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Veilingcatalogus Juni 2012

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Kunst • Antiek • Inboedelveilingen • Taxaties DERKSEN veilingbedrijf De Arnhemsche Fayence (1907-1934) Veilingcatalogus juni 2012 Jan Rijlaarsdam Johan Buning column A. Keddeman Jan te Wierik DERKSEN veilingbedrijf Kunst • Antiek • Inboedelveilingen • Taxaties DERKSEN veilingbedrijf Derksen veilingbedrijf Sinds 1945 is Derksen veilingbedrijf gespecialiseerd in het veilen en taxeren van kunst, antiek en inboedelgoederen en het ontruimen van inboedels. Het kopen op een veiling is voor menigeen een spannende ervaring met vaak verrassende opbrengsten. Veilinginformatie JUNI 2012 Deze veiling uit particuliere inbreng, wordt gehouden t.o.v. Gerechtsdeurwaarder de heer L H L M Vloet te Arnhem KIJKDAGEN: Donderdag 14 juni 12.00 - 17.00 uur Vrijdag 15 juni 12.00 - 21.00 uur Zaterdag 16 juni 12.00 - 17.00 uur DERKSEN Zondag 17 juni 12.00 - 17.00 uur veilingbedrijf VOLGORDE VAN VERKOOP: Maandag 18 juni 19.00 uur: nrs. 1 - 349 Kunst en antiek Dinsdag 19 juni 19.00 uur: nrs. 350 - 699 Kunst en antiek Woensdag 20 juni 09.30 uur: nrs. 9000 - 9389 Kleingoed 14.00 uur: nrs. 7000 - 7485 Goud, zilver Derksen veilingbedrijf 19.00 uur: nrs. 700 - 1049 1e verdieping Derksen veilingbedrijf Amsterdamseweg 23 Donderdag 21 juni 14.00 uur: nrs. 1050 - 1219 vv 1e, verdieping 6814 GA ARNHEM nrs 3000 - 3169 2de verdieping tel: 026-4421498 19.00 uur: nrs. 2000 - 2267 Vitrinegoederen Fax 026 445 51 86 www.derksen-veilingbedrijf.nl [email protected] AFHAALTIJDEN VEILINGGOEDEREN: Vrijdag 22 juni 08.30 - 16.00 uur Rabobank 14.84.07.854 Maandag 25 juni 08.30 - 16.00 uur H.R. 09189969 BTW Nr. 8202-27-419-B01 VEILINGKOSTEN: 27% VOLGENDE VEILING: Maandag 3 september en volgende dagen Volgrecht wordt toegepast. Het volgrecht is het recht van de maker van een origineel van een kunstwerk om bij iedere latere doorverkoop van dat werk een percentage te ontvangen van de verkoopprijs. Als een kunstenaar overlijdt, kan het volgrecht overgaan op zijn nabestaanden of andere erfgenamen. Het volgrecht eindigt 70 jaar na het overlijden van de kunstenaar. Volgrecht is niet verschuldigd bij iedere verkoop van kunstwerken. De belangrijkste vereisten zijn: • Het moet gaan om de verkoop • Van originelen van werken van grafische of beeldende kunst (of exemplaren daarvan in beperkte oplage) • Waarbij een professionele kunsthandelaar is betrokken als koper, verkoper of tussenpersoon • Waarbij de verkoopprijs € 3.000 of meer bedraagt (inclusief veilingkosten), en • Waarvan de kunstenaar niet langer dan 70 jaar daarvoor is overleden. Vergoedingspercentages De hoogte van de vergoeding wordt als volgt berekend: • 4% van het deel van de verkoopprijs tot en met € 50.000 • 3% van het deel van de verkoopprijs van € 50.000,01 tot en met € 200.000 • 1% van het deel van de verkoopprijs van € 200.000,01 tot en met € 350.000 • 0,5% van het deel van de verkoopprijs van €350.000,01 tot en met € 500.000 FEDERATIE • 0,25% van het deel van de verkoopprijs hoger dan € 500.000 De gehele tekst die is opgesteld door het Minist erie van Veiligheid en Justitie vindt u op onze website onder “Volgrecht” In deze uitgave Jan Rijlaarsdam Jan Rijlaarsdam wordt in 1911 in Nieuwkoop geboren. Als boerenzoon moet Jan meehelpen op het land en in de stal. Later verhuist de familie naar Hilversum waar zijn ouders een melkzaak hebben overgenomen Jan Rijlaarsdam Johan Buning Johan Buning werd op 19 juni 1893 in Amsterdam geboren. Als jonge kunstzinnige knaap was hij geboeid door bloemen en planten. De manier waarop je de flora kon vastleggen met waterverf vond hij wel heel bijzonder. Johan Buning Theo Goedvriend Theodoor Franciscus Goedvriend Colofon aanschouwde het levenslicht op 31 januari 1879 in De Steeg. Theo Deze uitgave is gemaakt in opdracht was een Nederlands kunstschilder, van DERKSEN veilingbedrijf, met een tekenaar, lithograaf en graficus. beperkte