1/100 Dutch Photographic Printed Matter from the Wingender Collection
1/100 Dutch Photographic Printed Matter from the Wingender Collection
Tiental kinderliedjes (Ten Nursery Rhymes)
12
Publisher Algemeene Vereeniging ‘Radio Omroep’, Amsterdam and G. Van Goor Zonen’s, Den Haag, 1933 20.2 x 27.6 cm Cahiersteek 32 pages 10 b&w photographs Photographer | Designer Piet Marée Printed matter Kinderliedjesboek Printing technique Relief halftone
1933
Het bonte boek van boer Teun (The Bright Book of Farmer Teun)
14
Publisher AD. M. C. Stok and ZuidHollandsche Uitgevers Maatschappij, The Hague, 1948 23.2 x 30.6 cm Hardback 32 pages 8 b&w photographs 20 fc illustrations (linoleumsnede) Photographer | Designer Piet MarÊe, Henk Kemp Printed matter Children’s book Printing technique Relief halftone
1948
Baas in eigen buik (Boss of Your Own Belly)
28
References Anonymous, Historie abortus, Fiom website https://fiom.nl/ kenniscollectie/abortus/historie, accessed 23 April 2016 Beckers, Marion and Elisabeth Moortgat (eds.), Eva Besnyö, 19102003. The sensuous image, Jeu de Paume, Somogy, Paris (2012) Boswijk, Anje and Dick Couvée, Vrouwen vooruit! De weg naar gelijke rechten, Feministische Uitgeverij Sara, Amsterdam (1979) Diepraam, Willem, Eva Besnyö, Focus, Amsterdam (1999) Kleppe, Martijn, Canonieke icoonfoto’s. De rol van (pers) foto’s in de Nederlandse geschiedschrijving, Eburon, Delft (2013) Loo, Vilan van de, De vrouw beslist. De tweede feministische golf in Nederland, Inmerc, Wormer (2005) Ruiter, Tineke de, Besnyö in Bergen, Voetnoot, Amsterdam (2000) —, Tineke de, Eva Besnyö, Voetnoot, Amsterdam (2007) —, Tineke de (first edition, 1986) and Tessa Hillebrants (second edited edition), ‘Eva Besnyö’, in: Fotolexicon. De geschiedenis van de Nederlandse fotografie, Vol. 26, No. 41 (September 2009) Soest, Marjo van, Henny van der Zande and Eva Besnyö, Meid, wat ben ik bewust geworden. Vijf jaar Dolle Mina, Stichting Uitgeverij Dolle Mina, Den Haag (1975)
1978
The banner on the last card of the set is directed to the minister of Justice and reads: ‘Given the large number of postcards you have received, we expect you to consider our demands. Spectacles and abacus are supplied, because we suspect your officials are having trouble reading and counting.’
100.000 Kilometer van wielen en wegen (100.000 Kilometres of Wheels and Roads)
16
Publisher Zuid-Hollandsche Uitgevers Maatschappij, The Hague, 1939 19 x 30.5 cm Hardback with justjacket 192 pages 94 b&w Text H.J. Peppink Photography Piet Marée Printed matter Manual Printing technique Relief halftone References Barends, Wim and Rob van Dolron, Van beroep Piet Marée, Koninklijke Bibliotheek, The Hague (1994) Marée, Piet, Fotomontage. Handleiding tot het zelf vervaardigen van fotomontages, Bosch en Keuning, Baarn (1938) —, Fotograferen zonder camera, Bosch en Keuning, Baarn (1937)
1939
100.000 Kilometer van wielen en wegen (1939) is a manual for car lovers. It contains a carabc explaining the history of the motor vehicle, its workings and international traffic rules. It also contains maps, charts and even a board game. Design and photomontages are by Piet Marée, who was mostly known for his photographically illustrated children’s books and do-it-yourself handbooks (pp. 000, 000, 000). Though 100.000 kilometer was meant for grown men, it displays a similar crafty playfulness as his other work. At the time it was published, one in 58 people in the Netherlands owned a car. The first highway had opened two years before, and the building of new bridges and roads was in full swing. The book contains images of the construction of a new Moerdijkbrug for cars in 1936, a 1000 metre long bridge over the Hollands Diep connecting the North Brabant and South Holland provinces. The advance of asphalt in the 1930s would culminate into what is now one of densest road networks in the world. This book was an initiative of the editor in chief of weekly De Autokampioen [The Auto Champion], which was issued by the Algemene Nederlandse Wielrijdersbond [The Royal Dutch Touring Club] (anwb) since 1930. The club had published photographically illustrated books as early as 1911, the year of their twenty-fifth anniversary. They published Ons eigen land [Our own Country] and Indië in beeld [Images of the Indies] (1911), both chic and picturesque travel accounts of the Netherlands and the colonies. Come 1939, landscapes and folklore had made way for photomontages of signage and cylinders. Marée’s innovative use of modern photographic techniques proved a suitable way of presenting an equally modern subject.
