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Dora Tuynman (1926-1979)

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On the “outskirts” of the COBRA group she operated like a true Cobra artist. In 1951 she left for Paris and joined the artist at the Rue Santeuil and became friends with Karel Appel and Corneille and somehow got influenced by everything COBRA that surrounded her . in 1997 the NRC wrote about het works that they were still fresh and vivid and compared to some works by her fellow artists never had lost their quality. When you leaf through the book that is now for sale at www.ftn-books.com, one notices that her work is far more abstract than the early COBRA works that were in many cases inspired by children.

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These works by Tuynman are more like the Klee drawings from the Twenties, but put on canvas. The publication was initiated by Mrs. E. Tuynman and published by DE DRIJVENDE DOBBER of Tom Mercuur. A keen publisher who has an eye for the undiscovered talent. The book is now available.

tuynman

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Josephine Sloet (continued)

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Yesterday i visited the studio of Josephine Sloet to talk about the last couple of months and the future. She has had a very productive period while staying in France during last summer and i took the opportunity to photograph 2 of the completed 9 paintings and beside the already finished series of paintings, she told me that she has plans to make a series of smaller drawings in the coming months. I will make another appointment in the near future to photograph the other paintings made during last summer, but the 2 i have already photographed will be presented in the next couple of weeks. here is the first one:

title: Meeting of Leaves

size: 101 x 81 cm.

technique: acrylic on canvas

 

sloet leaves 2019 a

an impressive painting in a handy size.

for more information inquire at wvdelshout@ziggo.nl

 

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Two different Malevitch titles

On a recent book market visit i found 2 totally different publications on the same artist. Malevich being the subject it occurred to me that there was a great difference between both publications. One rather modern with the emphasize on his early works proved that the interest in his early works was not there from the early beginning. The other being earlier…. a Louisiana / Denmark Museum publication from 1959. Shows the influence of Willem Sandberg in its catalogue design and its approach is totally different. Only a few early works are depicted and the focus is on his Suprematist works, which were being discovered as highly important in those days. The ultimate “BLACK SQUARE” being the final result of his search in constructivist painting.

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These and other great Malevitch publications are available at www.ftn-books.com

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Charlotte Salomon (1917-1943)….Leben oder Theater

I remember it well. Together with a huge publicicty campaign the Book by Charlotte SALOMON, Leven of Theater? / Life or Theater? was published on a worldwide scale. In the Netherlands it was pub lished by Meulenhoff and in the US by Viking press. My estimate is that there were several 100K book printed and published, but it is remarkable that this title is a rare find nowadays. The one i finally have in my inventory is a 1st printing by the original publisher of the work GARY SCHWARZ. Book is in english and a highly collectable item. here is the blog from some years ago i wrote on Charlotte Salomon

The Joods Historisch Museum in Amsterdam shows the complete set of “LEBEN ODER THEATER” the magnificent works by Charlotte Salomon . It is the equivalent of a written diary of her life in Auschwitz before she was murdered. The complete original set is now on show at the Joods Historisch Museum until the 25th of March 2018, but…. not only the complete set is on show, there is another way of viewing the set…..for those who are interested and live to far away you can view the complete set at :

https://charlotte.jck.nl/section

This is what makes the internet worthwhile, so visit this site and convince yourself why this is not only a historical important work, but also a great work of art by a gifted artist.

www.ftn-books.com has the very rare first dutch publication on Charlotte Salomon availablle at www.ftn-books.com

charlotte salomon schwartz

 

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Günther Förg – Moskau / Moscow. 1995

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For many among us Günther Förg is the painter of lead surfaced paintings and one great print maker, but there is another quality in which he excels. Förg was a great photographer and made some high quality photo books on the almost forgotten ( Bauhaus )architecture of Tel Aviv and Moscow. The book on Tel Aviv i have sold a very long time ago, but was fortunate to find a Moscow copy with his photographs on a recent book market. This is a truly outstanding publication. Large sized , printed and published by Snoeck and of the highest print quality. The book shows the excellence of his photographs and makes you wonder why art lovers all over the world are not familiar with this part of Förg’s work.. The photographs look like still lives and do not only have an artistic quality but a historic quality too. Where the Tel Aviv book is of the highest quality, this Moscow book even looks better. It is a publication of a rare quality and a highly collectable photography/art book.

