gilles en Sauvage, een raadselachtig schilderij uit 1891" Xavier Tricot, webpublication on www.vlaamsekunstcollectie.be Provenance coll. G. Beun, Brussels
Gal. Georges Giroux, Brussels 29.11.1952, nr. 66
GILLES ET SAUVAGE, 1891
No matter how extensive and varied Ensor's oeuvre is, art historians and critics agree that his creativity reaches a climax in the period between around 1885 and 1895. The young Ensor comes at a turning point in the 1880s, when he abandons his academic course and explores the opulence of his own fantasy in an unseen, completely original and controversial style. Masks, grotesques, skeletons, carnivalesque and historical figures make their appearance. Pictorial renewal breaks through with a clear palette, contrasting colors and fascination for light. A second turning point occurs around 1895, when the artist's originality seems to become somewhat eroded. He repeats and copies subjects, compositions and characters. From this moment on, Ensor becomes an internationally renowned artist gaining more and more recognition.
In the middle of this period of unbridled originality, Ensor conceives "Gilles et Sauvage" (1891), an oil painting on panel. A true jewel it is, the colors bright and dancing in almost casual brushstrokes, the skillful rendering of light. The paint still being wet, Ensor molded with his pencil the Bruegelian characters. Line by line they come to life, their dialogue animated by vivid gestures.
Ensor's genius doesn't require an extensive surface. Around the same date, he made various iconic works of limited size, showing his preference for historical, legendary and fantastic subjects such as "Portrait of Emile Verhaeren" (Royal Library, Brussels), "The Man of Sorrows" (Royal Museum of Fine Arts, Antwerp), "Skeletons Fighting over a Pickled Herring" (Royal Museum of Fine Arts, Brussels) and "The Auto-da-fe" (or "Philip II in Hell") (private collection). One could even say the modest size highlights the mysterious character of these works.
The question about the identity of Gilles and Sauvage remains. Xavier Tricot, author of the oeuvre catalog, offers three hypotheses. Could they be the French chroniclers Nicole Gilles (142? -1503) and Denis Sauvage (1520? -1587)? Or does Ensor depict Pieter Gillis (Antwerp, 1486-1553), humanist and a friend of Erasmus and Thomas More, and Jean Le Sauvage, who was friend of Quinten Matsijs and played a minor role in More's "Utopia"? Finally, Tricot states the figures could refer to popular characters from late medieval folk theater, similar to Pieter Bruegel the Elder's depiction of Valentine and Ourson (the savage'), Bruegel being an inspiration for several paintings by Ensor.
"Gilles et Sauvage" remains a mystery. Are the characters drawn from reality or folklore, or do they represent psychological or social personifications? Who are the other two beings? Like his imagination, Ensor's literary, scientific and historical sources were inexhaustible. The playful painter deprives the viewer of an unambiguous understanding, but instead he offers us the pleasure of the enigma to be unraveled.
Magnetic fields (1979)450 € 55 000 - 65 000Installation - Table, capacitors, metal core, 4 flat coils, metal honeycomb motif - Sig. - 149 x 76 x 77 cmExhibition "La collection du Musée d'Art Contemporain de Gand. L'Arte Povera, l'art conceptuel et les mythologies individuelles en Europe" Musée d'Art Contemporain, Montréal 1983
"De verzameling van het MHK, Gent" RMS, Balen 1984 "Le plein vert" Cayeux-sur-Mer 1984
"Panamarenko. Arbeiten 1966-1985" Städtisches Bodensee Museum, Friedrichshafen 1985, nr. 25
"Panamarenko. Een overzicht 1965-1985" M HKA, Antwerp 1989, nr. 33
"Panamarenko" Tokyo, Osaka, Fukuyama, Kamakura 1992-93, nr. 28
"Panamarenko, de retrospectieve" KMSKB, Brussels 2006, exhibition cat., nr. 32 reprod.
"Panamarenko Universum" M HKA, Antwerp 2014-15, exhibition cat., p. 122 reprod. Literature "Panamarenko. A Book by Hans Theys" Published by Frank Van Haecke & Isy Brachot 1992, nr. 79 reprod.
"Panamarenko" Jon Thompson, Ludion 2001
You want to make a submarine? Make yourself a submarine, but don't turn it into a little artsy submarine. In the end, it may well be that it won't function at all, but that isn't the point. The thing is that you respect the nature of such a machine. It isn't a sculpture-submarine, it isn't an oil-on-canvas-submarine. Because you made it, you who are crazy about submarines, that submarine carries in it The Submarine, just like those other things carry in them The Plane."
Panamarenko will be engraved forever in our collective memory as the eccentric artist-inventor-explorer who wants to rise up in the air. His universe is made of hard science, a large dose of imagination and infectious enthusiasm. He develops devices with all sorts of flying options. The suggestion of possibility is of vital importance, but the question of whether the devices actually work or not is irrelevant. Panamarenko's inventions' are adventures: the process of exploration and experimentation is more important than the final result.
During this process, Panamarenko makes studies, sketches, models, prototypes, etc. that are often physically part of a bigger project. Because of that particular connection, he creates a narrative with his own terminology and iconography. This way he organizes his oeuvre, and simultaneously consolidates the credibility of his slightly dubious creations to the skeptical, practical viewer.
Two important parts of two of Panamarenko's iconic projects are included in this auction. "Magnetic fields" (1979, lot 450) is part of the overall project Journey to the stars'. "Pastille Motor nr 5" (1987, lot 509) came about in his research for the driving mechanism of the backpack planes' he developed on the Furka Pass at the end of the 1980s. These objects are crafted with primitive materials, but nevertheless their implementation is based on scientific research. They carry with them the hope of achieving the impossible, which makes them extraordinarily poetic.
