Exhibition: Jef Verheyen. Window on Infinity
KMSKA, Antwerpen
23 March 2024 - 18 August 2024
Photo: Christine Clinckx / M HKA
So important to the European art world and yet relatively unknown in Belgium: Flemish artist Jef Verheyen (1932-1984) returns to Antwerp. Forty years after his death, the KMSKA presents the first museum solo exhibition of this illustrious modern master in his hometown. A first.
Jef Verheyen. Window on Infinity closely follows the evolution of this modern master. We see how he moves from ceramic experiments to painting, constantly refining the medium. In light and dark, in form and color. New archive research reveals how Verheyen bridges the gap between tradition and innovation, between present and future. In search of the essence, in the infinite. Everything to make us look differently and see more. Let that be the exact motto of the KMSKA.
Movement, color, and light
When you stand before a work by Verheyen, it seems as if particles, like clouds, softly drift past. All colors between black and white appear in elusive arcs of light and sunbows, rainbows and moonbows, sometimes in diamond shapes, sometimes in a composite composition. In bright colors, Verheyen paints homages to Claude Monet (1840-1926) and Vincent van Gogh (1853-1890), kindred seekers of light.
"In both ceramics and my paintings, I tried to achieve a kind of 'essence' beyond the formal."
Contemporary resonance
The curators have also invited contemporary artists to cast light on Verheyen’s role as a pioneer of a different way of looking at art. Installations by Ann Veronica Janssens, Kimsooja, Carla Arocha & Stéphane Schraenen and Pieter Vermeersch will intensify visitors’ spatial and visual experience of the exhibition.
Jef Verheyen: Window on Infinity is a collaborative project between two Antwerp partner museums, the KMSKA and M HKA (Museum of Contemporary Art, Antwerp). This exhibition is the result of extensive research performed by M HKA in cooperation with the Jef Verheyen Archive.
The last modernist
As with many major crises, World War II represents a turning point for the arts. Verheyen and other artists of his generation asked themselves: what is the essence of art? They thought conceptually about art history, fostering a desire to push art further without necessarily rejecting the past. It was about breaking down the partitions between disciplines. Many of his contemporaries left painting, while Verheyen steadfastly stuck to it.
Verheyen felt akin to the pursuit of the conceptual, but at the same time, he nurtured a great love for craft. Yet, Verheyen was a child of his time. The idea of what painting could be had fundamentally changed. Through monochromy, Verheyen evolved towards an artless art. By painting in washed layers without brushstrokes, he deliberately directed the viewer's gaze beyond his paint to the light, to infinity. It was necessary to look beyond the flat surface, to actually see through it—into the void or space. This was partly literal; the space race between the United States and Russia was raging in full force at the time, reflecting a broader societal push towards new frontiers.
“I paint to see.”
Initially, Verheyen incorporated his interests into ceramics. Beginning in 1957, his early paintings started to prominently feature circles, loops, half-moon arcs, and spheres. The movement of Abstract Expressionism, particularly evident in the works of young American artists, also served as a significant source of inspiration for him. Jackson Pollock (1912-1956), for instance, adopted the Eastern tradition of engaging with the canvas directly on the ground, akin to making calligraphic marks, which influenced Verheyen's approach.
Monochromy and identity
In 1957, a significant turning point occurred for the 25-year-old Verheyen when he moved to the modern metropolis of Milan. There, he met Lucio Fontana (1899-1968), the Argentinian-Italian painter, sculptor, and theoretician. Verheyen found a soul mate in Fontana, particularly in his Concetto Spaziale series, which explored the spatial dimensions of art.
As early as 1946, Fontana had advocated for a novel approach to time and space in his Manifesto Blanco. Despite the age difference, Verheyen and Fontana found common ground, as evidenced by the letters they exchanged. In Milan, Verheyen also established connections with artists Roberto Crippa (1921-1972) and Piero Manzoni (1933-1963), further enriching his artistic journey.
The impact of Manzoni's achrome art on Verheyen's work was profound, prompting a shift from labyrinthine, cosmic paintings to pure monochromes, painted in a single color, representing a new essence. The black monochrome painting Veil of Mystery (1958-1959) stands as a pivotal work in this development.
"Black has always seemed more matter than white to me. Black is thus matter itself. White is matter separate from matter. Matter-free. Complete space. Black is a dead colour."
To his Milanese friends, Verheyen was hailed as a 'true Flemish artist,' highlighting the international appeal of the Flemish art tradition—an eye-opener for him. Verheyen had already embraced the glazing technique pioneered by Jan van Eyck (1390-1441). With the slogan Ligt de universaliteit in de traditie?' ('Does universality lie in tradition?'), Verheyen and Englebert Van Anderlecht (1918-1961) founded the New Flemish School in 1960, aiming to establish Antwerp as a hotspot for the international avant-garde.
On another note, he began to title his paintings with names like Flemish place or 'Espace Flamand,' through which Verheyen explored his identity as a Flemish painter. These titles reflect more an idea of Flanders—as he perceived it in the landscapes of Constant Permeke (1886-1952)—rather than specific observations of a place.
Movement, colour, light
Monochrome painters believe that pigments by themselves can suggest movement. Pollock must sway his brush to obtain movement. Verheyen, Yves Klein (1928-1962) and co take a different approach to 'movement'.
Standing in front of a work by Verheyen, it seems as if particles, like clouds, seem to slide gently by. It is a kind of static movement, generated by paint and technique. Verheyen sees an echo of this in the colour fields of Mark Rothko (1903-1970).
From the early 1960s, Verheyen integrates more colour, and light. If you let a prism refract the light you see a spectrum of colours. The artist believes you don't necessarily have to paint that whole spectrum to create the illusion that those missing colours are there after all. Panchromia, it's called. All the colours between black and white appear in elusive arcs of light and sun, rain and moon arcs, sometimes in diamond shapes, sometimes in a composite composition. In bright colours, Verheyen paints homages to Claude Monet (1840-1926) and Vincent van Gogh (1853-1890), kindred light seekers. Verheyen's light is again more of an idea, a sense, than the light he sees from his studio window, which makes him an abstract artist. He refers to James Ensor (1860-1940), who at a late stage of his life made drawings and paintings in very light pastel tones.
Verheyen feels akin to the pursuit of the conceptual, but at the same time nurtures a great love of craft. Yet Verheyen is a child of his time. The idea of what painting can be has fundamentally changed. Verheyen grows via monochromy towards an artless art, By painting without brushstrokes in washed layers, he deliberately sends the viewer's gaze beyond his paint to the light, to infinity. You have to look beyond the flat surface, actually look through it. Into the void, or space. Partly literally, the space race between the United States and Russia is raging in full force at the time.