 

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Cesar Manrique (1919-1992)

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Because i encountered a nice publication on this obscure painter , i decided to write a blog on the artist. The main part of this text comes fromT the Cesar Manrique devoted site. They did an excellent job in making more information available on Manrique

César Manrique Cabrera was born on April 24,1919 in Puerto Naos, Arrecife (Lanzarote), the son of Francisca y Gumersindo. His father was a food merchant and his grandfather a notary public. César preceded his twin sister Amparo by just a few minutes. He had another sister and brother all of whom are alive today. Don Gumersindo came from Fuerteventura of good family background and emigrated to Lanzarote.

The Manriques constituted a typical middle class family, without financial burdens. In 1934, his father bought a lot in Caleta de Famara and built a house next to the ocean. This house left a visible impression that lasted his lifetime, he remembered with joy:” My greatest happiness is to recall a happy childhood,five month summer vacationsin the Caleta and the Famara beach, with its eight kilometers of clean and fine sand framed by cliffs of more than four hundred meters high that reflected on the beach like in a mirror. That image has been engraved in my soul as something of extraordinary beauty that I will never forget in all of my life.”

He participated as a volunteer in the Spanish Civil War on Franco’s side. His experience of the war was atrocious and he refused to talk about it. In the summer of 1939, once the war was over, César returned to Arrecife. He returned still wearing his military uniform. After greeting his mother and siblings, he went up on the flat roof, took off his clothes, agrily stepped over them, sprayed them with petroleun and burned them.

At the end of the Spanish Civil War, he entered the La Laguna University to study Technical Architecture, which he would abandon after two years. In 1945 he travels to Madrid and enters with a scholarship, to the Academia de Bellas Artes de San Fernando, where he would graduate as Art Professor and painter.

In the Fall of 1964, following the advise of his cousin Manuel Manrique, a New York Psychoanalyst and writer, Cesar traveled to that city where he stayed until the summer of 1966. He was the guest of Waldo Diaz-Balart, a Cuban painter, who lived in the Lower East Side, at the time, a neighborhood of artists, journalists, writers, and bohemians. Later he was able to obtain through his cousin Manuel’s friendship with the Director of the Institute of International Education, which was sponsored by Nelson Rockefeller. a generous grant which allowed him to rent his own studio and produce a number of paintings which he exhibited with success in the prestigious New York gallery “Catherine Viviano” .
While in New York, he would write his friend Pepe Dámaso “(…) more than ever I feel true nostalgia for the real meaning of things. For the pureness of the people. For the bareness of my landscape, and for my friends (…) My last conclusion is that MAN in N.Y. is like a rat. Man was not created for this artificiality. There is an imperative need to go back to the soil. Feel it, smell it. That’s what I feel.” He began to feel nostalgia for Lanzarote.

” When I returned from New York, I came with the intention of turning my native island into one of the more beautiful places in the planet, due to the endless possibilities that Lanzarote had to offer. ” .

And this is the present reality: It is impossible to imagine Lanzarote as it stands today without César Manrique. He was a painter, sculptor, architect, ecologist, monument preserver, construction advisor, planner of urban developments, outliner of landscapes and gardens.

Those who knew Manrique only superficially ignored the load of puritanism that ruled his conduct. Manrique was really a frugal man, he didn’t drink, didn’t smoke and didn’t allow others to smoke next to him, he regularly went to bed very early and got up at dawn, and began work in his studio very early.

He died at the age of 73 in a tragic car accident, on the 25 of September 1992, next to the Fundacion, near Arrecife. The irony of fate had it that he would encounter death in a car accident, as he loathed the massive amount of vehicles

www.ftn-books.com has the best publication on Cesar Manrique now available.

 

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John Baldessari dies at the age of 88

A curious thing happened. This morning i received in my mailbox an article by “Mutual Art”.  I could really understnad why it is important for some to know the development “money wise” of an artist, but it would have been so much more graceful to have remembered Baldessari for the excellent conceptual artist he was:

In Numbers: John Baldessari

The art world lost one of its most beloved characters last week, when John Baldessari passed away on January 2nd at the age of 88. Baldessari can be described in a great many ways— versatile, funny, iconoclastic, influential, pioneering— and his artistic career, which stretched over some six decades, saw some unforgettable moments, such as his Cremation Project (1970), in which he burnt all the paintings he made between 1953 and 1966, subsequently baking the ashes into cookies.

But beneath his humorous surface— he himself said that humor was not his aim— lay great depth and strength of character. It is doubtful whether conceptual art and photography would enjoy their same status as modes of art today without Baldessari. He endured much criticism in the beginning of his career, when abstract art still reigned supreme, but he embraced that criticism to push Conceptualism even further. Time and progress were on his side, however, and questions he posed about meaning and authorship ring as true today, as they did in the ’60s. His death is greatly mourned by the entirety of the art world. 

