GALERIE VAN GELDER Bericht 1, 1992
29,7 x 21 cm
photo copy, vintage
edition ca 35
published by Galerie van Gelder, Amsterdam
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.
OLIVIER MOSSET, Sans titre, 1995
35 × 35 cm
edition 150 + 5 HC
published by CEC / Centre d’Edition Contemporaine, Geneva, Switzerland
This circle within a circle was etched on a square copper plate. Its blind imprint is barely noticeable since there are no scratches in the non-engraved parts that is so characteristic for common etchings.
The edition was offered to members of the Centre Genevois de Gravure Contemporaine Association in 1995.
OLIVIER MOSSET, Untitled, 2008
30 x 30 x 2 cm
analogue photo print, di-bond
edition 10 + 3 AP
Galerie van Gelder Editions, Amsterdam
€ 3.800,- plus € 25,- Track & Trace registered EU mail
“De Zwitserse kunstenaar Olivier Mosset is het meest bekend om zijn conceptuele schilderkunst waarbij het niet moest gaan om zaken als originaliteit of auteursrecht die belangrijk zijn voor de kunstmarkt maar puur en alleen om het kunstwerk zelf. Hij maakte en maakt echter ook heel ander werk. Bij Fluxus in New York bijvoorbeeld verscheen in de jaren ‘60 een editie die bestond uit een plastic doosje met rode papiersnippertjes. Kees van Gelder, oprichter van de gelijknamige Galerie van Gelder, heeft ooit zijn stand op Art Rotterdam laten vol storten met soortgelijke stukjes papier, maar dan in de kleur grijs. Prachtig werk, en vast nog wel ergens te koop. Zelf bezit ik een auto van chocolade: Mosset heeft op de doos geschreven dat het een Buick Riviera betreft.”
Harry Ruhé, in GalleryViewer.
JOHN M ARMLEDER, invitation card ‘Six Logo’s around the carpet’, 1991
21 x 14 cm
published by Galerie van Gelder, Amsterdam
€ 25,- plus € 8,- Track & Trace registered EU mail
In “Six Logo’s around the carpet” a hand woven carpet with tassels by Peter Nagy played a central role. The title of this black and white fabric is ‘Desease and Decoration’. It depicts six microscopic enlarged Aids-virus pictures used as a decoration for a carpet that was produced and distributed by Equator Productions in Brussels in Belgium. Six art works were shown on six walls.
John M Armleder
JOHN M ARMLEDER, Black Noise, 2017
27,3 x 17,4 x 9,9 cm
32 booklets, offset, stapled, cardboard box with high gloss paper and screen print
published by Ecart Publications, Geneva, Switzerland
OLIVIER MOSSET, Untitled, 1998 [dollar sign]
70 x 70 cm
€ 1.500,- plus € 32,- Track & Trace registered mail
History of prices:
Place des Arts, Paris, France US$ 1,784 January 2023
Place des Arts, Paris, France € 1.650,- August 2021
Artsnap.net GBP 1,200.- March 2020
Place des Arts, Paris, France € 1.875,- April 2020
ArtCurial, Paris, France € 520,- auction 19 September 2016, incl. premium
ArtCurial, Paris, France € 650,- auction 12 December 2016
OLIVIER MOSSET, Untitled (Rain Forest), 2019
94 x 68 cm
silkscreen print, on c-mat 150 grams paper
edition 25 + 5 AP
published by More Publishers, Brussels, Belgium
€ 650,- plus € 25,- Track & Trace EU registered mail
or contact More Publishers for availability and price
One day when George Maciunias heard about the circle paintings of Olivier Mosset he asked him to contribute to one of his Flux boxes. Based on the many circle paintings Mosset made Maciunias considered him a Fluxus artist, something that Olivier Mosset laughingly denied and refused to accept. Nevertheless George Maciunas produced a box with hand made red confetti: Flux Dots By Mosset Total Art Nice.
The screen print “Untitled (Rain Forest)” has also a Fluxus-like touch in the way the photo has been taken. Olivier Mosset took a snapshot of a small red monochrome painting that was hanging in his studio before being auctioned for a rain forest benefit. For the print this photo was rendered in a monochrome layer and silkscreen printed in the exact same red as the original painting, giving this work a conceptual touch.
History of prices:
More Publishers, Brussels, July 2022 € 500,-
More Publishers, Brussels, July 2021 € 400,-
Artsy.net, Berlin, Germany, 5 March 2020, US$ 1,900.- *)
More Publishers, Brussels, January 2019 € 150,- (year of issue)
*) Friends Seminary Benefit Auction 2020 for a 233-year old school, i.e. NYC’s oldest co-educational independent Quaker school
OLIVIER MOSSET, Untitled, 1991
ca 50 x 80 cm
signed, dated, numbered
€ 2.600,- plus € 15,- Track & Trace registered mail
Olivier Mosset is known for his circle paintings he made in the sixties. Basically he is interested in not only hard edge and monochrome paintings, but also in geometric signs like the letter A, dollar signs, crosses, squares, etc. Here he makes a small square balancing on one of its corners by using two arrows.
OLIVIER MOSSET, invitation cards of exhibitions 1972-2010
32 x 26 x 5 cm
ring binder with printed matter: 56 exhibition invites, plastic sleeves.
This collection of printed matter is almost a complete set of exhibition invitations from this period.
OLIVIER MOSSET, Untitled # 3, #4, #5 and #6, 1992
ca 60 x 60 cm (4 sq. feet) / 31 x 30.5 cm (1 sq. foot)
two pieces of acrylic paint on canvas, 4 labels; 6 parts
signed on 3 labels
numbered and dated in print
only sold as unique piece of work
In 1992 John M Armleder proposed several gallerists to show together multiples at the Basel Art Fair under the name Associated Publishers. Participating publishers were Daniel Buchholz, Cologne / Ecart, Geneva / Gallery John Gibson, New York / Galerie van Gelder, Amsterdam / Daniel Newburg, New York and Caroline Nitsch Editions, New York. Gallery John Gibson showed a 10 meters long rolled up canvas originally rejected by Olivier Mosset and kept in his studio. For the Art Basel Editions 1992 he proposed to revive this painting by adding a pair of scissors to the red roll, including pre-signed labels for each sale. This was meant for buyers to cut out a piece of one square foot or more.
During the Art Basel art fair no visitor bought a piece of the edition and at the end of the art fair Kees van Gelder and John Gibson swapped an edition with each other. After the fair the roll of canvas and samples got lost and until today Olivier Mosset has never seen it again. This makes the set pictured above into an unique piece that originally was meant as a kind of DIY edition until the canvas was finished.
Since the roll of red painted canvas is lost for over a period of thirty years, let alone the signed labels, this work should be considered as more than unique. It is a set of three signed editions cut out from the vintage rol for the very first time on the Basel Art Fair. This is all that is left over and therefore this group of works ought to stay together in order to preserve a lucid idea of Olivier Mosset to give a twist to his originally disapproved very large painting. KvG
Basel Art Fair 1992