The Situationist Times, nr. 6, 1967
27,4 x 21,5 cm
edition 2000 + 500 HC
litho prints from 33 artists
inlay as colophon pristine
published by Jacqueline de Jong, Paris, France
€ 395,- plus € 12,- Track & Trace registered EU mail
inv.TST 000-pr
The Situationist Times, no 6 is a compilation of 32 original lithographies printed in four colours. Participating Jan Voss, Jack Vanarsky, Topor, René Bertholo, Guido Blasi, Samuel Buri, Lourdes Castro, Maurice Henry, Martin Engelman, José Gamarra, Klaus Geissler, Theo Gerber, Reinhoud d’Haese, Hannelore, Peter Klasen, Jacqueline de Jong, Mariano Hernandez, Wifredo Lam, Yasse Tabuchi, Paul de Lussanet, Milvia Maglione, Christina Martinez, Roberto Matta, Lucio del Pezzo, Hannes Postma, Lea Lublin, Alejandro Marcos, Antonio Segui, Antonio Saura, Pierre Alechinsky, Asger Jorn, Arne Haugen-Soerensen and couver on the back is the 33rd lithograph at the back is of Ulf Trotzig.
History of prices:
Concept Books, Veldhoven, Netherlands June 2026 US$ 478.-
Antiquariat CoBrA, Oberrohrbach, Germany June 2026 US$ 735.-
p015, Rotterdam, Netherlands June 2026 US$ 358.- (poor)
WALTER VAN BEIRENDONCK, Wonder News, issue number 1, 1998
29,7 x 21 cm (unfolded 29,7 x 105 cm)
4x fold print, business card, 4 slides in sleeve, 2 A4 papers
8 parts
condition pristine extremely rare
published by Walter van Beirendonck, Antwerp, Belgium
€ 320,- plus € 12,- Track & Trace registered EU mail
inv.WvB 000-pr
The Situationist Times, nr. 4 (1963), nr. 5 (1964) and nr. 6 (1967)
many signatures in print, dated
edition successively 2000, 1600 and 2000 + 500 HC
condition: excellent, aged, nr. 6 (incl. inlay as colophon) is pristine
including numurous lithographs by Corneille, Karel Appel, Constant Jan Nieuwenhuys, a.o.
inv.Refl 000-pr
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. The artists closely co-operated with experimental groups a.o. from Paris, Copenhagen, Brussels.
Asger Jorn introduced Jacqueline de Jong to Gruppe Spur, the German branch of the radical left-wing movement Situationist International. After Guy Debord expelled her from the movement in 1962, she founded her own magazine: The Situationist Times. The publication followed the critical principles that formed the basis of the Situationist International.
In The Situationist Times nr 1 Constant wrote a manifest explaining the goals of the Experimentele Groep in The Netherlands.
MIKE KELLEY, Destroy All Monsters Magazine, 2011
together with CARY LOREN, NIAGARA and JIM SHAW
27 x 21 cm
artist’s book, SC, 270 pp.
signed
special edition 100, here numbered 2/100 includes a unique monotype-spray painted page, signed by 4 artists
black and white photograph (signed photo edition number 46/75) by Cary Loren, sealed bag with sand, original mylar envelope mint
published by Destroy All Monsters magazine, Detroit, USA
€ 980,- plus € 24, – Track & Trace registered EU mail
inv.MKel 000-pr
‘Formed in 1973, the Detroit band Destroy All Monsters was a wild and reckless synthesis of psychedelia, proto-punk, heavy metal, noise and performance art. The collective hailed from Ann Arbor, Michigan, and consisted of Cary Loren, Mike Kelley, Niagara and Jim Shaw (with later members including Ron Asheton of the Stooges and Michael Davis of the MC5). Later emerging as extremely distinctive individual artists, collectively the group forged new terrain in art, music, performance, theater and video. Destroy All Monsters released very little recorded music until Thurston Moore issued a three-CD compilation in 1994, but they published six issues of a now legendary and much sought-after zine, also titled Destroy All Monsters. This publication collects those six zines, released between 1976 and 1979, and also includes parts of a lost seventh issue that never saw publication. The Destroy All Monsters zines comprise a vibrant array of collage, writing, photography and other miscellanea by Kelley, Loren, Niagara and Shaw, and together provide insight into the collective’s kaleidoscopic vision of the dystopian values of their time.
