SALVADOR DALÍ ANDRÉ BRASILIER - Opera Gallery

SALVADOR DALÍ
&
ANDRÉ BRASILIER

The Salvador Dalí Treasures & The Universe of André Brasilier
Welcoming the New Year, Opera Gallery presents a spectacular dual exhibition; from figures of the surreal
subconscious world to the expressionist strokes of landscapes and wild horses, featuring exquisite Salvador
Dalí jewelled sculptures in limited edition along side a staggering series of oil paintings by French artist André
Brasilier.
The Salvador Dalí Jewelled Sculpture Collection
In collaboration with The Dalí Universe, Opera Gallery is proud to present this unique and stunning collection
that makes its debut visit in Hong Kong. The pieces, made from 18 carat gold, embedded with precious
gemstones, amongst them diamonds, rubies, sapphires and emeralds mounted on a bed of solid crystal rock,
represent an exquisite collaboration between the jewellery and the art worlds. Dalí was always attracted to
precious gold, unusual gemstone and their rare attributes, using them in many of his sculptural creations. His
aim was to present jewel as art, emphasizing their design and craftsmanship stating:
‘In jewel as in all my art, I create what I love.’
This precious collection consists of ten figures from Dalí’s most important and famous iconic creations including
Profile of Time and Alice in Wonderland. Each creation is in limited edition of only 12 pieces and sized 8-15 cm
making these miniature beauties a truly exceptional sight for Dali’s fans.
Apart from the jewel collection the gallery will showcase the Dalí Universal Tarot collection. Dalí assembled
and painted close to 100 collages of Tarot cards in his unique surrealist vision and on display will be highlights
in gouache and mixed media, an incredible sight for historians, art lovers, and Dalí collectors.
André Brasilier Oil Paintings
From his early beginnings in the 1950s, in École des Beaux-Arts to his international recognition triumphed
with a major retrospective exhibition in Saint-Pétersbourg Hermitage Museum in 2005, André Brasilier is
among the most important expressionist artists alive in France these days.
For his first Hong Kong showing, the gallery has curated a special selection of Brasilier dreamy paintings
including his most notable themes illustrating horses, beautiful ladies, and landscapes depicting his love for
music and nature. Horses in particular, play muse to Brasilier, as he loves their beauty and the harmony they
have with nature. In every painting displayed in this show, one can feel the serenity, balance, and the liveliness
of the subject, bringing whimsical allure to the surface of the works. These magical compositions won Brasilier
numerous awards throughout the years and positioned him as a highly collectable artist in French art circles.
We are delighted to bring you this festive collection and send you warm wishes for a happy new year full of
colors and great art!
Gilles DYAN
Chairman & Founder
Opera Gallery Group
Shirley YABLONSKY
Director
Opera Gallery Hong Kong

SALVADOR DALÍ
Salvador Dalí was born on May 11, 1904, in Figueres, near Barcelona, Spain and is considered among the greatest
surrealist painters of the 20th century.
The son of Salvador and Felipa Dome, Dalí was an intelligent child, producing advanced drawings at an early age.
His father enrolled him at the Hispano-French School of the Immaculate Conception in Figueres, where he learned
French, the language that was to become his cultural vehicle. By 1920 he convinced his father that he could make a
living as an artist and was allowed to go to Madrid, Spain, to study painting. At the time he was strongly influenced
by the dreamlike works of the Italian painter Giorgio de Chirico as well as classical painters Raphaël, Vermeer and
Velázquez, the last inspired him in more than one way including adopting a flamboyant moustache, one that became
Dalí’s iconic symbol.
Dalí’s own style began to show itself at the early 1920’s; he would draw, in an extremely precise manner, the strange
subjects of his dream world. His personal style showed a number of influences, strongest among which was his
contact with surrealism. In 1929
he travelled to Paris and through Joan Miró came into contact with the group of
surrealists headed by André Breton. Producing many of his legendary pieces between 1929 and 1939, Dalí’s paintings
incorporated a growing fascination with history, religion, and science. In the early 1930’s many of the surrealists began
to break away from the movement, feeling that direct political action had to come before any artistic revolutions. Dalí
put forth his ‘Paranoiac-critical method’ accessing the subconscious for greater artistic creativity as a way to avoid
having to politically conquer the world.
A key event in Dalí’s life during this time was meeting his wife, Gala, who was at that time married to another surrealist
called Paul Eluard. She became his main influence and muse, both in his personal life as in many of his paintings.
In 1936 ‘Time’ magazine devoted its cover to Dalí’s picture taken by Man Ray, Dalí was only 32 at the time.
Dalí’s career was extremely versatile and successful over the next fifty some years and included the creation of
gigantic paintings as well as writing, sculptures, theater, fashion and films.
Between 1941 and 1970 Dalí created an ensemble of 39 jewels made of gold and encrusted with rubies, diamonds,
and emeralds. Dalí commented once: ‘Without an audience, without the presence of spectators, these jewels would
not fulfill the function for which they came into being. The viewer, then, is the ultimate artist’.
Dalí past away on January 23, 1989, in Figueres, Spain and is remembered as one of the most prolific artists of the
20 th century yet his fantastic imagery and flamboyant personality also made him one of the best-known.
Photo credits: © I.A.R Art Resources
Photo credit: © François Petit

