Catalogue Crouwel 8020100

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In memory of Frank 02
28 06 1948–03 09 2008 03
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Wim Crouwel Eighty 02

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Nijhof & Lee Twenty 04

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One Hundred Crouwel Designs 06

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Introduction 02
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80 20 100 celebrates two milestones in the lives of three people. 04
In the first and foremost place it is a celebration of the 80th birthday 05
of Wim Crouwel, one of the leading icons of graphic design in the 06
Netherlands during the last 60 years; a designer who has had a lasting 07
influence that reaches far beyond the boarders of this small country. 08
As multi-disciplinary designer, educator, museum director and inspirator 09
Wim Crouwel is an integral part of what many design critics prefer to 10
call ‘Dutch Design’, but as evidenced in the excellent essay published 11
here by his friend and former colleague Ben Bos, it would be short- 12
sighted to place Crouwel only in the context of ‘Dutch Design’. 13
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Less prominent and certainly less influential, the second milestone 15
is the 20 years that we, Nijhof & Lee, have operated as international 16
booksellers for the art and design world. In 1988 when we set-up shop 17
Wim Crouwel had already marked his place in the history of design 18
and was at that time director of Boijmans van Beuningen Museum in 19
Rotterdam. In the ensuing 20 years we have not only gotten to know 20
Wim Crouwel but also a host of other artists and designers who have 21
found their way to our shop in the Staalstraat in Amsterdam. 22
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As booksellers you buy and sell, but as pursuers and lovers of good 24
art and design you also collect; be it that in the end everything can and 25
will probably be sold. In these past twenty years much Crouwel material 26
has passed through our hands and many collectors (mostly designers 27
themselves) have excitedly purchased from us posters, catalogues and 28
books that he, singularly or jointly with his colleagues, designed. 29
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To celebrate 80 (+) 20 we have gathered together from our collection 31
100 objects indicative of the design excellence for which Crouwel has 32
become famous. This small collection of posters, catalogues and other 33
publications is but a fraction of what he has and still is producing, 34
and we hope that it contributes in a small way to the ever growing 35
international interest and demand for his work. 36
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We could not have realized this project without the support and help 38
of several friends and colleagues. Our heart-felt thanks go out to 39
David Quay who pushed us to do it and who offered to take on the 40
thankful task of designing the catalogue; to Ben and Elly Bos for their 41
untiring support in this and other matters; to Saskia Copper and 42
Aad Krol for the opportunity to exhibit the collection in their design 43
gallery VIVID in Rotterdam; and to the printers Lenoirschuring for 44
their dedicated and very supportive interest in the project. We would 45
also like to thank Piet Gerards, Hans & Sabine Bockting, Rob Huisman 46
and Alwin van Steijn for the unconditional support that they have 47
shown us these last few months. 48
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It is with admiration and respect that we dedicate this catalogue to 50
Wim Crouwel and congratulate him on his 80th birthday. 51
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Warren Lee/Frank Nijhof 53
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Tekeningen van Paul Citroen/miserere, aquatinten van G Rouault/ 52
Patrick Bakker 53
Designed in collaboration with Kho Llang Ie
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15 02 58–23 03 58, van Abbe Museum, Eindhoven
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1958. Offset, 61 x 88 cm. Steendrukkerij de Jong, Hilversum
Condition: A 56
Huygen – Mode & Module: 223 (no image) 57
Idea Magazine no. 323 Wim Crouwel: p. 24, pl. 4 58
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Kunstenaars uit Brabant 52
14 11 58–21 12 59, van Abbe Museum, Eindhoven 53
1959. Offset, 61 x 87.5 cm. Steendrukkerij de Jong, Hilversum
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Condition: A(–)
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Huygen – Mode & Module: 340 (no image)
Stankowski-Stiftung – Kunst + Design Wim Crouwel Preisträger: p. 17 57
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Keerpunten in de Nederlandse Schilderkunst 1920–1960 52
09 01 60–15 02 60, van Abbe Museum, Eindhoven 53
20 02 60–26 03 60, Groninger Museum voor Stad & Lande, Groningen 54
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Condition: A
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Huygen – Mode & Module: 405 (cat. only)
Idea Magazine no. 323 Wim Crouwel: p. 26 57
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Vormgevers 47
05 04 68–23 06 68, Stedelijk Museum, Amsterdam 48
1968. Offset, 64 x 95 cm. Stadsdrukkerij, Amsterdam
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Condition: A(–) (very small paper resturation on left side in the black grid)
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Huygen – Mode en Module: 1139
Quay/Broos – Wim Crouwel Alphabets: p. 88/9 51
Beeke – Dutch Posters 1960–1996: no. 47 54
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Crouwel’s most iconic image and one of the most sought after affiches of this period.
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‘This was the grid l based everthing on. We had the grid sheets printed in advance.
I used it for the layouts of all the catalogues for the Stedelijk Museum. The grid sheet 57
was printed in light grey, so for the poster, I made those lines visible and just composed 58
the letters inside them.’ (Wim Crouwel) 59
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Poster Conditions: 02 Couzijn 02
A (+) = Indicates a poster in perfect condition (as new). 03 Designed in collaboration with Kho Llang Ie 03
12 12 58–13 01 59, Rotterdamse Kunstkring, Rotterdam
A = Very good condition, with strong colours and no paper loss. If there 04 04
1958. Offset, 44.7 x 68.3 cm. Steendrukkerij de Jong, Hilversum
is a slight blemish or tear, then it is very marginal and not noticeable. 05 05
Condition: A
A (–) = Indicates the possibility of a slight fold, tear or bubble, or a 06 Huygen – Mode & Module: pl. 267 (cat. only) 06
very minor restoration. 07 Idea Magazine no. 323 Wim Crouwel: p. 16, pl. 3 07
B (+) = Indicates a good condition; the edges may have small tears, 08 08
but these have been usually repaired, there may be a few folds or some 09 09
slight fading or staining. Any restoration is not immediately evident. 10 10
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17 XII. Triennale Olanda, Pays-Bas, Holland. 17
18 Ministerie van Onderwijs, Kunsten en Wetenschappen, The Hague 18
1960. Offset, 80 x 80cm. Steendrukkerij De Jong, Hilversum
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Condition: B(+) (two horizontal and one vertical fold)
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Affiche for the Dutch entry at the Milan Triennale. Drawing Ap Sok.
21 Huygen – Mode & Module: 419 21
22 Quay/Broos - Crouwel Alphabets: p. 65 22
23 Idea Magazine no. 323 Wim Crouwel: p. 28. 23
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32 Met Textiel 32
33 03 03 61–27 03 61, Stedelijk Museum, Amsterdam 33
Photography: Jan Versnel
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Condition: A
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37 Idea Magazine no. 323 Wim Crouwel: p. 29 37
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47 Kunstenaars uit Brabrant 47
48 04 11–04 12 61, van Abbe Museum. Eindhoven 48
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Wim Crouwel 02 Kompas Schilders in Parijs 1944–1961 02
