A ROYAL PARADISE
A E R T SC HOUM A N ’S I M PR E S SIONS OF NAT U R E A DR E A M C OL L EC T ION FOU N D I N A N T IQU I T Y John Lennon’s goddess and a Dutch magical sword I N T E RV I E W: T OM POSTM A The best designer of art fairs •PLUS• E X T R AOR DI NA R Y PI EC E S , T H E MOST I M PR E S SI V E SHOW ROOM S , A N D 19 ST R I K I NG T ROU VA I L L E S 8
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The more I see the less I know for sure rt dealers have a strange participating in them – have another decidedly profession; it’s more Dutch aspect: most of them have been designed than a simple combiby Tom Postma. Postma, showered with praise nation of art and internationally, quit as a visual artist about commerce, the two fifteen years ago to focus exclusively on components of the designing art fairs and other spaces that revolve concept. Let there be around the arts. We are delighted that we were no mistake about it: able to compose Postma’s portrait for this without art or commerce, there is no such Spring-edition, in which he extensively thing as an art dealer, but we carry out discusses his switch several functions at the same time: we are from the visual arts mentors, advisors, and confidants – we have to design, and he an important, even crucial role towards our also reveals what the clients, after all, that of coaching them on secret effect is of plabuilding up their collection, which likely is cing an actual wall their biggest passion. between stands at a And we’re also active fair. But most Tom Postma page 62 as close to true striking about his detectives, as we want personal story is that to investigate the it is all about one single thing, provenance of every really: art. single piece as well as In this area we feel strongly we can. connected to Postma, of course. ’t Coopmanshûs Statistics from the Vernis page 30 arts market on 2016 wants to demonstrate that the introduce turnover of auction houses is lagging, while you, the sales on the ‘regular market’ are manifesting reader, sound growth. There are various explanations to the for this phenomenon. Buyers and sellers, for fascinating Toonzalen page 54 example, are increasingly favoring an anonyworld of mous, confidential environment to close their art and deals in, and try to retain as much control as antiques. We’ve collected many intruiging, and possible over the transactional process. splendid, stories for this edition, ranging from The success of the major art fairs such as the story of a private museum in Franeker to a TEFAF Maastricht, ART Breda, and TEFAF farm that’s been reinvented as a library, from a New York, organized past October for the first painting that had been given up on, to an time, show that the world of art dealing is alive Egyptian statue that once was the property of and kicking. These, as well as countless other the legendary Beatle John Lennon. Wasn’t it art fairs – besides counting a considerable Lennon himself who said: “The more I see number of Koninklijke VHOK-members the less I know for sure.” Robert D. Aronson Chairman Koninklijke Vereeniging van Handelaren in Oude Kunst in Nederland
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DARSTELLUNG DER FREIHEIT | 1972
JOHANNES
THE BRUSH
Grandiose, theatrical and baroque; the work of Berlin artist
His paintings abound with naked women and awkward men in Johannes Grützke (1937) can only be captured with grand impossible baroque poses. They words. With real technical virtuosity he paints extravagant often depict group portraits, almost like a contemporary historical moral dramas, portraits and self-portraits. Grützke portrays painting, in which the artist himself man in all his glorious madness, with a sense of irony and a also makes an appearance. All hint of compassion. In Germany, Grützke is now considered to the figures play a role in Grützke’s moral dramas. He produces ironic be the last living great realist painter. Dutch Museum MORE will commentary on collective neuroses, be exhibiting five decades of this phenomenal maverick’s work. the power of the woman, peer pressure and the man as a lonely FEB 26 – 11 JUNE 2017 but magnificently ignorant being.
GOING AGAINST THE DOMINANT VOGUE
of the post-war Western art world, the German Johannes Grützke started out in the 1960s as a figurative painter. Just as in the Netherlands, and perhaps to an even greater extent in Germany, ‘progressive’ artists were expected to take a stand – and preferably to make political statements. Grützke, however, refused to
adapt to the prevailing mores of the artistic avant-garde; he chose eternal realism above abstract or conceptual art. “Art isn’t modern, art is everlasting,” according to Grützke. As an outsider, he prefers to remain a spectator, albeit one with an anarchistic tendency. Grützke’s brush is merciless, but rarely cruel. His large dramatic and burlesque physical theatre betrays compassion for humanity.
A TECHNICAL VIRTUOSO, Grützke is akin to the seventeenth-century Haarlem Mannerists and he observes Old Masters such as Titian and Caravaggio. Other influences are, of course, Otto Dix and Egon Schiele. Grützke’s development from strongly figurative to being a very expressive painter, has earned him the reputation as the ‘German Lucian Freud’. Grützke achieved
UNSER FORTSCHRITT IST UNAUFHÖRLICH | 1975
IN BETRACHTUNG DES GÄNSEKOPFES | 2011
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GRUTZKE
HAS SPOKEN fame in his homeland thanks to his 32-meter long panorama Der Zug der Volksvertreter (‘The Procession
of the Representatives’), depicting a motley parade of allegorical figures. He completed the wall
mural in 1991 in St Paul’s Church in Frankfurt, which is a national memorial.
MONUMENT DER TRÖSTUNGEN | 1971
This maverick only acquired his great status later on in life. ‘Der Pinsel hat gesprochen’ (‘The brush has spoken’) is the phenomenal Grützke’s first major solo exhibition outside Germany.
museummore.nl
Museum MORE Hoofdstraat 28 7213 CW Gorssel The Netherlands +31 (0)575 760 300
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On display Special objects deserve a special place. Vernis went to three different antique shops to take a closer look inside paying attention to the interior instead of the art on display.
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Look inside: ’t Coopmanshûs In the past Hans Smelik and Andries Stokking traded art and antiques, but today they are managers, and curators, to their very own museum. Vernis took a look inside.
RU BR I E K E N... 003 | Editorial 006 | Contents 010 | Colofon 013 | Trouvailles 028 | Column Ivo Weyel 042 | My favorite piece Wouter Hijnberg, managed to save a painting by the Dutch artist Herman Brood that was actually written off. 006
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046 | Must reads 060 | Dream collection In this new feature we ask art lovers to ensemble their dream collection. What pieces would they pick if only they could choose?. The wishlist of Wim Weijland, director of het Rijkmuseum van Oudheden.
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Tom Postma’s world of design The Dutch designer Tom Postma was educated as an artist, but decided some fifteen years ago to focus exclusively on designing museum exhibitions and art fairs. By now, he’s considered one of, or the very, best in his field. spring 2017
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Specialist expertise
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Members of de Koninklijke VHOK share their expertise and knowledge with the readers of Vernis.
Aert Schouman’s Royal Paradise
The Dordrechts Museum celebrates its 175th anniversary with ‘Een Koninklijk Paradijs’. In this exhibition, the Dordrecht artist Aert Schouman shows his imagination of nature and finally gets the recognition he deserves.
A L SO... 068 | C olumn Yvo van Regteren Altena
082 | Course programme Koninklijke VHOK
084 | The Circle of Friends of the Koninklijke VHOK
086 | Ensemble 008
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094 | What’s on 096 | Membership list Koninklijke VHOK
098 | Antique of the Future Kho Liang Ie’s floor lamp K46 magisterially qualifies as ‘future antique’.
052 In focus
It’s impossible to see all the highlights in New York, there is simply too much choice. Vernis made an attempt in this selection of must-sees. spring 2017
A Highly Important Kettle on Stand Amsterdam 1731 | Franรงois Lambregts
MAASTRICHT
Stand 240 10-19 March 2017
Jan van Nassaustraat 76 | 2596 BV The Hague | +31 (0)70 324 09 87 silver @aardewerk.com | www.aardewerk.com
N E W YO R K
C OL OPHON
SPRING 2017 | VOLUME 07 #12 Editor-in-chief
Mischa van de Woestijne Managing editor
Aya Langeveld (aya@ayamedia.nl) English translation
Benjamin Chayes Art direction
Antoine Hamers / Wolk Ontwerp (antoine@wolkontwerp.nl) Publisher and magazine concept
Mischa van de Woestijne / MI7 Media Intelligence (mischa@mi7.nl) Contributors TEXT
Aya Langeveld, Yvo van Regteren Altena, Jettie Rozemond, Ivo Weyel, Mischa van de Woestijne PHOTOGR APHY
Peter Boer, Studio Buitenhof, The Hague, Albertine Dijkema, A10 design BNO (www.a10design.nl), Dordrechts Museum, Friso Keuris, Edwin Janssen, Marte, Mark Niedermann, Rob Overmeer, Shutterstock, State of the Netherlands Royal Collections, Tekenteam.nl, Marie Cécile Thijs, Studio Tromp Rotterdam With special thanks to
Robert Aronson, Ilse Daatselaar, Caroline Eschbach, Frouke Jorna, Frans Leidelmeijer, Wim Weijland, Paul Wullems Subscriptions and back issues
Koninklijke Vereeniging van Handelaren in Oude Kunst in Nederland Damrak 375 nl-1012 zj Amsterdam TELEPHONE +31 (0)20-6238904 E-MAIL info@kvhok.nl INTERNET www.kvhok.nl Advertising
Eddy van den Berg TELEPHONE +31 (0)38-4220364 E-MAIL eddyberg@kvhok.nl Printing
Van Aalst Printmanagement, Zaandijk Distribution
Both the Dutch and English versions of Vernis have a print run of 18,000 copies. Vernis is distributed through the members of the Koninklijke VHOK and at the main art fairs in the Netherlands and Belgium, including TEFAF Maastricht and PAN Amsterdam. vernis MAGAZINE OF THE ROYAL ASSOCIATION OF FINE ART DEALERS IN THE NETHERLANDS (KVHOK)
A ROYAL PARADISE
A E R T SC HOUM A N ’S I M PR ES SIONS OF NAT U R E
VOLUME 07
A DR E A M C OL L EC T ION FOU N D I N A N T IQU I T Y John Lennon’s goddess and a Dutch magical sword
SPRING 2017 #12
I N T E RV I E W: T OM POSTM A The best designer of art fairs •PLUS• E X T R AOR DI NA R Y PI EC E S , T H E MOST I M PR E S SI V E SHOW ROOM S , A N D 19 ST R I K I NG T ROU VA I L L E S 8
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Cover ENG CS6.indd 2
28-02-17 06:02
COVER IMAGE: PART OF THE EXHIBITION ‘EEN KONINKLIJK PARADIJS’, PAGE 70 © 2017 KVHOK/MI7 MEDIA INTELLIGENCE VERNIS IS A PUBLICATION OF THE KVHOK AND MI7 MEDIA INTELLIGENCE. NO PART OF THIS PUBLICATION MAY BE REPRODUCED, INCORPORATED IN AN ELECTRONIC DATABASE OR PUBLISHED, IN ANY FORM, WITHOUT PRIOR PERMISSION IN WRITING BY THE RIGHT HOLDERS (COPYRIGHT ACT, ARTICLE 15). ISSN 2211-4017
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Maak uw outfit compleet met een exclusief bijpassend sieraad en
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T ROU VA I L L E S
What makes an antique object or special query really exceptional? The remarkable story about the origin and the at times truly extraordinary obstacles that had to be overcome before the ‘treasure’ could be secured. You can read some of these stories in this edition of Vernis.
VA N DERV EN OR I EN TA L A RT
Huge porcelain vases with covers China, Kangxi period (1666 – 1722), ca. 1710 private Collection Unites States Large porcelain containers such as these were exceedingly difficult to make. Despite their elegant doublegourd (or ‘hulu’) shape, they each weigh a massive 48 kg, a testimony to the profound skills of the Chinese ceramicists of the Kangxi era. Besides their sheer size, the complex double-gourd
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shape posed a serious complication for baking and the entire manufacturing process. This pair, obtained from a private collection in the United States, most probably was part of a special order commissioned by the Dutch East India Company (VOC). There are only four other known comparable specimens, of
similar size and finishing, which are part of the collection of Augustus the Strong (1670-1733), in Dresden, Germany. As far as we know these two are the only specimens to have hit the market in the past 30 years.
Dimensions: height 111 cm Price: appr. € 1 million
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DA ATSEL A A R FINE A RT & A NTIQUES
Oil on canvas Paysage avec moulin Paul Cézanne, France, circa 1860 This oil painting was part of a private collection and must be considered a splendid sample of French painter Paul Cézanne’s work (Aix-en-Provence 1839 - 1906), one of the major post-impressionists. This painting was one of the earliest pieces Cézanne created in Aix en Provence. Its provenance is remarkable: it passed from the painter’s son to Vollard in Paris, subsequently to Mme Edouard Jonas in the same city. In 1983 the piece was obtained by a private collector in Paris.
Dimensions: 28 x 35.5 cm Price: on request
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A. A A RDEW ERK A NTIQUA IR JU W ELIER
A silver marriage medal box Reynder Bel, Hoorn, the Netherlands, circa 1670 This beautifully engraved round box was originally used to present marriage medals. Silver or gold medals of this type, along with the container used to present them, were part of a bride’s dowry. Reynder Bel created a stunning sense of depth in his sceneries through the application of architectural settings. The effect is amplified by his technique of engraving certain lines more broadly, creating shadow effects. This results, particularly in the garments of the figurines he etched, in naturally draping folds. The number of objects known to have been created by Bel is extremely limited.
Dimensions: diameter 6.4 cm Price: on request RUBEN A A RDEW ERK A NTIQUES
Miniature portrait of a lady behind her grand piano with score in hand Augustin Dubourg (Saint-Dié/Vosges 1750 - after 1800 Parijs) Only since 2010 do we know that the artist, active under the nom de plume “Augustin Dubourg”, was not in fact a cousin of the better known Jean-Baptiste Jacques Augustin (1759-1832), but his elder brother, Georges Nicolas Toussaint Augustin. Both brothers worked in Paris during the reign of Marie Antoinette, until well after the French Revolution.
France, ca. 1780-1785, Aquarel on ivory, in 14K golden mounting, Ø 7.4 cm
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JOAN W IJERMARS SCULPTURE & WORKS OF ART
Working model for the gates of the Grand Palais Auguste Carli, France, 1899 This sculpture of a mischievous child grasping the mouth of a horned, hairy satyr, was a preliminary model for the lintels of the side gates of the Grand Palais in Paris that was constructed for the World Exposition in 1900. It was modelled by the Marseille-born sculptor Auguste Carli (1868 – 1930), and has been part of a private collection. For
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the model, Carli used Plastiline, a modeling paste that had been invented in 1897 that remained modellable protractedly. This allowed sculptors for the first time to work with a material that didn’t dry out as fast as the common alternatives such as clay. The composition of the new material also permitted extremely detailed modeling; details as subtle as fingerprints could be
captured. Naturally Carli was extremely proud of this work, and he had it placed behind glass in a small cabinet before giving it to his best friend, the sculptor Paul Gonzalez (1856-1938). That’s why this piece is still in perfect condition, making it one of the earliest surviving works in plastiline.
Dimensions: 31 x 33 x 15 cm Price: € 26,000
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A. A A RDEW ERK A NTIQUA IR JU W ELIER
Silver strawberry tray Adriaan Havelaar, The Hague, 1718 This silver strawberry tray is one of the earliest and largest know specimens from the Netherlands. Its snug design looks so contemporary that one might think it was twentiethcentury craftsmanship. In the eighteenth century, however, the silverware from The Hague was knwon for its subdued design, and this strawberry tray is a wonderful example of it. Its shape,
featuring an incrementing edge and lobes divided by the welds, is perfectly balanced. Its essential shape is so splendid, the tray doesn’t need any ornamentation, as it brings out the reflecting aspect of the silverware wonderfully. The strength of the design testifies to the excellence of the silversmith Adriaan Havelaar. Studies of the archives have shown he manufactured substantial
quantities, but only a few pieces by his hand are known as such. The strawberry tray was certified on the bottom with seal of the city of The Hague, the annual letter V for the year of 1718, The Dutch lion, and the Master’s seal AH for Adriaan Havelaar.
Dimensions: diameter 21.6 cm, height 3.9 cm, weight 362 grams Price: on request
V ER BEEK-SCH U T T EL A A R
Art Deco ring Mauboussin, Paris, 1928 This Art Deco ring is made of platinum, emerald, and diamond, and stands out through its sheer beauty and the quality of the craftsmanship. Though never signed, the assumption was it had been made for one of the major Parisian maisons. During research of the archives this assumption found more and more confirmation. The most recent indications point at Mauboussin, the jewellery institute responsible for so many magnificent pieces during the 1920s. Towards the end of January 2017 the suspicion was confirmed and it was established that the ring was created in
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the context of Mauboussin’s exhibition l’ Émeraude dans la Joaillerie in 1928.