“The impressionists see the light first, then they feel; I feel first then I see. I believe Monet personified himself with pure colour.”
ZERO movement & cooperation
With his exploration of the phenomenon of 'light', Jef Verheyen connects with the ZERO movement in Italy, Germany, Switzerland, France and the Netherlands. On his painting front, as they get to work with lamps, reflectors and mirrors.
Despite the difference in artistic practice, Verheyen finds companions in the movement to collaborate multimedia with. He reveals himself as a curator and engages his international network for total concepts in which craft, science, art and architecture merge. Jef Verheyen puts post-war Antwerp on the map alongside Milan, Paris, Düsseldorf and Amsterdam.
Fontana, Van Anderlecht and Hermann Goepfert (1926-1982) are the dream partners who put their shoulders under the hybrid art forms. Within the group of ZERO artists, it is mainly with Günther Uecker (°1930) that Verheyen builds a close friendship. Brotherly, they organised the open-air exhibition Flemish Landscapes in the countryside in Mullem in 1967. The duo places a large window frame in the landscape to direct the gaze to the sky, as a tangible window to the infinite. It is the complete dematerialisation of art, and one of the most conceptual interventions of Verheyen's career. It does not end with this performance. The artist also creates small versions with titles like Le Vide and Le Plein, and also integrates the 'bounding of nothingness' into his painting.
"A window properly placed today can hold more mystery than a thousand candles and two Christ statues."
ZERO International Antwerp
In 1979, Jef Verheyen curated the ZERO International Antwerp exhibition at KMSKA. In the following years, the museum bought several works by members of the ZERO movement, often from the artists themselves, including Verheyen. This international ensemble is the last ensemble to be given an integral place in the museum's collection and includes names such as Lucio Fontana and Günther Uecker, Verheyen's friends.
Cathedrals of light and geometry
After experimenting with archetypes, colour and light, Verheyen refocuses his gaze on shapes in those fertile 1960s. He introduces tondos, round paintings, which in Italian art history hang higher than classical paintings. At the same time, the circle is an infinite form, which also has symbolic value in the East. With a triptych like Cathedrals of Light, Verheyen unites his research into colour, light and (the Gothic) form.
'Decreasing light is increasing darkness', and vice versa. For Verheyen, day and night are like the breathing of the world, which he wants to represent. Natural phenomena and the basic elements earth, air, fire and light become his alpha and omega. From those basic elements, he even pours out an experimental film, an early artist film, Essential, which has a place in the expo.
Meanwhile, Verheyen continues to search for the light that is different everywhere. It leads him away from the Flemish landscape to Brazil, Mexico, Spain, Italy. Finally, in 1974, he moves from Antwerp to Provence.
In mathematics and Greek philosophy, Verheyen finds a basis for harmony and the ideal space. Geometric basic shapes or perspective lines are the foundations of Verheyen's later paintings. Between 1980 and 1984, he transforms, among other things, diamond-shaped mirrors into trompe l'oeils. The shapes seem to float in an unlimited space, like a window on the infinite. The circle is complete.
'Diminishing light is increasing darkness', and vice versa. For Verheyen, day and night are like the breathing of the world, which he wants to represent. Natural phenomena and the basic elements earth, air, fire and light become his alpha and omega. From those basic elements, he even pours out an experimental film, an early artist film, Essential, which has a place in the expo.
Meanwhile, Verheyen continues to search for the light that is different everywhere. It leads him away from the Flemish landscape to Brazil, Mexico, Spain, Italy. Finally, in 1974, he moves from Antwerp to Provence.
In mathematics and Greek philosophy, Verheyen finds a basis for harmony and the ideal space. Geometric basic shapes or perspective lines are the foundations of Verheyen's later paintings. Between 1980 and 1984, he transforms, among other things, diamond-shaped mirrors into trompe l'oeils. The shapes seem to float in an unlimited space, like a window on the infinite. The circle is complete.
Contemporary masters
Verheyen explored a different way of experiencing art, which seems obvious today. But is it? How do artists today deal with the infinite, light or colour? Ann Veronica Janssens, Kimsooja, Pieter Vermeersch and the tandem Carla Arocha-Stéphane Schraenen take up the challenge with dynamic light installations or mirror paintings Just like Verheyen, they break through the boundaries of painting to stimulate the visitor's visual amazement.
Bridge builder
The Jef Verheyen Archive found its home at the Centrum Kunstarchieven Vlaanderen (CKV) in the M HKA. From the letters, diaries, essays, manifestos, Verheyen clearly emerges as a bridge builder. With great love for the craft of, for instance, Jan van Eyck, whose two works the KMSKA owns. At the same time, the painter finds the idea more important than the execution. Jef Verheyen. Window on the Infinite shows the usually underexposed conceptual aspects of Verheyen's art, thus acting as a linking figure between the KMSKA and the M HKA, between tradition and innovation.
Jef Verheyen. Window on Infinity is a collaboration of two Antwerp partner museums, KMSKA and M HKA (Museum voor Hedendaagse Kunst Antwerpen). This exhibition is the result of extensive research by Annelien De Troij (M HKA) in collaboration with the Jef Verheyen Archive.
Curators: Annelien De Troij (M HKA) & Adriaan Gonnissen (KMSKA)
Click here for a vitual tour of the exhibition.
Media
>
>Jef Verheyen presents his sculpture Le Vide (The Void) up against the sky, ca. 1965, photo Gerald Dauphin
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
WorksShow artists
> Jef Verheyen, Copy of Les van Eyck (ed. Henri Hymans, 1923) from the artist’s library, 1923. Book, ink on paper.
> James Ensor , De verzoeking van de heilige Antonius, 1927. Painting, 58.6 x 68.6 cm.
> Jef Verheyen, Royal Academy of Fine Arts Antwerp, Certificate of the courses taken at the Royal Academy of Fine Arts and the National Higher Institute of Fine Arts in Antwerp, 1946-1954. Letter, ink on paper, 1 page.
> Jef Verheyen, Frank Philippi, Artist's scrapbook (Portfolio), 1948-1959. Book, collage.
> Dani Franque, Jef Verheyen, Royal Academy of Fine Arts Antwerp, Dani Franque (right) in the studio of the ceramics course taught by Olivier Strebelle at the Royal Academy of Fine Arts Antwerp, 1952. Photography, photograph.
> Jef Verheyen, Linocut, 1952. Drawing, linosnede, 18,2 x 24,7 cm.
