ROMAN SIGNER, Rotes Tuch, 2021
12 x 5 x 3,2 cm
flip book, 340 pp.
sealed as published
mint
published by Nieves, Zurich, Switzerland
inv.RSig 000-pr
Category Archives: New in stock
MONIEK TOEBOSCH, 15 minuten solozang, invitation, 1977 [invite Other Books and So, Amsterdam]
MONIEK TOEBOSCH, 15 minuten solozang, invitation, 1977
29.7 x 21 cm
stenciled print, 2 handmade ink stamps
published by Other Books and So, Amsterdam
condition: good, although yellowed due to non-acid free paper quality
Added: newspaper clipping Het Parool, 1 juni 1983
inv.UCar 000-pr
On the occasion of the new space at Herengracht 259, an exhibition with posters/flyers of Allen Kaprow and an exhibition of Tom Ockerse Editions took place simultaneously. Ulises Carrión was quite proud he got hold on a more than decent amount of printed matter related to Allen Kaprow.
DAVID HORVITZ, Untitled (la Grande Salinette), 2023 [postcard with glued on sand]
DAVID HORVITZ, Untitled (la Grande Salinette), 2023
10,5 x 15,8 cm
postcard, sand, mat glue
signed, dated, numbered
edition 30
mint
published by More Publishers, Quenast, Belgium
For purchase contact www.morepublishers.be
inv.DHor 000
Plage la Grande Salinette is a popular seaside resort with a view on the bay of Saint-Briac-sur-Mer in France. The owners of publishing house More Publishers invited David Horvitz to make a postcard for a next edition. He came up with the idea to glue beach sand of that resort on a card. Hence the above postcard “Untitled (la Grande Salinette)” that was produced on the spot.
The back of the card mentions ‘From a distance…” that refers to a series of postcards that the publishers Tim Ryckaert and Amélie Laplanche have started to issue in 2023. Every time when they stay in Saint-Briac-sur-Mer (France) they may launch a new edition produced on the spot. Hence the name of this series that alludes with the fact that a plan is proposed by an artist and carried out from a distance…, while the publishing house is located in Belgium.
MARCEL BROODTHAERS, Musée d’Art Moderne à Vendre 1970-1971 pour cause de faillite, 1971 [printed matter]
MARCEL BROODTHAERS, Musée d’Art Moderne à Vendre 1970-1971 pour cause de faillite, 1971
45 x 31,7 cm
SC, Lümbeck binding
pages in catalogue
edition 15.000
19 editioned dust couvers, signed, numbered (here unsigned, not numbered)
condition: couver used, inside very good
published by Verein Progressiver Deutscher Kunsthändler, Cologne, Germany
€ 220,- plus € 24,- Track & Trace registered EU mail
inv.MBro 103
Sometimes publications hide works of renown artists. The page of Michael Werner Galerie announces the selling of the Museum of Modern Art Marcel Broodthaers founded in 1968. He designed this page and nineteen signed dust couvers were wrapped around the Cologne art fair catalogue.
The same catalogue contains an advertisement of Wide White Space Gallery shows 24 couvers of publications, a page called ‘Ma Collection’ (trans. “My Collection”) specially designed for the occasion by Marcel Broodthaers.
Marcel Broodthaers – Michael Werner Galerie
Marcel Broodthaers – Wide White Space Gallery, Antwerp
Richard Long – Konrad Fischer Galerie, Düsseldorf
Zero – Galerie Ursula Lichter, Frankfurt am Main
Jan Dibbets – Video Galerie Gerry Schum, Düsseldorf
GERHARD RICHTER, 100 Abstract paintings, 2023 [artist’s book]
GERHARD RICHTER, 100 Abstract paintings, 2023
24 x 17 x 2,3 cm
HC, 208 pp., artist’s book
mint
published by David Zwirner Books, New York, USA
US$ 50.- for sale at David Zwirner Gallery Gerhard Richter books
inv.GRic 000
“The 100 Abstract Pictures shown here originated about five years ago, when I poured enamel paints on a fifty-by-fifty centimeter glass plates. The paints then flowed into one another without completely mixing. Thus they produced countless ephemeral abstract pictures, which I captured in photographs….” Gerhard Richter
The book includes ad randomly chosen letter combinations that were generated at random and put together into a kind of abstract concrete poetry.