oplage van 500 stuks. Goedvriend volgde lessen bij Theo van Hoytema en Antoon Aan deze uitgave hebben Derkinderen. meegewerkt: Theo Goedvriend DERKSEN veilingbedrijf Vandaag visueel RO-WI printing Jan te Wierik Redactie adres: Jan te Wierik is geboren in Hengelo Amsterdamseweg 23 op 17 maart 1954. Waren zijn 6814 GA ARNHEM schilderijen de laatste jaren nogal tel: 026-4421498 abstract van aard, de laatste Fax 026 445 51 86 tijd was de vorm belangrijker www.derksen-veilingbedrijf.nl geworden. De intentie van zijn [email protected] werk bleef onveranderd maar de zeggingskracht van de afgebeelde figuren werd daarmee verstrekt. Vragen voor adverteren naar: Jan te Wierik [email protected] column Albert Keddeman laat zijn scherpe geest en schrijfstijl ook dit keer weer los op bepaalde stukken in de collectie of de kunstenaars die ze gemaakt hebben. column A. Keddeman Objecten in de picture Elke veiling hebben wij een bepaald stuk dat in de picture staat. Dit is niet zonder reden namelijk omdat wij vinden dat dit object in het zonnetje mag staan. Het zijn deze keer dan ook weer prachtige stukken. Object in the picture Vorige veiling De vorige veiling was net als daarvoor weer een succes. Hier laten we een korte impressie zien met wat mooie foto’s van de vorige veiling! Vorige veiling Vandaag visueel Ook in deze uitgave Het ontwerpen van een logo/ huisstijl geeft het bedrijf of • Prijsvraag merk een leuke en frisse nieuwe uitstraling, maar wat is de positie • Begane Grond die je wilt innemen binnen de • Vitrines markt en hoe is het mogelijk daar • Goud en zilver te komen met behulp van visuele uitingen? Daar komen wij in de • enz. enz. picture. Vandaag visueel Column Albert Keddeman Oranje, oranje en nog eens... Als veilingmeester en taxateur zit ik veel op de weg. Soms in de regio, soms wat verder het land in of zelfs over de grens. Zo was ik laatst op weg naar Haaksbergen, een lief plaatsje in het mooie Twente vol met mensen met een pracht dialect. Lunchen met een Twent zit er niet in, hij zit meestal vol van zijn eigen woorden die ingeslikt worden. Onderweg naar Haaksbergen, stuitte ik op een kleine wegafzetting. Eerst reed er een VW-busje met knipperlichten en een lichtkrant met de mededeling dat er werkzaamheden over 3 kilometer aan de gang waren. Iets verder werd de weg wat smaller gemaakt met oranje-witte pionnen. We konden er nog prima langs maar werden door meerdere borden wel attent gemaakt op de komende werkzaamheden. 300 meter verder stond een botsabsorbeerder. Voor hen die niet weten wat een botsabsorbeerder is, dit is een vrachtwagen zonder laadbak maar voorzien van een middelmaat zandbak waar de gemiddelde kleuter enkel maar over kan dromen. Het geheel is uitgerust met een giga- Hamer der gerechtigheid pijl, 3 oranje zwaailichten, knipperende LED-lampjes die je ’s avonds geheel verblinden en een bestuurder in oranje hesje met reflecterende strepen rondom het logo van zijn werkgever dat geen millimeter groter is dan de Belastingdienst voorschrijft om dit pak niet als verkapt loon te zien maar uitsluitend als werkkleding. Ca. 100 meter voor de werkzaamheden stond een verkeersregelaar. Dit is iemand die dolgraag bij de politie wilde maar om een voor hem onduidelijke reden niet door de selectie kwam. Nu had hij van zijn werkgever macht gekregen om met een enkel handgebaar het verkeer toch nog te kunnen regelen. In reflecterend 3-delig pak gehuld en overtrokken met het zelfde oranje hesje, deed hij zijn werk met passie en volle overgave. Het fluitje niet uit zijn mond te krijgen en zijn portofoon op heuphoogte gereed om zijn collega enkele honderden meters verderop te waarschuwen dat er een grijze Passat aan kwam. Eindelijk aangekomen bij de wegwerkzaamheden zag ik iemand met een emmer sop met spons, ook gehuld in een oranje vestje de hectometerpaaltjes stuk voor stuk op elegante manier van vuil ontdoen. Wat is er toch gebeurd met de veiligheid in Nederland? Waarom moet alles, wat ook maar één