Winter 2021 Exhibition Catalogue

From Naturalism to Neue Wilden: paintings, works on paper and sculptures from 1842 to 1991, for sale at Galerie St-John in Gent. Romantic paintings, naturalism, impressionism, symbolism and fauvism for the 19th and early 20th century; and then abstract art, pop art, op art and early concept art from Belgian and international artists. Most work come from private collections and have not been seen on the art market for years.

From Naturalism to Neue Wilden: paintings, works on paper and sculptures from 1842 to 1991, for sale at Galerie St-John in Gent. Romantic paintings, naturalism, impressionism, symbolism and fauvism for the 19th and early 20th century; and then abstract art, pop art, op art and early concept art from Belgian and international artists. Most work come from private collections and have not been seen on the art market for years.


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<strong>Catalogue</strong><br />

<strong>Winter</strong> <strong>2021</strong><br />

Galerie St-John<br />

st-john.be<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Pre versus Post War Art:<br />

the eternal quest of being ‘modern’.<br />

We bring you our online catalogue for the winter exhibition of <strong>2021</strong>. More than 270 pages of<br />

photographs and information, travelling through art history, showing discoveries we have<br />

made over the course of this year.<br />

The first block starts with a decorative painting of the 18 th century, to ‘walk’ from the middle<br />

of the 19 th century towards the beginning of the 20 th century.<br />

We exhibit quality romantic paintings with amongst others Nicaise De Keyser, Petrus Van<br />

Schendel and interesting genre paintings. We show two rediscovered works: one realist fine<br />

painting by Emile Claus from 1879 (Au Cabaret) and an early symbolist-impressionist work<br />

by Gustave De Smet. Star of the show is undoubtedly the impressive bronze by Domien<br />

Ingels, the monumental ‘Prancing Stallion’ from 1924, kept in the same family collection for<br />

generations. The bronze was photographed for the Ingels monography in 1927 and was then<br />

one of only two casts made. Do not forget to marvel at the collection of Frans Masereel prints<br />

from the Lucie Lava collection: rare period prints which are very difficult to find. It is our<br />

way to commemorate the 50 th anniversary of the passing away of the most internationally<br />

well-known artist from Gent.<br />

The post-war period explores modern figuration over constructivist art and pop art to new<br />

realism and Neue Wilden.<br />

We introduce you to two exceptional works by Victor Lorein. Although the artist is mostly<br />

referred to as an expressionist painter, these works painted in 1949 and 1950, have more in<br />

common with post-war art. True modernism is embraced in the unique collection of 5 works<br />

by Philippe Morel de Boucle Saint-Denis, in which figuration slowly dissolves into colours<br />

and contours. We show a magnificent brutalist sculpture of 1963 by Paul Van Gysegem, from<br />

the collection of Belgian writer Jef Geeraerts, which used to be displayed in his living room.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Abstract art and new figuration of the 1970’s feature along a small but interesting collection<br />

of 1970’s prints. We offer a large scale work by Philippe Vandenberg from 1982 for sale, a<br />

masterpiece of his early ‘Neue Wilden’ period.<br />

Thus our catalogue will bring to you the ‘fleur de sel’ of <strong>2021</strong> or those art works that<br />

surfaced, caught our eye and stood out, our ‘Fil de Conducteur’ being quality.<br />

We end with some wise words of the legendary music teacher Nadia Boulanger (in Kendall<br />

A., The Tender Tyrant Nadia Boulanger, London, Macdonald and Jane’s, 1976):<br />

“If we put from us the works of the Past, and deny ourselves the emotions they diffuse,<br />

we are in fact denying the possibility of survival to contemporary art.”<br />

“ If we diminish their power, we diminish that of art in general, for nothing could be<br />

reborn from the destruction. But to stop dead so as only to contemplate what has been is just<br />

as great a mistake.”<br />

“Now, two opposite phenomena occur: either an exaggerated tendency to look upon<br />

our own epoch as decadent; or a propensity – no less exaggerated – to consider as<br />

worthwhile only that which is being produced at the present time. The infinite variety in life<br />

dominates these anxieties, and gives each event more real greatness and less exterior<br />

importance. That which is sincere, that which is beautiful, does not become petrified.”<br />

The way Nadia Boulanger sees it, Alan Kendall explains, is that we cannot and must not deny<br />

the present. To live only in the past is to deny that anything can survive from our age. But to<br />

live solely in the present is, in her opinion, equally dangerous.<br />

So hence this catalogue, divided into two groups, to be visited upon like the movement of a<br />

pendulum, back and forth, so that the two halves make a whole, one explaining and giving<br />

meaning to the other.<br />

Enjoy.<br />

Raf Steel - Emmy Steel<br />

* In advance to your visit, you can always contact us to prepare the necessary information you desire on<br />

the specific artist or object of your choosing.<br />

* For clients who prefer a visit by appointment, please contact us by telephone to arrange a private<br />

viewing.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Foto: PuurGent – Lauwrence Schoonbroodt<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Please note:<br />

All works illustrated are for sale, save for the supplementary documentary photographs or<br />

documents, unless otherwise stated.<br />

Dimensions are noted as: height x width x depth and in centimetres.<br />

Please contact us for prices.<br />

We can provide you with additional information through photographs or video chat.<br />

We can provide you with specific shipping quotes. Works can also be collected at the gallery<br />

or delivered by us at your doorstep.<br />

Upon request, we can provide a preliminary condition report, but please bear in mind that we<br />

are not professional restorers and that we cannot be held responsible for the accuracy of our<br />

assessment of the condition of a work. If needed, a professional restorer can be asked to make<br />

a condition report, however this will not be free of charge.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie Sint-John<br />

<strong>2021</strong><br />

Des œuvres avant 1940<br />

Gand, Hiver<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Albert Abramovitz (Riga 1879 – New York 1963)<br />

Ostende, ca. 1914-1915<br />

Oil on canvas laid down on cardboard<br />

40,5 x 61 cm<br />

Signed bottom left ‘Abramovitz’<br />

Provenance:<br />

Jan De Clerck (painter)<br />

Bibliography:<br />

<strong>Catalogue</strong> Belgian <strong>Exhibition</strong> of Modern Art, Kingston-upon-Thames, Municipal Art Gallery,<br />

march 1915, cat. nr. 1<br />

.<br />

Albert Abramovitz was born in Riga and studied at the Academy of Odessa. In the beginning<br />

of the 20th century he moved to Paris and studied at the ‘La Grande Chaumière’ Academy.<br />

Abramovitz started to exhibit at the Salon d’Automne in 1911. Probably around 1913-14 he<br />

came to Belgium, and with the outbreak of the war he sought refuge in England. The<br />

inclusion of his work at the exhibition of Belgian artist could point out that he had strong<br />

contacts in the Belgian art world. In 1916 Abramovitz emigrated to the U.S. where he had a<br />

brilliant career as an artist and a printmaker. Especially famed for his woodcuts, he was also<br />

praised for his peculiar painting technique. His work is in the collections of the British<br />

Museum, the Victoria and Albert Museum and the Smithsonian. This painting belonged to the<br />

collection of painter Jan De Clerck, who also exhibited at the exhibition in England in 1915,<br />

where he probably acquired the work.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Eugène Boudin (Honfleur 1824 - Deauville 1898)<br />

Vaches au bord de la Touques, ca. 1881-1888<br />

Oil on panel<br />

21 x 32,8 cm<br />

Signed bottom right ‘E. Boudin’<br />

Provenance: Félix Gérard Fils, Paris. ;<br />

Sale Hôtel Drouot, Paris, 4/03/1920<br />

private collection, France<br />

Sale Arles, 11/07/1993<br />

private collection, France<br />

Bibliography:<br />

Schmit Robert et Manuel, Eugène Boudin 1824-1898 - catalogue raisonné des peintures<br />

d’Eugène Boudin – Deuxième Supplément, Paris, Ed. Galerie Schmit, 1993, p. 39, n° 3947<br />

with illustration.<br />

Boudin has been intrigued by painting landscapes and rural life throughout his career although<br />

these works might be less well known than his marines, beach scenes and market scenes. He<br />

often returned to the banks of the river La Touques, which flows into sea at Deauville / Trouville<br />

sur Mer. This idyllic rural area displaced the painter into a completely different world within<br />

walking distance of his home in Deauville. Boudin would paint women doing the laundry there,<br />

a theme that has bewildered him for more than twenty years. During the period 1881 to around<br />

1888, Boudin has been fascinated by the cattle on the banks of the river . This resulted in a<br />

number of studies and a group of, often small, oil paintings on panel. Boudin used his<br />

impressionistic painting technique and colours to update this age old genre subject.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frederick Lee Bridell (Southampton 1830 – Kensington (London) 1863)<br />

Dawn at Mayence on the Rhine, 1861<br />

Oil on canvas<br />

49 x 99,5 cm<br />

Signed and dated bottom right ‘Fredk. Lee Bridell 1861’<br />

Provenance:<br />

Christie’s, London<br />

private collection<br />

With an old catalogue label at the back of the stretcher.<br />

Frederick Lee Bridell was born in Southampton and started his career as a local portrait<br />

painter. His talent was spotted by an art dealer who sent him to the Continent to copy old<br />

master paintings. Bridell has stayed in Paris for some time and moved on to München but<br />

came back to England in 1855. Four years later, the artist went to Rome, where he met and<br />

married his wife, Eliza Fox, also a painter, in 1859. Bridell contracted Tbc and died in 1863,<br />

only 32 years old. Considering that he started exhibiting in 1851, his body of works remains<br />

small. Paintings by the artist belong to the collections of the Tate Gallery in London and the<br />

Southampton City Art Gallery, as well as 6 more public collections in the United Kingdom.<br />

Apart from the early portraits, Bridell was known primarily as a landscape painter, and<br />

excelled in the depiction of atmospheric landscapes with dramatic skies. This painting from<br />

1861 shows the artist at his peak.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Emile Claus (Sint-Eloois-Vijve 1849 - Astene 1924)<br />

Au Cabaret, 1879<br />

Oil on panel<br />

23,5 x 36 cm<br />

Signed bottom left: ‘Emiel Claus’<br />

Dated bottom left: ‘79’ for 1879<br />

Emile Claus studied at the Antwerp Academy, which was at that time considered to be one of<br />

the most important and influential academies in Europe. He became a star pupil and was<br />

much in demand for painting portraits of the Antwerp high society.<br />

But Claus was much more interested in painting the life and work of the ‘ordinary’ man.<br />

Realist literature and the influence of Constantin Meunier, Bastien-Lepage and other realist<br />

painters made him shift his attention to naturalistic genre painting.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


In 1880 Emile Claus showed a watercolour titled “Au cabaret” at the Salon of Gent and at the<br />

Cercle Artistique et Littéraire in Brussels. Luckily for us critics reviewed the exhibitions and<br />

Théo Hanon described the watercolour in vivid detail upon seeing it at the Gent Salon:<br />

“ […] Emile Claus, encore un vaillant des Water-colours, exhibe un<br />

rutilant souvenir de son voyage en Algérie […] Cette excursion au pays<br />

du Simoun ne lui a pas fait oublier les bons types de Flandre, si originaux<br />

dans leur épaisseur d’allures caractéristiques. Il nous présente Au cabaret,<br />

un vieil habitué en lunettes bleues, nu-crâne, abimé dans la lecture du<br />

Landbouw, son journal favori. Près du verre de blonde Uytzet pyramide<br />

son chapeau, un tromblon velu qui vaut tout un poème. »<br />

Exerpt from : Johan De Smet, Il recrée les yeux et le goût : Emile Claus in het<br />

kunstleven van zijn tijd, doctoraat Kunstwetenschappen Universiteit Gent, 2009<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


The description of the watercolour matches exactly our painting. It was not uncommon for<br />

Claus to paint different versions of the same theme, sometimes in different sizes, sometimes<br />

in different media. It seems that the watercolour was painted after the oil painting which is<br />

dated 1879. In this small work, Claus shows us how good a painter he had become. The<br />

rendering of the printed paper in mirror writing is a ‘tour de force’ (we show the mirrored<br />

image of the painting on the previous page!) and the way he paints the different materials<br />

around the protagonist is perfect. We already perceive Claus’ attention to light, filtering<br />

through the window and enlivening the scene, creating different effects on different materials.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Oscar Coddron (Gent 1881 - Deurle 1960)<br />

Autumn in Flanders, November 1916<br />

Oil on canvas<br />

111 x 74,5 cm<br />

Signed bottom left ‘Coddron’ and dated on the back of the strecher<br />

Provenance: private collection<br />

Oscar Coddron was born in Gent in 1881. He was educated at the Gent Academy of Fine Arts,<br />

where he came into contact with Robert Aerens, Albert Servaes, Domien Ingels, Guillaume<br />

Montobio and Leon de Smet. Coddron probably made his debut in the 1904 group exhibition<br />

in the Gent 'Cercle Artistique et Littéraire'. His fellow exhibitors included the brothers Gust<br />

and Leon De Smet, Frits Van Den Berghe, Robert Aerens and Clement De Porre.<br />

In 1907 he finished second in the competition for the "Rome Prize". In this period, Coddron's<br />

style was close to that of Emile Claus. His works can clearly be placed within luminism, but<br />

the artist interprets it in his,own way. The figure is sometimes given a prominent place.<br />

Coddron's use of colour is more modern and is closer to the early work of Van den Berghe<br />

and Gust De Smet than to the work of Claus.<br />

As a young artist, Coddron travelled to the Netherlands, Italy and France. He settled<br />

permanently in Sint-Martens-Latem around 1918.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


During the war, Coddron evolved towards a more expressive painting style. In 1926 Oscar<br />

Coddron exhibited together with Anna De Weert and Madeleine van Thorenburg, in the Gent<br />

'Cercle Artistique'. Throughout the 1920s, Oscar Coddron has built up a good reputation,<br />

which was also praised outside Gent. Mario de Marchi wrote in 1929:<br />

“M. Coddron a une palette aux expressions très différenciées. Il aime<br />

traiter ses sujets en manière décorative et son désir de synthèse lui fait<br />

ordonner sobrement les accessories de sa composition. Tout cela est un<br />

métier soigné qui n'aura rien d'éphémère. C’est de plus un artiste très<br />

original.”<br />

Between 1937 and 1939 Oscar Coddron was appointed director of the Gent Academy, where<br />

he himself had been a student. The second world war, however, forced him to resign. Oscar<br />

Coddron’s works are in numerous private collections and are in the collections of the<br />

museums of Tournai and Deinze.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Oscar Coddron (Gent 1881 - Deurle 1960)<br />

The river Leie in winter, 1917<br />

Oil on canvas<br />

101 x 100 cm<br />

Signed and dated bottom right ‘Coddron / 1917’<br />

Provenance: private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Nicaise De Keyser (Zandvliet 1813 – Antwerpen 1887)<br />