History of price:
David Zwirner Gallery, New York, USA US$ 50.- July 2023 (year of issue)
MARIJKE VAN WARMERDAM, Op naar een nieuwe wereld!, 2004 [signed edition]
MARIJKE VAN WARMERDAM, Op naar een nieuwe wereld! / On to a new world!, 2004
31 x 23 cm
mat colour photo on aluminum plate, clamshell box
signed, dated, numbered
comes with catalogue
edition 42
mint
published by Buchhandlung Walther Koenig, Cologne, Germany
€ 250,- plus € 24,- Track & Trace registered EU mail
inv.MvW 000
The tendency to balance between reality and abstraction is characteristic of the work of Marijke van Warmerdam. This ‘flattening’ of reality may seem to make the work less accessible, but her titles always offer guidance and redemption. They function as a catalyst for the image as a whole, in other words: the image that may be viewed together with the title – as an angle to look from.
The edition ‘On to a new world!’ looks like a landscape of an unknown planet, as if it has been photographed from a high-altitude satellite. A shooting star is added. One may make a wish, it is said. In reality, the landscape is a close-up of a badly plastered wall.
Marijke van Warmerdam likes to take a positive approach, often anticipating on what will possibly take place in the future. By means of the imperative ‘On to a new world!’ she wants to face the future with an optimistic view.
KvG, June 2023
(!–History of price:
The Archive is Limited, Amsterdam December 2024 € 450,–>
HANS KOETSIER, Advertisements 1969-1981, 1984 [artist’s book + 16 newspaper prints]
HANS KOETSIER, Advertisements 1969-1981, 1984
60 x 46,4 x 2,5 cm
HC, offset, 93 plates (186 pp.), linen bound with bolts, ca 11 kgs.
signed
rare in this condition
published by Staatsuitgeverij, Den Haag, Netherlands
added: 16 full page Vrij Nederland newspaper advertisements, vintage
extremely rare
€ 1.250,- plus € 32,- Track & Trace registered EU mail
inv.HKoe 000
Hans Koetsier initially worked in advertising and started painting in 1962. He painted figures and fragments of these and incorporated them into serigraphs. At the end of the sixties, he made his first blobby balloon-like sculptures and gradually the idea became more and more important. He developed into a conceptual artist with always a soft spot for typography and ideas written down as ideas. Director of Stedelijk Museum Amsterdam Wim Beeren suggested to him to advertise and in 1969 he placed his first series of advertisements with texts in national newspapers Het Parool, NRC Handelsblad, Art Forum (USA), Kunst (Bundesrepublik Deutschland) Studio International (UK) and on the front page of Dutch weekly magazine Vrij Nederland under the title ‘Random Art / Probability Art’.
Hans Koetsier has never shared his ideas within the Fluxus or Provo movement. Yet the fact cannot be denied that he had comparable autonomous thinking and acting. In the Netherlands Koetsier became known for unusual high-profile plans. For example, he once suggested establishing a national holiday, the ‘Day of Inspiration’, starting on Whit Monday 1980. The Dutch Prime Minister Van Agt was against the idea, because it would suggest that in the Netherlands there was a “fairly general lethargy”, which he said was not the case.
In Friesland, which according to Koetsier would be the last oasis left in the middle of industrialization, Koetsier wanted to build a watchtower in a place where the view around would still be intact.
Hans Koetsier became best known for placing advertisements in weekly magazine Vrij Nederland, which, in addition to short-sighted texts, often had an algebraic or enigmatic appearance.
KvG June 2023
verso:
Added: 16 newspaper pages
Advertisement in Vrij Nederland, 15 April 1978
Advertisement in Vrij Nederland, February 1974
Advertisement in Vrij Nederland, 10 February 1973
Advertisement in Vrij Nederland, 2 February 1974
Advertisement in Vrij Nederland, 15 February 1975
Advertisement in Vrij Nederland, 31 December 1975
OLIVIER MOSSET, Biennale di Venezia, 1990 [catalogue]
OLIVIER MOSSET, Biennale di Venezia, 1990
40 x 30 cm
catalogue Swiss Pavilion, SC, 24 pp., 6 full colour spreads, sewn
text L’ objet qui n’en est pas un by Jean Beaudrillard in French, Italian, German and English
published by Schweizerisches Bundesamt für Kultur, Bern and Verlag Lars Müller, Baden, Switzerland
condition of dust couver: used
€ 110,- plus € 24,- Track & Trace registered mail
inv.OM 000_000-pr
Olivier Mosset is known for making huge paintings as shown among other venues in Galerie van Gelder in Amsterdam and at the Venice Biennale, both in 1990.
page 8 – 9:
page 10 – 11:
page 16 – 17:
 :
Added information
exhibition view Venice Biennale 1990, source Henry Magazine:
History of price:
Alternate Projects, London, UK August 2023 US$ 330.-
20th Century art Books, Lugano, Switzerland August 2023 € 268,-
SYLVIE FLEURY, press release Galerie van Gelder, Amsterdam, 1992 [printed matter]
SYLVIE FLEURY, press release Galerie van Gelder, Amsterdam, 1992
29,7 x 21 cm
ink jet print
inv.SF 000
During the time this press release came out her work was not yet contextualised and interpreted by critics as feministic. Quite a few visitors coming to her exhibition in the gallery commented: ‘Kees, this is not art, this is fashion!’