Price: on request
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JAN BEEKHUIZEN
Walnut gable Southern Germany or Northern Italy, second quarter 17 th century The Catholic Church celebrates the Holiday of Saint Peter and Saint Paul on the 29th of June. It’s the day the martyr’s deaths of the apostles Peter and Paul under Roman emperor Nero’s rule are commemorated. About 250 years after their deaths, emperor Constantine (307 - 337), the first Roman emperor to embrace Christianity, decided to construct
two great basilicas on the graves of these apostles. Peter is traditionally depicted with a book and a key, Paul with a sword. On this gable from Southern Germany or Northern Italy, Peter is only holding a book. Paul bear his sword in his left hand. Peter and Paul are sitting on either side of the coat of arms of Vatican City with its crossed keys, bow and a tiara on top. This arched gable,
created in the second quarter of the 17th century, most probably was part of a portal once. The wood cutting is exquisite, extremely detailed, and of excellent quality, only two minor cases of damage (part of Paul’s sword is missing, as well as part of his big toe).
Dimensions: 160 x 62 cm Price: on request
K U N S T H A N D E L J A C Q U E S F I J N A U T B .V.
A carved ivory and steel cutlery set French or German, late 17 th century Provenance: Private collection, the Netherlands
Dimensions: length 16 & 13.5 cm, length handles: 6.5 & 6 cm Price: on request
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GALLERY TINY ESVELD
Ceiling lamp Charles Schneider, France, 1925 This ceiling lamp, manufactured in France in 1925, isn’t merely special because of its exceptional, and rather unique, design, integrating over a hundred hand blown marbles around the elegant forged base. Equally special, to say the least, are the lamp’s origins. It’s always been the property of a single family, and was made on commission by the grandfather of the last owner. She still remembers her grandfather’s preference for exclusive, quality objects. Her grandfather ordered this lamp personally from the famous glass-artist Charles Schneider (18811953) who was renowned for his manufacturing
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precision and incredible sense of color. In the mid 1920s Charles and his brother Ernest had the biggest glass factory of France, Charles was a member of the jury for the Exposition Internationale des Art Décoratifs, the world exposition of 1925 in Paris. Its first owner had a wing added to his home specifically for this lamp, so as to let it gloriously shine in its own realm.
Dimensions: 120 x 90 cm Price: on request
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TÓTH IKONEN
Fabergé icon of the Mother of God of Korsun Fabergé, Russia, circa 1900 A Fabergé icon of the Korsunskaya Mother of God, with silver cloisonné enamel frame with the original Fabergé-scratched inventory number: 33671. The decorated riza was made between 1896 and 1907, and was found in a Dutch private collection. The icon of the Virgin with Child is finely painted; the Korsunskaya is also called the Virgin of Tenderness.
Dimensions: 11.7 x 8.7 cm Price: on request
KUNSTHANDEL MIEKE ZI LV ER BERG
Wooden statue of female nude Egypt, Middle Empire, 11 th - 12 th dynasty, circa 2000-1800 BCE Large wooden statue of a nude female, beautifully shaped slender body, accompanied by lithe arms ending in opened hands. The head is crowned with a short wig. The provenance of this statue is remarkable: it was part of the collection of the Amsterdam artist/architect Johan Raedecker, designer of the Dutch National Monument on Dam Square.
Dimensions: height 117 cm Price: on request
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KUNSTGALERIJ ALBRICHT
Oil painting An evening at the Circus in Copenhagen Paul Gustav Fischer, Denmark, 1891 Danish art is fairly unknown to the general public in the Netherlands, even if although the Rijksmuseum and the Van Gogh museum dedicated two exhibitions to the subject, in 2001 and 2009. Research has demonstrated considerable Dutch influence on Danish art production at the beginning of the 19th century, when the Danish Golden Age, 200 years after the famed Dutch one, is considered to have started. This prolific and important era ended rather suddenly in 1848 after the last representatives of that group of artists had passed away. Yet
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the termination of one tradition created the opportunity for young and coming artists to start anew on a blank slate, and although they were few, their art matches the quality of high-end paintings made in other European countries, like France. So we blessed ourselves to have found this painting by Paul Gustav Fischer in the United Kingdom, and to be able to bring it to the Netherlands. Paul Fischer is well known in Denmark as the painter of Copenhagen or (in Danish) ‘Kobenhavnernes maler’, as his work revolves around views of the city and its
population. ‘An evening at the Circus in Copenhagen’ was painted in 1891. As a historical document it is important, as “the Circus” burned down in 1914, and as it gives us a good impression of the interior. On stage we can discern a thenfamous French actress, singing the Marseillaise; in front we catch Paul Fischer, portrayed among his friends and family. His wife Dagny, for example, is portrayed as she’s standing behind the waiter, dressed in a fur coat.
Dimensions:80.6 x 105.4 cm Price: on request
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KOLLENBURG A NTIQUA IRS
Bronze sculpture of King William II Lurasco brothers, France, circa 1853 This statue is a rare, smallerscale version of a statue of king William II in his uniform as commander in chief of the army by Edouard François Georges. William II (17921849) was the son of the later King William I of the Netherlands, and Wilhelmine of Prussia. Edouard François Georges (18171895) was a pupil of Louis Royer at the royal academy, the Koninklijke Academie voor Beeldende Kunsten, in Amsterdam. It seems that Georges did not accept any payment for this statue of William II. His staue was unveiled on 23 March 1854 in The Hague, where, it is said, it was showered with praise. At the beginning of the twentieth century, however, the statue fell out of grace; it was replaced, in 1920, by an equestrian statue of William II. Georges’ statue was sold for a thousand guilders to the municipality of Tilburg, where, in 1924, it was granted a prominent position on the Heuvelplein, at a short distance from the former city palace of William II. This patinated bronze statuette is a smaller version of the same statue; no other copies are known to exist. Its importance also is manifest from its registration, in 2002, as a national monument. Signed and dated on the top: Lurasco Brothers, as well as on the side of the base: E.F. Georges 1853.
Dimensions: height 48.5 cm Price: € 4,850
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KUNSTCONSULT
Acquarel Pat u Patachon (Pat and Patachon) Hannah Höch, circa 1925 Hannah Höch (Gotha 1889 - Berlin 1978), cheerful watercolor with ink on paper, titled ‘Pat u Patachon’, signed ‘H.H.’. This wonderful watercolor was painted by Dada artist Hannah Höch. The title refers to the Danish comical duo ‘Pat and Patachon’ that was very successful with their silent movies in the 1920s. The piece was obtained from the heirs of Chris Lebeau. Hannah Höch
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knew this Dutch painter and anarchist from the time they both lived in The Hague. In 1933, Chris Lebeau painted the now famous portrait of Hannah Höch, which can be admired in Assen at the Drents Museum.
Dimensions: 11.5 x 10.2 cm Price: € 4,500
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IN T ER-A N T IQUA R I A AT MEFFERDT & DE JONGE
Litho, View over Saint Petersburg Artaria & Comp., Austria, circa 1830 This splendid, grand lithography was colored in by hand at the time is was created. It depicts a panorama of the Peter-and-Paul fortress, including the Naryshkin bulwark, looking out over the Neva River. Along the embankment we discern the Winter Palace, the Hermitage Theatre, the Marble Palace, the Vladimir Palace, the New Michailovski Palace, the Ficquelmont Palace, as well as the Summer Gardens. Large cityscapes of this quality are very rare.
Dimensions: 51 x 77 cm Price:€ 7,500
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LIMBURG A NTIQUA IRS
Ebony bracket clock F. van Leeuwen, the Netherlands, second half 18th century Absolutely remarkable is the fabulously painted, typically Dutch, landscape, including a few walking figures and a little fisherman. The clock also features, besides showing time, two interesting, marvelously executed complications. The clock was manufactured in the second half of the 18th century by the Haarlem clockmaker F. van Leeuwen.
Price: € 12,500
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FONTIJN ANTIEK
Globe J. & W. Cary England, circa 1815-1825 The celebrated London-based Cary family of cartographers and globe makers was founded by John Cary (ca. 1754-1835). He and his brother, William Cary, created some of the finest late Georgian globes. The Cary family is generally considered to be among the best of English globe makers of that period. This particular globe of theirs was made between 1815 and 1825, and is remarkable for its size, as 21 inch diameter globes, such as this one, were only manufactured until 1825, after which 18 inch models became standard size. This globe, covered with 18 hand-colored, printed segments, is crowned with a brass hour-circle, and em-
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braced by a brass meridian ring with a degree-markings, as well as a horizon ring with an edge painted in red. Furthermore, the globe is adorned with a series of references, relative to dates of discoveries, shipwrecks, and navigational routes of the grand English traveller Cook and other explorers. A number of phantom-islands can be discerned in the backwoods of Sub-Saharan Africa (‘Unknown Parts’). The West of North-America (‘Unexplored Countries’), as well as the continent of the Antarctic are blind spots, still.
Dimensions: diameter 53.3 cm, height: 116 cm Price: on request
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A NTIQUA RI A AT FORUM
Nieuwe caerte van de Veluwe, Betuwe, Gelderlandt, ende andere omligghende provincien, als Hollandt, Utrecht, Zutphen, &c. Johannes Galle, Belgium, circa 1633 - 1653 Only known copy of a two-sheet map of the central Netherlands, as published by Johannes Galle between 1633 and 1653. The three copperplates which were used to print the map, originally were part of a collection of twelve plates that were used to print a map of the Northern and Southern Netherlands. This map, one of the earliest
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maps of the entire Netherlands, but of which no copies exist in its first state, was engraved and printed by Philips Galle (1537-1612), a Haarlem-born engraver, based in Antwerp, and also Johannes Galle’s grandfather.
Dimensions: 76 x 41 cm, (frame: 107.5 x 60 cm) Price: € 12,500
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KUNSTHANDEL P. DE BOER GREAT DUTCH AND FLEMISH OLD MASTER PAINTINGS IN ANY SIZE
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but was soon done with it. On to the pre-Columbian gold of the Indians, those adorable little talismans. I’ve got four, one crouching, one playing the flute, one with a huge headdress, and a feline creature. They’re resting somewhere in a drawer, because I never made it to number five. I had gotten involved in Japanese prints. Well, involved might not be the proper name, as I never really, truly, get involved. I’ll never be that serene couple. I’ll never be featured in an arts magazine presenting a coherent collection (nor with an incoherent one, for that matter). So why would I still want that? Why can’t I just accept my uncontrolled, swerving hoarding rage, and just get on Ivo Weyel suffers from compulsive collecting and with it, unperturbed and unecumbered, is struggling with the question whether he should and be consistently eclectic? channel his acquisitions towards a coherent, My shrink has absorbed it all and magazine-worthy collection. nods, says: “... well...”. He’s old-school, the kind that doesn’t talk and gives a hint now and then, giving ocassional nods. I know the classics, including what Schocan feel his next one coming. penhauer said about dividing the essence “How do you feel about this?” of man in three parts: Well, I feel my Schopenhauer’s a. and b. are lighWho you are, who you’d like to be, and tyears removed from each other, which renders my the way other people see. The clarity of that c. just as chaotically varied as my hoarding urges. trinity is in complete disorder when it Because no two friends have the same idea about me comes to me. I’d like to be that extremely (this was an assignment from by shrink, ask your serene couple I came across in an arts friends how they see you). magazine once, both in their fifties, she sitting astride “Hmm”, my shrink said. in a modest black dress while he was standing next to her And that was the end of another 45 minute session. with a confident smile, his hand resting on het shoulBack home I read about tsarina Catharine II of der. The article discussed their collection of Chinese Russia, and how she collected so intensively she didn’t vases, monochrome and going back to the 18th century even know what she had in her possession. How she and beyond. They had hundreds of them in their once sent off a vassal to acquire a famous diamond, luxurious New York apartment, they’d been collecting a diamond that had been hers for years. And I read them for some thirty years. about how the arts collection of the late David Bowie That I’d like to be like them is because of their (actually a patched together bunch of unrelated items) consistent dedication to the monochrome vase, their was characterized by experts as personal and quirky, channeled focus, their one-track mind. I just can’t do it, and just as diverse as his personality. and God knows I’ve tried. I’ve started countless times to There you go. A positive approach. We’ve been collect one thing or another. I’m the owner of a few introduced to my new quest. pretty, antique monochrome vases too, and even possess one in imperial yellow even, with an imprint on the TEXT bottom, but got already fed up after number three. Ivo Weyel So I transferred my focus towards Russian avantIL LUST R AT ION guarde painters from the beginning of the 20th century, Tekenteam.nl
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’T COOPMANSHÛS FEATURE
In the past the former KVHOK-members Hans Smelik and Andries Stokking traded art and antiques, but today they are managers, and curators, to their very own museum. They bought ’t Coopmanshûs in the Frisian town of Franeker in 2005 to accomodate both themselves and their collection. It is brimming with local history and antiques.
ANTIQUE AND MUSIQUE AT ’T COOPMANSHÛS he thirty-five-yard hallway in ’t Coopmanshûs leads through the history of this national monument like a tunnel, encountering its inhabitants of past and present. “Next time I’ll show you the rest of the house”, jokes Smelik as he holds still for a second at the entrance, in front of one of the five fake doors on the left side of the hallway. They lead nowhere, but create the illusion that the house is (even) bigger than it actually is. “Dazzling through architecture was quite common in the 18th century. These ‘fausse portes’, after all, evoke the illusion of symmetry and grandeur.” The collection of Smelik and Stokking fits in excellently with the manor in which
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many authentic elements have been kept intact, but the surface area of this home with its near-five-hundred square meters is almost too tight a fit for the stunning quantity of patrimonial riches they have collected over the years. It is all but static, over there, but rather homely and cozy. The only thing betraying the museum is the professional security system.
on the Stokking- and the Smelik-side. As a seventeen-year-old, Smelik would have preferred to frequent drama school, instead of enrolling in university. His parents envisioned him as a future dentist, but he took off to study Dutch. During the seventies - along with his partner Stokking – he chooses to trade in art and antiques. ‘Smelik en Stokking’, on the chic
Tiny chronicles There’s an anecdote or story to each and every item from the collection. Smelik dishes them out with visible pleasure. He shares countless facts and trivia, weaving them with utmost ease into an integrated story, like an expert guide. The compositions in the aestheticaly displayed in the showcases are tiny chronicles each and every time. Collecting is in these gentlemen’s blood: various objects in the collection have been family property for generations, both
As a seventeen-yearold, Smelik would have preferred to frequent drama school, instead of enrolling in University. His parents envisioned him as a future dentist
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Noordeinde in The Hague, evolves into a renowned brand, boasting two locations within a stone’s throw from each other: the antiques shop at number 156, and the arts gallery at number 150. In 1990 they decide to participate in the fair for ancient arts and antiques, the Oude Kunst- en Antiekbeurs, in Delft for the last time. In 1990 they also bid farewell to their antiques shop, and in 1994 to their gallery. Their division of roles in the business, as well as its success, was determined from the outset by their complementary characters. Stokking, preferring by instinct to stay in the background, takes care of purchasing, Smelik of sales. The difference in personality is also reflected in their respective areas of interest, and it explains the variation within their collection, as to epoch, and objects: Smelik is into silver porcelain and 18th- and 19th-century furspring2017
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Andries Stokking en Hans Smelik.
Close up view of the personal heritage collection.
The 18th century kitchen is still in almost original condition.
Smelik and Stokking have been together for almost fifty years.
Hans Smelik with Quirinius, his Abyssinian cat.
niture, Stokking has a preference for the ancient arts, and for bronze sculptures from the 16th and 17th centuries. Modern comforts On entry one of the Abyssinian cats curiously peeks around the corner only to retreat and curl up comfortably in the kitchen, the heart of the home, again. The kitchen still exudes an atmosphere that is entirely 18th-century, and is practically in
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its original state. Thanks to the Aga stove standing against the wall, covered with tiles from Harlingen, at the very spot of the original hearth, it is quite snug on this frosty day. The stove is a ‘modern’ addition that was installed during the thorough restoration that preceded their moving into the house, at the end of 2006. In order to render the house inhabitable a number of adjustments was necessary. Hidden behind the doors in the 18th-century wall, in the space underneath the stairs, an invisible expansion of the kitchen was realized, a pantry, equipped with all modern amenities. On the top-floor two modern bathrooms were created. The dinnerware cupboards on the kitchen wall seem to’ve been created for a collection of Luneville dinnerware; the colors of apple blossom on the woodwork of the kitchen, tiled from floor to ceiling, are of an exceptional beauty. “During the 05
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’t Coopmanshûs with its profusely
ornamented tapered facade.