Le Moine quêteur, 1842 and 1852<br />

Oil on panel<br />

42 x 32,5 cm<br />

Signed and dated bottom left ‘NDeKeyser 1842 & 52’<br />

Provenance:<br />

Successsion Van Geetruyen<br />

private collection<br />

At the back with an old sales catalogue label and wax seals of the ‘succession Van Geetruyen’ and ‘Jules De<br />

Brauwere / Expert /Bruxelles’, the latter probably the author of the text on the label. (see next page)<br />

We often forget how famous some Belgian artist from the 19 th century were during their<br />

lifetime. Nicaise De Keyser was one of the most sought after artists of his generation. He<br />

worked for Royals, rich merchants and important collectors all over the Western Hemisphere.<br />

And of course he was the author of one of the first depictions of the ‘Battle of the Spurs’,<br />

making him famous overnight.<br />

De Keyser was by no means a ‘Flemish artist’, but belonged to what can be seen as an<br />

international group of artists, painting romantic themes in a highly perfectionist realist style.<br />

De Keyser was well travelled and treated a broad spectrum of subjects. The ‘collecting monk’<br />

was probably made after a sketch made in Italy. In his catalogue raisonné, Henri Heymans<br />

cites ‘Le Moine quêteur’ as painted in 1841. We were not able to locate the work of 1841 nor<br />

the engraving after the work made by artist Joseph Bal, so as to see how or if our version<br />

differs from the 1841 (or 1842?) version. According to an old sales catalogue (?) label at the<br />

back, our version – albeit initially dating from 1842 – was the original study for the large<br />

version of ‘Le Moine quêteur’, which was reworked by de Keyser in 1852 for the collector<br />

Van Geetruyen:<br />

« […] Cette œuvre charmante, de la plus grande finesse d’exécution, était<br />

primitivement l’étude d’un grand tableau fait par l’artiste en 1842. Elle fut terminée<br />

pour Mr. Van Geetruyen et fut vendue à la vente de ce dernier »<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Leonard De Koningh (London 1810 – Dordrecht 1887)<br />

The bagpipe player<br />

Oil on canvas<br />

66 x 53 cm<br />

Signed on the side of the staircase, possibly strengthened ‘L de Koningh’<br />

Provenance: private collection, Brussels (acquired in 1930)<br />

Hence by descent<br />

Leonard De Koningh (also called Leendert II) was a pupil of his father, Leendert (1777-<br />

1849), who primarily painted landscapes and seascapes. He specialised in watercolours and<br />

was also a prolific lithograph. Leonard followed in his father’s footsteps, making a living out<br />

of the creation of lithographs, as well as by teaching drawing in Dordrecht. Leonard soon<br />

started to paint genre scenes, which from the 1840’s onwards became popular with the new<br />

breed of collectors. This genre scene is one of the most sought after representations by the<br />

artist. A similar work, but of lesser quality, belongs to the Dordrechts Museum and is dated<br />

1844.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Hubert de Lyoncourt (active ca. 1869-1883)<br />

Aven Valley, Castle Hénant in the distance (Brittany)<br />

Oil on canvas<br />

55,5 x 101 cm<br />

Signed with the monogram LH interlaced and possibly dated 1874 (?) bottom left.<br />

At the back of the canvas signed and with the artist’s London address and titled.<br />

Hubert de Lyoncourt, who signed this work at the back as Baron H. de Lyoncourt, is a<br />

mysterious artist. We know he had a London address: 1, Albion Road St-John’s Wood, which<br />

we find in the Royal Academy catalogues of 1874 and 1883. De Lyoncourt also exhibited at<br />

the Royal Academy in 1873. At these occasions, the artist also exhibited views from Brittany.<br />

de Lyoncourt is also known as a painter of views of the isle of Guernsey.<br />

The present panoramic view shows the Château de Hénant, in Névez near Pont-Aven, a 16 th<br />

century manoir with a very identifiable tower. A very similar but smaller view with the Hénant<br />

castle in the distance (in winter) belongs to the Southampton City Art Gallery. Works by the<br />

artist are to be found in the collection of the Guernsey Museum and Art Gallery.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Gustave De Smet (Gent 1877-Deurle 1943)<br />

St-Peter’s and St-Paul’s church of Bachte-Maria-Leerne, ca.1906-08<br />

Oil on panel<br />

29,5 x 44,5 cm<br />

Signed bottom right with the monogram‘GDS’<br />

Provenance: private collection<br />

This work is sold with a certificate by Mr. Piet Boyens<br />

Gustave De Smet frequently wandered along the river Leie in search of subjects to<br />

paint. This work depicts the St-Peter’s and St-Paul’s church at Bachte-Maria-Leerne,<br />

next to the river Leie. Today the only building still standing is the church, the houses<br />

on the painting having all been replaced by new structures. The chapel at the side<br />

with the Calvary is still in place. De Smet paints the church windows in their 18 th<br />

century form. From 1900-1902 onwards extensive rebuilding took place and amongst<br />

others the 18 th century windows were replaced by gothic revival pointed arch<br />

windows.<br />

This might have been one of the reasosn why Gustave decided to paint the chapel:<br />

to preserve the view for posterity.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Gustave De Smet (Gent 1877-Deurle 1943)<br />

Farm with haystack, 1914<br />

Gouache on paper<br />

35 x 47 cm<br />

Signed and dated bottom right ‘Gustave De Smet / 1914’<br />

Provenance: private collection, Gent<br />

This work is sold with a certificate by Mr. Piet Boyens<br />

It is no exaggeration to state that the young Gust De Smet was greatly influenced by the<br />

teachings of Jean Delvin, director of the Gent Academy. He encouraged his students to study<br />

modern art, without losing sight of the ‘classics’ and brought them into contact with the<br />

avant-garde art of the moment. Instigated by his teachings, De Smet quickly evolved from a<br />

symbolist towards a native impressionist style. The luminism of Emile Claus and of course of<br />

his brother Leon De Smet, led the artist into making colourful , even vivid impressionist<br />

works between 1905 and 1909. After a ‘flirt’ with fauvism around 1910-12, De Smet came<br />

under the influence of the non-compromising style of painting practised by Alfons Dessenis<br />

and Albert Servaes in St-Martens-Latem. De Smet began distancing himself from<br />

Impressionism. Searching for structure, possibly with the work by Albert Servaes in mind,<br />

and working with broad coloured surfaces instead of an impressionist touch, the artist<br />

unconsciously prepared his transition to expressionism, which fully developed during his<br />

exile in the Netherlands.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Jules De Sutter (Gent 1895 - Sint-Martens-Latem 1970)<br />

The girl in white, 1928<br />

Gouache on paper<br />

61 x 43 cm<br />

Signed and dated bottom left ‘Desutter / 28’<br />

Provenance:<br />

Albert Saverys<br />

Thence by descent, Art market Brussels<br />

Jules De Sutter studied at the Academy of Fine Arts of Gent, where he became a teacher<br />

later. He was impressed by Gust De Smet and Frits Van den Berghe’s translation of the new<br />

artistic ideas originating in France and Germany, crystallizing into a powerful and highly<br />

personal expressionist style. Jules had a long standing friendship with Gust De Smet, of<br />

whom he made a beautiful portrait in 1928. At that point in time, De Sutter’s expressionist<br />

style is to be situated between the styles of Van den Berghe and De Smet.<br />

In 1925 and 1928 the Brussels "Le Centaure" gallery showed De Sutter’s work. His works are<br />

discussed by the critics in particular in 1928 and he is regarded as one of the most interesting<br />

young expressionists. The daring and experimental works from this period owe tribute to De<br />

Smet and Van den Berghe, but De Sutter adds his own narrative and symbolism.<br />

Works from this period are extremely rare, to present we are only aware of a handful of<br />

paintings and works on paper from the years '25 -'28, several of which are to be found in<br />

museum collections. The work shown here belonged to the collection of painter Albert<br />

Saverys, another close friend of Jules De Sutter, and remained in family ownership until<br />

recently.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Anna De Weert (Gent 1867- 1950)<br />

Vache dans une prairie, Juin-Juillet 1925<br />

oil on canvas<br />

55,5 x 81 cm<br />

Signed and dated bottom right ‘A De Weert / 1925’<br />

Provenance:<br />

Family of the artist<br />

Private collection<br />

At the back: on the canvas “Anna de Weert / Afsnee / Juin -Juillet /1925”<br />

On the stretcher in pencil: “Vache dans une prairie”<br />

<strong>Exhibition</strong>: Exposition – Tentoonstelling Anna De Weert / Domien Ingels, Salle – Loquet -Zaal, Anvers –<br />

Antwerpen, 5/12-15/12/1925, cat. n° 33<br />

Anna De Weert was one of Belgium’s most important female native impressionist or luminist<br />

painters. Not only was she a very good artist, she also relentlessly defended the cause of female<br />

artists in Belgium and abroad.<br />

Often considere a pupil of Emile Claus, Anna De Weert only went to study with Claus for a<br />

couple of weeks during two summers. Her two uncles, Felix and Alfons Cogen, along with<br />

Armand Heins, Gustave Den Duyts and Désiré De Keghel were her true teachers in the<br />

beginning of her artistic career. The summers with Claus (between 1893 and 1895) are to be<br />

seen as master classes, where De Weert, who was already painting impressionist works, could<br />

finetune her art.<br />

The largest part of her work was created near the border of the river Leie at Afsnee, where she<br />

owned “Ter Neuve”, her summer house annex studio.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Photograph by the V&A: https://collections.vam.ac.uk/item/O1333154/photograph- dupon-josué/<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Josué Dupon (Ichtegem 1864 – Berchem 1935)<br />

A Dachshund playing with a ball, 1908<br />

Patinated bronze on the original marble base<br />

39 x 66,5 x 30 cm (with base); 32 x 66,5 x 24 cm (without base)<br />

Signed and dated at the corner of the bronze base ‘Josue Dupon / 1908’<br />

Foundry mark at the short side of the bronze base ‘Fonderie Natle des Bronzes / Ancne firme J. Petermann / St<br />

Gilles Bruxelles’<br />

Provenance:<br />

Dr. Robert Jacquet, Antwerp<br />

Thence by descent<br />

Josué or Josuë Dupon is undoubtedly one of the most important ‘animaliers’ or animal<br />

sculptors of his generation. Not only was he a highly skilled sculptor, he was also an<br />

influential teacher, with Alberic Collin, Willy Kreitz and Albert Poels amongst his pupils at<br />

the Antwerp Academy. His career took off in 1891 with a gold medal at the Brussels Salon.<br />

Exhibiting both at national and international Salons, he was also active as a medal designer<br />

and known for his large scale sculptures and monuments. As he frequently worked in the<br />

Antwerp Zoo, he became one of the best friends of Rembrandt Bugatti as he came to Antwerp<br />

in 1907.<br />

Contemporary critics praised his realism and his knowledge of the anatomy of the animals he<br />

depicted. A photograph of the dachshund on a marble base is held in the collections of the<br />

Victoria & Albert Museum in London and a smaller example, height 14 cm and apparently<br />

dated 1906, belongs to the collection of a well-known London Gallery.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Maurice Dupuis (Gent 1882 -1959)<br />

Sea and dunes<br />

Oil on canvas, laid down on cardboard<br />

26,5 x 34 cm<br />

at the back signed ‘MDupuis’<br />

Provenance:<br />

Friend of the artist, acquired from or given by Maurice Dupuis<br />

Thence by descent<br />

Maurice Dupuis is well known for his intimist interiors and his humorous etchings. But<br />

Dupuis was also a painter very able to depict cities and landscapes, especially in the first half<br />

of his career. Dupuis had a particular fondness for the North Sea, taking the works of Louis<br />

Artan and of contemporaries like Henri Permeke as an inspiration. This seascape is boldly<br />

painted and shows that although Dupuis had a ‘conservative’ reputation, he was not afraid to<br />

adapt his style in function of the subject.<br />

In the retrospective exhibition of the work of Dupuis at the Gent Museum of Fine Arts in<br />

1982, 4 seascapes were shown, of which 3 were not signed. This seascape belonged to a large<br />

collection of works by the artist, bought by the grandfather of the previous owner directly<br />

from the artist.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Simone Vanderborght (Brussels (?) 1888 – 1969)<br />

Les deux amies, 1947<br />

Patinated terracotta on the original custom made wooden base<br />

Approx. 14 x 40 x 20 cm (with base)<br />

Signed and dated at the side ‘S. Parmentier / 1947’<br />

Also known under the name of ‘Simone Ghysbrecht-Vanderborght’, Simone worked in<br />

Brussels and made both ‘fine art sculptures’ as well as decorative ceramic art. We know very<br />

little about the artist and her formation. We know she married a certain Jacques Ghysbrecht in<br />

1912, thus taking his name, although he died in 1919. She exhibited her work at Le Centaure<br />

in 1929 to much acclaim. She remarried in 1937 with Fritz Parmentier, and henceforth signed<br />

her work with ‘Simone Parmentier’.<br />

Vanderborght only took women as a model for her sculptures. She was known for her oriental<br />

models (she befriended Adrien Mayeur – de Merprès) and also depicted African women. Her<br />

sculptures are very sensual and she is a master in displaying natural and fluid poses.<br />

Vanderborght started as an avant-garde sculptor, but it seems that she remained true to the same<br />

aesthetic values throughout her career. This terracotta sculpture, probably unique, was made in<br />

1947 but is close to what the artist made before WW II.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Adrien Joseph Heymans (Antwerpen 1839 – Schaarbeek 1921)<br />

La chaumière du Sabotier<br />

Oil on canvas<br />

53 x 91,5 cm<br />

Signed bottom right ‘A.J. Heymans’<br />

Provenance: private collection<br />

It is no exaggeration to consider Heymans as one of the founding fathers of modern Belgian<br />

painting. After his studies at the Antwerp Academy, he went to Paris in 1855, where he<br />

befriended a.o. Charles-François Daubigny, Théodore Rousseau and Narcisse Diaz de la Pena.<br />

Corot became his example to follow. When Heymans returned to Belgium, he was one of the<br />

central artists in propagating the new (French) style of painting. Heymans was also a central<br />

figure in the Belgian art scene; as a founding member of ‘Les XX’ and of the later ‘Vie et<br />

Lumière’, he has never lost contact with young painters, influencing a whole generation of<br />

landscape painters.<br />

Heymans work seems very simple and direct. The painter searches to convey the tranquillity<br />

and the emptiness of the landscapes of the Campines region. His palette evolved from the<br />

dark ‘Academy’ colours towards the clear and light colours of the impressionist painters.<br />

Heymans knew the work of Monet, which he studied, he also exhibited with Durand-Ruel,<br />

and later became influenced by the post-impressionist work of his friend Henry Van de Velde.<br />

La ‘Chaumière du Sabotier’ is a typical work by Heymans, in showing the Campines as a<br />

poor region. The painter was not particularly interested in the painting of picturesque views.<br />

In the work the browns and greens dominate in the foreground and they are strengthened by<br />

the grey sky. The touch is loose and vigorous, giving life to the otherwise static composition.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Domien Ingels (Gent 1881 – Bachte-Maria-Leerne 1946)<br />

