Rocking the cradle of Art: Art from the 60s and 70s

catalogue IIIWinter 2023

Rocking the Cradle of Art :
Art from the 60s and 70s
III Catalogue Winter 2023
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T h e 1 9 6 0 ’ s a n d 1 9 7 0 ’ s
a r T o n a c r o s s r o a d s
"Live in Your Head: When Attitudes Become Form,"
Harald Szeemann
In the 1960’s and 1970's art went through a transformational period. Artists wanted to shake
off the past. Influences of the previous -isms, present throughout the 1950’s, were left behind.
Art became on the one hand much more conceptual, more politically charged and less
formalist, but on the other hand playful, decorative and objective.
As always, artists were searching and experimenting, looking for novel ways to express
themselves, trying various visual languages, imagery and media. The result is heteroclite and
much more diverse and exciting than what (mostly Anglophile) art history surveys tend to
show us.
After many conversations with artists who have been working at that time, we feel that one
important aspect characterises the period, namely the freedom to create. As the artworld
was much less developed and galleries were founded more out of idealism, out of support or
with a socio cultural goal rather than as a commercial endeavour, walls between artistsgalleries-museums
were almost non-existent.
Artists were free to do and exhibit where they wanted, and were not restricted nor expected
to work in a specific style. They could do abstract work, figurative, conceptual, etc. at the
same time. They worked with visual elements, sound, architecture, nature, film, theatre,
environments, happenings… there was hardly anything that would not qualify as a means of
expression.
The 1960’s and 70’s created the framework of the contemporary art of today. What oozes out
of the works is freedom of creation and thought, without boundaries or dogmas.
We have mounted a selection of works of European artists, mirroring this extraordinary
creative epoch.
Go live in your head! Raf & Emmy Steel
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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
R
Roncada (?) (biographical details unknown)
Yellow nude, ca. 1969
Medium:
Dimensions:
oil on canvas
100 x 80 cm
This elusive artist probably held an exhibition in Ghent in 1969, where these works were
purchased. Apart from this, we known nothing on the artist, nor where the exhibition took
place, or if the artist is Belgian or for example Italian. It is possible that the artist used a
pseudonym to sign his works.
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R
Roncada
Blue nude, ca. 1969
Medium:
Dimensions:
oil on canvas
100 x 80 cm
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R
Roncada
Nude with circle, ca. 1969
Medium:
Dimensions:
oil on canvas
100 x 80 cm
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R
Roncada
Hommage to Albers, 1969
Medium: oil on canvas
Dimensions: 100 x 80 cm; (103 x 83 cm with frame)
Signature: at the back ‘R. Roncada. ’69.’
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R
Roncada
Yellow constructivism, 1969
Medium:
oil on canvas
Dimensions: 100 x 80 cm; (103 x 83 cm with frame)
Signature: at the back ‘R. Roncada. 69.’
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J
an Dries (Mol 1925 – Malle 2014)
‘Glimlach’, (Smile), 1968-1978
Medium:
Dimensions:
Signature:
Provenance:
carrara marble (blanc statuaire)
30 x 30 x 16 cm
‘JAN DRIES - 9/10 - 1968-78’ at the back
private collection
Jan Dries is known as a sculptor of abstract works in marble. Still, this figurative work ‘Smile’
from 1968, is a sculpture which corresponds to his very ideas. Jan Dries has always been
searching for a kind of sensuality in his sculptures, a lightness that transcends the boundary or
weight of the marble shape. Changing light and shadow seem to be the ones sculpting,
rendering surface and shape with endless nuances.
This work was conceived by Dries in 1968. Apparently the artist only made another copy on
demand. Hence the dating of this piece: this marble was executed in 1978.
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R
aoul De Keyser (Deinze 1930 – Deinze 2012)
Een verpakte gedachte, 1967
Medium:
Dimensions:
Edition:
silkscreen on cardboard
25 x 17 x 5 cm
One out of the original
unnumbered edition of 250
This one of the most important realisations of the ‘Nieuwe Visie’ in book design and at the
same time one of the most beautiful post-war book designs in Belgium. The edition of 11
poems by Roland Jooris appears as a result of three artists working together: Roland Jooris,
Raoul De Keyser and Antoon De Clerck. De Keyser made a small box containing a long print
which envelops 10 cardboard sheets with poems by Jooris. Typography was by Antoon De
Clerck
Raoul De Keyser considered it to be an important realisation and it can be seen as his first
venture into the print medium. Even at the end of his life, De Keyser still used fragments of
this work to incorporate into new paintings.
Reference:
De Vleeschouwer, Wouter en Steven Jacobs. Raoul De Keyser in print. Gent: MER. Paper
Kunsthalle, 2018.
Germann, Martin and Bernhart Schwenk, red. Raoul De Keyser Oeuvre. Brugge : Die Keure,
2018.
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L
ambert Maria Wintersberger (München 1941 – Walbourg 2013)
9 etchings, 1970, for: Wörte des Lebens, Zeichen des Todes by
Hans-Jürgen Müller
Medium:
coloured etchings on paper
Dimensions etchings: 60 x 60 cm
Signature:
Edition:
each etching signed in pencil bottom right ‘L M Wintersberger’
The work was published by Galerie Müller Köln, the etchings
printed by H. Kätelhön. This copy is number 22 out of 25.
