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Hanns Schimanski (1949)

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It takes some time to discover the qualities within the works of Hanns Schimanski but his touch and art language are truly original. His works remind me the most of Jurgen Partenheimer his drawings, but his approach is totally different. he composes a drawing/painting and if necessary then folds and/ or “cuts” it visually in pieces and makes changes and reorganizes the parts and folds into a new work.

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Trained as an agronomist engineer, Hanns Schimansky decides in 1979 to devote his career to art and solely to drawing. In his scriptural drawings, he invites us to feel the rhythm of the world by capturing and prolonging the un seizable intensity of the instant, convoking and provoking chance, opposing a voluntary slowing down of the breathtakingly speed of our media-centered world. Geometric forms or interlacing lines, enhanced by the folded paper, create a dynamic writing specific to Schimansky. His works are filled with movements that inhabit us such as waves and winds. The œuvre of Hanns Schimansky is composed as much of sonorities as it is of silences. The rustles of the paper folded and unfolded, the ink-pen scratching the paper, the dot repeated forever with precision, the line sliding in variable rhythms are all sounds which contribute to the harmony of the artist’s drawings.

His works have been shown in Europe at the Gemeentemuseum of The Hague, at the Staatliche Kunsthalle in Karlsruhe, at the Museum of Art and History of Neuchâtel in Switzerland, as well as the Martin-Gropius-Bau in Berlin in Germany. Schimansky’s drawings have integrated public collections such as the National Museum of Contemporary Art in Oslo, the Berlinische Galerie, the National Museum of Contemporary Art in Berlin of the Museum of Art and History of Neuchâtel.

www.ftn-books.com has some Schimanski titles available.

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Aaron van Erp (1978)

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No better text on the works by Aaron van Erp than the one which was published on the occasion of his Gemeentemusem/ GEM exhibition from 2008. It looks a really long time ago, but nowadays his works are more or less the same. Their subjects hardly any different and the way they are painted has not changed at all. van Erp is an important “young” painter and i will be following his career from a short distance because his paintings fascinate me.

“Horrible things frequently also have a funny side.” This is how Aaron van Erp (b. 1978) explains how his paintings, despite their often brutal subjects, can raise a laugh thanks to their bizarre titles. Since graduating from the St Joost school of art and design in ’s-Hertogenbosch in 2001, Aaron van Erp has become a rising star of the art world. His weird paintings have been acquired for numerous collections in the Netherlands and abroad, including the trendsetting Saatchi collection. Aaron van Erp opens his first ever one-man museum exhibition at the Gemeentemuseum Den Haag: an overview of paintings and drawings produced since leaving art school, with the emphasis on his most recent work.

Jars of peanut butter

Van Erp’s paintings often include familiar objects from the world around us: shopping trolleys, meatballs, jars of peanut butter, supermarket bags and washing machines. These are located in bare, desert-like landscapes or huge empty interiors. His colourful pictures sometimes refer to well-known paintings of the past (The Meatball Eaters, 2000) or appear to allude to social issues like terrorism, problems in the health care system or child abuse. His painting The Child Tamer (2006), for example, featuring a shadowy figure keeping order with a whip, immediately suggests child abuse. But, despite its sadistic undertone, the work is painted in a humorous way. The green boots of the ‘tamer’, the title, the use of colour and the absurd setting all undermine the sense of violence.

Theme

Another important theme in Van Erp’s paintings is that of victims versus attackers. Medical Personnel at the Meatball Plantation (2005/06) is a good illustration: at first glance, the painting appears to show Red Cross staff attending to a victim. Look closer and you find that they are actually tearing the victim apart and turning his flesh into meatballs to hang in the leafless trees. Dividing lines between good and evil are blurred; saviours can also be attackers and vice versa.

