Galerie St-John, Gent Winter Exhibition 2020 catalogue

Winter Exhibition 2020 

Galerie St-John 

C a t a l o g u e 

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

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* To live happily ever after * Collectors * On a first date * 2020 * 

L i f e a l w a y s b e a t s f i c t i o n 


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To live happily ever after… with art. 

We bring you our online catalogue for the winter exhibition of 2020. More than 200 pages of 

photographs and information showing the discoveries we have made over the course of this 

tumultuous year. 

It is of course difficult to convey the essence of an artwork through digital media, no matter 

what some people (all working in the digital industries by the way) are trying to tell us. The 

digital experience will never replace direct contact with a real work of art. In the art of the 

19 th and 20 th century, where colour, touch, nuance, light, scale, composition and detail are so 

important, looking at a digital photograph of a work is like looking at a poster of a Picasso or 

Mondriaan painting: although the image is the same, it is not quite the same experience you 

have looking at the real thing. 

Furthermore, when you have the privilege to own a work of art and to look at it every day, 

you start to build a relationship with that work. The appearance of a work of art in an interior 

alters with changing light, with different moods of the beholder, with aging. Works of art, 

more even than objects, start to interact with the collector the moment they enter his or her 

home. They offer reflection or comment upon our states of mind and sometimes give us hope 

and joy or console us in these testing times. 

Can you live without art? Probably… But imagine your home without your 

pictures, paintings, sculptures and imagine those bare walls and spaces… you will feel 

something is missing. Even the first humans drew images on cave walls and made 

sculptures. It might be the only thing that separates us from other mammals. At the very 

least, life becomes more barren, duller, more superficial, more heartless, less enticing and 

less inspired without art. 

There is also a philosophical component to a collector’s urge to buy art. Besides 

the above mentioned reasons, which one might call private or “selfish” ones, there is the 

aspect of time and the fact that we hold on to art, gard it, treasure it and keep it safe to hand 

on to future generations. 

So consider this catalogue and the digital images as sort of a first date with the paintings and 

sculptures and keep in mind that, when a work catches your eye through these digital media, it 

will certainly seduce you when you will discover it in reality. 

And from the 9 th of December, you can discover and examine them in our gallery, live, at ease 

and in all safety. Look with your own eyes. L i f e a l w a y s b e a t s f i c t i o n. 


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In advance to your visit, you can always contact us to prepare the necessary information you 

want on the specific artist or object of your choosing. 

For clients who prefer to visit by appointment, please contact us by telephone to arrange a 

private viewing. 

Our gallery is a large and airy space, but in accordance to the health and safety measures laid 

out by our government, we only allow for 10 people to be in the gallery at the same time. 

Raf Steel - Emmy Steel 


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Please note: 

All works illustrated are for sale, save for the supplementary documentary photographs or 

documents, unless otherwise stated. 

Dimensions are noted as: height x width x depth and in centimetres. 

Please contact us for prices. 

We can provide you with additional information through photographs or video chat . 

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

or delivered by us at your doorstep. 

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

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

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

a condition report, however this will not be free of charge. 


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Willy Anthoons (Mechelen 1911 – Paris 1982) 

& Michel Seuphor (Antwerpen 1901 – Paris 1999) 

Poème-Objet La Jettature, 1964 

Cherry wood, taille directe 

79 x 23,5 x 3,5 cm 

Signed by both artists, bottom right ‘Anthoons Seuphor’ 

Exhibitions: Seuphor, Haags Gemeentemuseum, Den Haag, 1977 (?), cat. nr. 129 

L’ART à la Lettre, Stavelot ; Liège, 1977 

Michel Seuphor – la traversée du siècle, Alès-en-Cevennes, musée bibliothèque 

Pierre-André Benoît, 23/101991-02/02/1992 

Bibliography : M. Daloze, Willy Anthoons - l’esprit de la matière, Paris, Galerie ph. Samuel, 2012, p. 

83 with illustration, cat. n°. 127. 

Provenance : 

collection Michel Seuphor, Paris 

In 1962, Anthoons made his first sculpture incorporating a text by Henri Chopin, a ‘poèmeobjet’ 

or poem-object, ‘Les Bras ouverts’. 

In 1964 he decided to use a poem by his good friend Michel Seuphor and sculpted ‘La Jettature’ 

in cherry wood. On the occasion of the exhibition ‘L'ART à la Lettre’ in Stavelot and then in 

Liège, the creator of the exhibition René Leonard wrote: 

"[Anthoons] carves in wood, with the precision of a craftsman, every letter of a poem 

that precisely matches the stamp of his spirituality with the sobriety of the image". 

The playfulness of the poem is indeed continued in the execution of the sculpture. Seuphor was 

very impressed by the sculpture which he bought for his own collection. 


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Karel Aubroeck (Temse 1894 – 1986) 

Mother and son 

Patinated bronze 

54 x 26 x 23 cm 

Signed ‘Aubroeck’ near the rim at the back 

The sculpture sits on a flat ‘Noir de Mazy base’ 

Provenance : 

private collection, acquired from the artist. 

by the grandfather of the previous owner 

This bronze features a theme very close to the heart of the sculptor. Aubroeck sculpted several 

variations on the same theme in the 1940’s. 

Typical of these sculptures is the softly textured surface treatment and the dreadlock style 

hairdo of the mother and her child. As is often the case, Aubroeck also made a wooden 

version of this sculpture. The patinated bronze however works better, emphasising the 

expressionist style of the group and allowing light to better rendering the ‘skin’ of the 

sculpture. Moreover, it enhances the sensuous quality of the curves. 


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Oscar Berchmans (Liège 1869 – Spa 1950) 

La Honte, ca. 1905 

Patinated plaster 

Height 42 cm 

Signed on the side of the base, near the rim ‘Osc Berchmans’ 

Provenance: 

Family of the artist 

Bibliography: 

Exhibition catalogue Art Nouveau België – Europalia 80, Brussel, Paleis voor Schone Kunsten, 

19/12/1980-15/02/1981, cat. N° 523, p. 377 (for a bronze cast of the same sculpture) 

Oscar Berchmans studied with Paul De Vigne in Brussels but was formed in the workshop of 

Leon Mignon in Liège. He became Mignon’s favorite pupil. Berchmans was a very modest 

man, working as a decorative sculptor to earn a living. He was one of the central figures in the 

art nouveau scene in Liège and made beautiful architectural sculptures, reliefs and sgrafittoes 

as well as lamps, vases, inkwells etc. in art nouveau style. His sculptural work has remained 

very limited and consisted mainly of portrait busts. La Honte is certainly one of his most wellknown 

and sought after statuettes. 

This cast is an original plaster cast from the collection of the family of the artist. 


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Jacques Bergmans (Gent 1891 - 1959) 

Le Gewad à Gand, 1925 

Oil on canvas 

150 x 92,5 cm 

Signed and dated bottom right ‘Jacques Bergmans / 1925’ 

Provenance: 

collection E. Vande Voorde, Gent 

private collection 

Exhibitions : 43 e Exposition Triennal de Gand - Salon de 1925, Gand, Palais des Fêtes, 7/06/- 

2/08/1925, cat. n° 141 as « Le Gewat à Gand » 

To be identified exhibitions in Brussel, Antwerpen, Liège, Tournai, Charleroi and Cairo 

(Egypt) 

Bibliography: Gand Artistique - revue mensuelle illustrée , 4 e année (1925), Octobre, n°10, p. 246 

(photograph of the lower part of the painting) 

Van Severen G., Jacques Bergmans – Le maître des Façades et des petites Boutiques 

gantoises, Jacques Bergmans, Gand, 1956, p. 54. 

This view from the Gewad and the Abraham street in Gent is undoubtably one of the 

masterpieces of Bergmans. Painted in 1925, it has immediately been praised when it was 

first exhibited at the Gent Salon of 1925. Art critic Georges Chabot wrote on this 

painting: 

« Au dernier salon, la plupart d’entre nous prisaient fort « la rue d’Abraham » 

mise en place d’honneur […] » 

The bold use of colour and the confident broad brush strokes are typical of the works 

Bergmans painted around 1925, when he was probably at his best. During his lifetime, 

the painting was extensively shown on national and international exhibitions, but 

disappeared from view in the 1950’s and has belonged to a private collection ever since. 


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Eugène Boudin (Honfleur 1824 - Deauville 1898) 

Vaches au bord de la Touques, ca. 1881-1888 

Oil on panel 

21 x 32,8 cm 

Signed bottom right ‘E. Boudin’ 

Provenance: Félix Gérard Fils, Paris. ; 

Sale Hôtel Drouot, Paris, 4/03/1920 

private collection, France 

Sale Arles, 11/07/1993 

private collection, France 

Bibliography: 

Schmit Robert et Manuel, Eugène Boudin 1824-1898 - catalogue raisonné des peintures 

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

with illustration. 

Boudin has been intrigued by painting landscapes and rural life throughout his life although 

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

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

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

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

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

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

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

impressionistic painting technique and colours to update this age old genre subject. 


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Jules Boulez (St-Eloois-Vijve 1889 – Oudenaarde 1960) 

A Farmhouse near Oudenaarde, ca. 1912-1914 

oil on canvas 

41 x 60 cm 

Signed bottom right ‘Jules Boulez’ 

In addition to a musical education (1909-1912), Jules Boulez had a penchant for painting. So 

during his studies at the conservatory this versatile artist took private painting lessons and in 

the vacation he took painting lessons in Paris. Eventually, from 1912 until the First World 

War, he studied at the Ghent Academy. Specifically during those years Boulez was influenced 

by the impressionist work of Emile Claus and Modest Huys. This oil painting belongs to the 

few very rare examples of this period., as works dating from before 1914 are scarce. They 

show a true personal interpretation of the Flemish luminism. 

After World War I he was part of the group of young Ghent artists who embraced 

expressionism. His breakthrough came with a group exhibition at Galerie Georges Giroux in 

Brussels in 1922. Boulez also showed work at Le Centaure in Brussels and clearly belonged 

to the avant-garde. In the 1950-1960 period the painter even experimented with abstraction. 


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Jan Burssens (Mechelen 1925 – Nevele 2002) 

Abstract composition, 1950 

Pencil on paper 

49 x 35 cm 

Signed and dated bottom left ‘Jan Burssens 50’ 

Provenance: 

collection of a fellow student of Burssens at the Gent Academy 

In 1942 Jan Burssens took lessons at the Sint-Lucas schools for a few months and met Dan 

Van Severen. The following year he started at the Ghent Academy, where he studied ‘Still 

Life’ in Hubert Malfait’s class. The artist moved into a small studio at ‘Het Pand’, a derelict 

convent, in Onderbergen and maintained good contacts with André and Karel Geirlandt, Jan 

Saverys and Paul Rogghé. Due to the war situation, lessons at the Academy were very 

irregular and it would take until 1945 before Jan could take a few more 'Living Model' lessons 

with Jan Mulder. 