The hallway measures an incredible thirtyfive meters in length.
restoration we took care not to repaint anything. Now the colors are as they should be, nicely withered.” “This withered, or ‘fanée’, is a typical term from The Hague, Stokking”, says Smelik, interrupting his partner. But during the guided tour both gentlemen’s vocabularies appear to have been impacted by the many places they have lived in, in the Netherlands and abroad, though The Hague takes centre stage in their curricula. A few pieces they’ve
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From neurologist practice to private museum
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brought with them from their business’s stock are the bulbous leg table from the province of Gelderland and a few 17thcentury colonial chairs. They are in the music room in the back, overlooking this inner garden with urban flowers. Regularly home recitals are organised here; because, besides art and antiques, music is another of their major passions. Continued on page 37 034
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Museum ’t Coopmanshûs is one of the most beautiful buildings in the province of Friesland; named after neurologist Georgius Coopmans (1717-1800) who had his home and practice here. Both Georgius and his son Gadso, who was born in ’t Coopmanshus in 1746, studied at the Franeker Academy. Georgius was curator at the University from 1797
until his death in 1800. Gadso was professor at the Franeker Academy from 1770 until 1787. In 1746 Georgius had the building thoroughly modified and embellished. Many of these elements have survived, including the woodwork on the walls in the drawing, the richly cut frames and front door with transom window, and the winding stairs at the front of the house.
The numerous natural stone ornaments in the tapered facade were created by sculptor Lambert Bersée. In 1848 the family property was sold off and changed hands a few more times. After many altercations, and thanks to the exertions of then-director Abraham Wassenberg, the building was designated in 1943 as a local museum.
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‘Patriae et Patribus’, to the Fatherland and the Regents This glass is thought to have been made during what is known as the ‘Second Stadtholderless Era’ (1702-1747), in the second quarter of the eighteenth century prior to 1747, the year in which William IV was named hereditary stadtholder of the United Provinces. The bowl is enormous; other glasses of the same type are usually around 19 cm tall, while this one measures over 30 cm. We know of no other glasses of the same type that are as large. Such glasses were used as ‘hensbekers’ and were the property of Dutch corporations and societies. After meetings the glasses would be used to bring out a toast and subsequently be passed around among the assembled company to affirm the bond between them. Hensbekers were also used as initiation goblets. It was often customary for new members of an association to be required to drain the hensbeker in a single draught. This glass is likely to have been used by the government, the States General of the Republic of the Seven United Provinces. Dutch lead glass with Dutch wheel engraving Second quarter eighteenth century Height: 30.8 cm
FRIDES LAMÉRIS KUNST- EN ANTIEKHANDEL www.frideslameris.nl
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View into the house from front room.
Continued from page 34 Leaning back on the music stand next to the grand piano is the score for Schubert’s Avé Maria. ‘“I really should put in some practice this afternoon still”, says Smelik. “I have a singing lesson tomorrow.” Academy of Friesland On the dirty rear of a van that’s sloppily parked in front of the house someone’s written, rather hopefully after a mere couple of nights’ frost: “it giet oan”, ‘it’s on’. Of course: Franeker is known as one of the eleven Frisian cities the classic, 200+ kilometer, ice-skating race passes through. In the past, however, the city was famous as an important centre of science. “Did you know the University in Franeker was the second to be founded in the Netherlands? Ten years after that of Leiden.” In 1585 the Academy of Friesland was established by the Calvinist rulers in Friesland with the purpose of educating protestant preachers during the war with Catholic Spain. In the rowdy years of the Eighty-years War, Franeker was a better choice of location than Leeuwarden. In the Frisian capital there is too much trouble with the Frisian nobles. In Franeker it is relatively quiet on the frontlines, and a suitable building has just come available: the evacuated monastery of the Brothers of the Cross. When Napoleon closes down the University in 1811, Franeker officially loses its status as a University city. Until 1843 there still is an Athenaeum, but through the years the number of students of the once popular Academy continues to dwindle. Bastion of learning Throughout the 17th and 18th century, Franeker is the bastion of learning of the North. The University with its sizeable theological faculty attraxts many students, mainly from the province Friesland, but the Frisian Academy also enjoys fame outside the territory of the Dutch Republic, thanks to its excellent professors, including Gadso Coopmans, son of the vernis#12 08
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Children’s book from the past.
Apart from art and antiques they are
also passionate about music.
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Antique Deventermade pewter.
The library on the first floor is their
favorite space in the house.
neurologist Georgius from whom the name of ’t Coopmanshûs was derived. The urban landscape is still shaped by the traces left by the scientists of that period, that is, the so-called professorial homes and the building of the Academy itself. And let’s not forget about the worldfamous planetarium created by Eise Eisinga from 1774 to 1781. Right at the top of the profusely ornamented tapered facade of ’t Coopmanshûs
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one can discern a portrait of Hippocrates, the father of (Greek) medecine, with the year 1746 chiseled underneath. It’s a reference to Coopmans’ calling, and to the year he had the building ‘modernized’. The former home and shop of baker Jorritsma acquired the grandeur of a patrician home when he settles here after having specialized in neurology in Leiden. Two storeys are added on top, and the facade is abundantly decorated with limestone rocailles, entirely in step with those days’ fashion, Rococo. Georgius, as later on his son Gadso, are highly respected because of their expertise and publications. They are among the first doctors in the Netherlands that carry out cowpox inoculations. Gadso, incidentally, suffers a case of extremely sad irony when his daughter dies from the very inoculation he’s been promoting as a new vaccine against pox. Back to the 21st century. When Smelik 11
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and Stokking decide in 2001 to return from Ireland where they’ve lived for seven years, it proves to be not that simple to find a suitable home. And certainly not in Deventer, the city that’s their first choice, where Stokking was born. As so often in their lives, they run into ’t Coopmanshûs by chance, through their dentist, of all people. It meets all their requirements. When the gentlemen learn in 2005 that ’t Coopmanshûs will become available the year after, they need very little time to think. “We had to have it.” The local museum that is established there at that moment still has to move to the Martenastins, a bit further down the street. After handover it still takes more than a year before they can move into their new home and inaugurate it as Museum ’t Coopmanshûs, too. “We had insisted on this name during the sales negotiations, because the city museum was going to conspring2017
tinue under the name of Museum Martena.” They could never have imagined ending up in Franeker before. By now they’ve become fully integrated; they were no strangers to Frisian life. At the beginning of the ‘90s they had a small farm in Eernewoude and Smelik had already learned to speak and write in Frisian. And that’s how the imposing Waterford
‘We’ve collected with a passion, but one shouldn’t really get too attached to it. Just like it is in commerce. We’re only temporary custodians’
chandelier and the Empire bulbous candelabra that first adorned the 18th-century estate in County Cork, have come to decorate the ceilings in Franeker. The Han vase at the front of the house also is a reminder of Ireland, where it was bought at an auction and became a part of Smelik’s collection of Asiatica. Passionate collectors In a corner at the window of the music room you can find one of their most recent acquisitions: a Rembrandt pitcher from Deventer they bought last year at the TEFAF. Objects from Deventer are – not coincidentally - at the centre of their collection. “I had to have this pitcher. It is a rare piece,” says Stokking with the avidity that is so characteristic of full-blooded collectors. “We really ought to be selling off,” sighs Smelik. “It’s really starting to get too tight here.” In itself that doesn’t vernis#12
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bother them. “We’ve collected with a passion, but one shouldn’t really get too attached to it. Just like it is in commerce. We’re only temporary custodians.” It starts with books On the first floor we reach along the winding stairs we discover the impressive library, Smelik and Stokking’s favourite space. It’s where they spend most of their time. One of the many bookcases in the luminous area is brimming with a very special collection of the classic Dutch writer Couperus, featuring first, and rare editions. It all started once with a love for books: Both Smelik and Stokking’s relationship and their career in the business. “We used to have an antiquarian bookshop,” explains Stokking. “I was fascinated by books since childhood. As a small boy I nagged my grandmother for a box with six comicbooks with Mickey Mouse, Donald Duck, and other Disney characters.” They stand in a prominent position in one of the showcases. “Of course I still have them. And in their original box.” When he’s seventeen, with the wages for his summer job - “my parents still had to chip in, though” - Stokking buys the rather serious bookwork ‘histories from Gelderland’, ‘De Geldersse Geschiedenissen’, by Slichtenhorst. The experience to hold a book from 1654 for the first time proved unforgettable. “Sheer magic.” It’s the upshot to a collection of antiquarian books. And to the conviction to start an antiquarian bookshop when, all of a sudden, the opportunity arises, in 1970, when antiquarian Rozendaal in Deventer asks whether Smelik and Stokking wouldn’t like to start their own business. “He had bought up a library with Dutch literature in Rotterdam that we could take over.” Through an uncle of Smelik who was a notary, they end up in Ridderkerk where they bought a building on the dike. They acquire customers by mailing a list - “the first was still stenciled” – with available titles to Dutch teachers and libraries. While Stokking takes care of the 040
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Museum ’t Coopmanshûs In 2005 the current inhabitants bought the house and furnished it as a private museum. Museum ’t Coopmanshûs can be visited on appointment. In addition, it is used to host home concerts regularly, as well as other meetings to promote cultural life, like the activities of the
association (ANBI) Stichting Museum ’t Coopmanshûs. For example, one of 2013’s projects was the presentation of the collected poems ‘Varis of een gedicht over Pokken’, featuring translations in Frisian of the verses Gadso Coopmans wrote in Latin following the death of his daughter.
books, Smelik takes care of the interior. Custmers are mainly attracted by the appealing presentations with old furniture. “Antiques turned out to be a better business than books.” The switch was made in a wish. Retrospectively, their timing was perfect. “We both started and quit at the right moment. We still were generalists, that wouldn’t be possible now. To survive, you really need a specialty today.”
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Aya Langeveld IM AGES
Peter Boer
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A L B R I C H T 1 9
T H
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2 0
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C E N T U RY
M A S T E R
PA I N T I N G S
ALBRICHT OOSTERBEEK Het Huys te Oosterbeek Utrechtseweg 107 | Postbus 41 6860 AA Oosterbeek Nederland T +31 (0)26 361 18 76 info@albricht.nl ALBRICHT LONDON 9 Crusader House 14 Pall Mall London, SW1Y 5LU United Kingdom T +44 (0)757 257 78 33 london@albricht.nl
www.albricht.nl
An evening at the Circus in Copenhagen I Cirkus Varieté by P.G. (Paul Gustave) Fischer (Danish,1860 - 1934), oil on canvas: 80,6 x 105,4 cm, signed and dated 1891
MY FAVOURITE PIECE
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MY FAVOURITE PIECE
M Y FAVOR I T E PI ECE
FROM TOTAL LOSS TO SHOWCASE eople rather not call Wouter Hijnberg to invite him to come and see a work of art; dialing his number usually means general alarm, and something’s seriously gone wrong. At times the damages don’t require immediate attention, such as a piece being worn away by time’s grinding teeth, but most often a calamity’s at hand: it can be anything, from a statue that’s tipped over to an escalating fire or flooding, as was the case for this enormous piece of Herman Brood, the artist that passed away in 2001. The artist’s heirs had rolled up the 2- by 12-meter painting after Brood’s suicide, and placed it against the wall. Unfortunately the piece painted by Brood on a platform of the Amsterdam Central Station, fell victim to flooding and, subsequently, to an attack of mold. When the heirs became aware of this they contacted Helicon, the company Hijnberg founded in 2000 with a partner to take care of, conserve, and restore objects and collections of cultural-historical importance. Hijnberg: “It was obvious immediately that the object was in a terrible state.
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Amsterdam Central Station 1997: Herman Brood at work.
The Helicon staff while assessing the damage.
The remains of a piece that had been given up on.
BEELD: FOTOPERSBURO EDWIN JANSSEN
On request by the insurance company we ran an analysis of the damages as well as an estimate of the eventual cost of restoration. There was no doubt it was a case of total loss: recovery was going to cost more than the piece’s value.” The insurance company proceeded to disburse compensation whereby it became the damaged Brood’s owner. “In principle,
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vage it.” That this isn’t always possible becomes apparent from another we run into at Helicon. “In 2007 the Armando Museum in Amersfoort burned down right to the ground. During the
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the painting no longer represented any value, it was worthless in that sense. We found the piece rather interesting for various reasons: its enormous size makes it extremely imposing, and for our company it represented an excellent opportunity to show what we were worth.” Helicon is able to acquire the company from the insurance company, after which Hijnberg and his team start with its restoration. “I have no idea how long the painting had been under water, but both canvas and paint were completely saturated with water on one side. In addition mold had developed, requiring a specific treatment with ethanol and other products.” In 2013 the canvas was stretched for the first time. It will never be like new again and it shows. “We couldn’t get out many of the irregularities and dents, but that doesn’t matter”, says Hijnberg. “For us it’s not only about the piece itself, but also about the story behind it. And the bottom line, of course, is that we were able to sal044
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fire, besides over thirty pieces by Armando himself, work of other important artists like Anselm Kiefer, Albrecht Dürer, Jacob van Ruisdael, and Hercules Seghers were consumed by the flames. We were called in to see what could still be salvaged, and we worked on the conservation of Armando’s archives that had been damaged by the quenching water.” In the smoldering building Hijnberg discovers the remains of a wax-coated wooden statue, no more than some chunks of charred poplar-wood that
nevertheless grab Hijnberg’s complete attention. Sadly there was little discussion about whether it could still be restored. The only possibility for restoration was to re-create the statue from scratch, and that wasn’t an option, either. Hijnberg: “You could say the statue has been transformed, by all the damage, into a new piece. I’ve asked the insurance company whether we could acquire the remaining’s. As an example for our clients and staff, and because I actually find the statue quite beautiful in its present state.” The insurance company agreed after consultation with the museum, but on one condition: “We could not restore it, nor did we have permission to mention the name of the original artist, ever again. And so we won’t, not even now.”
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Mischa van de Woestijne IM AGES
Friso Keuris
spring 2017
Jacob Quack, Rotterdam, 1665 (detail).
atlases & maps, rare books, manuscripts & prints
bought & sold Art & Architecture, Science & Medicine, Islamic World & Middle East, Natural History, Travel & Voyages
advice collection building and valuations
Tuurdijk 16 | 3997 ms ‘t Goy – Houten | The Netherlands Phone: +31 (0)30 6011955 | Fax: +31 (0)30 6011813
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Cornelius Nozeman, Martinus Houttuyn & Jan Christiaan Sepp, Nederlandsche vogelen, 1770-1829.
Qianlong, 平定兩金川得勝圖 [Views of the conquest of Jinchuan], 1778-1785 (detail).
BOOK S
There are countless books about art, antiques and their history. Vernis has selected the best works for collectors, art lovers and professionals.
BOOKS
PETER SCHOEN
Between hammer and anvil
Frisian goldsmiths in the Golden Age This book, the author’s dissertation, was written from historical perspective. This allows Schoen over the course of its nearly 500
GÜNTER SCHILDER
Early Dutch Maritime Cartography The North Holland School of Cartography (ca. 1580 - ca. 1620) This book highlights an important, and thus far relatively unknown, chapter of Dutch maritime cartography. Well before Amsterdam became an international centre for cartography, in the 17 th century, the Northern part of the province of Noord-Holland had already hosted a flourishing cartographers’ school. These ‘caert-schrijvers’, or ‘map-writers’, were specialised in the manufacturing of maps of wider territories at a smaller scale, as those of the European coastline, and of the Indian and Atlantic Oceans. Ports like Enkhuizen and Edam were important trading posts and developed as cartographical centres, focusing on maritime navigation. In addition to the well-known printed
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navigators’ guides by Lucas Janszoon Waghenaer, the production of the ‘mapwriters’ consisted mainly of manuscript maps on parchment. Only few of these exceptional maps have survived. Maritime maps were of inestimable value to captains for navigation at sea; but what is surprising is that these maps also served a different purpose. Wealthy shipowners commissioned the production of maps to decorate
their walls, and as a maritime conversation piece. These feature decorative lay-outs and brilliant colors. And many of these charts were adorned with miniature paintings, rendering them, without a doubt, some of the most beautiful specimens ever produced by Dutch cartography during its Golden Age.
pages, to offer many interesting, and often novel, insights in and additions to the numerous existing publications on Frisian silverware, written from the angle of art history. Schoen introduces us, for example, to the socio-economical conditions in Friesland in the 17th century and previously. He sketches the province demographically and historiographically, dedicating abundant attention to proceedings and relations within the Frisian Guilds.
