ERIC ANDERSEN, For Your Comfort, 1980
21 x 4 cm
booklet, 34 pp., spiral binding, loose label as issued
edition 40
signed
published by Edition Hundertmark, Düsseldorf, Germany
condition: top page very lightly yellowed
€ 340,- plus € 13,- Track & Trace EU registered mail
inv.EAnd 925
This edition is part of a special Hundertmark Edition Box with works of 23 artists Armin Hundertmark worked with. The artists contributed to this box on behalf of the 10th anniversary of the publisher and gallerist Hundertmark.
Eric Andersen thought it appropriate to give the owner of the box to tear a page out of his booklet for having it glued to another contribution. The tab reads: ‘FOR YOUR COMFORT. Glue on this art-collection-tab any art-work from the also enclosed 10th anniversary Hundertmark Edition box.’
Participating artists:
ERIC ANDERSEN, “For your comfort” , a small spiral booklet with texts and a note enclosed: “signature for the 10th anniversary hundertmark edition, eric andersen.”
JOSEPH BEUYS, “Aufruf zur Alternative”, Frankfurter Rundschau from 23.12.1978 with text of Beuys, stamped: “Wählt DIE GRÜNEN”, signed and numbered, a bronze sculpture, signed, 8.3 x 2.7 cm, a sawed tree trunk and the sawed place is sealed with wax again, signed, 18 x 1,6 cm.
BERNH. JOH. BLUME, a drawing, felt pen, signed and dated.
CLAUS BÖHMLER, “Aufzeichnungen, das Bild zum Ton vom Saxophon, Fixierung & Wiederholung von Zeit“, a photocopy and a tape cassette, titled, signed, dated and numbered.
GÜNTER BRUS, “JUBILÄUMSBLATT”, a pencil and colored drawing, signed and dated.
ROBERT FILLIOU, “The Eternal Network Presents: /MULTIPLE A EXEMPLAIRE UNIQUE…”, a green DIN-A5 index card, written and stamped, signed, dated and numbered.
JOCHEN GERZ, “Kein Wort mehr über Pyramiden & Maßstäbe / die Pyramiden standen noch was rum, als wollen sie was fragen” , brown color and text on cardboard, signed, dated and numbered.
TAKA IIMURA, “SELF IDENTIY 1 (1974)”, a video score, color photo on a photocopy, signed, dated and numbered.
DIETMAR KIRVES, “Ansichten” , a photo collage, signed and dated.
MILAN KNIZAK A, spray picture, collage, signed.
ALISON KNOWLES, “BEANS PROMOTE DREAMING”, a biscuit with a baked strips of text, signed.
BORIS LURIE, “NEIN”, aA stenciled picture, signed and numbered.
HERMANN NITSCH , plaster, collage, signed and dated.
ARNULF RAINER, “Als Toter im Atelierschmutz”, photo, signed and dated.
GERHARD RÜHM , Letter collage, signed, dated and numbered.
TAKAKO SAITO, “Fortune”, a plastic bag with salt and a crystal ball, signed.
KONRAD BALDER SCHÄUFFELEN, “L´usage des Cailloux” An Isa-stone with the word cloud on it, into a wooden box, signed, dated and numbered.
TOMAS SCHMIT, “drei striche”, dDrawings, signed, dated and numbered.
DOMINIK STEIGER,”Hi – fi, Low nose”, a tape cassette, signed, dated and numbered.
FRITZ SCHWEGLER, “für FÜNF MÄHENDE WEHEN am Pfaffenwald”, a drawing, signed and dated.
JIRI VALOCH, “eye piece”, Abraisons letters on cardboard, signed, dated and numbered.
BEN VAUTIER, “Ink Stamp 1958“ , ink spots on blotting paper, signed, dated and numbered.
STEFAN WEWERKA A Lithograph, signed, dated and numbered.