03 09 12 61–12 02 62, van Abbe Museum, Eindhoven 03
1961. Offset, 60.5 x 88 cm. Steendrukkerij de Jong, Hilversum.
Functionalist with fascinations 04 04
Condition: A
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Huygen – Mode & Module: 491 (smaller size)
Crouwel is an exceptionally industrious man. The number of ‘year-rings’ 06 Idea Magazine no. 323 Wim Crouwel: p. 33 06
that he has accumulated give a completely false image. His oeuvre and 07 07
the many functions he has fulfilled over the years do not fit within the 08 08
usual standard of a ‘normal’ working life. Long days, long weeks, long 09 09
years. Work as his life fulfilment. You only have to browse through the 10 10
only monograph that gives an account of the first fifty years of his role 11 11
in the world of design and you are confronted with an endless stream 12 12
of productions . The book was published in 1997, 45 years after he 13 13
had landed his first job with the exhibition stand builders Gebroeders 14 14
Enderberg in Amsterdam. Meanwhile, even though more than ten years 15 15
have passed, the irrepressible Wim Crouwel still has no intention of 16 16
retiring. 17 Frieda Hunziker 17
18 03 03 62–02 04 62, van Abbe Museum, Eindhoven 18
He was my most important teacher and longstanding colleague. I was 19 19
Condition: A
somewhat surprised about the title that Frederike Huygen and Hugues 20 20
Huygen – Mode & Module: 587
C. Boekraad have given to the monograph: Mode en module (fashion and 21 Idea Magazine no. 323 Wim Crouwel: p. 32 21
module)1.Wim’s graphic and three-dimensional work is characterized by 22 22
fixed underlying patterns that earned him the nickname ‘Gridnik’ a long 23 23
time ago. This accounts for the module part. And he was most certainly 24 24
interested in fashion. In the 1960s he showed experimental clothing 25 25
by the designer Alice Edeling and had the reputation of being Holland’s 26 26
best dressed man. His appearance and characteristic face did the 27 27
rest. In many ways he resembled his close friend Paul Huf, who as a 28 28
photographer also had close ties with the world of fashion. 29 29
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But let’s be honest. The connection between the word ‘fashion’ and 31 31
the modular character of his work was only made for the sake of 32 E Heijmans/Fugare 32
alliteration and actually puts the reader on the wrong track. Because it 33 27 04 62–28 05 62, van Abbe Museum, Eindhoven 33
is his work that is at stake, in which Crouwel actually distanced himself 34 34
Condition: A
from fashions and trends. His work always had a ‘contemporary look,’ 35 35
Huygen – Mode en Module: 586 (no image)
but also had a lasting durability – it withstood the test of time. As for 36 Idea Magazine no. 323 Wim Crouwel: p. 31, pl. 7 36
clothing, he once made the totally unfashionable suggestion of dressing 37 37
all the collaborators of Total Design in white lab coats. The idea was 38 38
rejected. However, he did start wearing professorial bow ties from the 39 39
moment he was nominated to the chair at the TU Delft. They suited him 40 40
well and should actually be a required part of the dress code in those 41 41
circles. The monograph, which was a long time coming, quickly sold out, 42 42
but the long-awaited translation into an international language never 43 43
materialized, nor did the indispensable reprint. This does Wim injustice. 44 44
Compared with the voluminous books that are now being published 45 45
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47 Braque Chagall Ernst Lipchitz Kandinsky Appel (and others) 47
48 van Abbe Museum, Eindhoven 48
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Condition: A(–)
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about international greats as well as (not always historically significant) 02 Alechinsky 02
design groups, the realization of this book – although it was founded on 03 23 03 63–29 04 63, van Abbe Museum, Eindhoven 03
1963. Offset, 60.8 x 88 cm. Steendrukkerij de Jong, Hilversum
such a solid basis – proved to fall short of the mark. A recent publication 04 04
Condition: A
of the Japanese journal Idea gives a varied, excellent impression of his 05 05
Huygen – Mode & Module: 701 (catalogue only)
achievements in 2D-design, but contains little text2.It does, however, 06 Idea Magazine no. 323 Wim Crouwel: p. 44 06
include a complete reprint of Pieter Brattinga’s ‘kwadraatblad’ from 07 07
1967, new alphabet, as well as Wim’s commentary in four languages, 08 08
an example of his usual ‘Swiss’ thoroughness. 09 09
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A Start in 3D and ‘Fusion Design’ 11 11
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Wim Crouwel’s world-wide reputation is mainly based on his graphic 13 13
design – his posters, catalogues, books, calendars, postage stamps, etc. 14 14
In Mode en module, the three-dimensional work is discussed at length, 15 15
but elsewhere it has almost never received the attention it deserves. 16 16
His first job with the Enderberg Brothers took Crouwel to showrooms, 17 Hartung 17
exhibition halls and trade fairs. Dick Elffers, one of the heavyweights 18 12 12 63–27 01 64, Stedelijk Museum, Amsterdam 18
1964. Offset, Stadsdrukkerij, Amsterdam. 32 x 95 cm.
of the still small postwar Dutch design community, had introduced the 19 19
Condition: A(–)
young (and totally inexperienced) Wim Crouwel to the stand builders. 20 20
It was not long before Wim’s exceptional talent – who was trained as a 21 21
visual artist at the school of arts and crafts in Groningen – manifested 22 22
itself . And, although still a little ‘green’, he immediately displayed the 23 23
charismatic presence that would lastingly pave his way through the 24 24
world of clients and commissions. Soon Elffers gave Crouwel a free hand 25 25
to work on large exhibitions of the post-war reconstruction period in 26 26
which he was himself involved: De Rijn, Etappe 45–55, E55, Het Atoom. 27 27
While working on these projects Wim met his Swiss colleagues Karl 28 28
Gerstner, Gérard Ifert and Ernst Scheidegger. He fell under the spell 29 29
of rationalised Swiss design, especially its typography. He acquired a 30 30
special liking for the classic sans serif typeface Akzidenz Grotesk, which 31 31
was almost unavailable in our country at the time. That letter was soon 32 Etienne Martin. 32
‘canonized’. Quality never fails. It was not long before Crouwel was 33 13 12 63–27 01 64, Stedelijk Museum, Amsterdam 33
confident enough to set up shop as an independent designer. 34 34
Condition: B(+) folded two times
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The Koninklijke Academie in Den Bosch appoints him (he had, mind 36 36
you, hardly any training in that field) as a professor of design. He 37 37
starts to collaborate with the (only recently graduated) interior and 38 38
industrial designer Kho Liang Ie. Wim becomes a teacher at the IVKNO 39 39
in Amsterdam (later Gerrit Rietveld Academie). The Kho-Crouwel 40 40
design studio carries on for four years (1956–1960). The traditions 41 41
of Ie’s Indonesian-Chinese background are reflected in his humane, 42 42
straightforward and atmospheric approach in his work, although this 43 43
was something that Kho Liang Ie did not like to hear. In combination with 44 44
Wim Crouwel’s rational, methodical nature, however, this led to a large 45 45
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47 Saura tekeningen/gouaches 47
1964. Offset, 63.5 x 95 cm. Stadsdrukkerij, Amsterdam
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Condition: A
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number of very refined, stylish three-dimensional works. The functional 02 Mensen op Weg 02
meets the poetic. You could call it ‘fusion design’, with a reference to 03 03 10 64 – 09 11 64, Stedelike Musuem, Amsterdam 03
1964. Offset, 94 x 64 cm. Stadsdrukkerij, Amstedam
later hybrids of a culinary nature. Their joint work for among others 04 04
Condition: A(–)
Stichting Goed Wonen, De Bijenkorf, Auping and Linoleum Krommenie 05 05
brought the young partners fame and good reviews. In 1958, Crouwel 06 06
and Kho created a unique kitchen for graphic designer Otto Treumann. 07 07
The influence of Ie’s teacher Johan Niegeman clearly played a role, 08 08
as well as the admiration for international product designers such as 09 09
Ettore Sottsass, Harry Bertoia, Charles & Ray Eames and Pierre Paulin 10 10
– yet more examples of ‘fusion’. 11 11
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I first became acquainted with Ie and Wim during my own study, when 13 13
I was taking evening classes. I was deeply impressed by the elegant 14 14
interior of Kho Liang Ie’s studio in the Warmoesstraat in Amsterdam 15 15
and of the family houseboat of Wim and Emy Crouwel and sons, moored 16 16
along the IJsbaanpad. Their collaboration ended on a friendly note when 17 Arman 17
