Ton Boelhouwer makes no paintings, but still he paints. His objects in a room can not be looked at but must be experienced by entering them and walking along the multi colored objects. This way experiencing the room in a completely different way. His “paintings” can be walked in. The book i have for sale ( by Hans Janssen ) shows this in a splendid way. It is available at www.ftn-books.com
This approach of painting was a few years ago presented at the Bonnefanten Museum and the Gemeentemuseum where he presented his paintings. The Bonnefanten made a nice introduction with Boelhouwer showing sketches
Recently one of the driving forces in the dutch museum publications world died. I remember Cor Rosbeek as one of the most gifted of all printers in Europe. On those occasions that we met professionally he came up with practical solutions and had always in mind the quality of the finished product.
He made the impossible possible with a printing press and found solutions for the product that were thought to be impossible to realize. One of his best publications was the Diary of Anne Frank for which he made the facsimile reprint. Cor Rosbeek was a printing genius and realized many beautiful publications with the greatest of practically all (dutch) designers. His series of Rosbeek publications is known all over the world. In these publications everything comes together….great design, typography, layout, choice of papers and subject make these publications a monument for Cor Rosbeek. Some of these highly collectable publications are available at www.ftn-books.com
Here is the latest example of this site. This one is on Cor Rosbeek. One of the driving forces behind Rosbeek printers.
“Impossible doesn’t exist” and “I’m not selling print, I am selling trust.” Two sayings that characterize Cor Rosbeek who, together with his brother Jean, for long years ran Rosbeek printers in Nuth. The first maxim refers to the dedication shown by this printing house since 1963 to always deliver the best of the best, the highest of high quality print, and to be willing to listen closely to graphic designers. The Rosbeek’s capability to listen to and work with designers became legendary. The second saying indicates how supple and subtle they managed to perform their intermediary role between clients and designers. Rosbeek in Nuth, in the southern province of Limburg, were not just printers, they were actively participating partners in the print production process; they were important contributors to cultural developments.
The young Cor Rosbeek never showed any ambition of becoming a printer like his father. He’d rather become a commercial representative and drive flashy cars. Art wasn’t his cup of tea either: “I didn’t have the urge to create.” But Cor at age sixteen had to cope with his father’s sudden demise. As the oldest Rosbeek son he had to jump in and continue the family business. Born in 1944, he had grown up in the family home above the printer’s shop where his father produced all sorts of commercial print for small industries and for private people living in the area of Hoensbroek. His father’s prewar dreams of becoming the chief of the in-house printing shop at Bata’s shoe factory were disturbed by WW II. The Czech-born Bata owners, of Jewish descent, escaped to England. But Cor Rosbeek the elder knew about printing and by hard work single-handedly managed to build up a small business of his own, with only his sons, Cor junior and Jean, and their younger sister helping out when it was busy. In his off time, father Rosbeek liked to make music. He could play no less than thirteen different musical instruments.
The best ever
Cor Rosbeek went to trade school. Bent over maps and atlases he fantasized about other worlds. On Saturdays he put on his fashionable shoes and went dancing: rock and roll. But he was ambitious. He wanted to surpass his father and move on to a better world, he had an open mind as well as an eye for the modern times, and he explored whatever cultural life there was in his remote corner of the Netherlands. It was only later that he fell in love with the printing profession. “From that moment on no one could stop me, I wanted to be the best.”
His first client, the paint producer Jo Eyck whose company became a part of the Sikkens group and their distributor for Limburg, had taken over his own father’s management position around the same time as Cor. Jo Eyck was fascinated by anything related to art and design and already collaborated with designers. He was a perfectionist and a demanding client. Cor Rosbeek admitted he learned much from Jo Eyck: “Everything you do, should be done well and with quality in mind. Jo always aimed for a position in the quality-conscious market of architects, project developers and their clients. I noticed this was a highly effective approach. In his Heerlen head office Jo Eyck organized exhibitions about the role of paint in art, presenting artists such as Richard Lohse, Ad Dekkers, and Peter Struycken. He collected contemporary art and bought Wijlre castle to turn it into a private museum. He had architect Wiel Arets build a glass pavilion for a part of his art collection, the Hedge House, open to the public.” A second influential contact was with interior architect Herman Zeekaf, who sold modern furniture in Heerlen. With Zeekaf, too, Cor Rosbeek developed close ties. Zeekaf designed the new building for the printing company as well as later extensions and renovations.
The production of high-quality print in collaboration with leading designers became Rosbeek’s goal. The brothers looked at printers such as Meijer in Wormerveer and Steendrukkerij De Jong & Co in Hilversum, where graphic designers produced daring print projects including the famed Christmas editions of Drukkersweekblad en Autolijn and the Kwadraat series published by De Jong & Co. In their own region, Rosbeek acquired assignments through designers like Baer Cornet and Geert Setola from clients such as furniture producer ’t Spectrum, Océ van der Grinten copiers, Stork machines, and Randstad (temp workers). Wim Crouwel was one of the first designers coming “all the way from the West” to collaborate with Rosbeek on work commissioned by fashion importers Kreymborg. Jan Bons brought his calendar designs for Van Ommeren shipping. Others followed, bringing with them a growing number of clients, including Art Unlimited and the Rijksmuseum. These clients came from all over the Netherlands.
Another blog on Calderara, not only because he is an important artist, but because i have added a very special Calderara to my inventory. It is a very small publication published by the van Eyck BV in the Netherlands. An edition estimated to be less than 500 copies and , what is more important. The little book contains 7 original small serigraphs/ silkscreens by the artist. Like so many of his publications, Calderara made something special of it. It is the same as with his Stedelijk Museum catalogue , which also contains 3 original serigraphs. One is already sold but i have 2 more copies available of this very special Calderara item.
Artist/ Author: Antonio Calderara/ tekst by : Jean Leering
Title : Antonio Calderara
Pages : 28
Publisher: van Eyck bv
Text / Language: dutch
printed by Rosbeek . this printer included 7 original small silkscreen/serigraphs within this beautiful publication
Measurements: 6.1 x 6.1 inches.
Condition: mint- for the cover/mint for the silkscreens
Sometimes you know a book exists, never seen it, but from stories heard and publications read there is only one conclusion…it must be out there…somewhere.
Cervo Pendulum by Pieter Laurens Mol is such a publication. I learned the book was printed by Rosbeek. At the times i visited this printer in the late Nineties i had never seen a copy. All the times i visited book fairs, markets etc….no copy found. But now finally after over 24 years i have a copy at www.ftn-books.com available.
This book is rare, that is for certain, but it is also important. It is one of those little artists books which is worth collecting. Printed by Rosbeek and published on the occasion of the opening of the new medical faculty building of the University of Utrecht. Edition is said to be 250 copies only and of these few will have survived. Text is in dutch and in english, which makes this important book accessible to english collectors too. An absolute “must have” for the Pieter Laurens Mol collector and it is not very likely that it will show up again in the coming years.
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
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