> Adriaan Raemdonck, Jef Verheyen, • 0769 • Kruik, 1952. Ceramics, glazed earthenware, 13,5 x 19 cm.
> Jef Verheyen, Study, 1953. Drawing, ink, crayon and pencil on paper, 27 x 35,8 cm.
> Jef Verheyen, Postcard of the annual group exhibition in Vallauris (1953), design by Pablo Picasso, 1953. Postcard, ink on paper, 10 x 14 cm.
> Jef Verheyen, Copy of Pottery and Ceramics (ed. Ernst Rosenthal, 1954) from the artist’s library, 1954. Book, ink on paper.
> Jef Verheyen, • 0830 • Kom, 1955. Ceramics, glazed earthenware, 5,5 x 15 cm.
> Dani Franque, Kom, 1955. Ceramics, glazed earthenware, 20 x 34,5 cm.
> Jef Verheyen, • 0829 • Schaal, 1955. Ceramics, glazed earthenware, 2,5 x 22 x 7,5 cm.
> Jef Verheyen, Copy of The Aztecs of Mexico (ed. George C. Vaillant, 1955) from the artist’s library, 1955. Book, ink on paper.
> Dani Franque, Jef Verheyen, Collage with photographs of ceramics by Dani Franque and Jef Verheyen, 1955. Photography, collage with photographs on paper.
> Jef Verheyen, Dani Franque, Gerald Dauphin, Dani Franque and Jef Verheyen at Rubensstraat 14 in Antwerp, where they opened their ceramics shop Atelier 14, 1955. Photography, photograph.
> Jef Verheyen, Dani Franque, Frank Philippi, View of the shop window of Atelier 14 on Rubensstraat, Antwerp, 1955. Photography, photograph.
> Jef Verheyen, Design drawing for a three-faced ceramic pot, 1955. Ceramics, pencil on paper, 39,6 x 22,7 cm.
> Paul Klee, Jef Verheyen, Copy of Paul Klee (ed. Marcel Brion, 1955) from the artist’s library, 1955. Book, ink on paper.
> Jef Verheyen, Dani Franque, Marina Van Acker, Invitation to the inaugural exhibition of Atelier 14, Antwerp, 21 July 1955, 1955. Invitation Card, ink on paper.
> Jef Verheyen, Jef Verheyen with monochrome ceramic in Atelier 14, 1955. Photography, photograph.
> Gianni Dova, Figures on the screen, 1956. Painting, 113.5 x 143.5 cm.
> Jef Verheyen, Guy Vaes, Walter Vanermen, • 0770 • Untitled (Als de binnenvorm de buitenvorm is), 1956. Ceramics, glazed earthenware, 26,5 x 11 x 10,5 cm.
> Jef Verheyen, • 0736 • Untitled , 1956. Painting, oil paint on masonite, 82 x 38.5 cm.
> Jef Verheyen, Jef Verheyen in front of his work Composition pour 5 blancs (Composition of 5 whites) in his studio on Rubensstraat, Antwerp, 1956. Photography, photograph.
> Jef Verheyen, Jef portrayed in his atelier Rubensstraat, 1956. Photography, photograph.
> Jef Verheyen, Colour study, 1957. Drawing, watercolour on paper (two-sided), 26,8 x 35,7 cm.
> Jef Verheyen, • 0824 • Erotisch Keramisch, 1957. Drawing, ink on paper, 36,1 × 26,9 cm.
> Jef Verheyen, Copy of Art Sauvages (red. Claude Roy, 1957) from the artist’s library, 1957. Book, ink on paper.
> Yves Klein, Pigment pur, 1957. Installation, tray with pure pigment, Variable dimensions.
> Yves Klein, Pluie bleue, (S 36), 1957. Installation, dry pigment and synthetic resin on twelve wooden rods, 209 x 1,1 cm.
> Piero Manzoni, Untitled (Achrome), 1957. Painting, folded burlap soaked in kaolin, 73 x 60 cm.
> Jef Verheyen, Ivo Michiels, Jef Verheyen di Ivo Michiels, 1957. Text, ink on paper.
> Jef Verheyen, Deutsche Buchgemeinschaft, • 0733 • Keramisch Wit, 1957. Ceramics, grog (chamotte), 120 cm (height).
> Jef Verheyen, Artist's notes 'La peinture n'est ni la pensée ni le sentiment, mais le sentiment d'une pensée', 1957. Text, pencil and ink on paper, 2 sides.
> Jef Verheyen, Sketch drawing about analytic drawing, 1957. Text, pencil on paper, 2 sides.
> Jef Verheyen, Notes about modernism, 1957. Text, ink on paper.
> Leon In den Kleef, Jef Verheyen, • 0488 • Untitled (Mirror Mosaic) , 1957. Ceramics, ceramics and mirrored glass, 74.5 x 64 x 2 cm .
> Jef Verheyen, Lucio Fontana, Mario Bionda, Roberto Crippa, Journal with a.o. notes about the visit of Jef Verheyen to the studio of Lucio Fontana (February 1958), 1957-1959. Text, notebook, mixed media, 19,5 x 13,6 cm.
> Galerie Bernard, Jef Verheyen, • 0033 • Untitled, 1957. Painting, oil paint on fibreboard, 120 x 160 cm.
> Jef Verheyen, Guy Vaes, • 0031 • Aan Mechanische Goden, 1957. Painting, oil paint on wooden panel, 122 x 162 cm.
> Jef Verheyen, Callewaert Vanlangendonck Gallery, • 0029 • Untitled, 1957. Painting, oil paint on canvas, 100 x 81 cm.
> Jef Verheyen, • 0028 • Espace Découpé - Witte Ruimte, 1957. Painting, paper, glue and casein paint on burlap, 65 x 81 cm.
> Gust Philippi, Two visitors looking at The Air is Full of your Warmth at the opening exhibition of G58 at the Hessenhuis, 1958. Photography, photograph.
> Jef Verheyen, Antonio & Marieda Boschi - Di Stefano, • 0828 • Untitled, 1958. Painting, oil paint on canvas, 82,5 x 100,5 cm.
> Jef Verheyen, Ivo Michiels, • 0827 • Zelfontmoeting (Self-Contemplation), 1958. Painting, oil paint on burlap, 200 x 114 cm.
> Frank Philippi, Jef Verheyen, Jef Verheyen by the window, Rubensstraat, Antwerp, 1958. Photography, photograph.
> Jef Verheyen, Walter Vanermen, Vic Estercam, Paul Bervoets, Invitation to the fifth exhibition of G58 in Middelheim Castle, 1958. Invitation Card, ink on paper.