Change in Total Sales, # of Lots Offered and Sold: John Baldessari

Taking a look at Baldessari’s auction performance, it is likely that his career in the secondary market is only in its beginnings. To date, 2014 was his outstanding year, during which his personal record lot Commissioned Painting: A Painting By Edgar Transue, 1969 sold for 2,517,000 USD at Sotheby’s New York. A drop in offered lots in subsequent years (except 2019 when he sold 72 lots, 7 more than in 2014) didn’t see him approach the 2014 total high of 9,106,891 USD again. Many of his highest grossing works sold in what is now the decade before the last (the 2000s).

Comparison of Artwork Prices Across Price Points: John Baldessari

The lion’s share of his lots appearing at auction, 58.12%, belong to the bottom tier of below $10K, while most of the value which make up his total sales value stems from works valued between $100K – $500K, 69.31%.  Whether we will see some of Baldessari’s works appear at auction to outdo his performance to date or not is irrelevant, however, as his contribution to art will remain much more valuable than can be expressed in monetary terms.

Change in Total Sales, # of Lots Offered and Sold: John Baldessari

Taking a look at Baldessari’s auction performance, it is likely that his career in the secondary market is only in its beginnings. To date, 2014 was his outstanding year, during which his personal record lot Commissioned Painting: A Painting By Edgar Transue, 1969 sold for 2,517,000 USD at Sotheby’s New York. A drop in offered lots in subsequent years (except 2019 when he sold 72 lots, 7 more than in 2014) didn’t see him approach the 2014 total high of 9,106,891 USD again. Many of his highest grossing works sold in what is now the decade before the last (the 2000s).

Comparison of Artwork Prices Across Price Points: John Baldessari

The lion’s share of his lots appearing at auction, 58.12%, belong to the bottom tier of below $10K, while most of the value which make up his total sales value stems from works valued between $100K – $500K, 69.31%.  Whether we will see some of Baldessari’s works appear at auction to outdo his performance to date or not is irrelevant, however, as his contribution to art will remain much more valuable than can be expressed in monetary terms.

 

instead, read the article which was

published a few days ago in the New York Times, much better and certainly more graceful to remember this great artist.

www.ftn-books.com has some very importnat Baldessari publications available

 

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Marie-Jo Lafontaine (1950)

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An artist who’s works i encounter regularly whenever i visit a European museum is Marie-Jo Lafontaine. Hardly known outside Europe but one of the better known contemporary artists since her Documenta appearance in 1987. The famous Kassel exhibition was at that time curated by Rudi Fuchs and Lafontaine made a name for herself with Larmes d’Acier

This does not mean that her works before 1987 were not interesting. They certainly were , but Video related art is not the most accessible kind of art and these installations by Lafontaine . are no exception. Still the importance of her works is recognized by many and one hopes that a retrospective will be held in the near future. Showing the true quality of her poetic video art.

there are some Marie-Jo Lafontaine books available at www.ftn-books.com

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Ernst Barlach (1870-1938)

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Barlach died just before the outbreak of WWII.  Kathe Kollwitz was about the same age and both were heavily influenced by the events of WWI. This war made an impression on both artists and many of their statues and sculptures  reminders of this war.

Wood was the material with which Barlach preferred to work and it has taken a very long time that his works received the appreciation they rightfully deserved to get. In the Netherlands only one exhibition was held. It was held at the Boymans van Beuningen Museum in 1961. Personally i did not take notice of this exhibition until last week when i found the catalogue.  I discovered it at the local Bookmarket and thought it had a beautiful design….yes designed by Benno Wissing and the design of the catalogue emphasized the qualities of barlach’s sculptures. The catalogue is nowavailable at www.ftn-books.com and for those visiting the Hamburg region, There are 2 Barlach museums in the region. One in Wedel and one in Ratzeburg.

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Tomas Rajlich, Bulletin 134, 1983

 

The following blog has certainly to do with my personal fascination for the works of Tomas Rajlich. Rajlich has been a long time favorit of us and i was very happy that i finally could add the Art & Project Bulletin 134 from 1983 to our collection. Within the 4 pages the pages 2 and 3 are devoted to a beautiful golden composition with a fine mazed grid. This is a great composition and shows what Rajlich was doing at that time. Gold painted minimal compositions were painted and on it a grid in pencil was drawn. IN almost all cases the grid was 5 x 5 cm. squares in pencil. The Bulletin 134 is available at www.ftn-books.com

rajlich bulletin 134 b