An interview with Van den Oever about the gallery quickly becomes a conversation about his life. On a screen in the gallery, a video loop plays over thirty years of memories: old posters, flyers, and street signs, but also photographs—from the famous Noordeinde Nocturne he initiated, to Paris Photo where he is a familiar face, to Sinterklaas visiting the gallery, Queen Beatrix at a Jan Montyn exhibition, and chef Cas Spijkers cooking with art.

“When I put together this collage for our anniversary weekend, I thought: wow, that’s a lot,” says the nearly 67-year-old entrepreneur, sitting at the large table in his high-end gallery Project 2.0,just a door away. His curls may no longer be as red as in many of the snapshots, but the fire for art still burns in his eyes. “Still, I wanted to look back—against my usual habit—because without all these people and moments, we wouldn’t be where we are today.”

Galerie Den Haag’s serene autumn 2025 photo series ‘At the Onsen’ by Soo Burnell, celebrating Japan’s centuries-old bathing culture.

One key figure in this history is Clemens Briels. “He was emerging in the US when he was chosen as an Olympic artist for the 2002 Salt Lake City Games,” Van den Oever recalls. “His painting ‘Jump for Joy’ became the campaign image. I sent it to the news agency with the headline: ‘First gold for the Netherlands already secured.’ We made all the front pages, and before the exhibition even opened, all the work had sold out. Clemens went on to create dozens more prints and commissioned pieces—we made a million guilders from it.”

Transition

Instead of buying a flashy new car, Van den Oever focused on building a solid foundation for his gallery, including De Kunstuitleen. “The return on investment for the lending service is long, so it only paid off after twelve years,” he explains. “And that was exactly during the financial crisis, when people bought less and rented more. That’s how we survived. Also, unlike many galleries that vanished, we embraced the shift to digital art and welcomed a new generation of buyers. We were online from the very start.”

His path was preceded by a stormy past. “Before I turned thirty, I went bankrupt with the sports shops I owned. I learned not to grow too big,” Van den Oever summarises. “I worked hard to get back on my feet, gave tennis lessons again, and later worked in the framing workshop of my ex-partner, with whom I had my daughter Eva. I started on my own by producing screen prints in collaboration with Chiefs & Spirits and Livingstone Gallery, who were also just starting out. Everything was new to me, except my love for art; I sold my first work at twelve.”

‘Wave, intense blue touch of gold’ by visual artist Ans Pullens.

Nocturne

At its peak, the Noordeinde housed around fifteen galleries, making it the Netherlands’ premier art street. From this, the idea for the Noordeinde Nocturne emerged. “I suggested we each skip a fair and pool the money to create a big event with music, an orange carpet, and outdoor sculptures. We invited all our clients that weekend and maximised the impact.” A bold move. “The art world is very closed and conservative. I’ve always tried to break it open, which allowed me to organise eighteen editions of the Nocturne.”

With retirement on the horizon, Van den Oever is slowly stepping back. “Eva handles day-to-day operations, and together with the team—like Wouter, who’s been with us 22 years, and Larissa, who shares my perspective—they curate alongside her,” he explains. “We sometimes have heated artistic discussions, but for me, it’s important to let go. I’m not a real manager; I’ve just shown how it can be done. In art, staying true to yourself is crucial. That way, you build a group of clients who understand your taste and choices.”

Read also: Soo Burnell and her surrealistic view of The Hague A bit topsy-turvy at De Plesman

Discovery

One of his recent discoveries is textile artist Laura Maria Hamstra. “She came to us while I was working at De Galerie and Kunstuitleen in Rotterdam. She had worked as a couturier for Jan Taminiau and creates paintings in fabric. I hesitated at first, but once I saw her work, I knew it was exactly right for the times—if I get greedy, that’s a good sign. I was right; her work now flies out of the gallery.”

Textile artist Laura Maria Hamstra, a recent discovery Van den Oever is proud of.

Van den Oever is used to thinking two to three years ahead. “I continue to provide support whenever I’m asked—and thankfully, that happens a lot—but what I enjoy most is mentoring artists. You need to challenge them to innovate while keeping them grounded. Each artist has their own guide, and that’s where I want to focus more, because that’s the essence of being a gallery owner.”

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