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Piet Dirkx weekly

A homemade booklet . Stapled , folded

20 pages , copied pages , bl/w and color illustrations with handwritten text

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dirkx pleasure b

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Marie Hanlon (1948)

 

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Sometimes you must consider yourself very lucky. I have been writing on art and artists for almost 5 years now and during this period I have written blogs on many known and lesser-known artists. In the meantime selecting with these blogs those publications that are available through FTN-Books. In this way promoting the art, books and publications I am selling.

It must have been a month ago that I received an email by an artist I did not know. She introduced herself, spoke of the great selection of books I am selling and wanted very much to introduce her works. Her name …MARIE HANLON…. and she asked if I would like to take a look at her site….and so I did.

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I am always intrigued by artists who I do not know, so I searched for her on the internet and found that she makes the kind of art I am fond of. It is a mix between minimal, constructivist, hard edge and even surrealistic art at some times. We wrote and agreed that it would be nice to make her works known with the help of the ftn-books.com site and ftn blogs and now I am proud to announce that her publications are available at http://www.ftn-books.com and that she made an artist selection of 4 drawings that are exclusively available through FTN ART at special introductory prices.

 

In future blogs, new material will be proposed to my readers, but in the meantime here is a short biography on Marie and the link to her site so you can find out yourself why I was fascinated by her work. https://www.mariehanlon.com/

and for information on the books and art by Marie Hanlon please contact me at ftnbooksandart@gmail.com

Marie was born in Kilkenny and studied History of European Painting and English at University College Dublin, at the National College of Art & Design/Dublin and has worked as a professional artist since 1990.

Known mainly as an abstract artist of finely made small and medium-sized works, Marie’s output in recent years encompasses a broader range of media. Through her collaboration with contemporary composers, she has developed new work, especially in video and installation.

 

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Oey Tjeng Sit (1917-1987)

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I thought i had, but i just discovered that i had not written a blog on Oey Tjeng Sit before and there is now every reason to write a blog on this self taught artist, because i recently added a wonderful multiple to the collection of http://www.ftn-books.com. It is the Loerakker multiple on the occasion of the presentation of the monograph on the artist.

Amsterdam based pharmacist-artist Oey Tjeng Sit (1917-1987) invited visitors of an art fair to throw paper balls toward tin cans, decided to set fire to cages filled with balls of newspapers, or to fill warehouses with the same second hand paper material. He liked to add bizar titles to his works such as ‘Bicycling against the wind one might forget the invention of the wheel’, ‘An artist who is fashionable is a victim of good taste’ or ‘The only thing I know is that I trust blindly a feeling that promises me secrets.’
Oey Tjeng Sit, whose name means Yellow Clear Solid was born in Purwokerto (Java) at the foot of the Klud Volcano, that erupted just at the time of Oey’s birth. Born in the Year of the Dragon he found himself released of the duty to take care of his parents; that is why – after visiting high school in Bandung – he traveled to the Netherlands in 1938 in order to study pharmacy. Twenty years later he opened Apotheek Oey (Oey Pharmacy) at the Prinsengracht opposite the Anne Frank House. He took away the pills and potions out of the window display and started a small art gallery there. One of his nicknames was a ‘Dragon Man with a Dada Passion’ who showed the art work of colleagues and friends which gave him another epitheton: ‘the nestor of Amsterdam window art’. Oey’s work as an autodidact is characterized by a wide artistic range of disciplines: after a period of surrealistic drawings and paintings he started making wood and linoleum cuts, collages, assemblages and editing books through his own editorial ‘The Finger Press’.
In his collages, often together with Chinese ink and brush, as well as in his installations he used frequently news papers, of which he wanted to extend their short life, tied as they are to daily actuality. The newspaper was a source for many questions for Oey ‘Can we measure the weight of printed news?’ and ‘What contains more wood than newspaper letters?’ ‘If there is an order, then is it a temporary one.’

Oeys oeuvre – light-hearted, playful with a subtle feeling for the hidden esthetic quality of daily life – can be a long lasting confirmation of these words.

Beside the multiple i have more collectable books by the artist in my inventory

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One Week…Lefebre gallery …the final day

Last week I acquired a large collection of catalogues from the LEFEBRE GALLERY. The collection contains 63 different exhibition catalogues all fro the period that this famous gallery was open between 1960 and 1986. A great collection which I will share in the coming 7 days….today day 1

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from top to bottom /left to right:

L. Alechinsky cover card, 1985

Cobra 1960, 1960

Castel, 1966

Juan Martinez, 1980

Antonio Segui, 1981

Antonio Segui, 1983

Antonio Segui, 1972

Antonio Segui, 1975

Antonio Segui, 1979

The series i have available at www.ftn-books.com contains 62 different titles. These publications will be listed in the upcoming 4 weeks. If there is a publication you would like to buy, please sent an email to ftnbooksandart@gmail.com and i will quote you your best preview price.

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The greatest men and women in dutch graphic design.

I have had the pleasure to suggest this site in earlier blogs, but it still expands and contains the very best of dutch graphic designers over the last 50 years or so. Of course i have books available by all these gifted dutch designers and i can not recommend enough to visit their excellent site at: https://www.dutchgraphicroots.nl

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Piet Dirkx weekly

For me personally one of the great publications of all time. Slipcase with artwork on the outside. Printed by Lecturis, edition of only 1000 copies , specially made for the Serpentine gallery exhibition in 1990. COLOUR ANONYMOUS is a classic.

dirkx anonymous

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Aat Veldhoen (1934-2018)

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Art collecting is full of surprises. I started collecting books and art some 50 years ago and in this time I encountered some amazing works of art. I bought only a few and “forgot” to buy many, but I always had an open mind for great techniques. Aat Veldhoen was such an artist. He was arguably the first dutch artist who made his art available for the common people. Selling rotaprints by Jasper Grootveld these “erotic” prints were not appreciated and thought to be pornographic.

