Category: antiquarian books

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Helmut Viking Fredrik Eggeling (1880-1925)

From c1911 to c1915 he lived in Paris, probably after separating from his wife. There he was acquainted with Amedeo Modigliani, Jean Arp, Othon Friesz, Moise Kisling. Modigliani painted his portrait in 1916. At this point his art was influenced by Cubism, but soon grew more abstract. He never dated and only rarely signed his works.[3]

In the years c1915-1917 he lived first at Ascona and later other places in Switzerland, with his wife Marion, née Klein. During this time, he started working on his ‘universal language’, a theory of harmony for painting which was to open up a way for meaningful communication between viewer and artist.[4]

During one of his stays at the Mount Verita Lebensreform colony at Anconà, Italy, Eggeling met the author Yvan Goll, one of the principle advocates of film as art amongst German literary circles. In 1920, Goll published the article entitled Das Kinodram where he states emphatically that “the basis of all future art is the cinema.” During 1918 Goll helped Eggeling with first preliminary works for the latter’s abstract film (probably Horizontal-Vertikal-Messe) cutting geometrical forms and mounting them onto the celluloid support. According to Claire Goll, the two also discussed the foundations of abstract film which Goll still called Kinomalerei [cinema-painting].[5]

In c1918 Viking and Marion settled down in Zürich. There he re-connected with Jean Arp and took part in several Dada activities, befriending Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and the other dadaists connected to the Cabaret Voltaire. In March 1919 he also joined the group Das neue Leben [New Life], started the year before in in Basel by Arp, Fritz Baumann, Augusto Giacometti, Janco, Taeuber, and Otto Morach, among others. The group supported an educational approach to modern art, coupled with socialist ideals and Constructivist aesthetics. In its art manifesto, the group declared its ideal of “rebuild[ing] the human community” in preparation for the end of capitalism. In April 1919 Eggeling was co-founder of the similar group .

Radikale Künstler [Radical Artists], a more political section of Das neue Leben group, that also counted Hans Richter

www.ftn-books.com has the scarce Hoffmann Stiftung catalog from 1953 available with the Eggeling cover.

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David Maxim (1945)

While the adjectives “heroic” and “theatrical” have been used to describe Maxim’s work, it is the way in which he portrays the human figure that takes center stage. Maxim’s non-representational, mixed media paintings, which are monumental in size, create a strong bodily presence. These paintings often incorporate 3-dimensional elements that reach out towards the viewer. In addition, Maxim’s mixed media paintings utilize mark making and shapes that dynamically suggest the gestures of the human body. For example, a simple combination of rectangles and spheres can hint at a reclining figure.

Furthermore, Maxim’s artwork includes several pieces that feature 3-dimensional figures extending from the canvas. These figures either crawl across the canvas or engage in a tug-of-war, resembling marionettes. They are presented in front of dramatically painted canvases that evoke an emotional response and resist being tied to a specific location. Although the setting for these figurative artworks, whether they are wall pieces or sculptures, remains a mystery to the viewer, Maxim’s knowledge of art history is evident in his work. For instance, his piece “Blind Leading the Blind” references the Flemish Renaissance painter Pieter Bruegel.

The figures, especially the anonymous and faceless ones that populate Maxim’s work, metaphorically represent philosophical notions of the human condition. Maxim consciously constructs situations that depict common struggles. In “The Elusive Thought,” a figure attempts to cast a net, though the target remains uncertain. In “A View of the World,” another figure looks up into space through a framed screen that limits their vision. Despite addressing struggles, Maxim’s work exudes a classical beauty that highlights our connections rather than our differences. It is this delicate balance between theatrical expressionism and conscious serenity that establishes Maxim as an artistic legend.

David Maxim’s work has been exhibited extensively in California, across the United States, and in Europe.

www.ftn-books.com has the UNSEEN PICTURES publication now available.

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Alexis Milne



An artist residing in London, dedicated to exploring the themes surrounding recent political protests and various forms of autonomous subcultural uprisings, such as Hip Hop and Rave cultures. My main focus revolves around the subsequent dissemination of these movements through media and the subsequent recuperation. Through my work, which encompasses video scratch collage, installations, and interventionist performances, I utilize alter egos, the grotesque, and cartoonist parody as powerful tools for commenting on the decline of authenticity, particularly in relation to riots transformed into spectacles.

