20th century Art at BRAFA 2025

27 janvier 2025

20th century Art at BRAFA 2025

James Ensor (Ostend, 1860-1949), Portrait of Léon Rinskopf, Futur Baron du Rat Mort, 1903. Conté crayon, coloured pencils, watercolour and gouache on laid cream paper, 16.6 x 13.4 cm - framed: 36 x 32 cm. Signed, annotated, located and dated: ‘Portrait de Léon Rinskoff [sic]/futur baron du Rat Mort/Ostende 1903/James Ensor’. © Thomas Deprez Fine Arts

This drawing is accompanied by a certificate from the official Ensor Advisory Committee, 2023

Provenance: private collection, Belgium

Exhibition: Joodse sporen in Oostende, Ostend and Antwerp, organised by Zahava Seewald, 2000*

Literature: Laurence Madeline et al., Ensor, Paris: Musée d’Orsay, New York: The Museum of Modern Art, 2009, ill. fig. 60, pp. 78-79

Related Literature: James Ensor, Discours en noble languaige de chevalerie, in: Les Écus, Ostende : G. Daveluy ed., Le Rat Mort, 1904, p. 16. Reprinted and re-edited in many forms

Related works: James Ensor, Au conservatoire, 1902, oil on canvas laid down on board, 56.5 x 71.5 cm, Musée d’Orsay, Paris (inv. RF 2009 4), given by the artist to Léon Rinskopf

Portrait of Léon Rinskopf (1862-1915), artistic director of the Kursaal in Ostend and conductor of its symphonic orchestra. Dressed in smoking and wearing a crown, he is represented with an asparagus between the teeth in reference to a conducting baton. Ensor projected himself on the figure of his friend, by affiliating his likeness to his own, and by pinning a prominent medal of the Ordre de Léopold on his chest and baton, which Ensor received himself that same year. In the top right corner a dead rat is a direct reference to the Compagnie du Rat Mort, of which Ensor was a founding member and which was legendary for its masked balls and its burlesque character.

Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer), Vase de roses, 1909-1910. Oil on canvas, 55.5 x 46 cm. Signed middle left 'Renoir'. © HELENE BAILLY Paris-Genève

This work will be included in the Pierre-Auguste Renoir digital catalogue which is being prepared by the Wildenstein Plattner Insitute, Inc. Notice of inclusion dated February 29th, 2024

Provenance: Friedrich and Barbara Thurneyssen, Munich, acquired from the artist (from 1911); Rudolf von Simolin, Bavaria; private collection

Literature: Ingrid Mössinger and Karen Sanger, Pierre-Auguste Renoir: Wie Seide Gemalt/L'Effet de la Soie, cat. ex. (Chemnitz: Kunstsammlungen Chemnitz, 2011) (ill. fig. 2, p. 111, installation view, Le salon de la famille Thurneyssen at Franz-Joseph-Strasse 36 in Munich. Undated photo showing Renoir's painting Alexandre Thurneyssen, 1911, near the door)
Exhibitions: Berlin, Galerie Alfred Flechtheim, Pierre-Auguste Renoir: Peintures provenant des possessions de ses fils et ses sculptures, November 20th-December 22nd, 1927, n° 37 (titled Roses, dated 1914)

James Ensor (Ostend, 1860-1949), Book, mask and skull, 1910. Oil on panel, 24 x 19 cm. Signed © Harold t'Kint de Roodenbeke

Provenance: collection C. Snauwaert, Ostend; collection Moureau, Brussels; collection de Bellefroid, Brussels.

Literature: Xavier Tricot, James Ensor, catalogue raisonné des peintures, Fonds Mercator, 2009, ill. p. 390, n° 675.

Exhibition: Galerie Motte, James Ensor, Geneva, 1966, n° 4.

