Colophon of Memorial Book, Selection exhibition of Dutch paintings from the years 1860-1892, held in Amsterdam at Arti et Amicitiae; Colofon van Gedenkboek, Keuze-tentoonstelling van Hollandsche schilderkunst uit de jaren 1860-1892, gehouden te Amsterdam in Arti et Amicitiae Antoon Derkinderen (1859-1925)

The composition presents a formal colophon, likely from a commemorative publication related to an exhibition of Dutch paintings. The design is highly structured and ornamental, employing a symmetrical arrangement that emphasizes its function as a concluding statement.
Here we see a large initial D dominating the upper left quadrant, rendered in a stylized, almost calligraphic form. Beneath it, text identifies the work as a book (Dit Boek Wordt Uitgegeven…), followed by the name of an individual (“C.M. van Gogh”) and the location and year of publication: Amsterdam, 1893. The typography is dense and formal, contributing to the overall sense of gravitas.
A central rectangular block contains a list of names arranged in two columns. These are presumably contributors or participants involved with the exhibition or the book’s creation. The meticulous listing suggests an intention to acknowledge collective effort and establish a record of involvement.
The entire text is framed by elaborate decorative borders. At the top, these consist of stylized floral motifs interspersed with geometric patterns. Below the list of names, a more complex design unfolds: a frieze depicting figures in profile, possibly representing artists or patrons. These figures are rendered in a somewhat archaic style, evoking historical precedents and lending an air of tradition to the publication. The repetition of profiles creates a sense of continuity and collective identity.
The color palette is restricted to shades of brown and beige, reinforcing the impression of antiquity and solemnity. The limited range contributes to the overall aesthetic of a carefully considered document intended for posterity.
Subtly, the design suggests an emphasis on lineage and institutional affiliation. The inclusion of names, coupled with the formal presentation and historical allusions in the decorative elements, implies a desire to connect the exhibition and its accompanying publication to a broader artistic heritage. The presence of Van Gogh in the title hints at a connection to a significant figure within that tradition, further elevating the perceived importance of the event.