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Schiller Art Gallery

Schiller Art Gallery is buying and selling Tribal & Modern Art. Building art collection on your side. We are looking for new acquisitions for our future events.

Schiller Art Gallery is buying and selling Tribal & Belgian Modern Art. Helping collectors to build, improve and enrich their collection.

01/08/2026

Paul Delvaux (1897-1994)
Watercolour on paper
Title : Duinen te Coxyde
Signed and dated (1953)
Personalized inscription to family Stynen
Exhibited in Ostend
Provenance : Leon Stynen's estate
72x54cm frame included

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A Friendship

Ostend, 1952.

Architect Léon Stynen is rebuilding the Kursaal, destroyed during the war.

He turns to his friend, painter Paul Delvaux, to bring the walls to life.

Delvaux spends months on the scaffolding, painting his mural by hand.

What began as a commission becomes something more lasting.

In 1953, Delvaux gives the Stynen family a gift: a watercolor of the dunes at Koksijde.

Signed. Dated. Dedicated "très amicalement" — very warmly.

An exhibition label even lists Stynen himself as the work's lender.

Decades later, the piece is still kept by the Stynen family.

Behind one of Belgium's most iconic murals is a quieter story — of two men, one Kursaal, and a friendship that outlasted the paint.

Today, this rare piece is on the market now at Schiller Art Gallery.

31/07/2026

Today I talked with Marc Van Hoe (Marc Van Hoe collection) with whom I share my passion for design and industrial drawings. We had met at the exhibition at the Horta Museum.

Marc, always a pleasure to see you and discuss projects.

More information about Marc Van Hoe collection
https://the-van-hoe-collection.be/en/1/

24/07/2026

Yves Zurstrassen (1956)
Oil on canvas
130x200cm
Circa 1985-1990
Private collection Eupen
Not on display in Sint Idesbald
Private viewing in Liege

This untitled composition belongs to the formative decade of Yves Zurstrassen's practice. Born in Liège in 1956 and largely self-taught, Zurstrassen learned his craft during the 1980s by frequenting artists' studios and retrospectives of painters he felt an affinity with, including Fernand Léger, Stuart Davis, Willem de Kooning and Mark Tobey, and this canvas carries the visible imprint of that dialogue.

The palette is deliberately restrained — near-monochrome, built from blacks, umbers and off-white creams, with passages of chalky white swept in broad, dry arcs across the right-hand side of the canvas.

Thick, gestural verticals dominate the left and centre, laid down with the loaded brush of someone working fast and physically, the paint dragging and catching on the weave of the canvas to leave a scraped, almost charcoal-like texture. Loops and hooked strokes at the top left recall calligraphic gesture, while thin drips and spatter marks running down the surface record the process itself as part of the finished image.

Formally, the work sits closer to the vocabulary of American gestural abstraction — de Kooning's black-and-white paintings, Kline's structural verticals — than to the saturated, jazz-inflected colour fields Zurstrassen would become known for later in his career.

21/07/2026

Silvin Bronckart (1915-1970)
Title : Féérie
Signed
Dated : 1947 (identified)
Dimensions : 52.5x40.5cm
Provenance : Silvin Bronckart's estate

Silvin Bronkart, born in Liège on 14 June 1915, trained at the Institut Saint-Luc under Jean Julémont and Félix Proth before the war interrupted his early career. By the mid-1940s, having survived the wartime exodus to southern France, he had settled back in the Liège region with his wife Lucie, daughter of the painter Edgar Scauflaire.

In 1946 he travelled to Lausanne, Switzerland, where his sister lived, and exhibited a small group of works at the painter Bonny's studio there. That same year his daughter Françoise was born.

The year 1947 marked a turning point: Bronkart was formally co-opted as a member of APIAW (Association pour le Progrès Intellectuel et Artistique en Wallonie), and in May he exhibited alongside Pierre Michel, Maurice Léonard, and Armand Silvestre. Critics of the time described his palette as delicate and finely nuanced, praising his bouquets of flowers, shells, and still lifes for their subtle, almost enchanted charm — reviewers spoke of arabesques and colored harmonies that gave his canvases distinction and grace. It is in this poetic, dreamlike register, hovering between still life and the marvelous, that his work of 1947 is often situated, evoking a "féerie" of shells and flora described by contemporary critics as full of "caprices of magic."

By 1948, Bronkart exhibited with Léonard at the Galerie Lou Cosyn in Brussels, showing pieces such as "Contingences," "Fleurs," "Aérolithe," and "Angoisse." Critics noted his gradual shift away from strict surrealism toward a more constructed, classical sensibility, while still praising the refined, almost Verlainian rhythm of his small compositions.

That same year, alongside Georges Collignon and Léopold Plomteux, he laid the groundwork for what would become the Réalité-Cobra group, founded in late 1948–49.

17/07/2026

Jo Delahaut
Oil on canvas
Signed and dated 1980
Title : Fondement n°4
54x37cm

Jo Delahaut: Pioneer of Geometric Abstraction

Jo Delahaut (1911–1992) stands as one of the towering figures of Belgian abstract art. Born in Vottem, near Liège, he trained at the Académie royale des Beaux-Arts de Liège under Auguste Mambour and went on to earn a doctorate in art history at the University of Liège — a rare academic grounding that shaped his intellectual, almost scholarly approach to painting. Delahaut began his career working in an Expressionist vein, but a pivotal encounter with Auguste Herbin redirected his path entirely. By the late 1940s he had committed himself to a rigorous geometric abstraction, becoming one of the first Belgian artists to embrace this language so radically. In 1946 he joined the Salon des Réalités Nouvelles in Paris, and the following year became involved with the movement that would define his generation of Belgian artists linked to abstraction.