Influence

As well as inspiration from everyday life, the paintings betray the influence of artists such as James Ensor and Francis Bacon. This is apparent in the amorphous figures, the artist’s palette, a certain surreal atmosphere, and the fragmentary way in which Van Erp paints his figures. His social and political commitment is akin to that of Francisco Goya, who also produced works denouncing violence, constraints on freedom of thought, and human suffering.

www.ftn-books.com has some important van erp titless available

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Nicolaas Petrus de Koo (1881-1960)

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de Koo was one of the most important of all PTT employed designers. He started as an interior and book designer, but soon after found his way into designing for the dutch postal service PTT. PTT has a long standing history with the best designers in the Netherlands. Schuitema, Piet Zwart and also de Koo have had their history with PTT.

( Piet Zwart designed HET BOEK VAN PTT, available at www.ftn-books.com)

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de Koo designed some of the most iconic of all PTT designs. Among them letterboxes,  printed matter, labels and signs.

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The Gemeentemuseum Den Haag had a special exhibition on de Koo in 1988 and with it a very nice thini catalogue was published for this occasion. The book was originally published in 400 copies, but there was no interest in this publication and at the time the Berlage building was renovated , all of the remaining copies were destroyed. My guess is ther are some 100 copies being sold over time, making this one of the rarest of all Eighties publ;ications of the Gemeentemuseum and i now have an excelent copy for sale at www.ftn-books.com

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Gerard Petrus Fieret / Foto en Copyright Vol. 2

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Gerard Petrus Fieret Foto en Copyright volume 1 is arguably the most important recent photography publication from the last 20 years in the Netherlands, but there is also Volume 2 from 2010, of which i now have some copies in stock. It is an even beautiful and nice publication as the volume 1 is. The volume 1 is sold out even with the atiquarian booksellers and it is a rare book to find, but now i have the Volume 2 available and still at a reasonable price. So buy your copy when there still is a chance to add it to your collection of photography books.

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Bridget Riley (1931) now a permanent part of the National Gallery building.

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I love the walldrawings by contemporary artists. First in a long line of artists, there is Sol LeWitt. I witnessed the execution of several of his drawings in the rooms and staircases of the Gemeentemuseum Den Haag and they fascinated me all.

Then there is Niele Toroni who makes his wall drawings with a single brush and color

and now there is another artist who i admire who have executed a permanent walldrawing, this time at the National Gallery. Yes,…this is permanent and a part of their collection. The last time i had seen  a large walldrawing by Bridget Riley is when she executed one at the Gemeentemuseum in 2012 when she was presented the Sikkens prijs.

An excellent Leperello catalogue was published on that occasion

This beautiful leperello catalogue is available at www.ftn-books.com

Location: Annenberg Court

Spanning a vast 10 x 20 metres, the work comprises coloured discs painted directly onto the surface of the Gallery’s Annenberg Court.

The title, ‘Messengers’, is inspired by a phrase Constable used when referring to clouds, and might also be an allusion to the numerous angels, bearers of news, that we see in the skies of so many National Gallery pictures. 

Painted directly onto the wall of the Annenberg Court, this abstract work carries influences from our historic collection over into the 21st century. Throughout art history, harmonies of colour have played a large part in pictorial composition.Taking as a point of departure the paintings of George Seurat, in particular Bathers at Asnières, Bridget Riley’s ‘Messengers’ transforms the Annenberg Court into a great white space in which coloured discs float as clouds drift in the lanes of the sky. By leaving after-images on the viewer’s retina that suggest volume and movement the longer it is perceived, the work becomes a tribute to its artistic predecessors and to the process of looking at art itself.

Bridget Riley (born 1931) has a long-standing relationship with the Gallery; she made copies of paintings in the collection including Jan van Eyck’s Portrait of a Man (Self Portrait?), 1433, as a teenager as part of her portfolio when applying to Goldsmiths College, London, just after the end of the Second World War, and Georges Seurat’s Bathers at Asnières while training as an artist. 

