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NUL/Zero and Al Held exhibition

This can not be coincidence…. On the left there is the NUL exhibition catalogue for the Peeters, Armando, Schoonhoven exhibition and on the right there is the Al Held catalogue from 1966 , designed by Wim Crouwel for the Held exhibition at the Stedelijk Museum Amsterdam. The white fond and the strong circle part on the back must have impressed Crouwel, since he used almost exactly the same layout as the ZERO/NUL catalogue which was published 2 years earlier for the Haags Gemeentemuseum exhibition. has both catalogues available and of course the special stitched multiple by Henk Peeters which was published shortly before his death.

echt peeters aa

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Ah Xian (1960)

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I am not the greatest fan of Chinese art, althought i have learned to appreciate some of the artists and their works. One of the last to admire was the artist Ah Xian whose works were exhibited in the “stijl zalen” of the Gemeentemuseum Den Haag. They blended like they were meant to have been made for this location. Specially the “GOUDLEER” and Chinese rooms were a feast to the eye. Now i have acquired the exhibition catalogue for this exhibition. It is the one that sold out almost instantly. available at

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Chinese artist Ah Xian lives and works in Sydney where for nearly two decades he has explored aspects of the human form using ancient Chinese craft methods including porcelain, lacquer, jase, bronze, and even concrete. The artist often uses busts of his own family members including his wife, brother, and father onto which he imprints traditional designs with a vivid cobalt blue glaze. via Colossal.

ah xian

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Günther Förg at the Gemeentemuseum in 2003

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An important discovery among the many invitations i acquired recently. It is an original sketching by Förg for what presumably could be a wall drawing in one of the rooms of the Gemeentemuseum during and after his 2003 exhibition. In that time Förg was experimenting with loosely painted forms on canvas and walls.

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On the painted paper sheet is the studio stamp of Günther Förg in Freiburg and the paper is devided into two parts. The upper part is painted with a deep green and handwritten the text Gemeentemuseum in blue ballpoint, underneath in pencil Den Haag 2003.  Left of the green a text in blue ballpoint ” Moikan (?)” The lower part of the design/drawing/painting is in a “leather brown” color and in pencil beside “Israel” is written . On the lowest part of the sheet the studio stamp in black ink.

forg gemeentemuseum 2003 a

My educated guess is that this is a proposal for a wall drawing in one of the rooms of the Gemeentemuseum Den Haag and this highly collectable item is now available at

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Hadassah Emmerich (1974)


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The first time i heard about the artist Hadassah Emmerich was at the time she had an exhibition at GEM. Curated by Roel Arkesteijn this exhibition was one of the first at the GEM museum. The Neighbor of the Gemeentemuseum Den Haag and dedicated to contemporary art. I think her paintings are overwhelming, extremely attractive, but far too exuberant to add to any private collection beside a museum collection. Still i admire her paintings, because there is no artist alike and her works are highly original.

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In her paintings, work on paper and painterly installations Hadassah Emmerich interweaves varied themes such as identity and the body, representations of the exotic and the dialogue between abstraction and figuration.
Emmerich selects material from a variety of sources including vintage photography books, texts, advertising and art historical reference books, which are fused together through a process of photomontage which is then transferred onto the canvas using a combination of painting and printing.
Negotiating a universe where tropical colors merge effortlessly with cold grey tones, where graphic silhouettes inhabit ephemeral spaces and where references to modernist painting are incorporated into urban space, Emmerich creates a fictionalized narrative in which ‘multiculturalism’ is questioned in a painterly sense.
Displaying monumental and immersive qualities, the viewer is confronted with a visceral immediacy, urging to engage conceptually as well as physically. In continuing the legacy of female ‘pop’ artists such as Evelyn Axell or Angela Garcia, Emmerich pursues a practice that combines a bold visual language with an investigation into the undercurrent of visual culture. has the GEM publication on Hadassah Emmerich now available now available.


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Constant Permeke (1886-1952)

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Like van Gogh and his fellow country man Josef Cantré, Constant Permeke was fascinated with farmers and workers. Inspired by these men and woman he made some beautiful impressive paintings in a style which was highly original and recognizable. Brown, blacks and some sand colors painted on a canvas made some of the most impressive art from Belgium from the early 20th century.

Beside a gifted painter, he was also an impressive sculptor. Inspired by the same subjects his sculptures seem to be even more abstract thatn his paintings. Of course the sahpe one can recognize but there is also an abstract quality with these sculptures. In the Netherlands not many Permeke art can be seen, but there is a tremendous painting in the collections of the Gemeentemuseum Den Haag (Kunstmuseum) and the Kroller  Muller museum.