> Lucio Fontana, Concetto Spaziale, 1958. Ceramics, 17.8 x 14.5 x 14.5 cm.
> Hermann Goepfert, Weisses Strukturbild, 1958. Painting, papier-mâché and paint on canvas, 85 x 120 cm.
> Yves Klein, M 69, Monochrome blanc, 1958. Painting, pure pigment, synthetic resin and coating on glued canvas, nailed on plywood, 100 x 50 cm.
> Guy Vandenbranden, Untitled (voor Jef Verheyen), 1958. Painting, 60 x 60 cm.
> Günther Uecker, Weiss Horizontal, 1958. Painting, oil paint on fibreboard, 51.5 x 45 cm.
> Jozef Peeters, Paul De Vree, Untitled (after a schematic drawing from 1924), 1958. Painting, oil on canvas, 60 x 47 cm.
> Galerie Iris Clert, Jef Verheyen, • 0821 • Ruimte, 1958-1959. Painting, oil paint on canvas, 42 x 32 cm.
> Galleria d'arte del Grattacielo, The Antwerp Gallery , Jef Verheyen, • 0785 • Untitled, 1958-1959. Painting, water colour on burlap, 170 x 200 cm.
> Jef Verheyen, Galleria d'arte del Grattacielo, • 0759 • Untitled, 1958. Painting, oil paint on burlap, 114 x 150 cm.
> Jef Verheyen, Ivo Michiels, Galleria Pater, Comhaire, André Comhaire, Invitation to the first exhibition in Galleria Pater, Milan, 1958. Invitation Card, ink on paper.
> Jef Verheyen, Lucio Fontana, • 0721 • L'air est plein de ta chaleur, 1958. Painting, oil paint on canvas, 64 x 53 cm.
> Jef Verheyen, • 0657 • Monochrome - Achrome I , 1958. Painting, oil paint on burlap, 92 x 73 cm.
> Jef Verheyen, Ivo Michiels, • 0459 • Le Voile du Mystère, 1958-1959. Painting, oil paint on burlap, varnished, 81 x 100 cm .
> Jef Verheyen, • 0458 • Monochromie, 1958. Painting, oil paint on burlap, 100 x 81 cm.
> Jef Verheyen, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Vlaamse Gemeenschap / Flemish Community, • 0443 • Untitled, 1958. Painting, oil paint on canvas, 80 x 100 cm, 82 x 101 cm with frame.
> Jef Verheyen, Paul De Vree, • 0036 • Untitled (Saint-Paul-de-Vence), 1958. Painting, oil and sand on panel, 37,5 x 45,5 cm.
> Jef Verheyen, Guy Vaes, • 0035 • Untitled , 1958. Painting, oil paint on burlap, 83 x 102 cm.
> Galerie Diogenes, Jef Verheyen, Manifesto 'ZERO der neue Idealismus' published on the occasion of the exhibition in Galerie Diogenes, Berlin, 1959. Invitation Card, ink on paper.
> Günther Uecker, Jef Verheyen, Postcard from Günther Uecker to Jef Verheyen about his nail objects in 'Vision in Motion / Motion in Vision' in Hessenhuis, Antwerp (2 November 1959), 1959. Letter, ink on paper, 10,5 x 14,9 cm.
No image
> Jef Verheyen, Paul De Vree, 'Het Manifest der Zeven' - preparatory notes for the New Flemish School, 1959. Text, ink on paper, 1 page .
> Jef Verheyen, Guy Mees, Guy Mees (left) and Jef Verheyen in the Tempeliershof in Weert, where they spent the summer together, painting and writing, 1959. Photography, photograph.
> Axel Vervoordt, Jef Verheyen, • 0793 • Profondément le rouge de la folie pure, nulle tache, nul mouvement / M'enfondre dans l'espace perdu, 1959. Painting, oil paint on canvas, 64 x 79,7 cm, 65 x 80,5 cm with frame.
> Jef Verheyen, Het Kahier, Outtake from 'Essentialisme' as published in 'Het Kahier', 1959. Article, ink on paper, collage, 1 page (fragment).
> Piero Manzoni, Alberto Burri, Jean Tinguely, Jef Verheyen, Yves Klein, Werner Ruhnau, Letter from Yves Klein to Jef Verheyen (17 January 1959), 1959. Letter, ink on paper, 29,6 x 21 cm / 2 sides, with envelope.
> Ivo Michiels, Jef Verheyen, Galerie Kasper, Jef Verheyen Peintre Flamand (Art Actuel), 1959. Article, ink on newspaper, 1/4 page.
> Jef Verheyen, Galleria d'arte del Grattacielo, Ivo Michiels, Jef Verheyen, 1959. Invitation Card, ink on paper.
> Jef Verheyen, Preparatory notes for the publication 'Pour une peinture non plastique', 1959. Text, ink on paper, 10 sides.
> Jef Verheyen, Piero Manzoni, Frank Philippi, Jef Verheyen and Piero Manzoni (right) in a restaurant in Milan, 1959. Photography, photograph (leica).
> Jef Verheyen, Annotated study sketch by Jef Verheyen about “diminishing light is increasing darkness”, 1959. Sketch, ink on paper, 2 sides.
> Jef Verheyen, Museum Morsbroich, • 0490 • Zwarte bepaalde van het onbepaalde, 1959. Painting, oil paint on canvas, 162 x 130 cm, 176,8 x 144,5 x 8 cm with frame.
> Jef Verheyen, Galerie Schoeller, Sammlung Lenz, • 0460 • Untitled (Un des premiers argents), 1959-1960. Painting, oil paint and silver pigment (back) on burlap, plexi frame, 80 x 100 cm.
> Jef Verheyen, Axel Vervoordt, Galerie Bernard, Lucio Fontana, • 0400 • Untitled (Pour Fontana), 1959-1960. Painting, oil paint on burlap, 100 x 82 cm.
> Notebook 'Contre le rien Pour le tout', 1959-1960. Book, ink in notebook, 22,5 x 15,5 cm.
> Axel Vervoordt, Galerie Bernard, Jef Verheyen, • 0063 • Zwarte Ruimte - Espace Noir, 1959-1960. Painting, oil paint on burlap, 130 x 195 cm.
> Jef Verheyen, Galerie Bernard, Koninklijk Museum voor Schone Kunsten Antwerpen, • 0055 • Zwarte Ruimte - Bonjour Heraklithe, 1959. Painting, oil paint and pigment on burlap, 194.1 x 128.8 cm, 195.6 x 130.2 cm with frame.