Publishers Verloren, 2016 ISBN: 9789087045999 Price: € 49
Brill | Hes & De Graaf, 2017 ISBN: 9789004338029 Price: € 175
spring 2017
BOOK S
JACOB SIX
JOHN AYERS
The collector’s genes
Chinese and Japanese Works of Art
50 family collections
In the Collection of Her Majesty the Queen
In this abundantly illustrated book, Jacob Six describes and recounts the history of his family of well-known, and patrician, art collectors, from the inside. A part of the objects still is the family’s private property, while many others have become the gems of international museums’ collections. World-famous is the set of 17th-century family portraits, including prominent paintings by
The Royal Collection is the first survey of the collection of Chinese and Japanese objects that are kept scattered on the
HANS JANSSEN, BENNO TEMPEL EN LIEKE WIJNIA
Piet Mondriaan
The man who changed everything
Rembrandt van Rijn, Frans Hals, Paulus Potter, Govert Flinck, and Nicolaas Maes. The fortychapter book also recounts the adventures and conditions of the Six family over the past half millennium.
Waanders Uitgevers, 2016 ISBN: 9789462630192 Price: € 45
Few artists reinvented themselves so many times as Piet Mondriaan (1872-1944). From realistic landscapes right up to his famous geometrical abstractions, Mondriaan conducted a real journey of discovery through the environment of modern art. His unlimited curiosity about novelties made him embrace the dynamics of life in Amsterdam, Paris, London, and New York City, and translate it in his colors on canvas. With its collection of over 300 pieces, the Gemeentemuseum Den Haag guards more Mondriaans than anyone else. This book describes each stage of Mondriaan’s impressive career, from his early landscapes until the radical new rythm of his last, unfinished masterpiece Victory Boogie Woogie (1942-1944).
Royal premises in England and Scotland. The wellover 2,000 pieces described in the book reflect the stunning variation in objects that reached the West over the course of history, and make up a true crosssection. The collection also shows an age-old fascination for objects from the Far East. This important, threevolume survey of Chinese and Japanese art has only been published in English.
Thames & Hudson Ltd., 2016 ISBN: 9781905686490 Price: £ 150 (3 volumes)
Waanders Uitgevers, 2017 ISBN: 978 94 6262 120 6 Price: € 24,95
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PORTRAIT SPECIALISTS
BETWEEN THE ARTS & AWARENESS The development and distribution of knowledge has been an important objective of the Koninklijke Vereeniging van Handelaren in Oude Kunst in Nederland, since its foundation in 1911. Vernis appreciates the opportunity to contribute and has yet again prepared a customized question for a number of experts in its new edition.
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Tiny Esveld Antiquarian and glass expert Tiny Esveld has written several books about her specialism, French art nouveau and deco glass.
W
hy was French art nouveau and art deco glass so innovative, and what role did Emile Gallé (1846-1904) play in both? Tiny Esveld: “Gallé is the godfather of modern French glasswork. He was the most trend-setting and innovative glass artists of the École de Nancy (1901-1909). His use of colors, layers of glass, and patterns had a decisive impact on the world-famous French art nouveau glass. Gallé was an artist in heart and soul; he didn’t only design glass vases, but furniture and ceramic objects as well. All his designs, whether for glass, ceramics, or furniture, were based on flora and fauna. His work can be characterized by his warm and romantic color-range, and by finesse. In order to manufacture his modern glass art, Gallé developed new techniques, and resuscitated old applications that had gone out of use. These are pieces that take your breath away. The artistic splendour is noteworthy. Producing it was too expensive, in actual fact, but Gallé’s father had accumulated a fortune with his business in glass and porcelain, which enabled Emile to experiment. In 1877 he obtained control over the company which he modernized and expanded. Tiny Esveld Gallé is famous of Gallery Tiny Esveld for his marqueterie de verre, glass built up out of separate layers on – or in – which decorations
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SPECIALISTS PORTRAIT
have been molten. He obtained the satin glow and relief by etching with acids or by wheel engraving. He also applied these techniques in a series of unique and extraordinary pieces he created for the French State, including an official gift for the Russian tsar, and a vase which was an official recognition for Pasteur. All well-known French glass manufacturers from the first half of the twentieth century, such as Daum, in fact, were indebted to Gallé. Inspired by Gallé’s success, they also started to blow vases in Gallé’s particular style. Though of high quality, Daum’s glass wasn’t of the same artistic value initially. Due to Gallé’s early passing, an opportunity presented itself in the market which these others seized. The Daum brothers were excellent businessmen, but no artists, so they hired them, including Charles Schneider. In the latter, Daum recognized particular gifts, and so he paid for his artistic training. It was not a source of grand amusement at Daum’s, therefore, when he left after fifteen years to start his own business with his brother Ernest.”
in het hart van de
renaissance rafaël, TiTiaan, TinToreTTo, savoldo, Moroni...
Bob Albricht Kunstgalerij Albricht is specialized in paintings from the period between 1800 and 1910, so owner Bob Albricht frequently has works by Isaac Israels, one of the most important Dutch representatives of the Amsterdam impressionists, in his collection.
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saac Israels created a number of paintings with the theme ‘riding a donkey along the beach’. They’re famous representations, but the pieces vary in price. Why is one more valuable than the other? Bob Albricht: “Isaac Israels’ donkeys on the
a
beach are icons; he created various Continued on page 50
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koop uw tickets online: www.rijksmuseumtwenthe.nl
PORTRAIT SPECIALISTS
Continued from page 49 versions of this summery beach-view. They’ve turned out to be the best-known paintings from Israels’ oeuvre, as well as from impressionist painting in the Netherlands. With this theme, Israels wanted to depict the carefree atmosphere of a day at the beach. Properly rendering sunlight was essential to the painter; the way Israels did this, almost nonchalantly, with his impressionist strokes registering the beach sceneries in Scheveningen, is characteristic for his style. About two dozens of paintings with donkeys on the beach are known. They are of varying quality. Some of them are premier pieces, others were sketched with swift strokes, more resembling exercises or studies. These are the circumstances that are decisive for value. The charm of the individual compositions is a factor as well. The girls – often the children of acquaintances – and the donkeys are depicted in varying manners, and in different combinaBob Albricht tions and of Kunstgalerij numbers. Albricht Nor does the attendant feature in every version. The prettiest and most valuable canvases from this series are the total views in which Israels developed the theme thoroughly, creating a composition where three girls in white dresses, and red-hatted, are depicted, with an attendant trailing the donkey in his blue shirtsleeves.” 050
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Emiel Aardewerk Silver expert Emiel Aardewerk from A. Aardewerk Antiquair Juwelier is specialized in and fascinated by, among other things, antique silver miniatures
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ven though silver miniatures are all equally tiny, they do differ in size. Why don’t they all share the same dimensions? Emiel Aardewerk: “Silver miniatures were mainly made in the seventeenth and eighteenth centuries for the dollhouses of the ladies of affluence and the scale of the dollhouse determined the scale of the miniatures that were created to adorn them. The dollhouses were furnished as miniature replicas of the homes of the commissioning ladies. And at times this concept was executed right up to the tiniest details, including the patterns in the parquet floors, the chandeliers with
‘ In the eighteenth
century, miniatures were so popular that certain silversmiths focused on their production exclusively’ Emiel Aardewerk
their actual mini-candles, and the tables set to perfection. Some miniatures, however, were not manufactured on commission, but were stocked by silversmiths without being conceived as part of a dollhouse. These singular pieces were manufactured in varying sizes. In the eighteenth century, miniatures were so popular that certain silversmiths focused on their production exclusively. These are ever in request, still in production and still in demand, though not at the same level as two or threehundred years ago, when it was the craze of the day. In the seventeenth and eighteenth century, many silver objects would be molten when currency was needed. Miniatures are tiny and so they wouldn’t deliver all that much, compared to the bigger objects. That’s why quite a number of silver miniatures from those days have surviEmiel Aardewerk ved. Yet it is of A. Aardewerk Antiquair Juwelier remarkable, at the same time: they’re tiny little objects that get lost in a wish, like the little cutleries and wine glasses. The rarer little objects are also those of greater value. The past years A. Aardewerk Antiquair Juwelier has set up an eighteenth-century miniature dining room and a seventeenth-century ‘Sael’, or bedroom, with historical miniature silverware, all in the same scale. It even included an extremely rare silver canopy bed. We spent years to get it all together.”
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Aya Langeveld
spring 2017
ART hANdlINg, CARe, INdepeNdeNT CoNdITIoN RepoRTINg
www.helicon-cs.com Industrieweg 13 | 2382 NR Zoeterwoude | Tel.: +31(0) 71 3030940 | info@helicon-cs.com
I N FOC US FOUNDED IN 1804, NEW-YORK HISTORICAL IS THE OLDEST MUSEUM IN NEW YORK CITY, CONTAINING MORE THEN 3 MILLION BOOKS, PAMPHLETS, MAPS, NEWSPAPERS, BROADSIDES, MUSIC SHEETS, MANUSCRIPTS, PRINTS, PHOTOGRAPHS AND ARCHITECTURAL DRAWINGS
NEW YORK
New York City is definitely one of the world’s hubs when it comes to finance, to fashion, the media, and the fine arts. The Big Apple also has a reputation, of course, for steep prices and a hectic rhythm. Then again, flying there usually doesn’t exceed the price of dinner for two at The Modern. And you can always escape the busy city by hiding in one of its countless and incomparable museums.
IN 2016 THE METROPOLITAN MUSEUM OF ART WELCOMED A RECORD NUMBER OF VISITORS: 6.2 MILLION
NEW YORK CITY IS HOME TO NEARLY 200 MUSEUMS
ART FAIR
TEFAF NEW YORK What city would have been a better choice for TEFAF’s longawaited expansion abroad then New York? At the end of 2016 the fair celebrated its debut with TEFAF New York Fall in the legendary Park Avenue Armory, to be continued with TEFAF New York Spring (4 - 8 May 2017) that will highlight contemporary art and 20th-century creations. The offer of the 92 exhibitors will undoubtedly be worldclass, but in case the visitor would still require some additional perspectives, the Park Avenue Armory, including the huge Wade Thompson Drill Hall and the period rooms that have been restored phenomenally are two good reasons to walk an extra round. TEFAF NEW YORK SPRING
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643 Park Avenue New York NY 10065 tefaf.com
spring 2017
I N FOC US VISITING SEVERAL MUSEUMS? TAKE ONE OF THE 13.600 NEW YORK YELLOW CABS
IN 1971, THE MET INTRODUCED A COLORFUL PIECE OF METAL AS ITS ADMISSION TICKETS. OVER THE YEARS THE METAL OBJECTS HAVE BECOME COLLECTORS ITEMS. IN 2013 THE MET ‘UNBUTTONED’ AND SWITCHED TO DETACHABLE STICKERS
THE FRICK THE WHITNEY M A N H AT TA N
THE MET TEFAF NEW YORK
MUSEUM
MUSEUM
MODERN
THE FRICK COLLECTION
METROPOLITAN MUSEUM OF ART
WHITNEY MUSEUM OF AMERICAN ART
The Frick Collection is not one of the bigger museums of New York City, but it is one of the most special ones. This is due, of course, to the exceptional collection that includes work by Titian, Rembrandt, Vermeer, Velázquez, and Van Dyck, accumulated by the American steel baron and patron of the arts Henry Clay Frick (1849–1919) in the early twentieth century. The fact that these masterpieces have been on show in the former home of Frick on Fifth Avenue since 1935 already, renders a visit just that much more special.
The Metropolitan Museum of Art isn’t merely the biggest, but perhaps the most visited museum in the world, selling about 7 million admission tickets a year. The collection covers 5,000 years of the history of the arts and culture, and counts some 2 million objects; and that’s an estimate, as a matter of fact, as hard data are not available. The Met – as the museum is colloquially called – presents a wide range of exhibitions: from the Hellenistic World to high-tech fashion. The imposing building on Fifth Avenue is, without a doubt, its most famous location, but the museum has two more that, though smaller, are both just as special in their own way. The Met Cloisters is located in the
THE FRICK COLLECTION 1 East 70th Street (between Madison and Fifth) New York NY 10021 frick.org
spring 2017
Fort Tryon Park, at the northernmost tip of in Manhattan. The museum is partly set up in the medieval cloisters that were once standing here; the collection consists of about 2,000 pieces and objects from the middle ages. Though it concerns no more than 0.1 % of all pieces from the Met’s collection, it is totally worth your ride on subway or cab. The Met Breuer that was inaugurated last year was named after the architect of the building on Madison Avenue: Marcel Breuer. With its exhibits in the field of modern and contemporary art, performances, and special artist-commissions, the museum manifests true personal character.
We can recommend to buy your tickets on-line; you’ll be able to avoid the often endless lines and save some useful time.
THE MET FIFTH AVENUE 1000 Fifth Avenue New York NY 10028
THE MET CLOISTERS 99 Margaret Corbin Drive Fort Tryon Park New York NY 10040
THE MET BREUER 945 Madison Avenue New York NY 10021
Until a few years ago, the Whitney was located in the building where the Met Breuer has settled now. In May 2015 the museum opened the doors to its new building, designed by Renzo Piano, in the Meatpacking District. A visit to the Whitney almost always starts by slowly moving up the line, so you might want to consider to loosen up first along the splendid High Line that leads to the museum. Once inside, the Whitney offers an unequaled collection of modern and especially contemporary art that, at times, struggles to compete with the splendor of Piano’s creation. WHITNEY MUSEUM OF AMERICAN ART 99 Gansevoort Street New York NY 10014 whitney.org
NIET IN NEW YORK? De Mat App is gratis en biedt heel veel informatie, zie de App Store of Google play store
METMUSEUM.ORG/ VISIT/MET-FIFTHAVENUE
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PORTRAIT OPEN DOORS
OPEN DOORS Remarkable pieces merit a remarkable environment. Vernis took a look on the premises of three dealers: one that trades in paintings, one in clocks, and one in antique books; rather than zooming in on their collections, we focused on the showrooms themselves. TEXT
Mischa van de Woestijne IM AGES
Marte
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OPEN DOORS PORTRAIT
KUNSTHANDEL P. DE BOER ART DEALERS History & Soul
Kunsthandel P. de Boer – specialized in paintings by Dutch and Flemish Old Masters – opened its doors in the early twenties of the last century, rather close to its present location. Right before the outbreak of the Second World War, the present owner’s great uncle succeeded in acquiring the house on the Amsterdam Herengracht, right next to the so-called Golden Curve (Gouden Bocht) of this canal. What is unique is that this building, constructed in 1685 for Pieter Six – nephew of the same Jan Six that was portrayed by Rembrandt – has not fallen victim to split-ups, blind walls, or modular ceilings in the past centuries. The building was used as a home for many centuries. Over the years following acquisition, the period rooms and their characteristic elements have been restored to their old luster, and another period room has actually been added. This room, incidentally, was brought in from another Amsterdam house, and goes back to the period prior to 1685. These spaces are experienced as a museum by visitors; the difference is that all shown art here is for sale. On average, there are about one hundred-and-twenty pieces by Masters such as Ferdinand Bol, Balthasar van der Ast, Jan van Goyen, Philips Wouwerman, or Ruysdael on display. The imposing looks of the building, primarily used as an exhibition area, but also housing a library, storage, and offices, help to make a deal, according to the present, and third, generation De Boer. But regardless, Niels de Boer (left) would never give up this building: “It is a blessing to be here.” spring 2017
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GUDE & MEIS ANTIEKE KLOKKEN Watch and listen
Gude & Meis Antieke klokken, located in the Amsterdam Spiegelstraat, appeals to all the senses of visitors. The about one hundred-and-fifteen clocks standing and hanging around the shop fill its space with an endless series of ticks, clicks, rattling cogs, and resounding bells at various pitches. The clocks come to life and invite you to inspect them more closely. Clients either arrive on appointment, or they are lured inside by the great variety of clocks behind the window. Once inside, they find themselves completely surrounded. The can admire the whole range, from mechanical models with astronomical complications and detailed, painted, decorations, to simple, electrically powered clocks from the beginning of the last century, from the Barocque pendulum to the serenely running Atmos clock. But also music boxes and barometers that, as different as they are, all meet the same standards: they are authentic, rare, and of the highest possible quality. Which equally applies to the clocks. Lars Gude (right) had a shop on the Overtoom from 1980 to 2013; along with Jos Meis, he opened the current store in Spiegelstraat in 2013. When asked, Gude claims he’s become immune to the wall of sound in his shop. But he is reminded of it several times a day, as nearly every customer asks whether the unremitting ticking and ringing doesn’t drive him crazy. “What sound? I haven’t heard it for years.” 056
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ANTIQUARIAAT FORUM Nineteenth-century gentlemen’s library
FORUM Antiquarians are specialized in ancient books, manuscripts, documents, and globes from the middle ages until the mid-19th century. The antiquarian bookshop was founded in 1970 and merged with Asher Rare Books in 2010, after which both entities have continued to operate under their own names. FORUM originally opened its doors on the Oude Gracht in Utrecht, but moved to its current location in 1994. This step was motivated by developments in the trade, and by the desire to create an environment that woul do justice to the increasingly high quality of the books, manuscripts, maps, and other printed items. The town of ’t Goy was selected, a village south of Utrecht, also the owner’s domicile. Only the outer walls of the farmhouse hosting the antiquarian shop survived renovation. After thorough remodelling, the building was transformed into a nineteenthcentury gentlemen’s library so the national and international clientele would be able to admire the collection of over 8,000 books and manuscripts in a proper environment. The cases were made to measure and essentially embrace most walls in the building; spaciousness is emphasized by the gallery that is accessible by winding stairs. According to Laurens Hesselink (left) who took over the business from his father in 2008, international collectors sometimes make an extra stopover at Schiphol airport, just to come and view a certain book or manuscript in ’t Goy. “Whever they come in for the very first time, they’re always quite impressed by the contrast between the inside and the outside. Our antiquarian shop has even been an inspiration for a number of our clients to build their own library... but they tend to big a lot bigger than ours!” spring 2017
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DR E A M C OL L EC T ION
There’s no collector in the world who is not somehow constrained in his acquisitional rage. It might be insufficient funds, lack of space on the wall, or simply because the piece is not for sale. But what would be more fun than fantasizing about the unlimited collection? Vernis asked Wim Weijland, director of the national museum for the antiquities, the Rijksmuseum van Oudheden, about his dream collection. It turned out Weijland picked pieces that ought to be at his museum: “The historical heritage should be accessible to the public.” 2. Magical sword
1. The Constable Maxwell ceiling lamp
1 The Constable Maxwell ceiling lamp “Diatreta glass was made in the late Roman era and it’s the rarest type of glass there is. About 100 fragments and whole glasses are known world-wide. Manufacturing it was an incredibly laborious process that could take as long as two years. The Constable-Maxwell Cup was made around 300 CE in Rome. It probably is the most rare, and I think also the most expensive, glass in the world. It was named after Andrew Constable Maxwell who sold the glass to the pension fund of the British Railways for half a million pounds in 1979. The investment paid a handsome yield, as it was sold for 2.3 million pounds in 1997 to Sheikh Saud al-Thani, who, in his turn, sold it at an auction to an anonymous bidder in
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2004. The lamp is not merely special, it also is incredibly beautiful.” 2 Magical sword “The most important finding from the Bronze Age in the Netherlands is a giant sword, found just before 1900 on De Junne estate in the vicinity of Ommerschans. Six giant swords from the Bronze Age (1500 BCE – 1300 BCE) are known to exist, all most probably forged at the same workplace. We believe they weren’t used to fight with, but rather that
they featured in certain rites. Our museum’s collection harbors the smallest of these six; I’d love to add the biggest to the collection. This weapon, known as the sword of Ommerschans, has been the property of a German family for over a century and is in absolute mint condition. It undoubtedly is the most impressive specimen of the entire group.” 3 Life-sized Aphrodite “No collection is complete without a life-sized marble or bronze statue from
3. Life-sized Aphrodite
DR E A M C OL L EC T ION
CV
Wim Weijland Wim Weijland (1966) has been director of the national museum for the antiquities, the Rijksmuseum van Oudheden, since 2006. After a short stint at the Faculty of Economics, he graduated in Art History at the Amsterdam Vrije Universiteit. Weijland worked for eight years for TV-producer IDTV in various capacities, and was head of the department for Art & Culture at Dutch broadcaster AVRO for six years from 2000. Besides his work as the director of museum, he is also vice-president of the Vereniging Rembrandt (Rembrandt association).
