FIERET, G[erard]. P[etrus]. Le monde entier / 30 Juni 1979. Apeldoorn: Van Reekum Edition, 1979.

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FIERET, G[erard]. P[etrus].
Le monde entier / 30 Juni 1979.
Apeldoorn: Van Reekum Edition, 1979.

Brown card box (320 × 246 mm) titled and signed by Fieret in black pen with c-type photograph affixed to front, copyright stamp in black ink to rear; lightly shelf-worn, short crease to flap, light wear to flap edges. Containing 2 sheets of printed paper one with a text by Jerven Ober, 25 c-type photographs (88 × 129 mm) and 2 gelatin-silver photographs (179 × 138 mm) mounted to 15 sheets of coloured card (288 × 203 mm). Contents fine in slightly worn box.

One of 100 copies, issued to accompany a major solo exhibition of Fieret’s work at the Gemeentelijke Van Reekum Gallery (now CODA) in Apeldoorn. In the late 1950s Fieret began a body of work consisting mostly of self-portraits and candid female nudes. In the 1970s he stopped taking photographs and worked solely with existing images from his archive, re-cropping them and creating composites and montages. He took up photography at the age of 41 and went on to produce ‘one of the most wayward oeuvres put forth by 20th century Dutch photography: erotic, egomaniacal, radical, taboo-breaking and, at times, unfathomable, but always of a staggering, albeit uneasy, beauty… a frantic and semi-parrying attempt to make contact with the outside world, a world which had betrayed and deserted him, a world where he would remain an outsider all his life.’

In the early 1970s the Gemeentemuseum in the Hague began collecting Fieret’s work, they were followed by the Stedelijk Museum in Amsterdam, and the Van Abbesmuseum in Eindhoven. Interest in his work grew steadily and with the increased interest an increasingly concerned Fieret began prominently stamping and signing the front of his prints so as to protect both the integrity of his ideas and the prints themselves from theft by artists and other interested parties.

The photographs included here predate the period when the obsessive stamping began. With the exception of two black-and-white prints, they are in colour and are assembled in to groups of two or three prints per panel. This colour work, though a departure, clearly display the precision with which Fieret constructed his images.


1 copy located in OCLC: Rijksmuseum, Amsterdam.


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