Since the early 1980s, I have been an avid admirer of the French comic book artist Jacques de Loustal, widely known as Loustal. He pioneered a unique form of comic book art, utilizing illustrations to convey complete scenes or stories within a single frame. With his masterful illustrations, he invites readers to use their imagination and immerse themselves in his intricate storytelling. Today, his books are published and appreciated worldwide. In the Netherlands, his works are primarily released by Oog & Blik, while in his home country of France, his books and prints were mainly published during his early career. One of his most notable works is WHAT HE EXPECTED OF HER, offering an adult perspective on marriage and relationships. As a highly recommended title, this captivating piece showcases the brilliance of this artist and can be purchased at www.ftn-books.com.
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Crafted by a mortal, Edward Kienholz (1927–1994), The Beanery, a 1965 enigma of art, holds its roots in Kienholz’s regular waterhole, The Original Beanery on Santa Monica Boulevard in Los Angeles. It took the visionary artist six months to manifest his local bar’s essence in this masterpiece. The installation’s execution is characterized by its life-size components, from the figures, modeled after Kienholz’s acquaintances and comrades, to the bar, beer and liquor bottles, ashtrays, cash register, telephone book, and jukebox. Even the photographs adorning the walls are replicas of those at The Original Beanery.
A surprising detail in the artwork is Kienholz’s decision to represent each patron of the bar with a clock for a face, a nod to his fascination with time. The only exception is the bartender, a replica of Barney, the original bar-owner, who retains a human face. Sound, scent, and sight come together seamlessly, creating a sensory experience that visitors are invited to immerse themselves into. The unmistakable aroma of a typical bar is yet another signature of Kienholz’s genius work. To attain the desired scent, the artist concocted a special recipe, blending beer, rancid fat, urine, mothballs, and cigarette ash. The restoration team at the Stedelijk Museum recreated this scent paste multiple times, using ammoniac instead of urine. To reinforce the essence of mortality and transience, the installation is coated with a synthetic resin, enhanced by the brown color scheme signifying aging and decay.
As a time capsule, The Beanery encapsulates the attitudes and events of the era. The sign at the entrance, “faggots stay out,” exemplifies the bigotry present in American society at the time. Meanwhile, the newspaper dispenser by the door displays a headline from 1964, reflecting the United States’ impending war with Vietnam. The inspiration for The Beanery struck Kienholz in 1958, but he only began work on August 28, 1964, after reading the headline “Children Kill Children in Vietnam Riots” during a visit to the real bar. The jarring juxtaposition between the “real time” represented by the newspaper and the “surreal time” of the bar’s atmosphere is a powerful commentary on the passing of time in relation to societal issues.
www.ftn-books.com has the Stedelijk Museum publication on Kienholz available.
Renowned designer Ko Verzuu (1901-1971) was a man of technical origins, which was evident in his intricate and masterfully crafted wooden toy designs for ADO between 1925-1962. Produced in the workshops at Berg and Bosch hospital, his toys were heavily influenced by the “de Stijl” movement promoted by Gerrit Rietveld during that time. The use of primary colors, clean lines, and simplicity were notable characteristics that could be seen in the ADO toys, such as the elegant wooden bank depicted above – a perfect representation of Verzuu’s eclectic style.
Designed with playability and practicality in mind, Verzuu tested his creations on his 11 children to ensure they were the finest wooden toys around. This level of dedication and attention to detail can also be seen in the limited edition BESTELDIENST bank featured in this blog. Only 250 copies were made, each with a certificate of authenticity, making it a prestigious and highly sought-after collectible. The project was a testament to ADO’s expertise and history in producing unparalleled wooden toys, which they showcased in a “prestige” project over 25 years ago.