MAGNETIC FIELDS (1979)
Real space travel stands or falls with rocket technology, because that is the only principle that works in space. In my opinion, in order to boost up space travel again, we must look into the already existing interplanetary forces of the universe. One of these forces in particular seems extremely interesting to me: the magnetic fields."
In preparation for the construction of a large interstellar magnetic spaceship, Panamarenko started his search in the mid-1970s for energy sources that were powerful enough to get a flying saucer out of the atmosphere and beyond the reach of gravity. An experiment from 1979 that he calls "Magnetic Fields" shows that an electromagnetic drive offers the greatest chance of success. In 1979 he built a first test set-up on a wooden table with capacitors and copper coils. To get to know the functioning of magnetic fields and other interplanetary forces, he delves deeper into ufology and electromagnetism, which ultimately results in the project Journey to the stars'. It's the name for a variety of flying and floating dishes he designs. He gradually develops space theories and bundles them as Toymodel of Space. ("Panamarenko Universum" M HKA, Antwerp 2014-15, exhibition catalogue p. 122)?
Bonjour Ostende (1926-27)163 € 250 000 - 350 000Oil on canvas - Sig. '26-'27 and sig. on the reverse "Bonjour Ostende / Toilettes claires / Rimes légères / Floris Jespers" - 146 x 155 cmExhibition "Oeuvres nouvelles. Salon de clôture" Gal. Le Centaure, Brussels 1927, cat. nr. 56
"Salon Kunst van Heden" Stadsfeestzaal, Antwerp 1928, cat. nr. 183
"Salon Kunst van Heden" Stadsfeestzaal, Antwerp 1936, cat. nr. 28
"Art Déco Belgique 1920-40" Museum van Elsene 1988; Musée d'art moderne, Villeneuve d'Ascq 1989, p. 63 / p. 10 reprod.
"Retrospectieve tentoonstelling Floris Jespers" KMSK, Antwerp; Singer Museum, Laren 1990, cat. nr. 55, p. 123 reprod.
"Floris & Oscar Jespers. De moderne jaren" Hessenhuis, Antwerp 1996, cat. nr. 115, p. 157 reprod.
"Frits Van den Berghe" PMMK, Ostend 1999-2000 n161
"Retrospectieve Floris Jespers" PMMK, Ostend 2004-05, cat. nr. 34, p. 80 reprod.
"Beaufort" Mu.Zee, Ostend 2009
"Bonjour Ostende. Ostende dans l'art international" Venetiaanse Gaanderijen, Ostend 2013, p. 173 reprod. & reprod. on the cover Literature "Le Centaure, Chronique artistique" nr. 9, 1927, p. 167 reprod.
"Gand Artistique, art et esthétique" nr. 6, 1927, p. 113 reprod.
"Sélection" nr. 10, 1927, p. 777 reprod.
"Variétés" nr. 2, 1928, p. 80 reprod.
"Tribord" nr. 8 (special edidition Ostend), 1931, p. 12 reprod.
"Floris Jespers" Gaston Burssens, Antwerp 1943, reprod. 17
"Floris Jespers" André De Ridder, in: Vlaamse Kunst, I, Antwerp 1952, p. 284
"Antwerp The New Spring" Jean F. Buyck, Ortelius Series, Antwerp 1991, p. 282 reprod.
"Le mouvement Sélection" Inge Henneman, in: L'Art Moderne en Belgique 1900-45, Antwerp 1992, cat. 226, p. 181 & 184 reprod.
"Paul-Gustave Van Hecke" Michel Draguet e.a., Brussels 2012, p. 39 reprod. Provenance coll. Paul-Gustave Van Hecke, Brussels
auction Gal. Le Prisme, 08.05.1933, nr. 77 reprod.
coll. M. Van Extergem, Brussels
Ostend, Queen of Belgian seaside resorts! In the roaring twenties, the city was stage to a flamboyant social life. Bourgeoisie from all over the country came here to see, but especially to be seen. The hometown of James Ensor also developed into an artistic magnet attracting writers, artists and art dealers, such as the German painter Heinrich Campendonck, the filmmaker Henri Storck and the entourage of the Brussels gallery Le Centaure, the Casino being its epicenter. It was like The Great Gatsby on our Belgian coast.
During the summer of 1926 Floris Jespers also resided in Ostend. Beach life fascinated him, with its sunbathers, players and voyeurs, but he also noticed the unravelling of intrigues on the seawall. His painting Bonjour Ostende, in a strikingly large format, has masterfully succeeded in capturing the vibrating atmosphere of the roaring twenties. In 2013 it even lends its title to Xavier Tricot's exhibition, which highlights the role of Ostend in art history.
Jespers' Centaure period (1926-30) is without a doubt the apogee in his career. While his early style was strongly influenced by fauvism (as in Ruban véronèse (1916), also in auction), now enters the formal freedoms of cubism and surrealism : flowering patterns, stylized shapes, cheerful colors underlining the nimbleness. In "Bonjour Ostende" Jespers pushes his abstraction to its limits. Small details are scattered over the composition, like hints to be deciphered in order to reveal the key to the story. The painting is a surreal rebus.
A young couple, a gentleman and a woman, are taking a stroll on the sea dike. The characters are split in two, thus suggesting a story, like a mime game, of which the true facts remain veiled. However, hand gestures and glances speak volumes. The woman seems to turn around, which is difficult because of the tight skirt. One hand is waving off a distant ship. The other is showing a pearl necklace, trite symbol of love bought'. There is also the sinister palm on the right showing a heart pierced with an arrow. The gentleman next to her is a paragon of elegance and domestic life, with his straw hat, stick and pipe. But he also wears a naval officer's insignia, indicating he travels the wide world, far away from his wife. His two heads are looking Janus-like in opposite directions. These two represent a decent bourgeois couple but where does their heart lie? With a touch of satire, Jespers stages the theater of the mundane world.
