Categories
prints VAUTIER, BEN

BEN VAUTIER, Crisis and Nervous Depression, ca 1962-1963

BVautier-ca1962crisisandNervousDepression650

BEN VAUTIER, Crisis and Nervous Depression, ca 1962-1963
11,4 x 10,1 cm / 4.6 x 3.9 inches
Fluxus announcement of event (to be filled in), black letterpress on paper
published by Total Art Gallery, Nice, France
Ref. collection Walker Art Center

Categories
artist's books CAGE, JOHN

JOHN CAGE, scores on catalogue cover, Edition Peters, 1962

JOHN CAGE, scores on catalogue cover, 1962
8vo., 80p.
offset
published by Henmar Press Inc. & C.F. Peters Editions, New York, USA, 1962

Brochure with bibliograpy, chronology and discography. This is a catalogue John Cage’s scores and compositions available as of 1962 from his music publisher Peters, edited By Robert Dunn. It includes reproductions of Cage’s musical notation as well as an interview with Roger Reynolds with 22 black & white illustrations. An excellent and scarce copy as such.

Additionally a 4 page listing of Edition Peters, often lost at the offered copies. Folded once, with discoloring.

History of prices offered or determined by:
Amazon.com, USA used: $ 92.50 excl. April 2013
Schubertiade Music, Vestal, NY, USA $125.- April 2013

Categories
LA MONTE YOUNG

LA MONTE YOUNG, Composition # 7, 1960 [To be held for a long time]

BVautier1960-1966LaMonteYoung-texts650

LA MONTE YOUNG, Composition # 7, 1960 [To be held for a long time]
text on stencilled paper
26,8 x 21,1 cm
edition unknown
published by Ben Vautier

This publication is apparently part of the newsletters Ben Vautier sent out in the sixties. First there is an introduction by Ben on contemporary music being influenced by music from other cultures. He pleads with the reader to extend of what music should be by creating music with constructions, themes or melodies; a sole note is sufficient.
In the second part he presents “Composition 1960 #7” by La Monte Young and in the last part Ben Vautier presents a similar composition called “Crescendo” from July 1963.

Categories
KLEIN, YVES prints

YVES KLEIN, Dimanche 27 November – Le journal d’un seul jour, 1960

   

YVES KLEIN, Dimanche 27 November – Le journal d’un seul jour, 1960
55,5 x 38 cm
letterpress on news print paper, 4 pages
edition unknown

For the “Festival d’Art d’Avant-garde” Yves Klein had his work “Leap Into the Void” for the first printed in his single day newspaper Dimanche, which was sold at newstands throughout Paris on Sunday the 27th of November 1960, and often appeared side by side with the real French newspaper Le journal du Dimanche. On the same day Klein held a press conference at the Galerie Rive Driote at 11 am, to announce the project. The four page broadside featured visual works and writings by Klein, including the manifesto Theatre of the Void.
The artist wrote (in French) the following text as introduction of his newspaper:

ACTUALITÉ

As part of the theatrical presentations of the Festival of Avant-garde Art in November-December 1960, I have decided to present the ultimate form of collective theater: a dimanche for everybody. I did not wish to limit myself to an afternoon or evening performance.

On dimanche, 27 November 1960, from midnight to midnight, I thus present a full day of festival, a true spectacle of the Void, as a culminating point of my theories. However, any other day of the week could have been used.

I wish that on this day joy and wonder will reign, that no one will get stage fright, and that everyone, conscious as well as unconscious actors-spectators of this gigantesque presentation, should have a good day.

That everyone will come and go, move about, or remain still.

Everything I write in this diary today precedes the presentation of this historic day for the theater. The theater should be or at least rapidly attempt to become the pleasure of being, of living, of spending wondrous moments, and with each passing day of better understanding the beauty of each moment. Everything I write in this dairy represents my own steps towards this glorious day of realism and truth: the field of operations of my proposed conception of theater is not only the city, Paris, but also the countryside, the desert, the mountains, even the sky, and even the entire universe. Why not? I know that everything inevitably is going to work out very well for everyone, spectators, actors, stagehands, directors, et. al..

I would like to thank Mr. Jacques Polieri, the director of the Avant-garde Festival, for his enthusiasm and for proposing to me that I present this “dimanche, November 27.”

Yves Klein

YVES KLEIN, reprint of front page on poster with blue text, 1991
56 x 38 cm
offset print on newspaper
published on the occasion of the exhibition “Yves Klein 1928-1962” at The Archives by The Archives, Rotterdam, The Netherlands

This poster pictures the cover of the 1960 Yves Klein newspaper “Dimanche”, distributed by Yves Klein on November 27, 1960.

Categories
MAN RAY

MAN RAY, The man, the art, the work, ca 1955 [hand written text on invite]


MAN RAY, The man, the art, the work, ca 1955
41,5 x 9,7 cm
pencil on (verso) invitation card of exhibition by Stoltenberg
Provenance : Juliet Man Ray

History of prices:
Auction house Drouot 22 June 1999 (Duchamp-Man Ray)
Paris Photo Collection € 1.100,- May 2013

Man Ray wrote the following text on the back of an invitation card: “The man, the art, the work, it is all one. The art of the inner works which unlike the outer does not forsake the content, which he does not do – and can only ‘be’ – spring from depths of which the day knows nothing. The inward work, however, consists in his turning the man he is, and the self he feels himself to be, into the raw material of training and shaping where end is mastering – in art – the artist and the human being meet in something higher. In [?] mastery proves its validity as a form only when it dereels[?] in the boundless truth only sustained by it becomes the origin. The master no longer seeks but finds.

