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Massimo Rao …a new addition

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Those of you following this blog, know that i admire the art of Massimo Rao  (1950-1996). Rao was during his life represented by Gallery Steltman and Steltman published in 1992 a special edition of their Massimo Rao publication. This book was published exactly the same as the non numbered edition, but with two large differences. First, there was a very special etching included and secondly the book was published with a beautiful bright red slipcase. The etching is a true masterpiece and when you look closely at the etching ( see the close up photograph) you see that Rao “paints” with an etching needle. This very nice copy will grace my personal library and will replace the Massimo Rao publication which i had and cherished until now. It is now available at www.ftn-books.com

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Wim Crouwel and Willem Sandberg publications found.

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I am always on the look out and searching for the best catalogues that are published by rhe Stedelijk Museum Amsterdam. The best catalogues were published in the 50’s and 60’s and designed by Willem Sandberg and Wim Crouwel and i am proud to say that i have managed to colelct a wonderful collection of their catalogues and possibly one of the largest collections available on the internet. Many of thier publications are sold and collected all over the world and because of that i sell these catalogues to many collectors. The 3 titles i present in this blog weere sold out during the last 6 months, but….. i was lucky to find these with a colleague and now i have them again in my inventory. Just search for them at www.ftn-books.com .

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They are expensive catalogues , but take my word these will become impossible to find in a few years and when they come on the market they will be even more expensive. The power of these titles is that they are more like works of art. The Arp (1960) has woodcut printing on the outside and inside and the Soto cover is a kinetic object because of the thread on the outside (1969). The Steinberg….yes one of the first publications with fold out pages (1953).

3 maal incl arp b

 

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Felim Egan (1952) and the Stedelijk Museum

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I had never heard of Felim Egan, but when i saw one of his paintings ( for the first time at Seasons gallery in Den Haag) i became an admirer. A free kind of constructivist abstraction in soft colors, which looks like Irish mist over a landscape. Later i found 2 publications on this artist which are now available at www.ftn-books.com so when i encountered these i decide to write  a blog on an artist of whom i did not know very much except that he had exhibited in the Stedelijk Museum. I searched and found this article on his Felim Egan’s own website : www.felimegan.ie

FELlM EGAN was born in lreland in 1952 and studied at Belfast and Portsmouth, England before attending the Slade School of Art in London. He then spent a year at the British School at Rome in 1980 before returning to Dublin. Since then he has lived and worked at Sandymount Strand and the Docklands, on the edge of Dublin Bay.

He is known as a painter of restrained eloquence, who sparingly deploys a vocabulary of hieroglyphic motifs over monochromatic expanses of colour. His paintings are built up slowly with layers of thin colour applied to the surface and stone powder ground into the acrylic. The work is universal in spirit and at the same time emotionally intimate. His paintings are epiphanic, in that they convey to us the essential nature or meaning of something of which we were previously unaware. He is an abstract artist, a painter of quite formal abstract images, and yet his work is tied to the place he lives and works, to the long horizons, big skies and empty sands of the Strand and sea. In this way his abstract paintings are almost landscapes, with a magical quality that his neighbour, the poet Seamus Heaney, has aptly described “a balance of shifting brilliances”.

Egan has exhibited widely across Europe with 72 solo exhibitions since 1979 including major shows at the lrish Museum of Modern Art, Dublin,1996 and the Stedelijk Museum in Amsterdam, 1999. In 1981 he represented Ireland at the Xie Biennale de Paris and in 1985 at the San Paulo Bienal. In 1993 he won the prestigious UNESCO prize in Paris, and in 1995 the Premiere Prize at Cagnes-sur-Mer. His work hangs in numerous public collections including the Stedelijk Museum, Amsterdam; the Irish Museum of Modern Art, Dublin; the Ulster Museum, Belfast; the Metropolitan Museum of Art, New York, and the collection of the European Parliament. Major Commissions include; Dublin Castle; National Gallery of Ireland: O’Reilly Hall, UCD; Meeting House Square, Temple Bar; Pavilion Theatre, Dunlaoghaire; City Quay Building, Dublin; New Providence Wharf, London; the National Gallery of Ireland; Deutsche Bank, UK and Dublin and a large scale public ‘sculptural work’ at Cork Street, Dublin.
In 2005 he completed an installation of paintings at Deutsche Bank Headquarters, Dublin.

Felim Egan is a member of Aosdána.

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Jan Saudek (1935)

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I begin this blog on Jan Saudek with a quote i found on AZQuote:

I believe all artists, if they are not lying to themselves, must believe that the best part of their work, or even their life, is in front of them. To look only to the past and to say ‘those were the best years, when I was young’ is to say that in the future there is nothing.

