Léon Spilliaert

Guillaume Campo, Anvers
Collection particulière, Ostende
Collection particulière, Belgique (acquis auprès du précédent en 1965)
Par descendance au propriétaire actuel

Anvers, Guillaume Campo, Rétrospective Léon Spilliaert, 1965, no. 22 (titré Reflets dans la pluie)
Bruxelles, Musée d'art moderne (Musées royaux des beaux-arts de Belgique), Hommage à Léon Spilliaert, 1972, n.n.
Francfort, Frankfurter Kunstverein, Steinernes Haus am Römerberg, Pastelle und Zeichnungen des Belgischen Symbolismus, 1988, no. 220

Francine-Claire Legrand, Léon Spilliaert et son époque, Bruxelles, 1981, no. 35, reproduit p. 54

This work is generally in good condition. Executed on cream wove paper, not laid down. The sheet is fixed to the over-mount along the edges. There are remnants of an old mount visible along the reverse of the edges. There are some scattered flattened creases running horizontally across the composition, mostly visible from the reverse, with some associated minor restored tears towards the edges. A close inspection reveals a small spot of restoration to cover some minor surface abrasion in the lower left quadrant. According to our paper restorer, this work would benefit from a simple intervention to remove the remnants of old mount on the reverse of the sheet and the appearance of the flattened creases (which are likely due to the sheet having been rolled at one point) could be improved (although not concealed completely) without complication.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"Dans l'œuvre de Spilliaert abondent les étendues désertiques plongées dans une nuit d'encre de Chine. Noctambule, le peintre aprivoise la nuit au point d'en faire la complice de ses errances vespérales et solitaires. Du phare aux galeries royales d'Ostende, l'homme déambule au fil de la digue que le soir dépouille, bien souvent, de toute présence humaine. [...] Par la dilution des formes dans une atmosphère monochrome, Spilliaert semble tirer la leçon des nocturnes de Whistler et des noirs de Redon. Enveloppé par une nappe obscure, chaque motif perd l'évidence de son apparence diurne pour se transformer, comme dans Digue, Reflet de lumière (1908), en un signe plastique dont l'inquiétante étrangeté réside dans l'incertitude de ses limites."

Denis Laoureux, in Léon Spilliaert, Un esprit libre (catalogue d'exposition), Musée royaux des Beaux-Arts de Belgique, Bruxelles, 2006-07, pp. 72-73