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Giovanni Nicolai ( continued )

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This is to announce that FTN Art will represent Giovanni Nicolai with his art work.

From now on a selection of his art will be available in the FTN Art section of these pages. Feel free to contact me if you want more information. The start will be  a series of affordable sketches at euro 150,–. Executed in different techniques with Crayon , pencil and paint on paper. If you desire information on his paintings please sent me a mail and i will propose you  a selection of paintings currently available.

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Fiep Westendorp (1916-2004)

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Well, this one is on the border of true art… the illustrations of Fiep Westendorp are highly original and recognizable and they even sell nowadays at art prices, but first and foremost these are great quality book illustrations ( mainly for the ones written by Annie M.G. Schmidt) . Fiep Westendorp is a well established name in the dutch illustrator scene and because many of our generation have read the novels by Annie M.G. they also know the illustrations by Westendorp. Pluk en de Pettefelte, Jip en Janneke and other could not exist without the images created by Fiep Westendorp and she is now collected not only in the Netherlands, but all over the world. Great fun illustrations which deserve a large audience. Some Westendorp titles are available at www.ftn-books.com

 

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Rob Scholte ( continued )

 

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Since ii have sold several Scholte multiples during the last months , i was on the look out for more of these excellent mScholte multiple editions and……found them. I contacted a collector of whom i knew he had sold me several in the past and he could help me with 6 more of these Scholte multiples. All from the” Lucifer in paradise ” edition which was originally sold at the Kruidvat stores in 2007. As far as i know all are unique because every one of them depicts a different kind of set of match boxes. The one on the upper right is not available. It is now part of my personal collection because Donald Duck is an all time favorite of mine. The other 5 are all available at www.ftn-books.com. For more inquiries please mail me at wvdelshout@ziggo.nl

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Paul Cuvelier (1923-1978) and EPOXY

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For Paul Cuvelier comics were a necessary way to earn money. His true heart lay in painting and sculpting, especially nudes which showcased his passion for the beauty and anatomy of the human body. Cuvelier’s fine art was characterized by a sensuality which has been described as “slumbering eroticism”. The same can be said about some of his comics. Even the juvenile heroes in his ‘Corentin’ stories are scantily clothed most of the time. The friendship between Corentin and Kim can be interpreted in the same homo-erotic subtext as the companionship between Jacques Martin’s Alix and Enak. His final ‘Line’ story also featured a more sexy presentation of the heroine. The 1973 ‘Corentin’ story ‘Le Royaume des Eaux Noires’ featured much nudity and hinted at a sexual relationship between the protagonist and Zaïla. By then, Cuvelier and Van Hamme had already created their groundbreaking erotic graphic novel ‘Epoxy’ (1968).

Epoxy, by Cuvelier
Epoxy

‘Epoxy’ was created in the wave of adult-oriented comics, which found its breeding ground in the American underground comix movement. The first generation that grew up with the post-war comics continued to embrace the medium, which opened up new possibilities for creators. Free from the restrictions of working for the children’s press, authors could now aim their work at a mature audience. In Europe, magazines like Pilote and Hara-Kiri were at the vanguard of this new movement. Frenchman Jean-Claude Forest‘s sci-fi heroine ‘Barbarella’ (1962) was the first character that embodied the sexual revolution of the 1960s.

In Belgium, Guy Peellaert had pioneered the comics eroticism with his stories ‘Les Aventures de Jodelle’ (1966) and ‘Pravda, la survireuse’ (1967), while Guido Crepax heralded in the “sexties” in Italy with his ‘Valentina’ (1965). Dutch authors Thé Tjong-Khing and Lo Hartog van Banda released their pop-art inspired graphic novel with the sexy ‘Iris’ in 1968. Cuvelier and Van Hamme’s ‘Epoxy’ fully presented the artist’s qualities for sensual artwork, against a story inspired by Greek mythology. Created in 1967, the album was released by the Paris-based Belgian publisher Eric Losfeld in the revolutionary month of May 1968. It initially didn’t catch much attention, but in later years its historical importance was recognized for being one of the first independent and fully erotic Belgian comics. It has been re-issued in later years by Horus (1977), Marcus (1981), Clue Circle (1985), Éditions Lefrancq (1997) and Le Lombard (2003). German and Scandinavian translations of ‘Epoxy’ were however published without the knowledge and consent of the authors, who consequently never received royalties from these editions.

