Polish art and typography

While leafing through my documents, I noticed some very nice and interesting publications from and on Polish art and typography. These are a combination of Russian and western art and typography, making them stand out and being typical for Poland. It is the same with Japanese typography.

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A style of typography of its own , but with influences from western typography and design. But back to Poland. This very unique way of design was recognized by Willem Sandberg, who organized an exhibition on Polish posters. Whenever i visit a  book) market i always pick them up , because of their appearance and some are worth collecting and selling. Take a look at www.ftn-books.com

to find some of these very nice publications.

Ugo La Pietra (1938) / Edizioni Flaviana…Serie Minimultipli.

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Yesterday, the first of my new acquisitions was discussed in my blog. Today the second one will be presented to my readers. This one is another one from the 1967 publications by Edizioni Flaviana within their series of Minimultipli. Title …..Campo Tissurale….Condition of this one too is excellent and another one well worth collecting now, because these beautiful publications are getting more scarce every month and i believe to be the only seller on the internet who is offering 2 of these rare publications. Ugo La Pietra is still active as an artist and designer, but none of his work is considered more important than his sixties work in which he showed his admiration and close relationship to other ZERO / NUL artists. This exquisite small publication shows why and is available at www.ftn-books.com

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Enrico Castellani (1930) / Edizioni Flaviana…Serie Minimultipli.

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Manzoni, La Pietra, Colombo, Christo and Enrico Castellani. What do they have in common?. Yes , they were all artists who started their careers in the early sixties, but an another lesser known fact is that they were all chosen to publish within the Minimultipli series by Edizioni Flaviana a small, but also art collection worthy, work of art. The ones which i added today to the inventory of my store are considered to be the best of the series. Tomorrow the Ugo de La Pietra. But here is the Superficie Oro by Enrico Castellani from 1967.

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This Enrico Castellani is believed to have been published in an edition of only 1000 copies ( others within the series were published  also in 1000 copies) of which few will have survived as good as this one. The “envelope”, plastic covered inlay and the multiple are all in exceptional condition . Published in 1967. This Castellani is a true ZERO work of art. He encountered many dutch and german artist who belonged to the ZERO and NUL mouvements in Germany and the Netherlands and he himself , as his friends Fontana and Manzoni, were influenced by the ideas of these groups of artists. The ” Superficie Oro” shows it in the smallest scale possible, but even at this size, it truly is an outstanding work of art and now available at www.ftn-books.com.

Kees van Dongen (1877-1968)… fauvism

Born in Rotterdam, but French in all his veins , there is still a discussion going on if he is a dutch or a french painter. For me he is 100% french. Practically all his subjects and his registration in paint or drawing of daily life is done in France and influenced in every way possible by French society. He was famous for his portraits of society men and woman ( possibly his most famous portrait is of Brigitte Bardot), but his strength for me is when he watched and depicted french daily life.

For instance the painting which he made on the Moulin de la Galette ( 1904-1905) is one of the very best paintings of the end of the early 20th century and a breakthrough in Modern art and for van Dongen himself, finding eventually a style which in bright unnatural colors ( like green and pink, reality was depicted). Fauvism was born in the work by van Dongen.

www.ftn-books.com has some nice titles on this great artist

Ernst Wilhelm Nay (1902-1968)

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Another artist of whom i saw work for the first time in the Stedelijk Museum was Ernst Wilhelm Nay. The first impression you get it is a modern version of Matisse, but studying it in more detail you find differences and a style which is completely original. I found an excellent article on Nay in the ART DIRECTORY which i copied .

Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin. 
Nay’s still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months’ study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The “Fischer- und Lofotenbilder” represented a first pinnacle of achievement.
That same year, however, two of his works were shown in the notorious exhibition of “Degenerate Art” and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay’s disposal. In the “Hekatebildern” (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences. 
The “Fugale Bilder” (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay’s work. The following year the artist moved to Cologne, where, with the “Rhythmischen Bildern” he took the final step towards entirely non-representational painting. In them he began to use colour purely as figurative values. From 1955 Nay’s painted “Scheibenbilder”, in which round colour surfaces organize subtle modulations of space and colour. These are developed further in 1963-64 in what are known as the “Augenbilder”. A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel “documenta” (1955, 1959 and 1964) are milestones marking Nay’s breakthrough on the international art scene. 
Ernst Wilhelm Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.

Nay publications are available at www.ftn-books.com

Rhythm by Peter Pontiac and Ray Ahn

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Because i have a lifetime admiration for Peter Pontiac i always have carried a large inventory on the artist, but what i neglected to buy for my collection is the “Rhythm” book by Peter Pontiac which has a great part of his comics in one publication. Because of an order by an Australian customer i found one with a colleague and i must say i am very impressed with this publication. It shows in over 400 pages exactly what makes his work stand out from others from his generation. Bold, controversial and in many cases it shows the raw world the main character lives in. Beside the stories this book is beautifully published and does grace to the stories by Pontiac. I told my customer that i had found the book for his collection and beside the fact that he was delighted he pointed out an Australian publication on Ray Ahn / THE ART OF RAY AHN which is still available in a limited edition of only 200 copies at www.starmanbooks.com  for Australian Dollar 375,–

You can view an unboxing video over here:

https://www.facebook.com/starmanbooks/?fref=ts

Of course other Pontiac publications are available at www.ftn-books.com

Gerard Petrus Fieret (1924-2009)

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Because i visited the Gemeentemuseum on Sunday and i had another hour available i decided to visit the Fieret exhibition in the GEM museum next door , curated in an excellent way by Wim van Sinderen and giving more insight in the person Fieret was and the art/photographs he made. When you have finished the exhibition and continue within the GEM and go downstairs you pass a long corridor in which the portraits of Fieret, which were taken throughout his life are presented. Portraits by Willem Diepraam,  Koos Breukel, Helena van der Kraan and many others make a great portrait gallery on Gerard Petrus Fieret. Of course this is not the best quality, but here are the photographs. They give a great impression of the colorful figure Fieret was.

 

For publications on Fieret please visit www.ftn-books.com