SALVADOR DALÍ
Jewelled Sculptures

ALICE IN WONDERLAND
Conceived in 1977, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 1269 diamonds, 15.09 karat
10 rubies, 0.18 karat
Base: rock crystal
H: 10.5 cm - 4.1 in.
Like Alice in Wonderland, Dalí travelled a long and arduous road through the land of dreams, by
means of his artistic expression. The artist was clearly drawn to both the incredible story-line and
the extravagant characters in this intoxicating fairytale. Alice is one of Dalí’s favorite images. She is
the eternal girl-child who responds to the confusion of the world behind the looking glass with the
irrefutable naivety of childhood. After all her meetings with the inhabitants of this fantastic world,
she returns to reality not only unharmed but unchanged by her surrealistic experience. Looking at
Dalí’s sculpture we see that Alice’s jump rope has become a twisted cord symbolizing everyday life.
Her hands and hair have blossomed into roses symbolizing feminine beauty and eternal youth. The
Grecian drapes of her dress symbolize antiquity and the beauty that is respected throughout the ages.
8

DALINIAN DANCER
Conceived in 1949, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 461 diamonds, 13.13 karat
23 rubies, 0.80 karat
Base: rock crystal
H: 10.4 cm - 4.1 in.
Inspired by her own inner force, this vibrant dancer moves to the intense and passionate rhythms
of the Spanish flamenco. Dalí was fascinated with the art and spirit of dance, especially that of the
flamenco, emblematic of his homeland, and known for exploring the full range of human emotions.
The dancer’s skirts twirl around her in a spontaneous display of vitality and ecstasy.
10

DANCE OF TIME II
Conceived in 1979, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 404 diamonds, 9,32 karat
235 rubies, 8,33 karat
Base: rock crystal
H: 8 cm - 3.1 in.
The melted watch is the most well-known and beloved of Dalí’s iconoclastic images - the artist chose
to portray this image consistently throughout his lifetime, beginning in 1931. The ever-present fluidity
of time is represented in this sculpture as time not only moving, but dancing in rhythm to the beat
of the universe. Universal time knows no limits; it must be remembered that time, as we understand
it, is a human notion. Instead, Dalínian time is perpetual and ‘dances on’ stopping for no man,
history or even the cosmos. The image depicts Dalí’s fantastical relationship with time, his perception
of its constricting limitations and the importance he believed to be inherent in memory. This image
is depicted in three different forms: Dance of Time I,II and III.
12

LADY GODIVA
Conceived in 1976, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 1348 diamonds, 36.05 karat
20 rubies, 0.37 karat
61 sapphires, 1.21 karat
Base: rock crystal
H: 11 cm - 4.3 in.
Dalí, the great Surrealist master, selected the image of Lady Godiva as one of his favourites, and
pays homage to her sensuous and shapely female form through the conception of this sculpture.
Announcing her arrival, butterflies not only hover around her and her noble steed, but also adorn her
body as she plays her trumpet. Lady Godiva embodies earthly beauty, whereas the butterflies depict
the ethereal otherworld.
14