Delahaut worked in cycles and series, treating geometry not as decoration but as the very foundation — the "fondement" — of his pictorial thinking. For him, color was never incidental; he described it as the "light of the soul," and across his career it took on an increasing autonomy, culminating in the 1980s in his celebrated series of "squares," where chromatic relationships became the central subject of the work. Pieces from this period — bearing titles that often referenced number and sequence, in keeping with his serial method — reflect a mature synthesis of Constructivist discipline and a deeply sensory relationship to color.

11/07/2026

Maurice Wyckaert
Oil on canvas
100x85cm
Signed and dated (1961)

When, in 1956, Maurice Wyckaert meets Asger Jorn – they would remain becoming lifelong friends – his painterly activity takes on a totally new direction. He not only begins to paint differently, he also adopts a nomadic lifestyle, with many trips and always other ateliers. His work is more often seen in Germany and Italy than here at home.

Maurice Wyckaert's work shows that abstract signs don't have to clash with figurative motifs. His pictorial lineage stretches from the Renaissance to Cobra, including Fernand Léger, Karl Schmidt-Rottluff, and especially the Flemish Expressionists like Constant Permeke.

A great colorist and brilliant draftsman, Wyckaert paints what he sees and what he remembers. He pushed Kandinsky's lesson to the extreme: color and form reshape motifs until they become unrecognizable, revealing the power of painting itself.

Moreover, he usually chooses to paint what's most fleeting and changeable: a cloud, a landscape ...

08/07/2026

Le Baiser — Marcel-Louis Baugniet
Gouache on paper

A gouache study for the 1925 painting, reduced to pure geometric planes of blue, ochre and brick red. Two lovers, one continuous line.

Marcel-Louis Baugniet was a Belgian artist of many talents. In addition to painting, which he continued to do almost up to his hundredth birthday, he also created theatre costumes and sets, posters, tapestries, collages and furniture. He is known above all as a constructivist painter and champion of “Pure visual art”. This geometric abstract art form, associated with an elegant and delicate play on colours, is characteristic of his work.

Quite early on, Baugniet left his native city of Liege for Brussels, where he studied at the Fine Arts Academy alongside Magritte and Delvaux. He then went to Paris, where he was influenced by the Cubism of artists such as Léger and Zadkine and by the architect Le Corbusier. In Paris he also discovered the abstract art of Kandinsky, Mondrian and Delaunay and it was here too that his fascination with Russian Constructivism was born.

In 1922, Baugniet returned to Belgium and married the avant-garde dancer Akarova, for whom he created theatre costumes and sets that were full of geometric shapes. He also contributed to the Brussels modernist review 7 Arts, which aimed to provide a synthesis of all the arts and to position form as being more important than figuration. This movement took the name of “Plastique pure” (Pure visual art). During the 1920s, Baugniet was particularly active as an avant-garde artist, although he never received the recognition he deserved. Perhaps he was quite simply ahead of his time.

Copyrght : King Baudouin Foundation

02/07/2026

Zephir Busine, Abstract Composition (1957)

One of the artist's earliest departures from realism. Diluted oil worked like gouache on hardboard — a rare, unmistakable technique from a defining moment in Belgian post-war painting.

Provenance and full details available on request.

Now offered at Schiller Art Gallery.

26/06/2026

Antwerp, late 1960s. In his studio, Guy Vandenbranden (1926–2014) was redefining Belgian abstraction — bridging the rigorous geometry of De Stijl with the optical intensity of Vasarély's Op Art.

From 1967 onward, he abandoned the brush for the spray gun, applying cellulose lacquer directly onto the panel — a technique that gave his hard-edge compositions their signature glassy depth and saturated color.

This work, Composition (1973), captures that mature period: interlocking chevrons in lacquered color, precise and luminous, from a private collection in Koksijde, Belgium.

Vandenbranden's paintings are held today in the Royal Museums of Fine Arts of Antwerp and Brussels — part of the broader story of Belgian post-war geometric abstraction.

24/06/2026

John Chapman Lewis (1920–1994)

John Chapman Lewis was a native Washingtonian whose six-decade career placed him at the center of the city's postwar art scene. Trained and later teaching at the Corcoran School of Art, he went on to serve as artist-in-residence at Marymount College, mentoring a generation of painters while continuing to develop his own singular voice.

Lewis worked in traditional oil paint thinned with turpentine, applied in successive washes onto linen canvas he primed himself — a deceptively simple method that produced richly layered, luminous surfaces. Notably, he never used white pigment: the glow in his paintings rises instead from the bare white gesso ground beneath the color, light functioning as both subject and structural principle.

His early work drew on observed motifs — nets drying against sea and sky — before evolving into a fully abstract language rooted in the rhythms of the natural world. After relocating from Washington to the West Virginia countryside, Lewis settled into a contemplative rural life that reshaped his painting: canvases inspired by river bends, autumn leaves, and mountain light, built from washes of orange, ochre, and deep black in dialogue with one another.

Lewis exhibited steadily throughout his career, including at the Metropolitan Museum of Art, the Corcoran Gallery of Art's American Painting Biennial, and the Pennsylvania Academy of the Fine Arts. He held one-man exhibitions at the Franz Bader Gallery in Washington across four decades, and in 1973 was given a solo show at the Phillips Collection — one of the most respected venues for modern art in the United States. His work is held in public collections including the Corcoran Gallery of Art, the Phillips Collection, and the International Monetary Fund.

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