Categories
multiples VAN DER LEK, BART

BART VAN DER LECK, Metz & Co Amsterdam – Den Haag, 1952 [paper bag]

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BART VAN DER LECK, Metz & Co Amsterdam – Den Haag, 1952
31 x 13,2 cm
flex print on paper bag, chord
design for and published by Metz & Co, Amsterdam / The Hague
condition: good
€ 250,- plus € 15,- Track & Trace registered mail

Since 1900 Metz & Co. had been under the far-sighted management of J. de Leeuw, who imported the internationally renown Liberty fabrics from London. In the 1920s he introduced stylish, deluxe furniture from Paris and Vienna while gradually taking on more Dutch industrial artists. De Leeuw’s introduction to Rietveld and the painter Bart van der Leck around 1930 brought renewed vigour to the store. Van der Leck designed the firm’s logo as well as an assortment of bags and boxes in his inimitable style of fragmented letterforms with primary colours, all properly reflecting Metz & Co.’s combination of exclusivity and the avant-garde. The bag’s restraint and air of sophisticated modernity is no less contemporary today.

Categories
magazines Reflex

Reflex nr 2, 1948 [Cobra magazine]

Reflex nr 2, 1948
including 4 lithographs by Corneille, Karel Appel, Constant and Jan Nieuwenhuys
signed, dated in plate

On 16 July 1948 the Experimentele Groep was founded by Karel Appel, Corneille, Theo Wolvecamp, Constant, Jan Nieuwehuys, Anton Rooskens and Eugene Brands. Later on this group became known as the Dutch hard core of the international CoBrA movement; COpenhagenBRusselsAmsterdam. The artists closely co-operated with experimental groups a.o. from Paris, Copenhagen, Brussels.

They published a magazine called Reflex, a name that referred to the fact that they looked at their works as an immediate reaction to reality, not steered by the ratio; an expression of reality equal to how they experienced the years after the Second World War.


Categories
magazines Reflex

Reflex, nr 1, 1948 [Cobra magazine]

Reflex nr 1, 1948
including 4 lithographs by Corneille, Karel Appel, Constant and Jan Nieuwenhuys
signed, dated in print

On 16 July 1948 the Experimentele Groep was founded by Karel Appel, Corneille, Theo Wolvecamp, Constant, Jan Nieuwehuys, Anton Rooskens and Eugene Brands. Later on this group became known as the Dutch hard core of the international CoBrA movement; COpenhagenBRusselsAmsterdam. The artists closely co-operated with experimental groups a.o. from Paris, Copenhagen, Brussels.

They published a magazine called Reflex, a name that referred to the fact that they looked at their works as an immediate reaction to reality, not steered by the ratio; an expression of reality equal to how they experienced the years after the Second World War.


In Reflex nr 1 Constant wrote a manifest explaining the goals of the Experimentele Groep in Holland.

Categories
MAN RAY multiples

MAN RAY, Cadeau, 1921

MAN RAY, Cadeau, 1921
16,5 x 10,2 x 9,5 cm
Cast iron, copper spikes, cilinder shaped cardboard box, certificate
signed with initials in ink, numbered
edition 300

The work ‘Cadeau’ was published in 1921 under the supervision of founder Luciano Anselmino, Turin. Here with original box. Again it was executed in 1974 by the same founder and publisher Luciano Anselmino in an edition of 5000, accompanied by a signed and numbered plastic card and a numbered certificate by Arturo Schwarz with information about the object.

“Man Ray never destroys, he always modifies and enriches. In this case, he provides the flat iron with a new role, a role that we dimly guess, and the probably accounts for the object’s strange fascination.”
Arturo Schwarz (dealer and author)

Categories
DUCHAMP, MARCEL photographs prints

MARCEL DUCHAMP, Tonsure, 1921

MARCEL DUCHAMP, Tonsure, 1921
15 x 10 cm / 4″ x 6″
postcard
edition unknown

Photographed by Man Ray.

Throughout his career Marcel Duchamp recasted accepted modes for assembling and describing identity. In 1917, having recently arrived in the United States, Duchamp found special significance in a mechanically produced photo-postcard that depicted him simultaneously from five different vantage points, thanks to a hinged mirror: ‘Five-Way Portrait of Marcel Duchamp’.

In 1921 Duchamp famously pictured himself as Rrose Sélavy (‘Eros c’est la vie’: a pun translating to “Eros is life,” when pronounced aloud in French). He would associate himself with this female persona throughout the remainder of his career. At the same time, he posed for well-known photographs in which he sported an unconventional tonsure emblazoned with a star. Soon thereafter, he used mugshots to cast himself as a criminal of many aliases wanted for running an illegal gambling operation.


‘Portrait multiple de Marcel Duchamp’, 1917
gelatin silver print
photographer unknown

Another example of a staged portrait of Marcel Duchamps photographed by Man Ray and used for a Monte Carlo bond:


Marcel Duchamp, Monte Carlo Bond ‘Obligation de Cinq Cents Francs’, 1924
collage of colour lithograph with photograph by Man Ray of Marcel Duchamp’s soap-covered head

Photo courtesy The Museum of Modern Art, New York