DOROTHY IANNONE, A Thousand and One Songs for Erik Bock, 2019
43 x 30,7 x 2,5 cm
cardboard box, loosely inserted colour photo in glued on photo corners, 9 offset prints incl. index sheet with credits, 2 CD’s fixed on inner side of lid, postcard
signed, numbered
edition 150
mint
published by Tochnit Aleph, Berlin, Germany
inv.DIan 000-pr
“Not every love is forever, nor is an unimaginable longevity necessary in order that a love qualify as memorable. I once derived a great deal of pleasure as well as artistic inspiration (and eventually, some pain, I must admit) from a sexual and intellectual friendship with an emotionally thrifty (as he himself would be the first to admit) but very beautiful gentleman from a neighbouring country, north of Berlin, my adopted home, and whom I’m so glad I met long ago.
“These recordings were made for him, to give him pleasure, and pride in his being, as well as for myself, so that I could continue my immersion in our relationship when, for short periods, we were apart…..”
From the liner-notes by Dorothy Iannone, November 2017
GUGLIELMO ACHILLE CAVELLINI, Untitled, 1973
72 x 59,5 cm
screen print on white canvas
hand signed initials with pencil, dated
edition 100, here a not numbered print
verso: stamped with artist’s name and address
condition is very fine, with four pinholes in the corners
€ 200,- plus € 20,- registered mail Track & Trace
This cloth object with Italian text is a reproduction of the artist’s handwriting. Guglielmo Achille Cavellini is a prominent Mail Artist, associated with the Poesia Visiva movement. In 1971 he invented autostoricizzazione (self-historicization), upon which he acted to create a deliberate popular history surrounding his existence, preferably in his personal handwriting. He was well known for his performances in lettered suits and this self-created historification from birth until 2037, including the announcements on his various years of death.
History of prices:
Palazzo Cigola-Fenaroli-Valotti, Brescia, Italy € -,- 10 February 2023
Casa d’Aste Capitolium, Italy € 140,- (i.e. nr 28/100), 10 December 2020 (hammer price)
Artesegno Casa d’Aste, Udine, Italy € 100,- 5 July 2017 – nr 85/100, (excl. premium)
Finarte/Semenzato Casa d’Aste, Venice, Italy € 1.860,-, 18 October 2008 – not numbered print (incl. premium)
JOHN M ARMLEDER, Concert piece project, 1975
10,2 x 14,8 cm
postal card with ink stamps
signed, numbered, postal stamp dated: ’26 IX 75′
here numbered 2/10
edition 10
rare
John M Armleder contributed to the Art Information Festival in Middelburg, Netherlands in 1975. This Festival was initiated and organised by Peter van Beveren.
inv.JMA 748
‘The idea of John and his Ecart Performance Group consisted of a performance based on a composition for three musicians and a conductor. In preparation for the concert, they spent a few days with me in Middelburg, as you can read in the sender’s details, id est “Ecart Publications” at the Art Information Center.
Through this edition, the concert was announced to, among others, around 20 people and institutions as a “Concert Piece Project” with the title “Chant Piano, Seul Chant”. The small stamps were part of my stamps with which I decorated correspondences and are here symbolic of the number of objects that were part of the concert.’
‘The piece of music set up by John Armleder consisted of three gentlemen sitting behind a table, namely John Armleder, Patrick Lucchini and Carlos Garcia. There were dozens of small items on the table, from toys to shredded paper. I was the conductor and with my baton, standing behind a lectern, I indicated who had to make as much noise as possible with the object of my choice for a few seconds. A score of John’s concept was handed out to the public.’
Peter van Beveren in a mail d.d. 9 August 2019
inv.PvBe 749
Further information:
PETER VAN BEVEREN, catalogue page “The Art Information Festival”, 1975; the concert took place on 26 September 1975.
Close up of the ink stamp in a book of stamps by Peter van Beveren.