This magnificent piece was meticulously handmade and painted, with each numbered and signed by the artist. A yellow edition consisting of only 50 copies was specially made for the Gemeentemuseum Den Haag, while the blue and yellow version shown here was made in an edition of 250 copies. Unfortunately, the production of all ADO school furniture and other products came to a halt 12 years ago, effectively putting an end to future ADO projects. Fortunately, FTN was able to acquire the remaining stock of these exquisite toys, including the banks, beetles (which will be discussed in a future blog), and the BESTELDIENST. These last copies, complete with an original ADO box, certificate, and in mint condition, can now only be found at www.ftn-books.com. Don’t miss the opportunity to add these highly collectible pieces to your collection at a reasonable price before they’re gone for good.
www.ftn-books.com has some highly collevctable Verzuu designs available.
In 2002, Raymond Pettibon curated the opening exhibition for GEM museum, with the help of Roel Arkesteijn. Working tirelessly, Pettibon managed to include an impressive 600 drawings and designs, resulting in a truly remarkable showcase. Soon after, he used his remaining time to create and finalize three comic books, all of which were printed and stapled in-house by Chantal Sieuw. These limited edition titles, with only 100 copies each, have since become highly sought-after collectables in the art world.
Among these coveted titles is “Over Easy,” the first one to be discussed in this article. Published by GEM in 2002, this 28-page book is a testament to Pettibon’s talent as an artist and author. Measuring 8.7 x 5.6 inches, it is in mint condition, making it a true gem for collectors.
Pettibon had specific requirements for the publication of these books. According to his design and instructions, they were to be copied and stapled, with each copy numbered in pencil (xxx/100).
Interestingly, during the time of the exhibition, these limited editions were not popular and sold for a mere 20 euros each. However, one year later, they were completely sold out, with some copies being offered and sold on eBay for around USD 350.00. It became evident that Pettibon had a devoted following of collectors who valued these rare books. Since then, Pettibon has published many more “comics” and art books, but “Over Easy” remains a standout piece, specially created for the opening of GEM in 2002. It is undoubtedly one of the highlights from the first decade of this new millennium.
My initial interaction with Kooiker’s oeuvre was almost 15 years ago, and ever since, I have been perpetually spellbound and astounded by his artistic prowess. Willem van Zoetendaal in Amsterdam proudly showcased his talents in his debut exhibitions, where he was hailed as an emerging and foremost photographer in the Netherlands. Alongside Arno Nollen, he garnered praise for his distinctive viewpoint on contemporary photography, with a focal point on both young and older women. This earned him a coveted spot in the Fotomuseum’s exhibition, alongside the pioneer of this particular style of photography, Gerard Petrus Fieret.
Recently, my attention was caught by a limited edition print of the book “Hotel New York,” which has become one of the most sought-after collections in the world of photography. This exquisite release was initially distributed to the guests of Hotel New York in Rotterdam, serving as a beautiful keepsake of their stay. The impeccable combination of text, photography, design, and printing results in a masterpiece that is truly rare to come by. However, a copy can still be acquired at www.ftn-books.com.
Andy Warhol’s rise to fame began in 1960, and it was during this time that Basquiat spent his formative years in Brooklyn. By the time he was 24 years old, he had become known as a “Brother in Art” to the illustrious Warhol himself.
If you have had the opportunity to attend a Basquiat exhibition, it is undeniable that his paintings leave a lasting impression. The scale, force, and distinct style are all distinctive characteristics of Basquiat’s work. Some may argue that his success led to his demise as a person, but his art continues to captivate. It could even be said that his untimely death was a blessing, as his limited output over a decade remains consistently impressive. Each piece is original in appearance, with its own language and technique, making it a coveted addition to any prestigious Modern Art collection (although only a select few can afford the high price).
I had the privilege of attending the Basquiat exhibition at the Beyeler Museum in Basel about six years ago, and I was utterly mesmerized. The Beyeler may be a small museum in Europe, but its collection is nothing short of breathtaking. I spent at least three separate occasions admiring all the paintings before finally leaving the museum. If someone were to ask me what my favorite exhibition of the last decade was, without a doubt, this would be it. It is a rare opportunity to witness so many of Basquiat’s greatest works all in one place. If you ever have the chance to attend a Basquiat exhibition, do not hesitate to go out of your way to see it, as these paintings are truly phenomenal.