Licht bouwen? (Building in Steel)
18
Publisher Stichting Centrum Bouwen in Staal, 1965 25 x 25 cm Cahiersteek 16 pages (self cover) 7 fc photographs Text Nico Verhoeven Photography Cas Oorthuys Design Jurriaan Schrofer Printed matter Promotional pamphlet Stichting Centrum Bouwen in Staal no. 212 Printing Steendrukkerij de Jong & Co, Hilversum Printing technique Colour halftone
In an attempt to persuade the building industry to switch from brick to steel, the Stichting Centrum Bouwen in Staal [The Steel Construction Center] published a cross between a manual and a product brochure. Chapters with titles such as ‘Noise’ and ‘Heat, Air, Moisture’ address potential investors’ concerns with alleged teething problems with words and images. Designer Jurriaan Schrofer had become famous for his associative sequencing, pioneered in the iconic Love on the Left Bank (1956). The filmic stream-of-consciousness style would become his trademark. For licht bouwen? (1965) he expanded on such intuitive editing by superimposing seemingly unrelated images, shot by Cas Oortuys, on a single page. For example, the chapter ‘Heat, Air, Moisture’ is illustrated by layered images of ice skaters on a frozen lake, a beach, and condensation on a window surface. The work of Schrofer has been instrumental in the conceptualisation of advertising beyond mere product promotion. Instead of marketing the company’s merchandise, he displayed its vision. The graphics of licht bouwen? embody the proposed advantage
of building with steel: transparency. ‘Architecture, also when it utilises translucent construction material, is always about creating spaces and spatial transitions between interior and the street, city, world, cosmos.’ Schrofer integrated this premise in his design by superimposing brightly coloured architectural grids over cloudy skies, and by fusing interior photographs with street scenes. Architectural constructions and human activity merge across the pages without an obvious beginning or end. In line with Schrofer’s ideologies, the design for licht bouwen? appropriates the very method it proposes. Schrofers intolerance for dogmatism and systemic design is noticeable in the last page of licht bouwen? A photograph of a pedestrian crowd is overlaid with rows of drafting tables, expressing the challenge faced by both designer and architect: to design in the abstract that what shapes the lives of real people. For Schrofer, applied design did not mean a concession on the part of the designer. If anything, it gave him more autonomy; for licht bouwen? Schrofer moderated contributions by the client, the author and the photographer before any one of them had even gotten started.
1965
His ‘editorial’ design was incorporated at every stage of the production process. Not surprisingly, he was a driving force behind the controversial merger between the moralistic Gebonden Kunsten federatie [Society of the Practitioners of the Applied Arts] (gkf) and the more pragmatic Vereniging van Reclameontwerpers en Illustratoren [Advertising Designers’ and Illustrators’ Society] (vri). Schrofer reformulated the role of the designer as that of consultant rather than craftsman. To him, artistry did not mean vain artistic self-expression, but was a natural outcome of the designer’s duty to make connections where others failed to see them.
1/100
Dutch photographic printed Matter from the Wingender Collection
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