We join 4 original designs for this portfolio::
4 original mixed media works
3 works on paper: 40 x 40 cm
1 work on paper: 21 x 31 cm
Although Wintersberger is not a household name outside of Germany, the artist had quite an
important career. Wintersberger was originally trained as a glass- and decorative painter and
mosaic designer and he studied in München and Firenze. In 1964 he started a career as a
painter in Berlin, working and living with artist Markus Lüpertz. They founded and ran Galerie
Großgörschen 35 in Berlin together.
At the end of the 1960’s, Wintersberger started making Pop Art paintings, mirroring the
psychological effect the war had on the work of young German artists. His work quickly
gained notoriety and Wintersberger won the 1968 Burda Preis (München) and the Prize for
Painting at the 6th Biennial and International Exhibition of Young Artists in Paris in 1969.
Exhibitions all over Europe and the US followed.
In the 1980’s his style of painting changed completely, close to the work of the ‘Neue Wilden’.
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( g e o M e T r I c ) a b s T r a c T I o n
A
médée Cortier (Gent 1921 – Gent 1976)
Figure in profile, 1951
Medium: oil on cardboard
Dimensions: 45 x 35 cm
Signature: signed and dated top right in pencil ‘A. Cortier / 51’
At the back: portrait of a man in black paint
Provenance : acquired directly from the artist by the previous owner
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A
médée Cortier (Gent 1921 – Gent 1976)
Composition, 1950’s
Medium: oil on canvas
Dimensions:
Signature:
30 x 15 cm
signed bottom left
Provenance:
acquired directly from the artist by the previous owner
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A
médée Cortier (Gent 1921 – Gent 1976)
3 linocuts: I: The Sea
II: Still life with bottle and fruit
III Large sea with boats
Medium:
linocuts
Dimensiuons: I: 11,5 x 16 cm
II: 19 x 13 cm
III: 30 x 43 cm
Signature:
I: ‘A. Cortier’
II: ‘A. Cortier’
III: ‘A. Cortier’
respectively, the first two in ballpoint, the last in ink, bottom left
Provenance:
acquired directly from the artist by the previous owner
According to the previous owner, these linocuts are unique. An edition never took place.
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J
ean Milo (St-Joost-ten-Noode 1906 – Rixensart 1993)
Palette-assiètte, ca. 1960
Medium:
Dimensions:
Signature:
ceramic dish with oil paint
diameter 24 cm
signed ‘Jean Milo’ in red paint
Today we know Jean Milo, pseudonym of Emile Van Gindertael, perhaps more as a writer than
as an artist. Milo was not a very productive painter due to his other activities (writer, poet,
photographer, art dealer…) , but followed the avant-garde closely. Starting out as an
expressionist artist, like his brother Roger, Milo moved towards abstraction from the 1950’s
onwards. In the early 1960’s he came under the influence of Cobra. This palette-plate dates
probably from the 1960’s, as it corresponds with the colour use of his lyrical-abstract period.
The best works of Milo can rival with the greatest abstract painters of his generation, as a
retrospective exhibition undoubtedly would show.
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F
ernand/Ferdinand Vonck (Blankenberge 1921 – Brugge 2010)
Als aandenken, zomer 1961 (Wandsculptuur)
Medium:
Dimensions:
Signature:
At the back:
painted relief in compressed wood
50 x 16 cm; (52 x 18,5 cm with frame)
signed ‘VONCK’ in black, bottom left
a label with title, date and signature
Fernand Vonck was active as a painter and as a sculpture. It must come as no surprise that
the artist was drawn to the relief as a way to enliven walls with his sculpture.
‘Wandsculpturen’ or ‘Sculptures for Walls’ were a specific genre for the artist in which painting
and sculpture merged. Often the ‘Wandsculpturen’ were painted upon by the artist, as is the
case here.
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D
an Van Severen (Lokeren 1927 – Gent 2009)
Composition, 1961
Medium:
Dimensions:
Date:
ink on paper (lavis)
75 x 55 cm cm
Dated at the back by the artist in pencil
Provenance:
Sale Campo & Campo 2017; private collection.
Dan Van Severen is undoubtably one of the most important artists of his generation. His early
work evolved from the figurative and expressive paintings from the 1950’s towards an ever
depleted abstraction. Frequent elements in his compositions are the cross, circle, lozenge and
square/rectangle. This work from 1961 shows the early abstract Van Severen. The artist uses
the lavis technique to dramatic effect whilst already combining cross and circle.
Van Severen was notoriously oblivious to the wishes of the art market and seldom signed his
work. This work is dated by the artist in pencil on the back.
