Details & Cataloguing

Daan van Golden
1936 - 2017
signed on a label affixed to the backing board
oil on canvas, in artist's frame
Executed in 1996, this work is number 4 from a series of 10, each uniquely painted.
frame: 31.5 by 26 cm.; 12 1/2 by 10 1/4 in.
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Galerie d’Eendt, Amsterdam
Acquired from the above by the present owner


Brussels, Wiels, 'Daan van Golden: Apperception', 2012, p. 214, illustrated in colour (another example from the edition)
Schiedam, Stedelijk Museum, 'Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden. Naast elkaar, tegelijkertijd', November 2013 - January 2014 (edition no. unknown)
Schiedam, Stedelijk Museum, 'Hollandse Nieuwe', June - September 2018 (edition no. unknown)


Onno Maurer, 'Cobra tot Zero: Collectie Roetgering', Zwolle 2015, p. 90, illustrated in colour (another example from the edition)

Catalogue Note

Rudolf Stingel and Christopher Wool are famous for their appropriation of decorative patterns, but Daan van Golden already started meticulously copying the geometric patterns of handkerchiefs and wrapping paper in the 1960s. Although these early works are extremely rare and half of them are in museum collections, his later series of Heerenlux paintings continue his interest in appropriation, authorship and originality. Van Golden executed these paintings, based on a decorative pattern he found in Morocco in 1974 and has recycled throughout his career, in various sizes and often in small series. Although they are each uniquely hand-painted by the artist, he would typically make four versions of the same painting that look exactly alike, thus undermining conventional notions of originality. This version of Heerenlux from 1996 is from a series of ten, one of which is held in the collection of the Stedelijk Museum in Schiedam, whilst larger Heerenlux paintings are held in the collections of the Museum Boijmans van Beuningen in Rotterdam, the Kröller-Müller Museum in Otterlo, and the Voorlinden Museum in Wassenaar.

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