Burssens was attracted by the rapid evolution in modern art and left for the Netherlands in 

1946, where he came into contact with Karel Appel and Corneille and the poets Bertus Aafjes 

and Gerrit Achterberg. However, his military service interrupted the Dutch intermezzo. In 

1947 Corneille stayed with the Burssens family in Melle for a while, so the Dutch contacts - 

also with Appel, who regularly stayed in Belgium - were maintained. Meanwhile, Jan and 

uncle Gaston Burssens conceived the plan to start a farm in Sint-Idesbald, but Jan left a year 

later on a study trip to Italy. Belgium lost a farmer but gained an artist. 


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A stay in Duinbergen definitively opened the eyes of the young painter. Not only did he 

radically change his style, Burssens began experimenting mixing sand, pebbles and shells in 

his paint to create certain colour effects and textures. The dripping technique also made its 

appearance. 

In 1950 Burssens went to live in the Veldstraat in Mariakerke. It was his first real studio and it 

immediately became an attraction for many painters, poets and artists belonging to the avantgarde 

milieu. In his painterly evolution Burssens distanced himself from figuration in order to 

arrive at geometrically abstract works on the one hand, and abstract works that still retain 

their original source of figurative inspiration to some extent. 

This drawing is a rare witness to that short period in which Burssens grew from a local artist 

into one of Europe's leading avant-garde artists. Work from the period before 1952 has 

become very rare and almost untraceable. From the mid-1950s onwards, Burssens has 

definitely turned away from abstraction. 


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Jean Canneel (Sint-Joost-ten-Node 1889 - 1963) 

In a bad mood… 

Cast stone, patinated black 

29,4 x 21 x 18 cm 

Signed near the rim, ‘Jean Canneel’ 

The use of cast stone became popular in the 1920’s and 1930’s. The advantage for the 

sculptor was twofold: one did not need to hire a ‘praticien’ to carve the model in stone, the 

artist himself could make the cast in his studio, and thus save a lot on production costs. 

Secondly the artist could keep control over the process, choosing the patination and finish he 

wanted. 


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Emile Claus (Sint-Eloois-Vijve 1949 - Astene 1924) 

Portrait of a man with a hat 


32,5 x 22,5 cm (day measure) 

Signed bottom right ‘E. Claus’ 

Provenance: 


Emile Claus was a prolific portraitist in the years before 1890. After studying at the Antwerp 

Academy, Claus was much in demand for painting portraits of the Antwerp high society. This 

drawing can be dated around 1890, a period when Claus moved away from his academic style 

and towards impressionism. Commissioned portraits, although lucrative, became exceptions. 

The artist now mostly painted portraits of friends: fellow artists and writers. It is not 

impossible that the sitter was a good friend of the artist. 


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Emile Claus (Sint-Eloois-Vijve 1949 - Astene 1924) 

Niagara falls in the snow, 13 th of March 1907 


27 x 20,5 cm (day measure) 

Signed with the monogram bottom right ‘E. C. / Niagara / 07’ 

Exhibition: Retrospectieve Emile Claus, Waregem, Kultuurcentrum De Schakel, 24/08-22/09/1985, p. 47, 

cat. n° 117. 

In 1907 Emile Claus was asked to chair as a member of the jury for the Carnegie International 

Exhibition in Pittsburgh. The painter was very curious to venture into the “New World” and 

has stayed in the United States for a month, visiting the cities of Pittsburgh, New York and 

Washington. 

Claus also brought his sketchbook and painter-friend Jean Delvin encouraged him to keep a 

journal of the voyage. His entry for the 13 th of March 1907 is of particular interest to this 

drawing, as it relates to his visit to the falls in the snow: 

« […] ce matin par un temps brumeux nous quittons Buffalo en tram-car à travers un 

pays plat de l’herbe pourrie vers le Niagara, nous longeons le Niagara River qui 

donne une impression de la Hollande, arrivé au Niagara-City tout est couvert de neige 

et j’avoue que c’est avec émotion que nous dirigeons nos pas vers cet endroit dont j’ai 

tant entendu parler … 


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Nous sommes de vrais favorisés. Hôtels, barrières, kiosques[,] enfin toutes ces 

monstruosités fait par l’homme qui entoure[nt] ce spectacle unique au monde, tout 

cela est emmêlée sous la neige, ces ignobles microbes n’existent plus et seul imposante 

et formidable les deux torrents celui de l’Amérique et celui du Canada viennent se 

jeter dans ce gouffre avec un bruit étourdissant, cette chute gigantesque s’engouffre 

dans des montagnes de glace et cette énorme masse d’eau tonitruante a pris de tel 

hauteur vertigineux[,] forme des gros nuages d’eau qui se noient dans le ciel, la neige, 

la glace et cette trombe d’eau verdâtre qui dans la profondeur du gouffre fini en 

prendre blanche et s’évapore dans la vallée ; les glaçons s’entrechoquent comme un 

ballet d’éléphant, ce spectacle vu par un temps brumeux d’une twiste glauque avait 

une grandeur extraordinaire, inquiétant et terrifiant ; que je suis heureux de l’avoir vu 

ainsi en hiver, d’avoir parcouru sur la glace ce qu’on fait généralement en bateau 

[…] aujourd’hui c’était sauvage […] » 

Exerpt from : Johan De Smet, Il recrée les yeux et le goût : Emile Claus 

in het kunstleven van zijn tijd, doctoraat Kunstwetenschappen Universiteit 

Gent, 2009, part 2, p. 332 and further. 

In this drawing Claus tried to convey the sense of awe he experienced beholding the falls, and 

drew an almost abstract scene, with the white snow covering man made buildings and roads, 

and the falls themselves, with the water hurling down and evaporating into white mist. The 

small lone figure in the foreground symbolises the insignificance of men. 

Drawings made by Emile Claus of his stay in the United States are very rare to come onto the 

art market. We know of only two other drawings made in or around New York in the 

collection of the Mudel museum in Deinze. 


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Oscar Coddron (Gent 1881 - Deurle 1960) 

Autumn in Flanders, November 1916 

Oil on canvas 

111 x 74,5 cm 

Signed bottom left ‘Coddron’ and dated on the back of the strecher 

Provenance: private collection 

Oscar Coddron was born in Ghent in 1881. He was educated at the Ghent Academy of Fine 

Arts, where he came into contact with Robert Aerens, Albert Servaes, Domien Ingels, 

Guillaume Montobio and Leon de Smet. Coddron probably made his debut in the 1904 group 

exhibition in the Ghent 'Cercle Artistique et Littéraire'. His fellow exhibitors included the 

brothers Gust and Leon De Smet, Frits Van Den Berghe, Robert Aerens and Clement De 

Porre. 

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

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

the artist gives them his own interpretation. The figure is sometimes given a prominent place. 

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

and Gust De Smet than to the work of Claus. 

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

permanently in Sint-Martens-Latem around 1918. 


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

Coddron exhibited together with Anna De Weert and Madeleine van Thorenburg, in the 

Ghent 'Cercle Artistique'. Throughout the 1920s, Oscar Coddron has built up a good 

reputation, which was also praised outside Ghent. Mario de Marchi wrote in 1929: 

“M. Coddron a une palette aux expressions très différenciées. Il aime traiter ses sujets 

en manière décorative et son désir de synthèse lui fait ordonner sobrement les 

accessories de sa composition. Tout cela est un métier soigné qui n'aura rien 

d'éphémère. C’est de plus un artiste très original.” 

Between 1937 and 1939 Oscar Coddron was appointed director of the Ghent Academy, where 

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

Coddron’s works are in numerous private collections and are in the collections of the 

museums of Tournai and Deinze 


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Oscar Coddron (Gent 1881 - Deurle 1960) 

The river Leie in in winter, 1917 

Oil on canvas 

101 x 100 cm 

Signed and dated bottom right ‘Coddron / 1917’ 



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Hippolyte Daeye (Gent 1873 – Antwerpen 1952) 

Baby – portrait of Marita Van Doorne, 1917 or 1918 

Oil on canvas 

66 x 41 cm 

Signed bottom right ‘Daeye’ and in large capital letters on the back of the canvas 

Exhibition: Rétrospective Hippolyte Daeye, Ixelles, Musée d’Ixelles, 27/04- 

04/06/1989, cat. nr. 50. 

Retrospective Exhibition Hippolyte Daeye, Oostende, P.M.M.K., 

01/07-25/09/1989. 

Provenance: 

collection Beaujean. 

collection Mr. & Mme Thierry Guislain. 

Private collection. 

Bibliography: 

De Visscher-D’Haeye B., Hippolyte Daeye 1873-1952: Genese 

van een Oeuvre, Brussel, Gemeentekrediet, 1989, catalogue 

raisonné number 50, ill. p. 237. 

Additional information: 

An old handwritten label on the back of the stretcher indicates the title of the painting and the date“1917”. 

However the entry in the catalogue raisonné dates the painting 1918. 


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Jan De Clerck (Oostende 1881 – 1962) 

Venezia, ca. 1919 

Pastel on paper 

32 x 44 cm (day measure) 

Signed and titled bottom right ‘Venezia / Jan De Clerck’ 

In 1919 we find Jan De Clerck in Venice, along with his friend E.A. Gerbosch. De Clerck is 

fascinated by this city built on water and creates several dreamlike pastels of Venetian views, 

devoid of people and mostly at dusk or at night. 


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Cesar De Cock (Gent 1823 - 1904) 

Ferme Normande, 1865 

Oil on canvas 

44 x 63 cm 

Signed and dated bottom right ‘Cesar De Cock / 1865’ 

On the back of the stretcher a label with the original title, handwritten in ink. 

Bibliography: Boyens P, Sint-Martens-Latem – Kunstenaarsdorp in Vlaanderen, Tielt, Lannoo, 1992, 

illustration p. 542 (top left) 

A typical work by one of our foremost 19 th century landscape painters. The 1860’s are for De 

Cock the years of international recognition and one of his most creative periods. 


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Jan Frans De Boever (Gent 1872 – Gent 1949) 

Tanagra 

Oil on board 


Signed top right ‘J. De Boever’ 


This work will be included in the supplement of the catalogue raisonné of the artist. 

This hitherto unrecorded work remained in the same collection after it was purchased from the 

artist by a family member of the previous owner. De Boever made different paintings with the 

title Tanagra, one of which he showed at the World Exhibition in Gent (1913). This work was 

conceived in the 1930’s. 


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Venus Milita 

Oil on paper laid down on board 


Signed bottom right ‘J. De Boever’ 




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Joujou 

Oil on board 

29,5 x 20 cm (day measure) 

Signed bottom right ‘J. De Boever’ 




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Hubert de Lyoncourt (active ca. 1869-1883) 

Aven Valley, Castle Hénant in the distance (Brittany) 

Oil on canvas 

55,5 x 101 cm 

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

At the back of the canvas signed and with the artist’s London address and titled. 

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

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

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

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

de Lyoncourt is also known as a painter of views of the isle of Guernsey. 

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

century manoir with a very identifiable tower. A very similar but smaller view with the Hénant 

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

artist are to be found in the collection of the Guernsey Museum and Art Gallery. 