The production of the video ‘Riot’ was born out of my experiences during the G20 demonstrations against the financial system in 2008, which took place at the prestigious Bank of England. It was during this time that the world economy began its descent into recession. The demonstration felt like an exaggerated, stadium-scale specter on a grand film set. Forward intelligence police units were closely monitoring and documenting activists who, in turn, documented the actions of the police. This endless cycle of impotent documentation, accompanied by the ominous drone of surveillance helicopters overhead, formed the backdrop for the events. ‘Riot’ delves into the historical and contemporary state of protest, representing the never-ending cycle of civil unrest experienced second-hand through the lens of the media. It reinforces the diffusion of aggression and passivity. The concept behind the video has evolved into largescale performance riots, such as ‘Chamber music for the disenfranchised’ and ‘Prague Uprising.’ These performances, set to a live punk soundtrack, aim to encourage assembled crowds to actively engage physically with footage of riots within the confines of an institutional location.

Following the completion of my Fine Arts MA at Goldsmiths, my video and performance piece, ‘Riot,’ gained recognition, and I was selected to participate in the European-wide Start Point prize. Eventually, I secured the overall prize in the Czech Republic at GASK, which led to my first solo exhibition at GAVU Cheb in 2011. Elizabeth Price, a prominent figure in the art world, selected my video work for the Selected Tour, which included a screening of ‘Jobseekers’ at the Whitechapel Gallery in 2012. My video work ‘The Delinquents’ was curated by renowned collage video artist George Barber for the Reality Check exhibition at the South London Gallery in 2012. Additionally, it was showcased at the Moscow International Biennale for Young Art in the same year. In 2013, I organized the video collage exhibition ‘Bunker Mentality’ in a disused World War II bunker, which featured ‘Riot Act SE6,’ a live performance reenactment based on Crimewatch footage from the 2011 London riots.

www.ftn-books.com has the 2011 galerie Vytvarneho now available.

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Henri Jacobs (1957)

Since 2003, Henri Jacobs has been engaged in an ongoing series of drawings. These drawings, known as the Journal Drawings, originated from a project he undertook as a teacher. In this project, Jacobs instructed his students to depict anything that had a significant impact on them or caught their attention throughout a given day. Inspired by this exercise, he adopted it as a method for his own artistic practice, resulting in an ongoing collection of drawings. Within this series, he explores different motifs and forms, continuously abandoning them to make room for new research and experimentation.

Jacobs’s drawings showcase a virtuosic technique, skillfully executed yet playful. The images range from abstract geometric shapes and patterns to stylized portraits, landscapes, and architectural forms. Frequent allusions to art history and renowned artists such as Matisse and Jasper Johns also appear. Essentially, the Journal Drawings serve as a continual process of creative exploration, as Henri Jacobs constantly challenges himself to redefine and reinvent his drawings.

www.ftn-books.com has the van Abbemuseum catalog designed by Arlette Brouwers now available.

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Thijs Rinsema (1877-1947)

Thijs Rinsema, a cobbler from Drachten, a town in the Frisian region, gained recognition as a prominent member of the famous art movement De Stijl. His work was displayed at the Centre Pompidou in Paris and the Tate Modern in London.

The Museum Drachten is hosting the first major retrospective exhibition of Thijs Rinsema’s (1877-1947) work. The exhibition also pays tribute to his equally exceptional brother, Evert Rinsema (1880-1958). Additionally, the Museum Belvédère in Heerenveen has a small exhibition featuring Thijs’ Stijl furniture pieces and some of his paintings.

These craftsmen are skilled in creating perfect pairs of shoes with a piece of leather, but they are also well-read and have an interest in philosophy and modern art. Thijs paints while Evert writes and, during his military service, gets to know the artist Theo van Doesburg. This encounter opens up a whole new world for the brothers.

Thijs is deeply moved by De Stijl and, in the early 1920s, transforms his shop and living room. To the amazement of the people of Drachten, these spaces are adorned with the primary colors of the art movement: white walls with yellow, red, and blue accents. It becomes an incredible sight to behold.

Rinsema is already painting at this time. He learns to paint by imitating medieval art as well as works by modern artists like Picasso and Kandinsky. Following Van Doesburg’s advice, he begins creating still lifes and portraits. “Family, neighbors, and acquaintances are all subject to his artistry,” writes Thijs Rinsema’s grandson in his study ‘Thijs and Evert Rinsema, Independent and Versatile’.

Posing for Thijs is a challenge. The cobbler-painter works slowly, and customers in the shop disrupt the process. “Naturally, they all found it quite peculiar in Drachten,” says Thijs’ grandson. However, the eccentric cobbler is unperturbed and enjoys his newfound status.

In 1923, the Dadaist Kurt Schwitters visits Drachten. Van Doesburg had written to him about two remarkable individuals in Friesland, which Schwitters finds fascinating. At the round table in the Stijl room, he creates collages with Thijs using newspaper clippings, leaves, and advertising materials. These collages, now worth a fortune, are displayed at the exhibition.