> Axel Vervoordt, Jef Verheyen, • 0053 • Untitled (Milano), 1959. Painting, oil paint on burlap, 65 x 81 cm.
> Frank Philippi, Jef Verheyen, Jef Verheyen in front of his painting 'Zwarte Ruimte', 1960. Photography, photograph.
> Englebert Van Anderlecht, Jef Verheyen, Letter from Englebert Van Anderlecht to Jef Verheyen about their trip to Milan (9 March 1960), 1960. Letter, ink on paper, 1 page.
> Publication of the exhibition Monochrome Malerei, curated by Udo Kultermann, Museum Morsbroich, Leverkusen, 1960. Series, ink on paper.
> Jef Verheyen, Galerie Bernard, • 0822 • Niet Ruimte, 1960. Painting, oil paint on canvas, 130 x 100 cm.
> Lucio Fontana, Concetto Spaziale, 1960. Painting, water-based paint and slashes on canvas, 144 x 101 cm.
> Galerie Bernard, Jef Verheyen, Publication of the exhibition 'Peintures monochromes' in Galerie Bernard, Grenchen, 1960. Book, ink on paper.
> Frank Philippi, Jef Verheyen, Englebert Van Anderlecht, Guy Vaes, Jef Verheyen and Englebert Van Anderlecht (right) working together on their joint series of paintings 'The One and the Other – Neither One Nor the Other', 1960. Photography, photographic print.
> Galerie Iris Clert, Jef Verheyen, Sammlung Lenz, • 0555 • Ora d'Iris, 1960. Painting, oil paint and mixed technique on canvas, 101 x 82 cm.
> Jef Verheyen, • 0544 • Begrenzing van het Niets (Boundary of Nothingness), 1960. Painting, oil and gold paint on canvas, 99 x 80 cm, 100 x 81.5 cm with frame.
> Jef Verheyen, • 0198 • Gouden Rook - I x I = I, 1960-1961. Painting, oil paint and gold pigment on canvas, 130 x 95 cm.
> Jef Verheyen, Axel Vervoordt, • 0087 • Hommage à Permeke et Desmet à Latem, 1960-1961. Painting, oil paint on canvas, 80 x 100 cm.
> Jef Verheyen, Kunstpalast Düsseldorf, • 0084 • Espace flamand, 1960-1961. Painting, oil paint and brass powder on canvas, 130 x 190 cm.
> Jef Verheyen, Galerie Bernard, Englebert Van Anderlecht, • 0081 • L'un et l'autre - ni l'un ni l'autre (10), 1960. Painting, oil paint on burlap, 162 x 130 cm.
> Jef Verheyen, Galerie Bernard, • 0826 • Untitled, 1961. Drawing, smoke drawing on paper, 48 x 60 cm.
> Lucio Fontana, Jef Verheyen, Letter from Lucio Fontana to Jef Verheyen about friendship and artisthood (4 July 1961), 1961. Letter, ink on paper, 1 page.
> Ad Reinhardt, Jef Verheyen, Francesco Lo Savio, Museum Morsbroich, Udo Kultermann, Poster for the 'Ad Reinhardt, New York / Francesco Lo Savio, Rom / Jef Verheyen, Antwerpen' exhibition in Museum Morsbroich, Leverkusen, 1961. Poster, ink on paper, 84 x 59,5 cm .
> Jef Verheyen, Galerie Bernard, • 0820 • Die Vlammen dansen, 1961. Drawing, smoke drawing on paper, 48 x 60 cm.
> Piero Manzoni, Linea, 1961. Drawing, smoke drawing on paper, 41,5 x 58,5 cm.
> Günther Uecker, Weisse Kugel, 1961. Sculpture, nails, paint and wooden sphere, 17 cm.
> Jef Verheyen, Francesco Lo Savio, Ad Reinhardt, Ad Reinhardt, Francesco Lo Savio, Jef Verheyen, 1961. Book, ink on paper.
> Jef Verheyen, Galerie Bernard, Invitation to the exhibition 'Les peintures essentielles' in Galerie Bernard, Grenchen, 1961. Invitation Card, ink on paper.
No image
> Paul De Vree, Jef Verheyen, Survey by the artist, form with colour test completed by Paul De Vree, 1962. Text, ink on paper, 1 page.
> Galerie OREZ, Jef Verheyen, Invitation to 'Nieuwe Tendenzen' in Galerie OREZ, The Hague, 1962. Invitation Card, ink on paper.
> Lucio Fontana, Jef Verheyen, Filip Tas, Louis Bogaerts, Lucio Fontana (left) and Jef Verheyen posing before their collaborative work 'Le Jour' at the home of the collector Louis Bogaerts, Knokke, 12 November 1962, 1962. Photography, photograph.
No image
> Lucio Fontana, Jef Verheyen, Publication of the exhibition 'Ceramiche di Fontana' in Galleria Pater, Milan, 1962. Book, ink on paper.
> Jacqueline & Mark Le Jeune, Galerie Ad Libitum, Jef Verheyen, • 0788 • Untitled, 1962. Drawing, pastel on paper, 59 x 43 cm.
> Jef Verheyen, Hermann Goepfert, Serge Largot, Nanda Vigo, Raymond Dauphin, Rochus Kowallek, Lucio Fontana, Gotthard Graubner, Jan van der Borgt, Maria Mara, Paul Ibou, Jos Macken, Frank-Ivo van Damme, Piet Sterckx, Christian Megert, Galerie Edith Wahlandt, Dominique Stroobant, Guy Stern, Lotte Lenya, Leon In den Kleef, Madeleine Everaert, Marlborough Gallery, Hergé, Roger Nellens, Hugues C. Pernath, The Antwerp Gallery , Albert Szukalski, Anselm Thürwächter, Galerie Bernard, Ivo Michiels, Blinky Palermo, Gerhard Richter, Guy Vaes, Vic Gentils, Adam Seide, Günther Uecker, Piero Manzoni, Jef Verheyen's Liber Amicis, 1962-1984. Other, mixed media on bound paper.
No image
> Galerie Ad Libitum, Jef Verheyen, Invitation to the exhibition 'ZERO. Schilders door de galerie gekozen' in Galerie Ad Libitum, Antwerp, 1962. Invitation Card, ink on paper.
> Lucio Fontana, Jef Verheyen, Gerald Dauphin, Jef Verheyen and Lucio Fontana just before the opening of Fontana’s solo exhibition in Museum Morsbroich in Leverkusen, curated by Udo Kultermann, 1962. Photography, photograph.