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Richard De Meyer 

(Gent 1890 – Gent 

1964) 

Portrait of a lady, 1930’s 

Wrought metal, patinated 

Height 62,5 cm 

Signed on the side ‘Rich De Meyer’ 

This sculpture is unique 

Richard De Meyer is one of the most overlooked craftsmen of his generation. The artist 

mainly worked in brass and copper, often executing designs by important architects and 

interior designers such as Albert Van Huffel, Oscar Van de Voorde, Charles Van Beerleire, 

etc.. De Meyer himself was a gifted designer, executing lights and decorative elements in art 

deco style. Lesser known is that De Meyer has also produced silverware and sculptures. His 

sculptural work is almost always unique and was hand wrought. 

This head of a woman is typical of the technical ability of the artist, and his talent as a 

sculptor. The sculpture was originally owned by the wife of the artist and remained in the 

family collection after the death of De Meyer. It has been suggested by the descendants of the 

artist that this could be the portrait of the wife of the artist, Madame Maria Delmeiren. 

At the back of the base of the sculpture there is a typed label of an exhibition where the 

sculpture was shown, but unfortunately up to this day the exhibition has not be identified. 


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Gustave De Smet (Gent 1877-Deurle 1943) 

Farm with haystack, 1914 

Gouache on paper 

35 x 47 cm 

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

Provenance: private collection, Ghent 

This work is sold with a certificate by Mr. Piet Boyens 

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

teachings of Jean Delvin, director of the Ghent Academy. He encouraged his students to study 

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

avant-garde art of the moment. Under his influence, De Smet quickly evolved from a 

symbolist towards a native impressionist style. The influence of the luminism of Emile Claus 

and of course of his brother Leon De Smet, led the artist to making colourful , even vivid 

impressionist works between 1905 and 1909. After a ‘flirt’ with fauvism around 1910-12, De 

Smet came under the influence of the non-compromising style of painting practised by Alfons 

Dessenis and Albert Servaes in St-Martens-Latem. De Smet began to distance himself from 

Impressionism. Searching for structure, possibly under the influence of Servaes, and working 

with broad coloured surfaces instead of an impressionist touch, the artist unconsciously 

prepared his transition to expressionism, which fully developed during his exile in the 

Netherlands. 


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Jules De Sutter (Gent 1895 - Sint-Martens-Latem 1970) 

The girl in white, 1928 

Gouache on paper 

61 x 43 cm 

Signed and dated bottom left ‘Desutter / 28’ 

Provenance: 

Albert Saverys 

Thence by descent, Art market Brussels 

Jules De Sutter studied at the Ghent Academy, where he later became a teacher. He was 

impressed by Gust De Smet and Frits Van den Berghe’s translation of the new artistic ideas 

originating in France and Germany, crystallizing into a powerful and highly personal 

expressionist style. Jules had a long standing friendship with Gust De Smet, of whom he 

made a beautiful portrait in 1928. At that point in time, De Sutter’s expressionist style is to be 

situated between the styles of Van den Berghe and De Smet. 

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

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

young expressionists. The daring and experimental works from this period owe tribute to De 

Smet and Van den Berghe, but De Sutter adds his own narrative and symbolism. 

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

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

museum collections. The work shown here belonged to the collection of painter Albert 

Saverys, another close friend of Jules De Sutter, and remained in family ownership until 

recently. 


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Alfons De Vogelaere (Gent 1922 – Gent 1998) 

White Torso, 1961 

Mixed media on canvas 

115 x 75 cm 

Signed bottom left ‘A De Vogelaere’ 

Exhibiton: probably: Ung Belgisk Malerkunst (Art Belge), Fyens Stifts Kunstmuseum, Odense, 1973 

(label at the back) 

Signed, dated and titled on the back on a hand written label on the canvas 

Alfons De Vogelaere studied at the Ghent Academy, where he was one of the most important 

artists of his generation. He exhibited nationally and internationally at the end of the 1950’s 

and the beginning of the 1960’s. However his appointment as a teacher at the Gent Academy 

and his activities as an art critic put his artistic career under pressure. The growing 

international success of his wife, ceramicist Carmen Dionyse, convinced him to stop 

exhibiting all together. De Vogelaere’s work is almost impossible to find. This work comes 

directly from the estate of the artist. 


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Godefroid Devreese (Kortrijk 1861-Brussel 1941) 

Pastorale – Ballets Russes, ca. 1926 


51 x 37,5 cm 

Signed bottom right ‘GDevreese’ 

Provenance: 

private collection, Brussels 

The renown of Devreese as a sculptor and a designer of medallions is widely spread. As one 

of the foremost sculptors of his generation, his work is found all over the world. This work 

was probably commissioned as a small plaquette, and was indeed executed in a size of 

approximately 8 on 5,5 cm by the Brussels firm of Fonson. But Devreese sometimes made a 

cast of the original plaster model, which was not reduced in size. These casts are rare. The 

date of this work is based upon the title, which refers to the creation of the ‘pastorale’ in 1926, 

a ballet of George Balanchine on the music of avant-garde composer George Auric. 


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Anna De Weert (Gent 1867- 1950) 

Première Neige, November- December 1903-1904 



59 x 87 cm with the original frame 

Signed and dated bottom right 

Provenance: 


Galerie Gudrun, Gent 

Private collection, Gent 

At the back: 

in pencil “Anna de Weert / Gent / november-december / van het tweede verdiep” 

a handwritten label with the title of the work, probably by another hand 

a handwritten label with: “Anne De Weert / Gand rue des Hospices 1 / Première neige / 300 

francs / 87 x 59” 

Exhibition: Salon des Indépendants, Paris, Grandes Serres de l’Alma, au Cours de la Reine, 24/03- 

30/04/1905, cat. n° 4171 as « première neige, d’un second étage (pastel) » 

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

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

artists in Belgium and abroad. 

Often regarded as a pupil of Emile Claus, Anna De Weert only went to study with Claus for a 

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

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

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

seen as master classes, where De Weert, who was already painting impressionist works, could 

finetune her art. 


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

owned “Ter Neuve”, her summer house annex atelier. From November onwards, she and her 

husband spent the winter in their house in Gent, on the corner of the Coupure Links and the rue 

des Hospices (now the Maurice De Weert street), where she worked at the second floor of this 

large house. 

The present pastel was drawn looking from the bay window of the second floor, to the right 

(as indicated by the artist on the back of the work). We see the so-called ‘Refuge’ to the right. 

The pastel is unusual in its size and panoramic format and is one of the most important pastels 

of the Coupure we have ever seen. The dates at the back indicate that the work was made 

during two winters: it was started in 1903 and finished in 1904. Anna De Weert showed this 

pastel at the important Parisian Salon of the Indépendants in 1905, the year when the salon 

held retrospective exhibitions of Georges Seurat and Vincent Van Gogh. 


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Dom Martin (Parijs 1889 – Linhó, Portugal 1965) 

Chalice B44, 1929 

Silver, silver gilt, agate 

Height 17,5 cm, diameter 13 cm 

Marks: date mark for 1929, makers mark for Dom Martin, editors mark for Wolfers Frères, alloy mark for 

900/1000 

Inscription on the inside of the base: ‘Martinus monachus invenit excudit in mon. de Castro Lovaniensi’ 

Provenance: 

Collection ‘Musée Philippe Wolfers’, Brussels (a gift from Dom Martin); Wolfers Frères S.A.; 

private collection, USA 

art market, USA. 

Bibliography: 

Recorded with a photograph in the Dom Martin archives, Abdij Keizersberg, Leuven. 

Nys W., Ontwerpen voor Zilver – Sterckshof Studies 18, Antwerpen, Provinciaal Museum 

Sterckshof Zilvercentrum, 2001, p. 407, P 99/66 (original design with text: ‘B44 Calice 

Collection Wolfers atelier Monsieur Philippe’). 

This chalice is unique. 

Dom Martin (Paris 1889 – Linhó, Portugal 1965) is without a doubt one of the most important 

figures in European religious goldsmith’s art of the twentieth century. His talent as a designer 

is unequalled and his religious objects have been praised far beyond national borders. 


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As the founder of "La Croix Latine", this Benedictine monk from the Keizersberg abbey in 

Leuven tried to renew religious arts and to encourage important artists to work towards the 

enrichment of religious heritage. 

Dom Martin worked with Wolfers Frères for the execution of his designs. His desire for 

perfection was legendary and he found that he could only rely on the craftsmen at Wolfers 

Frères, to meet the high standards he applied for the execution of his drawings. Silversmiths, 

sertisseurs and sculptors in ivory and wood gave the best of themselves to realize these unique 

creations. Dom Martin would also occasionally call on Marcel Wolfers' lacquer workshop to 

provide his religious pieces with the precise lacquer work. 

Over the years, Dom Martin had built a close friendship with both Philippe and Marcel 

Wolfers. Philippe Wolfers personally supervised the execution of the most important objects 

and, if necessary, he took care of finishing them by hand. 

The collaboration with Wolfers started in October 1926, but was stopped in 1939, when Dom 

Martin returned to France due to the outbreak of the war. 

Philippe Wolfers and Dom Martin worked together between 1926 and 1929. Dom Martin saw 

Philippe Wolfers as his artistic mentor. The friendship between the two men was all the more 

remarkable given Philippe Wolfers' background as a freemason. 

This chalice bears witness to their mutual friendship and respect. Following the death of 

Philippe Wolfers, Dom Martin donated the chalice to the "Musée Philippe Wolfers" that was 

established in the Arenbergstraat in Brussels in 1929. The chalice was exhibited with a silver 

plaque with the inscription: 


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‘A la mémoire de Philippe Wolfers / qui fut mon Maître / Ce calice est le 

quarante-quatrième et le dernier / qu’il acheva pour moi le 10 décembre 1929 

/ dom M. Martin / moine bénédictin.’ 

The chalice remained in the museum until its closure in the 1970’s. It was sold through Wolfers 

Frères S.A. to a collector afterwards. 


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Jean Dunand (Nancy 1877 – Paris 1942) 

Powder box, ca. 1925 

Natural lacquer (black, red and gold lacquer), egg shell, ureum metal 

Height 5 cm, diameter 13 cm 

Signature on the bottom ‘Jean Dunand’. 

Provenance: Marcel Wolfers and Clairette Petrucci collection, probably acquired in 1925. 

Bibliography: 

F. Marcilhac, Jean Dunand vie et œuvre, Paris, Editions de 

l’Amateur, 1991, p. 88 (powder box with the same form, different 

lacquer decoration, owned by the wife of Jean Dunand). 

Originally, the lid of the box had a small metal loop for the fixation of a tassel. This was removed at a later date 

by Marcel Wolfers. 

Today, the name Jean Dunand is almost synonymous with precious lacquered objects and 

panels in art deco style. Although he was not the first to work with natural lacquer, Dunand 

introduced the material in contemporary design and created a craze for art deco lacquerware in 

the twenties and thirties. 

