Christie's /Dec 4, 2007
€80,000.00 - €120,000.00
Artworks in Arcadja44
Some works of Gustave Van De WoestijneExtracted between 44 works in the catalog of Arcadja
Auction: Christie's -Nov 27, 2012 - AmsterdamLot number: 16
Other WORKS AT AUCTION
Gustave Van de Woestyne (1881-1947) Portrait of Valerius De Saedeleer signed and dated 'Gve van de Woestijne/1914' (lower right) oil on canvas 220 x 145 cm. Painted in 1914. Dr. Paul Van de Woestyne, Brussels. M. Victor De Zutter, Waregem. Anonymous sale, Christie's, London, 16 October 1990, lot 24. Acquired at the above sale by Galerie Oscar De Vos, Sint-Martens-Latem. Acquired from the above by the present owner, 2007. André de Ridder, Sint-Maertens-Laethem: kunstenaarsdorp, Brussels, 1946, no. 66, p. 469 (illustrated p. 155). Firmin van Hecke, Gustave Van de Woestijne, Antwerp, 1949, p. 2 (illustrated). Paul Haesaerts, Laethem-Saint-Martin: le village élu de l'art flamand, Brussels, 1965, no. 740, p. 493 (illustrated). Piet Boyens, Sint-Martens-Latem: Kunstenaarsdorp in Vlaanderen, Tielt, 1992, p. 636 (illustrated). Joost De Geest (a.o.), Gustave Van De Woestyne (1881-1947), Ghent, 1997, no. 30, pp. 134-135 (illustrated). Venice, XIVe Biennale, April-October 1924, no. 1365. Basel, Kunsthalle, Ausstellung Belgischer Kunst, 15 March - 5 April 1925. Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, 2-24 March 1929, no. 46. The Hague, Gemeentemuseum/Utrecht, Centraal Museum, Vlaamse kunstenaars van de Leie 1890-1940, May-August 1947, no. 28. Paris, Musée National d'Art Moderne, Laethem-Saint-Martin: Colonie d'artistes en Flandre 1890-1940, 16 April - 15 May 1948, no. 41. Eindhoven, Stedelijk Van Abbemuseum/Ghent, Museum voor Schone Kunsten, Gustaaf Van de Woestijne, 24 March - 22 May 1949, no. 17. Hasselt-Deinze, Ministerie van Openbaar Onderwijs, Gustave Van de Woestyne, December 1949 - January 1950, no. 14. Brussels, Palais des Beaux-Arts, L'Expressionisme belge, November-December 1951, no. 20. Paris, Musée National d'Art Moderne, Les sources du XXe siècle, 4 November 1960 - 23 January 1961, no. 758. Paris, Musée de l'Orangerie, L'Art flamand: d'Ensor à Permeke, 20 February - 20 April 1970, no. 238. Antwerp, Koninklijk Museum voor Schone Kunsten, Gustave Van de Woestyne 1881-1947, June-September 1981, no. 48. Brussels, Musées Royaux des Beaux-Arts, Le premier groupe de Laethem-Saint-Martin, 28 October - 31 December 1988, no. 71. Deinze, Museum van Deinze en Leiestreek, Gustave Van de Woestyne 1881-1947, 27 September - 14 December 1997, no. 30. Ghent, Museum voor Schone Kunsten/Deinze, Museum van Deinze en Leiestreek/Deurle, Museum Dhondt-Daenens, Les artistes de Laethem-Saint Martin, 17 June - 23 September 2001. Deinze, Museum van Deinze en Leiestreek, Retrospectieve Valerius De Saedeleer, 23 September - 26 November 2006. Spanbroek, Scheringa Museum voor Realisme, Bevriende Meesterschilders: Gustave Van de Woestyne en Valerius de Saedeleer, 19 October 2008 - 1 February 2009, no. 34. The present lot was painted in Tiegem, where Van de Woestyne moved to in February 1912 to live close to his friend and fellow-painter Valerius de Saedeleer. The two painters met a few years earlier in Sint-Martens-Lathem and were - despite their different backgrounds and characters - a great inspiration for each other. Depicted is an impressive full-length portrait of De Saedeleer as a painter (his palette lays on the ground) in the rural surrounding of Tiegem in 1914. Van de Woestyne found inspiration in the daily life of the farmers around him, and his intentions are often moralistic and religious. His works reveal a strong influence of Pieter Breughel and other Flemish primitive masters, which is visible in the present painting. His strong social engagement is reflected in the many portraits of farmers he painted during the years 1908-1914. 'Les têtes de paysans [...], d'une grande monumentalité, elles ont une allure la fois naturaliste et expressionniste' (see: J. de Geest, Gustave van de Woestyne 1881-1947, Ghent, 1997, p. 33). It is certainly not without reason that Van de Woestyne is often considered 'l'un des portraitistes les plus brillants et les plus sensibles de son temps' (see: C. Collin, Gustave van de Woestyne, L'Art et l'esprit, Brussels 1993, p. 18). Van de Woestyne can been seen as one of the most important representative of the first symbolist generation of the School of Sint Martens-Latem and his work is influenced by the spiritualizing tendency of the symbolists George Minne and Valerius de Saedeleer, nevertheless the intensity of his psychological portraits announces already the expressionism that became visible in the second generation. After the outbreak of the war, the families of Van de Woestijne and De Saedeleer flew on 23 October 1914 to The Netherlands and left their homes in Tiegem.
