Auction 1121, Modern Art - Autumn 2018, 30.11.2018, 17:00, Cologne Lot 456

Victor Servranckx, Projet de papier peint (Tapestry design with rose)

Victor Servranckx, Projet de papier peint (Tapestry design with rose), 1922, Auction 1121 Modern Art - Autumn 2018, Lot 456

Victor Servranckx

Dieghem near Brussels 1897 - 1965 Elewijt (Belgium)

Projet de papier peint (Tapestry design with rose)

1922

Gouache resp. tempera over pencil on thin parchment paper, mounted on card support of mat. The lateral margins each with collage of narrow coloured paper strips. 66.4 x 56.8/57 cm. Framed under glass. Signed and dated 'SERVRANCKX 1922' in black lower centre. - The corners with drawing pin holes. Old traces of folds, a strong horizontal one in the midst of sheet. Isolated losses of colour and smaller marginal defects due to age. With fine, vibrant colours.

Provenance

Galerie Gmurzynska; acquired there in 1986, since then private possession Switzerland

Exhibitions

Bottrop 1981 (Quadrat Bottrop), Victor Servranckx, cat. no. 28 ("Ohne Titel", with label on frame backing); Galerie Gmurzynska, Cologne (with the two different Cologne gallery labels on frame backing, "Tapetenentwurf mit Rose")

Early on Servranckx devoted his artistic attention - analogously to the efforts of the international Constructivist avant-garde of the time - to the field of applied art. In 1917 he had already begun to work at the Belgian wallpaper factory U.P.L. (Usines Peters Lacroix), which was widely known at that time and was based in Haren. This is where he met René Magritte, who likewise worked there as a designer in the early 1920s. Servranckx also dedicatedly occupied himself with the drafting of interior architectural designs later on: from 1932 he held a professorship at the École des Arts Industriels et Décoratifs in Ixelles. In 1925/1926 this special focus of his talents led to a turning point between periods in his painted oeuvre. By then the artist had become the leading designer at U.P.L. and exercised a decisive artistic influence on their production, “trying out new methods of design, new relationships of forms”, as was remarked with approval in Berlin at that time. (Alfred Durus in the Spartacist magazine “Die Rote Fahne”, Berlin 1925, cited in: exhib. cat. Victor Servranckx, Bruges 1958, p. 54).

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