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Frits Palmboom

Urban designer Frits Palmboom (1951) made his name in 1987 with the book Rotterdam, verstedelijkt landschap (Rotterdam, Urbanised Landscape), a completely new interpretation of the urban morphology of Rotterdam. Based on a historical analysis of the physical history of the urban landscape, Palmboom showed how a combination of the geology of the delta, the polder patterns and the war damage of the bombardment together with the motors of modernisation of large-scale traffic and ports had led to the characteristic fragmented urban fabric of Rotterdam.

As a student, Palmboom was inspired at the former TH Delft by the work of Pjotr Gonggrijp. His work showed him how drawing could be a form of reading the landscape. In 1973 Palmboom made an analysis of and design for the urbanisation of the area around Alphen aan den Rijn, in which the influence of Gonggrijp is clearly visible. Based on a meticulous morphological analysis, Palmboom developed a linear urbanisation model along a public transport line based on cycles of growth and change.

The design of IJburg (1995-97), which Palmboom made together with Jaap van den Bout, also relates to the coherence between the large-scale manufactured landscape of the polders and the IJsselmeer area, and the physical morphology of the new district of islands. Palmboom designed a vocabulary of transitions between water and land with an eye for the relationship between man and the vast water landscape.

Without a doubt Palmboom is one of the leading Urban architects of our time and it is nice to be able to ofer one of his earliest publications from 1979 inwhich he takes a look at 8 projects on Urban architecture and building in the Soviet Union from 1926-1930.

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Observations 2, Ossip

I have been living with art works by Ossip for the last 20 years. It started with a production of a nice catalogue for the Ossip presentation at the Gemeentemuseum Den Haag and a small purchase at gallery Ramakers and since a studio visit in 2006, i have been following Ossip and his works closely. At some point we have developed a friendship and the same as with other artists i know and have been following i started collecting Their works have become part of our collection and lives.

I always find that people react in different ways on Ossip his works. Some are immediately intrigued and others are scared by the strange and disfigured , humans. I can understand these feelings since Ossip his works bring an “unease” for the viewer. Still i personally also have experienced questions raised when looking at his works. Why? a circle around the centre figure in ” STADJE” and even more why is the circle around the human figure made out of sand?

It is all desolation in this STADJE and the figure looks to be lost in a war scene frfm WWI. Location?…. somewhere in the Alsace region in France/Germany, and circles around the figure. From the centre they spread out and feel like radiation and focussing on this centre/ key figure.

It also can be a style element found by Ossip and used in a series of paintings since i found the same kind of circles in BOY/Jongen, but the difference is that this young man tries to cast a spell to us. There is even a hole in the absolute middle of the painting . Hard to be seen but there, which must have helped Ossip to draw these circles. I find these early works by Ossip more fascinating than his recent works with moving parts and figures. The focus in these early works is the compositions, the focus in his last works is on the movement which make these less interesting to me. has some nice Ossip publications now available including some original art. please inquire at

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Observations 1… Frank van Hemert

Frank van Hemert ./ Secret Survivors

When you have been collecting art as long as i have been doing , one gathers over the years a large collection and have been looking at hese works for many times. Discovering, wondering, gaping and admiring

All these moments add up to an experience i can only highly recommend for everybody. Yes ….everybody since the cheapest of art is available at very small prices. How about Rob Scholte’s multiples that he made for “KRUIDVAT”. Extremely large editions , but still great art and this art isd finacially accessible to almost everybody. The initial price was set as low as a few Euro’s but these have become true collectibles and fetch much higher but still affordable prices nowadays . ( available at

The first Observation i want to share is one of the infamous ” dripping” paintings by Frank van Hemert. This painting from van Hemert was bought by me at auction and when i wrote Frank that we had acquired this painting the first reaction was…..but this one is a”TOTAL LOSS” because of the paint not drying and hardening enough.

And yes Frank van Hemert was right. The pink /red parts were still soft and sticky. This painting had been back to his studio for a restauration and after it had been restored the collector must have thought it wiser to sell……and …it was my luck. Over the years the painting started to dry and it is getting better and dryer every month. A beautiful, impressive painting. A dynamic one too, since the paint looks as if it is moving. I still love this and it has become one of the pillars under our collection.

