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Henry van de Velde
1863 - 1957
LANDSCAPE AT KALMTHOUT
stamped with the studio mark (on the reverse)
gouache on paper
25 x 32,5 cm; 9 7/8 x 12 3/4 in.
Executed circa 1889-90.
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This work will be inclued in the forthcoming Henry van de Velde catalogue raisonné being prepared by Xavier Tricot.

來源

Sale: Campo, Antwerp, 1957
Private collection, Belgium (and sold: Christie's, London, October 20, 1988, lot 40)
Philippe Massant, Brussels
Acquired from the above by the present owner in 1990

展覽

Zurich, Kunstgewerbemuseum, Henry van de Velde, 1963-1957 : Persönlichkeit und Werk, 1958, no. 10 (incorrectly described as oil on panel and dated circa 1891-92)
Hagen, Karl-Ernst-Osthaus-Museum (and travelling to Weimar, Berlin, Zurich, Gent and Nuremberg), Henry van de Velde: ein europäischer Künstler seiner Zeit, 1992-94
Brussels, Musées royaux d'Art et d'Histoire de Bruxelles; Weimar, Klassik Stiftung Weimar, Henry Van de Velde, Passion, Fonction, Beauté, 2013-14, no. 3.25 (Brussels), no. 39, illustrated in the catalogue p. 61
Weimar, Neues Museum, Leidenschaft, Funktion und Schönheit : Henry van de Velde und sein Beitrag zur europäischen Moderne, 2013, no. 165, illustrated in the catalogue p. 136 (under the title Kalmthout (Landschaftsstudie))

出版

Susan Marie Canning & Jean-François Buyck, Henry van de Velde (1863-1957), Schilderijen en Tekeningen, Paintings and drawings (exhibition catalogue), Antwerp, 1987, illustrated p. 179 (under the title Kalmthout Landschapsstudie)

相關資料

Henry van de Velde is best known as an architect and interior designer. Along with Victor Horta and Paul Hankar, he was one of the founders of Art Nouveau in Belgium. Yet he was also an accomplished painter, highly influenced by his friends, Georges Seurat and Paul Signac, and he was an important figure in the development of Neo-Impressionism. This magnificent watercolour, a very rare piece, depicts a landscape from the Antwerp region in true Divisionist style. It dates precisely from the year when Van de Velde joined the group Les XX and exhibited with them in Brussels. It was also during this period that he developed a long-lasting friendship with another pioneer of the Neo-Impressionist movement in Belgium, Theo van Rysselberghe.

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