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W
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)
Barriere I, 1967
Medium: oil or acryl on canvas
Dimensions: 45 x 90 cm
Signature: signed at the back of the canvas, top left ‘GAUL 67’
At the back: label of the Richard Foncke Gallery on the stretcher as well as a stenciled ‘gAul’
signature with the capital ‘A’
Winfred Gaul undoubtedly had a major influence on young artists both in Ghent and in
Antwerp, especially when he lived and worked in Antwerp in 1967-1968. By that time, Gaul
had already had participated in the Documenta in Kassel (1959) and had shows in Paris, New
York and at various venues in Italy. The artist was very sociable and shared his ideas. In
Belgium he participated in numerous group exhibitions and he had an important exhibition in
Brussels and a one-man show at Gallery Foncke in Ghent in 1968.
The hard-edge approach to painting, the way Gaul worked with his shaped and composed
canvases, was new to a lot of artists in Belgium.
Barrière I is not mentioned in the catalogue raisonné on the artist, but Barriere II and Barriere
III (both made in 1967) are listed. This work was bought by the previous owners at the
Richard Foncke Gallery in Ghent, and the work still has the original gallery label.
Reference: Romain, Lothar. Winfred Gaul – Werkverzeichnis Bd. II, Gemälde. Düsseldorf:
Concept Verlags GmbH: 1993.
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W
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)
Composition, 1968
Medium: oil (?) on canvas
Dimensions: 97 x 97 cm
Signature: signed at the back of the canvas, top corner ‘GAUL 68’ and numbered ‘6/7’
This work appears to be one of a series of 7 works, probably all with the same composition,
but possibly with a different size and possibly with slight colour variants. Another work of the
same series, measuring 137 x 136 cm and numbered ‘5/7’ was sold at Grisebach Auctions in
29/11/2019 for € 11000,- (hammer price). Due to the fact that the works differ from each
other, they are considered original works, and are not listed in the prints and multiple
catalogue raisonné on the artist.
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W
infred Gaul (Düsseldorf 1928 – Düsseldorf 2003)
Composition, 1968
Medium:
Dimensions:
Signature:
acryl on canvas
75 x 114 cm
signed and dated at the back of the canvas, with stencil signature
Provenance:
Galerie Plus-Kern, Gent; private collection
Bibliography: Romain, Lothar. Winfred Gaul – Werkverzeichnis Bd. II, Gemälde. Düsseldorf:
Concept Verlags GmbH: 1993, p. 152, nr. 514.
This is a work which shows the influence the New York stay had on the work of Gaul. In 1962
Gaul visited the workshops of Barnett Newman and Kenneth Noland. Like them, Winifred
Gaul sometimes felt drawn to combine colour field painting with constructivist motifs.
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J
an Van den Abbeel (Denderbelle 1943 – Gent 2018)
Apsara VIII, 1968
Medium:
Dimensions:
Signature:
enamel paint or acryl on canvas
100 x 100 cm
Label at the back with title, date, name and address of the artist
Jan Van den Abbeel was one of the most prominent representatives of the group of
‘Constructivist Painters’ in Ghent. His uncompromising geometric work immediately rose to
fame in the second half of the 1960’s, winning the ‘Jeune Peinture’ Prize in Brussels in 1968,
culminating in the Parisien exhibition at the 6 th Biennale of Paris in 1969.
Van den Abbeel didn’t like being part of a group, and went his own way after 1969. As the
1970’s continued, Van den Abbeel lost contact with the avant-garde and changed his style of
painting. Eventually he concentrated on photography. The constructivist phase lasted not
even 10 years, so the works made between 1967 and 1970 remain scarce.
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J
acques Charoux (Mauritius 1940)
Centering, 1969
Medium:
Dimensions:
acryl on canvas
121 x 121 cm
Provenance: Galerie Plus-Kern, Gent
Jacques Charoux studied in London from 1961 till 1964 and went on to study at La Cambre in
Brussels, under Jo Delahaut. From the 1980’s onwards the artist has lived in Australia.
Charoux had a solo exhibition at the infamous Plus-Kern gallery in Ghent from 9/12/1969-
18/01/1970. The painting was bought at this exhibition by the previous owner. Another
painting from 1969 belongs to the collection of the Museum of Contemporary Art in Ghent
‘SMAK’.
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G
uy Vandenbranden (Elsene 1926 – Antwerpen 2014)
Composition
Medium:
Dimensions:
Signature:
ink on paper
85 x 60 cm; (88 x 64 cm with frame)
signed bottom right ‘guy vandenbranden’
Although this work is not dated, it is most probably from the earlier part of the artist’s career.
The previous owners bought the work in the beginning of the 1970’s, which would date the
work in the beginning of the 1970’s or in the late 1960’s.
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W
out Vercammen (Antwerpen 1938 - 2018)
Konstruktie, 1971
Medium:
Dimensions:
Signature:
oil on canvas
99 x 79 cm; (101 x 81 cm with frame)
signed and dated at the back of the canvas
Wout Vercammen is now well known for his word-paintings. But this artist also had a
geometric abstract (even constructivist) period, which lasted only a couple of years, between
1969 and 1971. The works are remarkable through their use of colour and complex geometric
compositions. Due to the fact that this period lasted only a couple of years, very few works
come onto the market.
