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Gustave Van De Woestyne (1881-1947)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A DISTINGUISHED PRIVATE BELGIAN COLLECTION
Gustave Van De Woestyne (1881-1947)

Derniers fruits premières fleurs

Details
Gustave Van De Woestyne (1881-1947)
Derniers fruits premières fleurs
signed and dated 'Gve Van De Woestyne 28' (lower right); titled 'Derniers fruits premières fleurs' (on the reverse)
oil on canvas
90.5 x 71 cm.
Painted in 1928
Provenance
Anonymous sale, Gerome, Brussels, 10 February 1930, lot 93.
Ivan Altenloh, Brussels.
Exhibited
Brussels, Palais des Beaux Arts, Gustave Van De Woestijne, 2 - 24 March 1929, no. 156.
Belgische Staat, Ministerie van Openbaar Onderwijs, Gustaaf Van De Woestijne, no. 36.
Antwerp, Koninklijk museum voor Schone Kunsten, G. Van De Woestijne, 12 June - 13 September 1981.
Ghent, Bank Brussel Lambert, Bloemen uit Latem en Leiestreek, 19 April - 5 May 1985.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lisa Snijders
Lisa Snijders

Lot Essay

During the 1920’s Gustave Van de Woestyne developed a special interest for still lifes, next to his monumental projects. These still lifes were never plain, but often with more unusual compositions, meditative and spiritualized, withdrawn from time and space. The silhouettes of the objects are well defined, the composition is clear and the shapes are elegant and reduced to the essence. Predominantly flowers, plants and fruits were depicted. The still lifes from the 1920’s have a bright palette, given them a certain cool tone, while in the next decennium the colours become darker and gain warmth. From the fact that Van de Woestijne often exhibited his still lifes, we can conclude that he considered them full-fledged works of art. (R. Hozee, C. Verleysen, Gustave Van de Woestyne, Brussels 2010, pp. 210, 219.)


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