The Gates (Project for Central Park, New York City) (2004)552 € 40 000 - 60 000Pencil, gouache, charcoal, wax crayon, pastel, oil, printed topographic map, fabric collage and photograph on card - Sig. 2004 with title and on the reverse (C) Christo 2004 - 44 x 56,5 cm - In plexi boxProvenance Gal. Guy Pieters, Knokke
THE GATES (PROJECT FOR CENTRAL PARK, NEW YORK CITY) (2004)
The first ideas for the "The Gates" originated in 1979, but the project was not realized until 2005. It took more than 25 years to implement this project, which in the end could only be visited for 16 days. 7500 gates and 1 million meters of saffron-colored nylon spread over 37 kilometers colored Central Park. Christo described it as a golden river appearing and disappearing through the branches of the trees. East and West met in The Gates, because on the one hand the gates were inspired by Japanese torii (traditional gates at the entrance of Shinto shrines) and on the other hand the large rectangular shapes reflected the rigid grid pattern of the city blocks that surrounded Central Park. This work was one of the preliminary studies that Christo and his wife Jeanne-Claude made during the preparations for the project. They were 'lobbying' tools with which the couple wanted to visualize and finance their idea. At the same time, they also considered these studies as finished works. They were creations that embodied their craftsmanship and imagination. This work is therefore a unique reminder of the temporary, ephemeral but also monumental performance in Central Park.
"The Gates" was one of the last projects of the couple. The duo worked together for more than 3 decades orchestrating their large-scale projects. Their democratic vision on art rather referred to the outside of museum walls. The projects they realized were mostly in open air and through their collaboration with hundreds of workers, their creations undermined the idea of the lonely artistic genius. Other examples of this philosophy were the wrapping of the Pont Neuf in Paris and the wrapping of the Reichstag in Berlin.
Attitude - Pose (1908-09)89 € 60 000 - 80 000Sculpture - Bronze - Brown patina - Sig. - 91 x 53 x 52 cmExhibition "Vème Salon des Indépendants" Brussels 1908 (copy in plaster)
"18ème Salon" La Libre Esthétique, Brussels 1911, cf. nr. 258
"Catalogue of an Exhibition of Works by Modern Belgian Artists" The Royal Academy of Arts, London 1915
"7 Belgische schilders" Stedelijk Museum, Amsterdam 1916
"Exposition de l'art belge ancien et moderne" Musée des Beaux-Arts & Kunsthalle, Bern 1926
"Honderdjarige tentoonstelling van de Belgische Kunst" PvSK, Brussels 1930 "Rik Wouters" PvSK, Brussels 1935
"Rik Wouters, 1882-1916" Museum Boymans, Rotterdam and Gemeentemuseum, the Hague 1946
"Rik Wouters. Beeldhouwwerken en schetsen" MSK, Ghent 1947
"XXVIIIe Biënnale van Venetië" Venice 1956
"Rik Wouters" Musée National d'Art Moderne, Paris 1957 Literature "Rik Wouters" Roger Avermaete, Uitgeverij Arcade, Brussels 1962, p. 213 (mention of this copy, among others)
"Rik Wouters" catalog retrospective PMMK Ostend & Museum Van Bommel Van Dam, Venlo 1994-1995, Pandora 1994, cf. nr. 6-1 reprod.
"Rik Wouters. Visies op een levensloop" Olivier Bertrand, Brussels 2000, cf. p. 179 reprod.
"Rik Wouters. Bronnen en werken" PvSK, Brussels 2002, exhibition cat., nr. 45 (reprod. of this copy)
"Rik Wouters. Retrospectieve" Koninklijke Musea voor Schone Kunsten van België, Somogy Éditions d'Art, Paris 2017, cf. nr. 174, p. 226 reprod.
This copy will be included and represented in the forthcoming catalogue raisonné of the sculptures by Rik Wouters by Mr. Olivier Bertrand. Provenance acquired directly from Nel Wouters, widow of the artist, by the father of the present owner
IN SEARCH OF LIGHT AND VOLUME
In 1908 Rik Wouters models his first dressed' female sculpture and calls it "Attitude", his beloved wife Nel being his muse again. It is one of his impressionist sculptures revealing the artist's rebellion against the smooth and cool nudes of the idealistic salons. Through Attitude, Wouters does artistic research into spatiality, liberty of movement and construction of form. The bent torso and the sideways looking head suggest a delicate and graceful spiral movement. The slightly bent head guides the viewer through her arm on the back towards the hand elegantly holding her skirt, which then blows into a pleated play. The light dances on the irregular surface and reflects on the different facets of the female figure so the sculpture seems to shine. Despite its volatility, this "Attitide" is very voluminous and architectural, draped by the folds of the dress.
"Attitude" is shown for the first time in plaster at the Vème Salon des Indépendants in Brussels in 1908. Only when Wouters signs a contract with Giroux in 1912, his sculptures are cast in bronze. His wife Nel then extends this contract for a period of 10 years, until it is terminated in 1932. After this, she has the exclusive right to cast bronzes of the plaster she recovers from Giroux. After 1932, Nel made six bronze copies (all Verbeyst), four of which complete and two incomplete.
In these incomplete copies one of the skirt's folds is missing. The only plaster Nel had at her disposal was broken around 1952-53, thus later casts show this special feature. All plasters in Nel's possession were destroyed on her death in 1971 by her third husband Jules De Carnière.