both partners came to the conclusion that besides the similarities 18 22 9 64 – 2 11 64, Stedelijk Museum, Amsterdam 18
in their approach there were also many differences. In Kho’s eyes, 19 19
Condition: A(–)
Crouwel’s ideas sometimes were too predetermined, while Wim 20 20
sometimes found Ie overly poetic . 21 21
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However, they remained close friends, a friendship that eventually came 23 23
to a cruel end when Kho Liang Ie prematurely passed away, at the age 24 24
of 47, on the first day of 1975. 25 25
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Turning Points 27 27
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Together with Tom de Heus, their colleague at the IVKNO, Wim and Ie 29 29
were commissioned to design the interior of the Dutch pavilion at the 30 30
1958 Brussels World’s Fair. The building itself was not particularly 31 31
eye-catching. For his work Wim was awarded his first royal (Belgian) 32 Fotoprijs Amsterdam 1965 32
order; it was later joined by others on his virtual lapel. Besides holding 33 18 06 65–18 07 65, Stedelijk Museum, Amsterdam, 33
honours such as these, his ‘prize cabinet’ was replenished by other 34 34
Condition: A
countries on a regular basis, in addition to the customary honorary 35 35
memberships and academic honours. 36 Idea Magazine no. 323 Wim Crouwel : p. 52 36
37 37
In 1957 Wim Crouwel was chosen as a member of the (then only six 38 38
years old) Alliance Graphique Internationale (AGI) – a clear proof of 39 39
his growing reputation. The AGI brought together the acknowledged 40 40
greatest talents from the world of graphic design. In the years 41 41
1979–1984 he acted as international president of the AGI. In 2006 he 42 42
delivered an impressive and much applauded retrospective presentation 43 43
of his career at the AGI Congress in Berlin. An absolute turning point in 44 44
his career was his meeting with museum director Edy de Wilde. 45 45
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47 Karel Appel 47
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Between 1957 and 1963 Wim was the resident designer of the Stedelijk 02 Raysse 02
Museum Van Abbe in Eindhoven, which was led by De Wilde. He 03 15 10 65–29 11 65, Stedelijk Museum, Amsterdam 03
1965. Offset, 63.5 x 96.5 cm. Stadsdrukkerij, Amsterdam
designed countless posters and catalogues. This period in his oeuvre 04 04
Condition: A(–)
was characterized by attractive colour schemes and a frequent use of 05 05
‘occasional typography’ for exhibition titles. Starting from the artists’ 06 06
work, Crouwel would draw their names in a one-off, specific typeface. 07 07
These never developed into complete alphabets, but they were clearly 08 08
steps in that direction. The letterform for ‘edgar fernhout’ required at 09 09
least ten signs with all the characteristics of a family. Many – myself 10 10
included – see this as a period of ‘Crouwelian’ milestones in poster art. 11 11
The collaboration and friendship between the museum director and his 12 12
designer enters an important second phase when Edy de Wilde follows 13 13
in the footsteps of the legendary Willem Sandberg at the Stedelijk 14 14
Museum Amsterdam. The switch from Eindhoven to Amsterdam almost 15 15
coincides with the launch of the Total Design studio in early 1963. 16 16
Together they created a unique series of catalogues, posters and 17 Yves Klein 17
exhibitions until De Wilde’s farewell exhibition, ‘La Grande Parade’, 18 22 10 65–12/12 65, Stedelijk Museum, Amsterdam 18
in 1984. In 1979 De Wilde gives Crouwel his own retrospective, which 19 19
Condition: A
includes his complete works for the Stedelijk, a long series comprising 20 20
many highlights. You could call it ‘Crouwel exhibits Crouwel’, a lavish 21 21
visual feast. 22 22
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Afterwards it emerged that Wim Crouwel systematically destroyed all 24 24
his preparatory sketches. For the realisation of posters and catalogues 25 25
on the basis of a grid that had remained unchanged all those years, Wim 26 26
usually made instructional thumbnail sketches during the weekends, 27 27
which were then faithfully blown up and translated by his assistants 28 28
(Jolijn van de Wouw, Daphne Duijvelshoff, Magda Tsfaty and Arlette 29 29
Brouwers) into complete layout instructions. Then the design was jointly 30 30
evaluated and final details were ironed out. If necessary, he would even 31 31
pass on the design for a poster to his collaborators through the phone. 32 Zeefdrukaffiches een internationale selectie 32
After all, there was already a clear-cut structure, the grid pattern units 33 19 03–08 05 66, Stedelijk Museum, Amsterdam 33
1966. Silkscreen, 64 x 95.5 cm. Rooth, Diemen
could simply be named. 34 34
Condition: B(+)
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In 1962, Wim Crouwel once again made plans to give up his private 36 36
practice. His studio was housed in the attic of the printing firm 37 37
Rijnja on the Reguliersgracht in Amsterdam. The time was ripe to 38 38
join forces. That year, a number of discussions took place between 39 39
people with a vision of the future in ‘design land’, inspired by the 40 40
tumultuous developments in society, which had boomed after the post- 41 41
war reconstruction period, opening new, broader perspectives. In the 42 42
wake of successful examples in the US and England, designers such 43 43
as Benno Premsela, Kho Liang Ie, Gerard Wernars, Peter Doebele, 44 44
Charles Jongejans, Friso Kramer, Benno Wissing and Wim Crouwel 45 45
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47 Mark Tobey schilderijen en tekeningen 47
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thought about forming a multidisciplinary design group which, using 02 Engels zilver 1600–1850 02
each others specific qualities, would offer a broad range of solutions in 03 19 04 66–19 05 66, Museum Willet-Holthuysen, Amsterdam 03
order to meet the demand for coordinated design. Industrial, graphic 04 04
Condition: A
(in its broadening sense), interior and exhibition design: all conceived 05 05
on the basis of one shared vision. They had been stunned by the – not 06 06
uncommon – fact that their London colleagues from FHK Henrion had 07 07
succeeded in landing the commission for the entire presentation of our 08 08
‘own’ KLM in 1962 – right from under the noses of the dumfounded 09 09
Dutch designers. A concept for a design studio was developed, which 10 10
would be supported by the business acumen of outsiders Paul and Dick 11 11
Schwarz.On 1 January 1963 the ‘TD Associatie voor Total Design BV’ 12 12
was launched at Herengracht 567 in Amsterdam. In one of the coldest 13 13
winters of the century everybody huddled around the red hot gas- 14 14
heaters, while the surrounding building was being renovated after 15 15
plans by Kho Liang Ie, who had decided not to join the design group. 16 16
Crouwel, Kramer and Wissing were the leading design partners; for a 17 Corneille 17
while I was put in charge of the assistants, and when that didn’t work 18 21 10 66–11 12 66, Stedelijk Museum, Amsterdam 18
out I was asked to set up my own team and subsequently to join the 19 19
Condition: A(-)
creative board of directors. 20 20
21 Idea Magazine no. 323 Wim Crouwel: p. 54, pl. 2 21
Those were great years, but at times it seemed as if The Netherlands 22 22
wasn’t ripe for such a venture. Initially, important commissions 23 23
for coordinated design were hard to come by. We did succeed with 24 24
Auping. The presentation of Nederland Transportland at the large 25 25
Verkehrsausstellung in Munich was exciting. ‘Die Holländer’ was an 26 26
enormous, spectacular crate, realized in collaboration with architects, 27 27
photographers and filmmakers, and even included projected images 28 28
above an ‘inland sea’. 29 29
30 30
Even so, the structure of the individual teams (a senior designer with 31 31
a number of assistants) within our design group often proved to be 32 Vormen van de kleur – kleursystematiek hard edge colorfield painting minimal art – 32
stronger than that of the group as a whole. They operated as relatively 33 schilderijen en plastieken uit Engeland Duitsland Frankrijk Nederland USA Switserland 33
19 11 66–15 01 67, Stedelijk Museum, Amsterdam
closed units that did not really play together as an overall team – units 34 34
with their own particular strengths. There was an exchange of specific 35 35
Condition: A(–)
qualities, but less then was intended. 36 Huygen – Mode en Module: 1004 36
One important campaign was the visual identity of the SHV (with PAM, 38 Stankowski-Stiftung – Kunst + Design Wim Crouwel Preisträger: p. 64 38
GTI, Makro and a large number of other subsidiaries), under the 39 39
This affiche announces an exhibition of contemporary art in which colour-systematics
leadership of Benno Wissing. The partial commissions from SHV had all 40 40
plays a role.
