THE ARCHIVES-Art Information Centre Peter van Beveren, 1981
30,4 x 21,7 cm
artists book, HC, 30 pp., stamp numbered
edition 500, here nr 95/100 signed by all contributors; some stamp signed,
here also signed – only first 100 copies – by Peter van Beveren
incl. inlay with list of artists
condition: more than splendid, hardly discoloured pages, although with aged inlay with index,
like in all cases several metal parts by Klaas Gubbels have a finger print patina appearing due to aging
€ 685,- plus € 20,- Track & Trace registered mail
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Peter van Beveren (born in 1952) started in the early 1970’s as conceptual artist, developed his passion for collecting by sending and also acquiring mail art. He initiated and managed The Archives / Art Information Centre and considered this part of his art practice. Later on in the mid eighties he became gallery owner of Galerie Van Beveren in Rotterdam. In 1981 for the Provincial Museum in Hasselt (Belgium) Peter van Beveren assembled contributions of the following artists: Robert Jacks, Woody van Amen, Carl Andre, Joseph Beuys, Marinus Boezem, Christian Boltanski, Daniel Buren, Michel Cardena, Christo, Robin Crozier, Geurt van Dijk, Pieter Engels, Hans Eijkelboom, Ken Friedman, Ad Gerritsen, Klaas Gubbels, Wim Gijzen, Richard Hamilton, Dick Higgins, Tommy Mew, Maurizio Nannucci, Richard Nonas, Arnulf Rainer, Dieter Roth, Yves De Sme, Al Souza, Endre Tot, Timm Ulrichs, Ben Vautier and Wolf Vostell.
This iconic book contains an exuberant amount of various materials and techniques. The first hundred copies are signed by Peter van Beveren.
History of prices:
Art Books, Schoorl, Netherlands November 2025 € 799,-
Studio Bruno Tonini, Gussago, Italy November 2025 € 750,-
Copyright Books, Ghent, Belgium November 2025 € 500,-
John Benjamins Antiquariat, Amsterdam December 2022 € 1.500,-
William Allen Words & Image, London, UK November 2022 US$ 913.-
Venduehuis, The Hague, Netherlands 14 April 2022 € 325,- (hammer price)
William Allen Words & Image, London, UK February 2022 US$ 1,045.-
Prentwerk, Groningen, Netherlands February 2022 € 550,-
William Allen Words & Images, London, UK January 2021 € 869,-
ELVIRE BONDUELLE, Youpie, 2013
hand made tote bag: linen, screen print
ca 47 x 30 cm
incl. double-sided letter on stiff paper
Collection K. van Gelder, Amsterdam
‘This tote bag is not meant as an art work’ Elvire Bonduelle says. Therefore it is neither of work of art nor an edition. It is meant as a try-out to use the word “Youpie”. Here this object has been archived nevertheless because sometimes ambiguity is worthwhile to show since it tells something about the attitude of the artist involved. This work may be compared to another ambiguous ‘object’ given to me by Olivier Mosset. See heap of confetti in envelope: Olivier Mosset, .
PAUL BERGTOLD, Machine Art, 1968
28,2 x 22 cm,
folio of thin paper, 12 sheets of paper
edition 2000 + 100 signed signed
nota bene: each sheet is hand signed
condition: mint vintage, here unfolded as issued for special edition
published by S.M.S., New York, USA
Private collection, Amsterdam
€ 500,- plus € 18,- Track & Trace registered EU mail, Margin Scheme
For a Deluxe edition 100 copies plus several PP (Publishers Proof) were signed. Most of the 73 artists solely signed their contributions for the Deluxe portfolios, while a few others signed, and also numbered and/or dated their contribution. Reportedly, there were also a very small handful of artists who did not sign at all due to ideological reasons or that period their recent death like Marcel Duchamp’s. Although the latter signed a few grippers as approval before the production of one of the S.M.S. folios started at the end of 1968.
In the late 1960s two artists working with Xerox copiers were Paul Bergtold and Toby Mussman. The works done on regular 8 x 22 inch sheets of paper, not only depict mundane subject matters, but also emphasize the cheap quality of the process, as there is a lack of definition and detailing.
