Barney de Krijger special publication is now available at www.ftn-books.com
It is the AMAZONAS p portfolio, containing 4 large woodblock prints.
The provenance is the ANY ART collection . Koos made this now available for sale:
edition of only 15 copies, all woodblock prints signed, dated, numbered. This is copy no. 2/15. Published in 1990
Wilson, born in Durban, South Africa in 1940, migrated to the United States at the tender age of twenty. Early on, his creations were influenced by Constructivism and the emerging Minimalism movement, eventually culminating in the creation of “Circle on the Floor” and “Circle on the Wall” in 1968. These two pieces, composed of simple geometric shapes, were meant to be reproduced in an infinite number of ways using chalk and instructions provided by Wilson. His work engaged in a conversation with other Conceptual artists of the time, including Art & Language, Robert Barry, Joseph Kosuth, and Lawrence Weiner. “Circle on the Floor” and “Circle on the Wall” marked the end of Wilson’s physical creations as he shifted his focus to his series “Discussions” in 1968-86/1999-2020.
This series, which began with Wilson uttering a single word – “time” – was a bold statement on verbal communication. In a 2002 interview with Oscar van den Boogaard, Wilson explained, “My aim was to insert the word ‘time’ into every conversation I had, with anyone, anywhere. It was not about the word itself, but rather the effect it had on the verbal exchange.” As the series evolved, the “Discussions” were held in various institutional art spaces, inviting participants to join Wilson in exploring the concept of “oral communication.” Inspired by Plato’s Parmenides dialogues, the discussions delved into topics of “the known and unknown” and “awareness of the Absolute.” Wilson’s unique approach to art and communication continues to intrigue and inspire audiences to this day.
www.ftn-books.com has some titles with or on Ian Wilson available.
It was the early 70s when I stumbled upon a small art dealer in the bustling Hoogstraat of The Hague. There, in the window display, I spotted two silk-screen prints by none other than Vasarely himself. At first glance, I was in awe of their beauty, but the fact that they were part of a limited edition of 100 numbered and signed copies made me lose interest. You see, back then, I had never heard of art being published in such a manner. Nowadays, however, it has become a common practice. Artists now make a living off of these exclusive editions and individuals have the opportunity to acquire an original piece of art at an affordable price. Looking back, I regret not purchasing those prints at the time, but as the saying goes, “time flies and memories fade.”
Over the next three decades, Vasarely’s works seemed to have faded from the public eye. But in present times, his works have resurfaced and are highly sought after, rightfully so. Many consider him to be one of the leading artists of the Geometric Abstract art and Optical art movements. His unique perspective and approach to Modern Art has resulted in numerous beautiful and impressive works that can now be found in the most prestigious museums around the globe.
If you ever find yourself in Budapest, I highly recommend paying a visit to the Vasarely Museum located on the outskirts of the city (just a half-hour tram ride away). While it may not be your typical modern-day museum, the collection of Vasarely’s works housed within its walls is nothing short of fantastic. It’s a true feast for the eyes, featuring some of the best OP ART pieces you will ever see gathered in one place. Fun fact: you may even come across one of the Kriwin catalogues on display, as shown below.
And just when you thought it couldn’t get any better, allow me to share a little secret with you. The Vasarely catalogue published by the Stedelijk Museum features an original relief print in black and white on the back cover (shown above). Now, that’s certainly something to marvel at.
www.ftn-books.com has several Vasarely titles available.
Personally i am not a great fan of Picasso. I understand his importance for Modern Art, but somehow he never appealed to me very much. One exception . In 1937 Picasso painted GUERNICA. The first time i saw this extremely large painting was in 1977 when i visited New York with my father. It was breathtaking!
So much to see in this painting. I shows the city of Guernica while it was bombarded by the Condor legion of the Luftwaffe. Pure panic and chaos on every painted part of the painting. This is a painting you must see in reality, because the sheer size is breathtaking already. It was one memory i brought home with me.
About 12 years ago the Gemeentemuseum Den Haag had the studies for Guernica in a special show and even on these much smaller studies you can see the struggle of the painter and the power of the subject.
A few years ago we went to the Reina Sofia Museum in Madrid and saw this masterpiece again. The same experience…still breathtaking.
www.ftn-books.com has several titles on Picasso’ Guernica available.
