JAAP KRONEMAN, Untitled, 1995 [screen print girl’s T-shirt]

JAAP KRONEMAN, Untitled, 1995
200 x 152 cm
screen print, conté, acrylic paint
edition 8, here number 2/8
signed, dated, numbered
€ 2.800,- plus courier costs


Artists’ books from Iceland, 1983 [catalogue]

Artists’ books from Iceland, 1983
29,7 x 21 cm
plastic strip binder, SC, 9 pp.
ill. and listing of exhibited books
stencil print
2nd edition
published by Galerie A, Amsterdam
€ 95,- plus € 12,- Track & Trace EU registered mail


This catalogue accompanied an exhibition on tour in Amsterdam and Reykjavik, Iceland.

page 1:

page 2:

inner cover, backside:

PETTIBON, RAYMOND printed matter

RAYMOND PETTIBON, Are Your Motives Pure?, 2014 [catalogue]

RAYMOND PETTIBON, Are Your Motives Pure?, 2014
28 x 21,7 cm,
SC, dust cover, 102 pp.
published by Venus Over Manhattan, New York, USA
condition: good, slightly dodged lower right corner (mint spine)
€ 80,- plus € 18,- Track & Trace registered mail
inv.RPett 1051


History of prices:
Arcana: Books on the Arts, Culver City, CA, USA US$ 192.50 14 February 2021
Save With Sam, North Miami, FL, USA US$ 150,- 14 February 2021

KOETSIER, HANS printed matter

HANS KOETSIER, Markt 17, Enschede, 1967 [booklet]

HANS KOETSIER, Markt 17, Enschede, 1967
20 x 20 cm
SC, stapled, 12 pp.
Dutch language
published by Kunstzaal Enschedese Kunstenaarssociëteit, Enschede, Netherlands
condition: rusted staples, tiny stains
€ 42,- plus € 8,- Track & Trace registered mail
inv.HKoe 1050

Every country has its own heros; for a small group of Dutch people Hans Koetsier is renowned for his enigmatic advertisements weekly placed in a Dutch newspaper and his prints with texts that were more associated with advertising agencies than with high art.

In this booklet H.J.A. Hofland contemplates in his essay ‘Encyclopedia of roundness’ on the face of each man and the face of time, on a straight line that is supposed to be right and a bowed line that is supposed to be wrong. With 35 short statements he paraphrases the works of the artist who is also known for organic kidney shaped hard-edge images.

KOK, WJM multiples prints

WJM KOK, Monochrome 360º (Revaleiland), 2020 [card]

WJM KOK, Monochrome 360º (Revaleiland), 2020
SN 68172
10,4 x 14,8 cm
offset, verso residual glue and paper, cellophane envelope, sticker
edition 81, here number 28/81
signed, dated, numbered
published by the artist
€ 35,- plus € 5,- Track & Trace NL registered mail
inv.WJM 1034_1043

During the pandemic in 2020 Dutch advertising columns were temporarily out of use for advertising. They were all around set on hold and covered with a blue colour print on paper. Wjm Kok appropriated a considerable amount of these unused so-called ‘peperbussen’ in Amsterdam by merely localising them. He took a picture of each cylindrical column, adding a title and Serial Number.
Due to weather conditions the blue posters came down partly. A colleague teared some of these parts off. When this was offered to him, he decided to cut the torn off poster parts into cards. With this less ephemeral and more concrete gesture he brought this work closer to the approach of the American appropriation artists who materialised their ideas by putting the borrowed products merely on display, although without the need for manual work. KvG

Appropriated advertising column opposite Herengracht 213, Amsterdam

KLINGER, MAX printed matter

MAX KLINGER, Le Théâtre de l’Étrange, Les suites gravées, 1879–1915, 2012 [catalogue]

MAX KLINGER, Le Théâtre de l’Étrange, Les suites gravées, 1879–1915, 2012
23 x 24 cm
SC, bound
original publisher’s seal
published by Musée d’Art Moderne et Contemporain de Strasbourg, Strasbourg, France
extremely rare in this pristine printer’s condition
mint condition
€ 680,- plus € 28,- Track & Trace registered mail
inv.MKli 1031-1032

From his earliest sets of prints, Max Klinger (1857–1920) showed a strong interest in this medium, which he dubbed “Griffelkunst”, or “stylus art.” This wanted catalogue has been sold out for a long time.