Steigerende Hengst (Prancing Stallion), 1924<br />

Patinated bronze on the original marble base<br />

83 x 47 x 45 cm<br />

Signed on the bronze base ‘Dom Ingels’<br />

Foundry mark of ‘Fonderie / Vindevogel’ on the bronze base<br />

This cast was made before February 1927<br />

Provenance:<br />

Van de Putte, Gentbrugge<br />

private collection (acquired from the above)<br />

Bibliography:<br />

<strong>Exhibition</strong>s:<br />

Van Beugem Is., Domien Ingels, Tielt, Joris Lannoo, 1927, p. 58 and with an illustration of this<br />

cast<br />

XLVe Exposition Salon de 1933 – XLVe Tentoonstelling Salon van 1933, Gand – Gent, Palais<br />

des Fêtes – Feestpaleis, 1933, cat. nr. 699 ‘Etalon se cabrant (bronze)’ – ‘steigerende hengst<br />

(brons)’ (this cast or another cast)<br />

The Prancing Stallion from 1924 is one of the most impressive bronzes conceived by Domien<br />

Ingels. Whereas the earliest depictions of horses were very static, from the beginning of the<br />

1920’s onwards Ingels tried to bring movement into his sculptures. The composition is one of<br />

the best results of the artist’s quest in this respect.<br />

The subject depicted in this bronze presents a very suggestive image and evokes<br />

interpretations like the forces of nature who unleash their powers upon men, or reason (men)<br />

leading and dominating force or emotion (stallion). Apollo and Dionysos in a relentless<br />

struggle.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Isidore Van Beugem describes this sculpture as an example of the recurring predilection for<br />

the baroque style in Flemish art:<br />

“Door-en-door Vlaamsch, krachtig, geweldig, massaal als een Rubens”<br />

and goes on to describe the sculpture itself:<br />

“Een merrie wacht ter springbalie… De paardenknechten leiden den gichtigen<br />

hengst naar de balie; ’t zotte geweld slaat op; een snok aan de leikoorden; gekets<br />

over de kasseisteenen met gensterregen, gevloek; een wild-bronstig wrenschen en<br />

als een rots verheft de kolos zich op de achterpooten. Manen schudden; spieren<br />

bollen en ontspannen; de ogen glariën; de neusranden trillen in jacht als<br />

stoompijpen; de voorpoten gaan als reuzenmokers op en neer. En twee menschen,<br />

vormend één leven met het uitgebeelde dier-leven, staan er klein, wanhopig-klein.<br />

[…] ”<br />

At the time this book was written, only two casts of this sculpture were executed in bronze. It<br />

was this cast, in a photograph taken at an unknown exhibition of the work of Ingels, possibly<br />

at an exhibition in Antwerp in 1925, that was chosen to illustrate the model. This means that<br />

our cast was executed between 1924 and February 1927, one of only two bronze casts made at<br />

that time. The bronze was cast at the Vindevogel foundry in Zwijnaarde and bears their mark<br />

on the base of the sculpture. The red marble base is original and helped us identify the cast as<br />

the cast illustrated in the monography on the artist of 1927.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Domien Ingels (Gent 1881 – Bachte-Maria-Leerne 1946)<br />

Large Head of a Borzoi<br />

Patinated plaster<br />

63,5 x 39 x 21 cm<br />

Signed on the side of the base ‘Dom. Ingels’<br />

Domien Ingels owned a borzoi and used him as model for several of his sculptures. The large<br />

Borzoi in the park in Gent and at the fountain at his home became a trademark sculpture for<br />

the artist.<br />

Ingels made several versions of the head of the Borzoi. A smaller version of the head also sits<br />

on a high, slender base, and a bronze version of this sculpture belonged to the etcher Jules De<br />

Bruycker.<br />

This large, monumental version is up to this date the only one we know of that came onto the<br />

art market in recent years. It was conceived in the 1930’s and shows the influence of<br />

modernist sculpture on the work of Ingels.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Gustave Kasteleyn (Gent 1848 – 1900)<br />

The dangerous box, 1878<br />

Terracotta<br />

23 x 45,5 x 26 cm<br />

Signed and dated on one of the corners “G Kasteleyn / Gand 1878’<br />

Numerous restorations and damages<br />

This unique, hand crafted terracotta sculpture carries more than one mystery.<br />

First of all it is a subject that is very unusual for Kasteleyn. The sculptor, 30 years old in<br />

1878, just landed a position as a director of the Academy at Nevele near Gent. Most of his<br />

sculptures are in keeping with the fashion and subjects of the academic school. This ‘Singerie’<br />

is the only work by the artist we know of, dealing with this subject. Its style is very modern,<br />

not at all polished and gives the impression of a sculpture that was done in a moment of<br />

inspiration. Could this be a simple ‘singerie’ as seen in paintings by some of his<br />

contemporaries? Or could this work be a critique on a something that occurred in 1878?<br />

While the other monkeys are looking at the box, the central monkey with the top hat is on the<br />

verge of opening it. Another monkey is reading a newspaper, oblivious of what is happening<br />

around him. Could this be a reference to the landslide victory of the Liberal party over the<br />

Catholics in 1878?<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Georges Lemmen (Schaarbeek 1865 - Ukkel 1916)<br />

Le Chapeau bleu, 1905<br />

Oil on cardboard<br />

43,5 x 28,5 cm<br />

Monogram signature and date top right<br />

Exhibiton: Exposition Georges Lemmen, Paris, Galerie Druet, 05/12-<br />

19/12/1906, cat. N° 30<br />

Provenance: Henri Hamm, Paris (a gift of the artist in 1906)<br />

Sale Millon-Robert, Paris, 25/06/1999, lot 120<br />

Private collection<br />

Undoubtably one of the most appreciated of Belgian impressionists, Lemmen needs no<br />

introduction.<br />

In 1905 Lemmen was invited by the Parisian gallery of René Druet to hold a one man show,<br />

the first in the painter’s career. The show was scheduled at the Galerie Druet at 114, Faubourg<br />

Saint-Honoré in Paris. The immense importance of such an exhibition put the painter under a<br />

lot of pressure. As Lemmen relates to fellow painter Willy Finch in a letter of the 17 th of<br />

November:<br />

«En octobre, fatigué par un travail sans relâche, je me suis si énervé et si irritable que<br />

j’ai écrit à Druet que je renonçais à exposer […] Druet m’a simplement remis à<br />

décembre et il a bien fait […] J’avoue que certains de mes navets, encadrés, font un<br />

effet épatant »<br />

Lemmen’s one man show took place from 5 to 9 December. In total the painter showed 81<br />

works, some of which were not for sale but on loan from the artist’s friends, collectors or<br />

critics (a.o. Maurice Denis and Octave Maus). The show encountered a huge critical success.<br />

Octave Maus wrote in L’Art Moderne:<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


« Il [Lemmen] est de la famille spirituelle des Vuillard, des Bonnard […] Pour la première<br />

fois, M. Lemmen rassemble un ensemble aussi considérable de ses œuvres. On sait combien<br />

les épreuves de ce genre sont périlleuses. Seuls les artistes solidement armés en triomphent.<br />

Et c’est, pour celui que nous occupe, une victoire décisive. »<br />

Maus of course was a close friend of the artist, but even the important and influential critic<br />

Louis Vauxcelles was enthusiastic:<br />

« M. Lemmen conquerra ici un succès du meilleur aloi »<br />

Druet was also pleased. In the first 8 days of the show, 13 works were sold.<br />

Le Chapeau bleu and its first owner, Henry Hamm<br />

One of the works on display in the Druet show was Le Chapeau bleu (number 30 of the<br />

catalogue), not to be confused with the work Femme au Chapeau bleu which was owned by<br />

Octave Maus. It was admired by Henry Hamm (1871-1961). Hamm was trained as a sculptor<br />

at the Academy in Bordeaux, but lived and worked already in Paris in 1902. Crucially, he was<br />

one of the founding members of the Salon d’Automne in 1903 with Frantz Jourdain, Eugène<br />

Carrière and Georges Rouault. Thus Hamm became a very important figure in the Parisian art<br />

world. The sculptor was also very much interested in the development of modern applied arts<br />

and maybe this is how he became a close friend of George Lemmen, also an artist active both<br />

in the ‘fine’ arts and in the ‘applied’ arts. Hamm today is more known for his beautiful art<br />

nouveau combs and jewels (often sculpted in horn) and less for his sculptural works.<br />

In a letter dated the 20 th of December 1906 (a day after the closure of the exhibition) Lemmen<br />

wrote to Hamm:<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


« Mon cher Hamm, Voici mon exposition terminée et il m’est permis de disposer de mes<br />

œuvres : c’est dire que je pense à vous. Je prie donc M. Druet de vous remettre le n° 30<br />

qui, si mon souvenir est bon, vous plaisait […] »<br />

This number refers to the painting Le Chapeau bleu. Apparently the painting remained with<br />

Hamm during his lifetime. Hamm was very pleased with it and in a token of gratitude, he sent<br />

Lemmen two works of his own. Lemmen wrote to Hamm:<br />

« Mon cher Hamm, je suis en possession de votre splendide cadeau et ne saurais assez<br />

vous dire combien il m’enchante ! Les deux objets sont du goût le plus sûr et le plus fin<br />

[…] »<br />

Le Chapeau bleu is a work highlighting the quality and relevance of the work Lemmen made<br />

in the years 1904-1907. This mysterious portrait is indeed close to the intimism and symbolism<br />

of the post -1900 work of the Nabis.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Georges Lemmen (Schaarbeek 1865 - Ukkel 1916)<br />

Still life with flowers and fruits, 1912<br />

Oil on canvas<br />

70 x 84 cm<br />

Monogram signature and date top right ‘GL /1912’<br />

Provenance:<br />

collection of George Morren, Bruxelles<br />

collection architect Henri Vaerwyck (-Suys) (1880-1962), Gent<br />

Thence by descent<br />

Still life painting was one of the genres that Lemmen practised throughout his short career to<br />

great esteem. Lemmen was able to show off his talent as a colourist, making each still life a<br />

feast for the eyes. This still life seems to be painted outdoors, with a backdrop of trees and the<br />

sea, in an evening sun.<br />

At the back of the original frame and on the stretcher, there is written “Mr. Morren” and ‘rue<br />

Monastère, 28’. This is almost certain the indication that the painter George Morren was one<br />

of the former owners of the painting. Morren’s Brussels’ address was ‘rue du Monastère’ and<br />

he lived there from 1909 onwards. On 12/11/1920 the house number changed from ‘44’ to<br />

‘28’ and it remained this number until 14/10/1930. This means that Morren probably acquired<br />

the painting somewhere between 1920 and 1930, or that he acquired the work before 1920,<br />

but had it reframed between 1920 and 1930.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


The painter George Morren (1868-1941) was one of our most important (post)impressionist<br />

painters. He befriended Emile Claus, Henry Van de Velde, Theo Van Rysselberghe, Georges<br />

Lemmen, etc. and numerous French impressionist and post-impressionist painters. Morren<br />

came from a wealthy family, was a prominent member of ‘Kunst Van Heden’ in Antwerp and<br />

a very important collector owning works by all the important Belgian painters, but also works<br />

by Toulouse-Lautrec, Boudin etc. The Morrens were also good friends of the Lemmens, and<br />

in 1913 Morren invited Lemmen and his wife to stay with him in his house near Paris. It is<br />

also striking that the still lifes that Morren painted are often very close to those of Lemmen.<br />

After Morren’s death in 1941, his second wife started to sell off his art collection, and this<br />

work was bought by architect Henri Vaerwyck-Suys where it remained in his descendance.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Charles Leplae (Leuven 1903 – Ukkel 1961)<br />

La robe en dentelle, 1934-1935<br />

Patinated bronze<br />

Height 40,5 cm<br />

Signed on the base “Leplae” and dated “35”.<br />

Foundry mark “Susse Fondeur Paris” at the side of the base<br />

According to the Ixelles catalogue of 1977, 5 casts were made of this sculpture. Our cast is numbered in roman<br />

ciphers “IV/VIII” on the base.<br />

Provenance:<br />

Private collection<br />

Bibliography:<br />

Fierens P., Charles Leplae, Bruxelles-Paris, Ed. Marion, 1941, illustration 26 (another<br />

cast)<br />

<strong>Exhibition</strong> catalogue Charles Leplae, Ixelles, Musée d’Ixelles, 24/02-20/03/1977, cat.<br />

N° 6 (illustration of another cast)<br />

Charles Leplae obtained a law degree, but finally found his vocation as a sculptor studying at<br />

the Leuven Academy. He then went to study with Charles Despiau in Paris, who had a notable<br />

influence on the young artist. Leplae moved between the avant-garde and so-called animist<br />

cercles in pre- and post-war Belgium. Leplae always remained dedicated to the figurative in<br />

sculpture and strived to create a new sculptural language, indebted to the great classical<br />

tradition.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Marcel Leprin (Cannes 1891 – Paris 1933)<br />

La rue St-Jean et la Place St-Pierre à Caen, 1930.<br />

Oil on canvas<br />

55 x 46 cm<br />

Signed bottom right ‘Leprin’.<br />

<strong>Exhibition</strong>:<br />

Possibly Galerie Druet, Paris, exhibition Marcel Leprin, December 1930 (without catalogue).<br />

Provenance:<br />

Acquired at the Galerie Druet, Paris in 1931 for 1000,- frcs by Marcel Wolfers and Clairette<br />

Petrucci<br />

Marcel Wolfers and Clairette Petrucci collection<br />

Private collection<br />

Marcel Leprin was a remarkable figure. First sailor, then bullfighter apprentice (!) and active<br />

as a painter of mural decorations in bars and cafés in Marseille, the young Leprin arrived in<br />

Paris in 1921 with nothing but his talent. He started painting views of the city, especially<br />

Montmartre. By 1924, his friend, the frame maker Henri Bureau, introduced the artist to<br />

possible collectors and dealers and placed Leprin under contract. Leprin’s first solo exhibition<br />

took place at Galerie Berthe Weil in 1925.<br />

His subjects and his way of life have often led to comparisons with Maurice Utrillo, although<br />

stylistically the two artist are difficult to compare. As soon as his financial situation had<br />

become better, the painter started to travel across France to paint. In 1928, the best works he<br />

painted in 1926 and 1927 were exhibited in the Galerie Druet, to much critical acclaim. The<br />

works were considered well drawn and the palette of the painter had become brighter.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


In December 1930, Leprin had a second exhibition at Galerie Druet, through mediation of<br />

Bureau. Again the show encountered great success and his views of the city of Caen gained<br />

much praise.<br />

In 1931 Leprin travelled through Normandy in search of subjects for his paintings. But a<br />

series of setbacks pushed the painter into despair and he started drinking and doing drugs.<br />

When he finally arrived in Paris in 1932, Leprin had to be hospitalised. Marcel Leprin died<br />

the next year, aged only 42.<br />

Like the rest of the centre of Caen, the rue St-Jean was completely destroyed during the<br />