We thank M. Olivier Bertrand for providing the additional information.
L'invention de la brouette (1974)408 € 200 000 - 300 000Acrylic 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 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.
Gustave De Smet
Woman by the window on a holiday (1935)187 € 100 000 - 120 000Oil on canvas - Sig. - 90 x 111 cm - Labels on the reverseExhibition "Gustave De Smet" PvSK, Brussels 1940, nr. 54
"Gustave De Smet" Maison Haute, Bosvoorde 1959, nr. 17
"Retrospectieve tentoonstelling Gustave De Smet" KMSK, Antwerp 1961, nr. 187 Literature "Gust De Smet. De mensch en zijn werk" Emile Langui, Manteau, Brussels 1945, nr. 666
"Gust. De Smet. Kroniek, Kunsthistorische analyse" Piet Boyens, Antwerp 1989, nr. 953 reprod. Provenance coll. Tony Herbert, Kortrijk
WOMAN BY THE WINDOW ON A HOLIDAY (1935) SUBDUED EXPRESSIONISM
"From now on I want to endeavor to depict inner life, expressively through form and color."
Sometimes Flemish expressionism' tends to serve as a catchall for artworks showing similar stylistic characteristics, while in fact their executing artists had very different ideas. Permeke, for example, swore by his unbridled freedom and instinctive methodology, while Gustave De Smet was focused on the reflection of inner life within a reasoned and ordered composition.
In 1930 De Smet moved to Deurle, where he would stay for the rest of his life. His immediate surroundings provided him with inspiration. "Woman by the window on a holiday" depicts a dreamy woman in a no-frills interior. The bare ornaments reflect the woman's immanent peace of mind: a cup on the cupboard, a painting against the wall, a vase with flowers.
The archaic figure beams with calm and simplicity, thus indicating the scene's timelessness. The open window however, offers a peak into daily village life. De Smet uses the two flags as a a minimalist but ingenious trick to introduce the festivities into the living room and add a hint of frivolity.
The sturdiness of De Smets previous years smoothens during this period. Deep black tones complement the rich hues of earthly colors enveloping the scene with a velvety effect. Color gets more freedom and the brushstroke even becomes visible: a few precise strokes make the tabletop vibrate and the heavy clouds swell in the distance, without falling into cacophony.
Le printemps (1947)241 € 65 000 - 80 000Sculpture - Bronze - Brown-green patina - Sig. - Ex. nr. E.A. III/III - With stamp "Art Foundry Ghysels Belgium" - 123 x 106 x 80 cmLiterature "George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Ed. Stichting Kunstboek 1995, cf. cat. nr. 105
The Veronese Ribbon (1916)128 € 50 000 - 70 000Oil on canvas - Sig. 1916 and sig. on the reverse with title "Veronèse Lint / Floris Jespers -17 / Antw." - 150 x 100 cmExhibition "Oscar en Floris Jespers" Koninklijke Kunstkring, Antwerp 1917, nr. 37
Koninklijk Kunstverbond - Club Artes, Antwerp febr. 1923
"Retrospectieve Floris Jespers" KMSK, Antwerp 1989-90; Singer Museum, Laren 1990, cat. nr. 11 reprod.
"Floris en Oscar Jespers. De moderne jaren" KMSK, Antwerp 1996, cat. nr. 29 reprod. and p. 45 reprod. of the work on the exhibition of 1917 Literature "Oscar en Floris Jespers" Paul van Ostaijen in "Ons Land", 10.03.1917
"Ekspressionisme in Vlaanderen" Paul van Ostaijen in "De Stroom", 1918
"Verzameld werk" Paul van Ostaijen, deel IV, Amsterdam 1977, p. 81 Provenance coll. Paul van Ostaijen, Antwerp
VERONESE RIBBON (1916)
Whilst chilling in her garden chair, Floris Jespers' future wife Olympe, examines the ribbon of the hat on her lap. The bright Veronese green, striking and full of color, catches the eye among the other, softer tones applied with airy strokes. Jespers explores the boundaries between figuration and abstraction. Color and light are the composition's creative factors, while lines are limited to a bare minimum. Bearing in mind the legacy of the Luminists, he creates an intimate and warm impression of an ordinary moment that only a loved one can depict so delicately.
Jespers' affiliation to Rik Wouters and Brabant fauvism cannot be ignored, although motive is more important to him and execution more naturalistic. This early period is marked by a variety of modern movements that blow like a whirlwind over the Belgian art scene, each of them stimulating Jespers in their own way. The seeds are sown for a further development of fauvism, cubism, futurism and especially expressionism which Jespers will incorporate later in his oeuvre.
Paul van Ostaijen, a close friend to the brothers Floris and Oscar Jespers, was a pivotal figure among the emerging generation of avant-garde artists in Antwerp. As a sharp critic, his judgment was decisive, but he also was a committed promoter and patron of contemporary artists. In particular, he highlighted early works by Jespers and explicitly mentioned this "Veronese Ribbon", which was part of his personal collection, as one of the artist's highlights:
These latest works show that the painter stands before his canvases in a much more critical way than before truly standing in front of them as a thinking painter; that as a result of this he is freed from bare objectivism. Furthermore, from an aesthetic point of view, it should be noted that his sense of beauty is truly refining: here again I'm pointing out the very intimate tonality in "The Clear Workshop" and also in "Veronese Ribbon. Utmost charming. (Paul van Ostaijen, in Ons Land' 10.03.1917)
Voor mijzelf (For myself) (1986)507 € 15 000 - 20 000Oil and enamel on wood and canvas - Monogram on the reverse 1986 with title - 52,5 x 42 x 5,5 cm - UnframedExhibition "L'esprit de l'escalier" Guy Ledune Contemporary Art Gal., Brussels 1986 Literature "En avant la musique!" Hans Theys, Muhka, Antwerp 1994, nr. 16 reprod.