Saudek has become a household name in photography after Benedikt Taschen decided to publish his photo’s in cheap but beautiful glossy books. These books made his name among photography lovers and not only because of their quality, but also because of their subjects. Saudek never did censor himself and used many models all from his direct surroundings and family and photographed them being their complete self.

These photo’s are so typical Saudek that his works can never be mistaken to have been taken by somebody else. In an instant you can see that they are Saudek’s. In the mid eighties, Art Unlimited…an Amsterdam based publisher , began to publish his postcards and with this publication the great popularity of Saudek’s photo’s began. After this initial introduction to the art world large exhibits and gallery presentations followed ( gallery TORCH). Now his photography is available to all, because of the many publications there ghave been with Saudek photographs, but the originals are available only to a few because they have become far too expensive for ordinary collectors to collect. www.ftn-books.com has some nice publications on Saudel. Part of which is printed by Rosbeek, which i believe is the very best printer for these great photo’s

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Hendrik Kerstens ( 1956 )

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Today i added a book on Hendrik Kerstens to my inventory. At first glance you see a classic portrait , but when you follow his works through several decades, you note 3 elements in the photograph. The model is in most cases Paula, his daughter , who progresses in age, and looks when getting older ….more and more like a “dutch Golden Age” figure by Johannes Vermeer. Secondly the props within the photograph ( mainly hats ) are common household items. Blankets, plastic bags, empty tin cans ….all have a function within the portrait. Modern elements making a classic portrait of a beautiful woman. Hendrik Kerstens is now also represented in the US and his name as an important dutch photographer is now established among the great dutch photographers from his generation.

‘HENDRIK KERSTENS DID NOT TRAIN FORMALLY AS AN ARTIST. HOWEVER, HE WISHED TO DEVOTE HIMSELF TO A MORE CREATIVE PROFESSION AND IN 1995, AT THE AGE OF FORTY, HE LEFT THE BUSINESS WORLD AND TOOK UP PHOTOGRAPHY. HIS WIFE ANNA WORKED FULL TIME TO SUPPORT THIS CHANGE OF DIRECTION. IN A REVERSAL OF MORE TRADITIONAL ROLES, KERSTENS CARED FOR THEIR YOUNG DAUGHTER PAULA, WHILE ALSO STUDYING PHOTOGRAPHY DURING THE DAY. HAVING A CHILD LEFT A DEEP IMPRESSION ON KERSTENS. THROUGH PHOTOGRAPHY, HE EXPLORED THE ACCOMPANYING FEELINGS OF RESPONSIBILITY, VULNERABILITY AND LOVE HE FELT TOWARDS HIS DAUGHTER, STARTING WITH DOCUMENTARY FAMILY SNAPSHOTS.
AS PAULA PHYSICALLY AND PSYCHOLOGICALLY GREW, KERSTENS SEARCHED FOR AN ARTISTIC MANIFESTATION OF THESE CHANGES, LEADING TO HIS INTERPRETATIONS OF THE GREAT DUTCH MASTER PAINTERS OF THE 17TH CENTURY WITH PAULA AS HIS MUSE.’

EXCERPT FROM AN ESSAY BY MARTIN BARNES, VICTORIA AND ALBERT MUSEUM, LONDON

this book is now availabel at www.ftn-books.com

 

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I love the works by Victor Pasmore (1908-1998)

 

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Victor Pasmore (1908 – 1998) was born in Chelsham, Surrey, the son of a well-known physician and mental specialist and an amateur painter. He was educated at Harrow School where he first became seriously interested in painting. Following the sudden death of his father he had to abandon his studies at the Central School of Arts and Crafts where he had studied under A. S. Hartrick, an artist who had worked in France and who knew van Gogh. Pasmore, who had expected to go Oxford and then on to The Slade School of Art, now had to find employment as a clerk in the Public Health Department in London instead, a job he held until 1937.

During this time he joined the London Artists’ Association and had his first solo exhibition at their Cooling Galleries on Bond Street in 1933. In 1937 Pasmore left the Public Health Department and formed an independent art school with fellow artists Claude Rogers, Graham Bell and William Coldstream in Fitzroy Street. The school’s first show in 1938 coincided with its move to 316 Euston Road which led to the art critic Raymond Mortimer to identify them as the Euston Road Group. Pasmore himself moved to a studio at 8 Fitzroy Street, formerly occupied by Sickert and Whistler, and spent his time teaching and painting.