Sylvie Fleury says: ‘I’ve always been very interested in the mechanisms of desire — how objects elicit desire, and how brands create that sense of longing. These were things that felt really new when I started working in the 90s, when consumerism was really accelerating.’
Interview in iD by Mahoro Seward, 16 June, 2022
“Sylvie Fleury is extremely fascinated by fashion and everything that has to do with it. She is interested in actual fashion as well in fashion from e.g., the sixties. A lot of her work is used by her as complete or partial ‘ready-made’, but the cooler / rational pragmatism of e.g., American artists is not to be found in her work. She does not claim a priori a critical attitude such as artists like Jeff Koons, Haim Steinbach and others do. Her work derives in the first place from an inner necessity to create an image that is essential to her and is full of actual elements of which meaning is more than unequivocal.
It is remarkable to see in this exhibition how the images of the world of existing things turn into autonomous artworks in spite of the strong recognizability of these existing things. For instance, the colourful fake fur on stretcher has a high degree of inviting to caress and therefore these artworks evoke a beautiful sensual gesture to the exhibition as a whole. The shoes on the floor emphasize once more this physical element of an exact fitting shoe that creates a feeling of well-being. In contrast to this element, one is confronted with her new GALERIE VAN GELDER EDITION set out all over the gallery, but at the same time these photographs are reproductions of fashion magazines she regularly reads with eagerness. Often this peculiar commitment can be traced in her works.”
Press release with the exhibition of Sylvie Fleury April 25 – June 3 1992
PIERO MANZONI, Merda d’artista 1961, 2013 [artist’s shit, edition]
PIERO MANZONI, Merda d’artista 1961, 2013
ca 22 x 8 x 8 cm
tin can number 36, offset wrap, cellophane bag,
seal with finger print in print
edition 100, i.e. complete edition 9000
published by Fondazione Piero Manzoni, Milan, Italy
€ 250,- plus € 15,- Track & Trace registered EU mail
inv.PMan 000-pr
The Fondazione Piero Manzoni presents this item as a re-edition. If so, it would be right to point out some particularities that comes with this so called re-issue of canned excrements of Piero Manzoni:
– the label mentions 30 grams netto, in fact this object weighs 250 grams bruto
– it is not likely that the can contains excrements of Piero Manzoni
– the tin comes in a cellophane bag
– the cellophane bag has a seal with the image of a reproduced finger print of the artist
This concerns tin number 36 of which 100 have been produced. The complete edition consists of 90 tins numbered from 1 – 90. The Fondazione Piero Manzoni has made a re-produced edition of 100 of each number. Hence the total edition of 9000 copies.
White chickens
The German Zero artists took the view that Manzoni’s Merda d’artista, canned excrement, was too conceptual; it was ‘an idea’ rather than an attractive, aesthetic work of art. They would prefer to see the can be excluded from the ‘nul’ exhibition, whereupon Manzoni threatened to release white chickens in their room during the opening. After all, chickens are also white and ‘kinetic’, Manzoni argued; they are monochrome and are moving, like many works of the German colleagues.
Stedelijk Museum, Schiedam, 2022
History of prices:
Studio d”Arte Borromeo, Senago MI, Italy 5 March 2025 € 275
Il Magazino d’Arte Moderna, Rome, Italy January 2025 € 600
Artprice-minor street, France December 2024 € 220
Finarte, Milan, Italy 27 September 2023 € 150 (hammer price)
Arte Moderna e Contemporanea, Boetto, Italy 25 August 2023 € 450 (hammer price)
Kunstveiling.nl, Netherlands 18 July 2023 € 125 (hammer price)
Casa d’Aste Capitolium, Brescia, Italy 29 June 2023 € 227
Studio d”Arte Borromeo, Senago MI, Italy 28 August 2023 € 80 (hammer price)
Studio d”Arte Borromeo, Senago MI, Italy 1 April 2023 € 175
Studio d”Arte Borromeo, Senago MI, Italy 5 April 2022 € 90 (hammer price)
LiveAuctioneers, Upper Chichester PA, USA 8 February 2022 € 256 (hammer price)