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These erotic prints can be considered the same as the Japanese Shunga prints, but with less colour and possible more realistic. Still the technique is stupendous. Lifelike figures making love, not hiding themselves and enjoying each other. Veldhoen became famous for these prints and drawings and during his life eventually was admired for them. Now culminating in a great solo exhibition at Museum Kranenburgh ( https://www.kranenburgh.nl/english/exhibitions-and-activities/aat-veldhoen-art-of-life). Unfortunately coles at this moment because of the Covid-19 virus, but hopefully open again later in June. Seeing these great drawings I have a feeling to compare these with Lucian Freud his works. the human figure in all its glory, not hiding anything.

Why this blog on Veldhoen now. …….Yesterday I met with a client who wanted very much to by the Jan Cremer i had in my collection for over 30 years. We made a deal and I sold him the Cremer. Today he came to fetch it and brought a beautiful drawing by Veldhoen of his former wife KABUL. I was very much impressed with this drawing and I could buy it from the Cremer buyer. So now this drawing is mine and I am still impressed by it. There are not many drawings by Veldhoen. A great many of them were destroyed and cut, but this remains and was in its former private collection for over 30 years. It was bought directly from Veldhoen and his a fitting ” Heijdenrijk” frame which enhance s the drawing. A classic ‘nude pose” of by Kabul makes this a typical Aat Veldhoen drawing.

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Aat Veldhoen (1934 – 2018) lived for and surrounded himself with his art. He worked in his teeming house and studio on Amsterdam’s Wittenburgergracht. The creative urge that underscored his versatile oeuvre, including drawings, etchings, paintings, photos, ceramics and sculptures, remained unwavering to the end.

Desire, love, sex, illness, old age, death

After studying drawing, Veldhoen set about documenting desire, love, sex, illness, old age and death, all with uncompromising zeal and compassion. This exhibition includes work Veldhoen made after suffering a partial paralysis at the age of 69, as well as Polaroids from the Rijksmuseum collection which have never been shown before.

Veldhoen’s exceptional and enduring curiosity for everything human resulted in an intimate, lifelong study of those around him. We see this in Veldhoen’s countless portraits of himself and his family, friends and artists.

Life and art

The works in Aat Veldhoen – Art of Life show remarkable connections with the work of those he knew and encountered. His life and art were inextricably intertwined. The result is a personal and tender view of human existence. Since Veldhoen often portrayed himself, the viewer is no longer the only voyeur.

for more information on the drawing please inquire at ftnbooksandart@gmail.com

 

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Günther Förg at the Gemeentemuseum in 2003

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An important discovery among the many invitations i acquired recently. It is an original sketching by Förg for what presumably could be a wall drawing in one of the rooms of the Gemeentemuseum during and after his 2003 exhibition. In that time Förg was experimenting with loosely painted forms on canvas and walls.

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On the painted paper sheet is the studio stamp of Günther Förg in Freiburg and the paper is devided into two parts. The upper part is painted with a deep green and handwritten the text Gemeentemuseum in blue ballpoint, underneath in pencil Den Haag 2003.  Left of the green a text in blue ballpoint ” Moikan (?)” The lower part of the design/drawing/painting is in a “leather brown” color and in pencil beside “Israel” is written . On the lowest part of the sheet the studio stamp in black ink.

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My educated guess is that this is a proposal for a wall drawing in one of the rooms of the Gemeentemuseum Den Haag and this highly collectable item is now available at www.ftn-books.com.

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New Business Card FTN books & Art

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Some recent changes made it necessary to translate these changes into a new business card. The most important one being two new email addresses. One personal one and the other for the FTN books & Art contacts. So here is all the new business information to contact me and keep track of my activities, the daily blog and additions to my inventory.

Wilfried van den Elshout / FTN books

Veursestraatweg 106c

2265CG Leidschendam,  the Netherlands

www.ftn-books.com

www.ftn-blog.com

new email : wilfriedvandenelshout@gmail.com

new email : ftnbooksandart@gmail.com

 

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2x Borek Sipek and 2x Erwin Olaf

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Why another blog on Erwin Olaf? This one is on the occasion of the addition of the book BOREK SIPEK / Glas Design Architectuur in which a series of photographs by Erwin Olaf with works by Sipek is published . Almost the exact series was used before. The series was made on location with gypsies holding glas and design by Sipek and photographed by Erwin Olaf for the Stedelijk Museum exhibition and publication which was designed by Irma Boom ( Book on the left/private collection). The addition to my inventory is the book published by the Drents Museum, which contains 8 color photographs by Erwin Olaf together with the Anton Corbijn cover. This makes the book a true collectors item since these photo’s are among the best Olaf ever made.

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When you study both series ( Stedelijk Museum and Drents museum), at first you think the photographs are the same , but study them closely and you will notice some subtil differences. I conclude that Erwin Olaf must have made shortly after each other two series. One in Black and white, the other in color.

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Using 2 cameras this must have been technically possible. Just look at the position of the hand of the gypsy boy. The book published for the Drents Museum is now for sale at www.ftn-books.com