5. Picture of the Colosseum
statues depicting her have been preserved. This specimen, however, once was the property of John Lennon, which seems to me to be a strong argument to add it to my collection.” 5 Picture of the Colosseum
4. John Lennon’s Goddess
classical antiquity. An excellent choice would be a mythological figure, like this Aphrodite, but such statues hardly ever hit the markets. And when one does, you have to make absolutely sure that its provenance is undisputed and for example originates from an old, aristocratic collection. Like this Aphrodite that had adorned the Syon House in Middlesex since the 18th century, the domain of the Dukes of Northumberland, until it changed hands in 2014 for 9.5 million pounds.”
“It’s great, of course, that the wider audience has 4 access to the treasures from antiquity, but I sometimes wonder how it must have John Lennon’s been in the 19th century, Goddess when monuments like the “In principle, the proColosseum were exclusively venance of an artifact says visited by travellers passing little about its value in through all classical sites terms of the history of art, on their Grand Tour. Just but an interesting or for this reason I’d like to famous previous owner can have this late 19th century invest a piece with an extra photography I found at charge. Take this life-sized antiquarian’s Robert Egyptian sculpture of the Schreuder in my collecgoddess Sechmet, made tion. Look at the quiet, during the reign of the space, and imagine: pharaoh Amenhotep III no plastic souvenirs, no (1403 BCE - 1365 BCE). tourists with selfie sticks, Even though Sechmet was no fuming tour buses, the goddess of war and no guides running on destruction, over 600 the autopilot.”
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TOM POSTMA PORTRAIT
F TOM POSTMA As a child, Tom Postma visits countless museums, galleries, and artists’ studios along with his grandfather. He becomes so overwhelmed by these encounters, that he develops the all-encompassing desire to become an artist himself. Postma studies at the Rietveld Academie and the Rijksacademie, and finds himself a respectable position in the national arts scene. But he never really breaks through, that is, not as an artist. Because, as he starts to focus exclusively on designing museum exhibitions and art fairs in the new millennium, he quickly establishes a reputation. By now, he’s considered one of, or the very, best in his field.
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e design everything, that is, anything but the art. It’s about the transition from the outside to the realm of the arts. People enter into new territory, a world apart, where only art counts...” Tom Postma, founder and figurehead of design studio Tom Postma vernis#12 01
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TEFAF Maastricht 2016.
Tom Postma.
Colnaghi, London.
Design pauses: “... and we – we create that realm.” It used to be different, because before he made a name for himself as a designer for the arts, Postma was an independent artist himself. For Postma, born in 1952, it hadn’t been a logical choice of career, anyway. He did grow up in a home brimming with history, antiques, and art, but was expected to pursue a corporate career like his father, for Royal Dutch KLM, or as a banker, as tradition in his mother’s family. “Art did play a part in our family, but it wasn’t exactly an obvious choice to become an artist yourself.” Along with his grandfather, Postma visited museums and art galleries on a regular basis. “My grandfather had a big house in Mook, full of art and extraordinary objects. In addition he was a patron to several artists. During visits to their studios Postma would observe them at work, modelling their nudes. Postma found it exhilirating, both the nudes.
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Postma doesn’t make a conscious, wellconsidered choice for the arts; it is a pure, personal and unstoppable necessity for him. “You become an artist because you have no other options, because everything else must give way to it. An indomitable ambition, creativity that cannot be extinguished.” So he enrolled at the Rietveld Academie at a young age, graduates in five years, and visits, after a short interval at the teachers academy, the Rijksacademie. He quickly finds his way in the Amsterdam artists scene of the ‘80s and ‘90s. He fre064
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quently shows his work at respectable galleries and is regularly commissioned for monumental assignments. Yet Postma finds less and less satisfaction in his work as a visual artist: “The world of arts is extremely hierarchical. I was doing fine, but in
the middle of the pack. So then you happen in a situation where people expect you to shine their shoes. And I wasn’t really up for it. A contributing factor was that I was finding the commercial aspects of the arts sector, for example the sales through galleries, increasingly constraining.”
‘The world of arts is extremely hierarchical. I was doing fine, but in the middle of the pack’
Clean Cut The clean cut Postma decides to make is rendered easier for him by the monumental design assignments he is getting more and more frequently, and that he’s also finding increasingly satisfying. He’s also asked more regularly to design and furnish galleries and exhibitions. Postma realizes he’ll have to make a choice. “It’s impossible to combine the realm of the artist in which you’re only accountable to spring 2017
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TEFAF New York Fall 2016.
Teylers Museum ‘Teyler’s Legacy’, TEFAF 2015.
Vanderven Oriental Art, TEFAF 2016.
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get the assignment. That committee is nothing more than a symbol. But still a symbol for mediocrity. And I didn’t want the mediocrity any more.” yourself, with a situation in which your work as an architect is at the service of others.” So around the turn of the century Postma decides to leave the autonomous arts behind him and to continue on the path of architecture. Retrospectively, Postma thinks it was an assignment by the municipality of Zutphen that convinced him to quit as a visual artist: “I participated in a competition for a sculpting assignment for the town of Zutphen. A committee had been nominated that was going to select the artist on behalf of the municipality. This generally involved hundreds of entries, a few of which would be invited to elaborate on their sketches. That’s what happened in Zutphen, too, where I happened to be one of three artists that could expand on, and spring 2017
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explain, their designs.” Postma’s confrontation with the arts commission was the climax to the doubts that had been simmering in him. “Imagine this committee, in their little chambers... sure, these people mean well... But then the local arts lady starts talking, and she’s really involved and all, but in the end she’s only in it for herself. It was all so mediocre.” Postma has no mercy when criticizing the Dutch arts scene, for himself least of all. “My design was quite obviously not the best, but I did
City planning His breakthrough as a designer of museum exhibitions and art fairs comes quite quickly when Postma, along with artist Alexander Schabracq, is commissioned to design a square for PAN Amsterdam. After this assignment he’s asked to develop and new floor plan for TEFAF Maastricht. “A floor plan may seem simple, but in reality it is extremely complicated. It’s something like city planning; a town with boulevards, squares, entries, restaurants, cafés, and more. It’s about rythm, sight lines, areas for retreat, places where people congregate, or again seek privacy.” After TEFAF a number of other important art fairs follow suit, including Art Basel in Miami Beach and Art Basel in Hongkong. Postma’s reputation as a designer has been made. The departure of Tom Postma vernis#12
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Hemmerle, TEFAF 2016.
Design, however, also marks his demise as an artist. What Postma didn’t manage as an artist in the Netherlands, he succeeded at globally, as a designer: he is one of, or perhaps simply the very best in the world. And the description ‘designer of art fairs’ really falls short of the substance, as Postma, in addition to high-end art fairs, also designs museum exhibitions – as he did Goede Hoop, or ‘High Hopes’, for the Rijksmuseum – galleries, shops, stands, and homes, where the creation of the optimal environment for, and experience of, the visual arts is the final standard. Actual walls “A good fair is a world in itself. What we create for fairs like TEFAF was inexistent up to fifteen or twenty years ago. In those days, figuratively speaking, you had these carton walls separating the various galleries, and right in the middle a spot to grab some coffee. It’s entirely different now, everything’s been thought about. Whether it’s a spectacular entrance, the right illumination or coloring, the furniture and carpeting: all in the service of an optimum experience of the arts.” TEFAF Maastricht is different from TEFAF New York, and different still from Art Basel in Miami Beach or Art Basel in Hongkong. But all fairs are designed and furnished in such a way that galleries are able to create a spot expressing their own character and style so as to present their art in the best possible way. “Art can only be served right by applying museum standards for exhibiting it. Museum quality is our standard.” “That’s why we dedicate an extreme amount of attention to lighting, the width of the corridors and height of the ceilings, and of course to decorations, like the famous flower arrangements at TEFAF that we embellish on each year so as to surprise the visitors.” Though it might seem a detail, the ‘actual walls’ are an important aspect of Postma’s designs: “Every participant wants to create his own world, and wants to present his collection in the best possible environment. And that would be 066
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an environment that doesn’t merely do justice to the pieces, but also demonstrates what they would look like at somebody’s home, or at a museum.” Postma naturally keeps his distance from the stands and the works of art that are on show, but that doesn’t mean he doesn’t establish guidelines for the participants. “When we design a fair, we start from certain visual lines, from the way people walk along a hallway, so it’s out of the question that someone would place an object in that hallway, or, for example, would hang up some sign there.” Red Dot Award Tom Postma Design receives international praise and its list of renowned commissioners is extensive and impressive. The past year Postma received the prestigious Red Dot Award for his design of the stand of Hemmerle at TEFAF. Postma designing also designed the store in Munich for this world-famous jewellery house years ago already. And Postma doesn’t work alone, by the way: his company counts a few dozens
of designers, artists, and architects. “I am intimately involved in everything we do. Naturally I am involved in all details of everything we design, and for anything we issue we apply high, or rather the highest, standards. In the end it’s all about top quality, in all respects.” Postma’s operative theatre is wide, but he no longer produces art. He does have a studio in the basement of his home where he “fidgets a bit”, once in a while. The question whether he doesn’t miss artistry is clearly inevitable, his answer clearer still: “Of course I miss making my autonomous creations, but not enough to become an artist yet again.”
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Mischa van de Woestijne IM AGES
Mark Niedermann
spring 2017
Museum Helmantel
In het jaar 1967 begon Henk Helmantel beroepsmatig met zijn vak. Gaandeweg ontwikkelde hij zich tot realistisch schilder van stillevens en interieurs van middeleeuwse kerken en kloosters. Jubileumtentoonstelling
HENK HELMANTEL 50 JAAR SCHILDER
Een overzicht van een halve eeuw Helmantels. Veel schilderijen uit de eigen collectie, aangevuld met bruiklenen én nieuw werk. 4 mei t/m 26 augustus 2017
GEACHTE COLLEGA’S De tentoonstelling Geachte collega’s bestaat uit werk van collega kunstenaars waarvan Museum Helmantel de laatste 50 jaar werk heeft aangekocht en bruiklenen uit diezelfde periode. Museum Helmantel, Abt Emopad 2, 9922 PJ Westeremden (Gron.) Open do. vr. za. middag van 1 tot 5uur www.helmantel.nl babs@helmantel.nl
1 september t/m 28 oktober 2017
VERNIS
ON ART AND PERSPECTIVES Magazine Vernis has presented its particular and contemporary perspectives on the world of arts, museums, architecture, and traveling for eight years already. Vernis is published twice a year and is available at the major art fairs and at a select group of galleries, art dealers, art framers, and museums. Afraid to miss an edition of Vernis? Take out a subscription for € 18 a year and you’ll receive the Netherlands’ prettiest arts magazine at home automatically.
€18 A YEAR
(2 editions)
For a subscription, go to kvhok.nl/vernis Vernis is a biannual publication of the Koninklijke Vereeniging van Handelaren in Oude Kunst in Nederland, the royal society of ancient art dealers in the Netherlands (KVHOK) that is distributed in November and March.
COLUMN
antique mirrors? A closet with a past, or an old, wooden bed fit in well in a house on a canal, or in one of those spacious buildings in Amsterdam Zuid, but how often haven’t their places been taken by a model from Ikea or Auping? A visit to some of the Dutch, Parisian, or Roman antiquarians would enrich these homes stylistically. No wonder that when you’re looking for an apartment in Paris or Rome you discover how the focus on color, style, and presence or furniture with a prominent past does flourish over there. Also people that can’t exactly afford a castle or an Spying on his neighbors via real estate endless penthouse, seem to know website Funda usually doesn’t inspire their way to antiquarians and seething envy in Yvo van Regteren Altena. specialized upholsterers in Saint The aesthetic preferences in those digital Germain des Prés a lot better. Many tiny, 60-square meter apartments in interiors of pampered people as a rule don’t this quartier exude a grandeur that is inspire at all. A few antique adornments here way out of the league of numerous, and there would be enough to uplift some regal canal apartments. Fortunately, of these homes. there are exceptions, too, where the home combines present and past in a n the look-out for friends personal and harmonious way. What is attractive that are trying to find a about antique furniture and aged silver is the active new home, but also out part they play in our daily lives. They allow you to of a permanent feeling maintain the hint of a relationship with your of unrest, I happen to forebears, who you feel would’ve been delighted to wander on the Funda real know their napkin ring was going to survive the estate website once in a 21st century, too. while. Hardly ever am A certain humility about cherishing antiques I bothered by envy during my scrolling. I generally would have its charm, though, even if the excentric count myself lucky with my oasis in the Amsterdam and ultra-snobby British politician Alan Clark had inner city where I’m at liberty to attack the an entirely different view. He once sneered about keyboard of my piano until late at night. My his fellow-Conservative Michael Heseltine: “The fantasies about another home aren’t generally trouble with Michael is that he had to buy his own stimulated when I shift my imaginary hunt to furniture.” I believe buying it yourself is what unattainable domains. Take a look at the makes it worthwhile, because it allows you to mix Amsterdam millionairs’ real estate, and start the modern and the historical, granting character wondering about the aesthetical preferences of to your own present in your own lifetime. the spoiled. Regal fire places have been replaced by electronically lit fire beams, and the centre of the living room is dominated by a huge stereo TEXT flat screen TV. Where are the homes with an Yvo van Regteren Altena inspriring library, beautifully upholstered IL LUST R AT ION Louis XVI chairs, and abundantly adorned Tekenteam.nl
MODERN PERIOD ROOMS WITH ANTIQUES
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spring 2017
TEFAF Maastricht MECC, March 10 - 19, 2017
Delft, circa 1775, height: 20.5 cm (8 inch), provenance: Nijstad Collection, Lochem | photo: Frank van Driel
Aert Schouman, The managerie of Prince William V, wall painting with birds, 1786, The Hague, State of the Netherlands Royal Collections.