PROFILE OF TIME
Conceived in 1977, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 442 diamonds, 5.88 karat
1 ruby, 0.12 karat
Base: rock crystal
H: 12.5 cm - 4.9 in.
This sculpture echoes Dalí’s famous 1931 painting The Persistence of Memory in which the famous
melted watch appeared for the first time. As the watch liquefies over the tree, it forms into a human
profile, underlining the interminable relationship between man and time. The unexpected softness
of the watch also represents the psychological aspect whereby time, whilst considered to be precise
and fixed in its nature, can, in fact, vary significantly in human perception. All men must bend to
the passing of time. We see Dalí’s profile in the face of the clock. There is a tear falling from his eye,
lamenting the path of life that all men must travel.
16

SPACE VENUS
Conceived in 1977, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 1981 diamonds, 59.05 karat
Base: rock crystal
H: 11 cm - 4.3 in.
Venus is the goddess of beauty, and Dalí pays homage to the female figure by adding his own special
elements. The underlying form in this sculpture is of a classic marble statue of a female torso, to
which have been added four Dalinian elements: a soft watch, an egg, two ants and a separation of the
body into two parts. The watch is draped over the neck to give us two opposing messages; that beauty
of the flesh is temporary and will vanish, while beauty of art is timeless and eternal. The ants are reminders
of human mortality and impermanence. The Space Venus is divided into two parts to reveal
the egg, which like the ant, is a favourite Dalínian theme given the duality of its hard exterior and soft
interior. The egg is a positive symbol and represents life, renewal, continuation and the future.
18

SURREALIST PIANO
Conceived in 1954, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 726 diamonds, 25.89 karat, 6 diamonds baguette
12 sapphires baguette, 2.42 karat
Base: rock crystal
H: 8 cm - 3.1 in.
The Surrealist Piano is one of Dalí’s major iconoclastic symbols. The artist has chosen to transform
the banal wooden legs of a piano, replacing them with dancing female legs, thus creating an animate,
joyous instrument that can dance as well as play. Dalí often blurred the lines between the real and
surreal worlds, taking an inert and lifeless object, and, with a wave of his magic surrealist wand,
created an entirely new fantasmagorical happening.
20

TRIUMPHANT ELEPHANT
Conceived in 1975, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 143 diamonds, 4.56 karat
25 rubies, 1.44 karat
Base: rock crystal
H: 15.5 cm - 6.1 in.
The elephant, Dalí’s iconoclastic symbol of the future and one of his favourite images, is often depicted
atop mosquito-like legs, emphasising the contrast between robustness and fragility, much
like the contrast between the past and modernity. The animal’s jewelled saddle symbolises wealth,
and the dawn of a new era is announced by a flying angel, trumpeting success and prosperity. Dalí’s
elephant exemplifies every individual’s hope for abundance and good fortune in the future.
22

UNICORN
Conceived in 1977, created in 2008, edition of 12
Inscribed ‘Dalí’
Material: 18 karat gold
Gemstones: 2326 diamonds, 31.34 karat
20 rubies, 0.64 karat
2 sapphires, 0.04 karat
Base: rock crystal
H: 12 cm - 4.7 in.
The unicorn is a mythical creature prominent in legends as an intricately linked symbol of purity. The
horn of a unicorn is believed capable of neutralizing any poison. This animal also has connotations of
chastity and virginity, both male and female, and was adopted as the sign or ideal representation of
the ‘perfect’ knight. In some legends it was also a symbol of virility. Dalí chose to portray the unicorn
as a phallic figure whose horn penetrates a stone wall through a heart-shaped opening, from which
a drop of blood seems to be slowly falling. The nude, reposing female stretched out in the foreground
at the hooves of the animal underlines the sensual nature of this sculpture.
24