> Jef Verheyen, • 0461 • Biennale de la critique A/B = B/C, 1962. Painting, matt lacquer on canvas, 130 x 130 cm.
> Galerie Schoeller, Jef Verheyen, Galerie Bernard, Leopold-Hoesch-Museum, • 0439 • Lichtstroom, 1962. Painting, matt lacquer on canvas, 100 x 66 cm.
> Galerie Bernard, Jef Verheyen, • 0432 • Espagne, 1962. Painting, matt lacquer on canvas, 98 x 63 cm each.
> Lucio Fontana, Jef Verheyen, • 0390 • Rêve de Möbius, 1962. Painting, matt lacquer on canvas, perforated, 113.5 x 146 cm / 116 x 148.5 cm with frame.
> Jef Verheyen, Axel Vervoordt, • 0166 • Untitled, 1962. Painting, matt lacquer on canvas, 75 x 45 cm.
> Jef Verheyen, Centre Pompidou, Bank van Parijs en de Nederlanden, Galerie Ad Libitum, Axel Vervoordt, • 0147 • Vlaamse Aarde - Essentie Aarde, 1962. Painting, oil paint on canvas, 130 x 97 cm, 131 x 98 cm with frame.
> Jef Verheyen, • 0135 • Essentie I, 1962. Painting, canvas, 129 x 97 cm, 130 x 98 cm with frame.
> Jef Verheyen, Sammlung Lenz, • 0094 • Pluie , 1962. Painting, oil paint, synthetic resin (?) and silver pigment on canvas, 100 x 100 cm, 103 x 103 cm with frame.
> Jef Verheyen, Daimler Art Collection Stuttgart/Berlin, Henk Peeters, • 0728 • Espace, 1963. Painting, matt lacquer on canvas, 45 x 45 cm.
> Koninklijk Museum voor Schone Kunsten Brussel, Jef Verheyen, • 0504 • De Grote Pan - Le Grand Pan, 1963-1964. Painting, matt lacquer on fibreboard, 193 x 166 cm.
> Jef Verheyen, Paul De Vree, Publication of the manifesto 'Essentialism' (1958) in the periodical De Tafelronde 8, nr. 3, 1963. Periodical, ink on paper.
> Jef Verheyen, Sammlung Lenz, • 0102 • Le Vide (ed. 20), 1963-1965. Multiple, chromed metal, 50 x 36 x 7 cm, base 1,5 cm (h).
> Alfons De Belder, Yves Klein, Renaat Braem, Jef Verheyen, Installation view with Yves Klein’s 'Pluie bleue' and 'Trois tables monochromes' in the vaulted cellar of ‘t Fortje (Deurne, Antwerp), 1964. Photography, photograph.
> Jef Verheyen, Paul De Vree, Renaat Braem, Heinz Mack, Poster for 'Integratie' 64 in ‘t Fortje (Deurne, Antwerp), co-organised by Renaat Braem, Paul De Vree and Jef Verheyen, 1964. Poster, ink on paper, 82 x 59,1 cm.
> Paul De Vree, Jef Verheyen, Essentieel, 1964. Film, 16 mm film, 00:20:00.
> Jef Verheyen, Galerie Aujourd'hui, Invitation to the exhibition 'Zonnebogen' in Galerie Aujourd’hui, Palais des Beaux-Arts, Brussels, 1964. Invitation Card, ink on paper.
> Paul De Vree, Renaat Braem, Victor Vasarely, Jef Verheyen, Publication of the exhibition 'Integratie 64' with a cover design by Victor Vasarely, 1964. Periodical, ink on paper, 31,1 x 23,6 cm.
> Jef Verheyen, Axel Vervoordt, Galerie Carrefour, • 0156 • Night and Day, 1964-1965. Painting, matt lacquer on canvas, 186 x 88 cm each, 194 x 192 cm with frame, diptyque / paravent.
> Jef Verheyen, Axel Vervoordt, Jos Macken, • 0096 • Nul part ailleurs, 1964. Painting, matt lacquer on fibreboard, mounted in wooden box, ø 114 cm, 140 x 140 cm with wooden box.
> Gerald Dauphin, Jef Verheyen, Jef Verheyen presents his sculpture 'Le Vide' up against the sky, 1965. Photography, photograph.
> Guy Mees, Verloren Ruimte (Lost Space), 1965. Installation, lace, blue neon, wood, 120 cm ø.
> Jef Verheyen, Publication of 'ZERO. An Exhibition of European Experimental Art' in The Washington Gallery of Modern Art, 1965. Book, ink on paper.
> Yves Klein, Rotraut Klein, Günther Uecker, Jef Verheyen, Poster for the exhibition 'Klein – Rotraut – Uecker – Verheyen' in Théâtre des Plans, Brussels, 1965. Poster, ink on paper.
> Lucio Fontana, Jef Verheyen, Hermann Goepfert, Galerie situationen 60, Leaflet 'Lucio Fontana - Hermann Goepfert - Jef Verheyen' in Galerie Christian Chruxin – situationen 60, Berlin, 1965. Book, collage on paper.
> Walter Leblanc, Torsions, 1965. Sculpture, oxidised steel, 275 x 15 x 0,3 cm.
> Jef Verheyen, • 0207 • Venice by Night, 1965-1966. Painting, paint on silk/mousseline (2) and canvas (3), 5 parts, folding screen, 210 x 120 each, 210 x 620 cm paravent.
> Jef Verheyen, • 0196 • Zwarte Zomer, 1965. Painting, matt lacquer on canvas, 195 x 195 cm, 198 x 198 cm with frame.
> Jef Verheyen, S.M.A.K. Stedelijk Museum voor Actuele Kunst, • 0098 • L'oubli de la mort (Gondola rosa), 1965. Painting, matt lacquer on fibreboard, 120 x 240 cm.
> Jef Verheyen, Sammlung Lenz, • 0097 • Zonnebogen (1/4), 1965. Painting, matt lacquer on canvas, 65 x 65 cm, 81 x 81 cm with frame.
> Koninklijk Museum voor Schone Kunsten Antwerpen, Jef Verheyen, • 0505 • Morgen, 1965. Painting, matt lacquer on fibreboard, 149 x 149 cm, Ø 48,6 cm.
> Jef Verheyen, Harald Szeemann, Kunsthalle Bern, Journal published on the occasion of 'Weiss auf Weiss' curated by Harald Szeemann, Kunsthalle Bern, 1966. Book, ink on newspaper.
> Galerie Carrefour, Sammlung Lenz, Galerie Bernard, Galerie Schoeller, Jef Verheyen, • 0810 • Soleil II, 1966-1967. Painting, matt lacquer on canvas, 130 x 130 cm.