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Michel Seuphor (1901-1999)

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Michel Seuphor…wrote a monumental biography on Piet Mondriaan and is one of the great names in constructivist art by himself. In the twenties he became friends with Joaquin Torres Garcia. For me their works are worlds apart from each other but somehow they became friends and started the artist mouvement CERCLE ET CARRE.

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the Netherland was not too far away for Seuphor …the result he had his exhibitions at galleries and museum in the Netherlands. Specially DEN HAAG was a well now city for him. He spent much time at the Gemeentemuseum to study Mondrian for his biography on this famous dutch abstract painter and ….he had an exhibition of his own at the Gemeentemuseum, soon followed with a gallery exhibition at the Nouvelles Images gallery ( closed now) . Both catalogues and a print by Seuphor are available at www.ftn-books.com

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Henry Moore (1898-1986)

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There has always been a fascination for Henry Moore and his works by the dutch. Since the beginning of his career he has had exhibitions at all the major museums in the Netherlands, which resuklted in purchses by museums and privste collectors. One of the last collectors to add a major work by Moore was Joop Caldenborgh who added a very large bronze sculpture by the artist. It was one of the last sculptures he added to his collection before he build the Voorlinden museum.

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My guess is that eventually his majestic sculpture garden including the Moore and Sol LeWiit sculptures, will be integrated with the Museum Voorlinden.

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I love the large Henry Moore that is outside the Schamhart building at the Gemeentemuseum Den Haag and learned to truly love this one , because it was my outside view at the Gemeentemuseum when i had my office over there. Later i moved to the offices at the Museum of education and had the complete Berlage building as my view, but the office with the Henry Moore in front and a Rijsselberghe painting in our room was a great place to work.

Since there is a long history of Henry Moore exhibitions in the Netherlands , i have collected many important Henry Moore catalogues of which the Stedelijk Museum one stands out since this one is designed by Willem Sandberg.

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Haags Gemeentemuseum 1971 HUIS IN – HUIS UIT

I have been working at the Haags Gemeentemuseum for nearly 25 years . I have been moving somewhere around 1.000.000+ books in all these years and never…never…. seen this title before. I am an independent antiquarian bookseller for almost 20 years now and within these years i must have seen evn more books and never encountered this title before, so i did not know it existed, but it is there and it appears to be important too, because it is one of the first exhibitions which combines fashion and interior design over the ages and shows examples of each period. For those of you who did not know it existed. Here it is how it looks. The book is now available at www.ftn-books.com

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Peter Struycken ..a leporello of 212 inches

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It is certainly the longest of all leporello items i have in my inventory and perhaps it is one of the longest ever published.

Splash was published on the occasion of the Sikkens price which was presented to Peter Struycken in 1974. On this price winning occasions, Sikkens provides for the funds to have a special publication published on the artist and Struycken made/designed this special Leporello. The leporello is available at www.ftn-books.com

Artist/ Author:  Peter Struycken

Title : Splash / Plons 1972 / 1974

Publisher: Sikkens, 1974

Number of pages:  96 pages plus cover + leperello of 212 inches  !!!!

Text / Language:  dutch and englsih

Measurements: 8.2 x 8.2  inches

Condition: nm+ for the leperello and nm for the sleeve

extra information on this item:
Rare , important and collectible . This Sikkens publication is one of the most important Struycken  publications. a true artist book and highly recommended

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weekly Piet Dirkx : SHALL I COMPARE THE TO A SUMMER’S DAY

 

dirkx shall i compareThis is a line from a Shakespeare sonnet . Piet Dirkx finds his titles everywhere and notes them on cigarboxes and Moleskine note books  and this is probably one of the most illustrous of all. The work of art is also exceptional. The first time i saw it was at the first Piet Dirkx exhibition in the Ravesteijnzaal at the Haags Gemeentemuseum and this was the second work i acquired for my collection and never regretted it. It is long work of art , measuring aprox. 200 cm and its height being ca. 15 cm. The lat is tiles and signed and dated by Piet Dirkx. The work consists of 14 small paintings on wood , placed on a special lat.