SALVADOR DALÍ
Sculptures

DANCE OF TIME II
Conceived in 1979, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, edition of 8 + 4 EA + 2 EF
H: 150 cm – 59.1 in.
The melted watch is the most well-known and beloved of Dalí’s iconoclastic images - the artist chose to portray this
image consistently throughout his lifetime, beginning in 1931. The ever-present fluidity of time is represented in this
sculpture as time not only moving, but dancing in rhythm to the beat of the universe. Universal time knows no limits; it
must be remembered that time, as we understand it, is a human notion. Instead, Dalínian time is perpetual and ‘dances
on’ stopping for no man, history or even the cosmos. The image depicts Dalí’s fantastical relationship with time,
his perception of its constricting limitations and the importance he believed to be inherent in memory. This image is
depicted in three different forms: Dance of Time I,II and III.
28

PROFILE OF TIME
Conceived in 1977, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green patina, edition of 350 + 35 EA
H: 51 cm – 20.1 in.
This sculpture echoes Dalí’s famous 1931 painting The Persistence of Memory in which the famous
melted watch appeared for the first time. As the watch liquefies over the tree, it forms into a human
profile, underlining the interminable relationship between man and time. The unexpected softness
of the watch also represents the psychological aspect whereby time, whilst considered to be precise
and fixed in its nature, can, in fact, vary significantly in human perception. All men must bend to
the passing of time. We see Dalí’s profile in the face of the clock. There is a tear falling from his eye,
lamenting the path of life that all men must travel.
DANCE OF TIME III
Conceived in 1979, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green/gold patina, edition of 350 + 35 EA
H: 26,5 cm – 10.4 in.
The melted watch is the most well-known and beloved of Dalí’s iconoclastic images - the artist chose
to portray this image consistently throughout his lifetime, beginning in 1931. The ever-present fluidity
of time is represented in this sculpture as time not only moving, but dancing in rhythm to the beat of
the universe. Universal time knows no limits; it must be remembered that time, as we understand it,
is a human notion. Instead, Dalínian time is perpetual and ‘dances on’ stopping for no man, history
or even the cosmos. The image depicts Dalí’s fantastical relationship with time, his perception of its
constricting limitations and the importance he believed to be inherent in memory. This image is depicted
in three different forms: Dance of Time I,II and III.
30 31

DANCE OF TIME I
Conceived in 1979, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green/gold patina, edition of 350 + 35 EA
H: 38,5 cm – 15.2 in.
DANCE OF TIME II
Conceived in 1979, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green/gold patina, edition of 350 + 35 EA
H: 30,5 cm – 12 in.
The melted watch is the most well-known and beloved of Dalí’s iconoclastic images - the artist chose
to portray this image consistently throughout his lifetime, beginning in 1931. The ever-present fluidity
of time is represented in this sculpture as time not only moving, but dancing in rhythm to the beat of
the universe. Universal time knows no limits; it must be remembered that time, as we understand it,
is a human notion. Instead, Dalínian time is perpetual and ‘dances on’ stopping for no man, history
or even the cosmos. The image depicts Dalí’s fantastical relationship with time, his perception of its
constricting limitations and the importance he believed to be inherent in memory. This image is depicted
in three different forms: Dance of Time I,II and III.
The melted watch is the most well-known and beloved of Dalí’s iconoclastic images - the artist chose
to portray this image consistently throughout his lifetime, beginning in 1931. The ever-present fluidity
of time is represented in this sculpture as time not only moving, but dancing in rhythm to the beat of
the universe. Universal time knows no limits; it must be remembered that time, as we understand it,
is a human notion. Instead, Dalínian time is perpetual and ‘dances on’ stopping for no man, history
or even the cosmos. The image depicts Dalí’s fantastical relationship with time, his perception of its
constricting limitations and the importance he believed to be inherent in memory. This image is depicted
in three different forms: Dance of Time I,II and III.
32 33

