CLAES OLDENBURG, n.d. [1970]
inner cover of catalogue
28,5 x 22 cm
offset, 300 grams paper
signed
condition: splendid, gently aged
€ 280,- plus € 18,- Track & Trace registered EU mail
inv.COld 230-pr
In 1980-’90’s an Autographengruppe in Bonn started to collect signatures of known people in sport, art and literature. In the early beginning of this century the collector’s group decided to sell little by little a part of their collection through Internet. Not only postcards but also pages of books were cut out after the members got hold on a signed publication. For that they visited openings at museums and galleries. In this way, the inner cover of a catalogue of Claes Oldenburg was added to the collection of signatures. This cut-off back cover is part of a catalogue that Städtische Kunsthalle in Düsseldorf published in 1970. It shows a part of a hand saw that runs further at the back on the outside.
LOUWRIEN WIJERS, persbericht, 2011
29,7 x 21 cm
2 digital prints
exhibition “Words to be framed”
published by Galerie van Gelder, Amsterdam
inv.LWij 000
JONATHAN MONK, Picture Post Card from Post Box Pictured, 2005
15 x 10,5 cm
post card
signed, stamp dated 12-01-2006
published by ICA / Institute of Contemporary Arts, London, UK
inv.JMon 605-606
MICHAEL ASHER, Série de 16 cartes postales de Michael Asher, 1991
each 15 x 10,5 cm
offset, stack of 16 post cards, vintage envelope
condition: verso slightly aged
published by Le Consortium, Dijon, France
€ 440,- plus € 12,- Track & Trace registered EU mail
inv.MAsh 000
Michael Asher is known for the so-called “Situational Aesthetics”, a movement in Conceptual art that is critical on what defines art and on the production of commodities. Marcel Duchamp pointed out to a paradigm in the arts by inserting an already made object within an art context. It exposed the legitimising function of an institution and its crucial role in defining of what should be considered as art.
3 cards out of this set of 16:
History of price:
Antiquarian Maria, Lisbon, Portugal, March 2023 € 400,-
Cornette de Saint-Cyr, Brussels, Belgium, 21 June 2022 € 650,-
DAAN VAN GOLDEN, untitled / Souvenir, 2017
3 parts
screen print on fabric: 10,5 x 12,9 cm / gold envelope: 11 x 15,6 cm
condition: splendid
condition outer envelope “Souvenir”: smudged, verso crumpled
private collection
inv.DvG 000-pr
This gold envelope with screen print on vinyl cloth depicts a characteristic dark red Daisy pattern that Daan van Golden often uses in his paintings and photographs. There is no sign of origin.
A white outer envelope entitled “Souvenir” contains the edition. At the back side a ‘D’ in print refers to the first name of the artist. The envelope’s colour in gold alludes with the surname of Daan van Golden. The grey line frame on the white envelope suggests that this item was perhaps a thank object presented to people for their compassion, condolences and sympathy after Daan van Golden deceased in 2017. Both envelopes lack any form of origin of publication.
Outer envelope
12 x 18,1 cm
conditio: scuffing, stains, crumpled on left side
recto: text “Souvenir”, verso initial “D” – both in screen print
GALERIE VAN GELDER Bericht 1, 1992
29,7 x 21 cm
photo copy, vintage
edition ca 35
published by Galerie van Gelder, Amsterdam
inv.GvG 000
This is the first newsletter of Galerie van Gelder issued in the beginning of June 1992. It announces the gallery’s participation of Art Basel ’92, being a co-operation of five galleries. This was initiated by John M Armleder who also coined the name “Associated Publishers”. For that he designed a logo “AP” that was supposed to promote a co-operation of publishers in Geneva, Cologne, Amsterdam and New York. An edition “AP” was made by galerie van Gelder Editions on an enamel door plate. The image depicts the letters AP inside a tumbled zero.
LUIS CRUZ AZACETA, invitation card, 1996
17,8 x 17,8 cm, unfolded 70,6 cm long
3 fold leaflet, offset, 8 pp.
text by Tina Yapelli
splendid condition
published by San Diego State University, San Diego, USA
€ 185,- plus € 12,- Track & Trace registered EU mail
inv.LCAz 000-pr
Tina Yapelli: ‘Luis Cruz Azaceta paints his self-portrait repeatedly, in myriad guises and conditions. He intends that his visage becomes the face of Everyman, the typical human being…
KERRY JAMES MARSHALL, invitation, 1997
17,8 x 17,8 cm (unfolded 57 cm long)
3 fold leaflet, offset, text by Tina Yapelli
splendid condition
published by San Diego State University, San Diego, USA
€ 185,- plus € 12,- Track & Trace registered EU mail
inv.KJMa 000-pr
The paintings of Kerry James Marshall are figurative accompanied with a rough-hewn painterly realism with elements of collage, words in lively and highly patchy settings. Images and verbal statements in which the viewer is addressed about the role of the African American in society.
The challenge for Black artists in general is trying to find a place for themselves in an aesthetic regime or aesthetic system, and a history that did not include them as participants in the formulation of its authorizing idea. Here we are operating within a class structure that large number of Black artists don’t come from. The challenge has been trying to figure out a way to get inside, but to come in with imagery that has Black subject matter or Black subjects by a person who is Black. People felt like that particular specificity set limitations on how people were able to perceive the work because there is the notion that the Black body can never really be a universal body. If you come with the Black body in a picture, then people automatically tend to limit their perception of it, believing it is only relevant to Black people. A remedy to that marginalization for African American artists who wanted to be seen as just artists and not ‘Black artists’ was to do abstract work. Kerry James Marshall, interview in Frame, 2019
Ref. Frame, 2 November 2019
ULAY/MARINA ABRAMOVIÇ, The Sun and the Moon, 1987
63,6 x 48,3 cm (folded 21.5 x 27.5 cm)
offset print on firm paper very rare
published by University of San Diego, San Diego, USA
€ 460,- plus € 18,- Track & Trace registered EU mail
inv.MAbr 000-pr
