This is not a blog on Versace, but a blog on Fashion house catalogues in general. The great fashion houses like Chanel , Hermes and certainly Versace, invite the best photographers to photograph top fashion models by the best photographers in the business. A very “organic” combination was Karl Lagerfeld who photographed Claudia Schiffer in the time he was responsible for all fashion designs.
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A lesser known combination is Bruce Weber who photographed at least 3 catalogues for Gianni And Donatella Versace of which the most important one is the 1997 catalogue which was published shortly before he was assassinated. Another Bruce Weber one was the 1996/97 one. He was invited to photograph the COLLEZIONE AUTUNNO INVERNO 1996/97 for which he did the main part of the male models, together with Richard Avedon who did the female models. A classic in the publishing history of fashion catalogues. www.ftn-books.com has bought a small collection of these Versace catalogues which is now for sale.
I know his work and recognize it by his reflecting surfaces and mirror like qualities , but Pistoletto is much more than an artist who uses a “Gimmick”. Now , 85 years of age he has proven to be one of the most influential Italian artists from the last century and his works have spread all over the world . (I even have illy collection cups by Pistoletto in my collection ;-).
Why is he, i think, so important?…. Probably this is because he stayed true to his art and has developed it into a very personal and recognizable form which is now appreciated by many. Pistoletto had had his exhibitions in the Netherlands in the van Abbemuseum and Stedelijk Museum and has built steadily an appreciative audience because of these exhibitions in the Netherlands since his earliest one at the van Abbemuseum in 1986. Arte Povera is Pistoletto ….and within his works he brings together Fluxus and conceptual art. The admiration of Bacon started his art career, but since he has walked his own path of “REFLECTION”.
Yesterday it was announded and confirmed that a newly discovered van Gogh drawing from the Fentener van Vlissingen collection is an authentic van Gogh. In such a case i really wonder if the drawing is considered important because as the vanGogh museum says …it is a missing link…or is it beautiful and valuable. Valuable it certainly is now with its authentication, but beautiful? i do not think so…. it is a study and beside the depicted windmills i do not find it appealing at all. For instance compare the studies of Jongkind, his contemporary artist which all shine in these little formats. A new van Gogh discovered is nice, but the way it now is presented as one of the art discoveries of this decade is undeserved. Here is the article from the van Gogh Museum on this sketch and for really great books on Van Gogh please visit www.ftn-books.com
AMSTERDAM — The Van Gogh Museum here on Tuesday announced the discovery of a previously unknown drawing by Vincent van Gogh, which the museum said was completed about a month after the Dutch post-Impressionist artist arrived in Paris in 1886. The museum’s researchers studied the style and history of “The Hill of Montmartre with Stone Quarry,” dated March 1886, and found documents they said confirm that it is a lost van Gogh.
“It’s a big day today,” said Teio Meedendorp, a senior researcher at the Van Gogh Museum who studied the subject, style, technique, materials and provenance of the drawing, and found the relevant documentary evidence to support the attribution.
The museum owns the largest collection of van Gogh’s works anywhere in the world, including more than half of the artist’s drawn oeuvre — approximately 500 drawings as well as his sketchbooks.
“It’s a nice robust drawing by Vincent and he captured the hill of Montmartre very well,” Mr. Meedendorp said.
Mr. Meedendorp said that the drawing is particularly interesting because it is more in keeping with van Gogh’s earlier style than his later work when he lived in Paris. He added that the drawing shows that van Gogh’s work evolved during his crucial years in the French capital from a formal style that he learned at the art academy in Antwerp just before arriving in Paris, and became increasingly experimental.
“It’s a kind of stylistic missing link between his Belgium and Paris time,” said Fred Leeman, an independent van Gogh expert and curator of exhibitions by the artist, who is a consultant to the Van Vlissingen Foundation, which currently owns the drawing.
The last time a new van Gogh drawing was discovered was in 2012. A year later, a new van Gogh painting, “Sunset at Montmajour” (1888), was also found. But these findings are relatively rare. Since the publication of the complete catalog of van Gogh’s works in 1970, another nine drawings and seven paintings have been added, Mr. Meedendorp said.
When it came to the Van Gogh Museum for research in 2012, the drawing was owned by an American private collector whose Dutch relatives had purchased the work from a gallery in the Netherlands in 1917, Mr. Meedendorp explained. But the museum did not publicize the finding at the time, at the request of the previous owner.
