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
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
HANS KOETSIER, Markt 17, Enschede, 1967
20 x 20 cm
SC, stapled, 12 pp.
published by Kunstzaal Enschedese Kunstenaarssociëteit, Enschede, Netherlands
condition: rusted staples, tiny stains
€ 42,- plus € 8,- Track & Trace registered mail
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.
WJM KOK, Monochrome 360º (Revaleiland), 2020
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
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
MAX KLINGER, Le Théâtre de l’Étrange, Les suites gravées, 1879–1915, 2012
23 x 24 cm
original publisher’s seal
published by Musée d’Art Moderne et Contemporain de Strasbourg, Strasbourg, France
extremely rare in this pristine printer’s condition
€ 680,- plus € 28,- Track & Trace registered mail
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
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
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
published by Rijksakademie, Amsterdam
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.
BEA McMAHON, Bracket, 2011
20,7 x 14,4 cm
SC, stapled, 20 pp.
published by FTI-Io, London, England
“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
26.7 x 21.2 cm
published by the artist
splendid condition, slightly aged
€ 650,- plus € 8,- Track & Trace EU registered mail
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’
Vereniging van Videokunstenaars, 1981 and 1983
total of 24 pp. including covers
4 VvE bulletins, of which one is hand coloured
published by VvV, Amsterdam
€ 120,- plus € 12,- Track & Trace registered mail
In these four bulletins video presentations of the following VvV members are announced:
– Yvonne Oerlemans, Peter Baren (May 1981)
– Nan Hoover, Hooykaas/Stansfield, Christiaan Bastiaans, Lous America, Paul Müller, Lydia Schouten, Raúl Marroquin, Daniel Brun, Ian Nichols, Christine Chiffrun (February 1983)
– Ásta Olafsdóttir, Diek Kubbe, Christiaan Bastiaans, Arno Arts (April 1983)
– Paula Vanes, Albert van Westing, Hooykaas/Stansfield, Christine Chiffrun, Roos Theuws, Paul Müller, Henk Wijnen (June 1983)
VINH PHÚÓNG, Branche, 1991
2 x 13,7 x 2 cm
925/1000 grams silver
edition 5 + 2 AP
engraved signature, numbered, dated
published by the artist
€ 450,- plus 18,- Track & Trace registered mail
In April 1976 the first boats of refugees fleeing Vietnam sailed to various countries, heralding a series of arrivals over the next few years. Vietnamese-Dutch sculptor and painter Vinh Phúóng Nguyen born in Djiring, provincie Lam Dong, Vietnam (1959) was one of them. In the early nineties he had his first solo exhibition at Galerie van Gelder in Amsterdam. His motifs always have an undertone of pain and apparently urge to seek protection, together with a dark and enigmatic image making. In this context a broken tiny branche of silver suggests an expression of pain and loss, and not so much a light hearted mimicry of nature, as one may think at first sight.