This powder box was a gift from Marcel Wolfers to his wife Clairette Petrucci and has always 

remained in their collection. Marcel Wolfers also worked with natural lacquer, albeit with a 

very different outcome. He made objects and used it to polychrome his sculptures. 

The shape of the powder box is identical to that of Jean Dunand's wife, but the technique and 

colour used differ. 

This box has also been included in the Dunand archives of Mme Amélie Marcilhac in Paris. 


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Armand Heins (Gent 1856 – Gent 1938) 

A cottage in Flandres, 1883 

watercolour on paper 


Signed and dated bottom left ‘A. Heins 83’ 


Armand Heins was born, raised and has always worked in Ghent, and was a nephew of the 

painter Richard Heintz. Heins played an important role in the Ghent art scene of the second half 

of the 19 th century. Starting as a realist painter, his talent as a draughtsman and his ability to 

make precise sketches from nature with an enormous speed, soon gave his work an 

impressionist quality. Heins had a weakness for old buildings and disappearing ways of life. As 

a lot of artists, he sensed that times were changing fast, and he recorded everything that caught 

his eye that was under threat of modernisation. 

Very few artists are able to paint a watercolour, creating a plethora of nuances as is the case in 

this work. The pictorial quality of the early work by Heins, at the end of the 1880’s and the 

beginning of the 1890’s is unsurpassed. 


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Armand Heins (Gent 1856 – Gent 1938) 

Rye sheaves at St-Martens-Latem, 1916 

Oil on canvas laid down on board 


Signed and dated bottom left ‘A. Heins / 1916’ 

This landscape is typical of the work the artist made during the First World War, when he lived 

at St-Martens-Latem. Heins’ style becomes more analytic, suppressing superfluous details and 

the artist adopted a clear, impressionist use of colour. 


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Charles Hermans (Brussel 1839 – Menton 1924) 

Amazone 1896 



Monogram bottom left ‘CH’ 


Charles Hermans received artistic counsel by Louis Gallait and studied at the St-Lucas school 

in Brussels. He also went to study in Paris with Charles Gleyre, who had a workshop where he 

taught young artists. Monet, Renoir, Sisley and Whistler being his most well-known pupils. 

Hermans’ breakthrough painting was ‘At dawn’, a large work, critical of the plights of the lower 

social classes. It comes as no wonder that Hermans was part of the ‘Société Libre des Beaux- 

Arts’. However the artist also painted beautiful portraits of the upper class, and later in life 

started to paint landscapes. 

It is possible that this drawing has to be dated before 1900, due to its symbolist subject. 


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Adrien Joseph Heymans (Antwerpen 1839 – Schaarbeek 1921) 

La chaumière du Sabotier 

Oil on canvas 

53 x 91,5 cm 

Signed bottom right ‘A.J. Heymans’ 


It is no exaggeration to consider Heymans as one of the founding fathers of modern Belgian 

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

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

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

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

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

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

landscape painters. 

Heymans work seems very simple and direct. The painter searches to convey the tranquillity 

and the emptiness of the landscapes of the Campines region. His palette evolved from the 

dark ‘Academy’ colours towards the clear and light colours of the impressionist painters. 

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

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

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

poor region. The painter was not particularly interested in the painting of picturesque views. 

In the work the browns and greens dominate in the foreground and they are strengthened by 

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


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Edouard Huberti (Brussel 1818 – Schaarbeek 1880) 

A landscape 

Oil on canvas 

25 x 38 cm 

Signed bottom left ‘Huberti’ 

Provenance: Galerie Georges Giroux, as “Paysage”, Vt 206, nr. 299 (n° 401) 

Private collection, probably acquired from the above. 

Edouard Huberti trained as an architect at the Antwerp Academy, but being a very talented 

musician and composer, he settled in Brussels to teach music and to compose. Numerous 

friendships with Theodore Fourmois and artists Paul Lauters, Gustave Simoneau and young 

artists as Alphonse Asselberghs and Alfred Verwee, made Huberti choose for painting around 

the years 1840-42. 

Today Huberti is often described as one of the major artists of the “School of Tervueren”, 

together with Hippolyte Boulenger. However, Huberti preferred broad, flat and open landscape 

in the Campines region to the forest of Tervueren. His quiet, delicate landscapes earned him the 

nickname “Poet with the painters’ brush”. Along with the painters Coosemans and Verheyden 

he roamed the region looking for subjects. 


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Huberti was apparently a very modest man. A couple of years before he died he wrote of 

himself: 

« Décidément, il paraît que j’ai du talent – vivons avec cette pensée, elle me fera 

progresser, j’espère » 

Art critic Raphael Petrucci wrote in 1902 that he was incapable of defending himself, as a 

dreamer, preferring to stay away from the art world and living somewhat as a recluse. 

Eduard Huberti is considered one of the most important 19 th century modern landscape painters 

of his generation. His works are to be seen in all major museums of the country. Probably due 

to the fact that he only was active as a painter during an odd 20 years, works by the artist are 

not very common on the art market. 


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Josse Impens (Brussel 1840 - Schaarbeek 1905) 

Market day in Bruges 

Oil on panel 

15,5 x 27 cm 

Signed top right ‘J. Impens’ 

Impens studied at the Brussels Academy with J. Portaels. He was a typical Brussels artist, 

painting the city and its inhabitants, with a penchant for interior scenes. He especially fancied 

painting interiors of taverns and inns, often with a humorous undertone. Although his work 

and technique is often compared to the work of the Oyens brothers, Impens seems to be more 

related to the down to earth realism of the ‘Société Libre des Beaux-Arts’ movement. Impens 

exhibited at the Salons in Belgium but also abroad (a.o.. in München in 1891 and 1894). His 

work belongs to the collections of the Royal Museums of Fine Arts of Belgium and of the 

museum in Liège. 


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Josse Impens (Brussel 1840 - Schaarbeek 1905) 

A toast to victory! 

Oil on panel 

22 x 19,5 cm. 

Although unsigned, the technique, format and subject of this work make an attribution to 

Impens very likely. Additionally, the use of colour is identical to the work depicted above. 


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Domien Ingels (Gent 1881 – Bachte-Maria-Leerne 1946) 

A panther licking its front paw 

Glazed ceramic 

29,5 x 65 cm 

Monogram ‘DI’ interlaced into the back paw 


In the 1930s, Ingels mainly focused on making sculptures in glazed earthenware. His 

designs were produced by the Maes brothers from Sint-Amandsberg, Roger Guérin 

from Bouffioulx and the Goldscheider firm from Vienna. He eventually started a 

ceramics workshop himself in 1934. The sculptor mainly produced animals and to a 

limited extent also figures (often religious in subject) that were executed in many 

differently coloured glazes. The colours were applied in collaboration with his wife 

Marie Ingels-Pauwaert, painter and teacher at the Ghent Academy. The production of 

ceramics was mainly a response to the limited interest of collectors in the expensive 

bronze statues during the crisis period of the 1930s. To be commercially liveable, 

Ingels started to diversify his subjects from horses and dogs to exotic animals. Often 

these ceramic sculptures were sold through the mediation of furniture designers or 

interior decorators. 

The panther, of which the artist made two different versions, is one of the largest ceramic 

sculptures that the artist has conceived in the 1930’s. 


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Georges Latinis (Schaarbeek 1885 - 1963) 

Le Chemin de la Ferme 

Oil on canvas 

65,5 x 92 cm. 

Signed bottom right ‘Georges Latinis’ 

Titled on the canvas at the back 

The road towards the farm is a typical, albeit large, work for Latinis and is to be dated in the 

1930’s. Georges Latinis is one of the most undervalued new realist painters of his generation. 

He was a self-taught artist, in that he never studied at an official academy, but instead was a 

member of the L’Effort group, which was sort of a free academy in which artists helped their 

peers. Most of the L’Effort group became interested in fauvism, but it seems that Latinis 

gradually came under the influence of modernism. He was a good friend of the architect 


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Victor Bourgeois, who designed the artist’s house and studio in Brussels in 1926, and who 

introduced him into the modernist milieu in Brussels. Although appreciative of the work of 

modernist and abstract painters, Latinis searched for every day subjects, which he then started 

to stylise, pushing towards abstraction, but never leaving figuration. His work is in style and 

atmosphere close to that of Gustave van de Woestijne. 

Latinis mainly exhibited through the Salons, but was also included in the international 

exhibitions of Belgian art. His work belongs to the collections of the Museum of Fine Arts in 

Gent, Brussels, Ixelles and Liège. 


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Georges Lemmen (Schaarbeek 1865 - Ukkel 1916) 

Le Chapeau bleu, 1905 

Oil on cardboard 

43,5 x 28,5 cm 

Monogram signature and date top right 

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

19/12/1906, cat. N° 30 

Provenance: Henri Hamm, Paris (a gift of the artist in 1906) 

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

Private collection 

Undoubtably one of the most appreciated of the Belgian impressionists, Lemmen needs no 

introduction. 

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

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

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

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

November: 

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

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

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

effet épatant » 

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

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

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

Octave Maus wrote in L’Art Moderne: 


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

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

les épreuves de ce genre sont périlleuses. Seuls les artistes solidement armés en triomphent. 

Et c’est, pour celui que nous occupe, une victoire décisive. » 

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

Louis Vauxcelles was enthusiastic: 

« M. Lemmen conquerra ici un succès du meilleur aloi » 

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

Le Chapeau bleu and its first owner, Henry Hamm 

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

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

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

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

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

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

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

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

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

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

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

wrote to Hamm: 


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

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

qui, si mon souvenir est bon, vous plaisait […] » 

This number refers to the painting Le Chapeau bleu. Apparently the painting remained with 

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

Lemmen two works of his own. Lemmen wrote to Hamm: 

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

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

[…] » 

Le Chapeau bleu is a work highlighting the quality and relevance of the work Lemmen made 

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

of the post -1900 work of the Nabis. 


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Charles Leplae (Leuven 1903 – Ukkel 1961) 

La robe en dentelle, 1934-1935 


Height 40,5 cm 

Signed on the base “Leplae” and dated “35”. 

Foundry mark “Susse Fondeur Paris” at the side of the base 

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

ciphers “IV/VIII” on the base. 

Provenance: 


Bibliography: 

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

cast) 

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

N° 6 (illustration of another cast) 

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

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

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

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

sculpture and strived to create a new sculptural language, indebted to the great classical 

tradition. 


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Marcel Leprin (Cannes 1891 – Paris 1933) 

La rue St-Jean et la Place St-Pierre à Caen, 1930. 

Oil on canvas 

55 x 46 cm 

Signed bottom right ‘Leprin’. 

Exhibition: 

Possibly Galerie Druet, Paris, exhibition Marcel Leprin, December 1930 (without catalogue). 

Provenance: 

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

Petrucci 

Marcel Wolfers and Clairette Petrucci collection 


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

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

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

Montmartre. By 1924, his friend, the frame maker Henri Bureau, introduced the artist to 

possible collectors and dealers and placed Leprin under contract. Leprin’s first solo exhibition 

took place at Galerie Berthe Weil in 1925. 

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

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

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

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

works were considered well drawn and the palette of the painter had become brighter. 