SIGURDUR GUDMUNDSSON, Event, 1975-2000
59,2 x 41,9 cm
offset, poster
edition 36 + 1 AP, signed, numbered mint
published by Museum Het Domein, Sittard, Netherlands
€ 135,- plus incl. tube € 25,- Track & Trace registered EU mail
inv.SG 399
Sigurdur Gudmundsson once said: ‘I feel most at home in a country where I don’t speak the language, because then I have to use other senses to understand what the other means or says. I have to use sign language to make me understandable.’ Maybe this attitude has helped him to come to this renowned work ‘Event’ he made in 1975 as one of the first works in his photo series “Situations”.
Sigurdur Gudmundsson heeft ooit eens gezegd: “Ik voel mij het meeste thuis in een land waarvan ik de taal niet spreek, want dan moet ik andere zintuigen gebruiken om te begrijpen wat de ander bedoelt of zegt. Ik moet gebarentaal toepassen om mij begrijpbaar te maken.” Misschien heeft deze houding hem geholpen om het vermaarde werk ‘Event’ in 1975 te maken dat het begin werd van zijn reeks unieke fotowerken ‘Situaties’.
TAKAKO SAITO, Games, 1976
ca 50,4 x 35,3 cm
handmade cardboard folio with 21 offset prints, ink stamp, collage
signed, numbered, dated in print
nr 4/200, only ca 20 have been made
published by Noodle Edition, Düsseldorf, Germany
condition: excellent, lightly discoloured on the outside extremely rare
ask for details
€ 4.800,- plus € 32,- Track & Trace registered mail
Priavate collecion, Amsterdam, Margin scheme
inv.TSait 344-pr
Each sheet is provided with a speech cloud and shows instructions of the game that may be played. This folder contains 7 different prints colored-in by the artist. Each print comes with 2 extra blank black and white prints, obviously meant for colouring them yourself. This game was designed to be played with other objects or pieces, as stated in Saito’s notes.
Two hundred signed and numbered copies were planned but ONLY circa 20 were made by Takako and sold (hence an early number from the edition). The amount of prints may vary from copy to copy. Fondazio Luigi Bonotto in Colseresa in Italy has a copy (number 5/200) with 8 different prints in its collection.
Ref. Takako Saito Fondazione Bonotto.
Introduction print in folio:
Example of coloured-in print plus two black and white copies
NEL AERTS, The Servant Serves, 2019
60 x 80 x 30 cm
3D printed pitcher (25 x 16,5 x 18 cm), acrylic paint, cork, steel
2 parts, painted by hand, instruction for hanging
signed, numbered
edition of 8 + 2 AP
published by More Publishers, Brussels, Belgium
inv. NAer 000-pr
Originally, the jug was glued to the platform painted with acrylic paint. Since this paint layer hardly has any grip on the surface, here a safer method of display has been chosen.
As a precaution, it is recommended to keep the jug and the metal tray separate. During an exhibition the jug may be secured by means of double-sided tape. As a result, storing this artwork has become a lot easier and safer.
This work is in the collection of MuHKA / Museum of Contemporary Art, Antwerp – Inv. no. M00351.
HRAFNHILDUR ARNARDÓTTIR / SHOPLIFTER, Chromo Sapiens, 2019
synthetic fur cast in vinyl LP, screen print on cover, strip of synthetic fur, insert with texts, comes with transparant Loqi bag
edition 1000
mint condition
published by Shoplifter Studio & Trolley Books
available for sale at Trolley, London, UK
€ 165,- plus € 18,- Track & Trace registered EU mail
inv.HAr 000-pr
This Chromo Sapiens Artist Limited Edition LP has been issued on behalf of La Biennale di Venezia in Venice, Italy. The installation “Chromo Sapiens” of Hrafnhildur Arnardóttir has been installed at the Icelandic pavilion in Giudecca (Venice). All records have a different cast of synthetic hair. It is a 12” vinyl record that includes three commissioned soundscapes and an anthem by the band HAM, an interview of curator Alanna Heiss with Grafnhildur Arnardóttir alias Shoplifter, as well as essays by curator Birta Guðjónsdóttir, Jen DeNike, Oddný Eir Ævarsdóttir, Timothy Morton, and Hilton Als.