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G
Group One Four is the name of a group of artists consisting of John Berry, Roy
Grayson, Mauro Kunst and Brian Yale. One of their projects was to design an
Exhibition-box, called ‘Compack’ in which every artist could place several works,
from paintings to sculptures. The aluminium box was designed to fit into a car
trunk. One of the boxes was transported by the artists to a Brussels gallery (one
box apparently filled an average size gallery),but although 3 more boxes were
roup One Four
envisaged, it seems that the ‘Compack’ was not as successful as was previously thought. The
group also conceived a ‘Eurominiprotopack’ containing an exhibition of 32 drawings or
collages. An example of the ‘Eurominiprotopack’ belongs to the collection of the Tate Gallery
in London, complete examples of the ‘Compack’ have not been found by us up to this date.
Group One Four exhibited in London in 1967 and in Bristol in 1969.
J
ohn Berry
Two Repeatables and one Prototypes, 1969
Medium:
Dimensions:
Labels:
painted metal
29,2 x 29,2 x 14 cm
All with a label ‘Group One Four / John Berry’ on the front
Two with label ‘Group One Four / Repeatables’ & one with ‘Group One Four /
Prototypes’ on the front
All with at the back a small circular label ‘13’
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R
oy Grayson (born 1936)
Drawing 3-D, 1969
Medium: acryl on wood in a Perspex case
Dimensions: 39 x 23,5 x 6 cm
Signature: signed, dated and titled in pencil at the back
As explained above, Roy Grayson was part of the Group One Four. This 3D drawing probably
was a work from the ‘Compack’ exhibition. The work is very different from the one by Berry,
which shows the broad artistic range of the group.
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J
an Saverys (Deinze 1924 – Brussel 2017)
Abstract composition, 1976
Medium: watercolour on paper
Dimensions: 87,5 x 57 cm (day measure); (92 x 70 with frame)
Signature: signed and dated bottom right ‘Jan S. 1976’
At the back: article on exhibition
Jan Saverys, son of painter Albert Saverys, started to make abstract works in the 1950’s. In
1952 he became a founding member of the group ‘l’Art Abstrait’, together with a.o. Jan
Burssens, Jean Milo, Pol Bury and Jo Delahaut. Earlier on, he was influenced by the ‘La Relève’
group in Ghent, which counted Jan Burssens, Roger Raveel, Morel Boucle De St Denis, Vlerick
and Marcel Ysewijn as strong holders . Saverys clearly wanted to make works that were
completely different from those of his successful father. The way towards abstraction was an
obvious choice, and certainly in the 1960’s and 70’s oriental influences made their way in his
compositions. This composition is one of the largest formats we find in his work. The work of
the 70’s is colourful and influenced by oriental calligraphy
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G
aston De Mey (Kaprijke 1933 – Eeklo 2015)
Structuur ‘OME’, 1978
Medium:
Dimensions:
Signature:
Stamp:
oil on canvas laid on board
23 x 17 cm
signed, titled and dated at the back
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on the back of the canvas
G
aston De Mey (Kaprijke 1933 – Eeklo 2015)
Structuur ‘PIT’, 1978
Medium:
Dimensions:
Signature:
Stamp:
oil on canvas laid on board
23 x 17 cm
signed, titled and dated at the back
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on the back of the canvas
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G
aston De Mey (Kaprijke 1933 – Eeklo 2015)
Structuur ‘KON, 1978
Medium:
Dimensions:
Signature:
Stamp:
oil on canvas laid on board
23 x 17 cm
signed, titled and dated at the back
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on the back of the canvas
G
aston De Mey (Kaprijke 1933 – Eeklo 2015)
Structuur ‘KIH’, 1978
Medium:
Dimensions:
Signature:
Stamp:
oil on canvas laid on board
23 x 17 cm
signed, titled and dated at the back
‘Der Einzelgänger: vom Rudel getrennt lebendes Tier’ on the back of the canvas
Gaston de Mey clearly is an ‘Einzelgänger’. Although formally similar to the Visual Poetry
Movement of the 1960’s, De Mey doesn’t look for meaning and visual puns in his work.
Instead he sees letters as building blocks for his composition, called ‘Structures’, an ordering of
letters in a geometric pattern, without a specific meaning to be found in the text. De Mey’s
approach was influenced by Mondriaan and by the constructivists of his generation. The
letters, devoid of meaning, become abstract symbols. Only after 2000, the artist would start
to work around certain names or texts in a composition.