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In December 1930, Leprin had a second exhibition at Galerie Druet, through mediation of 

Bureau. Again the show encountered great success and his views of the city of Caen gained 

much praise. 

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

series of setbacks pushed the painter into despair and he started drinking and doing drugs. 

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

the next year, aged only 42. 

Like the rest of the centre of Caen, the rue St-Jean was completely destroyed during the 

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

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

André still has a shop in almost exactly the same spot as on the painting. 


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Jean Mayné (Bruxelles 1850 – 1905) 

Portrait of a woman, 1884 

Oil on canvas 

37,5 x 29 cm 


Jean Mayné was a pupil of Jean Portaels, where he studied along with a.o. Leon Frédéric, 

Franz Charlet and Jacques de Lalaing. As a lot of Portaels’ pupils, Mayné quickly found 

himself attracted to the new painting style propagated by the French realist painters and 

thanks to his impeccable technique, he realised beautiful works in fin-de-siècle Brussels. 

Most of his contemporary critics, found him excelling in portrait painting. De Seyn wrote of 

him: 

« Toutes ces compositions sont traitées avec une probe conscience d’artiste à la vision 

et à la palette robustes ; mais il brille surtout par ses portraits » 

Works by the artist are to be found in the museums of Leuven, Ixelles and Kortrijk. 


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George Minne (Gent 1866 – Sint-Martens-Latem 1941) 

Fallen Christ, ca. 1900-1910 


12,5 x 15,5 cm (day measure) 

Signed lower right 

Provenance: 


Paul Eeckhout, Gent (acquired from the above) 

Private collection (by descent) 

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

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

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

artist intended to sculpt these scenes. 

The small drawing we have here is undated. The precise drawing technique, the stylized 

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

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

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

the pose of the Bathing woman of 1899, while the drapery covering Christ is similar to the 

way the first Rodenbach monument was conceived, which was also in 1899. 

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

the Museum of Fine Arts in Ghent from 1948 to 1982. Eeckhout was instrumental in 

recognizing the importance of George Minne for the development of European symbolism 

and expressionism and his international influence on the avantgarde of the beginning of the 

20 th century. 


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Pieta, ca. 1920 

Charcoal on wood 

88 x 57 cm (irregular) 

Signed bottom right 


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

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

M. Speth) 

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

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

Provenance: 

Collection Maurice Speth, Antwerp (acquired from the artist) 

Art market, Belgium 

Galerie Patrick Derom, Tefaf Maastricht, 2010 

Private collection, Germany (acquired from the above) 

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

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

has initially trained to become a painter. Minne has never abandoned the two dimensional 

surface, and most sculptures were conceived after a lengthy designing process on paper. 

Furthermore, when in doubt or in periods of emotional distress, for instance when the artist 

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

expressing himself. 

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

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

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

his sculptures. They were often shown side by side. 


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

wrapping paper – much of his body of drawings has been deteriorated , resulting in poor 

condition of the drawings and a substantial alteration of the viewing experience we now have 

of the works. As his friend and critic Georges Chabot wrote: 

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

qui lui tombe sous la main : vieux papiers, circulaires […] » 

Only the drawings Minne made on Eternit plaques (these unfortunately contain asbestos) and 

on wood have been preserved in an almost unaltered state. But alas, these works are extremely 

rare. 

The Pieta on wood of 1920 

This drawing was probably shown for the first time at an exhibition on modern religious art in 

Antwerp. The drawings by Minne were shown in two rooms, and the 38 drawings were shown 

in groups (A, B,C and D). This drawing, the only one belonging to Speth, was shown in the 

group D as n°1. 

A contemporary account by Eugène Joors described the drawings being executed on 

yellowish paper or on rough pine wood (“blokken raw wit hout”). Unfortunately the catalogue 

doesn’t state the media used, so it is unclear as to how many drawings were executed on 

wood. However if we compare it to the Biennale show in Venice about 4 months later, and 

which featured several drawings which were shown in Antwerp, we see that out of the 13 

drawings shown, only 2 were on wood. 

The Minne drawings were praised for their expressivity and simplicity. Overall authors and 

critics talk about the conveying of feelings of pain and loss but also of hope and love. As 

Georges Chabot wrote in the magazine Gand Artistique in 1922: 

« […] George Minne cherche de la Pieta une version qui le satisfasse. Le corps du 

Christ repose dans la bure de sa mère, comme dans un berceau, comme dans un 

linceul. L’unité des masses répond à l’unité des êtres. Le groupe passe, flotte, erre 

dans l’éther, comme une vision […] L’ombre de la douleur voile encore le visage de la 

Mater dolorosa alors que la face du Jésus repose déjà dans la lumière céleste. La 

majesté de la mort se trouve rendue sans horreur. Les lignes funèbres, les lignes aux 


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lents accents, les lignes classiquement irrévocables exprimaient déjà, à elles seules, 

tout le sujet […] » 

Chabot does not see these drawings as an expression of the Christian Faith only but as an 

expression of spiritual values, close to the heart of the artist. 

In the drawings of the 1920’s, Minne finds a mode of expression that is again relevant to the 

modern art movement of that period. After a period of extreme mannerism, the artist comes to 

a very strong and simplified language close to what we see in the expressionist drawings of 

Albert Servaes or Oscar Colbrandt of the same period. Through the making of these 

expressionist drawings, Minne enables himself to reinvent his art and so finds a new way to 

reinvigorate his sculptural work, culminating in new work from the 1930’s onwards. 

Identifying the Minne drawings is very difficult as the artist always worked in series. The 

Venice Biennale label at the back of this work, helps us to identify both the drawing and its 

possible owner. 

Minne showed 13 drawings at Biennale of 1922. Of those, 6 are titled “Cristo sulle ginocchia 

della Madre” (Christ on the knees of the Virgin Mary) and 2 titled “Pietà”. Thus our drawing 

has to be one of these 8. Of these drawings, according to the catalogue, only 1 is drawn on 

wood: number 74, from the Maurice Speth collection. 

However, in his article on the Venice Biennale of 1922: “L’Art Belge à Venise”, the author 

Arthur Laes shows a drawing of a “Pietà” by Minne on p. 7 (bottom), apparently from the 

Maurice Speth collection, which is not our drawing and which is drawn on paper. It is our 

belief that, seeing that the title of this illustrated drawing differs from the title of number 74 in 

the catalogue, and bearing in mind that this drawing is a charcoal on paper drawing, this has 

to be another drawing from the Speth collection, and that our drawing on wood is the number 

74 of the Venice Biennale catalogue. Speth was also known to buy several works of one artist 

for his collection, and he had several drawings and sculptures by Minne, so it is very likely 

that he had more than one drawing of his collection on show at the Biennale. 

Last but not least, in reviewing the Minne participation, Arthus Laes writes an interesting 

comment: 

« George Minne, le chef de cette école, montre une nombreuse série de Pietà et de 

Christ. […] Il ne traite plus que trois sujets, inlassablement : le Christ, la Pietà et la 

Vierge et l’Enfant, mais il en tire des chefs-d’œuvre atteignant au sublime. La forme, 


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le sentiment, tout est épuré, spiritualisé. C’est le pur langage de l’âme. D’un caractère 

plastique, sculptural, d’un style sobre et large, l’art de Minne rejoint celui des maîtres 

imagiers de nos cathédrales, mais plus subjectif, il est de nos temps modernes. 

L’ensemble de George Minne a produit chez les artistes italiens une impression 

profonde » 

The original owner of the drawing was Maurice Speth (°1887), son of Frédéric Speth. Both 

were chairmen of the American Petroleum Company S.A.B in Antwerp. Maurice Speth was 

an important collector and an important member of the ‘Kunst Van Heden’ initiative in 

Antwerp. He was one of the first collectors that believed in the genius of James Ensor of 

whom he had a large collection and who was a personal friend. Speth made a large donation 

to the city of Boom with monumental sculptures of Rik Wouters, George Minne and Ernest 

Weynants. He also supported young artists (o.a. Jos Léonard, the brothers Jepers and Paul 

Van Ostajien). Unfortunately Maurice Speth died with his wife in a car crash in 1938. 


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Bust of a man, ca. 1930-1933. 

Patinated plaster on a painted wooden base 

Height 26,5 cm (with base) 

Length 28,7 cm (with base) 

Signed at the back on the shoulder ‘GMinne’ 

Provenance: 


This Bust of a man is a rare sculpture by Minne. To us it is the first time that we have come 

across this model. It is similar to another Head of a Man, which is commonly dated around 

1930. 

Both sculptures could be related to the second version of the Solidarité monument which now 

stands in Boom. This sculpture is also known in a small version from ca. 1933. It could be 

that both figures were executed as busts around the same period. 

The painted wooden base is unusual, but we have seen these painted bases before with other 

plaster casts. It is our belief that these plaster sculptures on the painted wooden bases were 

possibly given to the marble workshop by Minne, as an exact 1/1 example how to execute 

(and fasten) the marble base for a bronze version of the same sculpture. 


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Albert Edouard Moerman (Gent 1808 - 1856) 

Fun in winter 

Oil on panel 

32 x 44 cm 

Signed bottom right ‘A. Moerman’ 

In a 19 th century frame 

Provenance: 


Moerman specialised in painting landscapes, mostly in winter. He participated in Salons both 

in Belgium and abroad and gained quite a reputation, although his career was very brief. 

Paintings by Moerman belong to the collections of museums in Kortrijk and Le Havre. 

This painting, skaters on a frozen river, is a typical example of his craftsmanship. 


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Maurits Niekerk (Amsterdam 1871 - Paris 1940) 

Market in summer 

Oil on canvas 

34,5 x 55 cm 

Signed bottom left ‘Niekerk’ 

Although Maurits Joseph Niekerk was born in Amsterdam and studied there at the 

Rijksacademie, from 1892 onwards he lived abroad. Active as a writer, architect and art critic, 

Niekerk travelled a lot. In 1898 we find the artist in Sint-Martens-Latem, where he befriended 

several artists of the so-called ‘2nd group of Latem Painters.’ He stayed at Latem until 1905, 

painting luminist landscapes and flower still lives. 

Niekerk went to live and paint in Brussels and eventually made his way to Paris, where the 

artist died in poverty in 1940. Niekerk was not a prolific artist, his work seldom comes unto 

the art market, but is always of high quality. Several works belong to public collections: the 

museums of Antwerp and Brussels, the museum of Elsene and the Boijmans-Van Beuningen 

museum in Rotterdam own works by Niekerk. 


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Maurits Niekerk (Amsterdam 1871 - Paris 1940) 

A view of the Beguinage Ten Wijngaarde in Bruges 

Oil on canvas 

56 x 46,5 cm 

Signed bottom left ‘M. Nykerk’ 


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Panamarenko (Antwerpen 1940 – Brakel 2019) 

Untitled, 1976 

Ballpoint and pencil on paper 

30 x 23 cm 

Signed and dated bottom right ‘Panamarenko / 76’ 

The authenticity of this drawing has been confirmed by Mr. Ronny Van de Velde 

An early study by one of the most important post-war Belgian artists, showing an aeroplane 

and a flying ‘wing’ with propeller. Early drawings by Panamarenko are difficult to find on the 

art market today. 


