This is arguably one of the best Willem Sandberg publications of all time. An impressive cover, the use of multiple kinds of paper, the best art works from the Paris Modern Art Museum and an unbeatable price, because these are still available, but become more rare every year. I managed to collect 4 copies of this excellent 1952 catalogue of which 2 are now for sale at a special price of USD 35.00.
Please inquire at email@example.com for a direct sale at this price.
I did not know Josephine Rutten, but found a very nice and excellent designed publication on her, which was published in 1995 by de Jong/ van Mourik . An edition of only 500 copies of which not many must have found their way to collectors and bookstores, because this is the first i encountered in 15 years. Rutten has found a language of her own and if there is one artist her works remind me of, it is Dubuffet. The use of colors and in some of them vague human shapes in her paintings made me think of this artist. Still the “art language” of Rutten is one of her own and i can truly recommend this nice publication on this artist.
I have had the pleasure to suggest this site in earlier blogs, but it still expands and contains the very best of dutch graphic designers over the last 50 years or so. Of course i have books available by all these gifted dutch designers and i can not recommend enough to visit their excellent site at: https://www.dutchgraphicroots.nl
People almost forget that every publication and every outing by a larger company has been designed by a designer. In the tine that i worked at the Gemeentemuseum Den Haag, i have witnessed that every director wanted a change in company style. It was a bit like the french presidents always want to erect a building to show the people in the country that he once was their president ( Pompidou, Mitterrand, Chirac they all had their building projects and are now remembered in the name of the building.
It was the same with the directors i worked with at the Gemeentemuseum. First there was Theo van Velzen who was very fond of Donald Janssen, followed by Henk Overduin who continued with Donald. After Henk Overduin the museum had Rudi Fuchs as a director. Fuchs trusted Walter Nikkels , but after a few month he decided for Gracia Lebbink as a designer and young and saspiring designers who had the “style’ he desired for the publications of the museum and i must admit, personally i think this period produced the best and most beautiful publications. Gracia continued to design some 8 years for the museum. In the time of some 20 years i had witnessed and worked with 4 designers and as many of 4 times every printed outing of the museum was redesigned. Posters, books, printing paper , entrance tickets, shopping bags every aspect of printing was designed agin with the coming of the new company style. It the meantinme i had also witnessed 3 name changes of the museum itself. To show some of the bags that were published over the time i show you the most famous plastic bags of the museum , which are both available at www.ftn-books.com
Treumann is certainly one of the greatest designers from last century and has designed some of the most iconic images in the Netherlands from the last 50 years, but he has been specially important for the designs of the Joods Historisch Museum and the Jewish community.
Born in Bavaria in a German Jewish Liberal family in 1935 he came as an immigrant to Amsterdam fleeding Nazi Germany. He followed his education at the “NIEUWE KUNSTSCHOOL” in Amsterdam he educated their students according to the Bauhaus principles. During the occupation in WWII, Treumann became part of the resistance and forged ID’s and food stamps. After the war his posters for the Jaarbeurs in Utrecht became very famous . He also made some striking designs for AKU, which are now sought after and collected. In 1948 he received the H.N. Werkman price.
Treumann made designs for the Stedelijk Museum, the Anne Frank foundation and the Gasunie. His designs can still be found at reasonable prices and some of these pubications are available at http://www.ftn-books.com
C.A. Lion Cachet (1864-1945) is considered, together with G.W. Dijsselhof and Th. Nieuwenhuis, as pioneer of the Dutch Art Nouveau. He introduced a completely new visual language of forms, font styles and patterns. One of the things he introduced was the batik technique from Indonesia that he experimented with. His style was almost un-Dutch because of his preference for labour-intensive techniques and luxurious materials.
Lion Cachet worked as a teacher before he developed himself as a decorative artist in 1890. He decorated a large variety of objects, among them books, jewellery, furniture and posters. Besides this he worked on Gesamtkunstwerken. An example of this was the commission from Stoomvaart–Maatschappij Nederland (‘Netherlands Steamship Company’) to design the interiors of the passenger ships. Additionally, he was co-founder of Wendingen, an art magazine in the Netherlands that advocated the Amsterdamse School style.
http://www.ftn-books.com has a beautful publication on Lion Cachet, Nieuwenhuis and Dijsselhof now available . Sublime in every aspect. printing design and an edition size of only 500 copies
Almost forgotten this sculptor from Italy, but because of a recent addition to my inventory i rediscovered the sculptures by Negri.
Mario Negri had a dutch exhibition in 1970 in the van Abbemuseum, curated by Hammacher who made a publication possible which is quite scarce. The 8 page fold out is designed by Jan van Toorn and depicts several works by Negri and a photograph of his studio.
A bright green is chosen as a cover to draw attention and it oozes Seventies design. I love this great fold out and it even comes with a handwritte price list in Lire for those who want to complete their archives on the sculptor this is an absolute musey. A great sculptor and a great publication are brought together in this typical early Seventie van Toorn design. The Negri publication is now available at www.ftn-boooks.com
I have seen thousands of invitation cards by museums from all over the world and helped to produce hundreds of them. Sometimes you make a mistake in choosing the wrong picture or the color scheme does not work out the way it should have, but i know of the difficulties and the traps of producing a good invitation card. The subject has to be clear immediately and the picture on the card has to be a typical example from the exhibition. In my opinion here is a perfect card. Produced for the Bauhaus Archiv exhibition of Bauhaus photography. The card dates from 1990 and has an outstanding look and feel. The print quality is excellent and the subject clear immediately with the partly covered face in black and white. …… a perfect invitation it is and now available at www.ftn-books.com
It was in the earliest years of his career that Wim Crouwel was invited to design the catalogues of the van Abbemuseum and in these years several iconic publications were published that were designed by Crouwel. I have encountered over the years many of them and have a nice selection for sale at www.ftn-books.com, but until last month i never had seen the Tajiri catalogue from 1961. It was one of the earliest of Tajiri his catalogues for a major museum, but Wim Crouwel must have felt the same about the catalogue as Tajiri did. Both must have the iedea that is was important for them personally. The typography on the cover is outstanding and the photograph by Cas Oorthuys even enhances it. This is a thin 12 page catalogue with a special 4 page inlay ( with photographs of sculptures), but every page shows the quality of Wim Crouwel his design in combination with the works by Tajiri.
Early September 2019 i recommended the Mr Gridnik exhibition which would open shortly after in the Stedelijk Museum. Just a few days before opening Mr. Gridnik/ Wim Crouwel died and he never witnessed his tribute at the Stedelijk. Since i have not found the time to go to this exhibition myself, but now that i finally have the opportunity and started planning my visit, i found out that all rooms are photographed and can be visited on line. It is a worthy tribute to one of the greatest designers from the last decade, but could have been much more complete. It focusses for 90% on the Stedelijk Museum publications, but it is still a very impressive sight to see so many great designs collected, but the real surprise is that i noticed that i have almost all of the books on show in my inventory. (www.ftn-books.com)
For those living too far away to visit the exhibition….here is the direct link to the rooms and showcases with Crouwel material:
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