A ROYAL PARADISE EXHIBITION
The Dordrechts Museum celebrates its 175th anniversary with ‘Een Koninklijk Paradijs’, a royal paradise. In this exhibition, the Dordrecht artist Aert Schouman from the – often underrated – Silver Age, gets the attention he deserves.
AERT SCHOUMAN AND THE IMAGINATION OF NATURE he names of painters from the Golden Age, like Rembrandt, Frans Hals, and Vermeer, have been etched in the Dutch collective memory, as have those of the giants of the 19th and 20th centuries, like Van Gogh and Mondriaan. The Netherlands also harboured many exceptional painters in the 18th century, but their names
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Aert Schouman, Big bird of paradise, 1758, Rotterdam, Museum Boijmans Van Beuningen (photo Studio Buitenhof, The Hague).
are much less well-known. And undeservedly so. Often they haven’t been blessed with the appreciation they deserve because the Silver Age has been the stepchild of the canon of Dutch art history for many years. The Dordrechts Museum will change this situation with the exhibiton entitled ‘Een Koninklijk Paradijs’, a royal paradise. The 18th century artist Aert Schouman, born in Dordrecht, has been attributed a place of honor in the exhibition. With over 200 of his pieces on show, the exhibition will paint a complete picture of Schouman’s versatile talent. Productive Sander Paarlberg, curator of Old Master Paintings at the Dordrechts Museum, thinks it is only logical that the museum celebrates its 175th anniversary with an exhibition on one of Dordrecht’s greatest artistic sons: “Such an anniversary merits a 072
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festive exhibit. And the limelight is on an artist from Dordrecht, so we’re really flaunting our very own feathers.” Both literally and metaphorically, because painting feathers was one of Schouman’s masterly skills. The working area of Schouman (17101792) wasn’t limited by his home town’s boundaries. His commissioners were
‘Schouman drew over 340 species of birds. His contemporaries, or his predecessors, for that matter, didn’t even cover half that number’
from all over the country. He often visited Middelburg and the surrounding area, but also The Hague where he ultimately settled. He counted many prominent people among his commissioners, such as stadtholder Prince William V. Schouman was exceptionally productive. His massive oeuvre includes topographical drawings, portraits, so-called wall wall paintings, and drawings of flora and fauna, generally acquarels. Paarlberg considers his acquarel technique an aspect that renders Schouman particularly interesting: “Schouman was a gifted drawer who developed a splendid acquarel technique. He was innovative and mixed his own painting liquids, allowing him to develop the most sparkling colors for his loosehanded, but accurate drawings.” His drawings don’t merely represent an aesthetical value, but are also scientifically relevant. “Schouman drew over 340 species of birds. spring 2017
A ROYAL PARADISE
Sander Paarlberg, curator of Old Master Paintings at the Dordrecht Museum.
His contemporaries, or his predecessors, for that matter, didn’t even cover half that number. He proceeded in a nearly encyclopedic manner, and depicted all those birds with great accuracy.” Schouman’s concern for matters besides the aesthetic is also manifest from the notes he often scribbled on the back of his drawings. He noted, for example, that “a cockatoo can raise his crest”, and about a buzzard he wrote “the animal is actually bigger than a turkey”.
Aert Schouman, Red cockscomb (Celosia cristata), Harlem, Teylers Museum.
spring 2017
Crest Schouman was not a biologist; he was unfamiliar, for example, with Latin names for species, but he did possess excellent powers of observation. A good example of this in the exhibition is the drawing of a red-billed toucan. With great precision Schouman depicted how this bird clasped two toes around the branch, instead of vernis#12
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Aert Schouman, The menagerie of Prince William V, wall painting with exotic animals and Huis ten Bosch in the background, 1788, The Hague, State of the Netherlands Royal Collections.
A ROYAL PARADISE
three, as many of his kind do. Schouman’s choice of subjects is typical for the 18th century. Paarlberg: “Those days saw great interest in natural phenomena, collecting, and the sciences. This interest had been around since the 16th century, but over the course of the 18th it acquired a new dimension that is quite similar to modern science. It was the era of the Enlightenment, and people wanted to learn to understand nature, and to catalogue it. Wealthy gentlemen started to collect naturalia in those days, and filled up their splendid cabinets with the likes of special seashells, and animals in formaldehyde. But people also ordered drawings of all the marvels one could discover in nature.” Menagerie The Dordrechts Museum wants to let visitors experience the spirit of that age, and has, therefore, reconstructed a grand naturalia cabinet that shows stuffed birds as well. “Because of their splendid colors and great variety, exotic birds were popular objects of study and collection. They were collected stuffed, but sometimes alive, too. People did so in a so-called menagerie, the predecessor to today’s zoo.” In the 17th and 18th centuries, menageries were kept by aristocratic and royal families that used them to beautify their palace gardens. By keeping and collecting exotic animals, a prince could emphasize his power; animals from other parts of the world were hard to come by, after all. Louis XIV’s circular menagerie, founded in the 17th century at the Versailles palace, was an important source of inspiration for many courts. Hans and Parkie The Dutch stadtholder Prince William V refused to remain unnoticed and took care of an impressive expansion of the menagerie at Het Kleine Loo in Voorburg. Its inhabitants included two Indian elephants, Hans and Parkie, but an orangutan from Borneo as well, a sloth, and many Continued on page 78 vernis#12
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Aert Schouman, The garden with menagerie at the manor house Zuydwind’s Gravenzande, 1746, private collection
Aert Schouman, White-throated toucan, 1748, Amsterdam, Rijksmuseum (loan from the Amsterdam municipality).
Continued from page 75 exotic birds. They were often brought back by ships of the East-India Company as live stock on their return from the East, more than once as a business gift for the prince. In 1771 the director of the Stadthouder’s naturalia cabinet Vosmaer was also appointed as custodian of the expanding menagerie. He had the reputation of an ardent collector and expert of the animal kingdom; on several occasions Vosmaer wrote about the animals at the menagerie. About the exotic birds he reminisced: “... the splendid and shifting shine of their feathers have a quality which the most perfect of paintbrushes is incapable of capturing; the prettiest colours, and the art of mixing them, are too poor to emulate Nature in the matter.” Yet he invited artists to make the most accurate drawings of them they were capable of. Schouman, who at the time had quite a reputation already, was commissioned to 078
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Aert Schouman, An Orange-winged Amazon, Amsterdam, Amsterdam Museum.
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Activities organised in the context of the exhibition The Dordrechts Museum doesn’t only introduce visitors to Schouman’s work, also all sorts of activities have been organised in the context of the exhibition. Because of the animals, the exhibition is particularly enjoyable to visit in the company of
children. Especially for them, an educational space has been set up where they can paint their own acquarels after stuffed birds, or design their own royal wallpaper. In a separate space you can watch a documentary about the circular room that was made on the
occasion of the exhibit. In addition, for the duration of the exhibition countless lectures are organised that discuss Schouman from various perspectives. Other locations in the city will dedicate attention to this man from Dordrecht, too. Dordrecht was
the artist’s home, after all, the place he grew up in and where he created his first pieces. Many sites of the city harbour memories of Schouman. Thosse who are interested can discover these sites during the city stroll: ‘Walk through Schouman’s Dordrecht’.
spring 2017
Aert Schouman, Blue-crowned Motmot and Yellow-tufted Woodpecker, Rotterdam, Museum Boijmans Van Beuningen (photo Studio Tromp, Rotterdam).
do what was nearly impossible: to capture the splendour of the birds in acquarels. The animals of the menagerie were kept in stables, wooden cages, and birdcages. Schouman, however, did not want to let on that the animals he drew were in captivity. So he positioned his birds in acquarelled landscapes, on a branch, for example. That’s why, at the exhibition, next to some of the drawings a stuffed bird has been placed besides, of the kind depicted on it. “That is to illustrate Schouman’s virtuosity”, explains Paarlberg: “Schouman also often drew after stuffed animals, yet still he knew how to suggest intense liveliness.” Paarlberg: “As a museum we have a lot of knowledge about the artist, his work and his technique, but at times we had difficulty in determining his favourite subject. That’s why we thankfully accepted the expertise of the Dutch association for the spring 2017
protection of birds, the Vogelbescherming Nederland. They’ve given us assistance for the description of the bird species, and in writing the text plaques.” Other partners in our research on Schouman have been the Rijksmuseum Twenthe in Enschede, and the RKD (the Dutch institute for art history). Schouman’s birds also feature on his
‘These pieces may be considered the crowning of his long career, and the closest thing we have to a summary of his work as a whole’
wall paintings, the large painted canvases that were strechted in front of walls. Besides these wall paintings, Schouman also frequently painted pieces for above the chimney or doors. A wonderful example of this – also his very first – are the wall paintings he created for palace Huis ten Bosch. Paarlberg is extremely content he succeeded in bringing these wall canvases to Dordrecht: “These canvases are part of the private collection of the House of Orange, and have never been publicly exhibited before. They had to be carried off from Huis ten Bosch due to renovation works, which offered the opportunity for us to include them in the exhibition. This most probably is a one-time opportunity to admire them, as they will soon disappear behind the walls of the future residential palace of king Willem-Alexander and queen Máxima.” Schouman created these hangings on commission by stadvernis#12
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tholder Prince Willem V; they depict a paradise inspired by his menagerie and the naturalia cabinet. “Schouman painted these canvases when he was 78 years old, an exceptional performance for a man of that age. These pieces may be considered the crowning of his long career, and the closest thing we have to a summary of his work as a whole.” It is the grand finale of the exhibition for a reason. The exhibition starts with Schouman’s earlier work, many aquarels and loose hangings. For the exhibition, a reconstruction was made of a room, circlewise, so as to show the pieces in an original setting, that is before they had been installed at Huis ten Bosch. Paarlberg has reflected well with his team of the Dordrechts Museum about this aspect: “Visitors can experience how these chambers had once been intended: they enter into a paradisiacal environment, full of exotic animals, and they are mesmerized by the beauty of nature. In those days, when far fewer exotic animals were known, let alone witnessed all together, this must have made an overpowering impression.” The museum not only collaborated with the Royal Collections in The Hague for these wall canvases, three other bird pieces from the collection of His Royal Highness King Willem Alexander are also on show. That’s why the exhibition was given the title ‘Een Koninklijk Paradijs’, a royal paradise, and was approriately inaugurated by Queen Máxima. In addition, pieces are on show from the treasury of the most important prints collections in the country, such as the national Rijksmuseum, the Teylers Museum, and Museum Boijmans van Beuningen. But the Fondation Custodia from Paris, as well, has collaborated, and pieces have been made available on loan from both museum and private collections, in the Netherlands and abroad. Jumping Rabbit With such an astonishing range of choice, it is rather hard to pick one’s favourite. 080
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Aert Schouman, Pale kangaroo mouse, 1786, Dordrecht, Dordrechts Museum (bought with support of the Vereniging Rembrandt).
A ROYA L PA R A DISE
Visiting the exposition ‘Een Koninklijk Paradijs’, a royal paradise, can be visited until 17 September 2017. Open Tuesday to Sunday, from 11.00 AM to 5.00 PM.
Paarlberg’s attention was captured, however, by one piece in particular: “A piece that is quite special to me is not a drawing of a bird, but of a jumping mouse. Schouman drew the creature after a stuffed specimen from the naturalia cabinet of William V. A ‘Jumping Rabbit’, as he wrote on the back-side of the sheet. To this he added that he’d depicted the animal at true size.
The animal, apparently, originates from the deserts of western North-America. The creature’s also called Pale Kangaroo Mouse, christened Microdipodops pallidus, but Schouman just gave it a proper name. It probably was one of the earliest specimens brought to Europe, and this is its earliest depiction. Only in 1901 the Pale Kangaroo Mouse was to be described scientifically.”
TEXT
Jettie Rozemond IM AGES
Dordrechts Museum
spring 2017
COURSE
COURSE
LEARN FROM AN ART & ANTIQUES IN PRACTICE
During the course Kunst & Antiek in de Praktijk (Art & Antiques in Practice), organized by the Koninklijke VHOK the best art dealers, often featured in the TV-show Tussen Kunst & Kitsch, will share their unique knowledge and experience. The participants gather at 082
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the premises of one of the associated antiquarians of the KVHOK, visit museums, art fairs, and restoration studios. Participants get closer to the arts and antiques than ever before; pieces are studied and discussed in detail. This course doesn’t only revolve
around knowledge, but certainly around passion and love for ancient art and antiques as well.
Practical information The autumn course runs from the beginning of September until the
spring 2017
COURSE
OLD MASTER Some of the Koninklijke VHOK Masters (from left to right): Anna Laméris, Niels de Boer, Ali Foumani, Theo Daatselaar, Emiel Aardewerk, Anne-Marie Verbeek, Willem Jan Hoogsteder.
MARIE-CÉCILE THIJS
beginning of December 2017. The course consists of 11 meetings that take place on Tuesday afternoon from 2.00 PM until about 5.00 PM in various locations in the Netherlands. Every course is taught to groups of a maximum of 15 students. Participation costs € 725 (incl. VAT).
spring 2017
More information about participating in our curriculum of courses? Visit our website kvhok.nl, send an e-mail to info@kvhok.nl or call 00 31 (0)20 623 89 04.
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THE SOCIAL CIRCLE
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THE SOCIAL CIRCLE
THE SOCIAL CIRCLE OF THE KONINKLIJKE VHOK The Koninklijke VHOK has its own Social Circle known as the ‘Vriendenkring’. Its members meet to study the arts and to experience the world of art and antiques from within. The Social Circle organizes numerous activities for arts lovers, creating the opportunity for aficionados and other people with an interest to experience the unique knowledge and experience of the Koninklijke VHOK; in an open and informal setting, and always in an inspiring environment. The dealers involved in the Vriendenkring are
among the top traders in the Netherlands. They dispose of great practical know-how and insight in the process of value accumulation of objects, and know how to talk about these matters with enthusiasm and clarity. They always use concrete cases and objects to this purpose, because there’s nothing better than experiencing arts and antiques first hand. The Vriendenkring is a flourishing, informal group of arts lovers in which the knowledge of and passion for arts and antiques take centre stage.
Membership of the Vriendenkring costs € 125 annually, in return for which members receive: I
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Access to a network of arts experts and aficionados
The magazine Vernis twice a year
Two admission tickets for the arts and antiques fair ART Breda
Two admission tickets for the arts and antiques fair PAN Amsterdam
Member meeting with an inspiring arts and antiques program
Admission to several events, lectures and guided tours
Discount on courses curriculum of Art & Antiques in Practice
Digital newsletter with members’ publications
Would you like to become an associated friend of the Koninklijke VHOK, please go to our website kvhok.nl/vriendenkring, or send an e-mail to vriend@kvhok.nl
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PORTFOLIO ENSEMBLE
More and more collectors and major fairs are choosing an eclectic approach, combining various styles and objects. It goes without saying that Vernis can only applaud this trend, as has been apparent for years from the selection of the most beautiful and extraordinary pieces that we collect at different dealerships to create our own, and special, Ensemble.
