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Michael Parkes published by Gallery Steltman in 1988

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There was a time that the original art by Michael Parkes was still affordable. The mid Eighties changed that and Parkes became a highly commercial artist and for his show in 1988 at Steltman galleries, it was decided that together with the showing of the new paintings, a series of signed lithographs was to be published. But that was not the end , because beside the lithographs an excellent specially printed poster was published. On it the painting TUESDAY’s CHILD from 1988. This print has become one of the ost iconic ones published by Steltman, because it contained all the elements Parkes has become famous for. there is a Monkey, a juggler, a ballerina on a flaming rope and even the dramatic doves are included. Beside these elements, the composition of the painting is excellent. Making this one of my favorite Parkes prints of all time.

The print is available at

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Roy Villevoy (1960)

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Roy Villevoy, at one time he was one of the artist who’s name was mentioned by everybody in the art world in the Netherlands. A little like Rob Birza and Marien Schouten, but that was in the late Eighties and early Nineties, but since it has become a little quiet with Roy Villevoy. This is/was my personal idea.  Yes, i know he has had his exhibitions in the Netherlands and elsewhere ( Frankfurt catalogue is available at But i am wrong.  Villevoy has been active all these years and i was pleasantly surprised to learn of his solo exhibitions. So for those who missed Villevoy too. Here is the list with his solo exhibitions as found on his site and the VIllevoy Hollandse Meesters documentary on Youtube:


Selected solo exhibitions

2018 (upcoming) Unseen, Eenwerk, Westergasfabriek, Amsterdam, NL

2017 Evidence, Jan Dietvorst & Roy Villevoye, (*) Argos, Brussels, BE

2016 Eró (Preparing the Memorial Carving for Omomá), Brummelkamp gallery, AMC, Amsterdam, NL

2013 People in the Woods, Motive Gallery, Brussels, BE

2013 Tí, Koos Breukel & Roy Villevoye, Foam, Amsterdam, NL

2013 Black Box, (*), Argos, Brussels, BE

2012 Unseen, Westergasfabriek, Tí, Koos Breukel & Roy Villevoye, Motive Gallery / Willem van Zoetendael, Amsterdam, NL

2011 Jack and the Outskirts, Galerie Martinethibaultdelachâtre, Paris, FR

2011 Johan Grimonprez | It’s a Poor Sort of Memory that Only Works Backwards:

          On Zapping, Close Encounters and the Commercial Break, special guest: Roy Villevoye, SMAK, Gent, BE

2011 The Histories, Motive Gallery, Amsterdam, NL

2010 Preparations, Museum De Lakenhal, Leiden, NL

2010 Madonna, (after Omomá and Céline), KIT, Amsterdam, NL

2009 Omomá, Galerie Martinethibaultdelachâtre, Paris, FR

2008 Detours, Films, Photographic Works, Installations (including collaborations with Jan Dietvorst), (*),
         Museum Boijmans Van Beuningen, Rotterdam, NL

2007 Black Box, Argos, Brussels, BE

2006 Propeller, Art Gallery of the Vanderbilt University, Nashville, US

2005 Propeller, The Photographer’s Gallery, London, UK

2005 Les Néerlandais Voyageurs, Trois expositions d’artistes néerlandais inspirés des cultures lointaines:
         (Ed van der Elsken, Roy Villevoye, Heringa/van Kalsbeek), Institut Néerlandais, Paris, FR

2004 Propeller, De Hallen, Haarlem, NL

2003 ‘At night we slept in the middle of the clouds. That was difficult. So they told me.’ (*), De Beyerd, Breda, NL

2002 Books and Prints, Stedelijk Museum Amsterdam, Amsterdam, NL

2002 Cinema (*), De Appel, Amsterdam, NL

2002 ‘Wat heb je daar dan gegeten?’, Steendrukkerij Amsterdam, NL

2001 Hunting and Gathering, Galerie Fons Welters, Amsterdam, NL

2001 Rood katoen / Red Calico, semi-permanent project, Rijksmuseum voor Volkenkunde, Leiden, NL

2000 My Bonnie Is Over The Ocean…, Stedelijk Museum Het Domein, Sittard, NL

1999 Passing Time, Stedelijk Museum Bureau Amsterdam, Amsterdam, NL

1997 Returning, Galerie Fons Welters, Amsterdam, NL

1990 Spatie, Schilderijen / Paintings 1988-1990, Museum Boijmans Van Beuningen, Rotterdam, NL

1987 Recent Werk, Bonnefantenmuseum, Maastricht, NL

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Piet Dirkx daily …726

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Sidi El Karchi (1975) …Intriguing Portraits

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If there is one portraits painter in the Netherlands it must be Sidi El Karchi. His portraits can be recognized immediately. A little like the portraits by Rosemin Hendriks are also highly recognizable, But dthe difference is that where Hendriks uses the outline of a portrait to emphasize details, El Karchi uses colors, many many colors, but these colors have such an impact that they become part of the portrait and emphasize parts in the portrait, . Hair, glasses a puppy all draw your attention because of their colors. I really like his portraits and am looking for one for our collection. I must be patient. The artist is still young and it probably will take another decade before his works will show up at auction. For the moment i can look into the 2 books that i have on El Karchi and which are available at

PS.. i see some resemblance in these portraits of these artists is Sidi El Karchi perhaps a Schiele admirer?



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Piet Dirkx daily …725

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Ole Aselmann (1979) .. a special project

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Because i fencountered a publication by Aselmann, i was intrigued by his work. The book is a documentation of the “vom Wesen der Erbse” project which was held in the Kunsthaus Essen in 2009. The site of Aselmann gives a great overview of the project, but the book itself was published like a true artist books with rounde corners and sketches on all 130 pages of the VOM WESEN DER ERBSE  project. A special book , which , i am sure, will become more important in the time to come. The book is available at


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Piet Dirkx daily …724

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Robert Jacobsen at Galerie Asbaek / 1976

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The year 1976. The exhibition …Robert Jacobsen at gallery Asbaek. This catalogue i found some weeks ago and knew instantly that this was one of the most important Jacobsen catalogues. Only a few color illustration, the rest black and white, but all the works powerfull and form his most important periods. The portrait shows a happy and confident artist who knows that his works are important.

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The catalogue itself has . Plain cartonboard cover with the initials of Robert Jacobsen printed upon. A weak black paper spine completes this simple but effective and highly important little book which is now for sale at  together with some other Jacobsen publications.

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