Gustav Klimt (Baumgarten 1862-1918 Vienna), Standing nude, hands on the hips, 1911. Pencil on paper, 57.1 x 37.5 cm © Sylvia Kovacek - Vienna

Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan

Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f

Egon Schiele (Tulln 1890-1918 Vienna), Seated woman, 1917. Black pencil on paper, 46.1 x 29.6 cm. © Sylvia Kovacek - Vienna

Provenance: private collection, London

Literature: Jane Kallir, Egon Schiele. The Complete Works, New York 1998, p. 582, catalogue raisonné n° 1999

James Ensor (Ostend, 1860-1949), The Kingdom of Venus, 1921. Oil on canvas, 50.5 x 61 cm – framed: 64.5 x 75 cm. Signed bottom left corner © Gallery Sofie Van de Velde

Provenance: Gallery Sofie Van de Velde; private collection; sale Galerie des Beaux-Arts (Renaissance), Brussels, December 16th, 1941, n° 78 ('Le Bonheur'); sale G. Rosen, Frankfurt, October 11th, 1960, n° 408 ('Das Reich der Venus'); Galerie Wilhelm Grosshennig, Düsseldorf

Literature: Xavier Tricot, James Ensor. Leven en werk. Oeuvrecatalogus van de schilderijen, Mercatorfonds, Brussels, 2009, n° 514, p. 357 repr. in colour

James Ensor (Ostend, 1860-1949), Coquilles et Statuettes, 1934. Oil on wood panel, 40 x 50 cm. Signed lower right ‘Ensor’ , signed and titled on verso. © Samuel Vanhoegaerden Gallery

This work is included in the catalogue raisonné of the complete paintings of James Ensor by Xavier Tricot, n° 641

Provenance: private collection, Belgium (acquired ca. 1970); by descent from the above to the present owner; sale Sotheby’s London, February 2012, lot 187; Samuel Vanhoegaerden Gallery, Knokke; private collection, Brussels

Literature: X. Tricot, James Ensor, The complete paintings, Mercatorfonds, Brussels, 2009, p. 383, n° 641

James Ensor (Ostend, 1860-1949), Rotundités (1936-1937). Oil on canvas, 51 x 61 cm. Signed lower right. © Van Herck-Eykelberg

Literature: X. Tricot, James Ensor, Catalogue Raisonné of the paintings. II 1902-1941, Wienand, 1992 Anvers, n° 695; X. Tricot, James Ensor, Catalogue Raisonné of the paintings. Mercator, 2009, n° 713

Exhibitions: Brussels, Galerie Robert Finck, Exposition de peinture belge moderne, 1961; Ostend, Venetiaanse Gaanderijen, Ensors denkbeeldige paradijs, 2024

Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo), Bouquet de fleurs, circa 1950. Oil on canvas, 55 x 38 cm. Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen © HELENE BAILLY Paris - Genève

This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc.
Notice of inclusion dated 28 May 2024

Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above

Bernard Buffet (Paris 1928-1999 Tourtour), Moustique, 1952. Oil on canvas, 24 x 35 cm. Signed. © robertaebasta

Certificate of authenticity issued by Céline Levy, Director of the Bernard Buffet Endowment Fund on 8 November 2023 in Paris

Provenance: private collection, Italy,

André Masson (Balagny-sur-Thérain 1896-1987 Paris), Fête (Festival), 1956. Oil on canvas, 90 x 81 cm. Signed lower left ‘André Masson'. © Galerie Jean-François Cazeau

Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996)

Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250

Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250

René Magritte (Lessines 1898-1967 Brussels), Les Grâces naturelles, circa 1953. Red chalk on paper, 47 x 36.7 cm. Signed lower right. Signed and titled on the reverse lower right © Alexis Lartigue

Certificate of authenticity by Comité Magritte

Provenance: La Sirène gallery, Brussels; private collection; sale Sotheby's, Paris; private collection, Paris

'If we imagine young girls blossoming, we can also acknowledge a bird in bloom. The emergence of this bird is as delightful as the sunrise'. René Magritte

Olivier Debré (Paris, 1920-1999), Nature morte, hiver 56-57. Oil on canvas, 54 x 64 cm. Signed lower left with initials and dated, titled on the reverse and dated: winter 56-57. © Harold t'Kint de Roodenbeke

