Eugène Eechaut (1928-2019) Ink on paper, signed and dated. This set presents two ink drawings from 1973, created in one of Eugène Eechaut’s most recognizable and distinctive styles. Executed in ink on paper, the works demonstrate the artist’s masterful control of line, rhythm, and contrast. Dense sequences of parallel strokes form sharp, architectural shapes that appear to hover between abstraction and figuration, giving the compositions a strong sense of movement and tension. Eechaut draws inspiration from the surrealist visual language of Belgian masters as well as from biomechanical forms associated with H. R. Giger, yet transforms these influences into a personal and original vocabulary. The resulting forms feel both organic and mechanical—suggestive of hybrid structures, fragments of imagined beings, or symbolic constructions emerging from the paper. Precision and intuition coexist, revealing the artist’s deep technical confidence with ink. Both works are hand-signed and bear the artist’s studio stamp, confirming their authenticity. Presented together as a two-piece set, they create a strong visual dialogue when displayed side by side. The drawings are framed in simple, understated frames and are ready to be hung, making them immediately suitable for display. Together, they offer a compelling example of Eechaut’s mature graphic work and his ability to merge discipline, imagination, and expressive force into a striking visual statement. The dimensions with a simple frame measure 43 × 33 cm About the artist: Eugène Eechaut (1928–2019) was a Belgian artist whose career evolved at the crossroads of imagination, technical discipline, and artistic dialogue. He began gaining recognition in 1958, when he received his first distinctions from the European Center for Art and Aesthetics. Early in his career, Eechaut became a member of the artist collective JECTA, an influential Belgian group that included René Magritte. His participation in this circle is confirmed by two surviving newspaper clippings documenting shared exhibitions and professional activity within the group. Since the 1960s, Eugène Eechaut became a regular participant in exhibitions at the Tamara Pfeiffer Gallery in Brussels, a venue internationally recognized for presenting leading figures of modern and avant-garde art. A preserved invitation card from the 1968–1969 exhibition season confirms that Eechaut exhibited in the same gallery alongside major artists such as Max Ernst, Jean Cocteau, Paul Klee, Dorothea Tanning, Léon Navez, Dunoyer de Segonzac, and Félix Labisse. These archival materials clearly demonstrate that Eechaut shared exhibition space with some of the most influential artists of the twentieth century. Over the course of his artistic life, Eechaut developed several distinctive and recognizable artistic styles, rather than adhering to a single visual language. His work is characterized by evolving color palettes and a strong sense of structure, combining elegance with expressive freedom. He gradually refined and mastered ink techniques, achieving a high level of precision and control that became a defining element of his artistic identity. Despite consistent exhibition activity and professional recognition, Eechaut remained notably discreet and protective of his work, rarely offering pieces for sale—even within his own family. This personal approach has contributed to the rarity of his works on the market today. Supported by archival documents, exhibition invitations, and press records, Eugène Eechaut’s legacy emerges as that of a disciplined and original artist, firmly embedded in the European art scene and in direct dialogue with some of its most celebrated figures. Will be well packaged, protected and insured