Rocking the cradle of Art: Art from the 60s and 70s
The catalogue accompanying the selling exhibition at Galerie St-John, Gent featuring Belgian and international artists from the 1960's and 1970s. Abstract and constructivist art from Winfred Gaul, Dan Van Severen, Jan Vandenabbeel, Guy Vandenbranden next to Pop art and Italian art by Tadini and Giancarlo Pardi. Important work by Guy Mees (lace work from 1962), early work by Cortier, etc. We also show books and prints from the sixties and seventies by Raoul De Keyser, Verstockt, Wintersberger, Philippe Van Snick etc.
The catalogue accompanying the selling exhibition at Galerie St-John, Gent featuring Belgian and international artists from the 1960's and 1970s. Abstract and constructivist art from Winfred Gaul, Dan Van Severen, Jan Vandenabbeel, Guy Vandenbranden next to Pop art and Italian art by Tadini and Giancarlo Pardi. Important work by Guy Mees (lace work from 1962), early work by Cortier, etc. We also show books and prints from the sixties and seventies by Raoul De Keyser, Verstockt, Wintersberger, Philippe Van Snick etc.
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catalogue IIIWinter 2023
<strong>Rocking</strong> <strong>the</strong> Cradle <strong>of</strong> <strong>Art</strong> :<br />
<strong>Art</strong> <strong>from</strong> <strong>the</strong> <strong>60s</strong> <strong>and</strong> <strong>70s</strong><br />
III Catalogue Winter 2023<br />
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T h e 1 9 6 0 ’ s a n d 1 9 7 0 ’ s<br />
a r T o n a c r o s s r o a d s<br />
"Live in Your Head: When Attitudes Become Form,"<br />
Harald Szeemann<br />
In <strong>the</strong> 1960’s <strong>and</strong> 1970's art went through a transformational period. <strong>Art</strong>ists wanted to shake<br />
<strong>of</strong>f <strong>the</strong> past. Influences <strong>of</strong> <strong>the</strong> previous -isms, present throughout <strong>the</strong> 1950’s, were left behind.<br />
<strong>Art</strong> became on <strong>the</strong> one h<strong>and</strong> much more conceptual, more politically charged <strong>and</strong> less<br />
formalist, but on <strong>the</strong> o<strong>the</strong>r h<strong>and</strong> playful, decorative <strong>and</strong> objective.<br />
As always, artists were searching <strong>and</strong> experimenting, looking for novel ways to express<br />
<strong>the</strong>mselves, trying various visual languages, imagery <strong>and</strong> media. The result is heteroclite <strong>and</strong><br />
much more diverse <strong>and</strong> exciting than what (mostly Anglophile) art history surveys tend to<br />
show us.<br />
After many conversations with artists who have been working at that time, we feel that one<br />
important aspect characterises <strong>the</strong> period, namely <strong>the</strong> freedom to create. As <strong>the</strong> artworld<br />
was much less developed <strong>and</strong> galleries were founded more out <strong>of</strong> idealism, out <strong>of</strong> support or<br />
with a socio cultural goal ra<strong>the</strong>r than as a commercial endeavour, walls between artistsgalleries-museums<br />
were almost non-existent.<br />
<strong>Art</strong>ists were free to do <strong>and</strong> exhibit where <strong>the</strong>y wanted, <strong>and</strong> were not restricted nor expected<br />
to work in a specific style. They could do abstract work, figurative, conceptual, etc. at <strong>the</strong><br />
same time. They worked with visual elements, sound, architecture, nature, film, <strong>the</strong>atre,<br />
environments, happenings… <strong>the</strong>re was hardly anything that would not qualify as a means <strong>of</strong><br />
expression.<br />
The 1960’s <strong>and</strong> 70’s created <strong>the</strong> framework <strong>of</strong> <strong>the</strong> contemporary art <strong>of</strong> today. What oozes out<br />
<strong>of</strong> <strong>the</strong> works is freedom <strong>of</strong> creation <strong>and</strong> thought, without boundaries or dogmas.<br />
We have mounted a selection <strong>of</strong> works <strong>of</strong> European artists, mirroring this extraordinary<br />
creative epoch.<br />
Go live in your head! Raf & Emmy Steel<br />
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P o P a n d M o d e r n F I g u r a T I v e<br />
R<br />
Roncada (?) (biographical details unknown)<br />
Yellow nude, ca. 1969<br />
Medium:<br />
Dimensions:<br />
oil on canvas<br />
100 x 80 cm<br />
This elusive artist probably held an exhibition in Ghent in 1969, where <strong>the</strong>se works were<br />
purchased. Apart <strong>from</strong> this, we known nothing on <strong>the</strong> artist, nor where <strong>the</strong> exhibition took<br />
place, or if <strong>the</strong> artist is Belgian or for example Italian. It is possible that <strong>the</strong> artist used a<br />
pseudonym to sign his works.<br />
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R<br />
Roncada<br />
Blue nude, ca. 1969<br />
Medium:<br />
Dimensions:<br />
oil on canvas<br />
100 x 80 cm<br />
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R<br />
Roncada<br />
Nude with circle, ca. 1969<br />
Medium:<br />
Dimensions:<br />
oil on canvas<br />
100 x 80 cm<br />
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R<br />
Roncada<br />
Hommage to Albers, 1969<br />
Medium: oil on canvas<br />
Dimensions: 100 x 80 cm; (103 x 83 cm with frame)<br />
Signature: at <strong>the</strong> back ‘R. Roncada. ’69.’<br />
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R<br />
Roncada<br />
Yellow constructivism, 1969<br />
Medium:<br />
oil on canvas<br />
Dimensions: 100 x 80 cm; (103 x 83 cm with frame)<br />
Signature: at <strong>the</strong> back ‘R. Roncada. 69.’<br />
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J<br />
an Dries (Mol 1925 – Malle 2014)<br />
‘Glimlach’, (Smile), 1968-1978<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Provenance:<br />
carrara marble (blanc statuaire)<br />
30 x 30 x 16 cm<br />
‘JAN DRIES - 9/10 - 1968-78’ at <strong>the</strong> back<br />
private collection<br />
Jan Dries is known as a sculptor <strong>of</strong> abstract works in marble. Still, this figurative work ‘Smile’<br />
<strong>from</strong> 1968, is a sculpture which corresponds to his very ideas. Jan Dries has always been<br />
searching for a kind <strong>of</strong> sensuality in his sculptures, a lightness that transcends <strong>the</strong> boundary or<br />
weight <strong>of</strong> <strong>the</strong> marble shape. Changing light <strong>and</strong> shadow seem to be <strong>the</strong> ones sculpting,<br />
rendering surface <strong>and</strong> shape with endless nuances.<br />
This work was conceived by Dries in 1968. Apparently <strong>the</strong> artist only made ano<strong>the</strong>r copy on<br />
dem<strong>and</strong>. Hence <strong>the</strong> dating <strong>of</strong> this piece: this marble was executed in 1978.<br />
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R<br />
aoul De Keyser (Deinze 1930 – Deinze 2012)<br />
Een verpakte gedachte, 1967<br />
Medium:<br />
Dimensions:<br />
Edition:<br />
silkscreen on cardboard<br />
25 x 17 x 5 cm<br />
One out <strong>of</strong> <strong>the</strong> original<br />
unnumbered edition <strong>of</strong> 250<br />
This one <strong>of</strong> <strong>the</strong> most important realisations <strong>of</strong> <strong>the</strong> ‘Nieuwe Visie’ in book design <strong>and</strong> at <strong>the</strong><br />
same time one <strong>of</strong> <strong>the</strong> most beautiful post-war book designs in Belgium. The edition <strong>of</strong> 11<br />
poems by Rol<strong>and</strong> Jooris appears as a result <strong>of</strong> three artists working toge<strong>the</strong>r: Rol<strong>and</strong> Jooris,<br />
Raoul De Keyser <strong>and</strong> Antoon De Clerck. De Keyser made a small box containing a long print<br />
which envelops 10 cardboard sheets with poems by Jooris. Typography was by Antoon De<br />
