JOHN M ARMLEDER, White Plate, 2020
dinner plates, cup and saucers
set of 24 parts
all signed and dated in glaze; in 4 original cardboard boxes
limited edition 500
€ 495,- plus € 65,- Track and Trace EU registered mail,
incl. plywood crate or cardboard box 60 x 40 x 40 cm
inv.JMA Coffret01-pr
John M Armleder is known for leaving things as they come. While they come the objects of his choice seem to help him out of what to do with them. Paintings are poured over, debris come together and form obviously a natural sculpture.
For this edition the form, presence and sparkling whiteness helped the artist to decide to leave it all alone as it is and to add merely a title to the set of objects: “White Plate”. KvG
THOMAS HIRSCHHORN, Un-shared Authorship, 2015
84 x 59,4 cm
3 parts: poster folded as issued, ink stamped envelope, certificate
from the series Sundays
signed, dated, numbered
edition 100 + 7 AP
published by More Publishers, Brussels, Belgium
DIETER ROT(H), Heidelberg Blick, 1969
10,3 x 14,7 cm
screen print on postcard
signed, dated
edition 30
published by Edition Staeck, Heidelberg, Germany
€ 240,- plus € 15,- Track & Trace registered mail
inv.DRot 881
JOHN M ARMLEDER, ‘Plat du Jour’, 1993
21 x 9,7 cm
voucher: photo copy
edition of 100, of which just 30 signed
signed, numbered
published by Editions GDL, Paris-Nice, France extremely rare
€ 120,- plus € 15,- Track & Trace registered mail
inv.JMA 878_1043
John M Armleder: ‘La Ligne d’Arrivée’ was a restaurant opposite Galerie Gilbert Brownstone & Cie situated in rue Saint-Gilles at nrs 9 and 26 in Paris. The voucher could be validated by ordering a dinner at the restaurant. Only 30 have been signed by the artist (quote JMA) and very few have been issued, because soon the restaurant closed its doors. When a dinner was paid with this voucher the owner of ‘La Ligne d’Arrivée’ would validate it with an ink stamp.” The latter was designed by John Armleder.
MARINUS BOEZEM, Paper Events, 1970
29,8 x 21,5 cm
artist’s book, 16 pp. incl. cover, plastic envelope with text in screen print
edition 250, here number 21/250
signed, numbered on label
published by Multi-Art Press, Belgium
condition: book yellowed at top part, envelope fine and undamaged rare in this condition
€ 940,- plus € 15,- Track & Trace registered mail
inv.MBoe 190
The work ‘Paper Events’ is a DIY multiple. There are instructions for a do-it-yourselfer. Nevertheless, the cover and the first page inside have already been done by Marinus Boezem. From page three further instructions are given:
page 3 – cut with a pair of scissors
page 5 – wrinkle and throw away
page 7 – cut with a pair of scissors
page 9 – tear
page 11 – soak in water
page 13 – hang in open window
page 15 – burn rest of the book and keep in plastic bag.
Marinus Boezem is known for his radical view of art. Together with Wim T. Schippers, Ger van Elk and Jan Dibbets, Boezem is seen as one of the main representatives of conceptual art and arte povera in the Netherlands in the late 1960s.
JOHN LIGGINS, My hidden feelings, 1975
11,7 x 11,8 x 12 cm
cedar wood, label, adhesive Letterpress letters
edition 10, here 5/10
signed, numbered
condition: poor, although with collectable appearance
(one of the corners at the top backside is slightly crushed and has been partly repaired) extremely rare
inv.JLig 898
This wooden cube was purchased in Other Books and So (Ulises Carrión) in Amsterdam. When I met John Liggins later on I asked him at a certain point what is inside. He said: “For that you have to break it open”. I never came any further than shaking the very light box hearing a sound as if a folded piece of paper is in there….
Extra information My hidden feelings is depicted in a documentation box with loose sheets op paper. In 1980 John Liggins produced this cardboard box in which his works and activities are documented. It includes photos, printed matter, press material, etc. This box came in an edition of 25 copies, signed and numbered on a label.
