KEN LUM, Speculations, 1992
22 x 15,5 cm
artist’s book; offset, HC, dust cover, 24 pp.
35 signed and numbered, signed, here number 34/35
regular edition 1000
published by Imschoot, Ghent, Belgium
mint condition, although slightly aged on page edges
€ 250,- plus € 12,- Track & Trace EU registered mail, Margin Scheme
inv.KLum 459-pr
The regular edition was published in soft cover opposite to this signed and numbered edition of 35 that is cloth bound. Inside small photographs of people are depicted accompanied by speculative texts about their behaviour, actions, backgrounds, and identities, investigating assumptions on both a personal level as well as relations between image and text.
HENK PEETERS, Nul postzegel, 2011
10,1 x 14,7 cm
sheet of three stamps, 3 postcards, envelope
published by Stedelijk Museum, Schiedam, Netherlands
inv.HP 000-pr
JAMES LEE BYARS, The Perfect Question, 1981
10 x 11 cm
newspaper snippet, De Volkskrant, 24 December
published by De Appel, Amsterdam
€ 120,- plus € 12,- Track & Trace registered EU mail
inv.JLBy 72-pr
JAMES LEE BYARS, invitation card, 1981
10,4 x 14,7 cm
offset
published by Galerie Helen van der Meij, Amsterdam
€ 450,- plus € 12,- Track & Trace EU mail
inv.JLBy 71-pr
James Lee Byars was quite interested in making paper works and printed matter. The motif of the ephemeral was never far away. Here his name is printed in extremely tiny capital letters on the front of the card.
MARIJKE VAN WARMERDAM, Luchtvaart Vijfje, 2019
5,4 x 8,6 cm
commemorative silver coin, coin card
edition 15.000
published by Koninklijke Nederlandse Munt, Houten, Netherlands
condition: BU (Brilliant Uncirculated)
JAMES LEE BYARS, The Palace of Good Luck, 1989
11,4 x 16 x 0,3 cm
3 parts: gold printed envelope, card, red plastic mini ball
published by Castello di Rivoli, Rivoli, Italy extremely rare
€ 950,- plus € 12,- Track & Trace registered EU mail
inv.JLBy 70-pr
On behalf of the inauguration of solo exhibition ‘The Palace of Good Luck’ of James Lee Byars a gold printed envelope including a white card with a very small red ball was sent to a selected group of people. The empty card and mini marble should be considered a part of this edition, also the gold envelope is an important part of the artist’s vocabulary; hence this multiple consists of three parts.
Additional information
Castello di Rivoli has archived its own published Byars’ golden printed invitation card, shown on its website recto and verso. Apparently the museum is not aware of the content of the envelope that is an important part of the invite. On the first photo in the right lower corner one may see an unevenness most likely caused by the tiny red ball inside.
Ref. Castello di Rivoli Collection Invite James Lee Byars.
MARIJKE VAN WARMERDAM, Hear there, everywhere, 1989-1990
10,5 x 15 cm
postcard; offset, screen print
published by the artist
Collection K. van Gelder, Amsterdam
inv.MvW 37-39-pr
“In the United States, which Van Warmerdam first visited in 1989, the telephone buttons can be used for both numbers and letters. This led her to replace the meaningless letters with the words ‘Hear, there, every, where’, as though these words can be seen or heard while dialing. The postcard was produced by the artist herself; the four short words are silk-screen printed onto the card.”
From text by Kees van Gelder in catalogue ‘Close by in the distance’ (2011), p. 35.
MARTIN CREED, ‘I Can’t Move’ CD, 1999
each 10.8 x 14 cm, invite + order form
published by Art Metropole, Toronto, Canada
Collection K. van Gelder, Amsterdam
inv.MCre 38-pr
This invitation came with an order form on very thin paper to buy a released CD at Art Metropole in Toronto. On Thursday September 9th Martin Creed performed songs from his CD during the launch.
MARINA ABRAMOVIC, Clean The House!, 1994
Out of series; “I Am You”
61,6 x 83,6 cm
screen print on thick paper
signed, dated, numbered
edition 300, here nr 70/100
mint condition extremely rare as numbered and dated
€ 850,- plus € 24,- Track & Trace registered EU mail
inv.MAbr 000-pr
From one of her performances “Clean The House!” a photo was taken and used for this print on behalf of campaign and group exhibition “I AM YOU” against xenophobia and violence.
In 1997 Marina Abramovic showed “Balkan Baroque” in the MoMA, in New York, for which she made a performance setting including a huge heap of cow bones, soap, brush, dress stained with blood and 3-channel video. Marina Abramovic said about this performance-installation: ‘When the war started in Bosnia, it was so difficult time for me. I was not there. I was living since long time outside of the country. And I remember so many artists immediately react and make the work and protests on the horrors of that war. And I remember that I could not do anything. It was too close to me.’
‘The whole idea that by washing bones and trying to scrub the blood, is impossible. You can’t wash the blood from your hands as you can’t wash the shame from the war. But also, it was important to transcend it, that can be used, this image, for any war, anywhere in the world. So, to become from personal there can be universal.’
The publisher of this screen print is unknown. A signed and numbered copy is in the collection of SMAK, Antwerp in Belgium.
History of price:
Royal Academy of Arts, London, UK October 2023 GBP 1,500.- (not dated, not numbered)
SIGURDUR GUDMUNDSSON, Situations, 2000
15 x 10,5 cm
9 postcards, vintage
in cellophane envelope
edition 250
mint condition
€ 25,- plus € 8,- Track & Trace NL registered mail