Auction: Christie's -Jun 5, 2012 - AmsterdamLot number: 3
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Gustave van de Woestyne (1881-1947) Carafe d'eau et cafetière signed 'Gve van de Woestyne' (lower right); and signed again (on the stretcher) oil on canvas 55.5 x 50 cm. Galerie Oscar de Vos, St. Martens-Latem (acquired directly from the family of the artist). Acquired from the above by the present owner, 2001.
Auction: Christie's -Nov 17, 2010 - AmsterdamLot number: 116
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Gustave van de Woestyne (1881-1947) Adrienne de Zutter: Adrienne with a violin signed 'Gve van de Woestyne' (lower left), and with inscription 'àAdrienne/de Zutter/Gve v.d. W./1920' (on the reverse) oil on canvas 210 x 110 cm. Painted in 1920. Please note the present lot should be dated 1920 and not 1922 asmentioned in the printed catalogue. The painting is inscribed 'àAdrienne/de Zutter/Gve v.d. W./1920' (on the reverse). And please note the painting has been exhibited in Malines,Cultureel Centrum Burgemeester Antoon Spinoy at the exhibitionGustave Van de Woestyne. 1881-1947, September-October 1967, as:Adrienne met de viool. PROPERTY OF A PRIVATE BELGIAN COLLECTION Mr. Charles De Zutter, Kortrijk (acquired from theartist). Mr. Paul van de Woestyne, Brussels (gift from the above). And thence by descent. Robert Hoozee, Catherine Verleysen, Gustave van de Woestyne,Ghent 2010, cat.no. 78, ill.. Malines, Cultureel Centrum Burgemeester Antoon Spinoy, GustaveVan de Woestyne. 1881-1947, September-October 1967, as: Adriennemet de viool. Ghent, Museum voor Schone Kunsten, Gustave van de Woestyne, 27March-27 June 2010, cat.no. 78. Gustave van de Woestyne is art-historically placed between therepresentatives of the first symbolic generation. His art is theproduct of an individual imagination but shows also influences fromthe past, especially the Middle Ages have been of large inspirationto him. His oeuvre can be classified roughly in three groups: hispeasant life representations, the religious compositions and theportraits. The portrait group can be split up further in twoperiods: in the first group portraits, up to approximately 1919,Symbolism and Expressionism influence each other. As from 1920 onthe Realism van de Woestyne reaches in his portraits is related tothe New Objectivity movement. It is on insistence of his brother Karel that Gustave and hisfamily returned to Belgium in 1920, after having lived theWar-period in England. He convinces him by saying 'There are someyoung expressionists who do a rather interesting work; but nothingripe, nothing accomplished does emerge. And this is why I insistthat you and [George] Minne show what you have made. For everyonehere, it would be like hearing the clock of death'. It is inWaregem that the Van de Woestyne family was installed between 1920to 1925 in the villa 'Rozenhuis' on the property of Charles DeZutter and his wife Marguerite Taelman. Obviously, the artistprofited from the patronage of the couple. In the catalogue of theretrospective of Van de Woestyne in Brussels in 1929, the name ofDe Zutter appeared beside eighteen works. The present lot was painted in 1922 in a transition period, as thework clearly shows symbolic elements in the landscape. Van deWoestyne generally painted little to nothing of the environment ofthe represented person, which gave a timeless character to hisportraits. In the present lot Adrienne, the daugther of Charles andMarguerite De Zutter, is melancholically staring in an imaginarilyundulating landscape with the violin in her hands. From this freshand sensitive painting speaks an unmistakable affection of Van deWoestyne for the girl. The artist made two portraits of Adrienne,who would later marry Paul Van de Woestyne, the son of the poetKarel van de Woestyne.