"Walter Swennen, So Far So Good" Raphaël Pirenne & Dirk Snauwaert eds., Wiels, Brussels 2014, exhibition cat. nr. 123 reprod. Provenance Guy Ledune Contemporary Art Gal., Brussels, acquired there by the present owner in 1986
Sunrise over the beach of Ostend (1917)132 € 30 000 - 40 000Pastel and black chalk on beige Van Gelder & Zonen paper - Sig. 1917 - 46 x 62,5 cm (day) - Exhibition labels on the reverseExhibition "Léon Spilliaert" MSK, Ostend; Museum Paleis Lange Voorhout, the Hague 1996, exhibition. cat., nr. 105 reprod. Literature To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier Provenance Wolseley Fine Arts, TEFAF Maastricht 1994
Jacob Grimmer (attributed)
Autumn3 € 22 000 - 30 000Oil on panel - 38,3 x 49,5 cmLiterature "Jacob et Abel Grimmer. Catalogue raisonné" Reine de Bertier de Sauvigny, La Renaissance du Livre 1991, cf. reprod. 49 & 51 (reprod. of other versions)
Marten van Cleve (Entourage)
A visit to the wet nurse4 € 7 500 - 10 000Oil on panel - 23,3 x 31,4 cmLiterature "Marten van Cleve 1524-1581. Kritischer Katalog der Gemälde und Zeichnungen" Klaus Ertz & Christa Nitze-Ertz, Luca Verlag, Lingen 2014, cf. cat. nr. 119 reprod. of a similar representation, property of the Musée des Beaux-Arts in Orléans
César De Cock
The Mill at Veules (1870)24 € 8 000 - 12 000Oil on canvas - Sig. 1870 - 43,6 x 64,5 cmLiterature To be included in the forthcoming catalogue raisonné by Mr. Richard Comyn
La mort au bal masqué (1895)63 € 5 000 - 7 000Helio engraving - On Simili Japon - With inscription "La mort au bal masqué / n°10 - GP" in ink - 37,4 x 20,8 cm (im.) - 45,7 x 29,9 cm (pl.) - UnframedLiterature "L'Oeuvre gravé et lithographié de Félicien Rops" Maurice Exsteens, Paris 1928, cf. nr. 928
Valerius De Saedeleer
The old abbey farmhouse Tempelhof at Sint-Martens-Latem (ca. 1902-03)76 € 12 000 - 16 000Oil on canvas - Sig. - 39,5 x 43,5 cmProvenance coll. Baron de Giey (1891-1966), former mayor of De Pinte
Three vases and a shell (1905)82 € 17 000 - 22 000Oil on board - Monogram 1905 - 48 x 61 cm - Label on the reverse Ohana Gal., London
The haying (Brakel) (ca. 1908)84 € 36 000 - 44 000Oil on canvas - Sig. - 79,5 x 109,5 cmLiterature "Kunstschilder Modest Huys" Rik & Paul Huys, Sint-Baafs-Vijve 1987, cf. p. 18 reprod. of a smaller version (possibly the preliminary study for this larger version)
"Modest Huys 1874-1932" Johan De Smet & Veerle Van Doorne, Museum van Deinze en Leiestreek, Deinze 1999, exhibition cat., cf. nr. 22 reprod. of a smaller version (possibly the preliminary study for this larger version)
Winter87 € 10 000 - 15 000Pastel on paper on canvas - Sig. and sig. on the reverse with title - 55 x 116 cm
A view of the River Lys with windmill (ca. 1910)85 € 22 000 - 28 000Oil on canvas - Sig. bearing - 39 x 85 cmProvenance coll. François, Sint-Martens-Latem
Dreaming woman - Verso: woman and cat90 € 30 000 - 40 000Watercolour and brush drawing in India ink on paper - With stamp Vierge Folle nr. a 171 - 34 x 35,5 cm - Label and stamp Vierge Folle (2x) nr. 129 (red) and n° 208, stamp Gal. Georges Giroux and in blue pencil "82. Femme rêvant" on the reverseLiterature The authenticity was confirmed to us by Mr. Olivier Bertrand en this work will be included in the catalogue raisonné
Eugeen Van Mieghem
Winter harbour126 € 28 000 - 33 000Oil on cardboard - Sig. - 29,8 x 39,8 cmExhibition "De Antwerpse haven en haar kunstenaars" Eugeen Van Mieghem Museum, Antwerp 2007, reprod. on the exhibition poster Literature "De Scheldeschilders" Gerald Verbeeck, Ghent 2014, p. 225 reprod.
Gustave De Smet
Wild flowers in a blue vase (1920-1925)144 € 28 000 - 36 000Oil on canvas - Sig. - 86 x 61 cm - Exhibition labels on the reverseExhibition "Retrospectieve Gust. De Smet" Gal. Georges Giroux, Brussels 1929, nr. 50
"Retrospectieve tentoonstelling Gustave De Smet" KMSK, Antwerp 1961, cat. nr. 82 (dated here 1920-22) Literature "Gustave De Smet. Sa vie et son oeuvre" P.-G. Van Hecke & Emile Langui, Brussels 1945, nr. 205
"Gust De Smet. De mensch en zijn werk" Emile Langui, Manteau, Brussels, 1945, nr. 207
"Gust. De Smet. Kroniek, Kunsthistorische analyse" Piet Boyens, Antwerp 1989, cat. nr. 676 reprod. (dated here 1925) Provenance coll. dr. A. Sierens, Aalst
Frits Van den Berghe
Le tilbury (ca. 1923-24)158 € 16 000 - 20 000Oil on canvas - 50,5 x 57,7 cm - Unframed - Exhibition label on the reverseExhibition "Schilders te Bachte-Maria-Leerne" Kasteel Ooidonk 1973, cat. nr. 97 Literature "Sint-Martens-Latem" Paul Haesaerts 1965, cat. nr. 667 reprod.
