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Armando …signed publications

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It was a few months ago that i was fortunate to buy a small collection of ARMANDO books. Only 25 cm’s of books, but among the 16 books , 6 were signed by the master himself. Since his death , Armando paintings, drawings and etchings have become highly collectable items and the books are no exception. Publications that are in most cases of a very high quality and the ARMANDO signature makes them even more wanted and collectable. ww.ftn-books.com has them now for sale, so please take a look at them at my site and search for the many Armando items i have for sale.

armando rood a

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Hamish Fulton special

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It has been 2 months ago that i acquired a collection of invitations from the Nineties and among them there were several Hamish Fulton ones. I remember Hamish as being one of the friendliest artists i have met at the Gemeentemuseum. He was willing to sign 20 copies of the book which we published by us.

Since i have followed his career and exhibitions and now i have added 4 special invitations to the collection of http://www.ftn-books.com which are now for sale. The ones i like most are the Graeme Murray gallery and Marian Goodman gallery ( signed and dedicated for Rudi) ones  and there is of course the time/indoor/outdoor with japanese text. This is the one i can not find any information on so if you know who organized this one let me know. Your help would be appreciated.

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Bob Colacello (1947)

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He was considered as the right hand of Andy Warhol. Always present and his camera ready to take pictures. Possibly Colacello captured most of Andy Warhol private life in the Eighties. http://www.ftn-books.com has the invitation for the 1990 Mary Boone exhibition now for sale at http://www.ftn-books.com

 

The Guardian had a few years ago an excellent article on Colacello which i would like to point out in this blog: https://www.theguardian.com/artanddesign/2019/may/07/i-wasnt-too-obvious-how-bob-colacello-captured-candid-celebrities

As editor of Andy Warhol’s Interview from 1971 to 1983, Bob Colacello, was perfectly placed to record the scene of the wild and glamorous Golden Age when every night was a party night and such distinctions as uptown and downtown, gay and straight, black and white were momentarily cast aside.

Raised in New York, Colacello studied International Affairs at Georgetown University and film criticism at Columbia University before beginning his writing career in 1969 publishing film reviews for the Village Voice. Colacello caught Andy Warhol’s attention when he reviewed Warhol’s Trash, labeling it ‘a great Roman Catholic masterpiece’. Warhol and Paul Morrissey approached Colacello to write for Interview Magazine, and within six months he was made editor of the magazine. For the next twelve years, Colacello remained directly involved in all aspects of life and business at The Factory.

Colacello’s photographs document the insider’s view of decade of excess between the end of the Vietnam War and the advent of AIDs. His monthly “Out” column was a diary of the frenetic social life that took him from art openings to movie premieres, from cocktail parties to dinner parties, from charity balls to after-hours clubs, often all in the course of a single evening.

Colacello began to include pictures in his column in 1973 when Swiss art dealer Thomas Ammann gave him one of the first miniature 35-mm cameras to come on the market, a black plastic Minox small enough to hide in his jacket pocket. His pictures have an immediacy, a veracity, and an aesthetic that can only be found in the middle of the action. With his stealth camera and his ‘accidental style’, Colacello captured subjects including Diana Vreeland, Jack Nicholson, Raquel Welch, Mick Jagger, Yves Saint Laurent, Nan Kempner, Gloria Swanson, Anita Loos, Willy Brandt, Joseph Beuys, Robert Rauschenberg, Truman Capote, Halston, Studio 54’s Steve Rubell, Egon von Furstenberg and Tina Chow. His images bring to life a carefree but reckless moment in history when social mobility and personal expression were played out to the limits

Bob Colacello joined Vanity Fair as a contributing editor in 1984 and has been a special correspondent since 1993.

 

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a great Corneille cover for Ariel (1970)

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It Must have been in the mid Eighties that i lost all interest in Corneille as an artist. He repeated himself frequently and his art was commercialized by some dutch companies who made the once great art by Corneille mainstream.

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But only a decade before his art had matured . From his Cobra beginnings in the Fifties he developed his art into a personal, recognizable, colorful kind of art where his scenes were crowded with woman and birds. In those days he made several special publications on the occasion of his exhibitions and on 2 of these occasions at the galerie Ariel in Paris special books were published in a limited edition of 750 numbered copies. My guess is that less than a few hundred of these copies have survived , making these even more collectable than his lihographs from those days. One of the Ariel publications from 1970 is now for sale at www.ftn-books.com. This one is numbered 67 and contains 2 large lithographs, making this a true collectable Corneille item.

corneille ariel aa

corneille ariel x

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An important Tajiri/Crouwel book

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It was in the earliest years of his career that Wim Crouwel was invited to design the catalogues of the van Abbemuseum and in these years several iconic publications were published that were designed by Crouwel. I have encountered over the years many of them and have a nice selection for sale at www.ftn-books.com, but until last month i never had seen the Tajiri catalogue from 1961. It was one of the earliest of Tajiri his catalogues for a major museum, but Wim Crouwel must have felt the same about the catalogue as Tajiri did. Both must have the iedea that is was important for them personally. The typography on the cover is outstanding and the photograph by Cas Oorthuys even enhances it. This is a thin 12 page catalogue with a special 4 page inlay ( with photographs of sculptures), but every page shows the quality of Wim Crouwel his design in combination with the works by Tajiri.

tajiri abbe a

 

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An Andy Warhol invitation card, 2005

This invitation card is now available at http://www.ftn-books.com and is the first from a number of very special items i acquired. Among them, invitations for Rainer, Beuys, Förg, Fulron, Long, Judd and some sketches by Westerik. Most dating from the time that Rudi Fuchs was director for the Haags Gemeentemuseum. This is an exception but from the same collection and one of the few Warhol invitations that is now on the market.

warhol inv cowboy c

 

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Victor Pasmore…an invitation

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Readers of this blog know of my admiration for Victor Pasmore (1908-1998).

