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Michel Seuphor (1901-1999)

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Michel Seuphor…wrote a monumental biography on Piet Mondriaan and is one of the great names in constructivist art by himself. In the twenties he became friends with Joaquin Torres Garcia. For me their works are worlds apart from each other but somehow they became friends and started the artist mouvement CERCLE ET CARRE.

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the Netherland was not too far away for Seuphor …the result he had his exhibitions at galleries and museum in the Netherlands. Specially DEN HAAG was a well now city for him. He spent much time at the Gemeentemuseum to study Mondrian for his biography on this famous dutch abstract painter and ….he had an exhibition of his own at the Gemeentemuseum, soon followed with a gallery exhibition at the Nouvelles Images gallery ( closed now) . Both catalogues and a print by Seuphor are available at www.ftn-books.com

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Marinus Boezem (1934)

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Marinus Boezem (1934) belongs, together with Jan Dibbets and Ger van Elk, among the most important representatives of the Conceptual Art and Arte Povera movement in The Netherlands. In the 1960s, Boezem discovered that he could use elusive elements such as air, weather, wind and light as visual materials and made a name with radical, immaterial works that were far ahead of their time. Boezem was one of the initiators of the ground-breaking exhibition ‘Op Losse Schroeven: Situaties en Cryptostructuren’ (1969) at the Stedelijk Museum Amsterdam and took part in the equally influential exhibition ‘When Attitudes Become Form’ at the Kunsthalle Bern in the same year.

In 1969 he created one of his most famous works of art, ‘Signing the Sky Above The Port of Amsterdam With an Aeroplane, 1969’: exactly as stated in its title, an aircraft’s condensation trails were used to spell out Boezem’s surname in the sky, the ephemeral wording disappearing almost as soon as it was created. In 1971 he made an artwork for television that was broadcast under the auspices of Gerry Shum’s legendary Fernseh Gallery. Furthermore, Boezem created numerous works in public space and land art. The Green Cathedral is a beautiful example: 174 Italian poplar trees are planted to reproduce the floor plan and measurements of the Cathedral at Reims, in a flat polder near Almere, the Netherlands.

In an oeuvre spanning more than sixty years, Marinus Boezem has created a body of work that stands quite independently in contemporary art. His works are part of many important museum collections, including the Museum of Modern Art, New York; Stedelijk Museum Amsterdam; Museum Boijmans van Beuningen, Rotterdam; Gemeentemuseum Den Haag; Museum Kröller-Muller, Otterloo; Museum Voorlinden, Wassenaar; and many more public art collections.

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Josef Albers Nesting Tables 1926/27

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This set of tables i first encountered at the Josef Albers Museum in Bottrop where two types of these set were sold. One with colored perspex and one set with original italian fabricated glass. I had to had this and i ordered one set direectly from the manufacturer. These are so impressive and 100% like the original set which was originally designed at the Bauhasu by Josef Albers and thnis reedition from 2010 is one of the best small furniture items ever produced. I checked and this set is still available, but not as cheap as it originally was in 2010, but choose this set and you will have the pleasure of looking at one of the greatest functional Bauhaus designs ever made. Klein und More sells the original authorised set in Europe  and the Moma stora sells a set in their store for the US. Josef Albers is one of the artist of whom ww.ftn-books.com sells many items

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MIGUEL YBÁÑEZ (1946)

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Born in Spain, but living and working for practically his entire artistic life in the Netherlands, he has managed to build a strong following of avid collectors, culminating in a Museum presentation at the Museum van der Togt.

Intense colours and bold gestures articulate Ybáñez’ paintings. Although largely communicating through abstraction, Ybáñez sometimes hints at the figurative world. However, these figurative elements have become distorted by interlacement of planes and extensive re-working of painted layers, creating complex structures and depth. The play of dimensionality is reminiscent of early Cubist painting. The Cubists, were inspired by elements of the visible world that they reduced form 3-D to 2-D, in contrast, Ybáñez creates a new dimensionality. The artist prefers innovation over conformity, therefore, to him, the tangible world has its limitations and a new visual language emerges.

Ybáñez is an intellectual with a sardonic sense of humour. Through his titles the artist enjoys creating seemingly bizarre connections. In fact, Ybáñez’s work belongs to the realm of philosophy and metaphysics, a world that defies traditional logic.

Ybáñez works in the tradition of Arte Povera and embraces a range of techniques to create works of varying scale and form. His reliefs, sculptures and assemblages are made of cloth, cardboard, metal, plaster and found objects. The resulting works are unified by an overall off-white finish which imbues the forms with a timeless and ethereal presence. In his work Ybáñez strives to negate the boundaries between past and present, ‘high’ and ‘low’ art.