TRIUMPHANT ELEPHANT
Conceived in 1975, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green patina, edition of 350 + 35 EA
H: 53 cm – 20.9 in.
The elephant, Dalí’s iconoclastic symbol of the future and one of his favourite images, is often depicted
atop mosquito-like legs, emphasising the contrast between robustness and fragility, much
like the contrast between the past and modernity. The animal’s jewelled saddle symbolises wealth,
and the dawn of a new era is announced by a flying angel, trumpeting success and prosperity. Dalí’s
elephant exemplifies every individual’s hope for abundance and good fortune in the future.
SPACE ELEPHANT
Conceived and first cast in 1980
This cast at a later date
Inscribed ‘Dalí’
Bronze, blue patina, edition of 350 + 35 EA
H: 94 cm – 37 in.
The Space Elephant embodies the Dalinian symbol that was born in 1946 when the artist painted
one of his most famous pictures The Temptation of St. Anthony. Dalí created the image of an
elephant in the Egyptian desert carrying an obelisk, a symbol of the presence and progress of
technology in the modern world. Four elephants stand on spider-like legs of desire, and offer art,
beauty, power, pleasure and knowledge. For this sculpture, based on the elephants in the painting,
Dalí maintains the almost invisible spindle-like legs emphasizing the contrast between robustness
and fragility, and contrasting the idea of weightlessness with structure. This fantastically surreal
creature, moving through space towards the heavens, symbolizes a flight of fantasy to a mesmerizing
and surrealistic universe.
34
35

WOMAN OF TIME
Conceived in 1973, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green patina, edition of 350 + 35 EA
H: 65,5 cm – 25.8 in.
LADY GODIVA WITH BUTTERFLIES
Conceived in 1976, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, brown patina, edition of 350 + 35 EA
H: 51 cm – 20.1 in.
Holding a perfectly formed flower and dressed in gently flowing robes, this radiant young woman
bears Dalí’s most famous symbol… the melting watch, which hints at the human construction of the
nature of time. The artist allows the watch to pose the question - is beauty dependent on time, or
is it eternal? The clock alludes to the woman’s awareness that beauty can be independent of time,
whether it is corporeal grace or an ethereal rose.
Dalí, the great Surrealist master, selected the image of Lady Godiva as one of his favourites, and
pays homage to her sensuous and shapely female form through the conception of this sculpture.
Announcing her arrival, butterflies not only hover around her and her noble steed, but also adorn
her body as she plays her trumpet. Lady Godiva embodies earthly beauty, whereas the butterflies
depict the ethereal otherworld.
36 37

ALICE IN WONDERLAND
Conceived in 1977, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, blue patina, edition of 350 + 35 EA
H: 90,5 cm – 35.6 in.
Like Alice in Wonderland, Dalí travelled a long and arduous road through the land of dreams, by
means of his artistic expression. The artist was clearly drawn to both the incredible story-line and
the extravagant characters in this intoxicating fairytale. Alice is one of Dalí’s favorite images. She is
the eternal girl-child who responds to the confusion of the world behind the looking glass with the
irrefutable naivety of childhood. After all her meetings with the inhabitants of this fantastic world,
she returns to reality not only unharmed but unchanged by her surrealistic experience. Looking at
Dalí’s sculpture we see that Alice’s jump rope has become a twisted cord symbolizing everyday life.
Her hands and hair have blossomed into roses symbolizing feminine beauty and eternal youth. The
Grecian drapes of her dress symbolize antiquity and the beauty that is respected throughout the ages.
DALINIAN DANCER
Conceived in 1949, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, blue patina, edition of 350 + 35 EA
H: 40,5 cm – 15.9 in.
Inspired by her own inner force, this vibrant dancer moves to the intense and passionate rhythms
of the Spanish flamenco. Dalí was fascinated with the art and spirit of dance, especially that of the
flamenco, emblematic of his homeland, and known for exploring the full range of human emotions.
The dancer’s skirts twirl around her in a spontaneous display of vitality and ecstasy.
38 39