Second World War. Only the St-Pierre church was rebuilt as it was, along with some old<br />

historic houses. The street we see today has been rebuilt after the war, but the shoe shop<br />

André still has a shop in almost exactly the same spot as on the painting.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Victor Lorein (Gent 1894 - Anderlecht 1954)<br />

Reclining nude (artificial light), 1950<br />

Oil on canvas<br />

100 x 150 cm<br />

Signed bottom right ‘Lorein’<br />

Provenance:<br />

collection Dr. De Biscop<br />

private collection<br />

Bibliography: Dr. Huys P., Kunstschilder Victor Lorein (1895-1954), Gent, Uitgeverij Vyncke, 1965, ill. 11<br />

p. 37<br />

<strong>Exhibition</strong>s:<br />

Retrospective <strong>Exhibition</strong> Victor Lorein, Aalst, Museum oud-Hospitaal, 21/01-06/02/1972, cat.<br />

nr. 39<br />

Victor Lorein studied at the Gent Academy until 1914. He belongs to the very talented<br />

generation of painters with Ch-R Callewaert, A. Claeys, J. Bergmans, J. Boulez, A.<br />

Vereecken and Ev. De Buck, to name the most interesting. Lorein served as a soldier in the<br />

First World War, but was discharged in 1916 due to mental problems. He joined his elder<br />

sister in England and went to London where he showed some drawings at the ‘London Group’<br />

and with the ‘Allied Artists’. Unfortunately most of these works were lost.<br />

In the 1920, back in Gent, Lorein exhibited at the Salons and in galleries and was hailed as<br />

one of the new talents. One of the most important shows was one at the Le Centaure gallery in<br />

Brussels together with Charles Dufresne. Sales were moderate but good (Lorein sold two<br />

paintings to the Gent Museum) and in 1930 he received a scholarship which enabled him to<br />

visit the Netherlands and specifically the work of Rembrandt, Vermeer, Breitner and Jacob<br />

Maris. Lorein also read extensively on art and was very interested in the work of Courbet,<br />

Cézanne and in the theoretical work of Da Vinci.<br />

In the 1930’s Lorein’s mood changed and he started to live more reclusively, destroying a lot<br />

of his older work and refusing to exhibit his new works. He also left Gent for the Brussels’<br />

region and has almost stopped painting for about 15 years. From 1947 until his death Lorein<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


lived in a small village which is now a part of Dilbeek near Brussels. His studio was on the<br />

loft of a shed, small, dark and inaccessible. As we see in both of our paintings here, Lorein<br />

experimented with artificial light to create a very specific intimist atmosphere with heavy<br />

shadows and a yellowish tone. The incredible ease of composition and modelé which the<br />

painter combines with his singular view on himself in the self-portrait and with the delicate<br />

way in which the reclining nude is seen, make both works seem classic and modern at the<br />

same time.<br />

It was only after his death, thanks to a couple of solo exhibitions at the Vyncke-Van Eyck<br />

gallery in Gent and after the publication of a monography on Lorein in 1965, that the public<br />

got to know the works of this very talented but tormented artist. Several works lent to these<br />

exhibitions belonged to famous collections. Work by Lorein of this quality is difficult to find<br />

on the art market.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Victor Lorein (Gent 1894 - Anderlecht 1954)<br />

Self-portrait, ca. 1949<br />

Oil on canvas<br />

110 x 85 cm<br />

Signed bottom right ‘Lorein’<br />

Provenance:<br />

collection H. Leten, Gent<br />

Collection De Pesseroey, Deurle<br />

Private collection, Gent<br />

Bibliography : Dr. Huys P., Kunstschilder Victor Lorein (1895-1954), Gent, Uitgeverij Vyncke, 1965, ill. p.<br />

30<br />

Retrospective <strong>Exhibition</strong> Victor Lorein, Aalst, Museum oud-Hospitaal, 21/01-06/02/1972, cat.<br />

nr. 53, ill. 7<br />

<strong>Exhibition</strong>s: Tentoonstelling Scaldis s.l., Provinciebestuur Oost-Vlaanderen, 15/07-23/09/1956, cat. Nr. 19<br />

60 Kunstenaars Latem […], Kerk Vinkem-Beauvoorde, July-August 1981<br />

Negen Negentigers in Latem, Brouwerij, Sint-Martens-Latem, 1996, cat. Nr. 8<br />

Zelf- en andere Portretten, As, St-Alegondiskerk, 2/09-30/09/2001<br />

Victor Lorein made several self-portraits during his career, but this is one of the most<br />

enigmatic. It probably draws its inspiration on the earliest of the self-portraits by Ingres, made<br />

in 1804, but known to us through a reworked or newer version of 1851. Ingres drew his<br />

inspiration from the Raphael portrait of Bindo Altoviti.<br />

(<br />

°Image: The New York Public Library Digital Collections)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


The inversed composition shows Lorein not as a young man, but as a middle aged man, with<br />

his heavy brimmed spectacles, looking at us somewhat tired and also surprised. The<br />

composition of the hand and vest are almost protective, as if the artist wants to hide himself.<br />

The very unusual use of yellow and orange light and the presence of the shadow on the right<br />

make it again clear that the painting was conceived using artificial (yellow) light. A nice<br />

detail is the end of the brush, pointing at the artist, like an ‘ecce homo’ gesture.<br />

The quality of the painting and the audacity with which Lorein used colour, make this one of<br />

the most interesting self-portraits made in Belgium in the post-war years.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

The prints of the Lucie Lava collection.<br />

Doctor Louis Lava married the widowed Louise Masereel in 1897. Frans Masereel’s halfsister<br />

Lucie Lava (1898-1971) was very close to Frans and she had an important collection of<br />

prints by the artist. The present collection of prints stem from her collection.<br />

As is common with the very early prints by Masereel, most signatures and inscriptions were<br />

done in ink. In this case the artists used bistre ink or iron gall ink, and when the prints were<br />

exposed to too much sunlight, the ink inscriptions faded. (We face the same problem with<br />

some of the early Jules De Bruycker etchings.) The treatment against the acidity of the paper,<br />

again necessary with the early prints which are often printed on very acid paper, further fades<br />

these inscriptions. In later years, both De Bruycker and Masereel signed their prints in pencil.<br />

We have done experiments with photographing the faded signatures under UV-light, which<br />

makes the faded writing more apparent.<br />

Le Pauvre d’esprit, 1912-1913<br />

woodcut<br />

20,5 x 26,5 cm (image)<br />

Signed and dated in pencil bottom right ‘Frans Masereel 1913’<br />

Titled in pencil bottom left ‘Le pauvre d’esprit’<br />

Extremely rare early woodcut by the artist<br />

Provenance:<br />

Bibliography:<br />

Lucie Lava collection, thence by descent<br />

Vorms P., Bibliographie, Chapitre D, Da1 as ‘Cour de Miracles – le pauvre d’esprit’ and with<br />

date 1912 in Avermaete R. Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Les Bouchers, 1913<br />

etching<br />

24,5 x 31,5 cm (plate)<br />

Signed and dated in pencil bottom right ‘Frans Masereel / 1913’<br />

Titled in pencil bottom left ‘Les bouchers’<br />

Extremely rare early etching by the artist, which has been exhibited many times<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da3p as ‘Les bouchers 1913’, but with different size: 23<br />

x 50 cm and with justification of 20 copies in Avermaete R. Frans Masereel, Antwerpen,<br />

Fonds Mercator, 1976<br />

<strong>Exhibition</strong>s: Frans Masereel, Berlin, D.D.R. Staatliche Museen, 11/04-25/05/1986<br />

Frans Masereel, Gent, Museum voor Schone Kunsten, 14/06-14/09/1986, cat. nr. 34<br />

Frans Masereel, Palma ( Spain ), 1994<br />

Frans Masereel, Scharpoord, Knokke-Heist, 21/12/1996-19/01/1997<br />

Frans Masereel, Krakow, Internation Cultural Centre, 2005<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

La Vierge folle, 1923<br />

woodcut<br />

24,5 x 14,5 cm (image)<br />

Signature and title in ink (faded) bottom right ‘La vierge folle / Frans Masereel’<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da32 with mention printed on 15 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Prière, 1922<br />

woodcut<br />

27 x 20 cm (image)<br />

Signed and dedicated in ink bottom right ‘a Luce / Frans Masereel’<br />

Titled in ink (faded) ‘Prière’ and justified in ink (faded) ‘Ep. d’artiste’ bottom left<br />

Rare and early dedicated woodcut in a proof state by the artist to his sister Lucie<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da26 with mention printed on 30 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Le Cheval de Bois, 1922<br />

woodcut<br />

27 x 19,5 cm (image)<br />

Signed bottom right ‘Frans Masereel’ (faded)<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da18 with mention printed on 25 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Le Calvaire, 1923<br />

woodcut<br />

52,4 x 30,5 cm (image)<br />

No visible signature<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da30 with mention printed on 19 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

La Chanteuse, 1923<br />

woodcut<br />

27 x 19,8 cm (image)<br />

No visible signature<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da28 with mention printed on 25 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Dieu Marin, 1928<br />

woodcut<br />

45,8 x 32 cm (image)<br />

Signed and dated in ink (faded) bottom right ‘Frans Masereel / 1928’<br />

Titled and justified in ink (faded) bottom left<br />

Rare and maybe one of the first copies of this woodcut, which has been exhibited several times<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da53 with mention printed on 28 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

<strong>Exhibition</strong>s:<br />

Label of ‘Lucien Lefebvre-Foinet’ from Paris’ with number ‘1828’ at the back and a circular<br />

French customs stamp<br />

Frans Masereel, Gent, Museum voor Schone Kunsten, s.d. (1986 – not in the catalogue?)<br />

Frans Masereel, Palma ( Spain ), 1994<br />

Frans Masereel, Scharpoord, Knokke-Heist, 21/12/1996-19/01/1997<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Le Témoin, 1923<br />

woodcut<br />

51,5 x 29,5 cm (image)<br />

Signed in ink bottom center ‘Frans Masereel’ (faded)<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da35 with mention printed on 20 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Les Fumées, 1920<br />

woodcut<br />

36 x 33 cm (image)<br />

Signed and dated in ink (faded) bottom right ‘Frans Masereel / 1920’<br />

Titled ‘les fumées’ and justified (?) in ink (faded) bottom left<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da8 with mention printed on 50 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

<strong>Exhibition</strong>s: Frans Masereel, Scharpoord, Knokke-Heist, 21/12/1996-19/01/1997<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Masereel (Blankenberge 1889 - Avignon 1972)<br />

Les Cartes, 1927<br />

woodcut<br />

40 x 29,5 cm (image)<br />

Signed and dated in pencil bottom right ‘Frans Masereel / 1927’<br />

Titled ‘Les Cartes’ and justified ‘ép hors commerce’ in pencil bottom left<br />

Provenance:<br />

Lucie Lava collection, thence by descent<br />

Bibliography: Vorms P., Bibliographie, Chapitre D, Da51 with mention printed on 22 copies in Avermaete R.<br />

Frans Masereel, Antwerpen, Fonds Mercator, 1976<br />

<strong>Exhibition</strong>s:<br />

Label of ‘Lucien Lefebvre-Foinet’ from Paris’ with number ‘1828’ at the back and a circular<br />

French customs stamp<br />

Frans Masereel, Gent, Museum voor Schone Kunsten, s.d. (1986 – not in the catalogue?)<br />

Frans Masereel, Palma ( Spain ), 1994<br />

Frans Masereel, Scharpoord, Knokke-Heist, 21/12/1996-19/01/1997<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


George Minne (Gent 1866 – Sint-Martens-Latem 1941)<br />

Fallen Christ, ca. 1900-1910<br />

Pencil on paper<br />

12,5 x 15,5 cm (day measure)<br />

Signed lower right<br />

Provenance:<br />

Family of the artist<br />

Paul Eeckhout, Gent (acquired from the above)<br />

Private collection (by descent)<br />

During his career, George Minne envisaged several times to depict scenes from the Stations of<br />

the Cross or as it is aptly called in English the Way of Sorrows. We know he made sketches<br />

and drawings on small and large formats, dating from around 1898-1900. It is not clear if the<br />

artist intended to sculpt these scenes.<br />

The small drawing we have here is undated. The precise drawing technique, the stylized<br />

movements and the signature all point to an early execution of the work, before 1914. The<br />

drawing bears some similarities with a study for a monument (cat. 91 in the George Minne<br />

catalogue of 1982) which is dated 1898-1900. Also the angle of the elbow is reminiscent of<br />

the pose of the Bathing woman of 1899, while the drapery covering Christ is similar to the<br />

way the first Rodenbach monument was conceived, which was also in 1899.<br />

This drawing belonged to the personal collection of Paul Eeckhout (1917-2012), director of<br />

the Museum of Fine Arts in Gent from 1948 to 1982. Eeckhout was instrumental in<br />

recognizing the importance of George Minne for the development of European symbolism<br />

and expressionism and his international influence on the avantgarde of the beginning of the<br />

20 th century.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


George Minne (Gent 1866 – Sint-Martens-Latem 1941)<br />

Pieta, ca. 1920<br />

Charcoal on wood<br />

88 x 57 cm (irregular)<br />

Signed bottom right<br />

<strong>Exhibition</strong>:<br />

IIde Salon voor Moderne Godsdienstige Kunst, Antwerpen, 101/12/1921-03/01/1922 as “Reeks<br />

D: Christus in de armen of op de schoot van Maria – 9 tekeningen – Nr. 1 (behoort toe aan dhr.<br />

M. Speth)<br />

XIII Esposizione Internatzionale d’Arte della Città di Venezia 1922, Padiglione del Belgio, n°<br />

74 as «Cristo sulle ginocchia della Madre (disegno su legno f) belonging to Speth<br />

Provenance:<br />

Collection Maurice Speth, Antwerp (acquired from the artist)<br />

Art market, Belgium<br />

Galerie Patrick Derom, Tefaf Maastricht, 2010<br />

Private collection, Germany (acquired from the above)<br />

Sale Grisebach, Berlin, 10/07/2020, lot n° 1680<br />

As most sculptors, George Minne was an avid draughtsman. We must not forget that the artist<br />

has initially trained to become a painter. Minne has never abandoned the two dimensional<br />

surface, and most sculptures were conceived after a lengthy designing process on paper.<br />

Furthermore, when in doubt or in periods of emotional distress, for instance when the artist<br />

was in exile in Wales during WW I, Minne has always turned to drawing as a means to<br />

expressing himself.<br />

Most drawings that survive are sketches. They are small and rarely signed by the artist. Then<br />

there are the more finished drawings on medium format, of which some were conceived as<br />

works of art in their own right. Large drawings are rare, and were to the artist as important as<br />

his sculptures. They were often shown side by side.<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