> Jef Verheyen, Lothar Wolleh , Jef Verheyen holding the tondo for Metaponte in his studio on Hoogstraat, Antwerp, 1966. Photography, diapositive (medium).
> Jef Verheyen, 676 • Stelatex (ed. 25), 1966. Multiple, ink and mixed media on cardboard, 49,5 x 34,5 cm.
> Jef Verheyen, Jef Verheyen, 1966. Leaflet, ink on paper.
> Jef Verheyen, Axel Vervoordt, Jos Macken, • 0463 • Metaponte, 1966. Painting, matt lacquer on fibreboard, mounted in a wooden square box, 95 x 95 cm, Ø 97 cm .
> Filip Tas, Jef Verheyen, Jef Verheyen posing before his triptych 'Lichtkathedralen', 1967. Photography, photograph.
> Jef Verheyen, Copy of 'ZERO' (ed. Heinz Mack & Otto Piene, 1961) from the artist’s library. Third and final issue of the periodical, titled ‘Dynamo’, 1967. Book, ink on paper.
> Jef Verheyen, Henri-Floris Jespers, Guy Vaes, Ivo Michiels, Wout Vercammen, Pour une peinture non plastique (hardcover), 1967. Book, ink on paper, hardcover.
> Gerald Dauphin, Jef Verheyen, Günther Uecker, Günther Uecker and Jef Verheyen place a ‘window’ in the open field, as part of 'Vlaamse Landschappen' in ’t Kasteelke in Mullem, 1967. Photography, photograph.
> Gerald Dauphin, Jef Verheyen, Günther Uecker, Günther Uecker and Jef Verheyen during the preparations of their land art project 'Vlaamse Landschappen' in Mullem,, 1967. Photography, photograph.
> Jef Verheyen, Lucio Fontana, • 813 • Les arbres roses (Pour mon ami Fontana), 1967. Painting, matt lacquer on fibreboard, mounted in a wooden square box, 72 x 72 cm.
No image
> Jef Verheyen, Günther Uecker, Lothar Wolleh , Signed photo of Günther Uecker with inscription 'Jef, in deine reine Vision des Lichts möchte ich mit meinen Nageln eindringen. Uecker 67', 1967. Photography, ink on photograph.
> Dani Franque, Jef Verheyen, Rotraut Klein, Galerie Carrefour, Rochus Kowallek, Günther Uecker, Maria Gilissen Broodthaers, Dani Franque, Jef Verheyen, Rotraut Klein, Marcel Stal, Rochus Kowallek and Günther Uecker (left to right) at the opening of 'Lichtkathedralen' in Galerie Carrefour, Brussels, 1967. Photography, photograph.
> Jef Verheyen, 9e biennale de São Paulo: participation belge, 1967. Book, ink on paper.
> Jef Verheyen, Guy Vaes, Henri-Floris Jespers, Ivo Michiels, Wout Vercammen, Pour une peinture non plastique (softcover), 1967. Book, ink on paper, softcover, 28 x 18.2 cm.
> Galerie Carrefour, Jef Verheyen, Lichtkathedralen, 1967. Poster, ink on paper, 70,1 x 45,4 cm.
> Jef Verheyen, Galerie Carrefour, • 0210 • Lichtkathedralen, 1967. Painting, matt lacquer and oil-painted plywood on hardboard, panels joined by hinges, 207 x 161.5 cm (triptych).
> Jef Verheyen, Galerie Ursula Lichter, Sammlung Lenz, • 0101 • Brugge, 1967. Painting, synthetic resin on canvas, 130 x 130 cm, 150 x 150 cm with frame.
No image
> Christian Megert, Untitled (For Jef), 1968. Sculpture, mirror glass and aluminium, 50,5 x 50,5 x 8 cm.
> Jef Verheyen, Galerie Ursula Lichter, Invitation to the exhibition 'Panchromatische Objekte' in Galerie Ursula Lichter, Frankfurt am Main, 1968. Invitation Card, ink on paper.
> Jef Verheyen, Koninklijk Museum voor Schone Kunsten Antwerpen, Galerie Ursula Lichter, • 0204 • Variatie, 1968. Painting, matt lacquer on canvas, 130,5 x 130,5 cm.
> Jef Verheyen, Sammlung Lenz, Galerie Ursula Lichter, • 0105 • Groot violet - violet lens, 1968. Painting, matt lacquer and synthetic resin on canvas, 95 x 190 cm, 99 x 194 cm with frame.
> Axel Vervoordt, Jos Macken, Galerie Ursula Lichter, Jef Verheyen, • 0104 • Brazilië I , 1968. Painting, matt lacquer on canvas, 130 x 130 cm, 160 x 160 cm with frame.
> Galerie Ursula Lichter, Jef Verheyen, Invitation to 'DYNAMO ZERO 1959-1969' in Galerie Ursula Lichter, Frankfurt am Main, 1969. Invitation Card, ink on paper.
> Koninklijk Museum voor Schone Kunsten Brussel, Jef Verheyen, • 0492 • Gelati, 1969. Painting, matt lacquer on canvas, 130 x 130 cm.
> Belgischen Haus, Jef Verheyen, Jef Verheyen im Belgischen Haus: Farbsinn, 1969. Book, ink on paper, 22 x 22 cm.
> Gerald Dauphin, Jef Verheyen, Jef Verheyen in front of his series 'Hommage à Mondriaan – Monet' in his atelier on Hoogstraat, Antwerp, 1970. Photography, photograph.
> Galerie Bernard, Jef Verheyen, Kunstmuseum Bern, Stiftung Anne-Marie & Victor Loeb, • 0794 • Espace transposée (Flandre), 1970. Painting, matt lacquer on canvas, 91,5 x 91,5 cm.
> Jef Verheyen, Portrait of Jef Verheyen in Belgian Pavilion at Biennale Venezia, 1970. Photography, diapositive.
> Galerie Iris Clert, Jef Verheyen, Letter from Iris Clert to Jef Verheyen (26 September 1970), 1970. Letter, ink on paper, 26,9 x 20,9 cm / 2 sides.
> Dani Franque, Jef Verheyen, Jean-Michel Folon, Dani Franque, Jef Verheyen and Jean-Michel Folon? at La Biennale di Venezia (Belgian Pavilion), 1970. Photography, photograph.
> Galerie Iris Clert, Jef Verheyen, Jef Verheyen and Iris Clert at the opening of 'Panchromies', 1970. Photography, photograph.