Paul Cuvelier spent the final years of his life in poverty, and in a constant search of artistic fulfillment. A final attempt to pick up ‘Corentin’ was made in cooperation with Jacques Martin, who wrote the script for ‘Corentin et l’Ogre Rouge’ (1973). Cuvelier abandoned the project after the first pages, which were published posthumously in the monography ‘Paul Cuvelier: Corentin et les chemins du merveilleux’ by Philippe Goddin in 1984. Martin later used the plot for the ‘Alix’ story ‘Les Proies du Volcan’ (1978). Jacques Martin also picked Cuvelier as his first choice to draw his historical comics series about French serial killer Gilles de Rais. Cuvelier was however not interested, and was revived by Martin and Jean Pleyers for the series ‘Xan’ (1978, later renamed to ‘Jhen’). Pleyers was Cuvelier’s pupil during his final years. In an interview in L’Est Républicain in 1993, Pleyers recalled squatting with Paul Cuvelier during most of the 1970s, living in “old embassies, surrounded by homosexual drug addicts”. Another assistant of Cuvelier was the Spanish artist Juan Lopez de Uralde, who helped him with the last pages of ‘Corentin et le Prince des Sables’ in the late 1960s. Paul Cuvelier’s final work included some erotic illustrations for Privé magazine in 1975, and the preparations of an exposition with the theme “Fillettes” (“little girls”). The artist however passed away in 1978 in Charleroi at the age of 54 after years of declining health.The extremely large folio edition by Blue Circle is available at www.ftn-books.com

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Alberto Vargas (1896-1982)

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I consider Alberto Vargas ( born in Peru) as the most original and technically accomplished pin-up artist ever. Of course, France has known some great pin-up artist like Aslan was one of them, The US brought us Elvgren and the more modern Olivia de Barardinis, but for me personally Alberto Vargas is the very best. His style is recognizable, his models are exquisite and his art has always a personal note.

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He started making Pin Up drawings in the early 20’s and kept producing new Pin-Ups  until his early Eighties. Many of them appeared in Playboy magazine and the 60’s Playboy magazines contained each month a new Vargas drawing. The magazines edition rose to an enormous 7 million each month but now has fallen to 800.000.

7 million readers ( viewers) each month meant his name as a gifted (pin-up) artist spread rapidly and original drawings fetched high prices at auction. Prices have fallen a little since these GOLDEN VARGAS DAYS, but a good drawing still fetches  usd. 20K+

Artistically Vargas is for sure not the most important and ground breaking artist, but his drawings have a great appeal and are technically brilliant pieces of art.

www.ftn-books.com has some Vargas titles available

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Tshibumba Kanda Matulu ( 1947 – 1981)

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Last weeks bookmarket brought a surprise. There was this catalogue published by KIT on the dramatic history of the Congo as painted by Tshibumba Kanda Matulu / TKM.

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This catalogue/book is now available at www.ftn-books.com

TKM was born in Élisabethville (modern-day Lubumbashi), in the south of the Belgian Congo, in 1947. TKM worked within the period of cultural authenticité in the 1970s.[2] TKM was one of the leading figures of “African genre painting” which had emerged in the Belgian Congo in the late 1950s and which integrated both European and Congolese styles and techniques.

TKM’s best-known paintings form part of a series of 107 works commissioned by the German anthropologist Johannes Fabian to illustrate Congolese history as it appeared in national collective memory. The series was produced between 1974 and 1976 and forms the body of TKM’s work and was used as the basis for an academic collaboration between the two.[2] The result, Remembering the Present: Paintings and popular history in Zaire, was published in 1996. TKM viewed the purpose of the book as presenting the history of his country to a child born in the country. by contrast, Fabian presents it as an anthropological work for Western study.

Among the scenes depicted by TKM was the Elisabethville Massacre of 1941, Patrice Lumumba’s independence speech of 30 June 1960, the introduction of culture obligatoire farming, and the trial of the religious leader Simon Kimbangu by the Belgian colonial authorities in 1921. All the paintings were made at the time of the Shaba Invasions during which TKM’s native province of Shaba witnessed widespread political instability.

The work is historically significant because of the interviews between Fabian and TKM included in the work. In those interviews, TKM subtly critiques the government of Mobutu Sese Seko, making statements such as “What Mobutu has in mind is true – or else it is a lie. But that’s something I keep to myself. What is true is that he started out with ideas that were correct. So he spoke and we all agreed; not a single thing was disputed.”

The work also emphasizes TKM’s admiration of Patrice Lumumba, particularly in the use of deliberate Christ imagery in the paintings of Lumumba, specifically mirroring Jesus’ wounds after the crucifixion. The parallel is so clear that Fabian names the section “The Passion of Patrice Lumumba,” a reference to “The Passion of the Christ.”

