Collector Frans Oomen at home with just a few works from his collection. Photograph: Auke Hamers.
Frans Oomen’s eye is anything but timid. For 40 years, his curious drive has evolved his collecting into a path of self-realization, opening his mind to how artists’ ideas are formed. Though his collection is expressive and varied, he’s never been afraid of provocative or challenging artworks, always meeting the art on its own terms and leaning into tensions where others might shy away.
Ahead of the online auction, we spoke with the spirited collector to hear about his journey, why he’s so drawn to editions, and his advice for young collectors.
Ai Weiwei, Artist’s Hand, 2017. An Eye for Editions: From Rembrandt to Mehretu — The Frans Oomen Collection: Online Auction.
PHILLIPS: Do you remember your first experience with editions?
FRANS OOMEN: I started collecting editions in 1985, as I saw them as the perfect way to discover and own art. My first purchase was a screenprint by Rob Scholte, which showed me that editions are much more than simple reproductions: they are fully-fledged artworks, often hand-finished and with their own identity. That experience sparked a fascination that has only grown since then. Editions now form the heart of my collection, which has grown to over 4,000 works.
P: How has your collecting behavior changed over the years? Has it been influenced by market developments?
FO: In the beginning, I mostly bought intuitively, driven by an immediate emotional reaction to artworks. As my experience grew, I developed a more conscious and focused approach. I became fascinated by radical editions that experiment with form, material, or concept. Although I notice the ongoing changes in the art market, my choices are always driven by passion and content, never by investment value.
At a certain point, I also felt the need to also highlight the roots of my collection. That’s why I acquired works by Lucio Fontana, Pablo Picasso, Yves Klein, and Rembrandt. Their conceptual, expressive, or material approaches have left a lasting mark on art history and form the foundation upon which my own collection is built.
P: Do you prefer collecting works by established artists, or do you invest in emerging talent?
FO: I greatly enjoy collecting both iconic artists and young talents. Works by luminaries such as Nan Goldin, Richard Prince, Julie Mehretu, and Shirin Neshat have given my collection strength and an international allure, which I’m still proud of. But I get just as much pleasure and inspiration from discovering and supporting young artists like Nokukhanya Langa, Adam Pendleton, Sander Dekker, and Susanne Khalil Yusef. It is incredibly exciting to follow their development up close, and thanks to my international contacts with publishers and artists, I can often act early on special editions, keeping my collection vibrant and contemporary.
P: Is there a theme that connects your collection?
FO: For me, my collection revolves around radicality and the tension between vulnerability and strength. I collect works that challenge and stretch my ideas of what art can be, each work telling a story of time and transformation. I also feel strongly drawn to portraits and photography, which is why my collection includes a diverse range of abstract and figurative works, where material often plays the leading role. Together, these works reflect my personal quest for meaning and my desire to find art that continues to challenge, move, and inspire.
Frans Oomen with Ai Weiwei in 2017.
P: Which artists, movements, or publishers have most inspired you on your collecting journey? Do you have a memorable experience with any of them?
FO: I’m deeply inspired by artists who don’t shy away from experimentation and dare to provoke, such as Hermann Nitsch, Barbara Kruger, Jake & Dinos Chapman, and Katharina Grosse. Their work constantly makes me see art — and the world — differently. Artists like Franz West and Jannis Kounellis, who blur the boundaries between art and everyday life, have also profoundly affected me and permanently broadened my perspective on art.
A dear memory is my meeting with Aernout Mik. I had the chance to show part of my collection at Kunstfort under the title Speed Bump in 2010, and together with Aernout, I installed his piece Recto Verso. Also, the brief but unforgettable encounters with Ai Weiwei, Marlene Dumas, and Rodney Graham left a deep impression on me. Such moments constantly remind me why art is an indispensable part of my life: it gives strength, poses questions, and opens new perspectives.
Additionally, collaborations with publishers have deepened my passion for art and expanded my understanding of what an edition can be. The renowned publisher Jörg Schellmann, for example, made it crystal clear to me that the value of an edition lies in the strength and conviction of the image itself. I carry those insights with me every day in my choices, and they fuel my ongoing enthusiasm for collecting.
Frans Oomen: ”I’m deeply inspired by artists who don’t shy away from experimentation and dare to provoke.”
P: Why do you think this is a good time to auction your collection? What are some of your highlights in the sale?
FO: I notice that editions are increasingly recognised as an independent art form, with their own place within contemporary art. It feels like the right time for me to share my collection with a broader audience and show that editions can be radical, idiosyncratic, and surprising.
Works like Untitled (Tooba) by Shirin Neshat, Lucy by Marlene Dumas, P7-P12 by Jenny Holzer, and Lynelle in Japanese Restaurant by Nan Goldin are among my absolute favourites. These pieces move me time and again because they combine powerful imagery with intimate, personal stories that never leave me. But smaller objects like Compass by Man Ray and Two Shoes by Sherrie Levine prove to me that art can be grand and compelling, regardless of size. It’s precisely those works where content and form reinforce each other that continue to inspire me and remind me why art holds such an important place in my life.
Gerhard Richter, Flow, 2013/2016. An Eye for Editions: From Rembrandt to Mehretu — The Frans Oomen Collection: Online Auction.
P: What is one piece of advice you would give to future collectors?
FO: My most important advice to future collectors is simple: collect with your heart, not just your head. Choose works that truly move you, that continue to fascinate and challenge you, and that reveal something new each time you look at them. Don’t get caught up in trends or potential investment value, but follow your own passion and curiosity.
For me, collecting editions has always been a journey of discovery — a way to get very close to the creative process of artists and experience how ideas take shape. I find it wonderful how editions make art more accessible without compromising quality or meaning. It feels like a form of democratisation, allowing more people to enjoy extraordinary works of art.