voet op de openbare weg zet, omgeven worden door een elftal in oranje hesjes gehesen mannen en vrouwen? Moet alles dan zo beveiligd worden? Kunnen wij zelf dan niet meer inschatten waar gevaar dreigt? Ik houd mijn hart vast voor het komende EK! Als ze de wedstrijden van het Nederlandse team ook zo veilig willen laten verlopen, moeten ze alle supporters iets oranje aan trekken! Al is het maar een oranje hesje! Met dit idee in het hoofd heb ik contact opgenomen met Bert van Oostveen, directeur betaald voetbal KNVB. Bert liet mij een boekwerk zien van spullen die er op de markt gebracht zijn voor het komende EK. Mijn mond viel open van verbazing, je kan het zo gek niet bedenken. “Oh ja, we hebben ook nog een aparte folder voor kleding” voegde hij er nog aan toe. Laat maar zei ik, wat ik zoek, zal je vast niet hebben, een oranje veilinghamer….! Jan Rijlaarsdam Ingetogen kleuren Jan Rijlaarsdam wordt in 1911 in Nieuwkoop geboren. Als boerenzoon moet Jan meehelpen op het land en in de stal. Later verhuist de familie naar Hilversum waar zijn ouders een melkzaak hebben overgenomen. Rijlaarsdam krijgt een baan aangeboden bij de plaatselijke lijstenmaker Dekker, die hij in 1929 zal overnemen. In zijn vrije uurtjes schildert Rijlaarsdam in de omgeving van Hilversum. Als jongen van 15 jaar ging hij op de fiets naar Amsterdam om er de binnenstad met haar hoge huizen en verweerde muren vast te leggen. In de hoofdstad komt Rijlaarsdam in contact met de schilder Jan Korthals waarmee hij diverse reizen zal maken. Dankzij een Koninklijke subsidie in 1932 kan Jan Rijlaarsdam schilderlessen nemen van onder andere Marie Mackenzie (leerling van Breitner). Jan wordt ook wel de schilder van de zelfkant van de maatschappij genoemd door kenners uit de kunstwereld. Samenscholende clochards en prostituees in cafés waren favoriete onderwerpen. De verkoop neemt gestaag toe en Rijlaarsdam wordt lid van schildersverenigingen als ‘de Onafhankelijken’ en de ‘Gooische Jan Rijlaarsdam Schildersvereniging’.
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  • The Modern Woman Artist and the Female Art Students of Robert Henri

    The Modern Woman Artist and the Female Art Students of Robert Henri

    Sarah Burns. American Women Modernists: The Legacy of Robert Henri, 1910-1945. New Bunswick, N.J.: Rutgers University Press, 2005. xii + 274 pp. $34.95, paper, ISBN 978-0-8135-3684-2. Reviewed by Valerie Ann Leeds Published on H-Urban (May, 2006) American Women Modernists: The Legacy of which serves as an introduction and overview of Robert Henri, 1910-1945 is a publication that high‐ the project. Sarah Burns's essay examines the lights the work of women artists taught by the Henri students whose creative pursuits led to noted American painter and teacher, Robert Hen‐ work in design and the decorative arts. Helen ri. Though principally a portraitist, Henri is popu‐ Langa focuses on some women printmakers and larly associated with the Ashcan School, a group their artistic innovations. Betsy Fahlman exam‐ of artists who were often identified with depicting ines art education in this period and the differ‐ urban subject matter in a realistic vein. In truth, ences in opportunities and success of women however, urban subjects represented only a small artists as compared to their male counterparts. portion of the oeuvres of these artists. Neither did Erika Doss explores how the social pressures of many of Henri's female students choose to depict their day affected art made by the female artists. the city, though most were educated in New York Gwendolyn Owens investigates the state of the art City and some remained there. Still, they were en‐ market and the discrimination against female ex‐ couraged to paint their surroundings. This vol‐ hibitors during the early twentieth century and its ume, produced in conjunction with an exhibition impact on the reputation and careers of female organized by the Brigham Young University Muse‐ artists.