ANDY WARHOL, Bilder der 60er – 80er Jahre und frühe Drucke, eine Hommage, 1985
21 x 14,8 cm
double fold card including flyer (14,5 x 14,5 cm) “Andy Warhol at Paul Maenz”
published by Galerie Paul Maenz, Cologne, Germany
condition: both more than splendid extremely rare in this combination
€ 250,- plus € 12,- Track & Trace registered EU mail
inv.AWar 1073-pr
Bi-fold card with red square flyer were mailed together. The latter is difficult to find. The photo was made by Robert Mapplethorpe as is mentioned on the back of the bi-fold card.
History of price:
Alternate Projects, London, UK August 2023 GBP 250,- (without red flyer)
ANDY WARHOL, Myths & More, 1982
offset, invitation card – preview
15 x 10,5 cm
published by American Graffiti, Amsterdam Added:
2 Dutch newspaper clippings, ‘Andy Warhol koopt een sjaaltje’, Mark Blaisse, Het Parool, 21-11-1981 / ‘Amsterdam koopt voor negen ton schilderij van Warhol’, NRC Handelsblad 06-06-1986
€ 85,- plus € 8,- Track & Trace registered EU mail
inv.AWar 1074-pr
gerlach en koop, Een sculptuur van zes meter lang, 2008
21 x 15,1 cm
SC, sewn, 48 pp., insert: colour photograph
text by Hans Theys, English / Dutch
edition 300
self-published through gebr. genk, uitgevers, The Hague, Netherlands
inv.GenK 000-pr
“A six metre long sculpture” is a hybride artist’s book, due to the addition of an essay by Hans Theys on the last 12 pages. For an artist’s book, that is a considerable part contributed by a third party.
The first part of the booklet starting on the couver depicts empty pages with a continuous red and blue scribbling at the bottom of each page. The total length is six meters, hence the sudden cut-off by means of a vertical line at the back of the booklet.
JONATHAN BOROFSKY, invites, 1982
each ca 10,5 x 15,5 cm
offset, 2 exhibition cards
published by Gemeentelijk van Reekummuseum, Apeldoorn / American Graffiti, Amsterdam. Added: 2 Dutch newspaper clippings 1982, stencil Museum fuer Gegenwartskunst, Basel, Switzerland, 1983, German text by Christian Geelhaar
€ 50,- plus € 8,- Track % Trace registered EU mail
inv.JBor 195-pr
MONIEK TOEBOSCH, 15 minuten solozang, invitation, 1977 + Allen Kaprow + Tom Ockerse Editions
29,7 x 21 cm
stenciled print, 2 handmade ink stamps
published by Other Books and So, Amsterdam
condition: good, yellowed due to non-acid free paper quality
€ 120,- plus € 8,- Track & Trace registered EU mail Added: newspaper clipping Het Parool, 1 juni 1983
inv.MTo 000-pr
On the occasion of the new space at Herengracht 259, an exhibition with posters/flyers of Allen Kaprow and an exhibition of Tom Ockerse Editions took place simultaneously. Ulises Carrión told me thta he was very proud he got hold on a more than a decent amount of printed matter related to Allen Kaprow.
History of price:
Jonathan Hill Bookseller, New York, USA February 2026 US$ 150.-
Jonathan Hill Bookseller, New York, USA June 2022 US$ 300.-
MARCEL BROODTHAERS, Musée d’Art Moderne à Vendre 1970-1971 pour cause de faillite, 1971
45 x 31,7 cm
SC, Lümbeck binding
pages in catalogue
edition 15.000
19 editioned dust couvers, signed, numbered (here unsigned, not numbered)
condition: couver used, inside very good
published by Verein Progressiver Deutscher Kunsthändler, Cologne, Germany
€ 220,- plus € 24,- Track & Trace registered EU mail
inv.MBro 103
Sometimes publications hide works of renown artists. The page of Michael Werner Galerie announces the selling of the Museum of Modern Art Marcel Broodthaers founded in 1968. He designed this page and nineteen signed dust couvers were wrapped around the Cologne art fair catalogue.
The same catalogue contains an advertisement of Wide White Space Gallery shows 24 couvers of publications, a page called ‘Ma Collection’ (trans. “My Collection”) specially designed for the occasion by Marcel Broodthaers.
Marcel Broodthaers – Michael Werner Galerie
Marcel Broodthaers – Wide White Space Gallery, Antwerp
Richard Long – Konrad Fischer Galerie, Düsseldorf
Zero – Galerie Ursula Lichter, Frankfurt am Main
Jan Dibbets – Video Galerie Gerry Schum, Düsseldorf
MARIJKE VAN WARMERDAM, Op naar een nieuwe wereld! / On to a new world!, 2004
31 x 23 cm
mat colour photo on aluminum plate, clamshell box signed, dated, numbered comes with catalogue
edition 42
mint
published by Buchhandlung Walther Koenig, Cologne, Germany
€ 250,- plus € 24,- Track & Trace registered EU mail
inv.MvW 000
The tendency to balance between reality and abstraction is characteristic of the work of Marijke van Warmerdam. This ‘flattening’ of reality may seem to make the work less accessible, but her titles always offer guidance and redemption. They function as a catalyst for the image as a whole, in other words: the image that may be viewed together with the title – as an angle to look from.
The edition ‘On to a new world!’ looks like a landscape of an unknown planet, as if it has been photographed from a high-altitude satellite. A shooting star is added. One may make a wish, it is said. In reality, the landscape is a close-up of a badly plastered wall.
Marijke van Warmerdam likes to take a positive approach, often anticipating on what will possibly take place in the future. By means of the imperative ‘On to a new world!’ she wants to face the future with an optimistic view.
KvG, June 2023
(!–History of price:
The Archive is Limited, Amsterdam December 2024 € 450,–>
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,-
SYLVIE FLEURY, press release Galerie van Gelder, Amsterdam, 1992
29,7 x 21 cm
ink jet print
inv.SF 000
During the time this press release came out her work was not yet contextualised and interpreted by critics as feministic. Quite a few visitors coming to her exhibition in the gallery commented: ‘Kees, this is not art, this is fashion!’
Sylvie Fleury says: ‘I’ve always been very interested in the mechanisms of desire — how objects elicit desire, and how brands create that sense of longing. These were things that felt really new when I started working in the 90s, when consumerism was really accelerating.’
Interview in iD by Mahoro Seward, 16 June, 2022
“Sylvie Fleury is extremely fascinated by fashion and everything that has to do with it. She is interested in actual fashion as well in fashion from e.g., the sixties. A lot of her work is used by her as complete or partial ‘ready-made’, but the cooler / rational pragmatism of e.g., American artists is not to be found in her work. She does not claim a priori a critical attitude such as artists like Jeff Koons, Haim Steinbach and others do. Her work derives in the first place from an inner necessity to create an image that is essential to her and is full of actual elements of which meaning is more than unequivocal.
It is remarkable to see in this exhibition how the images of the world of existing things turn into autonomous artworks in spite of the strong recognizability of these existing things. For instance, the colourful fake fur on stretcher has a high degree of inviting to caress and therefore these artworks evoke a beautiful sensual gesture to the exhibition as a whole. The shoes on the floor emphasize once more this physical element of an exact fitting shoe that creates a feeling of well-being. In contrast to this element, one is confronted with her new GALERIE VAN GELDER EDITION set out all over the gallery, but at the same time these photographs are reproductions of fashion magazines she regularly reads with eagerness. Often this peculiar commitment can be traced in her works.”
Press release with the exhibition of Sylvie Fleury April 25 – June 3 1992