For those interested, I have some exquisite Basquiat items available on my website www.ftn-books.com.
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A remarkable publication ensconced within the annals of the Stedelijk Museum is the VORMEN VAN DE KLEUR catalogue. This collector’s item features a cassette containing biographies for all the artists involved, including the likes of Donald Judd, along with four original silkscreens. Only 2200 copies of the silkscreen edition were released, all featuring a palette of red, white, and blue.
Notable names such as Ellsworth Kelly, William Turnbull, Bob Bonies, and K.G. Pfahler were invited to contribute to the collection with their own square silkscreens, making it a challenge for designer Wim Crouwel to create a suitable container for the loose pages and silkscreens. Opting for a larger size of 10.2 x 10.2 inches, Crouwel deemed this publication to be a significant addition to the Stedelijk Museum’s history, and rightfully so. It is undoubtedly one of the museum’s most prized catalogues and a must-have for avid collectors of Stedelijk Museum material or publications by Wim Crouwel.
Exclusive to readers of the FTN-books blog, a discount of $50.00 is now available for this item. Simply use the code CrouwKel when placing your order, but hurry as there is only one copy left in stock.
The catalogue was elegantly designed by Wim Crouwel and remains in near-mint condition, as depicted in the accompanying picture. With all 27 sheets and silkscreens in mint condition, this book measures 10.6 x 10.6 inches, while the silkscreens measure 10.2 x 10.2 inches. VORMEN VAN DE KLEUR/NEW SHAPES OF COLOUR showcases four silkscreens by Ellsworth Kelly, Bob Bonies, Georg-Karl Pfahler, and William Turnbull in shades of blue and red. Published by the Stedelijk Museum in Amsterdam in 1966, the edition features original wrappers and black and white illustrations throughout, highlighting the trends in abstract art over the past decade. Some of the notable names featured include Josef Albers, Donald Judd, Frank Stella, Victor Vasarely, Max Bill, and Peter Struycken. Printed in limited edition of 2200, this collection comes in a slipcase/sleeve for preservation and presentation.
Every now and then one has a little luck in buying art books. Among the items i bought from Arlette Brouwers i found a publication from 1941 by the Dutch Railroad company. They publshed a yearly booklet on the NEDERLANDSE SPOORWEGEN and the no. III with the series contained the Isotype illustrations SArntz has become famous for. It is a highly collectible item and is now available at www.ftn-books.com.
Willem van Hest is a skilled draftsman, painter, and graphic artist. He documents his work and others through a variety of mediums, from diaries and letters to interviews, portraits, and articles. Prices start at 35 euros.
Themes often revolve around the human experience, including portraiture, nudity, and his hometown of Rotterdam. He is open to assignments, such as screen printing, portraits, exhibitions, and murals. His exhibitions, often incorporating multiple disciplines such as poetry and music, have been showcased in galleries, fairs, and museums both nationally and internationally.
One of his greatest passions is community art projects, which he has been involved in since 2005 with other artists, including Ron Blom. Projects have included “Havenzicht on Stilts” with the homeless, “World Tulips from Rotterdam” with primary school students, and collaborations with seniors and Slovenian artists. In recent years, he has focused on exploring societal issues through his art. His work raises questions about what is truly important in life and how to convey that, always in partnership with others, in the most impactful and inspiring ways through both visual and written expression. Some of these themes include Paulus, idealism, the sublime and transformation, and celebrating the last phase of life. He has also explored the topic of love through projects in the Proveniersbuurt in Rotterdam-Noord, Schiedam, and Kralingen-Crooswijk.
Additionally, he has collaborated with both artists and non-artists on nature projects, including three seasons in the gardens and arboretum of Trompenburg (2017). In 2019, he spent a year in the Botanic Garden Kralingen with eight artists and also had an exhibition in Schiedam towards the end of the year.
www.ftn-books.com has the SCHILDERSDAGBOEK publication now available.
A few years ago a devoted a blog to A TRAVEL TO ROME by Marc Mulders and now i found that people have missed this important publication. So i make this once again available for all readers and Mulders admirers.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