"Frits Van den Berghe 1883-1939. Catalogue raisonné de son oeuvre peint" Emile Langui, Éd. Laconti, Brussels 1966, cat. nr. 111 reprod.
"Frits Van den Berghe" Piet Boyens, with catalogue raisonné by Patrick Derom & Gilles Marquenie, Pandora, Antwerp 1999, nr. 283 reprod. Provenance coll. Jules de Sutter, Sint-Martens-Latem
À la terrasse (1924)162 € 20 000 - 30 000Watercolour on paper - Monogram 1924 - 63,5 x 49 cmLiterature "Masereel. Catalogue raisonné" Pierre Vorms, Antwerp 1976, nr. 2, p. 39
Kneeling young man holding a young naked woman in his arms (1928)171 € 44 000 - 60 000Watercolour and lavis on paper - Sig. 1928 - 50 x 67 cmExhibition "Retrospectieve Edgard Tytgat" PvSK, Brussels 1931, cat. nr. 275 Literature "Edgard Tytgat. Beschrijvende catalogus van zijn geschilderde oeuvre, opgemaakt met de medewerking van Mevrouw Gisèle Ollinger-Zinque" Albert Dasnoy, Laconti S.A., Brussels 1965, cat. nr. 594 Provenance coll. J. Greshoff, Brussels
When viewing this watercolor, we spectators seem to peek inside an intimate scene. A warm, tender and loving event unfolds before our eyes. Yet we are not sure of what is happening here, nor of what precedes, nor of what will follow. This romantic and intimate scene is surrounded by the safety and privacy of the blue curtains. The decor has almost brothel-like allures. It is a burgeoning scene that focuses on sexuality, it is lovely lust. The inscrutable whole is intriguing. This characterizes Tytgat's oeuvre, a succession of enigmatic stories with a multitude of scenarios. Contradiction and ambiguity are distinctive. His art appears to be sweet, but is never naive. It is grand in its mystery.
With his very personal artistic style, Edgard Tytgat was one of a kind in the Belgian art scene of his time. The artist, who dreamed of practicing the modest profession of clockmaker, developed a unique and inimitable oeuvre that many attempted to define. Emile Langui said: "Writing about Tytgat is like catching butterflies". Tytgat was different, did things another way and his work was often wrongly described as childish, naive and folkloric. His seemingly innocent interiors, fairs and circuses were populated by artists, clowns, myth figures and couples in love. The world he created had a lot of depth and ironic elements and subtlety revealed much more than a first glance suggested.
Seascape, pale green horizon (1930)179 € 44 000 - 55 000Watercolour and gouache on paper - Sig. 1930 - 53 x 74 cm - Exhibition labels on the reverseExhibition "Retrospectieve Léon Spilliaert" Guillaume Campo, Antwerp 1965, cat. nr. 146
"Tussen eb en vloed. Marines, dijk- en strandperspectieven" Het Spilliaert Huis, Ostend 2017, reprod. on the invitation of the exhibition Literature To be included in the forthcoming catalogue raisonné by Mrs. Anne Adriaens-Pannier Provenance Blanquaert-Verscheuren family, Ostend (acquired directly from the artist)
SPILLIAERT AND THE SEA
The sea is Spilliaert's loyal travel companion throughout his entire oeuvre. Sometimes she is ominous and unpredictable, sometimes warm and receptive. She is constantly changing, through storm and sun, through ebb and flow. The sea, evoking distant memories and deep feelings, is the mirror of the soul.
Like his early seascapes, this "Seascape, pale green horizon" (1930) also depicts Spilliaert's inclination towards abstraction. Large color fields representing beach, sea, clouds and sky, barely separated from each other with a simple line, form an almost geometric composition. The serene forms are intruded only by the bizarre steel-gray puddle on the front right with its erratic contours.
The anecdotal is growing more and more important from the end of the 1920s. The artist is sensitive to seemingly banal details provoked by nature that also have a remarkable aesthetic effect. "Marine, pale green horizon" shows a sea draining away from the shore and taking along the dark clouds. Behind them the sun waits impatiently to spread its light over the beach. The world is ready for a new day. But the night-time darkness, with its secrets and memories, still wanders over the beach where it leaves its puddle-form mark, relict of the flood that has disappeared. In spite of gloomy colors, hope cautiously breaks through, but not without a hint of melancholy.