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Kurt Peiser (Antwerpen 1887 – Ukkel 1962) 

Marine, 1908 

Oil on canvas 

39 x 58 cm 

Signed and dated bottom right ‘KPeiser 1908’ 

Provenance: Private collection 

This work is among the earliest works of the artist. In 1908, Peiser was given his second solo 

exhibition at the Galerie Forst on the Meir in Antwerp. Peiser gained a lot of praise with his 

marine paintings by the critics. Due to this successful exhibition, Peiser had the opportunity to 

exhibit in the same year in the ‘Salle Boute’ in Brussels, again with great success. 

This marine painting is and was unusually modern, considering that in 1908 impressionism 

reigned supreme. Peiser lays the paint on the canvas with thick brush strokes and almost turns 

it into an expressionist work. The use of colour and the way of painting are reminiscent of the 

works of Louis Artan, and one is tempted to see these works by Peiser as a logical evolution 

thereof. 


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Corneille Petit 

(Brussel, 2 nd half of the 19 th century) 

Les crêpes (the pancakes) 

Oil on canvas 

46 x 35,5 cm 

Signed bottom left ‘Corneille Petit’ 

With a written certificate by the artist on the back of the canvas 

Provenance: 


Little is known about the career of this artist, who was active in Brussels. As he was a 

member of ‘L’Essor’, he most probably studied at the Brussels Academy of Fine Arts. Petit 

participated frequently in the Salons, generally with genre themes featuring children. In this 

work we see that the artist was a master in the accurate rendering of the impatience and desire 

of children. 


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Joseph Rulot (Liège 1853 – Herstal 1919) 

Sitting man, 1896 



Signed and dated below ‘J. Rulot 96’ 

Bibliography: 

J. Du Jardin, L’Art Flamand – les artistes contemporains tome 2, Bruxelles, A. Boitte, 1900, ill. 

p.170 

Provenance: 


Joseph Louis Rulot studied at the Liège Academy, where he would later teach the sculptor 

classes (from 1904-1919). Rulot lived in total isolation, and constantly reworked his work. He 

was close to the idealist movement, and participated in their Salons in 1896 en 1897. After his 

death, most of his works were given to the museum of Herstal and to the Brussels museum of 

Fine Arts. Drawings by Rulot are almost impossible to find on the art market. 


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Maurice Schelck (Aalst 1906 – Gent 1978) 

Still life with Selection magazine, 1926 

oil on canvas 

46,5 x 45 cm 

Signed and dated bottom left 

Exhibition: Aalst, Academy of Fine Arts, 1931 

(see label at the back) 

Provenance: 

Ysabie collection, Gent 

Private collection, St-Martens-Latem 

Maurice Schelck started out studying at the Academy of his native city. In 1926, the year that 

this work was painted, Schelck went to study briefly at the Brussels Academy, but this was 

cut short due to the nomination of Schelck as professor at the Aalst Academy. 

Schelck had already been building a reputation as a young avant garde artist. In 1925 he 

participated in the Jeune Peinture Belge exhibition and at the Galerie Georges Giroux. Until 

about 1937 the artist was very active in the Belgian art world but the a disappeared from the 

art radar, only to resurface in 1955. 

Works by Maurice Schelck of the 1920’s are extremely rare. This still life, which features a 

Selection magazine with a red cover of 1925 or 1926, is typical of the birds eye perspective 

still lives of the 1920’s. It still has its original frame and bears an exhibition label on the back. 


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Ferdinand Schirren (Antwerpen 1872 – Brussel 1944) 

Sitting nude with blue bird, 1930’s 

Watercolour and ink on paper 


Signed top right 

Provenance: 


Considered one of the foremost fauvist painters of his generation, Schirren started his career 

as a sculptor. From 1904 onwards Schirren shifted towards painting. He was especially gifted 

as a draughtsman and as a painter of watercolours. His talents as a colourist and his ability to 

draw with a souple and clear line, make his watercolours sparkle. The watercolour technique 

became the artist’s favourite medium to express himself. The way he treats this medium and 

the dreamlike, storytelling image is reminiscent of Marc Chagall’s work, while he 

monumentalised the composition endowing his figures with classical features. The bright 

colours and especially the use of a specific blue became his trade mark. Works by Schirren 

are to be found in all major museum collections of Belgium. 


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Alexandre Schoenewerk (Paris 1820 – 1885) 

Pandora. 

Bronze on a red marble base 

35,5 x 15 x 15,5 cm (including base) 

Signed at the side, ‘A. Schoenewerk’ near the rim 

Provenance: 


Alexandre Schoenewerk was greatly influenced by his teacher David d’Angers. He started 

exhibiting at the Paris Salon in 1842, and encountered great success from the 1860’s onwards. 

In 1861 he exhibited a relief entitled ‘Pandore’, which met with a certain success. It is very 

likely that the artist decided to develop this theme into a statuette with the same name. 

Schoenewerk threw himself from a widow of the third floor of his house after receiving a 

series of harsh and bad reviews concerning his Salomé statue at the 1885 Salon. 


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Albert Servaes (Gent 1883 – Luzern 1966) 

A Farm at Sint-Martens-Latem, 1911 

oil on canvas laid down on panel 

40 x 54,5 cm 

Signed and dated bottom right ‘a servaes / 1911’ 

Albert Servaes has been has been instrumental in his influence over the young Gust De Smet 

and Constant Permeke. His early landscapes showed Permeke and De Smet the way to a 

different form of painting, away from the lumist influence of Emile Claus. His use of colour 

planes and expressive brushwork and his use of two dimensional space and composition was 

exciting. After WW I, he concentrated on the creation of very expressive drawings. 

It is striking that in the 1920’s we see that, in turn, Permeke especially starts to influence 

Servaes, who will create Permeke-like landscapes from the 2 nd half of the 1920’s onwards. 


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Michel Seuphor (Antwerpen 1901 – Paris 1999) 

Pour le plaisir, 20 avril 1973 

Chinese ink on paper 

67 x 51 cm 

Signed, titled and dated at the back 

Provenance: 

Collection Jan d’Haese, acquired directly from the artist. 


Seuphor : Bibliofiel Boek – Klein Ensemble, Deurle, Museum 

Dhondt-Dhaenens, 2/11/-18/11/1984. 

Bibliography: Seuphor (with catalogue raisonné), Anvers, Fonds Mercator, 1976, 

p. 293, n° 1973-60 

This drawing is a typical example of the zen-like technique Seuphor used, to make his drawings. 

Each trait is done by hand, and the image is made by negative, by leaving open space between 

the traits. As always there is an element of playfulness in the work by Seuphor. 

Jan D’Haese, poet, writer, gallery owner, critic, collector and artist, and Seuphor met for the 

first time in 1960. Both had a passion for the work of Guido Gezelle and Paul Van Ostajien. 

Both were poets. They continued to see each other frequently for the next 39 years. And Jan 

started collecting the work of his friend. 

He did not stop there. D’Haese became active in the organisation of shows in Belgium and as 

an art critic, started to write articles on Seuphor and helped re-establish the reputation of 

Seuphor in his home country. 


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Maurice Soudan (Oudenaarde 1880 – Brussel 1948) 

Two fauvist landscapes 

Watercolour on paper 

12,5 x 20 cm & 16,5 x 12,5 cm 

Provenance: 

Collection of Antoine Van Hoecke, Gent 

Balder collection, Gent 

Both Maurice and his brother Octave Soudan worked as decorative painters. Maurice was self 

taught, but has probably been advised by his older brother. Maurice travelled to France, and 

when in Paris, came into first hand contact with modernist art. It comes as no surprise that this 

had a profound influence on his art. Maurice changed from an impressionist palette, to a bold 

fauvist use of colour. When he eventually came back to Belgium, after the First World War, he 

often worked together with his brother. Maurice became a painter of flower still lives, while 

Octave continued to paint landscapes. 


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Maurice Sys (Gent 1880-Deurle 1972) 

My humble house, ca. 1927 

Oil on canvas laid down on panel 

60 x 57 cm 

Signed bottom right ‘Maurice Sys’ 

This work is illustrated on the cover of an exhibition catalogue of works by Sys in the ‘Galerie de Tavernier in 

Gent’ which is to be dated around 1927. 

Although Sys is primarily known for his marine paintings, the artist was a painter who was 

able to tackle any subject. Sys had lived in St-Martens-Latem from 1905 until 1923. In those 

days he befriended the brothers De Smet, Dessenis and Frits Van den Berghe. Unlike his 

friends, Sys remained true to the luminism of painters like the Vie et Lumière group around 

Claus. Sys has painted several interiors of Latem pubs and farmhouses. This painting shows 

the ‘humble house’ where the painter lived in his Latem years. It is a subject that was very 

close to the heart of the artist. He painted three versions of the same subject, but at different 

periods. This version is remarkable in its use of colour and in the very modern way the artist 

composed his picture. 


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Paul Van Gysegem (Berlare °1935) 

“Untitled”, 1976 

Patinated bronze, three parts on a wooden base 

22 x 24 x 12 cm (with base) 

Signed and justified at the side: ‘Paul Van Gysegem / 1/7’ 

Dated at the side: ‘76’ for 1976 

The artist confirmed that a maximum of four copies of this sculpture were cast and that the original mould was 

destroyed before the edition was complete. 

This untitled sculpture is typical of the work of Paul Van Gysegem. Balancing between 

abstraction and figuration, the artist made the relationship between man (the living) and the 

machine (the lifeless) the central theme of his oeuvre. Just like in this sculpture, a lying torso 

of a woman between two abstract machine forms, it is never clear to Van Gysegem if these 

two worlds merge harmoniously or merge under pressure. 

The structure of this work is rather exceptional. The sculpture consists of three separate parts 

that can be taken apart by the viewer. In this way the composition of the image changes and 

the individual parts can be viewed in a different way. The participation of the viewer, the 

letting go of control over the composition of the sculpture and thus allowing different 

interpretations of the work, offer an additional dynamic. 

Paul Van Gysegem received his education at the Gent Academy and at the Higher Institute in 

Antwerpen. From 1955 to 2000 he taught sculpture at the K.A.S.K. at Gent. Van Gysegem is 

rightly seen as one of the most important artists of his generation. 


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Paul Van Gysegem (Berlare °1935) 

Composition, 1966 

Monotype and drawing in printers’ ink on paper 

54 x 70 cm 

Signed and dated bottom right ‘Paul Van Gysegem /‘66’ 


Also well known as a Free Jazz musician, improvisation and experiment have always been 

central in the work on paper by the artist. 

Van Gysegem was visiting a friend experimenting with screen prints, when he decided to use 

the technique of the monotype print. He drew onto metal plates on which he pressed large sheets 

of paper. The imprint was then elaborated with drawing. 


