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Lot Essay
Wendingen magazine was published from 1918 to 1932. In total 116 issues were published. Using a revolutionary new typography, it presented designs covering a wide range of both national, and international contemporary artists. The innovative character of the magazine is best expressed by the variety of bold covers, each individually designed by artists such as: Hildo Krop, Jan Sluyters, R.N. Roland Holst, Jan Toorop, El Lissitzky, J. Mendes da Costa, S. Jessurun de Mesquita and W.M. Dudok.
Published by the Amsterdam society of architects Architectura et Amicitia Wendingen was to be devoted to architecture, construction and ornamentation, but soon turned out to be a national art forum. Wendingen was preceded by earlier publications like De Opmerker and Architectura. Both earlier publications failed to reach the audience and make the impact that Wendingen did.
The initiative for the new magazine was taken by the Dutch architect Hendricus Theodorus Wijdeveld (1885-1987). From 1918 to 1925 he was the editor as well as the designer of the magazine. Wijdeveld received his training in the workshop of Petrus J.H. Cuypers, the architect of numerous monumental buildings in the Netherlands amongst which the Rijksmuseum and Central Station in Amsterdam. Wijdeveld continued his training in England, France and The Hague. He set up his own workshop in Amsterdam in 1913. In 1925, he organized the Dutch contribution to the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris and it was in 1931 that he was responsible for the first European exhibition on Frank Lloyd Wright in Amsterdam, whom he later visited in Taliesin, Wisconsin.
Wendingen was published in an edition of 650 copies, soon to be increased to 1300 copies, half of which were sent to members of Architectura et Amicitia. In 1921, issues in English, German and French were published. Due to sales problems this was not continued for long. The luxury model (differing from the normal issues in its cardboard cover, heavier paper and binding in braid instead of raffia) was available only for the editor, the authors and the cover-designers. Later, in 1926, subscribers could apply at an additional charge for the luxury-edition. Ever since the publication of Wendingen, issues were sought-after in the antiquarian booktrade.
(see Martijn F. le Coultre, Wendingen 1918-1932, architectuur en vormgeving, Blaricum, 2001)
Published by the Amsterdam society of architects Architectura et Amicitia Wendingen was to be devoted to architecture, construction and ornamentation, but soon turned out to be a national art forum. Wendingen was preceded by earlier publications like De Opmerker and Architectura. Both earlier publications failed to reach the audience and make the impact that Wendingen did.
The initiative for the new magazine was taken by the Dutch architect Hendricus Theodorus Wijdeveld (1885-1987). From 1918 to 1925 he was the editor as well as the designer of the magazine. Wijdeveld received his training in the workshop of Petrus J.H. Cuypers, the architect of numerous monumental buildings in the Netherlands amongst which the Rijksmuseum and Central Station in Amsterdam. Wijdeveld continued his training in England, France and The Hague. He set up his own workshop in Amsterdam in 1913. In 1925, he organized the Dutch contribution to the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris and it was in 1931 that he was responsible for the first European exhibition on Frank Lloyd Wright in Amsterdam, whom he later visited in Taliesin, Wisconsin.
Wendingen was published in an edition of 650 copies, soon to be increased to 1300 copies, half of which were sent to members of Architectura et Amicitia. In 1921, issues in English, German and French were published. Due to sales problems this was not continued for long. The luxury model (differing from the normal issues in its cardboard cover, heavier paper and binding in braid instead of raffia) was available only for the editor, the authors and the cover-designers. Later, in 1926, subscribers could apply at an additional charge for the luxury-edition. Ever since the publication of Wendingen, issues were sought-after in the antiquarian booktrade.
(see Martijn F. le Coultre, Wendingen 1918-1932, architectuur en vormgeving, Blaricum, 2001)