Standing nude - Verso: seated nude180 € 22 000 - 30 000Charcoal, pastel and watercolour on paper - Double-sided - Sig. - 144 x 101,5 cm
Seated Harlequin with guitar (1933)190 € 12 000 - 16 000Églomisé - Sig. '33 - 63,5 x 53 cm - Label on the reverseProvenance coll. Sam Salz
Gal. Entremise, Antwerp
auction Christie's, Amsterdam 1991, auction number 2144, lot 515
Au repos à la mer (1933)186 € 55 000 - 75 000Watercolour and India ink - Sig. "Coxyde 8-33" - 70,5 x 53 cm
Sha Qi (Sadji)
Four wisemen194 € 10 000 - 16 000Oil on canvas on hardboard - Sig. (2x) - 33 x 40,3 cm - Unframed
Cardinale in piedi (1943)215 € 30 000 - 36 000Sculpture - Bronze - Brown patina - On a wooden base - Signature stamp "MANZÙ" - 32,6 x 11 x 10 cmLiterature "Giacomo Manzù" John Rewald, Verlag Gal. Welz, Salzburg 1966, cf. nr. 106 reprod. of The Door of Love (1958) at the Salzburg Cathedral
"Manzù. Catalogo generale delle sculture dal 1923 al 1965 dall'Archivio della Fondazione Giacomo Manzù" Francesco Buranelli, Roma 2009
The authenticity was confirmed to us by the Fondazione Giacomo Manzù (Giulia Manzoni) Provenance coll. Jeffrey Loria, New York, acquired directly from the artist
auction Sotheby's Parke-Bernet, New York 17.05.1978, nr. 83
coll. Arthur & Sara Jo Kobacker
Lavage à neuf (1940)220 € 10 000 - 14 000Colour pencil drawing on paper - Sig. with title "Lavage à neuf / Ostende août 1940" and sig. on the reverse with dedication "a mon ami René Lyr / Ostende le 31 juillet 1945" - 17,5 x 12 cmProvenance coll. René Lyr, writer, poet and friend of, among ohers, James Ensor and Louis Thévenet
Plénitude (1947)250 € 24 000 - 30 000Sculpture - Bronze - Dark brown patina - On a wooden base - Sig. - With foundry stamp "Cera persa Brotal Mendrisio" - 112 x 32,5 x 27 cmLiterature "George Grard" Reeks Monographies de l'art belge, Roger Bodart, Antwerp 1948, cf. nr. 25 reprod. of a copy in the collection of the K.M.S.K. Brussels
"George Grard" Eugénie De Keyser, Brussels 1983, cf. p. 40-41 & 43 reprod.
"George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Ed. Stichting Kunstboek 1995, cf. nr. 106 B reprod.
Jeunes filles au chapeau (1951)252 € 36 000 - 44 000Watercolour and pen drawing on paper on cardboard - Sig. 1951 - 39 x 50,5 cm - Label on the reverse Gallery Veranneman, BrusselsProvenance Gal. Veranneman, Brussels, acquired there by the previous owner
Untitled (1952)253 € 14 000 - 18 000India ink and gouache on paper on canvas - Sig. '52 and sig. on the reverse - 236 x 150 cm - Labels on the reverseExhibition "Antoine Mortier" Paleis voor Schone Kunsten, Brussels 1986, nr. 12 Literature "Kunst in België sinds 1945" Karel Geirlandt e.a., Antwerp 1983, p. 253 reprod.
"Antoine Mortier" Karel Geirlandt, Jan Hoet e.a., Lannoo, Tielt 1989, p. 129 reprod.
"Antoine Mortier. Het naakte teken" Various authors, Mercatorfonds, Antwerp 2000, p. 17 reprod.
Louis Van Lint
Chartres - Vision of stained-glass window in architecture (1950)255 € 20 000 - 30 000Oil on canvas - Sig. '50 and on the reverse 1950 with title and n°128 - 150 x 100 cmExhibition "Junge Belgische Malerei" Suermondt Museum, Aachen; Amerika Haus, Stuttgart 1951, cat. nr. 32
Marburg, Frankfurt, Wiesbaden, Hamburg & Düsseldorf 1951 Literature "Louis Van Lint" Reeks Monografieën over Belgische kunst, Leon-Louis Sosset, Antwerp 1951, nr. 8 reprod.
"Kunst in Belgiuë sinds 1945" Karel Geirlandt e.a., Antwerp 1983, p. 242 reprod.
To be included in the forthcoming catalogue raisonné by the Louis Van Lint Institute Provenance coll. Philippe Dotremont, Brussels
CHARTRES, VISION OF STAINED-GLASS WINDOW IN ARCHITECTURE (1950)
At the end of the 1940s, Louis Van Lint was the first Belgian artist to investigate lyrical abstraction, which from then on will never leave his personal visual language. Unlike the playful Cobra movement or the rather cool abstraction of Gaston Bertrand at the time, Van Lint's abstraction is harmonious and warm. It is his pictorial translation of the rhythmic poetry he finds in structures derived from reality, such as architecture, biology or geology.
The stained-glass windows of the Chartres cathedral must have made a peculiar impression on Van Lint. Their concatenations of geometric segments, oblong or curved, in vivid colors, come to life in daylight. They inspired him to paint two large format versions, one of which is in auction here. The other became the first purchase of a work by Van Lint by the Royal Museum of Fine Arts of Antwerp. Stained-glass windows, but also scaffolding and facades are recurring motifs in his oeuvre, indicating the artist's architectural education.
The entire canvas of "Chartres" is occupied by the accumulation of colors, mostly bright reds and blues, accentuated by the cloisonné effect of the black outlines. Van Lint composes the rhythmic alteration of hues and forms into a lyrical ensemble that seems to extend far beyond the canvas. The artist's daring abstraction is completely original at the time. On the one hand it refers to the medieval horror vacui, and on the other hand it heralds the American all-over painting.
Ville rouge (1956)272 € 20 000 - 30 000Matter painting on canvas - Sig. '56 and sig. on the reverse "Nov '56" with title - 108 x 89 cmLiterature "Bram Bogart" Gal. Hennemann, Bonn 1977, reprod.
Eau-forte n° VII (1957)279 € 7 000 - 9 000Colour etching - On BFK Rives - Sig. in pencil - Ex. nr. 5/100 - 54,5 x 39,3 cm (image) - 66,5 x 50,5 cm (sheet)Literature "Soulages. Eaux-fortes, Lithographies 1952-1973" Georges Duby & Christian Labbaye, Yves Rivière Éditeur, Paris 1974, cf. nr. VII reprod.