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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
G
Ianfranco Pardi (Milano 1933 – 2021)
Archittetura, 1972
Medium:
Dimensions:
Signature:
At the back:
collage and tempera on paper
72 x 50 cm (74 x 52 cm with the original frame)
in the centre ‘PARDI 72’ in pencil
label of Studio Marconi
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G
Ianfranco Pardi (Milano 1933 – 2021)
Archittetura, 1972
Medium:
Dimensions:
Signature:
At the back:
collage and tempera on paper
72 x 50 cm (74 x 52 cm with the original frame)
in the centre ‘PARDI 72’ in pencil
label of Studio Marconi
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G
Ianfranco Pardi (Milano 1933 – 2021)
Archittetura, 1972
Medium:
Dimensions:
Signature:
At the back:
collage and tempera on paper
72 x 50 cm (74 x 52 cm with the original frame)
in the centre ‘PARDI 72’ in pencil
label of Studio Marconi
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G
Ianfranco Pardi (Milano 1933 – 2021)
Sculpture, 1970
Medium:
Dimensions:
Signature:
Iron and nickel-plated copper
24 x 4 x 27 cm
‘PARDI 70’ on the base
In the 1960’s and 1970’s Italy was booming. Their cars were great, their design breathtaking,
their movies were even better, their songs were hits, fashion was Italy and vice versa, and
everybody started to eat pasta. Also in art things were moving in Italy. More than in Paris,
Milan and Rome were hotbeds of new art. Artists were ready for something completely
different and one could argue that the (r)evolution of modern art in Europe after 1960 has
started in Italy. Two main currents seem to have sprung from the experiments in the 196’s:
conceptual art and arte povera, next to a group of artists that were close in following design
and architectural innovations.
Gianfranco Pardi was one of the artists that wanted to create an art that was architectural in
form and meaning. Pardi wanted to create spaces and volumes through his art, that guided or
even forced the viewer to participate in the work and the space it created.
The formal language Pardi used was derived from constructivism and neoplasticism but also
very close to 1960’s and ‘70’s design and architecture.
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S
tudio Marconi
Studio Marconi was an Italian art gallery situated in the centre of Milan. Giorgio Marconi
started this art gallery in 1965. His father was a well-known frame maker, Egisto Marconi.
Thanks to Egisto, Giorgio came into contact with a lot of contemporary Italian artists such as
Emilio Tadini. Apart from championing young Italian artists, Marconi had an impressive
international network of both dealers and artists, which enabled him to organise shows of
Italian artists abroad and important foreign artists in Milan. The purpose of Studio Marconi
was to promote upcoming young artists as well as show works of established artists. Marconi
also collaborated with different art critics and historians to publish periodicals. Three works
from Gianfranco Pardi in this catalogue show the mythic Studio Marconi label. Marconi closed
his gallery in 1992.
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E
milio Tadini (Milano 1927 – Milano 2002)
Pittura, 1970
Medium:
Dimensions:
Signature:
oil on canvas on board
24 x 21 (day measure) (41,5 x 38 cm with the original frame)
Emilio Tadini PITTURA ottobre 1970' at the back
Emilio Tadini has started his career as a writer, but from the 1960’s onwards he has been
focusing more and more on painting. Starting out in a surrealist fashion, he soon discovered
the work of Richard Hamilton. Combined with the intellectual environment in which he
circled, with people like Umberto Eco, Dario Fo, Lucio Fontana, Valerio Adami and Gianfranco
Pardi to name but a few, this drove Tadini towards a particular kind of Pop Art painting with a
strong psychoanalytic base, as is the case with the work of Adami. Also Tadini’s relation with
classic art remained a source of inspiration. Tadini often worked in series around a theme.
This interior from 1970 could be a part of the series Circuito chiuso or Color & Co.
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V
ictor Bonato (Köln 1934 – Niederkassel 2019)
2x2–KK-69, 1970
Edition:
Medium:
Dimensions:
Signature:
number 16 out of 100 editions
mirror on wood
34 x 34 cm (35,5 x 35,5 cm with frame)
at the back ‘Bonato 70’ and label with information
Although his name suggests otherwise, Bonato was a German artist. He started a career as a
glass- and decorative painter and completed his studies in the Unites States in the beginning
of the 1960s. In 1966 he became a founding member of the K-66 Group in Köln. His art was
extremely critical of German post-war society. From 1969 onwards he has worked with
deformed mirrors, challenging the way we perceive and look at reality.
To Bonato the artist should play an essential role in modern society. He started programs for
educating working adults and in 1975 he developed an artistic program for youth offenders.
Bonato was heralded in the 1980-1990s as an important socially aware artist and educator.
He won several prizes and was given the opportunity to construct some large scale works in
several German cities.
V
ictor Bonato (Köln 1934 – Niederkassel 2019)
II-O-KK-70, 1970
Edition:
Medium:
Dimensions:
Signature:
number 15 out of 100 editions
mirror on wood
34 x 34 cm (35,5 x 35,5 cm with frame)
at the back ‘Bonato 70’ and label with information
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v I s u a l P o e T r y
P
aul De Vree (Antwerpen 1909 – 1982)
Love, 1976
Medium:
Dimensions:
rose petals on paper (collage)
28 x 38 cm (day measure) (40 x 50,5 cm with frame)
Signature: bottom right ‘Paul De Vree / 1976’
Writer, poet, art critic and artist Paul de Vree became known for his ‘Visual Poetry’ and
‘Concrete Poetry’ movements, which he started in 1963. For De Vree art and poetry were
connected and by arranging words, letters and adapting typography he created visual poems,
that could be seen both as works of literature and works of art. De Vree has forged strong
bonds with international organisations and artists in France and Italy.