Due to the fact that Minne had the tendency to work on poor quality paper – even sometimes<br />

wrapping paper – much of his body of drawings has been deteriorated , resulting in poor<br />

condition of the drawings and a substantial alteration of the viewing experience we now have<br />

of the works. As his friend and critic Georges Chabot wrote:<br />

« George Minne éprouve quelque gêne devant le papier immaculé […] il crée sur ce<br />

qui lui tombe sous la main : vieux papiers, circulaires […] »<br />

Only the drawings Minne made on Eternit plaques (these unfortunately contain asbestos) and<br />

on wood have been preserved in an almost unaltered state. But alas, these works are extremely<br />

rare.<br />

The Pieta on wood of 1920<br />

This drawing was probably shown for the first time at an exhibition on modern religious art in<br />

Antwerp. The drawings by Minne were shown in two rooms, and the 38 drawings were shown<br />

in groups (A, B,C and D). This drawing, the only one belonging to Speth, was shown in the<br />

group D as n°1.<br />

A contemporary account by Eugène Joors described the drawings being executed on<br />

yellowish paper or on rough pine wood (“blokken raw wit hout”). Unfortunately the catalogue<br />

doesn’t state the media used, so it is unclear as to how many drawings were executed on<br />

wood. However if we compare it to the Biennale show in Venice about 4 months later, and<br />

which featured several drawings which were shown in Antwerp, we see that out of the 13<br />

drawings shown, only 2 were on wood.<br />

The Minne drawings were praised for their expressivity and simplicity. Overall authors and<br />

critics talk about the conveying of feelings of pain and loss but also of hope and love. As<br />

Georges Chabot wrote in the magazine Gand Artistique in 1922:<br />

« […] George Minne cherche de la Pieta une version qui le satisfasse. Le corps du<br />

Christ repose dans la bure de sa mère, comme dans un berceau, comme dans un<br />

linceul. L’unité des masses répond à l’unité des êtres. Le groupe passe, flotte, erre<br />

dans l’éther, comme une vision […] L’ombre de la douleur voile encore le visage de la<br />

Mater dolorosa alors que la face du Jésus repose déjà dans la lumière céleste. La<br />

majesté de la mort se trouve rendue sans horreur. Les lignes funèbres, les lignes aux<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


lents accents, les lignes classiquement irrévocables exprimaient déjà, à elles seules,<br />

tout le sujet […] »<br />

Chabot does not see these drawings as an expression of the Christian Faith only but as an<br />

expression of spiritual values, close to the heart of the artist.<br />

In the drawings of the 1920’s, Minne finds a mode of expression that is again relevant to the<br />

modern art movement of that period. After a period of extreme mannerism, the artist comes to<br />

a very strong and simplified language close to what we see in the expressionist drawings of<br />

Albert Servaes or Oscar Colbrandt of the same period. Through the making of these<br />

expressionist drawings, Minne enables himself to reinvent his art and so finds a new way to<br />

reinvigorate his sculptural work, culminating in new work from the 1930’s onwards.<br />

Identifying the Minne drawings is very difficult as the artist always worked in series. The<br />

Venice Biennale label at the back of this work, helps us to identify both the drawing and its<br />

possible owner.<br />

Minne showed 13 drawings at the Biennale of 1922. Of those, 6 are titled “Cristo sulle<br />

ginocchia della Madre” (Christ on the knees of the Virgin Mary) and 2 are titled “Pietà”. Thus<br />

our drawing has to be one of these 8. Of these drawings, according to the catalogue, only 1 is<br />

drawn on wood: number 74, from the Maurice Speth collection.<br />

However, in his article on the Venice Biennale of 1922: “L’Art Belge à Venise”, the author<br />

Arthur Laes shows a drawing of a “Pietà” by Minne on p. 7 (bottom), apparently from the<br />

Maurice Speth collection, which is not our drawing and which is drawn on paper. It is our<br />

belief that, seeing that the title of this illustrated drawing differs from the title of number 74 in<br />

the catalogue, and bearing in mind that this drawing is a charcoal on paper drawing, this has<br />

to be another drawing from the Speth collection, and that our drawing on wood is the number<br />

74 of the Venice Biennale catalogue. Speth was also known to buy several works of one artist<br />

for his collection, and he had several drawings and sculptures by Minne, so it is very likely<br />

that he had more than one drawing of his collection on show at the Biennale.<br />

Last but not least, in reviewing the Minne participation, Arthus Laes writes an interesting<br />

comment:<br />

« George Minne, le chef de cette école, montre une nombreuse série de Pietà et de<br />

Christ. […] Il ne traite plus que trois sujets, inlassablement : le Christ, la Pietà et la<br />

Vierge et l’Enfant, mais il en tire des chefs-d’œuvre atteignant au sublime. La forme,<br />

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Galerie St-John – info@st-john.be – 09/225.82.62<br />


le sentiment, tout est épuré, spiritualisé. C’est le pur langage de l’âme. D’un caractère<br />

plastique, sculptural, d’un style sobre et large, l’art de Minne rejoint celui des maîtres<br />

imagiers de nos cathédrales, mais plus subjectif, il est de nos temps modernes.<br />

L’ensemble de George Minne a produit chez les artistes italiens une impression<br />

profonde »<br />

The original owner of the drawing was Maurice Speth (°1887), son of Frédéric Speth. Both<br />

were chairmen of the American Petroleum Company S.A.B in Antwerp. Maurice Speth was<br />

an important collector and an important member of the ‘Kunst Van Heden’ initiative in<br />

Antwerp. He was one of the first collectors that believed in the genius of James Ensor of<br />

whom he had a large collection and who was a personal friend. Speth made a large donation<br />

to the city of Boom with monumental sculptures of Rik Wouters, George Minne and Ernest<br />

Weynants. He also supported young artists (o.a. Jos Léonard, the brothers Jepers and Paul<br />

Van Ostajien). Unfortunately Maurice Speth died with his wife in a car crash in 1938.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


George Morren (Antwerp 1868 – Brussels 1941)<br />

Inkwell, 1895<br />

Pewter<br />

Dimensions: 10,3 x 18,6 x 12,6 cm<br />

Signed at the side ‘G Morren” and dated ‘95’.<br />

Foundry mark ‘J Petermann fondeur / Bruxelles’ at the side<br />

<strong>Exhibition</strong>:<br />

Provenance:<br />

La Libre Ethétique 2me Salon, Bruxelles, 23/02-01/04/1895, (hors catalogue), sold for the<br />

amount of 125,- frcs.<br />

Private collection<br />

Bibliography: Calabrese T., George Morren 1868-1941, Antwerpen, Pandora, s.d. (2000?), p. 63, p.<br />

65 (ill. of a bronze cast) & p. 216 cat. rais. Nr. 39<br />

X, La Libre Esthétique, quatrième liste d’acquisitions in L’Art Moderne, Bruxelles,<br />

24/03/1895.<br />

This 1895 art nouveau inkwell is one of the most iconic applied art creations by George Morren.<br />

A cast was first shown at the Paris Salon of 1895, where a critic compared the style of the<br />

sculpture to the work of Rodin. After admiring Morren’s work, Siegfried Bing selected the<br />

inkwell for his opening exhibition of the ‘Maison de l’Art Nouveau’ in Paris in 1896. The<br />

inkwell was also shown at exhibitions in Germany and at the famous Turin exhibition of 1902,<br />

making it one of the best documented as well as one of the earliest art nouveau creations. A<br />

bronze example belonged to the collection of writer Emile Verhaeren.<br />

This pewter example is up to this day the only one that is known. We know that Morren sold a<br />

pewter cast at the La Libre Esthétique exhibition of 1895, although the inkwell was not in the<br />

catalogue, we know - thanks to the list of acquisitions on the exhibition published in ‘l’Art<br />

Moderne’ – that a pewter cast was sold for 125,- frcs before the 24 th of March 1895. It is not<br />

unlikely that our cast is the one sold at La Libre Esthétique.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


In analogy with the production of the early art nouveau vases designed by Philippe Wolfers we<br />

can assume that the pewter example precedes the bronze casts, pewter being cheaper and easier<br />

to cast than bronze. Wolfers used pewter in his 1895 exhibitions where he showed new objects<br />

for the first time, the cost being lower, the risk of financial losses being smaller. Another<br />

possible reason could also be the influence of Alexandre Charpentier, known to both Wolfers<br />

and Morren, who frequently worked in pewter, and whose work was highly successful.<br />

This would also explain why the pewter cast, which we can consider to be a sort of a prototype,<br />

had a different (open) design for its ink recipients, while the bronze versions are closed.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Albert Edouard Moerman (Gent 1808 - 1856)<br />

Fun in winter<br />

Oil on panel<br />

32 x 44 cm<br />

Signed bottom right ‘A. Moerman’<br />

In a 19 th century frame<br />

Provenance:<br />

Private collection<br />

Moerman specialised in painting landscapes, mostly in winter. He participated in Salons both<br />

in Belgium and abroad and gained quite a reputation, although his career was very brief.<br />

Paintings by Moerman belong to the collections of museums in Kortrijk and Le Havre.<br />

This painting, skaters on a frozen river, is a typical example of his craftsmanship.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Maurits Niekerk (Amsterdam 1871 - Paris 1940)<br />

Market in summer<br />

Oil on canvas<br />

34,5 x 55 cm<br />

Signed bottom left ‘Niekerk’<br />

Although Maurits Joseph Niekerk was born in Amsterdam and studied there at the<br />

Rijksacademie, from 1892 onwards he lived abroad. Active as a writer, architect and art critic,<br />

Niekerk travelled a lot. In 1898 we find the artist in Sint-Martens-Latem, where he befriended<br />

several artists of the so-called ‘2nd group of Latem Painters.’ He stayed at Latem until 1905,<br />

painting luminist landscapes and flower still lives.<br />

Niekerk went to live and paint in Brussels and eventually made his way to Paris, where the<br />

artist died in poverty in 1940. Niekerk was not a prolific artist, his work seldom comes unto<br />

the art market, but is always of high quality. Several works belong to public collections: the<br />

museums of Antwerp and Brussels, the museum of Elsene and the Boijmans-Van Beuningen<br />

museum in Rotterdam own works by Niekerk.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Rosa Vaerwijck (Pauwaert) (Gent 1887 – 1966)<br />

Landscape with moon reflected, ca. 1916-1920<br />

Oil on canvas<br />

37,5 x 58 cm<br />

Signed bottom right ‘Rosa Vaerwijck / Pauwaert’<br />

Provenance: given by the artist to a member of her family, thence by decent.<br />

Rosa Vaerwijck was the sister of renowned architect Valentin Vaerwijck and married Maurice<br />

Pauwaert in Nottingham during the war, where both were exiled. Rosa took on a teaching<br />

position at the Long Eaton Higher Elementary School in Derbyshire and earned quite a<br />

reputation by painting wall paintings, sadly now gone.<br />

Extremely talented, Rosa studied at the Gent Academy from 1905 to 1911, where she eventually<br />

would teach until 1926. Stylistically she remained faithful to the impressionist and luminist<br />

movements of her formative years. She was especially known for her paintings of children for<br />

which her son ‘Rik’ was her source of inspiration. The shooting of the boy, 16 years old, by the<br />

Germans in WW II, dealt a huge blow to Rosa, who came close to giving up painting.<br />

Early works by Rosa Vaerwijck appear seldom on the art market. One theory is that a lot of the<br />

early work was destroyed. This landscape, probably made between 1916 and 1920 is a rare<br />

survivor and was given by the artist to a member of her family.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Maurice Sys (Gent 1880-Deurle 1972)<br />

My humble house, ca. 1927<br />

Oil on canvas laid down on panel<br />

60 x 57 cm<br />

Signed bottom right ‘Maurice Sys’<br />

This work is illustrated on the cover of an exhibition catalogue of works by Sys in the ‘Galerie de Tavernier in<br />

Gent’ which is to be dated around 1927.<br />

Although Sys is primarily known for his marine paintings, the artist was a painter who was<br />

able to tackle any subject. Sys had lived in St-Martens-Latem from 1905 until 1923. In those<br />

days he befriended the brothers De Smet, Dessenis and Frits Van den Berghe. Unlike his<br />

friends, Sys remained true to the luminism of painters like the Vie et Lumière group around<br />

Claus. Sys has painted several interiors of Latem pubs and farmhouses. This painting shows<br />

the ‘humble house’ where the painter lived in his Latem years. It is a subject that was very<br />

close to the heart of the artist. He painted three versions of the same subject, but at different<br />

periods. This version is remarkable in its use of colour and in the very modern way the artist<br />

composed his picture.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Carolus Tremerie (Gent 1858 - 1945)<br />

The Onze-Lieve-Vrouw ter Hoyen Béguinage, Gent<br />

Oil on canvas, relined<br />

80 x 100 cm<br />

Signed bottom left ‘C Tremerie’<br />

Carolus Tremerie was especially fond of the so called ‘small béguinage’. He would go<br />

painting there during his entire career and has depicted the béguinage in different seasons and<br />

hours, documenting the way the light sculpted the church and the surrounding houses and<br />

endowed them with an endless variety in light and atmosphere. His winter views, with the<br />

béguinage in the snow were especially praised by his contemporaries.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Geo Verbanck (Gent 1881 – Aartselaar 1961)<br />

Putti holding vines and grapes<br />

Cast and patinated stone<br />

108 x 96 x 46 cm<br />

Signed on the base ‘G. Verbanck’<br />

Provenance:<br />

private collection<br />

<strong>Exhibition</strong>: Vergeten Beelden – 100 jaar Gentse Beeldhouwkunst, Gent, Galerie St-John, 28/11-<br />

28/12/1997, cat. nr. 45<br />

Geo Verbanck is undoubtably one of the most well-known sculptors of his generation.<br />

The putto has become a recurring motif throughout his career. The combination of putti and<br />

plants was probably worked out for the first time on a large scale in a series of decorative<br />

sculptures in Gent, for the ‘Bank Van de Arbeid’ building at the Volderstraat. The architect of<br />

the building, Georges Vandevoorde, was an admirer of the Austrian and German proto-art<br />

deco style. Verbanck’s sculptural groups were probably put in place around the finishing of<br />

the building in 1923. Here the groups are composed of three figures and consist of putti<br />

depicting industry, commerce, shipping, science and art.<br />

Our group of two putti, holding vines and grapes, is very similar in style to the bank groups,<br />

so it is very well possible that the sculpture was executed in the second half of the 1920’s. By<br />

repute the group has been installed in a wintergarden of a large house in Gent. The use of cast<br />

stone is not uncommon. Several sculptors used cast stone in the 1920’s and ‘30’s: Jean<br />

Canneel, Oscar Jespers, George Minne, Domien Ingels, Gustave Van der Meersche (related to<br />

Verbanck) and Verbanck himself. In a speech given before the Royal Academy for Science,<br />