Certificate from Sylvie Debré

Provenance: Galerie Lansberg, Paris; private collection, Paris

Hans Hartung (Leipzig 1904-1989 Antibes), Composition, 1957. Ink and watercolour on paper, 27 x 21 cm. Signed and dated lower right © Samuel Vanhoegaerden Gallery

The present work is registered in the Fondation Hartung Bergman, Antibes and will be included in the forthcoming catalogue raisonné under n° HH5919

Provenance: Galerie des Etats-Unis, Cannes; private collection, Brussels

Antonio Saura (Spain, Huesca 1930-1998 Cuenca), Stima, 1959. Oil on canvas, 162 x 130 cm. © Galeria Jordi Pascual

Certificate of authenticity by the Archives of Antonio Saura

Provenance: Galerie Stadler, Paris; private collection

Jean Degottex (Sathonay-Camp 1918-1988 Paris), IMPA-VIDE (II), 1959. Oil on canvas, 199 x 130 cm. Signed lower right ‘Degottex’; signed, titled and dated on the back: Degottex IMPA-VIDE (II) 1959 © Galerie Berès

This work will be included in the catalogue raisonné of Jean Degottex
Inclusion certificate n°2023-34 issued by Comité Jean Degottex dated 21 November 2023

Provenance: private collection

Exhibitions: Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, séquences sonores de Pierre Henry, Paris, 26 November-31 December 1959

Note: Jean Degottex was born in Sathonay-Camp on 25 February 1918 and died in Paris on 6 December 1988. Degottex was a French abstract painter, best known for his initial proximity to the lyrical abstraction movement of the 1950s and 1960s. In his own words, his work gradually moved from gesture and sign to writing, and then from writing to line. Considered a major artist of abstraction in the second half of the 20th century, he drew inspiration from Far Eastern calligraphy and Zen philosophy to achieve the obliteration of the creative subject.

In 1958, he joined the Galerie internationale d'art contemporain, directed by Maurice d'Arquian. There he rubbed shoulders with Pierre Henry, Yves Klein and Maurice Béjart. He became better known abroad, particularly in Belgium, Switzerland, Italy and Germany.

The period from 1956 to 1963 was particularly productive. He worked in series/suites: suite Ashkénazi (1957), suite Serto (March-April, November 1957), suite des Hagakure (November 1957), les 18 Vides (1959), suite des Roses (1960), suite des Alliances (1960), les 7 Métasignes (1961), Jshet (1962). Many of his works were then entitled Écriture, Suite Écriture.

EXHIBITION Les Alliances, Les Dix-huit vides, Galerie internationale d'Art contemporain, sound sequences by Pierre Henry, Paris, 26 November-31 December 1959

Jean Degottex joined Maurice d'Arquian's Galerie Internationale d'Art Contemporain in 1958. Maurice d'Arquian was particularly keen on the confrontation between different forms of creation. He organised performances in his gallery and brought the composer Pierre Henry into contact with the painter.

In 1959, the artist exhibited Alliances, eighteen empty forms, and Pierre Henry produced sound sequences inspired by the 18 empty spaces on display. The music will be played throughout the exhibition.

The title ‘IMPA-Vide’ (II) corresponds to the eighteen forms of emptiness listed in the Mahâ-prajnâpâramitâ (The Treatise on the Great Virtue of Wisdom).

Jean Dubuffet (Le Havre 1901-1985 Paris), Barbe de la sentence inique, 1959. Prints collage and India ink on paper, 51 x 33.5 cm. Signed and dated upper right: J. Dubuffet 59. Dated and inscribed on the reverse: Barbe de la sentence inique, juin 59 © Galerie de la Béraudière

Provenance: Galerie Daniel Cordier, Paris; collection Claude Hersaint, Paris; collection Hélène Anavi, Paulhiac (acquired in 1965); sale Sotheby’s, New York, 27 March 1984, lot 50; Richard L. Feigen & Co., New York; private collection (acquired from the above in 1987); sale Christie's, Paris, 20 October 2022, lot 10; private collection, Belgium

Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, As-tu cueilli la fleur de barbe, Fascicule XV, Paris, 1985, n° 53, ill. p. 36

Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy), Concetto spaziale, Attese, 1959. Water-based paint on canvas, 81 x 99 cm. Signed and inscribed on the reverse 'l. fontana attese 1+1-AE2'. © Cortesi Gallery

Provenance: Marlborough Galleria d'Arte, Rome, Italy; Martha Jackson Gallery, New York, USA; Galleria Levi, Milan, Italy; Studio La Città, Verona, Italy; Galleria Corvucci, Forlì, Italy; private collection; private collection, New York, USA

Literature: E. Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, n° 59 T 87 (ill. p. 86); E. Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, n° 59 T 87 (ill. p. 295); E. Crispolti, Lucio Fontana, Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan, 2006, n° 59 T 87 (ill. p. 461)

Exhibition: 1959, Lucio Fontana (opere dal 1931 al 1959), Galleria Notizie, Turin, ill. p. 8

Jean Degottex (Sathonay-Camp 1918-1988 Paris), Gidayu III, 1961. Oil on cardboard mounted on canvas, 120 x 80 cm. Signed and dated lower right. Signed, dated and titled at the back. © Bertrand Michau. Courtesy Galerie Berthet-Aittouarès

Certificate of authenticity issued in 2021

Provenance: private collection

Literature: Degottex, Jean Frémon, Editions du regard, 1986, p. 282

Lucio Fontana (Argentine, Rosario 1899-1969 Comabbio, Italy), Concetto Spaziale, 1962. Oil on canvas, 113 x 100 cm. Signed lower right ‘L. Fontana’. Signed and titled on the reverse ‘L. Fontana Concetto Spaziale' © New Hope Gallery

Provenance: Belgian private collection

Literature: Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environnements spatiaux rédigé par Enrico Crispolti, Vol. II, Brussels, 1974, cat. no. 62-O-96, p. CCXIII, illustrated

Pierre Alechinsky (Brussels, 1927), Les Pleins et les Déliés, 1962. Oil on canvas, 100 x 80 cm. Signed and dated © Galerie Raf Van Severen

Provenance: Kunsthandel M.L. de Boer, Amsterdam, n° 8048; private collection, The Netherlands

Note: 'Les pleins et les déliés' is an abstract expressionist painting by the Belgian painter Pierre Alechinsky (1927). Alechinsky was one of the prominent members of the avant-garde group Cobra (1948-1951). Characteristic for the art movement of that time, Alechinsky applied a chaotic and dynamic use of colors, with red the main color in this painting. He got to that result by using wild brushstrokes. This painting is considered an early work in the oeuvre of Alechinsky and can be situated during the top period with the likes of Karel Appel. Paintings like 'Barbaars Naakt' (SMAK, Ghent) by Karel Appel used a similar color palette with again violent paint strokes. As a result, the figures in their paintings are barely obeservable. But that was basically what they were trying to achieve. Together, the members of Cobra all tried to bring over the same message in their paintings. They wanted to disrupt an existing order and harmony.

As this is an early work, the painting is still oil on canvas. Not much later in his career, Alechinsky made the full-time switch to mixed media on paper laid down on canvas. In the latter technique, the viewer can recognize elements of calligraphy. That became a passion for Alechnisky, after he visited Japan in 1955. In these paintings, he started expressing his love for calligraphy, by using it on the canvas itself, more specifically the typical ink.

Even in this painting, we can already notice a reference to calligraphy or handwriting. Just not yet on the canvas, but in the title. 'Les pleins et les déliés' is a concept used in calligraphy where 'Les Pleins' refers to the thick strokes or the full, bold lines made when writing. 'Les Déliés' refers to the thin strokes or the delicate, lighter lines. It is easier to comprehend by imagining a brush stroke. If it’s done vertically you get a thicker brush stroke, if done horizontally, it’s possible to get a finer stroke.

Lucio Fontana (Rosario 1899-1969 Comabbio), Concetto spaziale, Teatrino, 1964. Water-based paint on canvas, lacquered wood, 102 x 83 cm. Signed and titled on the back. © Patrick Derom Gallery

Provenance: Serge de Bloe, Brussels; private collection, Brussels

Literature: M. Van Lier-Lottefier, Fontana: au seuil du Land Art, in Clés pour les arts, 27 September 1972, p. 27 (ill.); Enrico Crispolti, Lucio Fontana, 1974, vol. II, p. 168; Enrico Crispolti, Fontana. Catalogo Generale, Milan, 1986, 64TE2, p. 588 (ill.)