This Paul Bergtold contribution comes from the #4 portfolio, and consists of a pink tissue folio containing 12 compositions entitled “Machine Art,” that were created using a typewriter on top of the Xerox reproductions. Usually folded as issued, here unfolded as it comes from a special edition of 100.
JIRI VALOCH, Symmetrical concept, 1972
20,8 x 15 cm
portfolio with 3 cards
edition 100, here 26/100 signed, numbered
published by the artist
portfolio on frontside with several folds and at top part light scuffing, cards yellowed due to aging extremely rare
sold
JIRI VALOCH, Study of identification, 1972
14,9 x 15 cm
portfolio with 4 cards
edition 100, here 26/100
signed and numbered on portfolio, each card also verso signed in pencil with surname
published by the artist
good condition, although slightly discoloured due to age and dog’s ear at lower right of portfolio
extremely rare
sold
This edition has been signed and dated on the portfolio. The backside of each separate card has been signed in pencil with ‘Valoch’. Two cards have been signed horizontally parallel to reading the words and two cards have been signed vertically, apparently to indicate that the words ‘here’ and ‘there’ should not be read horizontally on all of the four cards.
JIRI VALOCH, Do it yourself I – signs + Do it yourself II – dialogues, 1972
each 20,8 x 15 x 0,3 cm 2 portfolios with each 9 sheets
edition 100, here 26/100
signed, numbered
published by the artist
good condition, although slightly discoloured due to aging very rare
€ 595,- plus € 15,- Track & Trace registered EU mail
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Jirí Valoch is a visual and conceptual poet and works with graphic and textual concepts. His minimal events and interventions in natural settings find their way often through conceptual drawings, short and ‘easy-to-make’ books and installations with texts.
Jirí Valoch had solo exhibitions since 1966 in the Czech Republic, Slovakia, Germany, Poland, Italy, The Netherlands and Austria. He participated in group shows in the Czech Republic, Slovakia, Great Britain, Mexico, Spain, Italy, USA, Argentina, Germany, Switzerland, Hungary, Poland, Portugal, Austria, France, Belgium, Yugoslavia, Austria, Israel and Canada. From 1968 – 1972 he was a member of Klub Konkretistu (Concretists’ Club) and since 1997 he has been a member of the Brno section of the Klub Konkretistu 2; since 1991 he has been a member of the TT Klub of Creative Artists and Theoreticians. He lives and works in Brno.
JAAP KRONEMAN, Krop Sla / Head of Lettuce, 2006
each ca 8 x 16 x 17 cm
dried clay, aquarel paint
edition ca 40, i.e. series of unique works
each signed, dated
each € 150,-
BARBARA KRUGER, Business as usual, 2018
5,7 x 6,9 cm
metal badge, print, glossy plastic coating, verso: two plastic parts
edition unknown
mint
published by Printed Matter, New York, USA
€ 125,- plus € 15,- Track & Trace registered EU mail
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This metal pin comes with a one year subscription as a Friend of Printed Matter in New York for US$ 60.-
History of prices:
eBay-Glamzillagod, Brooklyn, New York, USA March 2025 US$ 125.-
eBay-hotelmarquetteprints, Cleveland, Ohio, USA March 2021 $ 175.-
Printed Matter, New York, USA March 2020 US$ 60.-
PIPILOTTI RIST, Pepperminta, 2005
25 x 18,7 x 2,8 cm
cardboard box, linen bound 17 parts + stiff paper board, printed matter and various items
published by Lars Müller Publishers, Zurich, Switzerland
€ 100,- plus € 18,- Track & Trace registered EU mail
inv.PRis 864
This box includes images of dreams, saints, dreams and ideas of paradise. Rist is renown for her mesmerizing slow-video installations that are mixed with visual art, music, architecture, and social politics. Her work features often erotic and uncanny images of her own body. She states on one of the inlays: ‘The body is a planet. It wants to be a paradise. Paradise calms down fever’
This box was published on behalf of the Venice Biennale 2005 in which Pipilotti Rist represented Switzerland with a solo exhibition. All loose items may be considered as artist’s publications, apart from the colophon insert.