Letters and Fine Arts of Belgium in 1949, Verbanck specifically mentioned the advantages of<br />

the technique, thus implying that he had ample knowledge of its use.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Verbanck was a stout supporter of the use of cast stone. In this case it is a mixture of stone<br />

and a special kind of cement. For Verbanck it was a good way of limiting the inaccuracies in<br />

the transposition of the plaster model, as is often the case with marble or stone, and<br />

additionally it was a means to work faster and more economically, since otherwise one had to<br />

rely on the skills of a praticien to execute the sculpture:<br />

“En waarom niet een plaatsje gegund aan de kunststeen, zijnde een<br />

samenstelling uit gemalen natuursteen en speciaal cement, een soort veredeld<br />

beton dus. Waarom die grote overwinnaar niet toelaten in het kunstdomein?<br />

Kunststeen benadert na lichte overwerking, het uitzicht van natuursteen; hij is<br />

even sterk weerbestand en bespaart aan de beeldhouwer de onaangename<br />

verrassingen die de natuursteen wel oplevert, zoals verdoken barsten, vlekken<br />

en holten […] De grote tijdsbesparing moet de enorme kosten verminderen,<br />

waarover de beeldhouwer terecht klaagt […] en zeer dikwijls een opdracht in<br />

de weg staan.”<br />

Large groups are very rare in the work of Geo Verbanck. They were mostly specially<br />

commissioned. Using the technique of cast stone, this group could be executed several times.<br />

However, since 1997 we have not come across another cast (in any material) of this sculpture.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Geo Vindevogel (Gentbrugge 1923 – Deurle 1977)<br />

Standing nude with cloth, 1949<br />

plaster<br />

32,2 x 8,5 x 6,2 cm<br />

Signed and dated at the side ‘Georg Vindevogel / 1949’<br />

<strong>Exhibition</strong>:<br />

Retrospectieve tentoonstelling Beeldhouwwerken Geo Vindevogel,<br />

Deurle, Museum Leon De Smet, 18/11-09/12/1979, cat. nr. 12 (a bronze cast).<br />

A typical work by Vindevogel, leaving the influence of the art deco sculptors of his native<br />

town on his early work behind and achieving a new ‘classical’ language, that he will develop<br />

further in the 1950’s and ‘60’s. A rare dated plaster cast, fully signed.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Petrus Van Schendel (Terheyden (Breda) 1806 – Brussel 1870)<br />

Portrait of a man, study<br />

Oil on paper laid down on canvas<br />

28 x 23,5 cm<br />

Signature bottom right ‘P Van Schendel’<br />

Provenance:<br />

private collection<br />

Petrus Van Schendel is primarily known for his very detailed candle lit market scenes. His<br />

highly polished painting style is in stark contrast with this study, which is painted in a very<br />

loose, and seemingly improvised manner and there seems to be some kind of directness about<br />

it. The the composition gives one the impression that the painting was done from life, it<br />

becomes almost a snapshot - from the 19 th century that is. The undetailed background<br />

contributes to the modernity or timelessness of the whole.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Emmanuel Viérin (Kortrijk 1869 – 1954)<br />

Bleaching the laundry at a Béguinage in Flanders, ca. 1920-25<br />

Oil on canvas<br />

80 x 100 cm<br />

Signature bottom right ‘Emm Viérin’<br />

Provenance:<br />

private collection<br />

Emmanuel Viérin’s speciality was the depiction of ‘Begijnhoven’ or ‘Béguinages’ especially<br />

the one from his native town.<br />

This oil painting is a view that resembles the chapel at the Baggaertshof in Kortrijk, but it is<br />

not quite the same.<br />

The typical Viérin elements are visible in this painting: the depiction of different intensities of<br />

light, the important role of the architecture in the composition and the treatment of the figures,<br />

playing a key role in enlivening the scene.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Wolfers (Brussel 1858 – Brussel 1929)<br />

Impéria, 1929<br />

Blue limestone on a later wooden pedestal.<br />

Height 42,5 cm, with pedestal 172,5 cm<br />

Signed on the back of the shoulder ‘Ph Wolfers’<br />

This sculpture is unique.<br />

Provenance:<br />

Philippe Wolfers<br />

Musée Philippe Wolfers, Wolfers Frères Brussels<br />

Private Collection, Brussels<br />

Exibition:<br />

Exposition des oeuvres de Philippe Wolfers – Statuaire, Anvers, Salle Plantin, 09/11-27/11/1929, cat. No. 91<br />

Un Secolo d’Arte Belga 1830-1930, Roma, Galleria Nazionale d’Arte Moderna, 25/03-23/04/1933, cat. No. 18<br />

Bibliography :<br />

Adriaenssens W., Beredeneerde Catalogus van het persoonlijke oeuvre van Philippe Wolfers in De Wolfers<br />

Dynastie - van art nouveau tot art deco, Gent, Design museum Gent, 2006, p. 416, cat. No. 294<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


The head of ‘Impéria’ of 1929 is part of a group of monumental heads or busts, carved in<br />

stone, that were executed for the important 1929 exhibition in Antwerp, where Philippe<br />

Wolfers wanted to make his name as modern sculptor. Wolfers already made a version of<br />

‘Impéria’ in bronze in 1922, and the head was shown in the ‘Gioconda’ room in Paris in 1925.<br />

With a very rough surface, the bronze head was made in his so-called “Hellenistic” style,<br />

where the sculptor tried to emulate the surface corrosion on the Greek and Roman antique<br />

bronzes, excavated from the earth or salvaged from the seas. In 1929 Philippe Wolfers sought<br />

to modernise this sculpture and conceived a classical ‘Impéria’, much more stylised than the<br />

1922 bronze. Clearly, the unique sculpture carved in Belgian blue limestone or ‘Petit granit’<br />

was much more in tune with the aesthetics of the 1930’s art deco.<br />

Originally on a probably ‘noir de mazy’ base, the sculpture lived outside in a Brussel garden<br />

for the last 40 years. The previous owners received the sculpture as payment for their Wolfers<br />

stock papers by the Parisian firm of Chaumet at the time of their takeover of Wolfers Frères<br />

S.A. in 1975. They displayed ‘Impéria’ on their garden terrace, but without its base,<br />

apparently already missing. When acquiring the bust, we decided to mount it on its current<br />

wooden pedestal, which is contemporary to the sculpture.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Rodolphe Wytsman (Dendermonde 1860 - Linkebeek 1927)<br />

Overschie, Holland, ca. 1916<br />

Pastel on paper<br />

22 x 27,5 cm (day measure)<br />

Signed and localised bottom left ‘R Wytsman / Overschie’<br />

Rodolphe Wytsman received his artistic formation at the Gent Academy, where he met Theo<br />

Van Rysselberghe. After a trip to Italy with Gustave Vanaise and a brief stay in Knokke, he<br />

settled in the Brussels region.<br />

This view was painted during the First World War. Like many artists, Wytsman had sought<br />

refuge in the neutral Netherlands. Wytsman painted an oil painting with the same subject<br />

which is dated 1916. This pastel drawing could be the finished study for the oil painting.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Gent<br />

<strong>2021</strong><br />

Art after<br />

1945…<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Philippe Morel, now almost forgotten, was a very influential Gent artist. He started painting in<br />

expressionist fashion and befriended Gustave and Leon De Smet, P-G Van Hecke and even<br />

exhibited works at the Le Centaure gallery in Brussels. After the war, Morel became intrigued<br />

with the work of Picasso and other Parisian painters like Edouard Pignon and André<br />

Fougeron. Between 1945 and 1949 Morel painted in a style close to, but different of, his<br />

Parisian colleagues. Morel clearly was dissolving figuration and was moving towards<br />

abstraction. From 1953 onwards his works became (almost) abstract.<br />

Extremely recluse, and always doubting the quality of his work, Morel never exhibited these<br />

works. He even destroyed most of his pre-abstract works, only keeping the ones that he really<br />

liked, rolled up in his studio. It is only after his death in 1965, that these works resurfaced and<br />

were put onto stretchers by the ‘Vereniging voor het Museum voor Hedendaagse Kunst’ in<br />

Gent, to whom he bequeathed his whole oeuvre. The association gave most of the works to<br />

the S.M.A.K. (Museum of Contemporary Art of Gent) after holding a number of exhibitions<br />

in the 1970’s, where a few works were sold to collectors. This collection of 5 works by Morel<br />

is a rarity: not only are works by Morel almost non-existent on the art market, pre-abstract<br />

works are even rarer. To be able to show 5 works side to side is really exceptional. Similar<br />

works from 1945-1949 by Morel are in the collection of the S.M.A.K. and are also unsigned.<br />

According to Karel J. Geirlandt:<br />

“Na de oorlog opteerde hij voor de kleurrijke door Picasso beïnvloede Parjise school<br />

[…] Buiten enkele vrienden herinnert zich niemand deze werken gezien te hebben, die men na<br />

zijn dood, opgerold en ongetekend teruggevonden heeft”.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Profile, ca. 1945-1949<br />

Oil on canvas<br />

50 x 40,5 cm<br />

Marked with the studio stamp on the stretcher at the back<br />

Numbered ‘69’ at the back of the strecher<br />

Provenance:<br />

Vereniging voor het Museum voor Hedendaagse Kunst (gift from the artist)<br />

private collection (acquired from the above in the 1970’s)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Le Beau Jour, ca. 1945-1949<br />

Oil on canvas<br />

50 x 34,5 cm<br />

Marked with the studio stamp on the stretcher at the back<br />

Numbered ‘75’ and with title in pencil at the back of the stretcher<br />

Provenance:<br />

Vereniging voor het Museum voor Hedendaagse Kunst (gift from the artist)<br />

private collection (acquired from the above in the 1970’s)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Seated woman, ca. 1945-1949<br />

Oil on canvas<br />

109,5 x 69 cm<br />

Marked with the studio stamp on the stretcher at the back<br />

Numbered ‘15’ at the back of the stretcher<br />

Provenance:<br />

Vereniging voor het Museum voor Hedendaagse Kunst (gift from the artist)<br />

private collection (acquired from the above in the 1970’s)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Still life, ca. 1945-1949<br />

Oil on canvas<br />

59 x 89 cm<br />

Numbered ‘26’ at the back of the stretcher<br />

Provenance:<br />

Vereniging voor het Museum voor Hedendaagse Kunst (gift from the artist)<br />

private collection (acquired from the above in the 1970’s)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Morel (de Boucle Saint-Denis) (Gent 1897 - 1965)<br />

Reclining nude, ca. 1945-1949<br />

Oil on canvas<br />

59,5 x 79 cm<br />

Marked with the studio stamp on the stretcher at the back<br />

Numbered ‘9’ at the back of the stretcher<br />

Provenance:<br />

Vereniging voor het Museum voor Hedendaagse Kunst (gift from the artist)<br />

private collection (acquired from the above in the 1970’s)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Willy Anthoons (Mechelen 1911 – Paris 1982)<br />

& Michel Seuphor (Antwerpen 1901 – Paris 1999)<br />

Poème-Objet La Jettature, 1964<br />

Cherry wood, taille directe<br />

79 x 23,5 x 3,5 cm<br />

Signed by both artists, bottom right ‘Anthoons Seuphor’<br />

<strong>Exhibition</strong>s: Seuphor, Haags Gemeentemuseum, Den Haag, 1977 (?), cat. nr. 129<br />

L’ART à la Lettre, Stavelot ; Liège, 1977<br />

Michel Seuphor – la traversée du siècle, Alès-en-Cevennes, musée bibliothèque<br />

Pierre-André Benoît, 23/101991-02/02/1992<br />

Bibliography : M. Daloze, Willy Anthoons - l’esprit de la matière, Paris, Galerie ph. Samuel, 2012, p.<br />

83 with illustration, cat. n°. 127.<br />

Provenance :<br />

collection Michel Seuphor, Paris<br />

In 1962, Anthoons made his first sculpture incorporating a text by Henri Chopin, a ‘poèmeobjet’<br />

or poem-object, ‘Les Bras ouverts’.<br />

In 1964 he decided to use a poem by his good friend Michel Seuphor and sculpted ‘La Jettature’<br />

in cherry wood. On the occasion of the exhibition ‘L'ART à la Lettre’ in Stavelot and then in<br />

Liège, the creator of the exhibition René Leonard wrote:<br />

"[Anthoons] carves in wood, with the precision of a craftsman, every letter of a poem<br />

that precisely matches the stamp of his spirituality with the sobriety of the image".<br />

The playfulness of the poem has indeed been translated into the execution of the sculpture.<br />

Seuphor was very impressed by the sculpture which he bought for his own collection.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Jan Burssens (Mechelen 1925 – Nevele 2002)<br />

Abstract composition, 1950<br />

Pencil on paper<br />

49 x 35 cm<br />

Signed and dated bottom left ‘Jan Burssens 50’<br />

Provenance:<br />

collection of a fellow student of Burssens at the Gent Academy<br />

In 1942 Jan Burssens took lessons at the Sint-Lucas schools for a few months and met Dan<br />

Van Severen. The following year he started at the Gent Academy, where he studied ‘Still<br />

Life’ in Hubert Malfait’s class. The artist moved into a small studio at ‘Het Pand’, a derelict<br />

convent, in Onderbergen and maintained good contacts with André and Karel Geirlandt, Jan<br />

Saverys and Paul Rogghé. Due to the war situation, lessons at the Academy were very<br />

irregular and it would take until 1945 before Jan could take a few more 'Living Model' lessons<br />

with Jan Mulder.<br />

Burssens was attracted by the rapid evolution in modern art and left for the Netherlands in<br />

1946, where he came into contact with Karel Appel and Corneille and the poets Bertus Aafjes<br />

and Gerrit Achterberg. However, his military service interrupted the Dutch intermezzo. In<br />

1947 Corneille stayed with the Burssens family in Melle for a while, so the Dutch contacts -<br />

also with Appel, who regularly stayed in Belgium - were maintained. Meanwhile, Jan and<br />

uncle Gaston Burssens conceived the plan to start a farm in Sint-Idesbald, but Jan left a year<br />

later on a study trip to Italy. Belgium lost a farmer but gained an artist.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


A stay in Duinbergen definitively opened the eyes of the young painter. Not only did he<br />

radically change his style, Burssens began experimenting mixing sand, pebbles and shells in<br />

his paint to create certain colour effects and textures. The dripping technique also made its<br />

appearance.<br />

In 1950 Burssens went to live in the Veldstraat in Mariakerke. It was his first real studio and it<br />

immediately became an attraction for many painters, poets and artists belonging to the avantgarde<br />

milieu. In his painterly evolution Burssens distanced himself from figuration in order to<br />

arrive at geometrically abstract works on the one hand, and abstract works that still retain<br />

their original source of figurative inspiration to some extent.<br />

This drawing is a rare witness to that short period in which Burssens grew from a local artist<br />

into one of Europe's leading avant-garde artists. Work from the period before 1952 has<br />

become very rare and almost untraceable. From the mid-1950s onwards, Burssens has<br />

definitely turned away from pure abstraction.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Jan Burssens (Mechelen 1925 – Nevele 2002)<br />

Vertical composition, 1956<br />

Mixed media on unalite board<br />

70 x 22,5 cm<br />

Signed and dated bottom left ‘Jan Burssens 56’<br />

Provenance:<br />

an important private collection, acquired by the father of the previous owner from the artist.<br />

This vertical composition is typical of the vertical works which Jan Burssens made between<br />

