Albert Saverys

Albert Saverys (Belgian, 1886-1964) Paysage de la Lys signed and dated 'Saverys/ 54' (lower left) oil on canvas 100 x 120cm (39 3/8 x 47 1/4in). Painted in 1954 PROVENANCE Acquired in Belguim (before 1962). Thence by descent to the present owner. This work will be included in the forthcoming Albert Saverys monograph being prepared by Drs. Peter J.H. Pauwels. This landscape depicts flooding on the River Lys in Belgium, probably in the neighbourhood of Sint-Maartens-Latem between the cities of Deinze and Ghent. The Lys was a great source of inspiration for Flemish artists in the later nineteenth and early twentieth century, with figures such as George Minne, Léon and Gustave de Smet, Theo van Rysselberghe and Constant Permeke spending much time in the neighbourhood. Its landscapes were refracted through their various approaches to painting, and they were inspired, among other stimuli, by the quality of the light, a desire to return to Nature and an associated impulse to return to the apparent simplicity of the Flemish Primitives. Many of these artists were drawn to the village of Sint-Maartens-Latem which gave its name to their evolving style. Albert Saverys lived for many years in a villa overlooking the river. During the winter months the river floods regularly, and the expanse of floodwater then reflects the enormity of the Flemish skies and provides a magical sight which became a favoured subject throughout his career.

Saverys Albert 1886_1964 Belgique Nature morte aux canards (1957) Toile Sig. '57 80 x 100 cm Étiquettes d'expositions au dos «Retrospectieve tentoonstelling» Singer Museum, Laren (Gooi) 1960, no. 16 Retrospectieve tentoonstelling - Albert Saverys»« Museum Leiestreek, Deinze 1982, no. 90 «

Albert Saverys (Belgian, 1886-1964) Winter landscape signed 'Saverys' (lower right) oil on canvas 154.5 x 194cm (60 13/16 x 76 3/8in). Footnote: Saverys was one of the second generation of painters living and working at Laethem-Saint-Martin, located on the River Lys near Ghent. Opposed to Impressionism, the painters at Laethem-Saint-Martin sought to find a more expressive style through which to render their compositions. Like Valerius de Saedeler before him, Saverys found inspiration in the expansive landscape and delicate light of the Lys area. Arguably Saverys' most successful renderings of the atmosphere at Laethem-Saint-Martin occur in his winter scenes, characteristic elements of which include strong silhouettes of windmills against broad skies and partially frozen lakes glistening in the winter sun. In Winter Landscape , Saverys used strong rapidly applied brushstrokes to imbue the composition with an energy, arguably mirroring the force of nature. Yet there is stillness to the composition, evoking a sense of nature frozen but on the brink of awakening. A desire to capture seasonal change connects Saverys' works to the Flemish tradition, most notably Bruegel. However Saverys’’ canvases find international appeal.

Albert Saverys (1886-1964) A winter landscape signed lower right Saverys oil on canvas 120 x 133 cm Executed circa 1924-1925 Lot Notes Albert Saverys was one of the younger members of the so-calledSecond Generation of painters from Latem. At the Academy of Ghenthe resisted the efforts of his masters to bracket him too closelyin any of the prevailing schools. "Comme jeune artise indpendant,il rompit d'abord, comme il se doit, avec l'acadmisme no-romantiquemais sans se pencher nanmoins vers l'expressionisme lineaire, en secontentant de la technique impressioniste trs apprecie cetteepoque, avec des nuances pointillistes et luministes" (A. Corbet,Albert Saverys, Antwerp 1950). Saverys first developed his maturestyle with as Haesaerts says "Un certain divisionisme mme largescoups de brosses". Around 1925 Saverys prefered to paintlandscapes, mainly snowy winter landscapes, which show aresemblance with Valerius De Saedeleer and sometimes remind us ofthe hilly landscapes by Breughel. The present lot is a typicalexample of that period, with subtle colours and a clear division ofplanes.