ENSEMBLE
FROM LEFT TO RIGHT, TOP TO BOTTOM
Gude & Meis Antieke klokken AN EMPIRE GILT BRONZE CLOCK PENDULE, FRANCE, AROUND 1800 HEIGHT: 39 CM PRICE: € 12,500
Peter Korf de Gidts Antiquair MAMMOTH GOBLET ENGLAND, 18TH CENTURY PRICE: ON REQUEST
Gude & Meis Antieke klokken PAIR OF EMPIRE GILT BRONZE CANDLESTICKS, FRANCE, AROUND 1800 HEIGHT: 26.5 CM PRICE: € 3,750
VanderVen Oriental Art IMPERIAL YELLOW GLASS BOWL, CHINA, EARLY 20TH CENTURY HEIGHT: 8 CM, DIAMETER: 20.6 CM PRICE: ON REQUEST
Antiquair Juwelier Marjan Sterk A YELLOW GOLD BRACELET ‘JUST UN CLOU’, SIGNED ALDO CIPULLO, NEW YORK, 1971 PRICE: ON REQUEST
A. Aardewerk Antiquair Juwelier ROSE GOLD BRACELET, ITALY, 1960S LENGTH: 18 CM PRICE: ON REQUEST
PRODUCT ION
Paul Wullems IM AGES
Albertine Dijkema, A10design BNO
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Frides Laméris Kunst- en antiekhandel FRUITTIERA (FRUIT BOWL) MADE IN THE MEZZA STAMPAURA TECHNIQUE, DECORATED WITH BLUE GLASS THREADS, VENICE, AROUND 1500-1520 HEIGHT: 13.7 CM, DIAMETER: 23.3 CM PRICE: ON REQUEST
spring 2017
ENSEMBLE PORTFOLIO
spring 2017
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FROM LEFT TO RIGHT
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Gude & Meis Antieke klokken
Kunsthandel Jacques Fijnaut
Ruben Aardewerk Antiques
AN EMPIRE GILT VASE CLOCK PENDULE WITH GRIFFINS, FRANCE, AROUND 1800 HEIGHT: 29 CM PRICE: ON REQUEST
PAIR OF ORMOLU CANDLESTICKS, FRANCE, LATE 18TH CENTURY HEIGHT: 27 CM PRICE: ON REQUEST
SAWASA TOBACCO BOX, JAPAN, AROUND 1720 PRICE: ON REQUEST
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spring 2017
spring 2017
Kunsthandel Jacques Fijnaut
VanderVen Oriental Art
PAIR OF ORMOLU CASOLETTES, FRANCE, AROUND 1820 HEIGHT: 24 CM PRICE: ON REQUEST
BLUE & WHITE PORCELAIN BOWL WITH GILDED MOUNTS, WITH JIAQING MARK, CHINA, KANGXI PERIOD (1662-1722) HEIGHT: 22 CM, DIAMETER 21.5 CM PRICE: ON REQUEST
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FROM LEFT TO RIGHT, TOP TO BOTTOM
Antiquair Juwelier Marjan Sterk
VerbeekSchuttelaar
A. Aardewerk Antiquair Juwelier
PAIR OF WHITE GOLD PERIDOT COVERED EARRINGS, SIGNED HEMMERLE, MÜNCHEN PRICE: ON REQUEST
ART DECO DOUBLE CLIP BROOCH PRICE: € 14,000
DOUBLE HEART-SHAPED PENDANT SET WITH OLD CUT DIAMONDS IN SILVER ON GOLD, ENGLAND, AROUND 1890 PRICE: ON REQUEST
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Kunstconsult SILVER ART DECO BUCKLE IN THE SHAPE OF A BAT, DESIGNED BY FERDINAND ERHART, PARIS, AROUND 1900 PRICE: ON REQUEST
A. Aardewerk Antiquair Juwelier
A. Aardewerk Antiquair Juwelier
LOVEBIRD BROOCH, MADE BY MELLERIO DITS MELLER, PARIS, 1960S, 18 CARAT GOLD, CHYSOPHASE AND RUBY PRICE: ON REQUEST
A MASSIVE 18 CARAT ROSE GOLD RETRO RING, ITALY, 1940S PRICE: ON REQUEST
spring 2017
Antiquair Juwelier Marjan Sterk
Ruben Aardewerk Antiques
VerbeekSchuttelaar
VerbeekSchuttelaar
Kunsthandel Mieke Zilverberg
VerbeekSchuttelaar
YELLOW GOLD NECKLACE COLLIER WITH RAW STONE UVAROVITE, SIGNED MICHAEL BECKER, GERMANY, 2016 PRICE: ON REQUEST
14 CARAT GOLD DUTCH ‘BOOTJES’ (SMALL BOATS) NECKLACE, AROUND 1790 LENGHT: 36 CM PRICE: ON REQUEST
BRACELET BY HERMÈS, FRANCE, AROUND 1960 PRICE: € 12,000
CAT BROOCH BY HERMÈS, FRANCE, AROUND 1960, 18K YELLOW GOLD AND EMERALD PRICE: € 4,900
GREEK GOLD BRACELET, HELLENISTIC PERIOD, (3RD-1ST CENTURY BC), CENTRAL MEDALLION IN THE SHAPE OF A HERAKLES-KNOT WITH A GARNET IN THE MIDDLE, TWISTED BAND WITH HOOKED CLASP. DIAMETER: 6.3 CM PRICE: ON REQUEST
BUCKLE RING BY BOUCHERON, PARIS, AROUND 1980 PRICE: € 18,000
spring 2017
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FROM LEFT TO RIGHT, TOP TO BOTTOM
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Peter Korf de Gidts Antiquair
Peter Korf de Gidts Antiquair
VanderVen Oriental Art
VENETIAN WINGED GOBLET, AROUND 1550-1600 PRICE: ON REQUEST
DUTCH ENGRAVED GOBLET WITH THE COAT-OF-ARMS OF THE STATEN GENERAAL, AROUND 1750 PRICE: ON REQUEST
PAIR OF IMPERIAL YELLOW GLASS COVERED JARS, CHINA, LATE 19TH CENTURY HEIGHT: 16.8 CM, DIAMETER: 14.4 CM PRICE: ON REQUEST
spring 2017
spring 2017
Frides Laméris Kunst- en antiekhandel
Kunsthandel Jacques Fijnaut
Kunsthandel Mieke Zilverberg
HUGE GLASS FOR TOASTING TO PATRIAE ET PATRIBUS, TO THE FATHERLAND AND THE REGENTS, DUTCH LEAD GLASS WITH WHEEL ENGRAVING, SECOND QUARTER 18TH CENTURY HEIGHT: 30.8 CM PRICE: ON REQUEST
HUGE GLASS, ENGRAVED WITH THE FOUR SEASONS, DUTCH, AROUND 1760 HEIGHT: 23 CM PRICE: ON REQUEST
AMBER GLASS PILGRIM’S FLASK, 2ND-3RD CENTURY AD HEIGHT: 12 CM PRICE: ON REQUEST
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AGE N DA
Dutch museums are pulling out all the stops to seduce art lovers this year, but the members of the Koninklijke VHOK are also organizing and participating in numerous interesting events.
AGENDA
Johannes Grützke, Darstellung der Freiheit, 1972
Johannes Grützke, Monument der Tröstungen, 1971
Small Wonders at the Rijksmuseum
AMSTERDAM
Small Wonders at the Rijksmuseum The exhibit Small Wonders at the Rijksmuseum features, for the very first time, miniature carving marvels, displaying about sixty prayer nuts, miniature altars, monstrances, little skulls and other memento-mori pendants carved from boxwood. These astonishingly finely carved ‘toys for the soul’ depict a variety of religious scenes with great imagination and finesse. Virtuoso ‘micro-carving’ that took the practical skills well beyond the boundaries of
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the imaginable. The Rijksmuseum stages the Small Wonders exhibition in collaboration with The Art Gallery of Ontario (AGO) and The Metropolitan Museum of Art/ The Cloisters in New York; it was made possible thanks to funding by the Pot Family Foundation/Rijksmuseum Fonds.
Rijksmuseum, Amsterdam, 17 June - 17 September 2017, rijksmuseum.nl/nl/smallwonders
GORSSEL
German realism in The Berlin artist Johannes Grützke (1937) in Germany is considered the last surviving of the great realistic painters. The exhibition in Museum MORE, displaying over five decades of artistry of the Berlin painter, shows there are valid grounds for making that claim. Grützke’s work
voorjaar 2017
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AMSTERDAM
Open deuren For the ninth year in a row, the arts season will take off with the OPEN HOUSE event in the museum district of Spiegelkwartier. The seventy+ antiquarians and galleries in this famed street will show their new finds, stage special exhibits, organize lectures, as well as a recital.
Spiegelkwartier - the Art & Antiques District, Amsterdam, 23-24 September 2017, spiegelkwartier.nl BREDA
New location for ART Breda
Museum MORE consists of extravagant social criticism, portraits and self-portraits, all depicting man and the full extent of his glorious madness through great technical virtuosity.
Museum More, Johannes Grützke – Der Pinsel hat Gesprochen, 26 February - 11 June 2017, museummore.nl
voorjaar 2017
Art Breda, the national spring fair for art, antiques, and design has moved to De Bree, in Breda. This fourh edition, besides showing the offer of over ninety participating dealers and galleries from the Netherlands, Belgium, and Germany, also stages a special exhibition, organized this year by the Drents Museum that will display pieces on the theme of ‘animals in the arts’.
Art Breda, 7 - 14 May 2017, artbreda.nl
Bart van der Leck, De storm, (detail), 1916
THROUGHOUT THE NETHERL A NDS
100 years of De Stijl Exactly one century ago the artistic movement De Stijl (‘the style’) was founded, named after the eponymous magazine that was published from 1917 to 1927. Famous artists that adhered to De Stijl are Theo van Doesburg, Piet Mondriaan, Bart van der Leck, and Gerrit Rietveld, responsible for a great number of iconic objects and designs. To
celebrate the anniversary a series of events and exhibits will be organized throughout the Netherlands, including exhibitions in the Gemeentemuseum Den Haag and in De Lakenhal, but also in many of the cities where adherents to De Stijl lived and worked.
Van Mondriaan tot Dutch Design. 100 jaar De Stijl. Go to holland.com for dates and locations.
AMSTERDAM
From Classical to Contemporary PAN Amsterdam is undoubtedly the most important national autumn fair for the arts, antiques, and design. Over fortythousand art aficionados make their way annually to the Amsterdam Rai to admire the collections of the more than 120 participants. The quality of the objects on show is extremely high; they are all assessed individually by a team of about eighty independent experts. Also
this edition, the PAN Podium will offer a fore for inspiring and interactive presentations about art and the arts marketplace.
PAN Amsterdam, 19 - 26 November 2017, pan.nl
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L IST OF M E M BE R S
LIST OF MEMBERS All contact details of members of the Royal Association of Fine Art Dealers in the Netherlands, plus information on their specialty. NOORD-HOLLAND AMSTERDAM ALGEMEENE ETHNOGRAFICAEN KUNSTHANDEL AALDERINK SPIEGELGRACHT 15 1017 JP AMSTERDAM 020-6230211 INFO@AALDERINKORIENTALART.NL WWW.AALDERINKORIENTALART.NL AZIATISCHE KUNST, ETNOGRAFICA, PRE-COLUMBIAANSE KUNST
ARCHEA ANCIENT ART NIEUWE SPIEGELSTRAAT 37 1017 DC AMSTERDAM 020-6250552 INFO@ARCHEA.NL WWW.ARCHEA.NL ARCHEOLOGIE
E.H. ARIËNS KAPPERS KEIZERSGRACHT 208 1016 DX AMSTERDAM 020-6235356 INFO@MASTERPRINTS.NL WWW.MASTERPRINTS.NL OUDE (JAPANSE) PRENTEN, LAND- EN ZEEKAARTEN
ARONSON ANTIQUAIRS NIEUWE SPIEGELSTRAAT 45B POSTBUS 15556 1001 NB AMSTERDAM 020-6233103 MAIL@ARONSON.COM WWW.ARONSON.COM DELFTS AARDEWERK
VOF JAN BEEKHUIZEN KUNST- EN ANTIEKHANDEL NIEUWE SPIEGELSTRAAT 49 1017 DD AMSTERDAM 020 6263912 INFO@JANBEEKHUIZEN.NL WWW.JANBEEKHUIZEN.NL EUROPEES TIN, SCULPTUREN, VOLKSKUNST
J.P. BEELING VAN EEGHENSTRAAT 20 1071 GG AMSTERDAM 06-24905541 JP@BEELING.NL AZIATISCH PORSELEIN
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KUNSTHANDEL P. DE BOER
FOUMANI PERSIAN GALLERY
HERENGRACHT 512 1017 CC AMSTERDAM 020-6236849 06-21520044 INFO@KUNSTHANDELPDEBOER.COM WWW.KUNSTHANDELPDEBOER.COM OUDE MEESTERS
BEETHOVENSTRAAT 107A 1077 HX AMSTERDAM 020-6797430 INFO@FOUMANI.COM WWW.FOUMANI.COM ISLAMITISCHE KUNST, TAPIJTEN, KELIMS
BORZO MODERN & CONTEMPORARY ART
GUDE & MEIS ANTIQUE CLOCKS
KEIZERSGRACHT 516 1017 EJ AMSTERDAM 020-6263303 06-53163808 PAUL@BORZO.COM WWW.BORZO.COM MODERNE EN HEDENDAAGSE KUNST
NIEUWE SPIEGELSTRAAT 60 1017 DH AMSTERDAM 020-6129742 06-53162962 INFO@GUDEMEIS.COM WWW.GUDEANTIQUECLOCKS.COM KLOKKEN, BAROMETERS, INSTRUMENTARIA
BRUIL & BRANDSMA WORKS OF ART
PETER KORF DE GIDTS ANTIQUAIRS
NIEUWE SPIEGELSTRAAT 68 1017 DH AMSTERDAM 020-4207359 BBC@CHELLO.NL WWW.BB-ART.COM KUNST UIT MIDDELEEUWEN EN RENAISSANCE, VOLKSKUNST
BROUWERSGRACHT 869 1015 GK AMSTERDAM 020-6252625 KORFDEGIDTS@XS4ALL.NL GLAS, AARDEWERK, PORSELEIN
GALLERY DELAIVE MODERN AND CONTEMPORARY ART
NIEUWE SPIEGELSTRAAT 55 1017 DD AMSTERDAM 020-6264066 INFO@FRIDESLAMERIS.NL WWW.FRIDESLAMERIS.NL GLAS, AARDEWERK, (AZIATISCH) PORSELEIN
SPIEGELGRACHT 23 1017 JP AMSTERDAM 020-6259087 GALLERY.DELAIVE@WXS.NL WWW.DELAIVE.COM MODERNE EN HEDENDAAGSE KUNST
DOUWES FINE ART (ANNO 1805) STADHOUDERSKADE 40 1071 ZD AMSTERDAM 020-6646362 INFO@DOUWESFINEART.COM WWW.DOUWESFINEART.COM OUDE MEESTERS, 19E- EN 20E-EEUWSE SCHILDERIJEN
KUNSTHANDEL JACQUES FIJNAUT NIEUWE SPIEGELSTRAAT 31 1017 DC AMSTERDAM 020-6256374 OFFICE@KUNSTHANDELFIJNAUT.NL WWW.KUNSTHANDELFIJNAUT.NL ALGEMEEN ANTIQUAIR
FRIDES LAMÉRIS KUNST EN ANTIEKHANDEL
GALERIE FRANS LEIDELMEIJER LIJNBAANSGRACHT 369H 1017 XB AMSTERDAM 020-6254627 FRANS@LEIDELMEIJER.NL WWW.LEIDELMEIJER.NL ART NOUVEAU, ART DECO, 20E-EEUWS DESIGN
INTER-ANTIQUARIAAT MEFFERDT & DE JONGE BERNARD ZWEERSKADE 18 1077 TZ AMSTERDAM 020-6640841 INTERANTIQUARIAAT@CHELLO.NL WWW.INTER-ANTIQUARIAAT.NL ANTIQUARISCHE BOEKEN, TEKENINGEN, PRENTEN, LAND- EN ZEEKAARTEN
JOSEPH M. MORPURGO HERENGRACHT 119 (RECHTER DEUR) 1015 BG AMSTERDAM 020-6235883 J.M.MORPURGO@WAFELMAN.NL WWW.ANTIQUEARTMORPURGO.COM ALGEMEEN ANTIQUAIR, AZIATISCHE KUNST
JAN MORSINK IKONEN KEIZERSGRACHT 454 1016 GE AMSTERDAM 020-6200411 INFO@MORSINK.COM WWW.MORSINK.COM IKONEN
VAN NIE ANTIQUAIRS KEIZERSGRACHT 600 1017 EP AMSTERDAM 020-6261594 INFO@VANNIEANTIQUAIRS.COM WWW.VANNIEANTIQUAIRS.COM ALGEMEEN ANTIQUAIR
POLAK WORKS OF ART SPIEGELGRACHT 3 1017 JP AMSTERDAM 020-6279009 WWW.POLAKWORKSOFART.COM AZIATISCHE KUNST, ETNOGRAFICA
SALOMON STODEL ANTIQUITÉS SPIEGELGRACHT 11 1017 JP AMSTERDAM 020-6231692 STODEL@WXS.NL WWW.SALOMONSTODEL.COM ALGEMEEN ANTIQUAIR
KUNSTZALEN A. VECHT NIEUWE SPIEGELSTRAAT 40 1017 DG AMSTERDAM 020-6234748 A.VECHT@PLANET.NL WWW.VECHT-WORKSOFART.NL ALGEMEEN ANTIQUAIR
VERBEEK-SCHUTTELAAR KEIZERSGRACHT 642 1017 ES AMSTERDAM 020-3304343 AM@VERBEEKSCHUTTELAAR.NL WWW.VERBEEKSCHUTTELAAR.NL JUWELEN, ZILVER
MEINDERT VERHAAR ANTIQUAIR SINGEL 378 1016 AH AMSTERDAM 020-4222578 MEINDERTVERHAAR@LIVE.NL WWW.VERHAAR-ANTIQUAIR.NL KUNST UIT MIDDELEEUWEN EN RENAISSANCE
PREMSELA & HAMBURGER
WIEG FINE ART
ROKIN 98 1012 KZ AMSTERDAM 020-6275454 WIET@PREMSELA.COM WWW.ARTPREMSELA.INFO JUWELEN, GOUD, ZILVER
GERRIT VAN DER VEENSTRAAT 139-H 1077 DX AMSTERDAM 020 6762094 KATI.WIEG@UPCMAIL.NL OUDE MEESTERS, 19E- EN 20E-EEUWSE SCHILDERIJEN
ANTIQUAIR VAN ROSSUM & CO.