Clerck<br />
Raoul De Keyser considered it to be an important realisation <strong>and</strong> it can be seen as his first<br />
venture into <strong>the</strong> print medium. Even at <strong>the</strong> end <strong>of</strong> his life, De Keyser still used fragments <strong>of</strong><br />
this work to incorporate into new paintings.<br />
Reference:<br />
De Vleeschouwer, Wouter en Steven Jacobs. Raoul De Keyser in print. Gent: MER. Paper<br />
Kunsthalle, 2018.<br />
Germann, Martin <strong>and</strong> Bernhart Schwenk, red. Raoul De Keyser Oeuvre. Brugge : Die Keure,<br />
2018.<br />
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L<br />
ambert Maria Wintersberger (München 1941 – Walbourg 2013)<br />
9 etchings, 1970, for: Wörte des Lebens, Zeichen des Todes by<br />
Hans-Jürgen Müller<br />
Medium:<br />
coloured etchings on paper<br />
Dimensions etchings: 60 x 60 cm<br />
Signature:<br />
Edition:<br />
each etching signed in pencil bottom right ‘L M Wintersberger’<br />
The work was published by Galerie Müller Köln, <strong>the</strong> etchings<br />
printed by H. Kätelhön. This copy is number 22 out <strong>of</strong> 25.<br />
We join 4 original designs for this portfolio::<br />
4 original mixed media works<br />
3 works on paper: 40 x 40 cm<br />
1 work on paper: 21 x 31 cm<br />
Although Wintersberger is not a household name outside <strong>of</strong> Germany, <strong>the</strong> artist had quite an<br />
important career. Wintersberger was originally trained as a glass- <strong>and</strong> decorative painter <strong>and</strong><br />
mosaic designer <strong>and</strong> he studied in München <strong>and</strong> Firenze. In 1964 he started a career as a<br />
painter in Berlin, working <strong>and</strong> living with artist Markus Lüpertz. They founded <strong>and</strong> ran Galerie<br />
Großgörschen 35 in Berlin toge<strong>the</strong>r.<br />
At <strong>the</strong> end <strong>of</strong> <strong>the</strong> 1960’s, Wintersberger started making Pop <strong>Art</strong> paintings, mirroring <strong>the</strong><br />
psychological effect <strong>the</strong> war had on <strong>the</strong> work <strong>of</strong> young German artists. His work quickly<br />
gained notoriety <strong>and</strong> Wintersberger won <strong>the</strong> 1968 Burda Preis (München) <strong>and</strong> <strong>the</strong> Prize for<br />
Painting at <strong>the</strong> 6th Biennial <strong>and</strong> International Exhibition <strong>of</strong> Young <strong>Art</strong>ists in Paris in 1969.<br />
Exhibitions all over Europe <strong>and</strong> <strong>the</strong> US followed.<br />
In <strong>the</strong> 1980’s his style <strong>of</strong> painting changed completely, close to <strong>the</strong> work <strong>of</strong> <strong>the</strong> ‘Neue Wilden’.<br />
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( g e o M e T r I c ) a b s T r a c T I o n<br />
A<br />
médée Cortier (Gent 1921 – Gent 1976)<br />
Figure in pr<strong>of</strong>ile, 1951<br />
Medium: oil on cardboard<br />
Dimensions: 45 x 35 cm<br />
Signature: signed <strong>and</strong> dated top right in pencil ‘A. Cortier / 51’<br />
At <strong>the</strong> back: portrait <strong>of</strong> a man in black paint<br />
Provenance : acquired directly <strong>from</strong> <strong>the</strong> artist by <strong>the</strong> previous owner<br />
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A<br />
médée Cortier (Gent 1921 – Gent 1976)<br />
Composition, 1950’s<br />
Medium: oil on canvas<br />
Dimensions:<br />
Signature:<br />
30 x 15 cm<br />
signed bottom left<br />
Provenance:<br />
acquired directly <strong>from</strong> <strong>the</strong> artist by <strong>the</strong> previous owner<br />
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A<br />
médée Cortier (Gent 1921 – Gent 1976)<br />
3 linocuts: I: The Sea<br />
II: Still life with bottle <strong>and</strong> fruit<br />
III Large sea with boats<br />
Medium:<br />
linocuts<br />
Dimensiuons: I: 11,5 x 16 cm<br />
II: 19 x 13 cm<br />
III: 30 x 43 cm<br />
Signature:<br />
I: ‘A. Cortier’<br />
II: ‘A. Cortier’<br />
III: ‘A. Cortier’<br />
respectively, <strong>the</strong> first two in ballpoint, <strong>the</strong> last in ink, bottom left<br />
Provenance:<br />
acquired directly <strong>from</strong> <strong>the</strong> artist by <strong>the</strong> previous owner<br />
According to <strong>the</strong> previous owner, <strong>the</strong>se linocuts are unique. An edition never took place.<br />
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J<br />
ean Milo (St-Joost-ten-Noode 1906 – Rixensart 1993)<br />
Palette-assiètte, ca. 1960<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
ceramic dish with oil paint<br />
diameter 24 cm<br />
signed ‘Jean Milo’ in red paint<br />
Today we know Jean Milo, pseudonym <strong>of</strong> Emile Van Gindertael, perhaps more as a writer than<br />
as an artist. Milo was not a very productive painter due to his o<strong>the</strong>r activities (writer, poet,<br />
photographer, art dealer…) , but followed <strong>the</strong> avant-garde closely. Starting out as an<br />
expressionist artist, like his bro<strong>the</strong>r Roger, Milo moved towards abstraction <strong>from</strong> <strong>the</strong> 1950’s<br />
onwards. In <strong>the</strong> early 1960’s he came under <strong>the</strong> influence <strong>of</strong> Cobra. This palette-plate dates<br />
probably <strong>from</strong> <strong>the</strong> 1960’s, as it corresponds with <strong>the</strong> colour use <strong>of</strong> his lyrical-abstract period.<br />
The best works <strong>of</strong> Milo can rival with <strong>the</strong> greatest abstract painters <strong>of</strong> his generation, as a<br />
retrospective exhibition undoubtedly would show.<br />
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F<br />
ern<strong>and</strong>/Ferdin<strong>and</strong> Vonck (Blankenberge 1921 – Brugge 2010)<br />
Als a<strong>and</strong>enken, zomer 1961 (W<strong>and</strong>sculptuur)<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
At <strong>the</strong> back:<br />
painted relief in compressed wood<br />
50 x 16 cm; (52 x 18,5 cm with frame)<br />
signed ‘VONCK’ in black, bottom left<br />
a label with title, date <strong>and</strong> signature<br />
Fern<strong>and</strong> Vonck was active as a painter <strong>and</strong> as a sculpture. It must come as no surprise that<br />
<strong>the</strong> artist was drawn to <strong>the</strong> relief as a way to enliven walls with his sculpture.<br />
‘W<strong>and</strong>sculpturen’ or ‘Sculptures for Walls’ were a specific genre for <strong>the</strong> artist in which painting<br />
<strong>and</strong> sculpture merged. Often <strong>the</strong> ‘W<strong>and</strong>sculpturen’ were painted upon by <strong>the</strong> artist, as is <strong>the</strong><br />
case here.<br />
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D<br />
an Van Severen (Lokeren 1927 – Gent 2009)<br />
Composition, 1961<br />
Medium:<br />
Dimensions:<br />
Date:<br />
ink on paper (lavis)<br />
75 x 55 cm cm<br />
Dated at <strong>the</strong> back by <strong>the</strong> artist in pencil<br />
Provenance:<br />
Sale Campo & Campo 2017; private collection.<br />
Dan Van Severen is undoubtably one <strong>of</strong> <strong>the</strong> most important artists <strong>of</strong> his generation. His early<br />
work evolved <strong>from</strong> <strong>the</strong> figurative <strong>and</strong> expressive paintings <strong>from</strong> <strong>the</strong> 1950’s towards an ever<br />
depleted abstraction. Frequent elements in his compositions are <strong>the</strong> cross, circle, lozenge <strong>and</strong><br />
square/rectangle. This work <strong>from</strong> 1961 shows <strong>the</strong> early abstract Van Severen. The artist uses<br />
<strong>the</strong> lavis technique to dramatic effect whilst already combining cross <strong>and</strong> circle.<br />