Exhibition: 1972, Brussels, Palais des Beaux-Arts, Lucio Fontana, n. 78 (ill.)

Hans Hartung (Leipzig 1904-1989 Antibes), T1965-R16, 1965. Vinyl and scratch on canvas, 54 x 81 cm. A & R Fleury

Certificate of authenticity from the Fondation Hartung Bergman on 28 June 2022

Provenance: Fondation Hartung Bergman, Antibes; private collection, France

Exhibitions: Città di Castello, La luce del Nero, Fondation Burri, 15 April-13 November 2022

René Magritte (Lessines 1898-1967 Brussels), Le Bouchon d'Epouvante from 'L'Aube à l'Antipode', 1966. Etching on wove paper. Paper size: 38.4 x 28.6 cm. Image size: 17.8 x 13 cm. Hand signed in pencil lower right margin 'Magritte' and numbered in pencil lower left margin, edition of 17. © Gilden's Art Gallery

This work was printed in 1966 at the studio of J. Rigal, Paris and published in a limited edition of 17 hand signed and numbered impressions for the series 'L'Aube à l'Antipode' (Dawn of the Antipode). It is from the rare suite of 17 hand signed etchings. There is also a suite of 77 where only two of the etchings (La Comtesse de Monte Cristo and Les Deux Mystères (Ceci n'est pas une pipe) are signed in pencil

Literature: Gilbert E. Kaplan & Timothy Baum, 1982. The Graphic Work of René Magritte. New York: II Editions
Reference: Kaplan & Baum 11

Antoine Mortier (Brussels, 1908-1999), Untitled, 1966. India ink on paper , 92.7 x 140.5 cm. © Maurice Verbaet Gallery

Provenance: collection Verbouwens

Karel Appel (Amsterdam 1921-2006 Zurich), General smiling, 1966. Oil on canvas, 150 x 150 cm. Signed and dated lower right, signed, titled and dated on the reverse © Repetto Gallery

Provenance: Private collection, Italy

Alexander Calder (Lawnton 1898-1976 New York), Untitled, 1967. Gouache and ink on paper, 50 x 66 cm. Signed and dated lower left CA.68. © Alexis Lartigue

This work is registered in the Calder Foundation Archives under n° A30212

Provenance: Galerie Jacques Verrière, Lyon; private collection, France; sale Artcurial, Paris

Note: In 1968, Alexander Calder created this gouache in his studio in Saché, near Tours, where he had settled in 1953. This work, made using gouache and ink, is distinguished by a palette of black, blue, red, and orange. Like all his gouaches, it reflects the spontaneity and simplicity that characterise Calder's work.

The pieces created by Calder in Saché, where he founded "La Gouacherie" after moving there, are imbued with a minimalist poetry. This poetry emerges from pared-back means: elemental symbols, basic figures, and a palette of primary colours. Calder's gouaches directly echo his mobiles and stabiles. Although movement is physically absent from his gouaches, it is nevertheless suggested and imagined, introducing a temporal dimension that is frozen in space. This is how Calder captures a moment of movement in a static form.

This 1968 piece is no exception. Through planes of black, blue, red, and orange, Calder manages to convey a sense of balance and fluidity.

Pierre Soulages (Rhodez 1919-2022 Nîmes), Sans titre, 1967. Oil on canvas , 97 x 130 cm. Signed on the lower left. © Alexis Lartigue

This work is included in the catalogue raisonné vol. II, n° 601.