the characteristics of ‘total design’. Makro and later De Gruyter were 41 41
indeed projects with a very multifaceted programme. 42 42
43 43
Designing the signs for the new Schiphol Airport in 1967 was a team 44 44
effort of Benno Wissing with our friend Kho Liang Ie. In essence it 45 45
was a rather technical project, but with wide-ranging psychological 46 46
implications. How do you put a hurried international crowd at ease? 47 Kupka 47
1968. Offset, 63,5 x 95 cm. Stadsdrukkerij, Amsterdam
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Condition: A
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01 01
In the meantime, Wim himself regularly excelled with his innovative, 02 Robert Rauschenberg 02
bold designs for the calendars for the Amsterdam printing firm Erven 03 23 02 63–07 04 63, Stedelijk Museum, Amsterdam 03
Van de Geer. 04 04
Condition: A
05 05
The Expo Osaka 1970 project, the World’s Fair, was particularly 06 Idea Magazine no. 323 Wim Crouwel: p. 56 06
challenging. Wim was part of a multidisciplinary team of architects, 07 07
visual artists, photographers, filmmakers and fashion and interior 08 08
designers. This was, of course, a very prestigious and, in 1969, a very 09 09
lucrative event. Among others, Crouwel designed the logo of the Dutch 10 10
pavilion, the exterior furnishings, certain aspects of the interior and the 11 11
information units. An ingenious, exceptionally large map represented 12 12
the projected development of The Netherlands in the years 1970–2000. 13 13
Wim also designed the accompanying printed material and the Dutch 14 14
postage stamp that was issued on the occasion of the Expo. At Total 15 15
Design, Crouwel’s main assistants on the Osaka project were Jolijn van 16 16
de Wouw and the Israeli Eli Gross. The Dutch pavilion attracted a large 17 Het Nederlandse affiche 1890–1968 17
crowd of visitors. However, it did not escape the fate that generally 18 12 10 68–15 12 68, Museum Fodor, Amsterdam/Zonnehof, Amersfoort 18
awaits pavilions at world’s fairs. What remains in the end is mainly a 19 19
Condition: A(–)
collection of photographs and slides. Nevertheless, Wim’s contribution 20 20
to the project is one of the absolute gems in his oeuvre. 21 Quay/Broos – Crouwel Alphabets: p. 90/1 21
TD’s ‘organized design’ suffered harsh criticism in the press from 23 Stankowski-Stiftung – Kunst + Design Wim Crouwel Preisträge: p. 66 23
among others Piet Schreuders and Renate Rubinstein. Wim Crouwel’s 24 24
number postage stamps (which nevertheless remained in circulation for 25 25
a very long time) and a new, more accessible concept for the telephone 26 26
directory were targeted as ‘expressions of the new ugliness’. Tamar 27 27
in Vrij Nederland: ‘Oxenaar and Crouwel are ruling over our aesthetic 28 28
order.’ Sense and nonsense, with ‘corporate style mania’ as the new 29 29
swear-word. Never mind. It would all blow over in the end, but for a 30 30
while TD was the favourite butt of everybody’s scorn. The rise of these 31 31
oppositional forces was typical of the sometimes playful wave of protest 32 Op losse schroeven – situaties en crypto structuren 32
and critical ideas that had spread through the free world since 1968 33 15 03 69–27 04 69, Stedelijk Museum, Amsterdam 33
and that was the done thing at the time. 34 34
Condition: B(+)
35 35
The criticism of the telephone directory’s design, on which Wim 36 36
collaborated with Jolijn van de Wouw, was based on a number of 37 37
misconceptions about the intentions and the role of the client. The 38 38
typography, which was user friendly, went a couple of steps too far in 39 39
the eyes of the critics. When things threatened to go sour the clients 40 40
did not really play fair. As ever a gentleman, Wim kept them out of the 41 41
spotlight. Conflicts are not one of his favourite pastimes and he did not 42 42
want to spoil relations. 43 43
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47 Lucebert 47
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Condition: A
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01 01
Corporate clients were drawn by Crouwel’s considerable reputation. 02 Eduardo Chillida 02
I will restrict myself to a list of names. They are certainly no small fry: 03 26 04 69–08 06 69. Stedelijk Museum, Amsterdam 03
IBM, Rabobank, Friesland Bank, Bouwfonds Nederlandse Gemeenten, 04 04
Condition: A
Boskalis-Westminster, Campina, PTT, Teleac, the cities of Groningen and 05 05
Rotterdam, and Al Futtaim (UAE). With his flair, aura and authority he 06 06
generally handled these heavyweights quickly and efficiently. Wim also 07 07
worked on the physical (interiors and exteriors) presentation of the 08 08
Amro Bank, in collaboration with bureau Premsela-Vonk. 09 09
10 10
Crouwel’s concept for the Grote Spectrum Encyclopedie E’73 was 11 11
particularly innovative. The client wanted to distinguish himself in 12 12
the areas of accessibility, legibility and visualization. With his team, 13 13
Wim developed a lay-out grid that resulted in twenty volumes of 14 14
approximately 540 pages with a very distinct visual atmosphere. 15 15
16 16
A lot of the commissions came from the cultural sector. Over the years 17 Calder 17
Wim Crouwel had become a well-informed expert in the visual arts. 18 04 10 69–16 11 69, Stedelijk Museum, Amsterdam 18
1969. Offset, 63.5 x 96 cm. Stadsdrukkerij Amsterdam
He played an important role in the formation and design of the Peter 19 19
Condition: A
Stuyvesant Collection of the Turmac Tobacco Company. His work for 20 20
museums (the Fodor Museum in Amsterdam was part of the ‘Stedelijk 21 21
Museum Group’) brought him into contact with the national and 22 22
international masters of modern art. One day, namely in 1985, thanks 23 23
to his knowledge of and enthusiasm about contemporary art, he would 24 24
become director of Museum Boijmans Van Beuningen in Rotterdam. As 25 25
a museum director he gave graphic commissions to the London-based 26 26
designers group ‘8vo’. 8vo were rather orthodox, but in a way also heirs 27 27
to the old TD philosophy. His period as a director was characterized 28 28
by a number of large exhibitions. He designed ‘De verboden stad’ 29 29
and ‘1928’, Wim’s year of birth and a year of numerous industrial 30 30
innovations. He retired from Museum Boijmans Van Beuningen in 1993. 31 31
Nevertheless, Wim Crouwel continues to make a mockery of the 32 Oldenburg 32
contemporary debate aboutretirement age. 33 16 01 70–15 03 70, Stedelijk Museum, Amsterdam 33
1970. offset, 63.5 x 96 cm. Stadsdrukkerij, Amsterdam
34 34
Condition: A(–)
Let’s return to the story. In 1968, after Friso Kramer had already 35 35
established closer ties with the business world, a heated debate broke 36 Quay/Broos – Wim Crouwel Alphabets: p. 94/5 (cat. only) 36
out among the directors of Total Design about the relation between 37 37
corporate business and design. In the end, to the great frustration and 38 38
lasting distress of Wim and other dedicated members of the TD-family, 39 39
this led to the departure of Benno Wissing, some of his collaborators 40 40
and the Schwarz brothers. 41 41
42 42
43 43
44 44
45 45
46 46
47 Frank Stella. 47
48 48
03 10 70–22 11 70, Stedelijk Museum, Amsterdam
49 49
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Condition: A
51 Huygen – Mode en Module: 1232 (no image) 51
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01 01
In the following years Wim Crouwel started spending more time at the 02 Lucht kunst 02
TU Delft. Simultaneously, he began to gradually and at first discreetly 03 30 04 71–06 06 71, Stedelijk Museum, Amsterdam 03
cut back on his involvement in Total Design. It all began with a teaching 04 04
Condition: A(–)
assignment at the TU (1970–72), followed by an associate professorship 05
05
(1972–78). From 1980 to 1982 he taught at the faculty of industrial 06 Quay/Broos – Wim Crouwel Alphabets: p. 98/9 06
design and meanwhile stayed on at Total Design in an advisory function. 07 Idea Magazine no. 323 Wim Crouwel: p. 63 07
He was a professor at the TU from 1982 to 1985. The last two of those 08 Stankowski-Stiftung – Kunst + Design Wim Crouwel Preisträger: p. 68 08
years he also acted as dean of the industrial design department. From 09 09
‘The actual idea that i worked out here was just letting the letters melt together.