Van Severen was notoriously oblivious to <strong>the</strong> wishes <strong>of</strong> <strong>the</strong> art market <strong>and</strong> seldom signed his<br />
work. This work is dated by <strong>the</strong> artist in pencil on <strong>the</strong> back.<br />
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W<br />
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)<br />
Barriere I, 1967<br />
Medium: oil or acryl on canvas<br />
Dimensions: 45 x 90 cm<br />
Signature: signed at <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas, top left ‘GAUL 67’<br />
At <strong>the</strong> back: label <strong>of</strong> <strong>the</strong> Richard Foncke Gallery on <strong>the</strong> stretcher as well as a stenciled ‘gAul’<br />
signature with <strong>the</strong> capital ‘A’<br />
Winfred Gaul undoubtedly had a major influence on young artists both in Ghent <strong>and</strong> in<br />
Antwerp, especially when he lived <strong>and</strong> worked in Antwerp in 1967-1968. By that time, Gaul<br />
had already had participated in <strong>the</strong> Documenta in Kassel (1959) <strong>and</strong> had shows in Paris, New<br />
York <strong>and</strong> at various venues in Italy. The artist was very sociable <strong>and</strong> shared his ideas. In<br />
Belgium he participated in numerous group exhibitions <strong>and</strong> he had an important exhibition in<br />
Brussels <strong>and</strong> a one-man show at Gallery Foncke in Ghent in 1968.<br />
The hard-edge approach to painting, <strong>the</strong> way Gaul worked with his shaped <strong>and</strong> composed<br />
canvases, was new to a lot <strong>of</strong> artists in Belgium.<br />
Barrière I is not mentioned in <strong>the</strong> catalogue raisonné on <strong>the</strong> artist, but Barriere II <strong>and</strong> Barriere<br />
III (both made in 1967) are listed. This work was bought by <strong>the</strong> previous owners at <strong>the</strong><br />
Richard Foncke Gallery in Ghent, <strong>and</strong> <strong>the</strong> work still has <strong>the</strong> original gallery label.<br />
Reference: Romain, Lothar. Winfred Gaul – Werkverzeichnis Bd. II, Gemälde. Düsseldorf:<br />
Concept Verlags GmbH: 1993.<br />
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W<br />
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)<br />
Composition, 1968<br />
Medium: oil (?) on canvas<br />
Dimensions: 97 x 97 cm<br />
Signature: signed at <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas, top corner ‘GAUL 68’ <strong>and</strong> numbered ‘6/7’<br />
This work appears to be one <strong>of</strong> a series <strong>of</strong> 7 works, probably all with <strong>the</strong> same composition,<br />
but possibly with a different size <strong>and</strong> possibly with slight colour variants. Ano<strong>the</strong>r work <strong>of</strong> <strong>the</strong><br />
same series, measuring 137 x 136 cm <strong>and</strong> numbered ‘5/7’ was sold at Grisebach Auctions in<br />
29/11/2019 for € 11000,- (hammer price). Due to <strong>the</strong> fact that <strong>the</strong> works differ <strong>from</strong> each<br />
o<strong>the</strong>r, <strong>the</strong>y are considered original works, <strong>and</strong> are not listed in <strong>the</strong> prints <strong>and</strong> multiple<br />
catalogue raisonné on <strong>the</strong> artist.<br />
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W<br />
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)<br />
Composition, 1968<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
acryl on canvas<br />
75 x 114 cm<br />
signed <strong>and</strong> dated at <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas, with stencil signature<br />
Provenance:<br />
Galerie Plus-Kern, Gent; private collection<br />
Bibliography: Romain, Lothar. Winfred Gaul – Werkverzeichnis Bd. II, Gemälde. Düsseldorf:<br />
Concept Verlags GmbH: 1993, p. 152, nr. 514.<br />
This is a work which shows <strong>the</strong> influence <strong>the</strong> New York stay had on <strong>the</strong> work <strong>of</strong> Gaul. In 1962<br />
Gaul visited <strong>the</strong> workshops <strong>of</strong> Barnett Newman <strong>and</strong> Kenneth Nol<strong>and</strong>. Like <strong>the</strong>m, Winifred<br />
Gaul sometimes felt drawn to combine colour field painting with constructivist motifs.<br />
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J<br />
an Van den Abbeel (Denderbelle 1943 – Gent 2018)<br />
Apsara VIII, 1968<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
enamel paint or acryl on canvas<br />
100 x 100 cm<br />
Label at <strong>the</strong> back with title, date, name <strong>and</strong> address <strong>of</strong> <strong>the</strong> artist<br />
Jan Van den Abbeel was one <strong>of</strong> <strong>the</strong> most prominent representatives <strong>of</strong> <strong>the</strong> group <strong>of</strong><br />
‘Constructivist Painters’ in Ghent. His uncompromising geometric work immediately rose to<br />
fame in <strong>the</strong> second half <strong>of</strong> <strong>the</strong> 1960’s, winning <strong>the</strong> ‘Jeune Peinture’ Prize in Brussels in 1968,<br />
culminating in <strong>the</strong> Parisien exhibition at <strong>the</strong> 6 th Biennale <strong>of</strong> Paris in 1969.<br />
Van den Abbeel didn’t like being part <strong>of</strong> a group, <strong>and</strong> went his own way after 1969. As <strong>the</strong><br />
1970’s continued, Van den Abbeel lost contact with <strong>the</strong> avant-garde <strong>and</strong> changed his style <strong>of</strong><br />
painting. Eventually he concentrated on photography. The constructivist phase lasted not<br />
even 10 years, so <strong>the</strong> works made between 1967 <strong>and</strong> 1970 remain scarce.<br />
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J<br />
acques Charoux (Mauritius 1940)<br />
Centering, 1969<br />
Medium:<br />
Dimensions:<br />
acryl on canvas<br />
121 x 121 cm<br />
Provenance: Galerie Plus-Kern, Gent<br />
Jacques Charoux studied in London <strong>from</strong> 1961 till 1964 <strong>and</strong> went on to study at La Cambre in<br />
Brussels, under Jo Delahaut. From <strong>the</strong> 1980’s onwards <strong>the</strong> artist has lived in Australia.<br />
Charoux had a solo exhibition at <strong>the</strong> infamous Plus-Kern gallery in Ghent <strong>from</strong> 9/12/1969-<br />
18/01/1970. The painting was bought at this exhibition by <strong>the</strong> previous owner. Ano<strong>the</strong>r<br />
painting <strong>from</strong> 1969 belongs to <strong>the</strong> collection <strong>of</strong> <strong>the</strong> Museum <strong>of</strong> Contemporary <strong>Art</strong> in Ghent<br />
‘SMAK’.<br />
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G<br />
uy V<strong>and</strong>enbr<strong>and</strong>en (Elsene 1926 – Antwerpen 2014)<br />
Composition<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
ink on paper<br />
85 x 60 cm; (88 x 64 cm with frame)<br />
signed bottom right ‘guy v<strong>and</strong>enbr<strong>and</strong>en’<br />
Although this work is not dated, it is most probably <strong>from</strong> <strong>the</strong> earlier part <strong>of</strong> <strong>the</strong> artist’s career.<br />
The previous owners bought <strong>the</strong> work in <strong>the</strong> beginning <strong>of</strong> <strong>the</strong> 1970’s, which would date <strong>the</strong><br />
work in <strong>the</strong> beginning <strong>of</strong> <strong>the</strong> 1970’s or in <strong>the</strong> late 1960’s.<br />
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W<br />
out Vercammen (Antwerpen 1938 - 2018)<br />
Konstruktie, 1971<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
oil on canvas<br />
99 x 79 cm; (101 x 81 cm with frame)<br />
signed <strong>and</strong> dated at <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas<br />
Wout Vercammen is now well known for his word-paintings. But this artist also had a<br />