"Soulages. L'oeuvre imprimé" Pierre Encrevé & Marie-Cécile Miessner, Bilbiothèque Nationale de France, Paris/Musée Soulages, Rodez 2011, cf. nr. 7 reprod.
César (César Baldaccini)
Buste aux jambes fines (1959/88)282 € 80 000 - 90 000Sculpture - Bronze - Dark brown patina - Sig. - With inscription "bocquel" - Ex. nr. 1/8 - 99 x 27,5 x 37 cmLiterature "César. Catalogue Raisonné. Vol. I 1947-1964" Denyse Durand-Ruel, Éditions de la Différence, Paris 1994, cf. nr. 258 reprod. Provenance Gal. Sabine Wachters, Knokke-Heist
Rising tide (1962)293 € 20 000 - 30 000Oil on canvas - Sig. 1962 and sig. on the reverse 1962 - 100,5 x 155 cm - Exhibition labels on the reverseExhibition "Retrospectieve Henri-Victor Wolvens" Château Malou et Médiatine, Sint-Lambrechts-Woluwe 1986
"Retrospectieve Henri-Victor Wolvens" PMMK, Ostend 1993, exhibtion cat., p. 178 reprod.
"Het vlakke land" Vinkemkerk, Beauvoorde 2004, nr. 58
"Biënnale van de schilderkunst: de toets van de schilder" Museum Dhondt-Dhaenens, Deurle 2014 Literature "Henri-Victor Wolvens" Georges Marlier, Ed. Arcade, Brussels 1967, nr. 1066, reprod. XLIV
Le Balcon du Littoral (The Balcony) (1963)296 € 10 000 - 14 000Oil on canvas - Sig. 1963 - 60 x 80 cm - Exhibition label on the reverseExhibition "Henri-Victor Wolvens 1896-1977" PMMK, Ostend 1993-94, exhibition cat., p. 185 reprod. Literature "H. V. Wolvens" Jean-Robert Delahaut, extrait de la revue "Terre d'Europe" nr. 24, December 1964, reprod.
"Henri-Victor Wolvens" Georges Marlier, Ed. Arcade, Brussels 1967, nr. 1113, reprod. 97
Champ rouge (1961-62)310 € 10 000 - 14 000Oil on canvas - Sig. and on the reverse München 1961-1962 with title - 100 x 120 cm - Label on the reverse Gal. van de Loo, MünchenLiterature "Maurice Wyckaert. L'oeuvre peint 1947-1996" Tentative de Catalogue Raisonné, G. Berréby & D. Orhan, Éd. Allia, Paris 2012, nr. 122 reprod. Provenance Gal. van de Loo, München
Les belles réalités (Beautiful Realities) (1963)328 € 50 000 - 70 000Colour chalk drawing on paper - Sig. - 15,2 x 11,2 cmLiterature "Magritte: Ideas & Images" H. Torczyner, New York 1977, nr. 208 p. 120 reprod.
"Magritte" P. Gimferrer, Paris 1986, pl. 122 reprod.
"L'ami Magritte: correspondance et souvenirs" H. Torczyner, Antwerp 1992, nr. 16 reprod.
"Magritte/Torczyner: Letters Between Friends" R. Magritte, New York 1994, p. 90-91 reprod. Provenance coll. Harry Torczyner, acquired directly from the artist by him
"The collection of Harry Torczyner, Esq." Christie's New York, 19.11.1998, cat. nr. 528
coll. Gerard Gorissen
Grande tête de femme au chapeau (1962)332 € 30 000 - 40 000Colour linocut - On Vélin d'Arches - Sig. in pencil - Ex. nr. 20/50 - IV state - 64 x 52,8 cmLiterature "Picasso, Cat. de l'oeuvre gravé et lithographié 1904-1967" G. Bloch, Bern 1968 (tome I), cf. nr. 1078
"Picasso Peintre-Graveur, Catalogue raisonné 1959-1965" Brigitte Baer, Bern 1989 (tome V), cf. nr. 1293 IVBa Provenance Gal. Veranneman, Brussels
Drogende was (Drying linen) (1966)342 € 24 000 - 33 000Oil on canvas - Sig. - 145 x 114 cmProvenance acquired directly from the artist by the present owner
Équilibre de trois volumes (1968)358 € 20 000 - 30 000Sculpture - 3 parts - Corten steel - On concrete base - 400 x 260 x 80 cm (total)
Niki de Saint Phalle
Bain (Last Night I Had a Dream) (1968)368 € 40 000 - 50 000Wall sculpture - Polyester - Painted - 98 x 138 x 13 cmExhibition "Niki de Saint Phalle" Gal. Wolfgang Ketterer, München 1990, exhibition cat. reprod. Literature "Niki de Saint Phalle: Last night I had a dream" Guy Pieters Gal., Knokke 1990, reprod. on the invitation of the exhibition
"Niki de Saint Phalle - Monographie - Catalogue raisonné - 1949-2000" Ed. Acatos, Lausanne 2001, nr. 459 reprod.
Untitled (SF71-1013) (1973)390 € 20 000 - 30 000Acrylic on paper - Sig. on the reverse with stamp "The Sam Francis Estate" and archive number "SF71-1013" and "BB-II-27" - 56 x 76 cm
Composition nr 845 (1971)395 € 15 000 - 20 000Oil on canvas - Sig. and sig. on the reverse 1971 with nr. 845 - 145,5 x 114 cm - Label on the reverse Lens Fine Art, Antwerp