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Henri Van Melle (Antwerpen 1859 – Gent 1930) 

Summer school, 1914 

Oil on canvas 

58 x 96 cm 



Henri van Melle is probably one of our least known turn of the century painters. Although born 

in Antwerp, he got his artistic education at the Ghent Academy. He graduated the first of his 

year and even went on to teach at the academy. (Later on he became director of the academy in 

Oudenaarde.) Initially painting in a realist style and treating ‘salon worthy’ subjects of great 

quality in orientalist and genre fashion, he shifted to painting impressionist subjects in the 

1890’s. 

Gifted with a great technique and a powerful colourist, Van Melle excelled in the painting of 

figures in impressionist landscape settings, often on a fairly large format. He also had a 

predilection for painting children. 

Paintings by Van Melle do not come very frequently onto the art market, but if they do, they 

often surprise us through their quality and original subjects. Paintings by the artist belong to the 

collection of the Museum of Fine Arts in Gent and of STAM in Gent. 


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Henri Van Melle (Antwerpen 1859 – Gent 1930) 

Returning from the field, 1914 

Oil on canvas 

66 x 93 cm 




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Geo Vindevogel (Gentbrugge 1923 – Deurle 1977) 

Standing nude with cloth, 1949 

Patinated bronze, on the original ‘noir de mazy’ base 

32 x 8 x 7,6 cm (with base) 

Signature at the side ‘Geo. Vindevogel’ 

With foundry mark ‘Brons Vindevogel Gebr. Zwijnaarde’ at the side 


Retrospectieve tentoonstelling Beeldhouwwerken Geo Vindevogel, 

Deurle, Museum Leon De Smet, 18/11-09/12/1979, cat. nr. 12 (another 

cast). 


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Paysanne à la cruche, 1950 


30 x 20 x 15 cm 

Signature and date at the back ‘Georg Vindevogel / 1950’ 

Justified at the back ‘3/8’ 

Bibliography: 

N. Verschoore in Georg Vindevogel – sculpteur de la sérénité 

scrupuleuse, Terre d’Europe, n° 52, 16me année – avril 1976, 

cover illustration and illustrated on p. 3. 

Exhibition catalogue Retrospectieve tentoonstelling Beeldhouwwerken Geo Vindevogel, 

Deurle, Museum Leon De Smet, 18/11-09/12/1979, cat. nr. 1 (ex. 8/8) 

with illustration. 

The sitting peasant woman with jug is rightly considered one of the most iconic sculptures of 

the artist. The sculpture features on the cover of the art magazine ‘Terre d’Europe’ when they 

edited a special issue on Geo Vindevogel in 1976. At the Vindevogel retrospective of 1979, 

the sculpture was given the number 1 of the catalogue. The sculpture forms a bridge between 

the early and the mature work of the artist. We can see it as a bridge between rural 

expressionism and international modern. 


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Naiade, ca. 1953-1960 


41 x 9 x 9 cm 

Signature on the base ‘Geo Vindevogel’ 

Provenance: 

An important private collection 

Bibliography: 

Exhibition catalogue: Retrospectieve tentoonstelling 

Beeldhouwwerken Geo Vindevogel, Deurle, Museum Leon De 

Smet, 18/11-09/12/1979, cat. nr. 5 (cast 5/8) 

L. Daenens, e.a., Emiel Veranneman – 50 jaar meubelcreaties, 

Brussel, Gemeentekrediet, 1994, p. 134 (illustration showing the 

sculpture on a table by E. Veranneman at the Kontrast Exhibition 

in 1960) 

This very fine sculpture refers to classical antiquity as well as to the sculpture of Giacomo 

Manzù or Marino Marini. The omission of the arms benefits its monumentality. 


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Large reclining nude 

Patinated bronze on the original ‘noir de mazy’ base 

14 x 47 x 16 cm (with base) 

Signature on the right foot ‘Vindevogel’ 

Provenance: 


Bibliography: 



Smet, 18/11-09/12/1979, cat. nr. 8 (cast 8/8) 


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Fortissimo 3, ca. 1975-1977 

Stainless steel and concrete 

123 x 34 x 21,5 cm 

Signed, marked and titled underneath the base 

Bibliography: 



Smet, 18/11-09/12/1979, cat. nr. 42 (with illustration of a detail) 

Provenance: 

Important private collection 

After 1975, Geo Vindevogel made a number of unique abstract sculptures in metal, which 

have nothing in common with his figurative oeuvre. These experimental compositions are 

extremely rare. This sculpture comes from the collection of a good friend of the artist and was 

exhibited at the retrospective Geo Vindevogel in the Leon De Smet Museum (Deurle) in 

1979. 


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Pedro Weingärtner (Porto Alegre (Brazil) 1853 - 1929) 

The reading of the will, Roma 1885 

Oil on canvas 

80,5 x 101 cm 

Signed, localised and dated bottom left 

This work has undergone significant restorations in the past. 

Weingärtner started his artistic career in Germany in 1879. He studied in Hamburg and 

Karlsruhe, but after four years he went to Paris to complete his studies at the Academie Julian, 

where we has taught by Tony Robert-Fleury en the then world famous painter Adolphe 

Bouguereau. Both artists had a lasting influence on their Brazilian pupil. A grant, received 

from the Brazilian emperor Dom Pedro II enabled the artist to go to Rome in 1885. 

Weingärtner subject matter was diverse, but with a preference for figural genre scenes 

depicting the fin -de-siècle high society. Later on from the 1890’s onwards, the artist started 

to paint more impressionist landscapes and rural themes. 

Weingärtner divided his time between Rome and Porto Alegre, exhibiting both in Europe and 

the Americas. Around 1920 he returned to his native Brazil. 


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Arthur Willaert (Gent 1875 - 1952) 

Bateaux, Barcelone 

Oil on canvas 

28,5 x 39 cm 

Signed bottom right ‘Arthur Trealliw’ 

Arthur was the second of the three Willaert brothers, all painters. Ferdinand was the eldest, 

Raphaël Robert the youngest. All three signed their work in a different way, as to avoid 

confusion. Arthur signed with his family name backwards, hence ‘Trealliw’. 

Arthur loved to paint the sea, mostly at the Belgian coast. But in his early days, he travelled to 

France, paying his way by playing the cello. He also travelled to Spain to paint. His Spanish 

views are strikingly impressionist and boldly painted. When he came back to Belgium, his 

palette darkened and his style of painting evolved towards a more uniform brushstroke. 


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Ferdinand Willaert (Gent 1861 - 1938) 

De dooi in het Begijnhof te Gent, 1898 

Oil on canvas 

76 x 61 cm 

Signed bottom right ‘Ferd. Willaert’ 

Provenance: 

private collection France, art market France 

Exhibition : 

Ausstellung Vlämischer Künstler, Krefeld, Kaiser Wilhelm Museum, Juli-September 1898, cat. 

n° 128. 

The views of de ‘Onze Lieve Vrouw Ter Hoyen’ Beguinage in Ghent probably belong to the 

most iconic paintings that Willaert made throughout his career. This particular view is one of 

the first paintings the artist made in the Beguinage. Willaert started to paint the Beguinage in 

the winter of 1897-1898. The painter was particularly proud of this work, as he sent it to be 

included in the very important exhibition of Flemish Art in the Kaiser Wilhelm Museum in 

Krefeld in 1898. The impressionist treatment of the sky, a perfect rendering of the thawing 

snow and the reflections in the puddles make this a perfect example of Willaert’s art before 

1900. 


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Ferdinand Willaert (Gent 1861 - 1938) 

View on Carcassonne, 1913 

Oil on canvas 

26 x 50,5 cm 

Signed bottom left ‘Ferd. Willaert’ 

This view on Carcasonne was painted at the height of Willaert’s career. After his marriage to 

the French painter Valentine Fontan (1882-1939) in 1908, Willaert started spending part of 

the year in France with his wife, occasionally making a trip to paint. 

This work shows the ability of Willaert to enliven a static composition through vivid 

brushstrokes and use of colour. 


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Marcel Wolfers (Elsene 1886 – Vieusart 1976) 

Aurora, 1911 

Terracotta 

44 x 31x 28 cm 

Signed: “[M] Wolfers / 1911/ Unique / [terre] cuite” on the left side of the sculpture, partially missing & “M. 

Wolfers” incised on the bottom rim 

This work is unique. 

Provenance: 

Marcel Wolfers 

Collection Anthony, Antwerp, bought from the above in 1912 for 300,- frcs. 

Marcel Wolfers & Clairette Petrucci collection (acquired at a sale in the 1950’s (?)) 

Exhibition: Brussels, Exposition Marcel Wolfers, Cercle Artistique et Littéraire de Bruxelles, 18/03- 

28/03/1912, cat. No. 17 

Marcel Wolfers referred to the terracotta version of the head “Aurora” as “Etude” or study in 

the 1912 catalogue. He probably chose to do so to distinguish it from the group “Aurora”, 

which was part of the “Légende Solaire” project, and which was visible at the same show. 

Although there is a reference to a certain “Mr. Maurissen” as sitter for the sculpture, in the 

archives of Marcel Wolfers, we found a photographic self-portrait which dates from the same 

period and which can be seen as a preparatory study for the finished sculpture. 


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Marcel Wolfers (Elsene 1886 – Vieusart 1976) 

Glass vase with black lacquer, ca. 1930 

Lacquer on glass vase with silver base 

10,2 x 6,3 cm 

Provenance: 

Marcel Wolfers and Clairette Petrucci collection 

This black lacquer on glass vase is one of only three objects for which Marcel Wolfers used 

glass as a base for lacquer. It is unclear when the piece was made, but if we can conclude that 

the three pieces were made at the same time, we must put the date around 1930, as we know 

that a lacquered glass bottle was made around this period. 

Monochrome colours in lacquer are what every lacquer artist aims to achieve. It is indeed 

very difficult and time consuming to get an even colouring on the whole surface of an object. 

No error can be hidden and even a slight difference in colour is visible. 

The drawing and description of the piece are included in Marcel Wolfers’ hand written 

catalogue of lacquer objects. It also states that this piece is unique and has a value of 1000,- 

frcs. Probably due to the fact that the base is glass, the piece was not signed with a gold 

plaque, but its inclusion in the lacquer catalogue meant that it was a finished piece. 


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Philippe Wolfers (Brussel 1858 – Brussel 1929) 

Evocation, 1921 

Patinated bronze on the original portor marble base 

70 x 26,5 x 24 cm (with original base) 

Signed: ‘Ph Wolfers’ at the side 

This sculpture is one of four casts made. 

Provenance: 

Wolfers Frères Bruxelles 

Given by Wolfers Frères to the widow of Philippe Wolfers on the 31/12/1929 

Renée Wolfers and Roger Feldheim, by descent 

Philippe Denys, Brussels, acquired from Roger Feldheim (dit Feltin) in 1995 

Private collection, acquired from the above in 1995. 


Pour l’Art Catalogue du XXIVe Salon, Bruxelles, Cercle Artistique et Littéraire de Bruxelles (Waux-Hall), 

28/04/1922-28/05/1922), p. 19, n° 186 (another cast ?) 