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102 of TKM’s paintings were purchased by the Tropenmuseum, an ethnographic museum in Amsterdam, in 2000

TKM disappeared in 1981 and is believed to have been killed in rioting.

So far the history of this African artist. Personally i think this is an important oeuvre although i have doubts about the artistic value. Still …ALL of the paintings have a strong power and presence and perhaps that is what great art always is.

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de Angst … Juni 1983

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If ever there was an obscure magazine in the Netherlands it was de Angst. Only a few volumes were published and the one depicted in this blog is one of them. It is from June 1983, was published in an edition size of only 100 copies. Printed/stencilled contents, hand bound signed in the plate by the authors Edzard Diderik, Martin Bril, Dirk van Weelden and Rob Scholte, who also made the original etching which was used as cover.

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The etchinh was colored by hand and the design was later used for one of his editions and a painting with the same name. In the magazine contributions a.o. by members of the ( Amsterdam) punk/avant garde scene which were finding their way into the multiple disciplines of Contemporary Art. There are contributions by Scholte, Maarten Ploeg and Peter Klashorst, who all made a serious art career. This rare magazine is now available at www.ftn-books.com

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Robert Olaf Stoof (1945-1999)…and Real Free Press.

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Why this blog on a publisher? It is just plain simple…. Stoof is one of the most influential European publishers who paved the way for the alternative comic scene of which for instance , Joost Swarte, was one.

Robert Olaf Stoop was born in Amsterdam and grew up with his grandmother in Indonesia. He grew up to be a full-blooded anarchist, putting provocational pamphlets in the newspapers of non-suspecting travellers when he was working at the AKO in Schiphol Airport. He made posters for Provo magazine, and got involved with comics during the 1960s. In 1966, he self-published his comic ‘De Lotgevallen van Roza’, which can be considered the first European underground comic.

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He founded publishing house The Real Free Press in Amsterdam, “the lost connection for solid facts” which imported American underground comics and reprinted the work of long-forgotten geniuses such as George Herriman, Winsor McCay, Gustave Verbeck and George McManus. Stoop also published magazine De Real Free Press Illustratie, which featured many old and new comic artists, and ran from 1968 until 1974.

Olaf Stoop was one of the first to recognize the talent of Joost Swarte, and published his work in several forms, such as ‘De Papalagi’, which became famous world-wide, and Swarte’s first comic, ‘Modern Art’ (1980).

Stoop can be considered the founder of the Dutch alternative comics scene. An intriguing personality, he lived his whole life as an anarchist and a free mind. He died of a heart attack at the age of 52.

www.ftn-books.com has found of the Real Free Press papers with works by a.o Robert Crumb and has them for sale .

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Allen Jones (1938) is British Pop Art

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For me Allen Jones stands for his mannequin like sculptures. Possibly the best known is a woman kneeling on all fours with on her back a glas table surface. The sculpture acting like a salon table. This use of glass and mannequin sculptures is frequently done by Jones. He made several tables and even some chairs out of these mannequins.

This is possibly the most famous part from his oeuvre, but one must not forget his paintings. Highly original Pop Art paintings and well deserving their place among the best Pop Art in the world. Jones his images are influenced by Lindner but they also have some parts of the cheesecake poses of the ones Mel Ramos produced ( tomorrows blog).

www.ftn-books.com has some Jones items available

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Arie van Geest (1948)

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Without realizing i have collected a beautiful small collection with works by Arie van Geest. Born in Maasland he stayed in the region and had several studios in Rotterdam. The friendship with Pat Andrea shows in his early works which were a little surreal, but in the mid eighties he changed in the approach of his painting. His works became abstract with realistic elements and that is the time i met Arie and bought my first drawing. Together with Mariette Josephus Jitta, as the curator in charge, he made the Tableau Mourant exhibition in which 98 watercolors were shown. This series was later bought by the van Gogh Museum. For the exhibition in the Gemeentemuseum 2 editions were made. One “ordinary edition” designed by Paul Stoute and the other a linnen bound one, with a drawing/watercolor by van Geest.

The style changed dramatically and personally i prefer this “new” Arie van Geest above his more realistic style. He stayed loyal to this new found abstract style for almost 20 years and changed again to a more a realistic way of painting in 2002. All three periods are important, but when you look at the museums that bought Arie van Geest ( Gemeentemuseum, Stedelijk Museum, Boymans van Beuningen ) , They all made their acquisitions in the abstract period, except for the Athens Museum which made purchases from his most recent period. Arie van Geest was represented by Delta Gallery. He now has frequent shows with Livingstone gallery.  I have decided to sell part of my Arie van Geest works, so please have a look at FTN art and for the book related material visit www.ftn-books.com