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The following Permeke titles are available at

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Niki Mama (1998)……RIP

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This replica sculpture i bought when i was still working at the Gemeentemuseum Den Haag. Jan van Capellen of the  Museumshop had these sculptures made after and inspired by the Nana sculptures by Niki de Saint Phalle. He had hundreds of these made in all kinds of color schemes and decorations. The greatest part of them, small and midsized aprox. 12 inches in height on wooden bases….many were sold including dozens of these sculptures at the museumshop of the Gemeentemuseum Den Haag, one time….. when i tried to order more, i heard that a copyright lawsuit had stopped these from being produced, distributed and sold. That is when i stepped in and bought the remainder of these great decorative small statues and 1 bigger one, made of polyester and decorated in my favorite colors. It was with us for many many years….. in the garden ….looking like the real thing but knowing that it only was a replica. It witnessed Lucas growing older, the divorce with Sylvia and the coming of Linda and it was there to see that we were planning to move and found a new place near the Warffemius sculpture in Leidschendam. It even was nicely refurbished by Linda when i was away for a business trip, but after last years winter she showed her fragility. Paint came off, chips of polyester made her skin look rough and we knew that it was not long before we had to say goodbye to her. Yesterday, i put her gently in the back of my car and today we parted as good friends after 22 years.

niki duo thuis

The only “Niki Mama’s” we have left are 2 small indoor ones. The blue one was the first present i gave Linda and the black one stayed in our home, being the last of all the Mama’s i have sold.

Of course has some great egnuine Niki de Saint Phalle publications available.

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A recently discovered Mondrian

A few weeks ago i read an article by the  “de Speld”  ( it is an almost daily article on the backpages of the VOLKSKRANT paper), that a recently discovered Mondrian was presented to the Gemeentemuseum Den Haag to further complete its large Mondrian collection .

mondriaan smurf

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Piet Mondriaan, studio Rue du Départ

Piet Mondriaan was famous for his studios he occupied in Paris and New York and his Paris studio at the Rue du Départ was even a subject for a special exhibition at the Beurs van Berlage who had it rebuild in their main hall in 1994.

With the exhibition they produced together with the Benschop architects an impressive model kit of the studio, which even contains some of the paintings Mondriaan made in this famous studio. During the Nineties some of the DE STIJL icons were produced in Model Kit versions ( Meudon, Rietveldhuis) but this is probably the rarest of them al, since i understand it was not sold, but only presented to the sponsor and its relations. Now for sale at

mondrian depart


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Hamish Fulton special

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It has been 2 months ago that i acquired a collection of invitations from the Nineties and among them there were several Hamish Fulton ones. I remember Hamish as being one of the friendliest artists i have met at the Gemeentemuseum. He was willing to sign 20 copies of the book which we published by us.

Since i have followed his career and exhibitions and now i have added 4 special invitations to the collection of which are now for sale. The ones i like most are the Graeme Murray gallery and Marian Goodman gallery ( signed and dedicated for Rudi) ones  and there is of course the time/indoor/outdoor with japanese text. This is the one i can not find any information on so if you know who organized this one let me know. Your help would be appreciated.

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Babs Haenen (1948)

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If you are looking for the most complicated ceramic art , then Babs Haenen her objects will be in the top three.

The first time i encountered work by Babs Haenen was when the Haags Gemeentemuseum has bought two vases for its collection. What struck me was that these vases had very delicate colors and were looking not like the ordinary ceramics from the collection. They looked like sculptured vases . Her method of building a vase is simple. Porcelain clay is coloured with pigments and afterwards rolled out into thin sheets. The choice of porcelain clay is dictated by the wish to be able to produce bright colours. The basis for a piece at work is made by cutting up the different coloured sheets and joining them together again in various patterns.
Round a plaster core is placed a thin piece of textile, which serves to prevent the clay from sticking to the core. The core is then inverted and the sheets of clay are draped around the textile.This is done from the bottom, so that at first the pot is shaped upside down.

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When the piece has reached a given height, it is removed from the core. a short drying period and then built up further the right way up. At that point it has often not yet reached half its eventual height. Hence the form at the plaster care only determines the final form of the pot to a very minor extent.
Between the additions at new sheets of clay the piece is dried with a hairdryer, so that the form soon acquires a degree of certainty. In its further built-up a great freedom prevails in respect of designing by distorting and modelling.
After being thoroughly dried, the pieces are given a biscuit firing, then glazed and given repeated reduction firings in a gas kiln at a temperature of 1260 C.

The above text comes from the book which is now available at