1987 to 1983 he was associate professor of art and cultural sciences 10 10
Each word has become a single block, in which the negative spaces suddenly
at the Erasmus University in Rotterdam. His acceptance speech was 11 11
become very important.’ (Wim Crouwel)
titled ‘Functionalism and Style’. He gave an overview that focused 12 12
mainly on pre-war movements and on figures such as Louis Sullivan 13 13
(‘form follows function’), the Shakers, Peter Behrens, Ludwig Mies van 14 14
der Rohe, Frank Lloyd Wright, Walter Gropius, Marcel Breuer and – 15 15
from the post-war period – Herbert Bayer, Buckminster-Fuller, Charles 16 16
and Ray Eames, Saarinen and George Nelson. This was Crouwel’s creed, 17 Japan 31 affiches 24 ontwerpers 17
which he has extended to our present day. He argued that functionalism 18 23 10 81–29 11 81, Stedelijk Museum, Amsterdam 18
was the last great style, after classicism. I find the following quotation 19 19
Condition: A
particularly significant: 20 20
21 21
‘I hope to have made clear that between functionality and functionalism 22 22
there is the essential element of emotion, which allows us to avoid dull 23 23
mediocrity.’ 24 24
25 25
This impressive lecture still deserves more than just a cursory mention 26 26
in bold type size 5 (or was it 4?) in Mode en module. 27 27
28 28
Mode en module also includes an extensive biography mentioning all the 29 29
relevant facts about Crouwel’s career up to its publication in 1997. The 30 30
number of important functions, appointments, participations in panels, 31 31
lectures, publications, awards, chairmanships and advisory functions 32 Het nieuwe bouwen – Amsterdam 1920–1960 32
runs in the hundreds. That list alone justifies the conclusion that 33 Stedelijk Museum, Amsterdam 33
1982. offset, 55 x 79 cm. Steendrukkerij de Jong, Hilversum
Crouwel has led more than two lives in the time that has been granted 34 34
Condition: A
to him. After 1997 this pattern simply continued. Never a dull moment. 35 35
36 Beeke – Dutch Posters 1960-1996: no. 114 36
Fascinations 37 Idea Magazine no. 323 Wim Crouwel: p. 69, pl. 1 37
38 38
Wim is an aficionado of technology and speed. When I first met him, he 39 One of five affiches for five different exhibitions on the architecture of the 39
‘Nieuwe Bouwen’.
used to take me for a ride in his Morgan sports car and tear through 40 40
town, my butt close to the pavement. In the attic of the neighbouring 41 41
building Herengracht 569, which was always carefully locked, Wim 42 42
Crouwel and his friend, the designer Rudi Wolf, built a racing car for 43 43
the Holland Racing Team, which was completed in 1970. On the occasion 44 44
of his retirement from Museum Boijmans Van Beuningen, a collection 45 45
among friends and admirers was used to offer him an MG. He has no 46 46
trouble stripping a car down to the last bolt and then reassembling and 47 Het nieuwe bouwen in Rotterdam 1920–1960 47
completely refurbishing it. 48 28 11 82–06 02 83, Boymans van Beuningen Museum, Rotterdam 48
49 49
Condition: A
50 50
51 Beeke – Dutch Posters 1960–1996: 116 51
52 Idea Magazine no. 323 Wim Crouwel: p. 69, pl. 2 52
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01 01
Architecture is his actual dream job, a calling which came too late. 02 Het nieuwe bouwen voorschiedenis 02
He must have been overjoyed when his son Mels became a well-known 03 04 12 82–06 02 83, Nederlands Documentatiecentrum voor de Bouwkunst, Amsterdam 03
architect. His son Remco is a graphic designer and his daughter Gili 04 04
Condition: A
followed in the footsteps of her mother, Judith Cahen, and became an 05 05
art historian. It’s all in the family. If Wim were to reincarnate some day, 06 Beeke – Dutch Posters 1960–1996: no. 117 06
it would probably be as the successor of Mels. 07 07
08 08
Rediscovered 09 09
10 10
It appears as if there has been a late turn-about in the 1970s debate 11 11
about ‘the new ugliness’. In recent years there has been a growing 12 12
awareness and appreciation of Wim Crouwel ‘then and now’. All over 13 13
the world people are rediscovering and reconsidering the pioneering 14 14
work of Crouwel and the old Total Design. The exhibition ‘Wim Crouwel: 15 15
architectures typographiques 1956–1976’ at the Galerie Anatome in 16 16
Paris, that specializes in design, was visited by a truly international 17 Het nieuwe bouwen – de stijl; Van Doesburg de nalatenschap/schenking van moorsel 17
bunch of old followers as well as by an exceptionally large younger 18 31 03 83–17 0783, Haags Gemeentemuseum, Den Haag 18
19 1983 Offset, 55 x 79 cm. Steendrukkerij de Jong, Hilversum 19
crowd. His new alphabet has now become widely popular – at last,
Condition: A
I could say. David Quay’s London firm ‘The Foundry’ has digitalized 20 20
some of Wim Crouwel’s fonts, designed ages ago. The rigid grid on 21 21
which these letters are based made it easier to prepare them for 22 22
renewed use. Young contemporary designers are eager to work with 23 23
them. 24 24
25 25
Wim Crouwel, who as an artist made his first tentative entry into the 26 26
world of graphic design when he was barely 20, would continue down 27 27
that road with great dedication and love for another sixty years. 28 28
Congratulations, Wim! 29 29
30 30
Ben Bos BNO/AGI 31 31
32 Het nieuwe bouwen international ciam. 32
33 03 04 83–29 05 83, Rijksmuseum Kröller-Müller, Otterlo 33
34 1982. Offset, 55 x 79 cm. Steendrukkerij de Jong, Hilversum 34
Condition: A
35 35
36 Beeke – Dutch Poster 1960–1996: 115 36
1 Frederike Huygen and Hugues C. Boekraad: Wim Crouwel – Mode en module, 37 Idea Magazine no. 323 Wim Crouwel: p. 68 37
ed. By Hester Wolters, iconography and design by Karel Martens and Jaap van Triest, 38 38
Rotterdam: Uitgeverij 010, 1997. 39 39
3‘Wim Crouwel’s Avenues Into the Experimental Worlds,’ in Idea 323, 2007/7.