geometric abstract (even constructivist) period, which lasted only a couple <strong>of</strong> years, between<br />
1969 <strong>and</strong> 1971. The works are remarkable through <strong>the</strong>ir use <strong>of</strong> colour <strong>and</strong> complex geometric<br />
compositions. Due to <strong>the</strong> fact that this period lasted only a couple <strong>of</strong> years, very few works<br />
come onto <strong>the</strong> market.<br />
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G<br />
Group One Four is <strong>the</strong> name <strong>of</strong> a group <strong>of</strong> artists consisting <strong>of</strong> John Berry, Roy<br />
Grayson, Mauro Kunst <strong>and</strong> Brian Yale. One <strong>of</strong> <strong>the</strong>ir projects was to design an<br />
Exhibition-box, called ‘Compack’ in which every artist could place several works,<br />
<strong>from</strong> paintings to sculptures. The aluminium box was designed to fit into a car<br />
trunk. One <strong>of</strong> <strong>the</strong> boxes was transported by <strong>the</strong> artists to a Brussels gallery (one<br />
box apparently filled an average size gallery),but although 3 more boxes were<br />
roup One Four<br />
envisaged, it seems that <strong>the</strong> ‘Compack’ was not as successful as was previously thought. The<br />
group also conceived a ‘Eurominiprotopack’ containing an exhibition <strong>of</strong> 32 drawings or<br />
collages. An example <strong>of</strong> <strong>the</strong> ‘Eurominiprotopack’ belongs to <strong>the</strong> collection <strong>of</strong> <strong>the</strong> Tate Gallery<br />
in London, complete examples <strong>of</strong> <strong>the</strong> ‘Compack’ have not been found by us up to this date.<br />
Group One Four exhibited in London in 1967 <strong>and</strong> in Bristol in 1969.<br />
J<br />
ohn Berry<br />
Two Repeatables <strong>and</strong> one Prototypes, 1969<br />
Medium:<br />
Dimensions:<br />
Labels:<br />
painted metal<br />
29,2 x 29,2 x 14 cm<br />
All with a label ‘Group One Four / John Berry’ on <strong>the</strong> front<br />
Two with label ‘Group One Four / Repeatables’ & one with ‘Group One Four /<br />
Prototypes’ on <strong>the</strong> front<br />
All with at <strong>the</strong> back a small circular label ‘13’<br />
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R<br />
oy Grayson (born 1936)<br />
Drawing 3-D, 1969<br />
Medium: acryl on wood in a Perspex case<br />
Dimensions: 39 x 23,5 x 6 cm<br />
Signature: signed, dated <strong>and</strong> titled in pencil at <strong>the</strong> back<br />
As explained above, Roy Grayson was part <strong>of</strong> <strong>the</strong> Group One Four. This 3D drawing probably<br />
was a work <strong>from</strong> <strong>the</strong> ‘Compack’ exhibition. The work is very different <strong>from</strong> <strong>the</strong> one by Berry,<br />
which shows <strong>the</strong> broad artistic range <strong>of</strong> <strong>the</strong> group.<br />
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J<br />
an Saverys (Deinze 1924 – Brussel 2017)<br />
Abstract composition, 1976<br />
Medium: watercolour on paper<br />
Dimensions: 87,5 x 57 cm (day measure); (92 x 70 with frame)<br />
Signature: signed <strong>and</strong> dated bottom right ‘Jan S. 1976’<br />
At <strong>the</strong> back: article on exhibition<br />
Jan Saverys, son <strong>of</strong> painter Albert Saverys, started to make abstract works in <strong>the</strong> 1950’s. In<br />
1952 he became a founding member <strong>of</strong> <strong>the</strong> group ‘l’<strong>Art</strong> Abstrait’, toge<strong>the</strong>r with a.o. Jan<br />
Burssens, Jean Milo, Pol Bury <strong>and</strong> Jo Delahaut. Earlier on, he was influenced by <strong>the</strong> ‘La Relève’<br />
group in Ghent, which counted Jan Burssens, Roger Raveel, Morel Boucle De St Denis, Vlerick<br />
<strong>and</strong> Marcel Ysewijn as strong holders . Saverys clearly wanted to make works that were<br />
completely different <strong>from</strong> those <strong>of</strong> his successful fa<strong>the</strong>r. The way towards abstraction was an<br />
obvious choice, <strong>and</strong> certainly in <strong>the</strong> 1960’s <strong>and</strong> 70’s oriental influences made <strong>the</strong>ir way in his<br />
compositions. This composition is one <strong>of</strong> <strong>the</strong> largest formats we find in his work. The work <strong>of</strong><br />
<strong>the</strong> 70’s is colourful <strong>and</strong> influenced by oriental calligraphy<br />
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G<br />
aston De Mey (Kaprijke 1933 – Eeklo 2015)<br />
Structuur ‘OME’, 1978<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Stamp:<br />
oil on canvas laid on board<br />
23 x 17 cm<br />
signed, titled <strong>and</strong> dated at <strong>the</strong> back<br />
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas<br />
G<br />
aston De Mey (Kaprijke 1933 – Eeklo 2015)<br />
Structuur ‘PIT’, 1978<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Stamp:<br />
oil on canvas laid on board<br />
23 x 17 cm<br />
signed, titled <strong>and</strong> dated at <strong>the</strong> back<br />
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas<br />
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G<br />
aston De Mey (Kaprijke 1933 – Eeklo 2015)<br />
Structuur ‘KON, 1978<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Stamp:<br />
oil on canvas laid on board<br />
23 x 17 cm<br />
signed, titled <strong>and</strong> dated at <strong>the</strong> back<br />
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas<br />
G<br />
aston De Mey (Kaprijke 1933 – Eeklo 2015)<br />
Structuur ‘KIH’, 1978<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Stamp:<br />
oil on canvas laid on board<br />
23 x 17 cm<br />
signed, titled <strong>and</strong> dated at <strong>the</strong> back<br />
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas<br />
Gaston de Mey clearly is an ‘Einzelgänger’. Although formally similar to <strong>the</strong> Visual Poetry<br />
Movement <strong>of</strong> <strong>the</strong> 1960’s, De Mey doesn’t look for meaning <strong>and</strong> visual puns in his work.<br />
Instead he sees letters as building blocks for his composition, called ‘Structures’, an ordering <strong>of</strong><br />
letters in a geometric pattern, without a specific meaning to be found in <strong>the</strong> text. De Mey’s<br />
approach was influenced by Mondriaan <strong>and</strong> by <strong>the</strong> constructivists <strong>of</strong> his generation. The<br />
letters, devoid <strong>of</strong> meaning, become abstract symbols. Only after 2000, <strong>the</strong> artist would start<br />
to work around certain names or texts in a composition.<br />
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I T a l I a n P o P a n d h a r d – e d g e<br />
G<br />
Ianfranco Pardi (Milano 1933 – 2021)<br />
Archittetura, 1972<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
At <strong>the</strong> back:<br />
collage <strong>and</strong> tempera on paper<br />
72 x 50 cm (74 x 52 cm with <strong>the</strong> original frame)<br />
in <strong>the</strong> centre ‘PARDI 72’ in pencil<br />
label <strong>of</strong> Studio Marconi<br />
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G<br />
Ianfranco Pardi (Milano 1933 – 2021)<br />
Archittetura, 1972<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
At <strong>the</strong> back:<br />
collage <strong>and</strong> tempera on paper<br />
72 x 50 cm (74 x 52 cm with <strong>the</strong> original frame)<br />
in <strong>the</strong> centre ‘PARDI 72’ in pencil<br />
label <strong>of</strong> Studio Marconi<br />
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G<br />
Ianfranco Pardi (Milano 1933 – 2021)<br />
Archittetura, 1972<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
At <strong>the</strong> back:<br />
collage <strong>and</strong> tempera on paper<br />