MAN WITH BUTTERFLY
Conceived in 1968, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, black/green patina, edition of 350 + 35 EA
H: 55,5 cm – 21.8 in.
This image of this elegant sculpture was originally designed as part of the Dalí’s famous Tarot series,
which was created specifically for his wife and muse, Gala. The figure of Man with Butterfly leaves
the banality of the everyday grounded world for that of the butterfly, which, being lighter, will give the
man wings and help him soar to a different physical plane - one where he can shed daily worries and
habitual restraint.
WOMAN AFLAME
Conceived and first cast in 1980
This cast at a later date
Inscribed ‘Dalí’
Bronze, green patina, edition of 350 + 35 EA
H: 84 cm – 33.1 in.
This sculpture unites two of Dalí’s obsessions: fire, and a female figure with drawers. The flames
seem to have a life of their own, and represent the hidden intensity of unconscious desire, while
the drawers represent the mystery of hidden secrets. This beautiful faceless woman symbolizes all
women. For Dali, a woman’s mystery is her true beauty.
40 41

SPACE VENUS
Conceived in 1977, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green patina, edition of 350 + 35 EA
H: 65 cm – 25.6 in.
Venus is the goddess of beauty, and Dalí pays homage to the female figure by adding his own special
elements. The underlying form in this sculpture is of a classic marble statue of a female torso, to
which have been added four Dalinian elements: a soft watch, an egg, two ants and a separation of the
body into two parts. The watch is draped over the neck to give us two opposing messages; that beauty
of the flesh is temporary and will vanish, while beauty of art is timeless and eternal. The ants are reminders
of human mortality and impermanence. The Space Venus is divided into two parts to reveal
the egg, which like the ant, is a favourite Dalínian theme given the duality of its hard exterior and soft
interior. The egg is a positive symbol and represents life, renewal, continuation and the future.
ADAM AND EVE
Conceived in 1968, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, green/black patina, edition of 350 + 35 EA
H: 52 cm – 20,5 in.
In one exquisite artwork, Dalí deftly portrays the Garden of Eden: Adam, Eve, and the serpent,
as well as the intricate tension between the three. The artist captures the very moment Eve offers
Adam the forbidden fruit - astonished, Adam raises his hand in indecision, unsure of their
fate should he relinquish himself to the enticing temptation. In an attempt to comfort the doomed
couple, aware of the heartache that lies ahead, the serpent coils himself in the shape of a heart,
reminding Adam and Eve that love creates a whole which is greater than the sum of its individual
parts.
42 43

NOBILITY OF TIME
Conceived in 1977, first cast in 1984
This cast at a later date
Inscribed ‘Dalí’
Bronze, brown patina, edition of 350 + 35 EA
H: 60 cm – 23.6 in.
Dalí’s soft watch is both draped against and supported by the remains of a tree whose trunks sprout
new life and whose roots entwine a stone. The terminology, ‘the crown of a watch’ usually indicates a
mechanical device which allows us to set the hands and wind the timepiece. Time, however, according
to a Dalínian watch, is changeless and cannot be set, and the watch itself has no internal power or
motion. Given this absence of movement, the crown in this case is interpreted by the artist as a royal
crown which adorns the watch, identifies time’s mastery over human beings rather than its utility to
him. His majesty is attended by two reoccurring, fantastical Dalínian symbols: a contemplative angel,
and a woman draped in shawls look on. Time reigns supreme over both art and reality.
44

SALVADOR DALÍ
Gouaches

FIVE OF WANDS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
TEN OF WANDS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
48
49

THREE OF CUPS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
SIX OF CUPS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
50
51

THREE OF SWORDS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
FIVE OF SWORDS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
52
53

FIVE OF PENTACLES
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
KNIGHT OF PENTACLES
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
54
55

QUEEN OF WANDS
Gouache on paper
30,9 x 24 cm – 12.2 x 9.4 in.
Certificate
Robert P. Descharnes has confirmed the authenticity of this work
56