1955 and 1957. The artist started painting on narrow irregular wooden floorboards around<br />

1954, which in turn inspired the ‘Tower’ series of 1955, and a little later the ‘Knights’ or<br />

upright figures which received great international acclaim. This painting shows an almost<br />

abstract composition, leaning more towards the ‘Tower’ series. It brings to mind the<br />

appearance of a sign or a totem.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Amédée Cortier (Gent 1921 - 1976)<br />

Composition, ca. 1963-1965<br />

gouache on paper<br />

31,5 x 22,7 cm (with frame)<br />

Signed bottom right ‘Cortier’<br />

This work is framed in a plastic frame, contemporary to the work and is probably conceived by Cortier.<br />

Provenance: private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Amédée Cortier (Gent 1921 - 1976)<br />

Line Drawing 1 (Composition with rectangles), ca. 1969-1970<br />

Ink on paper<br />

46 x 38 cm (sheet)<br />

Signed bottom right ‘A. Cortier’<br />

Provenance: private collection<br />

Cortier is known as the painter who was obsessively trying to paint pure colour. That is why it<br />

is so rare to find drawings of the artist. Cortier started as a figurative painter, working in a<br />

post-expressionist style. He has gradually moved towards abstraction. His first abstract<br />

compositions were clearly indebted to the abstract art of the 1920’s and 1930’s.<br />

In the 1970’s Cortier paints monochrome works, and dramatically simplifies his<br />

compositions. In a way these three drawings are monochrome drawings, where the white of<br />

the sheet is contained by black lines, defining the edges of the composition.<br />

These drawings are to be situated around 1969-1970. A very similar but later group of<br />

drawings from 1972 belongs to the collection of the Groeningemuseum in Bruges.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Amédée Cortier (Gent 1921 - 1976)<br />

Line Drawing 3 (Composition with 2 rectangles – shift), ca. 1969-1970<br />

Ink on paper<br />

46 x 38 cm (sheet)<br />

Signed bottom right ‘A. Cortier’<br />

Provenance: private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Amédée Cortier (Gent 1921 - 1976)<br />

Line Drawing 4 (Composition with triangles), ca. 1969-1970<br />

Ink on paper<br />

46 x 38 cm (sheet)<br />

Signed bottom right ‘A. Cortier’<br />

Provenance: private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Dees De Bruyne (Gent 1940 – 1998)<br />

Stilleven (Still Life), 1967<br />

Oil on canvas<br />

60,5 x 80 cm (unframed)<br />

Signed, dated and titled at the back of the canvas ‘Dees De Bruyne / 67 / stilleven’<br />

Provenance:<br />

Private collection<br />

Both very rare, unusual and early works by this very talented artist, who later in life vowed<br />

never to paint a painting without a human presence.<br />

What De Bruyne creates here, is a very ‘un-Flemish’ painting, without any links to his<br />

contemporary fellow artists in Gent. The space he created is reminiscent of the work of<br />

Francis Bacon, and might draw its inspiration from his years studying architecture. The very<br />

cartoonesque approach towards modelling and colours prefigures the work of artists in the<br />

1970’s and ‘80’s.<br />

It is possible that one of these works was shown at the infamous ‘Reportage’ exhibition<br />

curated by Roland Van den Berghe and Marcel Broodthaers in October 1967. Dees De<br />

Bruyne showed 7 works, all titled ‘Hedonist’ and of which number 7 was also labelled as ‘still<br />

life’. Unfortunately we could not find any photographs of the exhibited works, so we are not<br />

able to identify them.<br />

De Bruyne apparently only made a handful of works in this style, of which these works are<br />

lone survivors.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Dees De Bruyne (Gent 1940 – 1998)<br />

Stilleven (Still Life), 1967<br />

Oil on canvas<br />

100,5 x 81 cm (unframed)<br />

Signed, dated and titled at the back of the canvas ‘Dees De Bruyne / 67 / stilleven’<br />

Provenance:<br />

Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Hugo De Clercq (Gent 1930 – Hansbeke 1996)<br />

Vintimilia, July 1967<br />

Acryl and spray paint (?) on canvas<br />

55,5 x 45 cm<br />

Signed, dated and titled at the back of the canvas<br />

Provenance:<br />

private collection.<br />

Hugo De Clercq is undoubtedly one of the most important Gent artists from the 1960-1970’s<br />

period. Especially his early constructivist work – both paintings and sculptures – still<br />

surprises. This canvas clearly shows his uncompromising way of painting by its colour<br />

scheme, its composition and use of spray paint.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Alfons De Vogelaere (Gent 1922 – Gent 1998)<br />

Big Bird, 1965<br />

Mixed media on board<br />

125 x 250 cm (dimensions variable)<br />

Signed and titled at the back ‘F De Vogelaere’<br />

<strong>Exhibition</strong>: 51e Nationaal Salon voor Schone Kunsten Gent, Gent, Museum voor Schone Kunsten, 2/10-<br />

14/11/1965, cat. nr. 66 as ‘Groote Vogel’ (label at the back)<br />

Alfons De Vogelaere studied at the Gent Academy, where he was one of the most important<br />

artists of his generation. He exhibited nationally and internationally at the end of the 1950’s<br />

and the beginning of the 1960’s. However his appointment as a teacher at the Gent Academy<br />

and his activities as an art critic put his artistic career under pressure. The growing<br />

international success of his wife, ceramicist Carmen Dionyse, convinced him to stop<br />

exhibiting all together. De Vogelaere’s work is almost impossible to find. This work comes<br />

directly from the estate of the artist.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Roger Dudant (Brunehaut 1929 – Pérluwez 2008)<br />

Construction on a beach, 1959<br />

Oil on canvas<br />

30 x 46 cm<br />

Signed and dated bottom right ‘R Dudant 59’<br />

Provenance:<br />

private collection.<br />

The 1950’s were the breakthrough years for Dudant. In 1953 he finished his studies at La<br />

Cambre, earning the highest grades. In 1954 he won the Jeune Peinture Belge prize and went<br />

on to win third prize at the International Carnegie <strong>Exhibition</strong> in Pittsburgh (USA). <strong>Exhibition</strong>s<br />

at the Palais des Beaux-Arts in 1955 and 1958 consolidated his name and fame, paving the<br />

way for solo shows at galleries in Paris and in New York. Already in the beginning of the<br />

sixties his work was bought by international collectors and made part of the collections of the<br />

Museums of Antwerp, Brussels, Liège, Brugge, Doornik, etc; as well as Lugano, Sao Paolo<br />

and Pittsburgh.<br />

This work is a typical example of the early work by Dudant, which is very difficult to find on<br />

today’s market. It carries all the elements of the early period of the painter: the industrial<br />

building in corrugated metal, the undefined, horizontal space (beach) and the brown colours.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Etienne Elias (Oostende 1936 – 2007)<br />

Look to me little room, 1969<br />

Gouache on paper<br />

54 x 72 cm (day measure sheet), 73,5 x 90 cm with period metal frame by Charles Van Thienen (Brussels)<br />

Signed and dated in pencil bottom right ‘Elias 69’<br />

Title in pencil bottom left<br />

Provenance:<br />

Possibly Galerie Denise Emmanuel, Brussels<br />

Private collection<br />

Exhibited:<br />

Possibly: Etienne Elias – Gravures originales et gouaches, Bruxelles, Galerie Denise<br />

Emmanuel, 29/01- 9/03/1970<br />

One of the founding members of the ‘New Vision’ group (‘De nieuwe Visie’) together with<br />

Roger Raveel, Raoul De Keyser and Reiner Lucassen. In 1966 he worked with these artist to<br />

decorate part of the cellars of the castle of Beervelde, which became the most iconic work by<br />

the group. Influenced by the work of Hockney, Elias forged his own pictural language away<br />

from the influence of Raveel. His works became very stylised and condensed.<br />

1969 was the year of another important group project by Elias, Raveel, De Keyser and<br />

Lucassen for the Dulcia factory, with the aim to introduce art in the work environment. Elias<br />

also stayed for a longer period in Amsterdam as an artist in residence for the Stedelijk<br />

Museum, which in a way started the artist’s long lasting relation with the Dutch art world.<br />

This gouache is typical of the work of that early period. Close to Hockney, painted with<br />

utmost care for composition and execution, the small image is ‘framed’ by its large Steinbach<br />

sheet. The influence of Raveel is no longer visible, the title of the work engages the viewer<br />

into a search for meaning and sense.<br />

During the end of the sixties and the seventies Elias exhibited worldwide and his works<br />

belong to the collections of all major Belgian museums and of those in Amsterdam,<br />

Groningen, Haarlem, Rotterdam and Bradford.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Henri Gabriel (Brussel 1918 – 1994)<br />

Op Art Object, ca. 1967<br />

Plexiglas and metal rods<br />

Height 46 cm, other dimensions variable<br />

unsigned<br />

Provenance:<br />

Private collection<br />

Henri Gabriel is the pseudonym of Henri-Jean Brouwers. Although not very well known by<br />

the general public, Gabriel was one of the most interesting Op-Art artists in Belgium. Selfthought,<br />

Gabriel was an engineer, he started making geometrical inspired sculptures in<br />

Plexiglas and metal from 1964, where the interaction with light, creating shades and<br />

reflections was primordial. He was one of the founding members of the group D4 in 1965,<br />

together with Emile Bergen, Gilbert Decock, Victor Noël en Marcel-Henri Verdren; the group<br />

was later joined by Jo Delahaut, and changed its name into Geoform.<br />

Gabriel made sculptures, two dimensional works, jewellery and textile designs. He was one of<br />

the founders of the influential Leonardo Art Magazine, for which he wrote several articles on<br />

his works. Gabriel showed his works through several galleries in Antwerp (Galerij Louisa<br />

Muller), Brussel (Galerie St-Laurent) and Gent (Plus-Kern) and his work was praised by art<br />

critics Maurits Bilcke, Jaak Fontier, L.L. Sosset, Yves Desmet and Fons De Vogelaere. His<br />

works are very difficult to find on the art market. As usual the work is unsigned.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


s<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Michel Seuphor (Antwerpen 1901 – Paris 1999)<br />

Pour le plaisir, 20 avril 1973<br />

Chinese ink on paper<br />

67 x 51 cm<br />

Signed, titled and dated at the back<br />

Provenance:<br />

Collection Jan d’Haese, acquired directly from the artist.<br />

<strong>Exhibition</strong>:<br />

Seuphor : Bibliofiel Boek – Klein Ensemble, Deurle, Museum<br />

Dhondt-Dhaenens, 2/11/-18/11/1984.<br />

Bibliography: Seuphor (with catalogue raisonné), Anvers, Fonds Mercator, 1976,<br />

p. 293, n° 1973-60<br />

This drawing is a typical example of the zen-like technique Seuphor used, to make his drawings.<br />

Each trait is done by hand, and the image is made by negative, by leaving open space between<br />

the traits. As always there is an element of playfulness in the work by Seuphor.<br />

Jan D’Haese, poet, writer, gallery owner, critic, collector and artist, and Seuphor met for the<br />

first time in 1960. Both had a passion for the work of Guido Gezelle and Paul Van Ostajien.<br />

Both were poets. They continued to see each other frequently for the next 39 years. And Jan<br />

started collecting the work of his friend.<br />

He did not stop there. D’Haese became active in the organisation of shows in Belgium and as<br />

an art critic, started to write articles on Seuphor and helped re-establish the reputation of<br />

Seuphor in his home country.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Vic Temmerman (Overmere 1924 – Dendermonde 2018)<br />

Jumping Cat, 1969<br />

Cast in an aluminium and chrome alloy, on the original slate base<br />

89,5 x 36 x 24 cm (with base)<br />

Signed and dated at the back ‘Vic Temmerman 1969’<br />

Provenance:<br />

family of the artist<br />

Today Vic Temmerman is a figure that is somewhat forgotten, due to the fact that most of his<br />

career was dedicated to teaching. He studied at St-Lucas in Gent and Brussels, and had a brief<br />

internship at the workshop of sculptor Harry Elström in Brussels. In 1955 he started teaching<br />

Sculpture at St-Lucas in Gent, and in later years he would also take on the lessons of Design.<br />

Teaching at the University of Kansas and at the summer university ‘Pro Peyresq’ meant that he<br />

spent a lot of his time abroad. Temmerman’s only solo exhibitions were in 1960 and 2007, and<br />

his whole oeuvre comprises very few small or medium sized sculptures. This sculpture is<br />

sandcast in an aluminium and chrome alloy, thus giving the metal a special rough surface. It is<br />

possible that this sculpture is unique.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Philippe Vandenberg (Gent 1952 – Brussel 2009)<br />

Large nude, 1982<br />

Collage, acryl and charcoal on paper<br />

224 x 149 cm (work), 238 x 178 cm with the original frame<br />

This work is sold with its certificate by the Philippe Vandenberg Foundation Ref. Nr. 22093028<br />

Provenance:<br />

Richard Foncke Gallery<br />

Private collection<br />

This large work by Vandenberg is one of the first of a series of large mixed media collages on<br />

paper made in 1982-1983. It is typical of the work of a young generation of painters that tried<br />

to fuse modern figurative painting with the expressive painting of the previous epochs. Most<br />

commonly labelled as ‘Neue Wilden’, as their German colleagues, it is a credit to Vandenberg<br />

that he didn’t limit himself to a reworking of the Flemish Expressionist legacy. Vandenberg’s<br />

influences came also from Ensor, El Greco and Goya as well as from fellow artists.<br />

Specifically in this work one can feel the influence of Cobra next to the monumental sense of<br />

movement we get in the large altarpieces by Rubens.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Roland Van den Berghe (Gent °1943)<br />

Shame of the society, June 1968<br />

Pencil or charcoal on canvas<br />

100 x 47 cm<br />

Signed, titled and dated at the back of the stretcher<br />

Provenance: Private collection<br />

Roland Van den Berghe is an artist often forgotten in the history of the Belgian avant-garde of<br />

the sixties and seventies. Van den Berghe studied at the Academy in his native city and<br />

quickly emerged as one of the leading conceptual artists of his generation. Instigator of<br />

performances, in the beginning often together with his friend, painter Dees De Bruyne (cfr.<br />

Supra) he founded ‘Reportage’, a series of highly influential happenings and exhibitions. His<br />

friend and collaborator Marcel Broodthaers and Roland Van den Berghe wanted to shake up<br />

the traditional Flemish artworld often using the media to make their point. Fiercely critical of<br />

contemporary society and of the Vietnam War, his works often depict images of media ‘Stars’<br />

and politicians.<br />

This work is more enigmatic, made in an almost mannerist drawing style and close to the<br />

colour plates the artist is known for. Signed and titled at the back, this work was made when<br />

van den Berghe made the move from Gent to Amsterdam where he still lives and works<br />

today.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Roland Van den Berghe (Gent °1943)<br />

Vogelvrije Functie, 1970<br />

Collage and mixed media on paper<br />

57 x 39 cm<br />

Signed, titled and dated below ‘Roland Van den Berghe / “Vogelvrij Functie” / Brussel ‘70’<br />