THE ARCHIVES-Art Information Centre Peter van Beveren, 1981
30,4 x 21,7 cm
artists book, HC, 30 pp., stamp numbered
edition 500, here nr 95/100 signed by all contributors; some stamp signed,
here also signed – only first 100 copies – by Peter van Beveren inlay with list of artists
condition: more than splendid, hardly discoloured pages, although with a yellowed loose inlay with index,
like in all cases several metal parts by Klaas Gubbels have a finger print patina appearing due to aging
€ 885,- plus € 20,- Track & Trace registered mail
inv.PvBe 1077-pr
Peter van Beveren (born in 1952) started in the early 1970’s as conceptual artist, developed his passion for collecting by sending and also acquiring mail art. He initiated and managed The Archives / Art Information Centre and considered this part of his art practice. Later on in the mid eighties he became gallery owner of Galerie Van Beveren in Rotterdam. In 1981 for the Provincial Museum in Hasselt (Belgium) Peter van Beveren assembled contributions of the following artists: Robert Jacks, Woody van Amen, Carl Andre, Joseph Beuys, Marinus Boezem, Christian Boltanski, Daniel Buren, Michel Cardena, Christo, Robin Crozier, Geurt van Dijk, Pieter Engels, Hans Eijkelboom, Ken Friedman, Ad Gerritsen, Klaas Gubbels, Wim Gijzen, Richard Hamilton, Dick Higgins, Tommy Mew, Maurizio Nannucci, Richard Nonas, Arnulf Rainer, Dieter Roth, Yves De Sme, Al Souza, Endre Tot, Timm Ulrichs, Ben Vautier and Wolf Vostell.
This iconic book contains an exuberant amount of various materials and techniques. The first hundred copies are signed by Peter van Beveren.
History of prices:
John Benjamins Antiquariat, Amsterdam December 2022 € 1.500,-
William Allen Words & Image, London, UK November 2022 US$ 913.-
Venduehuis, The Hague, Netherlands 14 April 2022 € 325,- (hammer price)
William Allen Words & Image, London, UK February 2022 US$ 1,045.-
Prentwerk, Groningen, Netherlands February 2022 € 550,-
William Allen Words & Images, London, UK January 2021 € 869,-
ELVIRE BONDUELLE, Youpie, 2013
hand made tote bag: linen, screen print
ca 47 x 30 cm
incl. double-sided letter on stiff paper
Collection K. van Gelder, Amsterdam
‘This tote bag is not meant as an art work’ Elvire Bonduelle says. Therefore it is neither of work of art nor an edition. It is meant as a try-out to use the word “Youpie”. Here this object has been archived nevertheless because sometimes ambiguity is worthwhile to show since it tells something about the attitude of the artist involved. This work may be compared to another ambiguous ‘object’ given to me by Olivier Mosset. See heap of confetti in envelope: Olivier Mosset, .
PAUL BERGTOLD, Machine Art, 1968
28,2 x 22 cm,
folio of thin paper, 12 sheets of paper
edition 2000 + 100 signed signed
nota bene: each sheet is hand signed
condition: mint vintage, here unfolded as issued for special edition
published by S.M.S., New York, USA
Private collection, Amsterdam
€ 500,- plus € 18,- Track & Trace registered EU mail, Margin Scheme
For a Deluxe edition 100 copies plus several PP (Publishers Proof) were signed. Most of the 73 artists solely signed their contributions for the Deluxe portfolios, while a few others signed, and also numbered and/or dated their contribution. Reportedly, there were also a very small handful of artists who did not sign at all due to ideological reasons or that period their recent death like Marcel Duchamp’s. Although the latter signed a few grippers as approval before the production of one of the S.M.S. folios started at the end of 1968.
In the late 1960s two artists working with Xerox copiers were Paul Bergtold and Toby Mussman. The works done on regular 8 x 22 inch sheets of paper, not only depict mundane subject matters, but also emphasize the cheap quality of the process, as there is a lack of definition and detailing.
This Paul Bergtold contribution comes from the #4 portfolio, and consists of a pink tissue folio containing 12 compositions entitled “Machine Art,” that were created using a typewriter on top of the Xerox reproductions. Usually folded as issued, here unfolded as it comes from a special edition of 100.