72 x 50 cm (74 x 52 cm with <strong>the</strong> original frame)<br />
in <strong>the</strong> centre ‘PARDI 72’ in pencil<br />
label <strong>of</strong> Studio Marconi<br />
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G<br />
Ianfranco Pardi (Milano 1933 – 2021)<br />
Sculpture, 1970<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Iron <strong>and</strong> nickel-plated copper<br />
24 x 4 x 27 cm<br />
‘PARDI 70’ on <strong>the</strong> base<br />
In <strong>the</strong> 1960’s <strong>and</strong> 1970’s Italy was booming. Their cars were great, <strong>the</strong>ir design breathtaking,<br />
<strong>the</strong>ir movies were even better, <strong>the</strong>ir songs were hits, fashion was Italy <strong>and</strong> vice versa, <strong>and</strong><br />
everybody started to eat pasta. Also in art things were moving in Italy. More than in Paris,<br />
Milan <strong>and</strong> Rome were hotbeds <strong>of</strong> new art. <strong>Art</strong>ists were ready for something completely<br />
different <strong>and</strong> one could argue that <strong>the</strong> (r)evolution <strong>of</strong> modern art in Europe after 1960 has<br />
started in Italy. Two main currents seem to have sprung <strong>from</strong> <strong>the</strong> experiments in <strong>the</strong> 196’s:<br />
conceptual art <strong>and</strong> arte povera, next to a group <strong>of</strong> artists that were close in following design<br />
<strong>and</strong> architectural innovations.<br />
Gianfranco Pardi was one <strong>of</strong> <strong>the</strong> artists that wanted to create an art that was architectural in<br />
form <strong>and</strong> meaning. Pardi wanted to create spaces <strong>and</strong> volumes through his art, that guided or<br />
even forced <strong>the</strong> viewer to participate in <strong>the</strong> work <strong>and</strong> <strong>the</strong> space it created.<br />
The formal language Pardi used was derived <strong>from</strong> constructivism <strong>and</strong> neoplasticism but also<br />
very close to 1960’s <strong>and</strong> ‘70’s design <strong>and</strong> architecture.<br />
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S<br />
tudio Marconi<br />
Studio Marconi was an Italian art gallery situated in <strong>the</strong> centre <strong>of</strong> Milan. Giorgio Marconi<br />
started this art gallery in 1965. His fa<strong>the</strong>r was a well-known frame maker, Egisto Marconi.<br />
Thanks to Egisto, Giorgio came into contact with a lot <strong>of</strong> contemporary Italian artists such as<br />
Emilio Tadini. Apart <strong>from</strong> championing young Italian artists, Marconi had an impressive<br />
international network <strong>of</strong> both dealers <strong>and</strong> artists, which enabled him to organise shows <strong>of</strong><br />
Italian artists abroad <strong>and</strong> important foreign artists in Milan. The purpose <strong>of</strong> Studio Marconi<br />
was to promote upcoming young artists as well as show works <strong>of</strong> established artists. Marconi<br />
also collaborated with different art critics <strong>and</strong> historians to publish periodicals. Three works<br />
<strong>from</strong> Gianfranco Pardi in this catalogue show <strong>the</strong> mythic Studio Marconi label. Marconi closed<br />
his gallery in 1992.<br />
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E<br />
milio Tadini (Milano 1927 – Milano 2002)<br />
Pittura, 1970<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
oil on canvas on board<br />
24 x 21 (day measure) (41,5 x 38 cm with <strong>the</strong> original frame)<br />
Emilio Tadini PITTURA ottobre 1970' at <strong>the</strong> back<br />
Emilio Tadini has started his career as a writer, but <strong>from</strong> <strong>the</strong> 1960’s onwards he has been<br />
focusing more <strong>and</strong> more on painting. Starting out in a surrealist fashion, he soon discovered<br />
<strong>the</strong> work <strong>of</strong> Richard Hamilton. Combined with <strong>the</strong> intellectual environment in which he<br />
circled, with people like Umberto Eco, Dario Fo, Lucio Fontana, Valerio Adami <strong>and</strong> Gianfranco<br />
Pardi to name but a few, this drove Tadini towards a particular kind <strong>of</strong> Pop <strong>Art</strong> painting with a<br />
strong psychoanalytic base, as is <strong>the</strong> case with <strong>the</strong> work <strong>of</strong> Adami. Also Tadini’s relation with<br />
classic art remained a source <strong>of</strong> inspiration. Tadini <strong>of</strong>ten worked in series around a <strong>the</strong>me.<br />
This interior <strong>from</strong> 1970 could be a part <strong>of</strong> <strong>the</strong> series Circuito chiuso or Color & Co.<br />
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V<br />
ictor Bonato (Köln 1934 – Niederkassel 2019)<br />
2x2–KK-69, 1970<br />
Edition:<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
number 16 out <strong>of</strong> 100 editions<br />
mirror on wood<br />
34 x 34 cm (35,5 x 35,5 cm with frame)<br />
at <strong>the</strong> back ‘Bonato 70’ <strong>and</strong> label with information<br />
Although his name suggests o<strong>the</strong>rwise, Bonato was a German artist. He started a career as a<br />
glass- <strong>and</strong> decorative painter <strong>and</strong> completed his studies in <strong>the</strong> Unites States in <strong>the</strong> beginning<br />
<strong>of</strong> <strong>the</strong> 19<strong>60s</strong>. In 1966 he became a founding member <strong>of</strong> <strong>the</strong> K-66 Group in Köln. His art was<br />
extremely critical <strong>of</strong> German post-war society. From 1969 onwards he has worked with<br />
deformed mirrors, challenging <strong>the</strong> way we perceive <strong>and</strong> look at reality.<br />
To Bonato <strong>the</strong> artist should play an essential role in modern society. He started programs for<br />
educating working adults <strong>and</strong> in 1975 he developed an artistic program for youth <strong>of</strong>fenders.<br />
Bonato was heralded in <strong>the</strong> 1980-1990s as an important socially aware artist <strong>and</strong> educator.<br />
He won several prizes <strong>and</strong> was given <strong>the</strong> opportunity to construct some large scale works in<br />
several German cities.<br />
V<br />
ictor Bonato (Köln 1934 – Niederkassel 2019)<br />
II-O-KK-70, 1970<br />
Edition:<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
number 15 out <strong>of</strong> 100 editions<br />
mirror on wood<br />
34 x 34 cm (35,5 x 35,5 cm with frame)<br />
at <strong>the</strong> back ‘Bonato 70’ <strong>and</strong> label with information<br />
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v I s u a l P o e T r y<br />
P<br />
aul De Vree (Antwerpen 1909 – 1982)<br />
Love, 1976<br />
Medium:<br />
Dimensions:<br />
rose petals on paper (collage)<br />
28 x 38 cm (day measure) (40 x 50,5 cm with frame)<br />
Signature: bottom right ‘Paul De Vree / 1976’<br />
Writer, poet, art critic <strong>and</strong> artist Paul de Vree became known for his ‘Visual Poetry’ <strong>and</strong><br />
‘Concrete Poetry’ movements, which he started in 1963. For De Vree art <strong>and</strong> poetry were<br />
connected <strong>and</strong> by arranging words, letters <strong>and</strong> adapting typography he created visual poems,<br />
that could be seen both as works <strong>of</strong> literature <strong>and</strong> works <strong>of</strong> art. De Vree has forged strong<br />
bonds with international organisations <strong>and</strong> artists in France <strong>and</strong> Italy.<br />
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J<br />
ean-François Bory (Paris °1938)<br />
sciences ciences iences, 1972<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
mixed media on canvas<br />
55 x 45 cm (56 x 46 cm with frame)<br />
bottom right ‘jeanfrancois Bory ‘72’ <strong>and</strong> at <strong>the</strong> back ‘science ciences iences’<br />
