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Reinhoud (1928-2007)

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This an artist for the future and at this time still affordable and a great investment.

Reinhoud D’haese’s works were primarily surrealist outputs depicting small-scale figures performing various activities; Le Contramaitre is just one of the many quirky figures created and exhibited.

Initially, his preferred material was copper, but he eventually went on to explore and create with a variety of other materials throughout his career, namely pewter and glass. D’haese met Pierre Alechinsky in the early 50’s and subsequently displayed a lot of his works . Both had an iconic exhibition at the Stedelijk Museum Amsterdam, which catalogue is still one of my personal favorites.

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What makes the works special for me  and it is the reason i think his art will be of great artistic and financial valu in the future is that Reinhoud walks the road between surrealism and abstraction, making his art related to Alechinsky but also to Andre Breton.

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His saculptures are unique creatures and put together are part of the typical Reinhold world.

http://www.ftn-books.com has some nice Reinhoud publuications available

 

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Richard Mortensen (1910-1993)

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Richard Strange Mortensen was born in Copenhagen, Denmark. He studied between 1931 and 1932 at the Royal Danish Academy of Art in Copenhagen. Influenced by the works of Wassily Kandinsky, he developed an abstract art style. In Copenhagen, Mortensen was joint founder of the “Linien” school of abstract painters.

In 1937, he undertook a study trip to Paris, where he met pioneers of surrealism, such as Roger Vitrac, Gala Éluard, Michel Leiris, Antonin Artaud, Raymond Queneau and André Masson. During the Second World War, Mortensen’s works reflected the violence of Europe. After the death of his wife Sonja Hauberg, in 1947 moved to Paris remaining there until 1964. Together with Robert Jacobsen, Mortensen became connected to the Galerie Denise René in Paris, which became famous for concrete art. His later works are concrete works of art characterised by large, clear, bright colour surfaces. After his return to Denmark in 1964, he received a professorship at the Royal Danish Academy of Art in Copenhagen, which he held until 1980.

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Mortensen was awarded the Edvard Munch Prize (1946), the Kandinsky prize (1950), the Prince Eugen Medal (1967) and the Thorvaldsen Medal (1968). In 1945, he married author and poet Sonja Hauberg (1918–1947). They were the parents of literary researcher and professor Finn Hauberg Mortensen (1946–2013). Richard Mortensen died at Ejby in Lejre Municipality

The works by Mortensen were presented in the last two decades of his life at gallery Willy Schooots, bu unfortunately the gallery in Eindhoven and the foloow up in Antwerpen closed recently. However ….somne of the catalogues are available at www.ftn-books.com

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galerie Neuendorf and Hans Neuendorf

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Galerie Neuendorf is one of those iconic galeries that was active in the Eighties and early Nineties selling the very best works by the very best artists.

It nowadays is a private fine art dealership and advisory service based in New York, London, and Berlin, offering expertise on modern and contemporary art and specializing in sourcing the highest quality artworks for clients.
Founded as a gallery by Hans Neuendorf in 1964; Neuendorf represented, and was instrumental in the development and present artistic legacy of renowned artists including Georg Baselitz, Lucio Fontana, David Hockney, Francis Picabia, Cy Twombly, and others.
Since closing the gallery in 1995, Neuendorf has continued to work with a select group of clients to build and manage their collections. With over 70 years combined experience in the art market, we offer our clients a direct, personal, and discreet option to buying and selling artworks, but this is all “old school”….he probably will be remembered as the founder of Artnet.

When Hans Neuendorf created his online art company in 1989, he had little inkling that providing transparent art-market data would transform what was then a boutique art business into, 30 years later, a global industry that regularly transacts in $100 million sales. But that is exactly what has happened.

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www.ftn-books.com has some of the Neuendorf catalogues availabel. The best one is the 1992 book, which included the list of available works and their prices. It shows exactly what Neunedorf predicts for the future. Prices of great art will rise in the decades to come

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Ex Libris

Because of the lockdown i had the time to describe and list some of my inventory which i bought , but never had the time for to research, photograph and list. Among them some small prints by Ru van Rossem and 5 series of Ex Libris with nude figures printed. Some are signed and numbered, but they have two things in common, nudes on the prints and excellent qualityfor all. These were made and used in the Fifties and Sixties . At that time books were enlightened with small graphics which were commissioned by the owner of the books.  Some excellent examples are now for sale at http://www.ftn-books.com

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ex libris set c a

 

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Wifredo Lam (1902-1982)

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A long time overdue and i really do not know why i missed this artist , because if there is one artist from that region i have been following  as long as i have an interest in art it is Wifredo Lam. Full name : Wifredo Oscar de la Concepción Lam y Castilla
It is his compositions filled with abstract almost religious like figures that strcuk me from the beginning. It is a little the same i experience with the painting by Basquiat . Both invented their own art language and filled their paintings with these abstract heads and figures . There is almost half a century between both artists but their paintings have this art language in common and both are favorist of mine. I am not the only one…. Ickecked this on the internet and found an excellent article on the same comparison at: https://medium.com/@lexxbeknown/root-of-self-portraits-basquiat-meets-lam-698ab830deeb

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The reason i finally checked if i ever had written someting on Wifredo Lam is that i just listed one of his important publications. It is the Derrier le Miroir edition no. 52 from 1953, which is now have available in excellent collectable condition. This beside some other Wifredo Lam publications will show the best way why i consider Lam to be one of the greatest from last century.

