Marcus de Vestele (1941-2024) - Composition Cobra aux deux têtes Aquarelle et encre sur papier, 1978





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Marcus de Vestele, Composition Cobra aux deux têtes, aquarelle and ink on paper, 25 cm by 33.5 cm, Original edition, dated 1974, signed, Belgian origin, condition Good.
Description from the seller
Marcus de Vestele (1941-2024) Composition with two heads. Watercolor and ink on paper, 1978
Signature: Signed and dated bottom right, in red pencil: MARCUS 78
Stamp of the studio on the back: “Marcus de Vestele – Atelier de l’artiste”
Dimensions: 33.5 × 25 cm
Sold unframed
Condition:
Good general studio condition. Cream paper, some light signs of aging consistent with a work from 1978, coming directly from the artist’s studio. Recto clean.
Provenance: Artist’s studio of Marcus de Vestele.
Description:
Cobra composition by Marcus de Vestele, dated 1978.
Two dark heads face each other in a charged field. On the left, a black mass with a white face, hollowed eye, flanked by an intense blue. In the center, a second, more compact face, black and green, striped with scratched or reserved whites. On the right, the sheet opens: yellow, gray, and a vertical orange plane anchoring the bottom. The stroke is broad, the black dominates, color arriving in splinters.
The gesture is denser than in the light sheets of the same period: saturated ink, additions, whites of the paper playing as lights. Primitive figuration, almost masks, tension between human presence and abstraction. Theatrical and archaic quality, typically Cobra.
A characteristic piece of Marcus de Vestele’s 1978 paper production, directly from the artist’s studio.
Biography:
Marcus de Vestele (1941-2024) was a Belgian artist primarily known as a marble sculptor (notably in Carrara and with Bardiglio marble). Alongside his sculptural practice, he developed throughout his life a significant pictorial production, long kept confidential and today sought after by collectors.
Strongly influenced by the Cobra movement (Karel Appel, Asger Jorn, Pierre Alechinsky, Corneille, Constant), he retained its primitive figuration, spontaneous line, and the tension between figure and abstraction.
His works on paper from the 1970s combine the rigor of the sculptor with a free gestural style. Directly from the atelier, this production constitutes an essential facet of his oeuvre."
Seller's Story
Marcus de Vestele (1941-2024) Composition with two heads. Watercolor and ink on paper, 1978
Signature: Signed and dated bottom right, in red pencil: MARCUS 78
Stamp of the studio on the back: “Marcus de Vestele – Atelier de l’artiste”
Dimensions: 33.5 × 25 cm
Sold unframed
Condition:
Good general studio condition. Cream paper, some light signs of aging consistent with a work from 1978, coming directly from the artist’s studio. Recto clean.
Provenance: Artist’s studio of Marcus de Vestele.
Description:
Cobra composition by Marcus de Vestele, dated 1978.
Two dark heads face each other in a charged field. On the left, a black mass with a white face, hollowed eye, flanked by an intense blue. In the center, a second, more compact face, black and green, striped with scratched or reserved whites. On the right, the sheet opens: yellow, gray, and a vertical orange plane anchoring the bottom. The stroke is broad, the black dominates, color arriving in splinters.
The gesture is denser than in the light sheets of the same period: saturated ink, additions, whites of the paper playing as lights. Primitive figuration, almost masks, tension between human presence and abstraction. Theatrical and archaic quality, typically Cobra.
A characteristic piece of Marcus de Vestele’s 1978 paper production, directly from the artist’s studio.
Biography:
Marcus de Vestele (1941-2024) was a Belgian artist primarily known as a marble sculptor (notably in Carrara and with Bardiglio marble). Alongside his sculptural practice, he developed throughout his life a significant pictorial production, long kept confidential and today sought after by collectors.
Strongly influenced by the Cobra movement (Karel Appel, Asger Jorn, Pierre Alechinsky, Corneille, Constant), he retained its primitive figuration, spontaneous line, and the tension between figure and abstraction.
His works on paper from the 1970s combine the rigor of the sculptor with a free gestural style. Directly from the atelier, this production constitutes an essential facet of his oeuvre."