Bory was active as a writer, poet, artist <strong>and</strong> film maker. He was one <strong>of</strong> <strong>the</strong> central figures in<br />
<strong>the</strong> Concrete Poetry <strong>and</strong> Visual Poetry movements <strong>and</strong> befriended Paul De Vree.<br />
Bory exhibited all over Europe, participated in <strong>the</strong> Biennale de Paris in 1967 <strong>and</strong> two years<br />
later in <strong>the</strong> Venice Biennale. He founded several art <strong>and</strong> poetry magazines (o.a. l’Humidité)<br />
with an international character, leading to fur<strong>the</strong>r exhibitions in Italy, Holl<strong>and</strong>, Germany,<br />
Switzerl<strong>and</strong>, <strong>the</strong> United States etc.<br />
His work features in several museum collections, among o<strong>the</strong>rs <strong>the</strong> collection <strong>of</strong> <strong>the</strong> Centre<br />
Pompidou in Paris.<br />
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T e x T u r e – F o r M<br />
M<br />
argaret Andres (Basel 1947 - ?)<br />
Karaman, 1972<br />
Medium:<br />
Dimensions:<br />
large textile <strong>and</strong> metal wall sculpture<br />
approx. Karaman II: 275 x 100 x 50 cm<br />
Karaman III: 275 x 100 x 50 cm<br />
L'arbre III: 170 x 100 cm<br />
Signature:<br />
All three pieces are signed, titled <strong>and</strong> dated at <strong>the</strong> back on a label<br />
Provenance:<br />
Acquired directly <strong>from</strong> <strong>the</strong> artist by <strong>the</strong> previous owner <strong>and</strong> <strong>the</strong>nce by descent<br />
Exhibited : ‘13 <strong>Art</strong>istes en 72’, Peruwelz, Foyer Culturel Petite Place, 1/09 – 17/09/1972<br />
‘W<strong>and</strong>tapijten – Tapisseries Margaret Andres’, voorlichtingscentrum<br />
hedendaagse kunst Flat 5, Brugge, 13/08-31/08/1972<br />
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H<br />
oria Damian (București 1922 – Paris 2012)<br />
Triptyque Bleu, 1968<br />
Medium:<br />
Dimensions:<br />
Provenance:<br />
mixed media on wood<br />
36,5 x 48 cm (day measure) (52 x 63,5 cm with <strong>the</strong> original frame)<br />
Galerie Stadler, Paris<br />
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Horia Damian was one <strong>of</strong> many Eastern-European artists who decided to move to Paris to<br />
come into contact with modern art.<br />
He studied with André Lhote <strong>and</strong> Fern<strong>and</strong> Leger, but quickly, <strong>from</strong> 1958 onwards, he would<br />
assimilate <strong>the</strong>se influences <strong>and</strong> invent a new pictorial language.<br />
Pierre Restany labelled his work <strong>of</strong> <strong>the</strong> 1960’s as ‘Icônes Informelles’ or ‘Informal Icons’.<br />
Indeed it is possible to see his works as abstract Icons <strong>of</strong> <strong>the</strong> mid-twentieth century, in which a<br />
transformed sun-flower st<strong>and</strong>s central.<br />
Again Restany writes:<br />
“Les ors, les bleus de nuit et les rouges sang s’affrontent dans un atmosphère<br />
d’éruptivité lyrique, qui n’est pas exempté d’une théâtrale gr<strong>and</strong>eur : de saintes images<br />
en sensuelle folie »<br />
Damian was represented by <strong>the</strong> Parisian Galerie Stadler, owned by Rodolphe Stadler who<br />
showed artist like Antoni Tàpies, Karel Appel, René Guiette, Horia Damian, Christo Coetzee,<br />
<strong>the</strong> Japanese Gutaï group, Claire Falkenstein, Paul Jenkins, Alfonso Ossorio etc.<br />
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H<br />
oria Damian (București 1922 – Paris 2012)<br />
Composition in red with two blue oval forms, ca. 1968<br />
Medium:<br />
Dimensions:<br />
Provenance:<br />
mixed media on wood<br />
39,5 x 43 cm (day measure) (54 x 48 cm with frame)<br />
Galerie Stadler, Paris<br />
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c o n c e P T<br />
G<br />
uy Mees (Mechelen 1935 – Antwerpen 2003)<br />
Lost Space (lace), 1962<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Provenance:<br />
mixed media (lace) on board<br />
36 x 39 cm<br />
<strong>and</strong> dated at <strong>the</strong> back, with dedication ‘aan Adriaan’<br />
given by <strong>the</strong> artist to Adriaan de Roover; Private collection<br />
Guy Mees is one <strong>of</strong> <strong>the</strong> most important conceptual artists <strong>of</strong> his generation. One <strong>of</strong> <strong>the</strong><br />
earliest supporters <strong>of</strong> his art was Paul De Vree.<br />
The series <strong>of</strong> works, all titled ‘Lost Space,’ with lace <strong>and</strong> metallic paint, is one <strong>of</strong> <strong>the</strong> earliest<br />
examples <strong>of</strong> conceptual art in Belgium. They refer to both national history as well as<br />
traditional folk art, but put in a totally different context <strong>and</strong> with a different meaning. In this<br />
way, <strong>the</strong>se works predate similar works <strong>of</strong> Belgian artists in <strong>the</strong> 1990’s by 30 years.<br />
Mees almost never gave an explanation for his works. The lack <strong>of</strong> a specific meaning opens<br />
<strong>the</strong> possibilities <strong>of</strong> multiple readings, his work still being relevant to <strong>the</strong> current development<br />
<strong>of</strong> art.<br />
The artist <strong>of</strong>fered this work to writer <strong>and</strong> poet Adriaan De Roover (Antwerpen 1923-2016).<br />
De Roover was one <strong>of</strong> <strong>the</strong> founders <strong>of</strong> ‘Golfslag’ magazine, toge<strong>the</strong>r with o.a. Ivo Michiels <strong>and</strong><br />
Manu Ruys. He was praised as an experimental poet, influencing <strong>the</strong> young Paul Snoek. In<br />
1953 he joined <strong>the</strong> editors <strong>of</strong> ‘De Tafelronde’. De Roover quit <strong>the</strong> literary scene in 1963,<br />
disappearing <strong>from</strong> <strong>the</strong> Antwerp avant-garde milieu <strong>and</strong> concentrated on studying roman art.<br />
He returned to publishing in 1984, but was not part <strong>of</strong> <strong>the</strong> avant-garde movement any longer.<br />
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C<br />
hristiaan Paul Damsté (Arnhem 1944)<br />
Composition, ca. 1971<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
wooden clo<strong>the</strong>spins<br />
29 x 29 cm (31 x 31 cm with frame)<br />
‘chr paul damsté opl. 25’ at <strong>the</strong> back<br />
Christiaan Paul Damsté studied sculpture at <strong>the</strong> Academy in Arnhem, ‘s-Hertogenbosch <strong>and</strong><br />
Ghent (1969-1970). He was greatly influenced by one <strong>of</strong> his teachers, Henk Peeters, member<br />
<strong>of</strong> <strong>the</strong> Dutch minimalist group ‘Zero’. Damsté works in very different media, but likes to<br />
incorporate structure <strong>and</strong> rhythm into his works. His clo<strong>the</strong>spin works are very characteristic<br />
<strong>of</strong> <strong>the</strong> earlier works, which date <strong>from</strong> around 1969-1970. Some compositions were made as<br />
multiples on 25 copies, probably in 1971.<br />
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C<br />
hristiaan Paul Damsté (Arnhem 1944)<br />
Composition, ca. 1971<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
wooden clo<strong>the</strong>spins<br />
29 x 29 cm (31 x 31 cm with frame)<br />
‘chr paul damsté opl. 25’ at <strong>the</strong> back<br />
C<br />
hristiaan Paul Damsté (Arnhem 1944)<br />
Composition, ca. 1971<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
wooden clo<strong>the</strong>spins <strong>and</strong> black paint<br />
29 x 29 cm (31 x 31 cm with frame)<br />
‘chr paul damsté opl. 25’ at <strong>the</strong> back<br />
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J<br />
acques Louis Nyst (Liège 1942 – 1996)<br />
Gr<strong>and</strong>e échelle au paysage, 1972 (Photographisme)<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