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Project KATSHOEK

Without knowing . The VOORMOLEN company made an artist book which contains contributions by the very best artists from the Netherlands from the Sixties. Katshoek was an architectural project in the rebuilding of Rotterdam after WWII. New architectural design , enhanced with art from the very best of dutch artists.

Together with the project the Voormolen company made an artist book. with contributions by Boezem, Bonies, Dekkers, Dibbets, Eikelenboom, van Elk, Gribling, Koetsdier, Manders, n, Rous, Schuitema, Graatsma, Slothouber, Staakman, Struycken, Volten

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the above publication is also in the collection of several dutch museums and now available at www.ftn-books.com

Katshoek office building

Heer Bokelweg became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard.

Katshoek multi-tenant building on Heer Bokelweg.

Katshoek multi-tenant building on Heer Bokelweg.

Foto Kramer/Rotterdam City Archives

What a contrast between the large modern building faced in white Kirchheimer limestone and the Oude Noorden district behind it! The huge structure has been built on Heer Bokelweg in the Zomerhof District.

It was originally designed as a multi-tenant building for small industries that had previously been housed in temporary structures in the area. However, this plan was dropped on account of the drastic increase in construction costs since the plan was launched in 1959. The idea now is to house ten large offices in the building, among them probably, subject to approval by the city council, a number of municipal departments. In addition, the Voormolen contracting firm that built the structure hopes to move from its current address on Westersingel into the new building on Heer Bokelweg in early 1968.

Het Vrije Volk, 28 September 1967

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Flashy perspective drawing of Katshoek multi-tenant building.

Bouw, 1966

The post-war Basis Plan for the centre of Rotterdam earmarked Heer Bokelweg as a main access route into the new city from the north-east; an entrance between ‘gateways’ like the Shell building and the Schieblok to the renewed Hofplein and Coolsingel. Heer Bokelweg later became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard. After completion of the building the widening was extended on the north side, including an unsophisticated gap punched in the Hofbogen viaduct. But the changing insights of the early 1990s are visible on the southern side in the narrowing of the street with the construction of the Scala apartment complex beside the RAC garage, which today houses the city archives.

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Model of Katshoek multi-tenant building.

Stedenbouw, 1968

Multi-tenant building

The sturdy seven-floor concrete-frame building is designed as a multi-tenant building, but it differs considerably in both layout and architecture from Maaskant’s other multi-tenant buildings such as the Industriegebouw, Groothandelsgebouw and Verzamelgebouw Zuidplein. According to Maaskant expert Michelle Provoost, this is an atypical work for Maaskant. “Especially the facade, which is very flat. You don’t see that very often in Maaskant’s buildings. The facades of his buildings are usually very expressive.”

The exterior is indeed fairly flat, with sleek bands of fenestration in aluminium profiles and stone cladding. The interior and the columns along the lower volume on Almondestraat are finished in bush-hammered concrete, a technique used to leave the concrete surface rough. The use of luxury materials gives the building a strongly representative feel. The floors of the two halls of the main staircases and of the shopping gallery are finished in Jura stone. The walls of the halls and the ground-floor columns feature exposed concrete adorned with a relief, while the entrances to the staff lifts are finished in white anodized aluminium.

The angle on the front facade is elegantly highlighted by the stone bands that continue as a vertical series of balconies.

Clearing the way for cars

The widening of Heer Bokelweg cleared the way for cars, but the building facilitates cars in other ways too. A car park for 250 vehicles was built behind the building and was directly connected to the office volume. In addition, an Aral petrol station was built on the triangular site between Heer Bokelweg and Almondestraat. And so the number of petrol stations within a 100-metre radius came to three!

Artwork

Art plays an important role in the building. The facade features an entrance relief by André Volten (1925-2002), one of the best-known abstract sculptors of the post-war period, whom Maaskant frequently worked with. The piece (Untitled, 1968) is a facade element with circular segments. The lines of the architecture are repeated in the work and distorted to form a new image. It was originally made of stainless steel and stone, but during renovation it was painted black along with the columns, ruining the effect. An art event was held in the entrance hall to mark the opening of the building in 1968.

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Advertisement for NV Aannemingsmij. v/h H & P. Voormolen, proud builder and owner of the Katshoek multi-tenant building.

Stedenbouw, 1968

Until 21 December, the ground floor of the new Katshoek office building in Rotterdam is the venue for an exhibition that is as unusual as it is striking. At the invitation of Voormolen, the contractors responsible for building Katshoek, sixteen artists were given an opportunity to express themselves creatively with all sorts of construction materials.