The artist won numerous awards including the Premio de Dibujo, Galiana, Spain, 1979 and the Premio de Pintura Congreso de los Diputados, Madrid, Spain, 1985

www.ftn-books.com has several Ybanez titles available

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galerie du Dragon (1955-1995)

 

I recently noticed that i have several publications by galerie du Dragon in my inventory

Founded in 1955 and always at the location of 19, rue du Dragon in Paris this galerie is together with galerie Denise Rene one of the grand old institutions in the Parisian art scene. For over 40 years they were representing modern artist like Matta and Carelman,

For those who can read french….. Here is a part from an article on the galerie du Dragon in which ll the famous names of the artists that have made a contribution to the gallerie’s fame are mentioned:

Grâce au soutien de nombreux artistes, le jeune poète Max Clarac-Sérou reprend le bail de la librairie et en fait une galerie d’art à partir de 1955, véritable foyer de découvertes et de contacts : la Galerie du Dragon. De jeunes poètes, comme Edouard Glissant, Alain Jouffroy ou Michel Butor y retrouvent des écrivains plus âgés, Henri Michaux ou Gherasim Luca. Ils y croisent des artistes, peintres ou plasticiens, comme Giacometti, Matta ou Victor Brauner. De solides amitiés voient le jour, dans la fréquentation du lieu, où Max Clarac-Sérou ou Cécilia Ayala organisent les expositions : sur l’art cubain contemporain, en 1961, ou sur le thème de Seul, et le corps, en 1966, réunissant pour l’occasion des œuvres de Balthus, Bellmer, César, Cremonini, Dali, Giacometti, Magritte et Matta..

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Henry Moore (1898-1986)

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There has always been a fascination for Henry Moore and his works by the dutch. Since the beginning of his career he has had exhibitions at all the major museums in the Netherlands, which resuklted in purchses by museums and privste collectors. One of the last collectors to add a major work by Moore was Joop Caldenborgh who added a very large bronze sculpture by the artist. It was one of the last sculptures he added to his collection before he build the Voorlinden museum.

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My guess is that eventually his majestic sculpture garden including the Moore and Sol LeWiit sculptures, will be integrated with the Museum Voorlinden.

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I love the large Henry Moore that is outside the Schamhart building at the Gemeentemuseum Den Haag and learned to truly love this one , because it was my outside view at the Gemeentemuseum when i had my office over there. Later i moved to the offices at the Museum of education and had the complete Berlage building as my view, but the office with the Henry Moore in front and a Rijsselberghe painting in our room was a great place to work.

Since there is a long history of Henry Moore exhibitions in the Netherlands , i have collected many important Henry Moore catalogues of which the Stedelijk Museum one stands out since this one is designed by Willem Sandberg.

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Giorgetto Giugiaro (1938)

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For me Giugiaro stands for car design. Specially the iconic Alfa Romeo GTV and Sprint are the cars i am thinking of when i think of Giugiaro, but others  are reminded of other objects when they hear the name of Giugiaro, because he is one of the most influential Italian designers from our days. Coffee machimes, furniture, lamps etc. all by the hand or studio of Giugiaro have been produced in the last 50 years.

Giugiaro was named Car Designer of the Century in 1999 and inducted into the Automotive Hall of Fame in 2002 and this is the model i would like to share with you. After driving the original Austi Mini for a few years i changed to the even less reliable Alfa Romeo Sprint by Giugiaro. Less reliabel, but great fun to own and drive,

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In addition to cars, Giugiaro designed camera bodies for Nikon, computer prototypes for Apple, Navigation promenade of Porto Santo Stefano, and developed a new pasta shape “Marille”, as well as office furniture for Okamura Corporation.

Giugiaro’s earliest cars, like the Alfa Romeo 105/115 Series Coupés, often featured tastefully arched and curving shapes, such as the De Tomaso Mangusta, Iso Grifo, and Maserati Ghibli. However, as the 1970s approached, Giugiaro’s designs became increasingly angular, culminating in the “folded paper” era of the 1970s. Straight-lined designs such as the BMW M1, Lotus Esprit S1, and Maserati Bora followed before a softer approach returned in the Maserati Merak, Lamborghini Calà, Maserati Spyder, and Ferrari GG50.

Giugiaro is widely known for the DeLorean DMC-12, featured prominently in the Hollywood blockbuster series Back to the Future. His most commercially successful design was the Volkswagen Golf Mk1.