40 40
3 An almost inaccessible attic in the back part of the house at Herengracht 567, above
the reception-canteen of TD, served as the ‘secret’ depot of the works of the young
41 41
painter-artist W. Crouwel. Maybe they are still there, undiscovered, forgotten during 42 42
the move to the Van Diemenstraat,? 43 43
4 This characterization is taken from Ineke van Ginneke: Kho Liang Ie,interieurarchitect/ 44 44
industrieel vormgever, Rotterdam: Uitgeverij 010, 1986. 45 45
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01 01
Baljeu, Joost 02 SM 1964: 369 02
Mondrian or Miro 03 Jean Dubuffet 03
De Beuk, Amsterdam, 1958 Stedelijk Mus.eum, Amsterdam, 1964
04 04
Orig. paper covers (slightly discoloured), 48 pages Orig. paper covers, 36 pages
05 05
32 bl/w ills. 8vo 30 bl/w ills. Large 8vo
Text in English 06 Text in Dutch 06
Design: Wim Crouwel/Kho-Liang-IE 07 Design: Wim Crouwel 07
Huygen – Mode en Module: 231 08 Huygen – Mode en Module: 789 08
09 09
10 10
11 11
Rijksmuseum Kröller-Müller 12 SM 1965: 373 12
Vorm en kleur – Beeldhouwwerken Afrika Oceanië 13 Morris Louis 13
Rijksmuseum Kröller-Müller, Otterlo, 1960 Stedelijk Museum, Amsterdam, 1965
14 14
Orig. paper covers, 30 pages Orig. paper covers, 22 pages
15 15
29 bl/w ills. 8vo 17 colour & bl/w ills. Large 8vo
Text in Dutch 16 Text in Dutch 16
Design: Wim Crouwel 17 Design: Wim Crouwel 17
Scarce catalogue – good copy 18 Huygen – Mode & Module 877 (no image) 18
Huygen – Mode en Module: 414 19 19
20 20
21 21
SM 1961: 257 22 SM 1965: 377 22
Piet Zwart – Typotekt 23 Nul negentienhonderd vijf en zestig. 1: Teksten; 2: Foto’s 23
Stedelijk Museum, Amsterdam. 1961 Stedelijk Museum, Amsterdam, 1965
24 24
Orig. paper covers, 24 pages Orig. paper covers, 2 vols. 60 pages
25 25
bl/w ills. 8vo 119 bl/w ills. 8vo
Text in Dutch 26 Text in Dutch, English, French and German 26
Design: Wim Crouwel/Otto Treumann 27 Design: Wim Crouwel 27
29 29
30 30
31 31
Sandberg, Willem, De Collectie Sandberg 32 SM 1965: 380 32
J.M. Meulenhoff, Amsterdam, 1962 33 Roger Hilton, schilderijen; Gwyther Irwin, collages; 33
Cloth/with dust-wrp. 130 pages Bernard Meadows, plastiek; Joe Tilson, constructies
34 34
59 colour & 11 bl/w photos of sculptures by Carel Blazer Stedelijk Mus. Amsterdam. 1965
35 35
26 bl/w photos of the Stedelijk Museum by Eva Besnyö and Orig. paper covers, 32 pages
69 bl/w portrait-photos of artists. Sq. 4to 36 3 colour & 71 bl/w ills. 8vo 36
Texts in Dutch, English, and German 37 Text in Dutch 37
Design: Wim Crouwel/Wim Brusse 38 Design: Wim Crouwel 38
Contains texts from Sandberg, Gerrit Kouwenaar, Herbert Read, a.o. 39 Huygen – Mode en Module: 883 39
40 40
41 41
Stedelijk Van Abbe-Museum 42 SM 1965: 381 42
De Verzameling 43 Robert Rauschenberg illustraties voor Dantes Inferno 43
Van Abbe Museum, Eindhoven, (n.d. 1962) Stedelijk Museum, Amsterdam, 1965
44 44
45 45
21 colour & 64 bl/w ills. Large 8vo 4 bl/w ills. 8vo
Text in Dutch 46 Text in Dutch 46
Design: Wim Crouwel 47 Design: Wim Crouwel 47
49 49
50 50
51 51
SM 1964: 359 52 SM 1966: 389 52
Collectie Bo Boustedt 53 Robert Motherwell 53
Stedelijk Museum, Amsterdam, 1964 Stedelijk Museum, Amsterdam, 1966
54 54
55 55
bl/w ills. Large 8vo 4 colour & 88 bl/w ills. Oblong 8vo
Text in Dutch 56 Text in Dutch and English 56
Design: Wim Crouwel 57 Design: TD (Wim Crouwel/Anneke Huig) 57
59 59
60 60
61 61
01 01
SM 1966: 399 02 SM 1967: 415 02
Jean Dubuffet 03 Tajiri, beelden 1960-1967 03
04 04
Orig. paper covers, 108 pages Orig. paper covers, 32 pages (printed in red & black)
05 05
8 colour & 140 bl/w ills. Large 8vo bl/w ills. 8vo
Text in Dutch 06 Text in Dutch & English 06
Design: Wim Crouwel 07 Design: TD (Wim Crouwel/Josje Pollmann) 07
09 09
10 10
11 11
SM 1966: 403 12 SM 1968: 438 12
Vormen van de kleur 13 Vormgevers 13
Stedelijk Museum, Amsterdam, 1966 Stedelijk Mus. Amsterdam, 1968
14 14
Box, 54 pages Orig. paper covers, 116 pages
15 15
bl/w photos, Sq. 8vo bl/w photos, Large 8vo
Text in Dutch and English. 16 Text in Dutch and English 16
Good copy, box slightly worn/a few small tears 17 Design: TD (Wim Crouwel/Allice Baily) 17
Design: TD (Wim Crouwel/Josje Pollmann) 18 Huygen – Mode en Module: 1112 18
Loose as issued; contains a series of 4 original silkscreens in kleur 19 19
1 Ellsworth Kelly, 2 Bob Bonies, 3 Georg-Karl Pfahler, 4 William Turnbull. 2200 copies
20 20
21 21
Typespecimen (Tetterode) 22 SM 1969: 452 22
Mercator LA 23 Soto 23
Lettergieterij & Machinehandel v/h N.Tetterode, Amsterdam, n.d. (1966) Stedelijk Museum, Amsterdam, 1969
24 24
Carton multo-map (slightly soiled) ca.100 pages (20 folded leaves), printed in 2 colours Orig. paper covers, 32 pages
25 25
Separate envelope on inside front cover with 9 printed examples bl/w ills. 8vo
Seperate white paper folder containing blok-note Intertype Mercator and stamped 26 Text in Dutch and English 26
address card for ordering. Large 4to 27 Design: TD (Wim Crouwel/Jolijn van de Wouw). 27
Design: Wim Crouwel 28 Added: newspaper clipping with review 28
Complete specimen of the Mercator family of type; designed by Dick Dooijes 29 Huygen – Mode en Module: 1153 29
Lane/Lommen: no. 940 Idea Magazine 323: p. 88–89
30 30
Not in Huygen – Mode en Module
31 31
Kwadraatblad, Wim Crouwel, New Alphabet; introduction for programmed typography 32 SM 1969: 457 32
Steendrukkerij De Jong, Hilversum, 1967 33 Op losse schroeven. Situaties en cryptostructuren 33
Orig. paper covers, 16 pages Stedelijk Museum, Amsterdam, 1969
34 34
ills. Sq. 8vo Orig. paper covers (slightly discoloured, top left-hand corner bumped) 2 parts,
35 35
Huygen – Mode en Module: 1029 64 pages (text) bl/w ills. & 27 separate collotypes. Large 8vo. Text in Dutch and English
Idea Magazine 323: p. 130 36 Design: TD (Wim Crouwel/Jolijn van de Wouw) 36
Added: Kwadraatblad, Gerard Unger, Een Tegenvoorstel/A Counter-Proposal 37 Good copy of this sought after catalogue 37
Steendrukkerij De Jong, Hilversum, 1967 38 This exhibition caused a great deal of commentary; it was one of the first 38
4 pages ills. Sq. 8vo. Good copy of this important and now scarce and sought after 39 manifestations of arte povera, conceptual art and land art and as such marked an 39
first publication of Crouwel‘s New Alphabet; and with the counter-proposal of artistic breakthrough in Western Europe.