XIII Esposizione Internatzionale d’Arte della Città di Venezia 1922, Padiglione del Belgio, as Antinéa (sic) 

(another cast) 

Exposition Internationale des Arts Décoratifs et Industriels Modernes de Paris, Paris, Pavillion belge – ensemble 

Gioconda, p 107 classe 105 (another cast) 

Mostra individuale dello scultore Philippe Wolfers, Milano, Galleria Pesaro, Marzo 1926 (another cast?) 

Exposition des oeuvres de Philippe Wolfers – Statuaire, Anvers, Salle Plantin, 09/11-27/11/1929, cat. No. 7 

(« exemplaire n° 2 » possibly this cast ?) 

De Dynastie Wolfers – Meesters in zilver, Gent , Design museum Gent, 16/12/2006-09/04/2007 (this cast was 

shown) 

Bibliography: 

Adriaenssens W., Beredeneerde Catalogus van het persoonlijke oeuvre van Philippe Wolfers in De Wolfers 

Dynastie - van art nouveau tot art deco, Gent, Design museum Gent, 2006, p. 413 (No. 286) 


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Evocation was one of the four busts that were shown in the ‘Gioconda’ room in Paris in 1925. 

With a very rough surface, the bronze head was made in his so-called “Hellenistic” style, 

where Philippe Wolfers tried to emulate the surface corrosion on the Greek and Roman 

antique bronzes, excavated from the earth or salvaged from the seas. 

This cast was given by Wolfers Frères to the widow of Philippe Wolfers on the 31 st of 

December 1929, the year of the artist’s death. It remained in the family and was inherited by 

their daughter Renée Wolfers, who married Roger Feldheim. In 1995 Feldheim sold the entire 

Wolfers collection of Renée to Brussels dealer Philippe Denys. It was here that the statue was 

bought by the previous owner. In 2006 this cast was shown in the Gioconda section of the 

“Wolfers Dynasty” exhibition at the Design museum of Ghent. Another cast of the Evocation 

bust belonged to architect Victor Horta and is on display at the Horta Museum in Brussels. 


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Pythonisse, 1927 


105 x 43 x 37 cm 

Signed: ‘Ph Wolfers cire perdue’ below, at the side 

Marked: with an oval foundry stamp “Montagutelli cire perdue Bruxelles” 

This sculpture is unique. 

Provenance: 

Philippe Wolfers 

Musée Philippe Wolfers, Wolfers Frères Bruxelles 

Marcel Wolfers and Clairette Petrucci collection (by descent) 



Un Secolo d’Arte Belga 1830-1930, Roma, Galleria Nazionale d’Arte Moderna, 25/03-23/04/1933, cat. No. 19 

Philippe Wolfers 1858-1929 Précurseur de l’Art Nouveau Statuaire. Exposition Rétrospective, Bruxelles, Galerie 

l’Ecuyer, 13/10-12/11/1972, cat. No. 77 

Philippe Wolfers : juwelen, zilver, ivoor, kristal (1858-1928), Gent, Museum voor Sierkunst, 12/05-10/06/1979, 

cat. No. 73 

De Dynastie Wolfers – Meesters in zilver, Gent, Design museum Gent, 16/12/2006-09/04/2007 

Bibliography: 

Philippe Wolfers : juwelen, zilver, ivoor, kristal (1858-1928), Gent, Museum voor Sierkunst, 1979, p. 50 

De Dynastie Wolfers – Meesters in zilver, Gent, Design museum Gent, 2006, p. 25 (with photo) 


Dynastie - van art nouveau tot art deco, Gent, Design museum Gent, 2006, p. 425 (No. 321) 


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The name ‘Pythonisse’ derives from the priestess of Apollo in Greek mythology, but is 

generally the name used for women with the gift of prophecy. This large torso has to be seen 

as one of the most important sculptures by Philippe Wolfers. Although created in 1927, only 

one cast in bronze was executed. Two other versions in a reduced size were made in marble 

and ivory. 

As is the case for several bronzes who were patinated by Philippe Wolfers himself, the 

patination of this bronze is spectacular through its use of gold foil and its rich dark green 

colour. When acquired by Marcel Wolfers after the dissolution of the Philippe Wolfers 

Museum in 1972, the sculpture sat outside, in the garden of the rue de Praetere building 

owned by the family. Through the years, the outlook of the sculpture had changed 

dramatically. When the sculpture was shown publicly for the last time, in 2006, it was 

difficult to see the features of ‘Pythonisse’ and the sculpture had lost a lot of its original 

expression. To the credit of Philippe Wolfers’ craftsmanship, the original patination 

underneath the oxidation remained in good condition and reappeared after cleaning. 

The head of the sculpture became a sculpture in its own right and was executed in granite in 

1929. François Franck and Cléomir Jussiant, two of Belgium’s most important and influential 

collectors of modern art, each bought a copy. A third was sold to another collector. 

The large bronze remained in the collection of the artist and after his death it became one of 

the central pieces of the Philippe Wolfers Museum. ‘Phytonisse’ was only shown publicly 

once during the artist’s lifetime, in 1928 during the Philippe Wolfers retrospective exhibition 

at Galerie Giroux in Brussels. After the stay in the Wolfers Museum, the sculpture belonged 

to the Marcel Wolfers and Clairette Petrucci private collection. 


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Impéria, 1929 

Blue limestone on a later wooden pedestal. 

Height 42,5 cm, with pedestal 172,5 cm 

Signed on the back of the shoulder ‘Ph Wolfers’ 

This sculpture is unique. 

Provenance: 

Philippe Wolfers 

Musée Philippe Wolfers, Wolfers Frères Brussels 

Private Collection, Brussels 

Exibition: 


Un Secolo d’Arte Belga 1830-1930, Roma, Galleria Nazionale d’Arte Moderna, 25/03-23/04/1933, cat. No. 18 

Bibliography : 


Dynastie - van art nouveau tot art deco, Gent, Design museum Gent, 2006, p. 416, cat. No. 294 


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The head of ‘Impéria’ of 1929 is part of a group of monumental heads or busts, carved in 

stone, that were executed for the important 1929 exhibition in Antwerp, where Philippe 

Wolfers wanted to make his name as modern sculptor. Wolfers already made a version of 

‘Impéria’ in bronze in 1922, and the head was shown in the ‘Gioconda’ room in Paris in 1925. 

With a very rough surface, the bronze head was made in his so-called “Hellenistic” style, 

where the sculptor tried to emulate the surface corrosion on the Greek and Roman antique 

bronzes, excavated from the earth or salvaged from the seas. In 1929 Philippe Wolfers sought 

to modernise this sculpture and conceived a classical ‘Impéria’, much more stylised than the 

1922 bronze. Clearly, the unique sculpture carved in Belgian blue limestone or ‘Petit granit’ 

was much more in tune with the aesthetics of the 1930’s art deco. 

Originally on a probably ‘noir de mazy’ base, the sculpture lived outside in a Brussel garden 

for the last 40 years. The previous owners received the sculpture as payment for their Wolfers 

stock papers by the Parisian firm of Chaumet at the time of their takeover of Wolfers Frères 

S.A. in 1975. They displayed ‘Impéria’ on their garden terrace, but without its base, 

apparently already missing. When acquiring the bust, we decided to mount it on its current 

wooden pedestal, which is contemporary to the sculpture. 


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Ewer Orchidée , 1895 

Patinated pewter 

30,5 x 19,5 x 16,5 cm 

Signed and dated near the base ‘Ph. Wolfers / 95’ 

Some oxidation and restauration. 

Provenance: private collection, the Netherlands 

The Ewer ‘Orchidée’, designed by Philippe Wolfers, is one of the earliest designs in art 

nouveau style. In the year of its creation, 1895, it featured in the opening show of Siegfried 

(Samuel) Bing’s “Maison de l’ Art Nouveau” in Paris and in the same year in London. It was 

prominently on display at the 1897 exhibition in Brussels in the Wolfers Frères stand. 

This iconic and resourceful art nouveau design, where a flower stems from the handle of the 

ewer, was very influential in shaping the art nouveau style. Wolfers edited pewter and bronze 

versions. Of the bronze version only one is known up to this day, of the pewter version, only 

two examples are known, this one included. It is very likely that the pewter version preceded 

the bronze edition. 


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Inkwell Lys, ca. 1900 

Silver and crystal 

12,5 x 9 x 9 cm 

Marked on silver: ‘As. Bonebakker & zoon’, alloy mark ‘800’ and makers mark of Wolfers Frères 

Provenance: private collection, the Netherlands 

This type of art nouveau inkwells comes in different sizes, shapes and decorations. Here, the 

inkwell sports a decoration of lilies, one of Philippe Wolfers favourite flowers. The crystal 

recipient is almost certainly made by Val Saint-Lambert. The Wolfers inkwell was retailed 

through the Amsterdam jeweller Bonebakker, who frequently sold Wolfers silver. 


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Rodolphe Wytsman (Dendermonde 1860 - Linkebeek 1927) 

Petite ferme dans la dune, Heist, 1904 

Oil on mahogany panel 

27 x 35,5 cm 

Signed bottom left ‘R Wytsman 

At the back title, date and signature in pencil 

Wytsman started to go to the Knokke region around 1883, together with his good friend Theo 

Van Rysselberghe. This stay converted Wytsman to paint in the impressionist style. He went 

on to become a member of l’Essor and later Les XX and became one of our most important 

native impressionist painters together with his wife, the painter Juliette Wytsman. 

Wytsman often came back to paint at the Belgian coast, and was interested in the painting of 

the small fishermen’s houses in the dunes at Knokke and Heist which were disappearing. The 

houses and their surroundings made for colourful compositions, wherein Wytsman could 

show his mastery as colourist. 


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Rodolphe Wytsman (Dendermonde 1860 - Linkebeek 1927) 

Overschie, Holland, ca. 1916 



Signed and localised bottom left ‘R Wytsman / Overschie’ 

Rodolphe Wytsman received his artistic formation at the Ghent Academy, where he met Theo 

Van Rysselberghe. After a trip to Italy with Gustave Vanaise and a brief stay in Knokke, he 

settled in the Brussels region. 

This view was painted during the First World War. Like many artists, Wytsman had sought 

refuge in the neutral Netherlands. Wytsman painted an oil painting with the same subject 

which is dated 1916. This pastel drawing could be the finished study for the oil painting. 


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Colophon 

This online catalogue was made to accompany our Winter Exhibition 2020. All works displayed are for sale. 

Texts and research: Raf Steel and Emmy Steel 

Editing and photography: Raf Steel and Emmy Steel 

Copyright: Galerie St-John, the authors and the artists. 

No part of this publication may be reproduced and / or published by means of print, photocopy, electronic 

medium or any other method (including translation) without the prior written permission of the authors. 

The publisher has done its utmost to request permission to all possible right holders regarding the use of (visual) 

material for this online publication. If we have overlooked something, please contact us. Any errors will be 

corrected in a subsequent issue. 


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Galerie St-John, Gent Winter Exhibition 2020 catalogue

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