When holding the cover in black light several parts of the printing light up:
History of prices:
Kickstarter, Brooklyn, USA US$ 85.- November 2023
Trolley, London, England, UK GBP 90.- October 2021
Venice Biennual / Icelandic Pavilion, € 100,- August 2019
PAULINE BOUDRY and RENATE LORENZ, Moving Backwards, 2019
31 x 22,6 cm
newspaper, stapled, 40 pp. (incl. couver)
pristine condition
published by Pro Helvetia, Geneva, Switzerland
inv.PBou 717
Published on behalf of the Swiss Pavilion, La Biennale di Venezia, Italy.
CANDACE COMPTON, I Would Like to Introduce Myself, n.d. [ca 1970-’75]
57,2 x 44,5 cm / 22.5 x 17.5 inches
offset, poster
published by The Woman’s Building, Los Angeles, USA
fine condition extremely rare
p.o.r.
inv.CCom 000-pr
This poster depicts a pair of hands in various stages of putting on and taking off a black glove, with pieces of text introducing the artist:
‘I would like to introduce myself. My name is Candace Compton – Your name?’
‘I am an artist. I am really a very good one, quite sincere – Are you an artist? What kind of artist?’
‘I often forget to visit galleries or read art magazines – Are you involved in any sort of art community?’
‘So I wonder about artists and what they wonder about – What do you wonder about?’
‘My work, actually, is more about wondering about questioning than invention – What is your art about?’
‘My art is about me. It is about communication. It is about interchange
Please respond and mail to: Candace Compton c/o The Woman’s Bldg, 1727 No. Spring St. LA Calif. 90012′
In 1973 The Woman’s Building was founded by graphic designer Sheila Levrant de Bretteville, art historian Arlene Raven and artist Judy Chicago (from left to right). In the same year they founded SFW / Feminist Studio Workshop.
Arlene Raven, Judy Chicago and Sheila Levrant de Bretteville (from left to right).
‘It was a house large enough for everyone, all women, we claimed. It was Womanspace, Womanhouse, and the House of Women, “At Home,” Everywoman’s space, and Femme/ Maison. It was female space, safe space, sacred space, contested space, occupied space, appropriated space, and transformed space. It was revolution and revelation. We were squatters and proprietors, renegades and healers; we dichotomized and fused. We had one commonality: we were convinced that we were transforming culture by offering alternatives, as women, not only in the arts and culture, but also in the way we used space and conducted politics in that space. In its theory and praxis, the Los Angeles Woman’s Building, a material site for nearly two decades, appeared to epitomize much of what is sometimes referred to as second-wave feminism.’
Sondra Hale
The Woman’s Building was a public center for women’s culture in Los Angeles from 1973-1991, and housed the Feminist Studio Workshop, a two year program for women in the arts; the Women’s Graphic Center; galleries; performance space adjacent to a café and thrift store; Chrysalis: a Magazine of Women’s Culture; Sisterhood bookstore; a feminist travel agency, and the LAWVC / Los Angeles Women’s Video Center. The LAWVC was cofounded at the Woman’s Building by Nancy Angelo, Candace Compton, and Annette Hunt in 1976 and joined by Jerri Allyn in 1977. In the same year Candace Compton, Nancy Angelo, Cheri Gaulke and Laurel Klick founded the Feminist Art Workers, a collaborative performance art group doing performances in museums and busses. Later on Vanalyne Green joined the group.
Ref. 1
Lucy R. Lippard (forword) with authors: Terry Wolverton, Sondra Hale, Laura Meyer, including dialogue between Arlene Raven and Terry Wolverton, Betty Ann Brown, Michelle Moravec, Jennie Klein, Sheila Levrant de Bretteville/Bia Lowe, Cecilla Dougherty, Michele Kort and Theresa Chavez From Site to Vision – The Woman’s Building in Contemporary Culture
Ref. 2
Documentary on Feminist Art Workers founded in 1976.