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J
ean-François Bory (Paris °1938)
sciences ciences iences, 1972
Medium:
Dimensions:
Signature:
mixed media on canvas
55 x 45 cm (56 x 46 cm with frame)
bottom right ‘jeanfrancois Bory ‘72’ and at the back ‘science ciences iences’
Bory was active as a writer, poet, artist and film maker. He was one of the central figures in
the Concrete Poetry and Visual Poetry movements and befriended Paul De Vree.
Bory exhibited all over Europe, participated in the Biennale de Paris in 1967 and two years
later in the Venice Biennale. He founded several art and poetry magazines (o.a. l’Humidité)
with an international character, leading to further exhibitions in Italy, Holland, Germany,
Switzerland, the United States etc.
His work features in several museum collections, among others the collection of the Centre
Pompidou in Paris.
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T e x T u r e – F o r M
M
argaret Andres (Basel 1947 - ?)
Karaman, 1972
Medium:
Dimensions:
large textile and metal wall sculpture
approx. Karaman II: 275 x 100 x 50 cm
Karaman III: 275 x 100 x 50 cm
L'arbre III: 170 x 100 cm
Signature:
All three pieces are signed, titled and dated at the back on a label
Provenance:
Acquired directly from the artist by the previous owner and thence by descent
Exhibited : ‘13 Artistes en 72’, Peruwelz, Foyer Culturel Petite Place, 1/09 – 17/09/1972
‘Wandtapijten – Tapisseries Margaret Andres’, voorlichtingscentrum
hedendaagse kunst Flat 5, Brugge, 13/08-31/08/1972
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H
oria Damian (București 1922 – Paris 2012)
Triptyque Bleu, 1968
Medium:
Dimensions:
Provenance:
mixed media on wood
36,5 x 48 cm (day measure) (52 x 63,5 cm with the original frame)
Galerie Stadler, Paris
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Horia Damian was one of many Eastern-European artists who decided to move to Paris to
come into contact with modern art.
He studied with André Lhote and Fernand Leger, but quickly, from 1958 onwards, he would
assimilate these influences and invent a new pictorial language.
Pierre Restany labelled his work of the 1960’s as ‘Icônes Informelles’ or ‘Informal Icons’.
Indeed it is possible to see his works as abstract Icons of the mid-twentieth century, in which a
transformed sun-flower stands central.
Again Restany writes:
“Les ors, les bleus de nuit et les rouges sang s’affrontent dans un atmosphère
d’éruptivité lyrique, qui n’est pas exempté d’une théâtrale grandeur : de saintes images
en sensuelle folie »
Damian was represented by the Parisian Galerie Stadler, owned by Rodolphe Stadler who
showed artist like Antoni Tàpies, Karel Appel, René Guiette, Horia Damian, Christo Coetzee,
the Japanese Gutaï group, Claire Falkenstein, Paul Jenkins, Alfonso Ossorio etc.
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H
oria Damian (București 1922 – Paris 2012)
Composition in red with two blue oval forms, ca. 1968
Medium:
Dimensions:
Provenance:
mixed media on wood
39,5 x 43 cm (day measure) (54 x 48 cm with frame)
Galerie Stadler, Paris
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c o n c e P T
G
uy Mees (Mechelen 1935 – Antwerpen 2003)
Lost Space (lace), 1962
Medium:
Dimensions:
Signature:
Provenance:
mixed media (lace) on board
36 x 39 cm
and dated at the back, with dedication ‘aan Adriaan’
given by the artist to Adriaan de Roover; Private collection
Guy Mees is one of the most important conceptual artists of his generation. One of the
earliest supporters of his art was Paul De Vree.
The series of works, all titled ‘Lost Space,’ with lace and metallic paint, is one of the earliest
examples of conceptual art in Belgium. They refer to both national history as well as
traditional folk art, but put in a totally different context and with a different meaning. In this
way, these works predate similar works of Belgian artists in the 1990’s by 30 years.
Mees almost never gave an explanation for his works. The lack of a specific meaning opens
the possibilities of multiple readings, his work still being relevant to the current development
of art.
The artist offered this work to writer and poet Adriaan De Roover (Antwerpen 1923-2016).
De Roover was one of the founders of ‘Golfslag’ magazine, together with o.a. Ivo Michiels and
Manu Ruys. He was praised as an experimental poet, influencing the young Paul Snoek. In
1953 he joined the editors of ‘De Tafelronde’. De Roover quit the literary scene in 1963,
disappearing from the Antwerp avant-garde milieu and concentrated on studying roman art.
He returned to publishing in 1984, but was not part of the avant-garde movement any longer.
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C
hristiaan Paul Damsté (Arnhem 1944)
Composition, ca. 1971
Medium:
Dimensions:
Signature:
wooden clothespins
29 x 29 cm (31 x 31 cm with frame)
‘chr paul damsté opl. 25’ at the back
Christiaan Paul Damsté studied sculpture at the Academy in Arnhem, ‘s-Hertogenbosch and
Ghent (1969-1970). He was greatly influenced by one of his teachers, Henk Peeters, member
of the Dutch minimalist group ‘Zero’. Damsté works in very different media, but likes to
incorporate structure and rhythm into his works. His clothespin works are very characteristic
of the earlier works, which date from around 1969-1970. Some compositions were made as
multiples on 25 copies, probably in 1971.