Het Parool, 14 December 1968

It was, according to organizer Bob Bonies, a remarkable project:

“After all those exhibitions, which always consisted of the finest possible arrangement of existing works, I wanted to try another approach. I proposed inviting a number of Dutch artists to create their contribution inside that wonderful space by using construction materials supplied by Voormolen. Including engines, blowers and the like. And with the help of skilled workmen from Voormolen. It was an expensive project, but I immediately received full cooperation.

I chose sixteen artists: the cool guys Dekkers, Manders, Koetsier, Struycken and myself, Boezem, Dibbets and Van Elk with their micro-emotive art, the kinetic artist Staakman, Eikelenboom with his utopian situations, Rous, who makes a sort of minimal art, André Volten, Paul Schuitema with his colour scheme and his alphabet and the Slothouber-Graatsma team from the Cubic Construction Centre. And Gribling with his space structures.”

Het Parool, 21 December 1968

Today

The building housed the offices of Robeco, Procter & Gamble Benelux and a number of municipal departments. Owing to its out-of-the-way location, the building later fell out of favour. The current tenants are OMA and Havensteder.

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Servie Janssen (1949-2018)

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Servie Janssen (1949-2018) Dutch artist studied in the Kraków Academy of Fine Arts in 1971. His connection to Poland ran through his whole career as a passionate artist and performer. On the 14th of July 2018 in a conversation between Servie Janssen and Nell Donkers, Janssen mentioned the influence and his close relation to the artistic movement constructivism, and especially to Kazimir Malevich. In the same conversation Servie Janssen emphasized that he finds the publication “Pier+Ocean: Construction in the art of the seventies” (Arts council of Great Britain, 1980) the most important.
After “I Am” and “Works and Words” Janssen also took part in the international exhibition Construction in Process (Konstrukcja w Procesie) in 1980 in Łódź, Poland. He wrote in an email: “What strikes me about Poland is that this line of constructivism that started with Kazimir Malevich and Henrik Stazewski – in no other former Eastern Bloc country you will find this in such a way – (Stazewski was a member of the honorary committee for Konstrukcja w Procesie) – and they saw in my 9 rectangles work a promising link to current events, all the more so since a whole generation of conservatives were still finding their way, in a kind of surrealism and absurdism in art (especially graphic artists).” The documentation of his 9 rectangles performance (the one he performed in Works and Words) was exhibited and he performed “This side is Red” during which he read titles of Friedrich Nietzsche’s works while lying on the floor next to a neon sign.
Janssen held a performance combined with an exhibition in De Appel in 1978. Art critic, Marga van Mechelen in her book “De Appel 1975-1983” writes that Janssen’s performance was influenced by his journey to Canada.
Later, as Louwrien Wijers writes in a witness report, Janssen’s artistic development was defined by his interest in shapes in space. In Works and Words Servie Janssen held a performance in the Kapel venue on the 26th of September in 1979. During the performance Janssen repeatedly built and deconstructed structures of wooden sticks, originally in the shapes of 9 rectangles.

www.ftn-books.com has a copy of the scarce Servie Janssen publication from 1978

servie janssen

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Jan Baartmans(1898-1968)

In french one would say about Jan Baartmans ” a petit maitre” . Translated in dutch “een kleine meester” and in english ….. a lesser known master painter.

Baartmans is not known at all and only locally he is presented in the last few decades. One of these occasions was at the ‘de Markiezenhof” in Bergen op Zoom in 1995, organized and financed for the greatest part by his family . Look at his paintings and one sees influences of the impressionists and fauves, but also ,” just around the corner  ” some neo-impressionist influences. A touch of Signac and Rijsselberghe is present .

I am convinced that there are admirers amoong my reqaders and for those know that i have teh MARKIEZENHOF publication from 1995 now available at www.ftn-books.com

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“Bookmarks” a highly collectable item

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Over the years i encountered bookmarks at all kinds of places and those related to art i bought or took with me. Over the same number of years i was able to collect multiple copies of these bookmarks which are now for sale at http://www.ftn-books.com. Among them bookmarks on Sol LeWitt, M.C. Escher,  Wesselmann, Evans and others. One i have to mention specially, because it is very special . A bookmark  published by Venduehuis who sold the Keith Haring container (dep[icted on the bookmark) at auction some 5 years ago.

 

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Alexandra Povorina (1888-1963)

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If ever there is an artist who deserves to be called cosmopolitan, it certainly is Alexandra Povorina.

Alexandra Povorina-Hestermann was born in 1885 in Saint Petersburg. At the urging of the expressionist Marianne von Werefkin, the artist went to Munich in 1907, where she began studying at a private school of painting with Simon Hollósy, a painter with a relatively traditionalist approach to art.

She maintained close contacts with the local artistic bohemia, including the later founders of the group “Der Blaue Reiter”. It was the avant-garde that attracted a woman much more, who while polishing her workshop in the master’s studio, at the same time searched for new challenges and paths.

In 1911, Povorina moved to Paris, the artistic capital of the world.

It took until the early Sixties that she was recognized for being an exceptional artist. The catalogue which was published together with the Tiergarten Berlin exhibition from 1960 is now for sale at www.ftn-books.com

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