History of prices:
Amazon-Books around the world, UK GBP 1,342 4 February 2021 [mint]
Amazon-AB Books, UK GBP 1,287.- 4 February 2021 [new]
Amazon-AB Books, UK GBP 499.- 4 February 2021 [used]
Rakuten-Restignac, France € 469,- 4 February 2021 [used]
AbeBooks-Graphem. Kunst- und Buchantiquariat, Berlin, Germany € 180,- 1 February 2021 [used]


Editions & Communications marginales d’Amerique Latine, 1977

Editions & Communications marginales d’Amerique Latine, 1977
21 x 29,7 cm
risoprint, stapled, folded as issued: 15 x 21 cm, 9 pp.
organised by Guy Schraenen
published by Maison de la Culture du Havre, Le Havre, France
inv.GSchr 1026

artist's books MCMAHON, BEAA printed matter

BEA McMAHON, Jesus and chlorophyll, 2012

BEA McMAHON, Jesus and chlorophyll, 2012
21 x 18 cm
SC, 46 pp., stapled, digital printing, screen print, paper collage on cover, incl. loose text page
edition 40
signed, numbered
published by Rijksakademie, Amsterdam
splendid condition
inv.BMcM 1022


This book edition contains 18 pages text by curator Maeve Connolly about the works of Bea McMahon, the other pages – 28 in total – are obviously pages that could fit into an artist’s book. This makes the edition into a hybrid book, i.e. partly catalogue, partly artist’s book.

MCMAHON, BEAA printed matter

BEA McMAHON, Bracket, 2011 [booklet]

BEA McMAHON, Bracket, 2011
20,7 x 14,4 cm
SC, stapled, 20 pp.
published by FTI-Io, London, England
splendid condition
inv.BMcM 1021

“Bracket” is about a choreography for cats that comes in from the right and leaves the stage at the left. The second Act is executed the other way around. The structure of this choreography is apparently based on angle brackets often used in mathematics, denoting some form of grouping.


BEN VAUTIER, Une seule note suffit, 1966

inv.BVau 1015

BEN VAUTIER, Une seule note suffit, 1966
26.7 x 21.2 cm
stencil print
published by the artist
splendid condition, slightly aged
extremely rare
€ 650,- plus € 8,- Track & Trace EU registered mail
inv.BVau 1016?

This piece of stencil print contains two radical compositions by La Monte Young and Ben Vautier. The latter opens with an exposé on pop musicians and their pop culture embracing traditional music from the North of India:
“A single note is enough
Several parts from the last record of The Beatles, The Rolling Stones, The Troggs, announce a new sound which extends the variety in music. These are monotonous sounds, in particularly produced by the Sitar (North Indian instrument) in tones and semitones, i.e. very close to this same music.”
Ben ends his text by making an ingenious link to Western contemporary (or Fluxus-like) music:
“But this musical conception is not in opposition to modern techniques, on the contrary, today it allows us to know better and better the field of semitones, quarter tones.”
Followed by a composition “# 7” (to be held for a long time) of La Monte Young from 1960 and a composition “Crescendo” by himself from 1963.

This composition is a single tone that is amplified. If it is given in a concert hall, it must begin when the curtains are drawn up. It is SLOWLY amplified in an evenly progression (without fluctuation). Its progress will be calculated in relation to the volume of the room and to the maximum power that the amplifiers are able to produce. The duration must be at least 4 hours. Half an hour before the end the volume must be absolutely unbearable and the audience must leave the room. BEN 1963”



* ‘Une seule note suffit
Plusieurs passages du dernier disque des Beattles, des Rolling Stone, des Troggs, annoncent une sonorité nouvelle qui envahit la musique de variété. Il s’agit de sons monotones, plus particulièrement produits par le Sitar (instrument Inde du Nord) en tons et demi-tons, très proches de cette même musique.’
‘Mais cette conception musicale n’est pas en opposition avec la technique moderne, bien au contraire, les emplis et micros d’aujourd’hui nous permettent de connaître de mieux en mieux le domaine des demi-tons, des quarts de tons.’
Cette composition est un seul son qui va en s’amplifiant. Si elle est donnée dans une salle de concert, elle doit débuter au lever du rideau. Elle s’amplifie LENTEMENT par progression symétrique (sans fluctuation). Cette Progression sera calculée par rapport au volume de la salle et à la puissance maximum que les amplificateurs pourront produire. La durée doit être au minimum de 4 heures. Une demi-heure avant la fin la puissance doit être absolument insupportable et l’assistance quittera la salle. BEN 1963’