mixed media on paper (collage)<br />
50 x 32 cm<br />
below <strong>the</strong> collage ‘J.L.Nyst.72.’<br />
After a fairly straightforward <strong>and</strong> even classic academic education in Madrid <strong>and</strong> Liège, Nyst<br />
started exhibiting in 1966. The artist was greatly influenced by Surrealism, <strong>and</strong> especially by<br />
<strong>the</strong> word-image-meaning relations <strong>of</strong> René Magritte. Thus his early works were surrealist, but<br />
gradually became non-figurative about 1967. Around 1969 we see Nyst developing his own<br />
artistic language, first in watercolour drawings, but soon, around 1972, Nyst starts turning<br />
<strong>the</strong>se images into multi media works, mixing drawing, text, photography, sculpture <strong>and</strong> even<br />
video. Nyst is very interested in literature, <strong>and</strong> <strong>of</strong>ten <strong>the</strong> artworks are linked to books or<br />
video’s made by <strong>the</strong> artist (sometimes toge<strong>the</strong>r with his wife, artist Danièle Levaux). His works<br />
tell a story in which everyday objects become bearers <strong>of</strong> ‘higher’ meanings. The story is <strong>the</strong>n<br />
exp<strong>and</strong>ed in drawings, in so-called ‘photographismes’, books <strong>and</strong> video.<br />
Nyst was <strong>the</strong> first Belgian artists to make an art video (in 1971) <strong>and</strong> his career really went<br />
international around <strong>the</strong> mid-seventies. The artist is represented in most Belgian museums<br />
(SMAK, Mukha, Royal Museums <strong>of</strong> Fine <strong>Art</strong>s, etc.) but he also has works in <strong>the</strong> MoMA in New<br />
York.<br />
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J<br />
acques Louis Nyst (Liège 1942 – 1996)<br />
Escabeau au Paresseux, 1972 (Photographisme)<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
mixed media on paper (collage)<br />
50 x 32 cm<br />
below <strong>the</strong> collage ‘J.L.Nyst.72.’<br />
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J<br />
acques Louis Nyst (Liège 1942 – 1996)<br />
Escabeau à la boîte rose, 1972 (Photographisme)<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
mixed media on paper (collage)<br />
50 x 32 cm<br />
below <strong>the</strong> collage ‘J.L.Nyst.72.’<br />
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J<br />
acques Louis Nyst (Liège 1942 – 1996)<br />
Jeu de l’échelle à la terrasse, 1973 (Photographisme)<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
mixed media on paper (collage)<br />
50 x 32 cm<br />
below <strong>the</strong> collage ‘J.L.Nyst.73.’<br />
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P o l I T I c s a n d a r T<br />
R<br />
ol<strong>and</strong> Van den Berghe (Gent 1943)<br />
L.B.J., 1967<br />
Medium:<br />
pencil <strong>and</strong> wax on canvas<br />
Dimensions: 80 x 73,5 cm (81 x 74,5 cm with frame)<br />
Signature: on <strong>the</strong> back <strong>of</strong> <strong>the</strong> stretcher ‘V<strong>and</strong>en Berghe Rol<strong>and</strong> / Gent-Amsterdam / L.B.J. /<br />
Evergreen / sept 67 tot jan 68’ <strong>and</strong> ‘1/5’<br />
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R<br />
ol<strong>and</strong> Van den Berghe (Gent 1943)<br />
L.B.J.<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
Edition:<br />
blueprints<br />
full sheet: 85,5 x 75 cm<br />
in orange bottom right<br />
justified ‘1/5’ in orange, bottom left on every print<br />
A lot <strong>of</strong> mystery surrounds <strong>the</strong>se prints, which were possibly edited by Emile Christiaens<br />
(°1926-?) in Brussels. However, more research is needed to establish <strong>the</strong> exact date <strong>of</strong> this<br />
edition. The idea behind <strong>the</strong> blue prints is borrowed <strong>from</strong> children’s colour plates. So <strong>the</strong> idea<br />
was that <strong>the</strong> owner <strong>of</strong> <strong>the</strong> works would collaborate with <strong>the</strong> artist to create an original art<br />
work by colouring <strong>the</strong> prints.<br />
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R<br />
ol<strong>and</strong> Van den Berghe (Gent 1943)<br />
To me, 1968<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
ink on canvas<br />
68,5 x 90 cm (70 x 91,5 cm with frame)<br />
‘ROLAND VAN DEN BERGHE’, “TO ME”, ‘juli 68 Amsterdam Gent’ at <strong>the</strong> back<br />
Rol<strong>and</strong> Van Den Berghe studied at <strong>the</strong> Academies <strong>of</strong> Ghent, Amsterdam <strong>and</strong> Berlin. In his<br />
early work, <strong>the</strong> artist was very critical <strong>of</strong> <strong>the</strong> Vietnam War <strong>and</strong> political decision making<br />
surrounding it. He also mocked <strong>the</strong> people in power <strong>and</strong> reduced <strong>the</strong>m to colour plates,<br />
inviting friends <strong>and</strong> fellow artists to make <strong>the</strong>ir own version <strong>of</strong> <strong>the</strong> American president or <strong>of</strong><br />
<strong>the</strong> Queen <strong>of</strong> Belgium. Van Den Berghe will also always be remembered for his ‘Our Friendly<br />
Bombs’ exhibition <strong>and</strong> performance in New York in 1972.<br />
In those days, Van Den Berghe did not consider <strong>the</strong> ‘finished artwork’ very important,<br />
preferring to use mass media <strong>and</strong> performances as a way to express his ideas. As a<br />
consequence, his early art work is almost impossible to find. The examples we can show here<br />
are rare survivors. Similar work is to be found among o<strong>the</strong>rs in <strong>the</strong> collection <strong>of</strong> SMAK, <strong>the</strong><br />
Ghent Museum <strong>of</strong> Contemporary <strong>Art</strong>. . The MoMA in New York possesses a print by <strong>the</strong> artist.<br />
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a r T a n d F u T u r e<br />
P<br />
aul Van Hoeydonck (Antwerpen 1925)<br />
Untitled, 1971<br />
Medium:<br />
mixed media on paper<br />
Dimensions: 55 x 73 cm<br />
Signature: ‘P V Hoeydonck ‘71’<br />
Paul Van Hoeydonck started out as an abstract painter, but by <strong>the</strong> end <strong>of</strong> <strong>the</strong> 1950s <strong>and</strong><br />
beginning <strong>of</strong> <strong>the</strong> 19<strong>60s</strong> he tried to escape <strong>the</strong> boundaries <strong>of</strong> painting by adding plexiglass<br />
elements to his paintings. In 1961 Van Hoeydonck starts to exhibit assemblages <strong>and</strong> objects,<br />
in 1963 he creates an environment at Forum 63 in Ghent. From now on <strong>the</strong> artist creates a<br />
whole new universe through paintings, assemblages <strong>and</strong> large environments. Van Hoeydonck<br />
becomes obsessed with space <strong>and</strong> <strong>the</strong> aspiration <strong>of</strong> <strong>the</strong> conquest <strong>of</strong> space by humans, with<br />
evolution <strong>and</strong> <strong>the</strong> influence <strong>of</strong> technology on <strong>the</strong> human body (cyberhumans, robots) but also<br />
with sacrifices made for progress. Van Hoeydonck’s vision <strong>of</strong> <strong>the</strong> future is not uniquely<br />
optimistic, but in his view, progress comes at a price. The evolution <strong>of</strong> technology threatens<br />
<strong>the</strong> pure existence <strong>of</strong> men.<br />
Van Hoeydonck is perhaps <strong>the</strong> most fitting example <strong>of</strong> <strong>the</strong> ‘Nouveau-réalistes’ movement in<br />
Belgium. He was also one <strong>of</strong> <strong>the</strong> most international artists <strong>of</strong> his generation, supported by<br />
important galleries in France (Iris Clert), Switzerl<strong>and</strong> (Galerie Bonnier), <strong>the</strong> US (Robert Elkon<br />