Provenance: Knoedler and Co, New York; private collection, USA; private collection, Paris

Literature: Soulages, L'oeuvre complet, Peintures vol. 2, 1959-1978, n° 60, p. 187 Buffalo, Knox Art Gallery, 1968, n° 16

Exhibitions: Soulages paintings since 1963, Knoedler and Co, New York; Museum of Art, Carnegie Institute, Pittsburgh; Albright-Knox Art Gallery, Buffalo

Note: 'In the hundred or so paintings created between the fall of 1963 and the end of 1967, the evolution of Soulages' painting is evident in several essential aspects: the much greater fluidity of the paint; the treatment of blacks in large flat areas; the brief reappearance of blacks on unpainted white backgrounds. Finally, note the return of very large formats and virtual polyptychs. From mid-63 onwards, there is almost a disappearance of scraping. This technique was technically linked to the thick quality of the layer deposited by the painter, to its paste-like character. On the contrary, the canvases now show large swathes of dark, black, or brown-black paint, where the much more liquid coloured material is no longer deposited and removed with the blade, but spread with a brush, in a movement that leaves practically no trace. The fluidity is such that some paintings have streaks of black paint running down'.

Antoni Tàpies (Barcelona, 1923-2012), Cap de gos, 1967. Acrylic, gouache and chalk on firm paper, 48 x 63 cm. Signed lower right: tàpies. Edouard Suimoens Gallery.

This work is registered in the Archives of the Comissio Tàpies under n° 1797

Provenance: Galerie Maeght, Paris; Galeria Dau al Set, Barcelona; Erker-Galerie, St. Gallen; private collection, Switzerland

Agostino Bonalumi (Vimercate 1935-2013 Monza), Rosso, 1965-1971. Shaped canvas and vinyl tempera. H 100 x W 80 x D 3.5 cm. Signed and dated on the reverse: 'Bonalumi / 71'; size on the stretcher '80 x 100' © Cortresi Gallery

Certificate of Authenticity Archivio Agostino Bonalumi, Milano, n° 71-014, technical report by Archivio Agostino Bonalumi

Provenance: private collection, Milano

Literature: M. Meneguzzo, F. Bonalumi (curators) Agostino Bonalumi, Catalogo ragionato, Milano, Skira, 2015, vol. II, p. 446, n° 492

Exhibitions: 2008, Agostino Bonalumi, Loggiato di San Bartolomeo, Palermo, (ill. 7); 2021, Agostiono Bonalumi. Ricucire la tela, curated by Marco Meneguzzo, Cortesi Gallery, Milano.

Kazuo Shiraga (Japan, Amagasaki 1924-2008), Ouichi, October 1973. Oil on canvas, 32 x 41 cm. Signed lower left; signed, titled and dated on the reverse © Repetto Gallery

Certificate of authenticity on photograph signed by David Juda, 15 June 2012

Provenance: Matsumoto Co. Ltd., Tokyo; Annely Juda Fine Art, London; private collection, Italy

Jef Verheyen (Itegem 1932-1984 Apt), Vendemia Eterna (Magie du Vin), 1982. Oil on canvas, 130 x 130 cm. Signed, dated and titled on the reverse © Axel Vervoordt

Olivier Debré (Paris, 1920-1999), 'Tout vert, taches violettes et jaunes', 1986. Oil on canvas, 113.4 x 162 cm. Signed, titled, situated and dated on the back 'O.DEBRÉ 'Tout vert, taches violettes et jaunes' Touraine 86' © Galerie Berès

Certificate of authenticity COD.23.490 issued by Sylvie Debré-Huerre dated 20 November 2023

Exhibition: Lausanne, Fondation de l'Hermitage, Basquiat, Dubuffet, Soulages... une collection privée, June-October 2016, p. 195, n° 115.

BRAFA 2025, 26 January-2 February

Posté par Alain Truong à 18:18 - Commentaires […] - Permalien [#]

Tags: 20th century art, Pierre-Auguste Renoir, Bernard Buffet, René Magritte, Alexander Calder, Antonio Saura, James Ensor, Lucio Fontana, Hans Hartung, Gustav Klimt, Egon Schiele, Kees Van Dongen, André Masson, Olivier Debré, Jean Degottex, Jean Dubuffet, Pierre Alechinsky, Antoine Mortier, Karel Appel, Pierre Soulages, Antoni Tàpies, Agostino Bonalumi, Kazuo Shiraga, Jef Verheyen