“The new reprint volume lacks any introductory or explanatory text; true to Destroy All Monsters’ anarchic spirit, it plunges the reader straight into a frenzied dystopic world. Détourned comic strips, images pulled from pulp magazines, film stills, and tabloid news clippings clash with saccharine greeting cards, family Polaroids, and children’s coloring-book pages, while Op-art backgrounds, scrawled doodles, stickers, and rubber stamps compound the visual pandemonium. All of this is faithfully reproduced in the new facsimile, which is hand-bound and printed on paper of different weights, colors, and finishes—from coated stock to copy paper in elementary-school pastels. Each copy also includes a unique original spray painting by Loren, giving this lavish reproduction an authentically DIY accent.” Gwen Allen, Bookforum review
Ref. https://www.thebookbeat.com/bookshop/catalog/destroy-all-monsters-magazine/
In 1974, while attending the University of Michigan, he co-founded the proto-punk, experimental noise band Destroy All Monsters (DAM). The member of the band were: Mike Kelley on drums and vocals, Jim Shaw on vocals and squeeze toys, Niagara (Lynn Rovner) on vocals, and Cary Loren on guitar and vocals. Having met each other at the university, DAM convened in the basement of Kelley’s student accommodation, also known as ‘God’s Oasis Drive-In Church’, which soon became a communal space for the band to collaborate. Image below shows dirt in a tiny bag from ‘God’s Oasis Drive-In Church’, being part to this edition.
CHRISTINE ALBERTS, Zonder titel, 2001
27,5 x 21 cm
Vogue magazine No.609, die-cut, certificate
signed, dated, numbered
edition 3
privécollectie K. van Gelder
inv.CAlb 967-pr
Added information
Jaap Kroneman’s solo exhibition ‘Chainless Liaison’ in 2001 (in GvG/AP) was on his instigation extended with a table showing various necklaces of graphic and necklace designer Christine Alberts:
CHRISTIAN BOLTANSKI, Point d’Ironie, 1998-2021
42,8 x 30,6 cm
offset on thin paper, 8 pp., reprint Number 7
published by Agnes B., Paris, France
mint condition, once folded as issued
inv.Pointd 954-pr
FUTURA aka Leonard Hilton McGurr, 2023
Point d’Ironie
41,8 x 30,2 cm
8 pp., offset on thin paper, Number 67
text in English
published by Agnes B., Paris, France
mint condition, once folded as issued
inv.Pointd 954-pr
FUTURA 2000 (born Leonard Hilton McGurr; New York, NY, 1955) is a graffiti artist who began painting subways in New York in the late 1970s.
JIM JARMUSH, 2022, Point d’Ironie
42,8 x 29,9 cm,
offset on thin paper, Number 66, 8 pp.
published by Agnes B., Paris, France,
mint condition, center folded as issued
inv.Pointd 954-pr
“For my collages I use only newsprint for their sources, and most involve only the removal and/or replacement of heads or faces. I remember as a kid, I received a microscope for my birthday. The first thing I examined through its lenses was a tiny scrap of torn newspaper. I was astounded. Instead of a single, solid sheet-like material, it was in fact a tangled mass of threadlike fibers, a chaotic jungle of microscopic pulp. Ever since, the fragility and inherently temporary nature of this particular (and now nearly obsolete) material has attracted me.” J. Jarmush
WILLIAM EGGLESTON, 2025, Point d’Ironie
39,6 x 30,2 cm
8 pp., offset on thin paper, Number 70
published by Agnes B., Paris, France
mint condition, center folded as issued
inv.Pointd 954-pr
‘William Eggleston (born in 1939, Memphis Mississippi) is an American photographer who pioneered color photography. For the Point d’Ironie, William Eggleston selected four photographs from The Outlands. The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come.’ Agnes b.
BALTIC No.15 – ALEC FINLAY, 2002
48 x 34 cm
newspaper, 8 pp., offset, folded
condition: stained
published by, Baltic, Gateshead, UK
inv. AFi 000-pr
This copy is added to a stack of 11 Baltic Newsletters published between 1998 – 2002.
No.1 announces reconstruction of Gatehead’s flower mill into Art Centre Baltic.
No.2 comes with announcement of “Flash”, a DVD project of the Bifrons Foundation (director Thora Johansen).
No.3 comes with announcement of Anish Kapoor’s exhibition and more elaborated announcement of “Flash”.
No.4 comes with announcement of Kurt Schwitters exhibition / Per Kirkeby.
No.5 comes with announcement of a more elaborated announcement of Anish Kapoor’s exhibition.
No.6 lacking
No.7 comes with announcement of Jaume Plensa, photo spread with Anthony Gormley, reconstruction Baltic.
No.8 announces further development of Baltic’s reconstruction and commission for 35 mm film loop by Marijke van Warmerdam.
No.9 lacking
No.10 comes with complete contribution of Jenny Holzer
No.11 comes with announcement of presentation film loop “Weather Forecast” of Marijke van Warmerdam, interview Jenny Holzer by Sune Nordgren, director Baltic.
No.12 comes with announcement of exhibition “Contemporary Artists from Stockholm”, and opening of baltic on 9 March 2002
No.13 lacking
No.14 comes with more elaborated announcement on “Weather Forecast” of Marijke van Warmerdam and new commissions.
No.15 comes with 8 pages with questions by Alex Finlay.