Gallery, Waddell Gallery), etc. His art is displayed all over <strong>the</strong> world, <strong>and</strong> <strong>the</strong> sculptor even has<br />
a work on <strong>the</strong> moon, which makes Van Hoeydonck a true space invader.<br />
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P<br />
aul Van Hoeydonck (Antwerpen 1925)<br />
Anno 3000, 1967<br />
Medium:<br />
mxed media on paper<br />
Dimensions: 56 x 76 cm<br />
Signature: <strong>and</strong> date <strong>and</strong> title bottom right in ink ‘P V Hoeydonck – anno 3000 – ‘67’<br />
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P<br />
aul Van Hoeydonck (Antwerpen 1925)<br />
Space Lunch, 1975<br />
Medium:<br />
mixed media in <strong>the</strong> original wooden crate, complete with photographs, text<br />
<strong>and</strong> a book in <strong>the</strong> original numbered envelope.<br />
Dimensions:<br />
Signature:<br />
Edition:<br />
29 x 53,5 x 54 cm (crate); 43 x 40 cm (plate)<br />
on <strong>the</strong> bottom <strong>of</strong> <strong>the</strong> plate<br />
justified ‘26/50’, edited by Banana Press (Walter Beckers)<br />
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E<br />
nk de Kramer (Berchem 1946)<br />
Cyber-girl, first half <strong>of</strong> <strong>the</strong> 1970’s<br />
Medium:<br />
Dimensions:<br />
Signature:<br />
oil on canvas<br />
30 x 24 cm: 36,5 x 30,2 cm (with frame)<br />
bottom right ‘E. de Kramer’<br />
Although de Kramer is first <strong>and</strong> foremost known as an engraver, he always combined printing<br />
<strong>and</strong> painting. His paintings are much less known to <strong>the</strong> general public <strong>and</strong> are rare to be<br />
found on <strong>the</strong> art market.<br />
His work <strong>of</strong> <strong>the</strong> first half <strong>of</strong> <strong>the</strong> 1970’s is particularly interesting. De Kramer <strong>of</strong>ten depicts<br />
female torsos, <strong>and</strong> in this case with a detailed apparel similar to elements <strong>of</strong> a space suit. A<br />
Belgian flag motif reveals <strong>the</strong> astronaut to be <strong>of</strong> <strong>the</strong> artist’s native country.<br />
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ooks books books books books books<br />
P<br />
hilippe Van Snick (Gent 1946 – Brussel 2019), etchings<br />
Ascensional Sutra’, 1968<br />
P<br />
aul-Armen Sarafian, poems<br />
Loose pages as issued, in total 12 poems <strong>and</strong> 12 etchings<br />
Signed by both <strong>of</strong> <strong>the</strong> artists, each etching signed <strong>and</strong> justified ‘7/15’ by Van Snick<br />
Printed on only 15 copies, this being number ‘VII’<br />
33 x 25 cm, <strong>the</strong> etchings 16 x 12,5 cm (plate size)<br />
1 copy is in <strong>the</strong> collection <strong>of</strong> <strong>the</strong> KBR (Roual Library) in Brussels, ano<strong>the</strong>r in <strong>the</strong> collection <strong>of</strong><br />
<strong>the</strong> KMSKA (Royal Museum <strong>of</strong> Fine <strong>Art</strong>s Antwerp).<br />
An interesting fact is that <strong>the</strong> book came about with financial support <strong>of</strong> collector Anton<br />
Herbert.<br />
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P<br />
ieter De Bruyne (Aalst 1931 – 1987)<br />
Meubelontwerpen Pieter De Bruyne, 1985<br />
Folder with 26 furniture designs, with an introduction by<br />
Jan Wüst, in Dutch, French, English <strong>and</strong> Italian.<br />
Justified on 500 copies, this being number ‘500/500’, one<br />
<strong>of</strong> <strong>the</strong> 400 unsigned copies.<br />
42 x 30 cm<br />
All <strong>of</strong> <strong>the</strong> 26 designs are numbered <strong>and</strong> are listed in <strong>the</strong><br />
index table<br />
A rare edition, although printed on 500 copies, it is<br />
difficult to find a complete set.<br />
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M<br />
ark Verstockt (Lokeren 1930 – Antwerpen 2014)<br />
(This is not) a Book, 1971<br />
With an introduction by Frank Popper<br />
Book-object, In <strong>the</strong> original Styr<strong>of</strong>oam wrapping bearing <strong>the</strong> number <strong>of</strong> this copy at <strong>the</strong> side<br />
This copy is number 291 out <strong>of</strong> an edition <strong>of</strong> 1000<br />
One <strong>of</strong> <strong>the</strong> most important <strong>and</strong> original constructivist book designs, rare to find in unused<br />
condition.<br />
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P l e a s e n o t e :<br />
The supplementary documentary photographs or documents are not for sale, unless<br />
o<strong>the</strong>rwise stated.<br />
Dimensions are noted as: height x width x depth <strong>and</strong> in centimetres.<br />
Please contact us for prices.<br />
We can provide you with additional information through photographs or video chat.<br />
We can provide you with specific shipping quotes. Works can also be collected at <strong>the</strong><br />
gallery or delivered by us at your doorstep.<br />
Upon request, we can provide a preliminary condition report, but please bear in mind that<br />
we are not pr<strong>of</strong>essional restorers <strong>and</strong> that we cannot be held responsible for <strong>the</strong> accuracy<br />
<strong>of</strong> our assessment <strong>of</strong> <strong>the</strong> condition <strong>of</strong> a work. If needed, a pr<strong>of</strong>essional restorer can be<br />
asked to make a condition report, however this will not be free <strong>of</strong> charge<br />
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C o l o p h o n<br />
This online catalogue was made to accompany <strong>the</strong> exhibition ‘’<strong>Rocking</strong> <strong>the</strong> Cradle <strong>of</strong> <strong>Art</strong>.<br />
<strong>Art</strong> <strong>from</strong> <strong>the</strong> <strong>60s</strong> <strong>and</strong> <strong>70s</strong>, 2023.-2024 . All works are for sale.<br />
Text <strong>and</strong> research: Raf Steel <strong>and</strong> Emmy Steel<br />
Editing <strong>and</strong> photography:: Raf Steel <strong>and</strong> Emmy Steel<br />
We would like to thank Inez Van den Berge for her valuable assistance..<br />
Copyright: Galerie St-John, <strong>the</strong> authors <strong>and</strong> <strong>the</strong> artists.<br />
No part <strong>of</strong> this publication may be reproduced <strong>and</strong> / or published by means <strong>of</strong> print,<br />
photocopy, electronic medium or any o<strong>the</strong>r method (including translation) without <strong>the</strong><br />
prior written permission <strong>of</strong> <strong>the</strong> authors.<br />
The publisher has done its utmost to request permission to all possible right holders<br />
regarding <strong>the</strong> use <strong>of</strong> (visual) material for this online publication. If we have overlooked<br />
something, please contact us. Any errors will be corrected in a subsequent issue.<br />
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Buying <strong>and</strong> selling <strong>of</strong> <strong>Art</strong>s <strong>and</strong> Antiques<br />
Appraisals - Expertises - Exhibitions<br />
Estates - Libraries - Inheritances<br />
Collector’s <strong>and</strong> <strong>Art</strong>ist’s Archives<br />
Advice on partitioning, conservation <strong>of</strong> works <strong>of</strong> art<br />
Collection management, Development <strong>of</strong> Collection Exhibitions<br />
st-john.be<br />
Galerie St-John<br />
Bij St-Jacobs 15A / Nieuwpoort 2 (gps)<br />
B-9000 Gent – Belgium<br />
T. +32-9/225.82.62<br />
info@st-john.be<br />
facebook.com/galeriestjohn<br />
instagram.com/galeriestjohngent<br />
OPEN:<br />
Do 14u-18u Thu<br />
Vr, Za 10u-12u & 14u-18u Fr, Sa<br />
Zo 10u-12u Su<br />
Ma, Di, Wo na afspraak<br />
Mo, Tu, We by appointment<br />
Galerie St-John – st-john.be – 09/225.82.62<br />
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