Jan Henderikse (1937) - Topps





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Jan Henderikse, Topps, a 2018 collage on paper in a limited edition, 43 by 33 cm, depicting four baseball cards in a modern architectural motif, hand-signed and in good condition, sold by Galerie.
Description from the seller
JAN HENDERIKSE – “Topps” – collage of baseball cards
“Topps” is a hand-signed collage from 2018 by Jan Henderikse, consisting of four baseball cards on a sheet of paper.
This multiple is part of the edition Jan Henderikse by Antoon Melissen (Kerber Verlag, 2018).
Jan Henderikse is a visual artist. He was born in Delft. While studying at the Vrije Academie in The Hague from 1955 to 1958, he began making drawings informally. At his initiative, the first informal art exhibition was held in Delft in 1958. From this first exhibition emerged the Dutch Informal Group, with Armando, Kees van Bohemen, Henk Peeters, and Jan Schoonhoven. In 1960, the Dutch Zero movement arose from this group. Of this group, he is the one who worked with industrial products, pronounced waste, and discarded materials, and used them to create assemblages. He is not a man of the Zero theory, but of doing and making; he saw himself as the artist with the lowest ‘Zero content’. Central to the work of the Zero artists was the emphasis on impersonality in art, the objective. This manifested in the use of materials that, for art at that moment, were highly unusual, such as coins and corks. The search for making procedures that possessed outward regularity and order, comparable to the production processes within factories and companies. He left the Netherlands and worked successively in Cologne, Düsseldorf, Curaçao, Antwerp, and New York.
JAN HENDERIKSE – “Topps” – collage of baseball cards
“Topps” is a hand-signed collage from 2018 by Jan Henderikse, consisting of four baseball cards on a sheet of paper.
This multiple is part of the edition Jan Henderikse by Antoon Melissen (Kerber Verlag, 2018).
Jan Henderikse is a visual artist. He was born in Delft. While studying at the Vrije Academie in The Hague from 1955 to 1958, he began making drawings informally. At his initiative, the first informal art exhibition was held in Delft in 1958. From this first exhibition emerged the Dutch Informal Group, with Armando, Kees van Bohemen, Henk Peeters, and Jan Schoonhoven. In 1960, the Dutch Zero movement arose from this group. Of this group, he is the one who worked with industrial products, pronounced waste, and discarded materials, and used them to create assemblages. He is not a man of the Zero theory, but of doing and making; he saw himself as the artist with the lowest ‘Zero content’. Central to the work of the Zero artists was the emphasis on impersonality in art, the objective. This manifested in the use of materials that, for art at that moment, were highly unusual, such as coins and corks. The search for making procedures that possessed outward regularity and order, comparable to the production processes within factories and companies. He left the Netherlands and worked successively in Cologne, Düsseldorf, Curaçao, Antwerp, and New York.