Almost all van Hemert titles are availabel at

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Jerry Zeniuk (1945)

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The first thing that i thought when i saw the poster for the Jerry Zeniuk exhibition at the Josef Albers Museum was… looks like a large Piet Dirkx. Of course i know the works by Piet Dirkx very well and there are quite some similarities between them . They both prefer large sizes. Zeniuk even larger ones. And the use of color is almost the same.

on the left Jerry Zeniuk on the right Piet Dirkx

Zeniuk follows in the tradition of American art after 1950 with his largeformat works. The wall-filling aspect of his painting does not however seek to redefine real space; it retains its pictorial identity, which allows the painter as well as the viewer to be present in the painting. “To be present, mentally, emotionally, physically” – this was Zeniuk’s motivation as well as his challenge when creating a painting measuring four by eight meters, as he did in 2001 in Mainz, or five by five meters in Munich in 2013. These two works, which act like brackets in relation to the rest of Zeniuk’s oeuvre, are the focus of the current presentation. The oil paintings on canvas were created without the aid of a preliminary sketch. The choice and combination of colors, the movement involved in the application of paint, and the artist’s wealth of experience alone gave rise to these authentic “depictions.” Jerry Zeniuk (b. 1945 in Bardowick near Lüneburg) is one of the foremost representatives of so-called “elementary” or “essential” painting. has the Josef Albers Museum (signed) poster available.

For more information on the Piet Dirkx paintings please inquire since ftn art has these together with other Piet Dirkx paintings for sale.

zeniuk a

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Jan Mulder ( 1940-2019)

Jan Mulder

A colorful figure in the dutrch art scene was Mulder certainly. He was not the greatest artists but his works are well worth to look at and sometimes they changed theur surroundings dramatically. At one time he changed the apprarance of the MUZIEKTHEATER in Amsterdam ( catalogue available at

Mulder was an artist who’s works were not collected frequantly by dutch museums and his works are almost not found in company collections). It is not sold at galeries, but for those who admire Mulder, i noticed recently some interest at auction, so my guess is his works will come up for auction in the near future more frequently.

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Emil Orlik (1870-1932)

Emil Orlik (21 July 1870 – 28 September 1932) was a painter, etcher and lithographer. He was born in Prague, which was at that time part of the Austro-Hungarian Empire, and lived and worked in Prague, Austria and Germany. He was the son of a tailor. He first studied art at the private art school of Heinrich Knirr, where one of his fellow pupils was Paul Klee. From 1891, he studied at the Munich Academy under Wilhelm Lindenschmit. Later he learned engraving from Johann Leonhard Raab and proceeded to experiment with various printmaking processes.

After performing his military service in Prague, he returned to Munich, where he worked for the magazine Jugend. He spent most of 1898, travelling through Europe, visiting the Netherlands, Great Britain, Belgium, and Paris. During this time he became aware of Japanese art, and the impact it was having in Europe, and decided to visit Japan to learn woodcut techniques. He left for Asia in March 1900, stopping off in Hong Kong, before reaching Japan, where he stayed until February 1901.

Three ladies

He produced a large collection of paintings, woodcuts prints and etchings.

At the turn of the 19th century, for the first time, Japanese prints were available in Europe to be collected and traded. To the Europeans, these prints appeared fresh and modern, though they existed in Japan since the 18th century.

The Japanese artists were not concerned with perspective or an accurate depiction of nature but rather, their focus was on the beauty of the line and composition.

example of Japanese influenced print by Orlik

Emil Orlik was fascinated by Japanese art and culture. He had travelled extensively through Europe searching but finally in 1900, he journeyed to Japan. Orlik learned Japanese and travelled alone on foot through parts of Japan that few Europeans had discovered. There, he studied from the artisans he admired. Upon his return to Vienna, at that time, he was one of the few European artists that had ventured to Japan.

His works brings together his European roots and his newly discovered Asian sensibilities. The below catalogue is available at

Orlik publicatin for galerie Vomel

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Carol Huebner-Venezia (1947)

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Carol Heubner-Venezia is represented by  Galerie Heike Curtze, one of the leading galeries in the world, they recognized the qualities of this photographer from the early Nineties until now. Her series of BOXER photographs has become iconic and her works can now be found in all important public photography collections.