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C
hristiaan Paul Damsté (Arnhem 1944)
Composition, ca. 1971
Medium:
Dimensions:
Signature:
wooden clothespins
29 x 29 cm (31 x 31 cm with frame)
‘chr paul damsté opl. 25’ at the back
C
hristiaan Paul Damsté (Arnhem 1944)
Composition, ca. 1971
Medium:
Dimensions:
Signature:
wooden clothespins and black paint
29 x 29 cm (31 x 31 cm with frame)
‘chr paul damsté opl. 25’ at the back
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J
acques Louis Nyst (Liège 1942 – 1996)
Grande échelle au paysage, 1972 (Photographisme)
Medium:
Dimensions:
Signature:
mixed media on paper (collage)
50 x 32 cm
below the collage ‘J.L.Nyst.72.’
After a fairly straightforward and even classic academic education in Madrid and Liège, Nyst
started exhibiting in 1966. The artist was greatly influenced by Surrealism, and especially by
the word-image-meaning relations of René Magritte. Thus his early works were surrealist, but
gradually became non-figurative about 1967. Around 1969 we see Nyst developing his own
artistic language, first in watercolour drawings, but soon, around 1972, Nyst starts turning
these images into multi media works, mixing drawing, text, photography, sculpture and even
video. Nyst is very interested in literature, and often the artworks are linked to books or
video’s made by the artist (sometimes together with his wife, artist Danièle Levaux). His works
tell a story in which everyday objects become bearers of ‘higher’ meanings. The story is then
expanded in drawings, in so-called ‘photographismes’, books and video.
Nyst was the first Belgian artists to make an art video (in 1971) and his career really went
international around the mid-seventies. The artist is represented in most Belgian museums
(SMAK, Mukha, Royal Museums of Fine Arts, etc.) but he also has works in the MoMA in New
York.
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J
acques Louis Nyst (Liège 1942 – 1996)
Escabeau au Paresseux, 1972 (Photographisme)
Medium:
Dimensions:
Signature:
mixed media on paper (collage)
50 x 32 cm
below the collage ‘J.L.Nyst.72.’
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J
acques Louis Nyst (Liège 1942 – 1996)
Escabeau à la boîte rose, 1972 (Photographisme)
Medium:
Dimensions:
Signature:
mixed media on paper (collage)
50 x 32 cm
below the collage ‘J.L.Nyst.72.’
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J
acques Louis Nyst (Liège 1942 – 1996)
Jeu de l’échelle à la terrasse, 1973 (Photographisme)
Medium:
Dimensions:
Signature:
mixed media on paper (collage)
50 x 32 cm
below the collage ‘J.L.Nyst.73.’
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P o l I T I c s a n d a r T
R
oland Van den Berghe (Gent 1943)
L.B.J., 1967
Medium:
pencil and wax on canvas
Dimensions: 80 x 73,5 cm (81 x 74,5 cm with frame)
Signature: on the back of the stretcher ‘Vanden Berghe Roland / Gent-Amsterdam / L.B.J. /
Evergreen / sept 67 tot jan 68’ and ‘1/5’
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R
oland Van den Berghe (Gent 1943)
L.B.J.
Medium:
Dimensions:
Signature:
Edition:
blueprints
full sheet: 85,5 x 75 cm
in orange bottom right
justified ‘1/5’ in orange, bottom left on every print
A lot of mystery surrounds these prints, which were possibly edited by Emile Christiaens
(°1926-?) in Brussels. However, more research is needed to establish the exact date of this
edition. The idea behind the blue prints is borrowed from children’s colour plates. So the idea
was that the owner of the works would collaborate with the artist to create an original art
work by colouring the prints.
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R
oland Van den Berghe (Gent 1943)
To me, 1968
Medium:
Dimensions:
Signature:
ink on canvas
68,5 x 90 cm (70 x 91,5 cm with frame)
‘ROLAND VAN DEN BERGHE’, “TO ME”, ‘juli 68 Amsterdam Gent’ at the back
Roland Van Den Berghe studied at the Academies of Ghent, Amsterdam and Berlin. In his
early work, the artist was very critical of the Vietnam War and political decision making
surrounding it. He also mocked the people in power and reduced them to colour plates,
inviting friends and fellow artists to make their own version of the American president or of
the Queen of Belgium. Van Den Berghe will also always be remembered for his ‘Our Friendly
Bombs’ exhibition and performance in New York in 1972.
In those days, Van Den Berghe did not consider the ‘finished artwork’ very important,
preferring to use mass media and performances as a way to express his ideas. As a
consequence, his early art work is almost impossible to find. The examples we can show here
are rare survivors. Similar work is to be found among others in the collection of SMAK, the
Ghent Museum of Contemporary Art. . The MoMA in New York possesses a print by the artist.
