DAAN VAN GOLDEN | Heerenlux

signed on a label affixed to the backing boardoil on canvas, in artist's frameExecuted in 1996, this work is number 4 from a series of 10, each uniquely painted.

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)

This work is in very good condition. No restoration is apparent when examined under ultraviolet light.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

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.