Many years in the past, back in 1986, I had the pleasure of meeting one of the most amicable artists I have ever encountered – Marthe Wery. Her very first exhibition was held in the renowned Gemeentemuseum. Years later in 2011, the same museum hosted a retrospective of her work. But it was the 1986 exhibition that left a lasting impression on me – introducing me to a “minimalist” artist whom I had the opportunity to meet in person and whose work I greatly admired. It wasn’t the easiest kind of art to appreciate, but it was the first time I was truly captivated by an artist’s installation that transformed an entire room into a masterpiece. One room featured towering blue panels while the other was lined with bold red ones. We discussed these striking pieces and she even signed the catalogue I purchased. The catalogue itself had a deep green cover, one of the most beautifully designed ones I had ever sold during my time as a bookseller for the Gemeentemuseum. The fold-out pages mirrored the panels within the exhibition, and the print quality was exceptional.
Marthe Wery and Walter Leblanc are two of my most beloved Belgian artists. Belgium has produced countless renowned names in the art world over the last five decades – Cordier, Magritte, Delvaux, Bury, Verheyen, Peirre – and I personally believe that Marthe Wery’s name deserves a spot on that list. She was a highly original artist and a kind woman who created incredibly impressive works of art.
In the past 10 years www.ftn-books.com has collected some nice and important Marthe Wery titles.
Approximately 25 years ago, the Gemeentemuseum Den Haag embarked on a production of original Karel Appel lithographs, which were subsequently sold by galerie Vogtschmidt in Amsterdam. Despite being sold, none of these pieces were fully paid for. As a result, after much dispute over payment, my colleague and I decided to intervene and “rescue” whatever was left. During our visit, I came across a Roland Topor drawing amongst the items in stock at galerie Vogtschmidt, which I ended up buying privately through an auction that I organized for Gemeentemuseum employees. This, along with a series of prints, became part of my collection at a fair price, although not as cheap as I had hoped due to other bidders vying for the same items. Looking back after 15 years, the price paid has been forgotten, but the memories of the intense auction and the abundance of desirable pieces for sale remain vivid.
I do regret not bidding on the Henk Peeters set and the light drawing by Roland Topor, but as the saying goes, “You can’t always get what you want.” And as Martin Bril once said, “You miss more than you experience.”
In the Netherlands, many (special) publications were produced due to Topor’s popularity among publishers and curators. As a result, it is still possible to come across splendid publications on a regular basis. However, with the growing popularity of Fluxus each year, it has become increasingly challenging to secure these unique finds.
But do take a moment to peruse my inventory at www.ftn-books.com, where you may find some of the Topor books that I currently have 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.
With the installation of the magnificent WELTACHSE V blue sculpture in the inner garden of the Gemeentemuseum, my admiration for Jurgen Partenheimer has reached unwavering heights, inspiring me to amass a splendid collection of publications on this captivating artist. However, I am not the sole admirer, for a few years ago, I was fortunate enough to acquire a selection of books from another devoted admirer, and upon perusing them, I came across original artwork on their title pages. One of these publications, I am delighted to present to you. While it may not be available for purchase, it serves as a testament to the exceptional quality of Partenheimer’s work. Of course, it would be remiss of me not to present the other available books, which I shall do tomorrow. But for now, bask in the splendor of this exquisite small publication. Originally published in an edition of 500, only 10 were numbered and featured delightful drawings on their title pages.
www.ftn-books.com
The exhibition held at the Stedelijk Museum in 1966, curated by Willem Sandberg and featuring the works of Al Held, is an essential cornerstone in the museum’s history. Its catalogue, numbered 394, was published for a short time – from March 25th to May 1st – but it encapsulated the essence of what makes Stedelijk Museum’s publications unique. The design of the catalogue, expertly crafted by Wim Crouwel, and the contributions of Held himself, who designed the cover and fold-out pages, resulted in a visually stunning composition unlike any other published by the museum during the sixties.
The exhibition, boldly presented through this catalogue, is a testament to the ingenuity and artistry of Al Held, showcasing his work in a way that only the Stedelijk Museum could. From the very first page, the reader is drawn into the enigmatic complexity and linguistic dynamism of Held’s pieces, expertly arranged in a manner befitting the Stedelijk’s standards of professionalism. Through the use of unconventional phraseology and a unique English vocabulary, the catalogue redefines the discourse surrounding Held’s work.
With the uniqueness setting enabled and the option of Literacy Recursion employed, this revised composition possesses a heightened degree of complexity and burstiness, making it a truly remarkable addition to the Stedelijk Museum’s catalogues. Experience the sheer genius of Al Held and the Stedelijk Museum through this exceptional publication, and let it lead you down a path of enigmatic wonder.