40 40
Gerard Unger Huygen – Mode en Module: 1158
41 41
SM 1967: 411 42 SM 1970: 478 42
Picasso 43 Edward Kienholz; Tableaux 43
44 44
45 45
colour & bl/w ills. Large 8vo colour & bl/w ills. Large 8vo
Text in Dutch and French 46 Text by K. G. P. Hulten/E. de Wilde in Dutch and English 46
Design: TD (Wim Crouwel/Josje Pollmann) 47 Design: TD (Wim Crouwel/Jolijn van de Wouw) 47
Huygen – Mode en Module: 1060 48 The original edition of this important catalogue of a traveling exhibition of 11 Kienholz’s 48
49 installations. 49
50 50
51 51
SM 1967: 414 52 SM 1970: 480 52
Jonge Engelse Beeldhouwers 53 Piotr Kowalski 53
54 54
55 55
Colour & bl/w photos, Large 8vo bl/w ills. Large 8vo
Text in Dutch and English 56 Text in Dutch 56
Design: TD (Wim Crouwel/Josje Pollmann) 57 Design: TD (Wim Crouwel/Jolijn van de Wouw) 57
59 59
60 60
61 61
01 01
SM 1970: 488 02 Volten, André 02
Frank Stella 03 Graevenitz, Antje von 03
Stedelijk Museum, Amsterdam, 1970 Eindhoven, n.d. (ca.1976)
04 04
05 05
colour & bl/w ills. Large 8vo bl/w ills. 4to
Text in Dutch and English 06 Text in German & English 06
Design: TD (Wim Crouwel/Jolijn van de Wouw) 07 Design: Wim Crouwel 07
Huygen – Mode en Module: 1212 08 Not in Huygen – Mode en Module 08
Idea Magazine 323: p.88/89 09 09
10 10
11 11
SM 1971: 498 12 SM 1977: 621 12
Geluid <=> Kijken; drie audio-visuele projekten 13 Claes Oldenburg. Tekeningen Aquarellen en Grafiek 13
Sound <=> Sight; three audio-visual projects Stedelijk Museum, Amsterdam, 1977
14 14
Ton Bruynèl, Dick Raaijmakers & Peter Struycken Orig. paper covers, 64 pages
15 15
Stedelijk Museum, Amsterdam, 1971 colour & bl/w ills. Large 8vo
Orig. paper covers (slightly soiled), 48 pages (1 double-folding) 16 Text in Dutch and English 16
bl/w ills. with 3 gramophone records (33r.). Large 8vo 17 Design: Wim Crouwel 17
Text in Dutch and English 18 Huygen – Mode en Module: 1449 18
Design: Wim Crouwel 19 19
Huygen – Mode en Modul: 1222
20 20
21 21
SM 1974: 562 22 SM 1977: (no number) 22
Raveel 23 Hendrik Nicolaas Werkman 1882-1945; ‘druksels’ en gebruiksdrukwerk 23
Stedelijk Museum, Amsterdam, 1974 ‘druksel’ prints and general printed matter
24 24
25 25
colour & bl/w photos. Large 8vo Orig. paper covers, 72 pages
Text in Dutch 26 colour & bl/w ills. Large 8vo 26
Design TD (Wim Crouwel/Daphne Duyvelshoff) 27 Text in Dutch and English 27
Huygen – Mode en Module: 1365 28 Design: TD (Wim Crouwel/Daphne Duijvelshoff) 28
29 Not in Huygen – Mode en Module 29
30 30
31 31
SM 1975: (no number) 32 SM 1978: 630 32
Fundamentele Schilderkunst; Fundamental Paintings 33 Friso Kramer 33
34 34
35 35
28 ills. Small 4to bl/w ills. Large 8vo
Text in Dutch and English 36 Text in Dutch and English 36
Design: Wim Crouwel 37 Design: TD (Wim Crouwel/Daphne Duijvelshoff) 37
Featuring: Jaap Berguis; Jake Berthot; Louis Cane; e.o. 38 Huygen – Mode en Module: 1469 38
Insert: 7 stencilled pages in 1 of the 5 39 39
40 40
41 41
SM 1975: 587 42 SM 1979: 661 42
Martin Rous. Recente tekeningenseries 43 Emmy van Leersum 43
44 44
Orig. paper covers (folding) Orig. paper covers, 28 pages
45 45
1 folding page and 12 loose pages (as issued). Large 8vo 42 bl/w ills. 8vo
Design: TD (Wim Crouwel/Daphne Duijvelshoff) 46 Text in Dutch, English, German 46
Text in Dutch. 1700 copies 47 Design: TD (Wim Crouwel/Aletta Brouwers) 47
Idea Magazine 323: p. 102/10 49 49
50 50
51 51
SM 1975: 589 52 SM 1979: 662 52
Jan van der Vaart; Keramische multipels 53 Jackson Pollock 53
54 54
55 55
bl/w ills. Large 8vo colour & bl/w ills. Large 8vo
Photos by Paul Huf & Eva Besnyö 56 Text in Dutch 56
Text in Dutch. 1700 copies 57 Design: TD (Wim Crouwel/Aletta Brouwers) 57
Design: TD (Wim Crouwel/Daphne Duijvelshoff) 58 Huygen – Mode en Module: 1509 58
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SM 1979: 663 02 SM 1981: 691 02
Ellsworth Kelly; Schilderijen en beelden 1963–1979 03 Benno Premsela onder anderen 03
Paintings and Sculptures Stedelijk Museum, Amsterdam, 1981
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Stedelijk Museum, Amsterdam, 1979 Orig. paper covers, 52 pages
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Orig. paper covers, 68 pages colour & bl/w ills. Large 8vo
colour & bl/w ills. 8vo 06 Text in English & Dutch 06
Text in Dutch/English 07 Design: TD (Wim Crouwel/Aletta Brouwers) 07
Design: Wim Crouwel 08 Huygen – Mode en Module: 1536 08
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PTT (Oxenaar,R.D.E.) 12 SM 1982: 694/694A 12
Nederlandse Postzegels 1978. Emissiegegevens, Aanleiding en achtergronden, 13 ‘60 ’80 Attitudes, Concepts, Images. A selection from twenty years of visual arts. 13
Presentatie, Vormgeving, Eerstedag stempels Supplement: Performance, dance, music, installation, video, & film
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PTT/Staatsuitgeverij, Den Haag, 1979 Stedelijk Museum, Amsterdam, 1982
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Orig. paper covers, 104 pages 2 vols. orig. paper covers, 248,76 pages
colour & bl/w ills. 8vo 16 colour & bl/w ills. Large 8vo 16
Text in Dutch 17 Text in Dutch & English 17
Design: TD (Wim Crouwel/André Toet) 18 Design: TD (Wim Crouwel/Aletta Brouwers) 18
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Niegeman, Johan (Wit, Cor de) 22 SM 1983: (no number) 22
Johan Niegeman 1902–1977. Bauhaus, Sowjet Unie, Amsterdam 23 Moderne Nederlandse Schilderkunst. Realistische tendensen; Het expressionistische in 23
Van Gennep/Architectuur Museum, Amsterdam, 1979 de Nederlandse schilderkunst; Abstractie sinds Mondriaan
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Orig. sewn paper covers, VII, 152 pages Modern Dutch Painting. Realistic Tendencies; Expressionistic in Dutch Painting;
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220 bl/w ills. Large 8vo Abstraction since Mondriaan
Text in Dutch 26 Stedelijk Museum, Amsterdam, 1983 26
Design: Wim Crouwel 27 Orig. pages covers, 156 pages 27
Not in Huygen – Mode en Module 28 27 colour & 94 b/w ills. 4to 28
29 Text in Dutch & English 29
Design: TD (Wim Crouwel/Aletta Brouwers)
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SM 1980: 667 32 SM 1983: 699 32