> Paul Delmotte, Jef Verheyen, Biennale di Venezia 1970, 1970. Book, ink on paper, 23,9 x 21 cm.
> Galerie Iris Clert, Jef Verheyen, Jef Verheyen - Panchromies, 1970. Book, ink on paper.
> S.M.A.K. Stedelijk Museum voor Actuele Kunst, Jef Verheyen, • 0110 • Hommage à Mondriaan - Monet (Thema 1), 1970. Painting, matt lacquer on canvas, 180 x 180 cm.
> Günther Uecker, Umrahmen, 1972. Sculpture, nails on woorden frame, 80 x 80 cm.
> Jef Verheyen, Ivo Michiels, Paul Ibou, Frank Philippi, Multi-Art Gallery, Multi-Art Press International, Liliane Emma Staal, Jef Verheyen 40, 1972. Poster, ink on paper, 80 x 40 cm.
> Jef Verheyen, Axel Vervoordt, • 223 • Lux est Lex , 1974. Painting, matt lacquer on canvas, 160 x 160 cm each, 173 x 174 cm with frame.
No image
> Yves Klein, Jef Verheyen, Copy of 'Yves Klein' (ed. Hannah Weitemeier, 1976) from the artist’s library, 1976. Book, ink on paper.
> Jef Verheyen, 6 Variaties op een thema: Morgen - Zee - Aarde - Nacht - l'Air - Vuur, 1976. Sketch, pencil and ink on paper (copy), 2 sides.
> Jef Verheyen, Notebook 'Venetië', 1976-1977. Book, notebook, mixed media, 31,8 x 23,6 cm.
> Jef Verheyen, Axel Vervoordt, • 0295 • Zonder titel (Hommage à Van Gogh), 1976. Painting, matt lacquer on canvas, 120 x 120 cm, 125 x 125 x 5,3 cm with frame.
> Jef Verheyen, • 0262 • L’Or – Aarde – Permeke (Gold – Earth – Permeke), 1976. Painting, matt lacquer on canvas, 130 x 130 cm.
> Hermann Goepfert, Sculptural Object KF 77, 1977. Sculpture, stainless steel on canvas, 204,5 x 202 x 11,5 cm.
> Axel Vervoordt, Jef Verheyen, • 0772 • Fiori Oscuri, 1977. Painting, matt lacquer on canvas, framed in renaissance italian 16th century oak, 41 x 33 cm, 60 x 46 x 9 cm with frame.
> Jef Verheyen, Axel Vervoordt, Claire & Paul Bataille - Ibens, • 0478 • Urbino – Espace Idéal (Urbino – Ideal Space), 1978. Painting, matt lacquer on canvas, 110 x 177 cm.
> Jef Verheyen, • 0352 • Venus Saphira, 1978-1983. Painting, matt lacquer on canvas, 200 x 324 cm, 204 x 327 cm with frame.
> Jef Verheyen, Günther Uecker, • 0831 • Untitled, 1979. Painting, matt lacquer on canvas, 65 x 65 cm.
> Karel J. Geirlandt, Jef Verheyen, Frank Maes, Bernd Urban, Paul Delmotte, Jef Verheyen Retrospectieve, 1979. Book, ink on paper, 29,5 x 21 cm.
> Jef Verheyen, • 0531 • Le Matin des Magiciens - La Soirée des Mages, 1979. Painting, matt lacquer on canvas, 160 x 160 cm.
> Jef Verheyen, Copy of Philosophes taoïstes (ed. Gallimard, 1980) from the artist’s library, 1980. Book, ink on paper.
> Jef Verheyen, Josef Albers Museum Quadrat Bottrop, Ulrich Schumacher, • 0323 • Megaron Metaponte, 1982. Painting, matt lacquer on canvas, 110 x 110 cm.
> Jef Verheyen, • 0330 • Diamant - Zwevende Ruimte , 1984. Painting, matt lacquer on canvas, 71 x 71 cm.
> Ann Veronica Janssens, Pink Coco Lopez, 2010-2018. Sculpture, glass, paraffin oil, serigraph, wooden base, 120 x 60 x 60 cm.
> Carla Arocha & Stéphane Schraenen , Mechelen Marauder, 2014. Sculpture, mirrored plexiglas and stainless steel, 1400 x 200 cm.
> Ann Veronica Janssens, Magic Mirrors, 2019. Sculpture, 220 x 110 x 1.2 cm.
> Annelien De Troij, Adriaan Gonnissen, Jef Verheyen, Jef Verheyen. Window on Infinity (EN), 2024. Book, hardcover, quadrichromie, 28 × 28 cm, 356 pages .
> Annelien De Troij, Adriaan Gonnissen, Jef Verheyen, Jef Verheyen. Venster op het oneindige (NL), 2024. Book, hardcover, quadrichromie, 28 × 28 cm, 356 pages .
> Jef Verheyen, Painting pot from the artist’s studio. Ceramics, ceramics, paint.
> Small cup of monochrome porcelain from China, early 7th century, Xing kiln. Ceramics, porcelain stoneware, 7,5 × 8,5 cm.
> Tea bowl, 12th century, Song dynasty, Jian kiln. Ceramics, stoneware, coloured with metal glaze, 5,5 × 12 cm.
> Chinese dream stone with poetic inscription: The snow and the moon reflect light back to each other, 19th century. Painting, chinese dali marble, highlighted with black ink, ornamental plate for chair or screen, 38 x 1 cm.
> Galerie Denise Réne Hans Mayer, Jef Verheyen, Set of postcards with historical ZERO exhibitions, published by Galerie Denise Réne Hans Mayer, Düsseldorf, 1970. Postcard, ink on postcards.
> Jef Verheyen, Lucio Fontana, Postcard from Lucio Fontana in Paris to Jef Verheyen, 1959. Letter, ink on postcard.
> Otto Piene, Untitled (Schwarze Sonne). Painting, oil and smoke on canvas, 30 x 40 cm, 41.5 x 51.5 cm with frame.
> Jef Verheyen, Artist’s sketch drawing 'Dimensie als kleur, kleur als materiaal, materiaal als dimensie - Ceci n'est pas une peinture'. Text, ink on paper, 2 sides.
> Jef Verheyen, Notes about the etymology of Le Peintre Flamant, the selfappointed nickname of Jef Verheyen. Text, ink on paper, 5 sides.
> Jef Verheyen, Jackson Pollock, Clipping from the artist’s studio, illustrating Jackson Pollock paint dripping on the floor. Photography, newspaper, photograph.
> Dani Franque, Jef Verheyen, Interior of l'Atelier 14 (ceramics shop). Photography, photo print on paper.