The pinnacle of their friendship is a gathering in 1923 in a hall at a local hotel. Schwitters performs and recites his poems, one of which is in the Frisian language. He also presents his famous sound-image poem with the lines: “We strive to remain w88888” (referring to the town name Dr8888 – Drachten). Thus, Drachten becomes forever connected to Dada.
www.ftn-books.com has 2 important publications on Rinsema now available.

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Lea Halpern (1901-1985)

Born in Poland in 1901, Lea Halpern (1901-85) was a potter who had the opportunity to pursue her studies in Berlin, Amsterdam, and Vienna. Upon arriving in New York City in 1939 to showcase her work, she decided to stay and settle in Baltimore. Unlike being recognized as a mere craftsman, Halpern saw herself and was seen as an artist, creating pottery pieces intended for visual appreciation rather than practical use. Her creations, named Stormy Sky, Drifting Clouds, Frozen Fire, and Tiger Lily, demonstrate a fusion of poetic and naturalistic elements, with evident inspiration from Asian culture. Although her mature works showcase an exceptional command over intricate reduction glazes, this impressive skill was attained through extensive hours of dedicated research and experimentation.

www.ftn-books.com has now the 1976 Baltimore Museum catalog available.

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Geert Mul (1965)

For more than 25 years, Geert Mul has been exploring the possibilities of incorporating poetry into the realm of new media. This exploration has led to the creation of a diverse range of experimental artworks including prints, light-objects, video installations, and interactive/generative computer installations. Mul’s works revolve around the interplay of technology, media, and perception, with a particular focus on engaging the wider public through commissioned artworks in public spaces.

Mul’s artistic journey began in 1985 when he studied art at the HKA Arnhem, specializing in computer animations, video, and kinetic sculptures. Following his studies, he embarked on a journey through Mexico, the United States, and Asia, eventually spending a year in Tokyo. Since 1993, Mul has made Rotterdam, Holland his home base for both living and working. In the mid-1990s, Mul made his mark as one of the pioneers in the field of VJing within the alternative Techno scene. These early endeavors gradually evolved into interactive audio-visual environments, commissioned artworks, and installations that have been showcased in various settings, including public spaces, museums, and festivals. Mul’s impressive body of work includes over 20 commissioned art installations, with exhibitions held at prestigious venues such as the Museum Boijmans van Beuningen in Rotterdam, the Stedelijk Museum in Amsterdam, the National Museum of Modern Art in Kyoto, Japan, the Museo Nacional Reina Sofia in Madrid, the Institute Valencia Arte Moderne, and the Museum of Contemporary Art in Chicago.

In addition to his artistic endeavors, Geert Mul also shares his expertise as a teacher, imparting knowledge and guiding young talents in the field of “Unstable Media” at the Gerrit Rietveld Academie.

www.ftn-books.com has the Witteveen + Boos publication now available

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Paul Delvaux (continued)

The first time i encountered a large canvas was at the Haags Gemeentemuseum. It was hanging in one of the stairways of the museum and I must have been 15 years of age. The surrealistic scene with woman in white dresses and nude figures impressed me and it was one of my favorite paintings in the museum . ….until I learned it was removed(sold?) because it was not the painting which was important for the museums collection, the reason …… the museum hardly had any surreal paintings. I never understood this because at one time it was added to the collection and the painting was important enough to be on show for some decades. Where it is now ….i do not know….but for me it was one of the most important Delvaux paintings I encountered in all these decades of museum visits.

I always remember this painting when I encounter publications by Delvaux and I now can offer 2 additional Seventies Delvaux publications.

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Gustave Camus (1914-1984)

Camus is like Fernand Leger meets Gilbert & George

Gustave Camus, a Belgian expressionist painter, was born on April 4, 1914, in Châtelet and passed away on June 9, 1984, in Mons. At the age of 14, he began apprenticing as a house painter, but he abandoned this occupation as soon as his art could sustain him in 1939. He received drawing lessons from sculptor Eugène Paulus at the Charleroi Industrial School (1930-1934) and from Leon Van den Houten at the University of Labor (1932-1937). In 1933, he co-founded the group Living Art in the Land of Charleroi along with Georges Wasterlain. Following the war, critics acknowledged his talent, and he taught painting and drawing at the Academy of Fine Arts in Mons (1951-1976), of which he served as the director from 1961 to 1966 and from 1975 to 1976. While he is considered an Impressionist (1930-1946), he is closer to Fauvism than Monet. It was after a trip to Brittany that he embarked on his second period, which would profoundly influence his work (1946-1950).

www.ftn-books.com has now some Camus publications available.

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Leo Gestel (continued)

I have written before on Leo gestel, but now I like to emphasize the importance of the commemorative LEO GESTEL catalog published on the occasion of his commemorative exhibition at the Stedelijk Museum Amsterdam.

Only 20 pages but the cover contains 4 small original prints by Gestel making this one of the important 40’s catalogs published by the Stedelijk Museum.