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Roughly speaking, Carol Hübner-Venezia shows in her works the fast passing moments of everyday life. For example, since the early 90s Carol Huebner-Venezia has been photographing in Gleason’s Gym (New York). In the oldest and most famous boxing stable in the world, heavyweights such as Muhammed Ali, Joe Frazier, George Foreman, Jake la Motta and Mike Tyson once trained. But Carol Huebner-Venezia shows neither prominent boxing stars nor spectacular wrestling matches. 
Instead, her large-format works reflect the atmosphere of the milieu, they provide insight into training situations and tell of the athletes’ self-image.

In her beach series, for example, her photos show various beaches. In this series, the works depict everyday life on the beach in New Jersey. In front of us, infinite sand expanses open up, interwoven with traces and giving us a sense of loneliness. has the Carol Heubner-Venezia poster for her Josef Albers Museum exhibition available.

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Mariska Gewald (1988)

Mariska Gewald

I always take an interest in young artists and in this case a very special one. Niece of Ap Gewald and starting to present herself on the internet with a site of her own. I briefly spoke to her last week. She mentioned she was planning to sell her first series of illustrations  and after seeing these, i immediately compared her interest in animals to the works i know of Arja van den Berg. Both make Intimate prints and both have an interest in domestic animals.

Mariska makes these for a much younger audience, while Arja makes them for a more mature one, but both have that immediate appeal.  These are perfect gifts for Christmas. ( prints available at

 The painting below is by Arja van den Berg. The one she made for us some 30 years ago. A different generation, a different approach. And the series below the painting are by Mariska Gewald. Bright, original prints, where shape is even more important than detail. 

Sinh & Joy by Arja van den Berg

Below some of items available on Arja van den Berg at

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Boris Kleint (1903-1996)

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He was born in 1903 in Masmünster , Alsace . After graduating from high school in Baden-Baden (1921), he studied psychology , philosophy , medicine , languages ​​and art studies at the universities in Heidelberg , Leipzig , Berlin and Würzburg from 1921 to 1925 . In 1925 he received his doctorate in Frankfurt in the subject of psychology [1] and was there at the Psychological Institute assistant to Max Wertheimer , the founder of Gestalt theory . From 1933 he studied in Berlin Painting by the Swiss painter and art teacher Johannes Itten , whose assistant he became in 1933. In 1936 Kleint emigrated to Luxembourg .

Between 1936 and 1942 he traveled from there to Walter Gropius in London and to Kandinsky and Picasso in Paris , later a second trip to Kandinsky followed. After the liberation of the Grand Duchy by Allied troops (1944) he was interned in the Luxembourg state prison “Im Grund” for four weeks.

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In 1946 Kleint received an appointment at the State School for Art and Crafts in Saarbrücken, where he took over the master class for painting and at the same time set up a “basic teaching” based on the Itten preliminary course ( Bauhaus ), which he passed on to his assistant Oskar Holweck after a few years passed on. In 1953 he took over the chairmanship of the Saarland Artists Association. In 1954 he was appointed professor and four years later a visiting professorship at the Technical University of Aachen . In 1957, Kleint and like-minded people founded the artists’ association “ neue gruppe saar ”. In 1969 his main work “Bildlehre” appeared, which became decisive for later generations of students and in several languages, including insJapanese , has been translated.

Kleint’s oeuvre covers a broad spectrum and is stylistically diverse. Both constructive – concrete elements and informal tendencies can be found in the work . According to his own statement, his artistic goal was a “visual universality” to which he subordinated the finding of a personal style.

In 1994 Klein received a Retrospective exhibition at the Josef Albers Museum. He signed a few of the exhibition posters of which one is now available at

kleint poster bottrop a

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William Morris (1834-1896)

Inspired by a projcet that my wife was doing for her work. I noticed the raised interest in the classic designs of William Morris and the use of these complex, but classic designs in Modern and Contemporary interior designs. Contemporary furniture and lightning is chosen with a background on one of the walls designed by William Morris. And not one, but i saw the use of William Morris wallpapers in multiple of her designs.


Throughout his life, William Morris was fascinated by textiles and the techniques he needed to master to produce the effects he saw and admired in historical furnishings.

Satisfying his need for a manual as well as an intellectual engagement with design, textiles also offered Morris the scope to develop his talent for pattern across a huge number of different products. The V&A has extensive collections of his work in textiles – ranging from examples of his first experiments in embroidery in the early 1860s through to the imposing tapestry panels he helped to create only a few years before his death.

These dessigns now certainly have proven to be timeless. Many of these are over 150 years old, but they remain fresh and my guess is they  still will be used in another 100 years.


The above publication is available at