There is a nice book on Giugiaro avaialble at www.ftn-books.com

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Jean-Michel Basquiat at the Beyeler (2010)

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This is the exhibituion i remember most of all the exhibitions we visited during the last decade. It was a “one of a kind” event, which will never be repeated at such a scale. The exhibition covered over 100 Basquiat paintings and certainly not the smallest of them all. The entire FONDATION BEYELER  ( except the Giacometti/Monet room) was devoted to one of the greatest of all painters from the 20th Century. At the time i had the foresight to take some extra Beyeler publicity folders with me and now i have decided to sell 3 of those to collectors. For this original publicity folder please take a look at www.ftn-books.com

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Max Ernst (1891-1976)

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Without any focus on Ernst i have maneged to collect many titles on this artist. The first time i noticed hsi name is when i was very much interested in the the Fantastic / HET FANTASTICHE in de Kunst ( book availabel at www.ftn-books.com

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Max Ernst, in full Maximilian Maria Ernst, (born April 2, 1891, Brühl, Germany—died April 1, 1976, Paris, France), German painter and sculptor who was one of the leading advocates of irrationality in art and an originator of the Automatism movement of Surrealism. He became a naturalized citizen of both the United States (1948) and France (1958).

Here is the excellent entry from the Encyclopedea Britannica

Ernst’s early interests were psychiatry and philosophy, but he abandoned his studies at the University of Bonn for painting. After serving in the German army during World War I, Ernst was converted to Dada, a nihilistic art movement, and formed a group of Dada artists in Cologne. With the artist-poet Jean Arp, he edited journals and created a scandal by staging a Dada exhibit in a public restroom. More important, however, were his Dada collages and photomontages, such as Here Everything Is Still Floating (1920), a startlingly illogical composition made from cutout photographs of insects, fish, and anatomical drawings ingeniously arranged to suggest the multiple identity of the things depicted.

In 1922 Ernst moved to Paris, where two years later he became a founding member of the Surrealists, a group of artists and writers whose work grew out of fantasies evoked from the unconscious. To stimulate the flow of imagery from his unconscious mind, Ernst began in 1925 to use the techniques of frottage (pencil rubbings of such things as wood grain, fabric, or leaves) and decalcomania (the technique of transferring paint from one surface to another by pressing the two surfaces together). Contemplating the accidental patterns and textures resulting from these techniques, he allowed free association to suggest images he subsequently used in a series of drawings (Histoire naturelle, 1926) and in many paintings, such as The Great Forest (1927) and The Temptation of St. Anthony (1945). These vast swamplike landscapes stem ultimately from the tradition of nature mysticism of the German Romantics.

In 1929 Ernst returned to collage and created The Woman with 100 Heads, his first “collage novel”—a sequence of illustrations assembled from 19th- and 20th-century reading material and a format which he is credited with having invented. Soon afterward he created the collage novels A Little Girl Dreams of Taking the Veil (1930) and A Week of Kindness (1934).

After 1934 Ernst’s activities centred increasingly on sculpture, using improvised techniques in this medium just as he had in painting. Oedipus II (1934), for example, was cast from a stack of precariously balanced wooden pails to form a belligerent-looking phallic image.

At the outbreak of World War II, Ernst moved to the United States, where he joined his third wife, the collector and gallery owner Peggy Guggenheim (divorced 1943), and his son, the American painter Jimmy Ernst. While living on Long Island, New York, and after 1946 in Sedona, Arizona (with his fourth wife, the American painter Dorothea Tanning), he concentrated on such sculptures as The King Playing with the Queen (1944), which shows African influence. After his return to France in 1953, his work became less experimental: he spent much time perfecting his modeling technique in traditional sculptural materials.

In the meantime i have collected many Max Ernst titles at www.ftn-books.com

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A special PLAY catalogue by Swip Stolk and Frans Haks ( early dutch design 1968)

Imagine the old dutch game of ELECTRO . You habe to find the right combination between question and answer and than the light will light up when the answer is correct. This was the idea behind the play catalogue Swip Stolk designed together with Frans Haks for the ENVIRONMENT exhibition they organied in 1968 fro Studium Generale Utrecht.

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For me the importance is not the design of the the play catalogeu but the participating artists. Among them…Morellet, Megert, Struycken, Le Parc and Gerstner.

The “creme de la Creme ” all within one exhibition. This exhibition from 1968 is almost forgotten and one of the reasons is the rare catalogue which was published with this exhibition. Now i have one copy available. Text by Frans Haks, design by Swqip Stolk and produced by Jumbo. A classic among the Sixties catalogues in teh Netherlands anmd well worthdt collecting. Available at www.ftn-books.com

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