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a r T a n d F u T u r e
P
aul Van Hoeydonck (Antwerpen 1925)
Untitled, 1971
Medium:
mixed media on paper
Dimensions: 55 x 73 cm
Signature: ‘P V Hoeydonck ‘71’
Paul Van Hoeydonck started out as an abstract painter, but by the end of the 1950s and
beginning of the 1960s he tried to escape the boundaries of painting by adding plexiglass
elements to his paintings. In 1961 Van Hoeydonck starts to exhibit assemblages and objects,
in 1963 he creates an environment at Forum 63 in Ghent. From now on the artist creates a
whole new universe through paintings, assemblages and large environments. Van Hoeydonck
becomes obsessed with space and the aspiration of the conquest of space by humans, with
evolution and the influence of technology on the human body (cyberhumans, robots) but also
with sacrifices made for progress. Van Hoeydonck’s vision of the future is not uniquely
optimistic, but in his view, progress comes at a price. The evolution of technology threatens
the pure existence of men.
Van Hoeydonck is perhaps the most fitting example of the ‘Nouveau-réalistes’ movement in
Belgium. He was also one of the most international artists of his generation, supported by
important galleries in France (Iris Clert), Switzerland (Galerie Bonnier), the US (Robert Elkon
Gallery, Waddell Gallery), etc. His art is displayed all over the world, and the sculptor even has
a work on the moon, which makes Van Hoeydonck a true space invader.
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P
aul Van Hoeydonck (Antwerpen 1925)
Anno 3000, 1967
Medium:
mxed media on paper
Dimensions: 56 x 76 cm
Signature: and date and title bottom right in ink ‘P V Hoeydonck – anno 3000 – ‘67’
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P
aul Van Hoeydonck (Antwerpen 1925)
Space Lunch, 1975
Medium:
mixed media in the original wooden crate, complete with photographs, text
and a book in the original numbered envelope.
Dimensions:
Signature:
Edition:
29 x 53,5 x 54 cm (crate); 43 x 40 cm (plate)
on the bottom of the plate
justified ‘26/50’, edited by Banana Press (Walter Beckers)
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E
nk de Kramer (Berchem 1946)
Cyber-girl, first half of the 1970’s
Medium:
Dimensions:
Signature:
oil on canvas
30 x 24 cm: 36,5 x 30,2 cm (with frame)
bottom right ‘E. de Kramer’
Although de Kramer is first and foremost known as an engraver, he always combined printing
and painting. His paintings are much less known to the general public and are rare to be
found on the art market.
His work of the first half of the 1970’s is particularly interesting. De Kramer often depicts
female torsos, and in this case with a detailed apparel similar to elements of a space suit. A
Belgian flag motif reveals the astronaut to be of the artist’s native country.
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ooks books books books books books
P
hilippe Van Snick (Gent 1946 – Brussel 2019), etchings
Ascensional Sutra’, 1968
P
aul-Armen Sarafian, poems
Loose pages as issued, in total 12 poems and 12 etchings
Signed by both of the artists, each etching signed and justified ‘7/15’ by Van Snick
Printed on only 15 copies, this being number ‘VII’
33 x 25 cm, the etchings 16 x 12,5 cm (plate size)
1 copy is in the collection of the KBR (Roual Library) in Brussels, another in the collection of
the KMSKA (Royal Museum of Fine Arts Antwerp).
An interesting fact is that the book came about with financial support of collector Anton
Herbert.
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P
ieter De Bruyne (Aalst 1931 – 1987)
Meubelontwerpen Pieter De Bruyne, 1985
Folder with 26 furniture designs, with an introduction by
Jan Wüst, in Dutch, French, English and Italian.
Justified on 500 copies, this being number ‘500/500’, one
of the 400 unsigned copies.
42 x 30 cm
All of the 26 designs are numbered and are listed in the
index table
A rare edition, although printed on 500 copies, it is
difficult to find a complete set.
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M
ark Verstockt (Lokeren 1930 – Antwerpen 2014)
(This is not) a Book, 1971
With an introduction by Frank Popper
Book-object, In the original Styrofoam wrapping bearing the number of this copy at the side
This copy is number 291 out of an edition of 1000
One of the most important and original constructivist book designs, rare to find in unused
condition.
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P l e a s e n o t e :
The supplementary documentary photographs or documents are not for sale, 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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C o l o p h o n
This online catalogue was made to accompany the exhibition ‘’Rocking the Cradle of Art.
Art from the 60s and 70s, 2023.-2024 . All works are for sale.
Text and research: Raf Steel and Emmy Steel
Editing and photography:: Raf Steel and Emmy Steel
We would like to thank Inez Van den Berge for her valuable assistance..
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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montons une exposition-vente documentée. Les expositions-ventes annuelles
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• Nous organisons des prêts pour les expositions de Musées ou
d'autres Institutions, assistons à la recherche scientifique ou contribuons aux
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• Organisation d'expositions, inventaires de collections, recherches dans le domaine
de l'art
• What can we do for you?
• Our speciality: buying and selling fine and decorative arts of the 19th and 20th
centuries, preferably Made in Belgium.
• We can advise you on buying and selling single pieces or estates.
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