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
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,-
JONATHAN MONK, The making of ten posters, 2011
7 x 11,6 cm
SC, artist’s book + polaroid photograph
edition 50 signed, dated, numbered, here nr 16/50
mint
published by Yvon Lambert, Paris, France
inv.JMon 741-pr
ENDRE TÓT, Very Special Drawings, 1981
15,1 x 10 cm
SC, offset, printed in black and white, 7 pages in red
edition 600
signed
condition excellent
published by Reiner Verlag, Berlin, Germany
€ 165,- plus € 12,- Track & Trace registered EU mail
inv.ETót 88
The strikethrough of the artist’s portrait at the beginning of the book is part of the page in print. Although, a special edition of 20 copies was published with a handmade drawing, apart from the regular edition.
THOMAS SCHMIT, Erster Entwurf, 1989
20.5 x 15 cm
SC, 118 pp., artist’s book, offset, German language
edition 1600
here verso: signed in initials with hand written additions and small ink drawing
published by the artist (Selbstverlag)
€ 65,- plus € 12,- Track & Trace registred EU mail
inv.TSch 000-pr
‘Erster Entwurf’ of Thomas Schmit’s is an artist’s book about phenomenology in which perception and physics playfully alternate, here and there in a literal manner. Thoughts and ideas on construction are never far away. The last page of the book reads:
“ich nehme wahr
ich nehme dies wahr
ich nehme wahr dass ich dies wahrnehme
ich nehm wahr dass ich wahrnehme”
(Trans. i perceive
i perceive this
i perceive that I perceive this
i perceive that I perceive)
KEVIN OSBORN, Real Lush, 1981
9,6 x 16,7 x 5 cm
artist’s book, two bolts binding
here signed and dedicated
edition 200
mint
Private collection, Amsterdam
€ 85,- plus € 18,- Track & Trace registered EU mail
inv.KOsb 668-pr
Usually the semi-hard cover of this out of shape book is molested due to trying to go through the pages. Indeed, technically it is a difficult book to read; therefore it is wise to unscrew the bolts at the back of the book and start reading while carefully putting the loose pages back on the bolts.
A copy is in the collection of Walker Art Center Library, Minneapolis, MN, USA.
“Real Lush is composed of 35 signatures, each of which is made up of nine leaves. The right-hand pages carry the narrative, the left-hand pages bear a sequence of nine related, apparently topographical images, repeated throughout the book with minor variations in a central episode. Every signature in the book carries a set of nine images, printed in a silvery gray, which give the book a recurring rhythm and over which are printed other images. The first page of every signature bears an outlined human figure simply drawn according to a system of proportion. In the bottom left corner of the first, third, fifth, seventh, and ninth pages of each signature are small drawings of male heads representing different racial types. In the bottom right corner of each page are two small figures, apparently ancient Egyptian and Nubian, wrestling. In each signature they start vertically and finish horizontally. If one flips the pages of Real Lush, the wrestling figures are constantly falling only to rise again, and they thus contribute to the overall rhythm. In addition, there is another sequence demonstrating the bandaging and unbandaging of a hand. All of these sequences literally underlie, signature by signature, the images subsequently printed over them, to generate the heartbeat of the book.”
Clive Phillpot
Director of The Museum of Modern Art Library, New York, USA
Ref. Artforum, Clive Phillpot, director of the Library, The Museum of Modern Art, New York, USA Real Lush May 1982
LOUWRIEN WIJERS, Art sprouts as a bloom, 1972
20.5 x 20.x x 1.5 cm
letterpress, paper, cardboard, 4 loose pieces of cardboard, 1 introduction page in Dutch on thin paper, rope here signed
published by the artist / Steendrukkerij de Jong & Co, Hilversum, Netherlands
Private collection, Amsterdam
inv.LWij 000-pr
“I am offering this printed matter tonight to those attending the concert organized by Frans de Jong and Henk de Hoog. I describe what I believe is art and practicing art.”
….. “I wrote this piece several months ago out of a need to put into words my inner feelings about art and being an artist. It describes in a broad sense the interaction between art and life. I then printed that paper and sent it to a number of people. Frans de Jong suggested publishing it again on behalf of this evening. He himself made this second edition in his printing house.” Louwrien Wijers, 14 April 1972
AHMET ÖGÜT, Reisepass, 2008
13,3 x 9,4 cm
HC, 24 pp., sewn, ink stamp
signed, numbered, dated
edition 100, here nr 8/100
published by Kunsthalle Basel, Switzerland
For purchase see Kunsthalle Basel: Ahmet Ögüt On the Road to Other lands, priced SFr. 130,-
inv.AOg 669_670
ELVIRE BONDUELLE, WPSB #5, 2019
ca 20 x 15 cm
acrylic paint, cotton, SC, 16 pp. incl. couver
series of ca 8 unique artist’s books
signed, dated, numbered
published by the artist
€ 350,- plus Track & Trace registered EU mail
inv.EB 80
Elvire Bonduelle likes the idea that a reader may become happy while looking at the blue waves as if holidays have started. Including the couver, all the pages of this soft book is hand painted.
JILL MAGID, Lincoln Ocean Victor Eddy, 2007
20,9 x 14,5 cm
SC, 54 pp., offset
numbered, signed
edition 800 of which ca 100 signed
mint
published by Grove Press, New York, USA
€ 200,- plus € 18,- Track & Trace registered EU mail
inv.JMag 94
Press release Gagosian Gallery, New York, USA:
July 27th – August 24th, 2007
Press Release: Gagosian Gallery is pleased to announce “With Full Consent”, Jill Magid’s first solo exhibition in New York, on display at the fifth floor space at 980 Madison Avenue. The show features an array of works linked by the investigation of the emotional and philosophical relationship between “protective” institutions and conventions, and individual identity. A prime example is Lincoln Ocean Victor Eddy, a large-scale multimedia project initiated upon the artist’s return home after living abroad for five years. When an announcement over the subway PA informed everyone that any passenger may be subject to a search “for security reasons” Magid responded by approaching a police officer and asking him to search her. He refused, but she persisted. Ultimately she infiltrated his world – to a degree – Lincoln Ocean Victor Eddy: police code for “love.”
History of price:
Rago Arts and Auction Center, Lambertville, NJ, USA 15 March 2023 US$ 275.- hammer price (2 books, unsigned)
