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Gustave Van de Woestyne (1881-1947)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Gustave Van de Woestyne (1881-1947)

Portrait of Valerius De Saedeleer

Gustave Van de Woestyne (1881-1947)
Portrait of Valerius De Saedeleer
signed and dated 'Gve van de Woestijne/1914' (lower right)
oil on canvas
220 x 145 cm.
Painted in 1914.
Dr. Paul Van de Woestyne, Brussels.
M. Victor De Zutter, Waregem.
Anonymous sale, Christie's, London, 16 October 1990, lot 24.
Acquired at the above sale by Galerie Oscar De Vos, Sint-Martens-Latem.
Acquired from the above by the present owner, 2007.
André de Ridder, Sint-Maertens-Laethem: kunstenaarsdorp, Brussels, 1946, no. 66, p. 469 (illustrated p. 155).
Firmin van Hecke, Gustave Van de Woestijne, Antwerp, 1949, p. 2 (illustrated).
Paul Haesaerts, Laethem-Saint-Martin: le village élu de l'art flamand, Brussels, 1965, no. 740, p. 493 (illustrated).
Piet Boyens, Sint-Martens-Latem: Kunstenaarsdorp in Vlaanderen, Tielt, 1992, p. 636 (illustrated).
Joost De Geest (a.o.), Gustave Van De Woestyne (1881-1947), Ghent, 1997, no. 30, pp. 134-135 (illustrated).
Venice, XIVe Biennale, April-October 1924, no. 1365.
Basel, Kunsthalle, Ausstellung Belgischer Kunst, 15 March - 5 April 1925.
Brussels, Palais des Beaux-Arts, Gustave Van de Woestyne, 2-24 March 1929, no. 46.
The Hague, Gemeentemuseum/Utrecht, Centraal Museum, Vlaamse kunstenaars van de Leie 1890-1940, May-August 1947, no. 28.
Paris, Musée National d'Art Moderne, Laethem-Saint-Martin: Colonie d'artistes en Flandre 1890-1940, 16 April - 15 May 1948, no. 41.
Eindhoven, Stedelijk Van Abbemuseum/Ghent, Museum voor Schone Kunsten, Gustaaf Van de Woestijne, 24 March - 22 May 1949, no. 17.
Hasselt-Deinze, Ministerie van Openbaar Onderwijs, Gustave Van de Woestyne, December 1949 - January 1950, no. 14.
Brussels, Palais des Beaux-Arts, L'Expressionisme belge, November-December 1951, no. 20.
Paris, Musée National d'Art Moderne, Les sources du XXe siècle, 4 November 1960 - 23 January 1961, no. 758.
Paris, Musée de l'Orangerie, L'Art flamand: d'Ensor à Permeke, 20 February - 20 April 1970, no. 238.
Antwerp, Koninklijk Museum voor Schone Kunsten, Gustave Van de Woestyne 1881-1947, June-September 1981, no. 48.
Brussels, Musées Royaux des Beaux-Arts, Le premier groupe de Laethem-Saint-Martin, 28 October - 31 December 1988, no. 71.
Deinze, Museum van Deinze en Leiestreek, Gustave Van de Woestyne 1881-1947, 27 September - 14 December 1997, no. 30.
Ghent, Museum voor Schone Kunsten/Deinze, Museum van Deinze en Leiestreek/Deurle, Museum Dhondt-Daenens, Les artistes de Laethem-Saint Martin, 17 June - 23 September 2001.
Deinze, Museum van Deinze en Leiestreek, Retrospectieve Valerius De Saedeleer, 23 September - 26 November 2006.
Spanbroek, Scheringa Museum voor Realisme, Bevriende Meesterschilders: Gustave Van de Woestyne en Valerius de Saedeleer, 19 October 2008 - 1 February 2009, no. 34.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
'' + '' 21% VAT applies to both the hammer price and the buyer''s premium. The premium is 51.25% incl. VAT over the first €20.000, plus 45.2% incl. VAT of the hammer price between €20,001 and €800.000, plus 35.52% of any amount in excess of €800.000.

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Lot Essay

The present lot was painted in Tiegem, where Van de Woestyne moved to in February 1912 to live close to his friend and fellow-painter Valerius de Saedeleer. The two painters met a few years earlier in Sint-Martens-Lathem and were - despite their different backgrounds and characters - a great inspiration for each other. Depicted is an impressive full-length portrait of De Saedeleer as a painter (his palette lays on the ground) in the rural surrounding of Tiegem in 1914. Van de Woestyne found inspiration in the daily life of the farmers around him, and his intentions are often moralistic and religious. His works reveal a strong influence of Pieter Breughel and other Flemish primitive masters, which is visible in the present painting. His strong social engagement is reflected in the many portraits of farmers he painted during the years 1908-1914. 'Les têtes de paysans [...], d'une grande monumentalité, elles ont une allure la fois naturaliste et expressionniste' (see: J. de Geest, Gustave van de Woestyne 1881-1947, Ghent, 1997, p. 33). It is certainly not without reason that Van de Woestyne is often considered 'l'un des portraitistes les plus brillants et les plus sensibles de son temps' (see: C. Collin, Gustave van de Woestyne, L'Art et l'esprit, Brussels 1993, p. 18). Van de Woestyne can been seen as one of the most important representative of the first symbolist generation of the School of Sint Martens-Latem and his work is influenced by the spiritualizing tendency of the symbolists George Minne and Valerius de Saedeleer, nevertheless the intensity of his psychological portraits announces already the expressionism that became visible in the second generation. After the outbreak of the war, the families of Van de Woestijne and De Saedeleer flew on 23 October 1914 to The Netherlands and left their homes in Tiegem.

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