His abstract art has stayed fresh and fascinating over the years and is still a joy to look at. If i must compare his art ….i would say Joan Miro is the one he comes close to. His art keeps fascinating me and ……

his forms and composition, use of colors and use of materials makes me want that there was a large Pasmore exhibition to be held in the Netherlands in the near future so i could admire his works from up close. There are far too few paintings to be found in the European collections and i can not find a reason for it. Curators from all important museums must have fallen asleep during these early years of the Seventies., which is a pity. However there was a time in the early Seventies that his works were presented for sale on frequent occasions. One of these exhibitions was at the Marlborough gallery where a Pasmore graphics collection was presented and sold. The invitation to this presentation is now for sale at www.ftn-books.com

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John Davies (1936-1999)

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“I call myself a haunted house… we all have ghosts and histories.” – John Davies

Davies’ interest in the human presence set him apart from many of his contemporaries in British sculpture at the beginning of his career. Of his early figures, often cast from life and clothed, Davies has said, ‘I wanted to make a figure, not like a piece of sculpture, more like a person…. I wanted my sculpture to be more like life in the street’.

His more recent works are modelled in clay, before being cast in polychrome polyester and fibreglass, or bronze. Davies arranges these figures in carefully choreographed relationships. Animals and inanimate objects such as houses also appear in works whose thematic concerns are always with human experience.

Of The Deerson Series, shown for the first time in this exhibition, John has said: ‘This series of scarecrow-like figures, with their moons, are a kind of self-portrait. I never intended to make these images, having other ideas to the fore, when I had a car crash in 2010. My life always leaks into my work, so inevitably and reluctantly these images emerged. They are works processing my long recovery. Now to me they seem to have a life of their own, independent of my story. Mad dancing ‘scarecrows’ coming to life, a protest against fate and physical frailty, like the figures in the Watersons’ song, ‘The Scarecrow’.’

Drawing, often in series, has always been an important aspect of John Davies’ practice, and the sculpture and drawings are equally important to him. The drawings in this installation demonstrate how the two practices influence each other.

The above text was found in Fuse magazine

http://www.ftn-books.com has some John Davies catalogues available

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Claire Bretecher ( 1940-2020 )

Schermafbeelding 2020-02-12 om 09.25.55I have always had an admiration for Claire Bretecher, One of the greats in Seventies French comic art. 2 days ago she died leaving one of the greatest comic series on “women emancipation”.

Claire Bretécher (born April 17, 1940) is a French cartoonist, known particularly for her portrayals of women and gender issues. Her creations include Les Frustrés, and the unimpressed teenager Agrippine.

She was born in Nantes, and got her first break as an illustrator when she was asked to provide the artwork for Le Facteur Rhésus by René Goscinny for L’Os à Moelle in 1963. She went on to work for several popular magazines, and in 1969 invented the character “Cellulite”. In 1972 she joined Gotlib and Mandryka in founding the comics magazine L’Écho des savanes.

Throughout the 1970s and 1980s, she published successful collections, such as The Destiny of Monique (1982). In 2001, her series Agrippine was adapted into a 26 episode TV series by Canal+.

Bibliography

  • Les états d’âme de Cellulite (1972, Dargaud)
  • Salades de saison (1973, Dargaud)
  • Les frustrés (5 albums, 1975–80, Bretecher)
  • Le cordon infernal (1976, Bretecher)
  • Les angoisses de Cellulite (1977, Dargaud)
  • Baratine et Molgaga (1977, Glénat)
  • La vie passionnée de Thérèse Avila (1980, Bretecher)
  • Le destin de Monique (1983, Bretecher)
  • Les Mères (1982, Bretecher)
  • Docteur ventouse, bobologue (2 albums 1985-86, Bretecher/Hyphen)
  • Agrippine (8 albums 1988–2004, Bretecher/Hyphen

 

http://www.ftn-books.com has one title by Bretecher at this moment available:

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John Balderssari’s pencil

A few month ago i found this great short movie on John Baldessari.

The epic life of a world-class artist, jammed into six minutes.
Narrated by Tom Waits.
Commissioned by LACMA for their first annual “Art + Film Gala” honoring John Baldessari and Clint Eastwood.

directed by Henry Joost & Ariel Schulman (supermarche.nyc)
edited by Max Joseph (maxjoseph.com/)
written by Gabriel Nussbaum (bankstreetfilms.com)
cinematography by Magdalena Gorka (magdalenagorka.com/)
& Henry Joost
produced by Mandy Yaeger & Erin Wright

 

www.ftn-books.com has some nice John Baldessari books for sale