Provenance: Private collection<br />

Roland Van den Berghe was a fierce critic of the Vietnam War. The ‘bomb’ works from<br />

around 1970 try to raise awareness with the public about the absurdity, triviality and cruelty<br />

of the war, often by combining everyday objects with an airplane bomb.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Paul Van Gysegem (Berlare °1935)<br />

dwars ijzer sculptuur (horizontal iron sculpture), 1962<br />

Painted iron<br />

95 x 104 x 25 cm<br />

Signed on the base: ‘Paul Van Gysegem’<br />

This sculpture is unique<br />

Provenance:<br />

collection of the writer Jef Geeraerts; private collection<br />

Exhibited: Galerie Kaleidoscoop, Gent, 1963<br />

C.A.W. (?), Antwerpen, 1963<br />

Trefpunt, Gent, 1963<br />

This unique sculpture was welded by the artist himself. According to Van Gysegem, he never<br />

knows where the sculpture will take him, shaping the work in different stages and without a<br />

preliminary plan. Each work therefore has to be seen as an improvisation around a theme. The<br />

two legs suggest an anthropomorphic form, but the upper part seems to be all machine, partly<br />

due to the use of fragments of old and discarded farm utensils, collected by the artist. This<br />

juxtaposition of man/machine is central in the work of Van Gysegem.<br />

Paul Van Gysegem received his education at the Gent Academy and at the Higher Institute in<br />

Antwerpen. From 1955 to 2000 he taught sculpture at the K.A.S.K. (Royal Academy of Fine<br />

Arts) in Gent. Van Gysegem is rightly seen as one of the most important artists of his<br />

generation.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Paul Van Gysegem (Berlare °1935)<br />

Composition, 1966<br />

Monotype and drawing in printers’ ink on paper<br />

54 x 70 cm<br />

Signed and dated bottom right ‘Paul Van Gysegem /‘66’<br />

Provenance: Private collection<br />

Also well known as a Free Jazz musician, improvisation and experiment have always been<br />

central in the work on paper by the artist.<br />

Van Gysegem was visiting a friend experimenting with screen prints, when he decided to use<br />

the technique of the monotype print. He drew onto metal plates on which he pressed large sheets<br />

of paper. The imprint was then elaborated with drawing.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Paul Van Gysegem (Berlare °1935)<br />

Vertical Composition with collage, 1966<br />

Like all good sculptors, Van Gysegem was and is a prolific draughtsman, with an incredible technique. Van<br />

Gysegem trained as a painter and his large abstract composition are a typical example of his sense of composition<br />

and his eye for detail. His black and white drawings of the middle of the 1960’s are a two dimensional translation<br />

of his sculptures of the same period.<br />

Collage and drawing in printers’ ink on paper<br />

71 x 52,5 cm<br />

Signed and dated bottom centre ‘Paul Van Gysegem / 66’<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Paul Van Gysegem (Berlare °1935)<br />

Large Composition, 1966<br />

Drawing in printers’ ink on paper<br />

68,5 x 94 cm (day measure)<br />

Signed and dated bottom right ‘Paul Van Gysegem /‘66’<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Paul van Rafelghem (born Brugge 1936)<br />

sculpture, 1974<br />

lead<br />

13 x 40 x 30 cm (dimensions variable)<br />

Signed and dated on the lead ‘garland’ at the right corner ‘P Van Rafelghem / 74’<br />

Provenance: Private collection<br />

Paul Van Rafelghem remained an artist not attached to any group or specific current. He studied<br />

at St-Lucas in Gent and at La Cambre in Brussels and later on taught sculpture at the Academies<br />

of Roeselare (1970-1975) and Gent (1975-2001). The artist liked to work with natural materials<br />

and found objects. In his work, the human form is deconstructed and put together with ‘natural’<br />

and ‘cultural’ objects. The use of lead is of particular importance to him in the 1970’s. Van<br />

Rafelghem is to be situated between conceptual art, new realism and environmental art.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Frans Van Roosmaelen (Eeklo 1943 – Antwerpen 2013)<br />

Beeldstabilisator – 3 dimensional time scale, 1966<br />

Oil (?) and pencil on canvas<br />

82 x 101 cm<br />

Signed, titled and dated at the back of the strecher<br />

Provenance: Private collection<br />

Frans Van Roosmaelen is one of the key figures in the Belgian avant-garde of the 1960’s. He<br />

met artist Roland Van den Berghe through gallerist Richard Foncke in 1966-67 and participated<br />

in the (in)famous Reportage exhibition with a.o. Marcel Broodthaers, Dees De Bruyne,<br />

Panamarenko, Roland Van den Berghe and Jacques Charlier. The works that he showed there<br />

were similar to the painting we propose here. It is possible that this work was shown at his show<br />

at the Trefpunt gallery in Gent in 1967 where the artist sold all the works on display.<br />

Later, Van Roosmaelen moved to Antwerp where he was active within the Ercola group and<br />

showed at Galerie De Zwarte Panter and Galerie Lens. From 1970 onwards Van Roosmaelen<br />

started moving away from the conceptual scene and began painting under the influence of the<br />

‘Neue Wilden’.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Ferdinand Vonck (Blankenberge 1921 – Brugge 2010)<br />

Totem, 1958<br />

Burned and polished wood<br />

75 x 4 x 2 cm<br />

Signed and dated at side near the bottom of the sculpture ‘Vonck ‘58’<br />

Provenance: Private collection<br />

Ferdinand or Fernand Vonck did not have a formal artistic training. Slowly gaining an interest<br />

in sculpture, he started making relief and wooden sculptures. In 1952 he became a member of<br />

the ‘Art Abstrait’ group. In 1956 he joined ‘Formes’ and in 1960 he was a founding member<br />

of ‘L’Art Construit’. It seems that Vonck really benefited from the contact with other artist,<br />

resulting in a boost of creativity.<br />

Although Vonck shifted slowly from making sculptures in wood towards constructing them in<br />

metal, the wooden sculptures have a much more ‘primitive’ and pure feel to them. The artist<br />

frequently called this type of sculptures ‘Totem’ and used burned wood to sculpt them. He<br />

polishing the wood thoroughly so that all hard edges were smoothened, giving the sculptures<br />

an old, ancient looking patina.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


A collection<br />

of prints from<br />

the seventies.<br />

Ever since its invention, the printing technique has been a means to distribute art &<br />

knowledge to a larger public. In the second half of the 19 th century however, the printing<br />

craft suffered from competition with photographic techniques of reproduction and lost its<br />

meaning as a purely reproductive medium. Instead, printing became a means of expression for<br />

a variety of artists. The lower costs of this technique meant that art could be bought by the<br />

‘man in the street’. In the 20 th century prints have been popular throughout but the inter war<br />

period and the 1960-1970’s especially saw a printing boom. Screen print, making prints<br />

easier and cheaper to make, was the medium of choice for the modern artist of the ‘60s and<br />

‘70s. Pop Art could not have existed exist without the screen print technique. <strong>Exhibition</strong>s<br />

were organised solely devoted to print and ‘Print Prices’ went up throughout the world. The<br />

success of offset print and photography meant a steady decline in the amount and quality of<br />

prints during the ‘80s and ‘90s. This small collection was established in the seventies, to<br />

which we added some relevant prints.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Jim Dine (born Cincinnati (Ohio) 1935)<br />

(Two) Hands, 1970-76<br />

colour lithograph<br />

78,5 x 57 cm (sheet)<br />

Signed and dated in pencil bottom left ‘Jim Dine 1970-76’<br />

Justified in pencil bottom left ‘77/150’<br />

from Bathrobe, Hands, Ties, Saw, Rainbow, Boots (Williams College 34), published by Petersburg Press,<br />

London.<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Jim Dine (born Cincinnati (Ohio) 1935)<br />

(Red) Bathrobe, 1970-76<br />

colour lithograph<br />

80,5 x 60 cm (sheet)<br />

Signed and dated in pencil bottom left ‘Jim Dine 1970-76’<br />

Justified in pencil bottom centre ‘77/150’<br />

from Bathrobe, Hands, Ties, Saw, Rainbow, Boots (Williams College 34), published by Petersburg Press,<br />

London.<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Winfred Gaul (Düsseldorf 1928 - 2003)<br />

Untitled, 1971<br />

Screenprint on canvas<br />

90 x 64 cm<br />

Signed and dated at the back of the canvas ‘Gaul 71’<br />

Justified at the back of the canvas ‘1/4’<br />

With a typed label of ‘richard foncke gallery / Sint-Jansvest 18 / 9000 Gent’<br />

Provenance:<br />

Richard Foncke Gallery<br />

Private collection, acquired from the above<br />

A rare screenprint on canvas, signed by the artist and justified in only 4 copies, of which this<br />

is number one. We have not been able to locate other copies of the same edition. We found<br />

one version in another colour, also on canvas but justified ‘VIII/X’ with Gallery<br />

Schlichtenmaier in Stuttgart.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Allen Jones (born Southampton (UK) 1937)<br />

Three-in-one, 1971<br />

screenprint<br />

79,5 x 69 cm (day measure)<br />

Signed and dated in pencil bottom right ‘Allenjones 71<br />

Justified in pencil bottom left ‘8/75’<br />

Another copy of this print belongs to the collection of the Tate in London<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Man Ray (Philadelphia 1890 – Paris 1976)<br />

Magie de l’Image, 1971<br />

colour etching and aquatint<br />

49,5 x 39,5 cm (plate)<br />

Signed in pencil bottom right<br />

‘Man Ray’<br />

Justified in pencil bottom left ‘78/100’<br />

Printed by Jacques David, Paris and published by Richard Binder, Brussels<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Man Ray (Philadelphia 1890 – Paris 1976)<br />

Blue Hand (untitled), 1972<br />

colour etching and aquatint<br />

50,3 x 48,8 cm (plate)<br />

Signed in pencil bottom right<br />

‘Man Ray’<br />

Justified in pencil bottom left ‘78/100’<br />

Printed by Jacques David, Paris and published by Richard Binder, Brussels<br />

Provenance: Private collection<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Panamarenko (Antwerpen 1940 – Brakel 2019)<br />

Untitled, 1973<br />

Offset lithograph in two tones<br />

56 x 76 cm<br />

Signed and dated in pencil top left ‘Panamarenko 73’<br />

Justified in pencil top left ‘165/200’<br />

Bibliography:<br />

50 Jaar Vrienden v/h S.M.A.K. collectie – Tentoonstellingen – Edities – Activiteiten,<br />

Antwerpen, VdH Books, 2007, p. 176.<br />

Provenance: Private collection<br />

The edition from the “Vereniging van het Museum voor Hedendaagse Kunst” in Gent, one of<br />

the early graphic works by Panamarenko, in good condition.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Larry Rivers (New York 1923 – 2002)<br />

May Opening National Collection of fine Art Smithsonian<br />

Washington, 1968<br />

colour lithograph by Mourlot New York<br />

76 x 58,4 cm<br />

Unsigned, unframed<br />

An unsigned but very sixties pop lithograph by this American artist, having belonged to the<br />

collection of art critic and exhibition organiser Adolf Merckx (Celbeton). A similar unsigned<br />

example in the collections of the Cooper Hewitt, Smithsonian Design Museum Collection.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Galerie St-John – info@st-john.be – 09/225.82.62<br />


Dan Van Severen (Lokeren 1927 – Gent 2009)<br />

Untitled, 1991<br />

etching<br />

30 x 24 cm (plate), 56 x 38 cm (sheet)<br />

Signed and dated bottom right ‘DanVS / 91’<br />

Justified in pencil bottom left ‘4/25’<br />

Printed by Henri Hemelsoet (cat. rais. G/042)<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Colophon<br />

This online catalogue was made to accompany our <strong>Winter</strong> <strong>Exhibition</strong> <strong>2021</strong>. All works displayed are for sale.<br />

Texts and research: Raf Steel and Emmy Steel<br />

Editing and photography: Raf Steel and Emmy Steel<br />

Copyright: Galerie St-John, the authors and the artists.<br />

No part of this publication may be reproduced and / or published by means of print, photocopy, electronic<br />

medium or any other method (including translation) without the prior written permission of the authors.<br />

The publisher has done its utmost to request permission to all possible right holders regarding the use of (visual)<br />

material for this online publication. If we have overlooked something, please contact us. Any errors will be<br />

corrected in a subsequent issue.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Que pouvons-nous faire pour vous?<br />

• Notre spécialité: l'achat et la vente de l'art et des arts décoratifs des 19ème et 20eme<br />

siècles, de préférence d'origine belge.<br />

• Nous vous conseillons lors de l'achat ou la vente d'un objet d'art, d'une collection ou d'une<br />

succession.<br />

• Estimations d'objets particuliers, de collections entières ou de successions.<br />

• Nous vous aidons à développer votre collection ou compléter votre intérieur.<br />

• Si vous possédez des œuvres d'art ou des antiquités importantes, nous vous montons<br />

une exposition-vente documentée. Les expositions-ventes annuelles documentées à<br />

notre galerie attirent de nombreux collectionneurs (inter)nationaux.<br />

• Nous organisons des prêts pour les expositions de Musées ou<br />

d'autres Institutions, assistons à la recherche scientifique ou contribuons aux catalogues.<br />

• Organisation d'expositions, inventaires de collections, recherches dans le domaine de<br />

l'art<br />

What can we do for you?<br />

• Our speciality: buying and selling fine and decorative arts of the 19th and 20th centuries,<br />

preferably Made in Belgium.<br />

• We can advise you on buying and selling single pieces or estates.<br />

• Valuations of specific objects, collections or estates.<br />

• We can help you build your collection or complete your interior.<br />

• If you have important works of art or rare antiques, you can sell them through our<br />

annual documented exhibitions which have an international appeal and clientele<br />

• For institutions and museums, we can provide loans for exhibitions, assist with art<br />

historical research or catalogue entries.<br />

• Freelance curating and consultancy: organisation of exhibitions, inventories of<br />

collections, art historical research.<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


Aankoop - Verkoop<br />

Schattingen - Expertises - Tentoonstellingen<br />

Inboedels - Bibliotheken – Nalatenschappen<br />

Archieven van Verzamelaars en Kunstenaars<br />

Advies bij Verdeling & Uitbouw van Collecties, Verzekering, Conservatie<br />

st-john.be<br />

Galerie St-John<br />

Bij St-Jacobs 15A / Nieuwpoort 2 (gps)<br />

B-9000 Gent – Belgium<br />

T. +32-9/225.82.62<br />

info@st-john.be<br />

facebook.com/galeriestjohn<br />

instagram.com/galeriestjohngent<br />

OPEN:<br />

Do 14u-18u Thu<br />

Vr, Za 10u-12u & 14u-18u Fr, Sa<br />

Zo 10u-12u Su<br />

Ma, Di na afspraak<br />

Mo, Tu . by appointment<br />

Galerie St-John – info@st-john.be – 09/225.82.62<br />


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