ANDRÉ BRASILIER
André Brasilier was born into an artistic family in 1929 Saumur, Anjou, France and spent
more than half a century creating canvasses that are a blend of abstraction, expressionism,
and something distinctly his own. A multi-talented artist, Brasilier is well acquainted with
the techniques of an accomplished painter, watercolorist, engraver and lithographer.
His works often feature themes and motifs of horses, nature, music, and women.
Enriched with his peaceful worlds filled with beautiful women and gentlemen floating
through life in harmony. Set against the most simplistic and romantic backgrounds, Brasilier
transports us easily into surreal landscapes, which lighten our soul with dreamy infusions of
figures set in simplicity of colors, shape and form.
Brasilier won the Premier Grand Prix de Rome of painting already in 1953. He had his first
retrospective of 100 artworks from 1950-1980 at the Château de Chenonceau in 1980 and a
Retrospective exhibition at the Musée Picasso-Château Grimaldi in Antibes (French Riviera)
in 1988.Over the years he held numerous exhibitions all over the world, most notably was in
2005 when he was honored by a retrospective exhibition of his work at Russia’s renowned
Hermitage Museum in Saint-Pétersbourg and in 2007 in the Museum Haus Ludwig für
kunstausstellungen in Germany.
This exhibition includes his most notable themes, illustrating the beauty of horses and his
personal love for music. Through his eyes, we see how he considers horses to be the very
incarnation of beauty, with every stroke proclaiming his adoration and love. The consistent
depiction of their flawless movements set against the backdrop of unforgettable landscapes
and seascapes allow us to feel the grace and strength of these magnificent animals, often
viewed as intrinsically linked with the very land they live on.
Music, as a companion of the fine arts, is also depicted through the emotions of orchestral
musicians. Brasilier clearly embraces the special relationship between the fine arts and
music, and show us how they share a common vocabulary which includes tones, harmony,
rhythm and energy. With his simple compositions and lively colors, Brasilier has allowed us
to embrace the delicate balance of music seen through his eyes, and expressed on a canvas.

CAVALIERS SUR LA NEIGE, 2011
Oil on canvas, 195 x 114 cm - 76.8 x 44.9 in.
NEIGE EN TARDENOIS, 2010
Oil on canvas, 73 x 100 cm - 28.7 x 39.4 in.
60 61

FORÊT DE COMPIÈGNE, 1997 - 2008
Oil on canvas, 130 x 97 cm - 51.2 x 38.2 in.
CAVALCADE D’AUTOMNE, 2006
Oil on canvas, 200 x 250 cm - 78.7 x 98.4 in.
62 63

AVANT L’ORAGE, 2000
Oil on canvas, 114 x 162 cm - 44.9 x 63.8 in.
LA ROBE ÉTOILÉE, 1983
Oil on canvas, 162 x 114 cm - 63.8 x 44.9 in.
64 65

66
ROME ROUGE, 1991
Oil on canvas, 97 x 130 cm - 38.2 x 51.2 in.

LES CAVALIERS DE L’OCÉAN, 2011
Oil on canvas, 89 x 116 cm - 35 x 45.7in.
LE VASE DE SICILE, 1978
Oil on canvas, 55 x 46 cm - 21.6 x 18.1 in.
68 69

ENTRE CIEL ET MER, 2010
Oil on canvas, 130 x 89 cm - 51.2 x 35 in.
CAVALCADE AU BOIS BLEU, 2011
Oil on canvas, 97 x 146 cm - 38.2 x 57.5 in.
70 71

PLAGE DE SEPTEMBRE, 1998
Oil on canvas,114 x 195 cm - 44.9 x 76.8 in.
72 73

JARDIN DEVANT LA MER
Oil on canvas, 162 x 114 cm - 63.8 x 44.9 in.
LES CAVALIERS DU SOIR, 2011
Oil on canvas, 130 x 81 cm - 51.2 x 31.9 in.
74 75

LE BOIS BLEU, 2008
Oil on canvas, 116 x 89 cm - 45.7 x 35 in.
LA VALLÉE DE LA MUZE
Oil on canvas, 89 x 130 cm - 35 x 51.2 in.
76 77

RIVAGE NORMAND, 2009
Oil on canvas, 65 x 92 cm - 25.6 x 36.2 in.
MATIN MARITIME, 2010
Oil on canvas, 97 x 130 cm - 38.2 x 51.2 in
78 79

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Central, Hong Kong (Main entrance via Wyndham Street)
T + 852 2810 1208 • hkg@operagallery.com • wwww.operagallery.com