Aside from Mr. Leeman, no other experts outside the museum have yet seen the drawing.
Research by the Van Gogh Museum in Amsterdam, the world’s leading expertise center on the artist, found that “The Hill of Montmartre with Stone Quarry” came into the hands of van Gogh’s sister-in-law, Johanna van Gogh-Bonger, a meticulous keeper of van Gogh’s materials, who numbered it “123” in her inventory.
Mr. Meedendorf said that when he took the drawing out of its frame, he found the telltale number, “123,” written on the back.
The discovery of “The Hill of Montmartre with Stone Quarry” led the Van Gogh Museum to reconsider another drawing that it had in its collection, which had been part of the original donation from the van Gogh family heirs. That drawing, titled “The Hill of Montmartre,” also completed in 1886, is drawn from a very similar perspective of the Parisian hilltop.
This drawing was originally thought to be by van Gogh, but in 2001, it was questioned because it was so dissimilar to work from his Paris period, and then discredited.
“Now that you have a set of two, it’s clear that it was a style he maintained during the first part of his time in Paris,” said Mr. Leeman.
By comparing these two drawings side-by-side, researchers realized that the works were incredibly similar, and both were attributed to van Gogh.
“It’s the same materials, the same paper, it’s quite clear that these were both done by the same hand at almost the same time,” said Mr. Meedendorp.
“One thing led to another,” he added. “If this was a van Gogh drawing then the other one had to be one as well.”
In the first couple of years i always thought Ap was Ab, because i had known several people with the name Ab. Since Ap corrected me, it became Ap/ @p and since we have stayed in contact with each other…not only professionally , but also socially.
His career at the Haags Gemeentemuseum/Gemeentemuseum now spans a period of 40 years. 40 years in which Ap has become one of the “mastodons” of the museum and one of those few within the organization of the museum, who contributes, as a registrar, to every exhibition that takes place within the museum walls. I think Ap is one of those people that you like instantly… easygoing and open hearted and because of that we stayed in contact with each other, meeting occasionally and discussing the art and museum world. There is one occasion that i want to mention in this blog. A few years ago i held an auction on Catawiki, within the auction there was a small Stedelijk Museum book with a lithographed cover by Christa Ehrlich . I mentioned it on Facebook and got an answer from Ap in New York. He was there with the design of the cover from the collection of the Gemeentemuseum which was lend to the Moma(?). This can not be coincidence, but must have a meaning…. so let us try to find out what the meaning of this is in the years to come. Ap, not only a colleague but also a friend! Thanks for 40 years Gemeentemuseum and 36 years of friendship and keep practicing your logistic skills in the coming years with the present we just gave you 😉
This morning i was surprised to see an annual report on online Art dealing by Saatchi. According to Saatchi there is a tremendous growth in on online art business, but you have to be careful which artists to pick to make a sound investment. I must say…..works by some of these artists really look good and prices are still on the verge of affordable ( $ 1000-$5000) . But what struck me most is that Saatchi is creating a market for artist who THEY represent. This is only a very small percentage of artists in the world who are creating their works but, do not have the representation nor the time and money to wait before a sale is realized.
My advise to build a small collection, is to find the artist(s) you really like, visit his or her studio, start building a relation as a collector with the artist and follow him/her over the years and when you have some money to spare buy directly from the artist and support them in every other way you can, by introducing them to friends/ collectors and keeping contact to follow him/her. This way you are helping the artist to build a following of supporters and you will support them with your appreciation and your purchase(s) over the years. This is much nicer than to make an online purchase and have the work send to your home address in a “beautiful “crate and not having seen where it comes from. To appreciate a work in the best way, is to see where it was created and to meet the person that created it. It makes the picture complete and the art you look at has not become a piece of decoration but a true work of art that you chose by yourself by having a choice from many other works that were created over a much longer period than the new ” last years models” which are presented by online galleries.
This is the way i have been collecting all of my life. For those who want to know which artists belong to the core of our collection. Here are the pics. Look at them and when you want to have more info do not hesitate to contact me at www.ftn-books.com or
The report by Saatchi can be downloaded here: https://d3t95n9c6zzriw.cloudfront.net/invest-in-art/iia-2016-report-digital.pdf
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20