WIJERMARS FINE ART
AMSTERDAM 020-6221010 ANTIQUAIR@VANROSSUMCO.NL ALGEMEEN ANTIQUAIR
POSTBUS 3449 1001 AE AMSTERDAM 06-51321717 INFO@WIJERMARS.COM WWW.WIJERMARS.COM SCULPTUREN
ROBERT SCHREUDER ANTIQUAIR
KUNSTHANDEL MIEKE ZILVERBERG
NIEUWE SPIEGELSTRAAT 48 1017 DG AMSTERDAM 020-6754867 06-24289550 INFO@ROBERTSCHREUDER.NL WWW.ROBERTSCHREUDER.NL GRAND TOUR SOUVENIRS, 18E- EN 19E-EEUWSE MEUBELEN
FRANS VAN MIERISSTRAAT 67B 1071 RL AMSTERDAM 020-6259518 INFO@MIEKEZILVERBERG.COM ARCHEOLOGIE, ANTIEKE NUMISMATIEK
ANTIQUAIR JUWELIER MARJAN STERK NIEUWE SPIEGELSTRAAT 63 1017 DD AMSTERDAM 020-6248703 INFO@MARJANSTERK.NL WWW.MARJANSTERK.NL JUWELEN, ZILVER
KUNSTHANDEL INEZ STODEL NIEUWE SPIEGELSTRAAT 65 1017 DD AMSTERDAM 020-6232942 INEZ@INEZSTODEL.COM WWW.INEZSTODEL.COM JUWELEN
NOORD-HOLLAND OTHERS BIJL-VAN URK KENNEMERSTRAATWEG 174 1815 LE ALKMAAR 072-5120080 06-53425432 SANDER@BIJLVANURK.COM WWW.BIJLVANURK.COM OUDE MEESTERS
JOHN ENDLICH ANTIQUAIRS SPEKSTRAAT 10 2011 HM HAARLEM 023-5320274 INFO@JOHNENDLICH.NL WWW.JOHNENDLICH.NL ZILVER
spring 2017
L IST OF M E M BE R S FONTIJN ANTIEK
HOOGSTEDER & HOOGSTEDER
JACOB J. ROOSJEN, SRI®
STELLINGMOLEN 51 1444 GV PURMEREND 0299-436493 MFONTIJN@CHELLO.NL WWW.FONTIJNANTIEK.COM BAROMETERS
LANGE VIJVERBERG 15 2513 AC ‘S-GRAVENHAGE 070-3615575 INFO@HOOGSTEDER.COM WWW.HOOGSTEDER.COM OUDE MEESTERS
EENDRACHTLAAN 33 3621 DD BREUKELEN 06-53268280 JACOB.ROOSJEN@GMAIL.COM WWW.JACOBROOSJEN.COM WWW.SILVERRESEARCHINSTITUTE.COM ZILVER
KAMERVOORT 187 6851 EE HUISSEN 06-53106541 ANTIQUES@PETERVANOS.COM WWW.PETERVANOS.COM ALGEMEEN ANTIQUAIR
GRONINGEN
SIMONIS & BUUNK KUNSTHANDEL
PIETER HOOGENDIJK
FIRMA S. VAN LEEUWEN
AMSTERDAMSESTRAATWEG 31 1411 AW NAARDEN 035-5420459 INFO@PHOOGENDIJK.NL WWW.PHOOGENDIJK.COM ALGEMEEN ANTIQUAIR
NOORDEINDE 164-164A 2514 GR ‘S-GRAVENHAGE 070-3653907 ALEXANDER@VANLEEUWENANTIQUAIRS.NL WWW.VANLEEUWENANTIQUAIRS.NL 17E- EN 18E-EEUWS ANTIEK, (AZIATISCH) PORSELEIN
GALLERY ROB KATTENBURG
DIRK EN DIRK-JAN LIMBURG
EEUWIGELAAN 6 1861 CM BERGEN 072-5895051 INFO@ROBKATTENBURG.NL WWW.ROBKATTENBURG.NL MARINESCHILDERIJEN, -TEKENINGEN, -PRENTEN
DENNEWEG 45 2514 CD ‘S-GRAVENHAGE 070-3455103 LIMBURGANTIQUAIRS@CASEMA.NL WWW.LIMBURGANTIQUAIRS.COM ALGEMEEN ANTIQUAIR
JACOBS FINE ART BERLAGELAAN 129 1222 JR HILVERSUM 035-7722992 INFO@JACOBSFINEART.COM WWW.JACOBSFINEART.COM 20E- EN 21E-EEUWSE SCHILDERIJEN)
KUNSTCONSULT 20TH CENTURY ART | OBJECTS SMEDERIJ 4 1185 ZR AMSTELVEEN 020-3416476 06-24960196 INFO@KUNSTCONSULT.NL WWW.KUNSTCONSULT.NL ART NOUVEAU, ART DECO, 20E-EEUWS DESIGN
TÓTH IKONEN BOTTERWIJNSEWEG 1 1272 EG HUIZEN 06-53468236 INFO@TOTHIKONEN.COM WWW.TOTHIKONEN.COM IKONEN
KUNSTHANDEL E.J. VAN WISSELINGH & CO BAAN 41 2012 DC HAARLEM 023-5310505 WDEWINTER@WISSELINGH.COM WWW.WISSELINGH.COM 19E- EN 20E-EEUWSE SCHILDERIJEN EN TEKENINGEN
ZUID-HOLLAND THE HAGUE A. AARDEWERK ANTIQUAIR JUWELIER JAN VAN NASSAUSTRAAT 76 2596 BV ‘S-GRAVENHAGE 070-3240987 SILVER@AARDEWERK.COM WWW.AARDEWERK.COM ZILVER, JUWELEN
spring 2017
BERNARD C.M. GRIJPMA KUNST EN ANTIEK GEDEMPTE ZUIDERDIEP 121-123 9711 HE GRONINGEN 050-3137703 INFO@GRIJPMAANTIEK.NL WWW.GRIJPMAANTIEK.NL ANTIEKE WAPENS, NAUTICA, ZILVER
RUBEN AARDEWERK ANTIQUES ZWALUWLAAN 9A 2261 BP LEIDSCHENDAM 070-4190575 RUBEN@AARDEWERKANTIQUES.COM WWW.AARDEWERKANTIQUES.COM 17E-, 18E- EN 19E-EEUWSE KUNSTVOORWERPEN EN VERZAMELOBJECTEN
ADRIAAN GROENEWOUD ANTIQUITEITEN & OUDE KUNST AELBRECHTSKOLK 3B 3025 HA ROTTERDAM 010-4258011 INFO@ADRIAANGROENEWOUD.NL WWW.ADRIAANGROENEWOUD.NL 16E-, 17E- EN 18E-EEUWSE MEUBELEN
KUNSTHANDEL F.A. ENNEKING MAREVISTA 22 2202 BX NOORDWIJK 071-3647645 OUDE MEESTERS
HOTEI JAPANESE PRINTS RAPENBURG 19 2311 GE LEIDEN 071-5143552 UKIYOE@XS4ALL.NL WWW.HOTEI-JAPANESE-PRINTS.COM JAPANSE PRENTEN, SCHILDERKUNST EN BOEKEN
NOTARIS FISCHERSTRAAT 30 6711 BD EDE 0318-652888 INFO@SIMONIS-BUUNK.NL WWW.SIMONIS-BUUNK.NL 19E- EN 20E-EEUWSE SCHILDERIJEN
NOORD-BRABANT OVERIJSSEL HEUTINK IKONEN
ZUID-HOLLAND OTHERS
PETER VAN OS ANTIQUES & FINE ART
AHNEMSTRAAT 21 8043 RE ZWOLLE 038-4659524 HEUTINKIKONEN@GMAIL.COM WWW.HEUTINKIKONEN.NL IKONEN
GELDERLAND KUNSTGALERIJ ALBRICHT UTRECHTSEWEG 107 6862 AE OOSTERBEEK 026-3611876 INFO@ALBRICHT.NL WWW.ALBRICHT.NL 19E- EN 20E-EEUWSE SCHILDERIJEN
DOORNHOF ANTIQUAIRS SCHAPENHOEK 12/14 3841 BM HARDERWIJK 0341-421015 PDOORN12@CAIWAY.NL WWW.DOORNHOFANTIEK.NL MEUBELEN, AZIATISCH PORSELEIN, KLOKKEN, SCHILDERIJEN
THEO DAATSELAAR ANTIQUAIRS OENSELSESTRAAT 50 5301 EP ZALTBOMMEL 0418-712300 INFO@DAATSELAAR.COM WWW.DAATSELAAR.COM ALGEMEEN ANTIQUAIR
DE EENHOORN
BASTINGS ANTIQUAIRS MOLENSTRAAT 60 5341 GE OSS 0412-623843 BASTINGS@BASTINGSANTIQUAIRS.COM WWW.BASTINGSANTIQUAIRS.COM AARDEWERK, AZIATISCH PORSELEIN
KUNSTHANDEL A.H. BIES BOSCHDIJK 221A 5612 HC EINDHOVEN 040-2431377 INFO@KUNSTHANDELBIES.NL WWW.KUNSTHANDELBIES.NL 19E- EN 20E-EEUWSE SCHILDERIJEN
FOREIGN MEMBERS GALERIE TINY ESVELD FRILINGLEI 9 B-2930 BRASSCHAAT, BELGIË +32(0)3-3125190 INFO@TINYESVELD.COM WWW.TINYESVELD.COM ART NOUVEAU, ART DECO, GLAS MEUBELEN
VAN KRANENDONK DUFFELS LONDEN +44 7595 245819 MILAAN +39 335 6262252 VANKRANENDONKDUFFELS@GMAIL.COM WWW.VKDJEWELS.CO.UK JUWELEN
LIMBURG GLEN PROSEN LODGE KIRRIEMUIR DD8 4SD GLEN PROSEN, SCHOTLAND +44(0)1575-540207 ANTIQUES@KOOS-LIMBURG-JNR.COM ALGEMEEN ANTIQUAIR
HONORARY MEMBERS: MEVROUW A. WAFELMANMORPURGO DE HEER A.C. BEELING
CRIJNS & STENDER LANDGOED “OOSTERHEIDE” TILBURGSEBAAN 1 4904 SP OOSTERHOUT 076-5875700 M.CRIJNS@PLANET.NL WWW.CRIJNS.INFO KLOKKEN, HORLOGES, BAROMETERS, INSTRUMENTARIA
KOLLENBURG ANTIQUAIRS POSTBUS 171 5688 ZK OIRSCHOT 0499-578037 INFO@KOLLENBURGANTIQUAIRS.COM WWW.KOLLENBURGANTIQUAIRS.COM ALGEMEEN ANTIQUAIR
VANDERVEN ORIENTAL ART NACHTEGAALSLAANTJE 1 5211 LE ’S-HERTOGENBOSCH 073-6146251 INFO@VANDERVEN.COM WWW.VANDERVEN.COM AZIATISCHE KUNST
UTRECHT
WATERSTRAAT 33 5301 AH ZALTBOMMEL 0418-515233 AADPENDERS@HOTMAIL.NL KUNST UIT MIDDELEEUWEN EN RENAISSANCE, MEUBELEN
ANTIQUARIAAT FORUM
MENTINK & ROEST
FLORIS VAN WANROIJ FINE ART
“WESTRENEN” TUURDIJK 16 3997 MS ’T GOY HOUTEN 030-6011955 INFO@FORUMRAREBOOKS.COM WWW.FORUMRAREBOOKS.COM ANTIQUARISCHE BOEKEN, LAND- EN ZEEKAARTEN
MOLENSTRAAT 22 4031 JS INGEN 0344-603606 INFO@MENTINKENROEST.COM WWW.MENTINKENROEST.COM KLOKKEN, HORLOGES, BAROMETERS
BERGSTRAAT 52 5551 AX DOMMELEN 040-2040596 INFO@FLORIS-ART.COM WWW.FLORIS-ART.COM OUDE MEESTERS, KUNST UIT MIDDELEEUWEN EN RENAISSANCE
SEE MORE AT WWW.KVHOK.NL/LEDEN
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A N T IQU E OF T H E F U T U R E
Frans Leidelmeijer is an art dealer and of the greatest connoisseurs of Dutch art from the period of 1880 to 1980. According to Leidelmeijer, who for more than a quarter of a century was one of the experts on the Dutch TV-show Tussen Kunst & Kitsch, Kho Liang Ie’s floor lamp K46 magisterially qualifies as ‘future antique’.
FLOOR LAMP K46 BY KHO LIANG IE his floor lamp, the K46, was conceived by the Dutch designer Kho Liang Ie, who sadly passed away much too young. Liang Ie (1927-1975) was born on the Indonesian island of Java and moved to the Netherlands in 1949 to study medecine. It turned out to be studies in interior and industrial design at the Rietveld Academie, however, where he followed classes by the likes of the famous Mart Stam who designed the very first tubing chair and was influenced by the principles of straight lines of Bauhaus. As a lyrical functionalist, Liang Ie interpreted the concept of straight lines in his own manner, which is apparent from the K46. He designed this lamp in 1957 for Dutch department store Bijenkorf’s new interior design department in Rotterdam, where he collaborated with Wim Crouwel. The frame is made of black, varnished metal, from which a membrane-thin, wire-frame cylinder with Ariane pvc-threading is suspended. This lamp, as a matter of fact, has only been in production for two years, manufactured by Ateliers Artiforte in Rotterdam, which,
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coincidentally, shouldn’t be confused with furniture company Artifort. For Liang Ie, emotion and aesthetics were just as important as functionality. And in the Netherlands this appraoch made him unique. He did have his soulmates abroad, such as the Americans Charles and Ray Eames, the Italian Bertoia, the Frenchman Pierre Paulin, and the Dane Kjaerjholm.
He thought an interior needed to be conceived of as a work of art, in which centre stage was to be taken by purity, warmth, and hospitality. His biggest, and most prestigious assignment was fitting out Schiphol Airport in the years 1962-’67. But Liang le also introduced the Akari, for example, the famous Chinese spheric lamp made of rice paper that, from the ‘50s, was going to adorn many a Dutch living- and adolescents’ room. Furniture by Liang le can be found in the collections of the Stedelijk Museum and Boijmans van Beuningen, and the K46 absolutely deserves a more prominent place in the lexicon of Dutch design. The influence of Liang le on design in the Netherlands in the ’50s, ’60s, and ’70s of the last century may not be underestimated. It is, therefore, a matter of artistic justice that the Amsterdams Fonds voor de Kunst fund has named the prize they have awarded since 1978 annually to an industrial designer, after Kho Liang le.”
TEXT
Mischa van de Woestijne
spring 2017
t r a e h T of g n i p p o h s gelderlandplein.nl
The ultimate shopping centre has international appeal and offers more than just shopping. Gelderlandplein in Amsterdam is such a place, where you can relax and wake up at a Starwood hotel, and spend the day shopping, dining and enjoying the shopping centre’s surroundings. Art by leading international artists is displayed in Gelderlandplein’s passageways. The well curated exhibition carries the shopping theme, fitting with the over 85 shops and restaurants that offer a great selection of international and Dutch brands. Enjoy Amsterdam’s finest at Gelderlandplein.
TEFAF IS COMING
MARCH 10-19, 2017
MAY 4-8, 2017
OCTOBER, 2017
7,000 YEARS OF ART HISTORY
MODERN & CONTEMPORARY ART & DESIGN
FINE & DECORATIVE ART FROM ANTIQUITY TO 1920
www.tefaf.com