Pasmore abandoned visual representation and developed a purely abstract style in 1947. His work, often in collage and construction of reliefs, pioneered the use of new materials and was sometimes on a large architectural scale. He held his first abstract solo exhibition at the Redfern Gallery, London, in 1948. Herbert Read, an important art critic of the time, described Pasmore’s new style as ‘The most revolutionary event in post-war British art’. In the summer of 1950 he visited St Ives where he became associated with Ben Nicholson and Barbara Hepworth and joined the Penwyth Society, the local exhibiting group. www.ftn-books.com has some nice Pasmore titles available.

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Charlotte Salomon (1917-1943)….Leben oder Theater

 

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An important blog on an important subject. The Joods Historisch Museum in Amsterdam shows the complete set of “LEBEN ODER THEATER” the magnificent works by Charlotte Salomon . It is the equivalent of a written diary of her life in Auschwitz before she was murdered. The complete original set is now on show at the Joods Historisch Museum until the 25th of March 2018, but…. not only the complete set is on show, there is another way of viewing the set…..for those who are interested and live to far away you can view the complete set at :

https://charlotte.jck.nl/section

This is what makes the internet worthwhile, so visit this site and convince yourself why this is not only a historical important work, but also a great work of art by a gifted artist.

www.ftn-books.com has the very rare first dutch publication on Charlotte Salomon availablel at www.ftn-books.com

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Sigurður Guðmundsson / Gudmundsson(1942)…humor in art

My admiration for Gudmundsson started when i first saw his “paper boat” in an edition of only 20 copies. The reason i was attracted to this work was because the same boat was depicted in a painting by Massimo Rao and for years both works were combined in my living room.

Now i have only the boat nearby and it has not lost its appeal in 20+ years. The edition was bought after i had traded in a Pieter Laurens Mol which was not the right piece of art in the right place and so the Gudmundsson was bought to make the Rao more complete and it stayed in my collection. It has pure humor and because of its presentation in a show case it still has a lot of style. This edition is only 20 copies and it was bought at DE EXPEDITIE in Amsterdam and is of course sold out now for decades , but i know of a special edition of a unique life size large paper boat which is/was in the collection of the AMC Amsterdam which is even more unique than the smaller i have on my windowsill.

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For some nice Gudmundsson publications please visit www.ftn-books.com

 

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Barnett Newman (1905-1970)

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Possibly, the Stedelijk Museum had the most important Barnett Newman painting in their collection until……Who’s afraid of Red, Yellow and Blue III was destroyed by a mentally unstable artist . The painting was cut several times, over almost its total length of 5 meters with a Stanley knife. Destroying the painting completely.

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There was an attempt to restore the painting by Goldreyer, but the result was just an overpainted painting without any nuances in the monochrome colors. This restoration resulted in a lawsuit in which there had to be decided who was responsible. Goldreyer claimed 250 million with the Amsterdam Municipality. The result Goldreyer had to be compensated and the Stedelijk Museum “lost” its beautiful iconic colourfield painting because of the bad restoration. The last few years the painting Who’s afraid of Red, Yellow and Blue III is on and off on show again in the Stedelijk, but unfortunately the restoration has devalued it tremendously in a financial and artistic way. www.ftn-books.com has the Stedelijk Museum catalogue ( a.o. Newman titles ) for the Barnett Newman exhibition for sale.

There is an article on Newman and its destruction in the Stedelijk by the New York times over here:

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Dieter Hiesserer (1939) / Batman’s car.

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One of last weeks blogs was on the Pop Art scene in Europe and there is one German artist who must be mentioned, because he was one of the most important Pop Art artists in Germany…his name Dieter Hiesserer and because he also held exhibitions in Amsterdam his works were known by dutch collectors and included in one of the most iconic company collections in the world. Hiesserer’s works were included in the Peter Stuyvesant collection. In the tobacco factory of Peter Stuyvesant, the employees were confronted with really great modern art. In many cases , large sized paintings which were bought for the Peter Stuyvesant collection. Willem Sandberg was one of the directors who advised the company and by the end of the sixties several paintings by Hiesserer were added to the collection. Among them “Batman’s car”. It is about 10 years ago that this collection was sold at auction by Sotheby’s Amsterdam and later by AAG after Sotheby’s left from Amsterdam. It was a 3 part auction and because of the size of the paintings and an economic crisis it was hard to sell some of these important paintings for reasonable prices. The lots were all sold without a reserve price. I was behind my computer following this auction on line , when this great painting , “Batman’s Car” was on the block and bidding stopped at euro 200,–. I could not believe my eyes and i made the following bid……… and became the final bidder for this great Pop Art painting. Batman’s Car has been in our collection for almost 10 years , but now it is time to part from it. I do not have the place anymore to present it properly. Therefore it is now for sale and should you be interested…do not hesitate to contact me. Price on Application.

https://de.wikipedia.org/wiki/Dieter_Hiesserer

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