Auction: Christie's -Dec 4, 2007 - AmsterdamLot number: 103
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Gustave van de Woestyne (BELGIAN, 1881-1947) Les Cavaliers signed 'G. van de Woestyne' (lower right) oil on canvas 65 x 75.5 cm. Painted circa 1913. Provenance M.M. Speth, Belgium. Literature Karel van de Woestyne, Gustave van de Woestyne, Edition du Palais des Beaux arts, Brussels 1929, no. 165. Exhibited Antwerp, Kunst van Heden, George Minne en Gustave van de Woestyne, 21 May-26 June 1927. Mechelen, Cultureel Centrum Burgemeester Antoon Spinoy, Gustave van de Woestyne, 3 September-22 November 1967.
Auction: Sotheby's -Dec 1, 2004 - AmsterdamLot number: 41
Other WORKS AT AUCTION
measurements 209 by 190 cm. description signed and dated 1928; signed, titled and dated 1928 on the reverse oil on canvas exhibited antwerp, ministerie van nationale opvoeding en nederlandse cultuur, koninklijk museum voor schone kunsten, g. van de woestijne, 1981, no. 91, illustrated literature and references p. haesaerts, saint martin laethem. le village élu de l' art flamand, brussels 1970, p. 500, no. 804, illustrated catalogue note gustave van de woestijne was born in gand, belgium in 1881. around 1899 he moved to st martens-latem to join a group of artists who had settled there, among which albijn van den abeele, valerius de saedeleer, george minne and albert servaes. they were called the first group of st. martens-lathem. although surrounded by artists who worked in an expressionist way, gustave van de woestyne developed his own characteristic style. he was inspired by the flemish primitives that he saw at an important exhibition in bruges in 1902. after world war i his works showed sharp contours and moderate colours, as in the quattrocento frescos. apart from that he developed a keen feeling for european influences such as the french cubism and german expressionism. in 1928, the year he paints la mere et son enfant, van de woestijne becomes a teacher at the institut superieur des arts decoratifs at the terkameren abbey in brussels. he works there under the supervision of henri van velde who had lived for a long time in germany where he was strongly influenced by the movements there. van de woestyne his inclination towards the neue sachlichkeit can be explained by this. the representatives of the neue sachlichkeit depict their subjects in a grotesque and monumental way, they have a critical view on their social surroundings and revert to the techniques of the old masters. in this period, van de woestyne's affiliation is more to artists such as otto dix and christian schad, than to the flemish expressionists of his time such as gustave de smet and constant permeke. this influence is clear in la mère et son enfant. the work is painted in the grotesque and monumental way of the italian fresco painters that he saw in san marco on his trip to italy in 1927. the present painting demonstrates the great quality and the individuality of the artist gustave van de woestijne who, despite external influences, always remained rue to his own style.