Mode-Kleren-Mode 1980 33 Sandro Chia 33
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colour & bl/w ills. Large 8vo colour & bl/w ills. Large 8vo
Text in English and Dutch 36 Text in Dutch, English, French and Italian 36
Design: TD (Wim Crouwel/Andre Toet/G Schriever) 37 Design: TD (Wim Crouwel/Aletta Brouwers) 37
Idea Magazine – 323: p. 101 39 39
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SM 1980: 679 42 SM 1984: 704 42
Antoni Tàpies 43 La Grande Parade. Hoogtepunten van de schilderkunst na 1940; 43
Stedelijk Museum, Amsterdam, 1980 Highlights in painting after 1940
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colour & bl/w ills. Large 8vo Orig. sewn paper covers, 352 pages
Text by Tapies in English and Dutch 46 colour plates, Large 8vo 46
Design: TD (Wim Crouwel/Aletta Brouwers) 47 Text in Dutch & English by Edy de Wilde & A. Grevenstein 47
Huygen – Mode en Module: 1523 48 Design: TD (Wim Crouwel/Jolijn van de Wouw) 48
49 Huygen – Mode en Module: 1588 49
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SM 1981: 685 52 SM 1984: (no number) 52
Charlotte van Pallandt 53 20 jaar verzamelen; Aanwinsten Stedelijk Museum Amsterdam, 1963–1984; 53
Stedelijk Museum, Amsterdam, 1981 schilder- en beeldhouwkunst, Acquistions 1963–1984
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bl/w ills. Large 8vo Orig. paper covers, 324 pages
Text in Dutch 56 colour & bl/w (folding) ills. Large 8vo 56
Design: TD (Wim Crouwel/Aletta Brouwers) 57 Text in Dutch and English 57
Huygen – Mode en Module: 1533 58 Design: TD (Wim Crouwel/Jolijn van de Wouw) 58
59 Huygen – Mode en Module: 1570 59
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Crouwel. (Huygen, Frederike, Boekraad, Hugues C) 02 02
Wim Crouwel – Mode en module 03 03
010 Publishers, Rotterdam, 1997
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Orig. sewn paper covers, 428 pages
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Colour & bl/w ills. 8vo
Design: Karel Martens and Jaap van Triest 06 06
Text in Dutch. 2500 copies 07 07
Copy in mint condition; one of the most sought after graphic-design publications 08 08
Contains a catalogue raisonné 09 09
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Beeren, W A L/Oxenaar, R W D/Velzen, Th./Wilde, E. de 12 12
Het Nieuwe Bouwen (Functionalism) 13 13
Complete set of 5 volumes:
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1 Voorgeschiedenis/Previous History
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2 Rotterdam 1920–1960
3 Amsterdam 1920–1960 16 16
4 De Stijl, De Nieuwe Beelding in de Architecture/Neo Plasticism in Architecture 17 17
5 CIAM, Volkshuisvesting Stedebouw/Housing Town Planning 18 18
Delft Univiversity Press, Delft, 1982–83 19 19
Sewn paper covers, 5 vols. 176, 180, 176, 176, 168 pages
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Numerous bl/w plates and text-ills. 4to
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Design: TD (Wim Crouwel/Arlette Brouwers)
Text in Dutch & English 22 22
Covers slightly worn otherwise good copies 23 23
Complete set of the 5 catalogues of this major study of Functionalism in the 24 24
Netherlands from 1920–1960. There were 5 seperate exhibitions mounted, 25 25
each of which shows a different aspect of ‘Nieuwe Bouwen’ 26 26
Huygen – Mode en Module: 1550, 1551, 1552, 1553, 1555
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Motherwell 52
1966. Offset, 63.5 x 95 cm. Stadsdruk, Amsterdam
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1964. Offset, 64 x 48 cm. Stadsdruk, Amsterdam 44
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Quay/Broos – Wim Crouwel Alphabets: p. 74/5
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This was one of the first posters that Crouwel designed for the Stedelijk Museum 49
and was one of only a few horizontal (1/2 height) affiches. He designed the letter 50
especially for this poster which was inspired by Jensen’s very colourful paintings.
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Collectie Bo Boustedt 53
1964. Offset. 63.5 x 48 cm. Stadsdruk, Amsterdam 55
Condition: A(–) 56
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Morris Louis Schilderijen 52
05 02 65–28 03 65 Stedelijk Museum, Amsterdam 53
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Vijftig jaar zitten 52
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This affiche announces an exhibition about the development of the chair; 58
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Visuele communicatie – Nederland zoals bijeengebracht in art directors annual 1969. 52
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Hedendaagse kunst l’art contemporain contempoary art kunst der gegenwart 52
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Copy without overprinting.
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Huygen – Mode en Module: 1235 (with text) 56
Idea Magazine no. 323 Wim Crouwel: p. 62 (without text) 57
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This affiche was used for more than a year as the back-ground 59
for actual text announcements of exhibitions
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80 20 100 is published on the occasion of an exposition of the same name held at the 02
VIVID Galery in Rotterdam from 11 October to 25 November 2008 03
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Concept: Warren Lee/David Quay
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Design: David Quay
Essay text: © Ben Bos 06
Translation: Walter van der Star 07
Typeface: Foundry Gridnik 08
Printed by LenoirSchuring – Amstelveen 09
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750 copies
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© Nijhof & Lee international booksellers 12
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ISBN 978-90-72849-08-3 14
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Catalogue Crouwel 8020100

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Wim Crouwel Eighty 02

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One Hundred Crouwel Designs 06

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