STEVEN PARRINO, catalogue 1990 [Post-it with original drawing]
25 x 21 cm
2 yellow Post-its glued in as mailed, instructions, drawing and availability of work, ballpoint ink signed with initials
excellent condition p.o.r.
inv.SP 000-pr
This catalogue “Olivier Mosset & Steven Parrino” is published in 1990 by Galerie Pierre Huber, Geneva, Switzerland. Two Post-it papers were tipped in by Steven Parrino for availability of works to be hung in Galerie van Gelder, Amsterdam in 1993. The first Post-it paper contains a drawing describing a wrong hang of one of his paintings as reproduced in the catalogue.
JOSEPH BEUYS, Holzpostkarte, n.d. [1974]
10,2 x 14,9 x 3,3 cm
screen print, wood
signed
unlimited edition of which ca 600 have been signed
published by Edition Staeck, Heidelberg, Germany
€ 540,- plus € 15,- costs Track&Trace
A part of this edition has been issued with an ink stamp.
History of prices:
Tim Byers, Richmond, UK 26 January 2021 GBP 400.-
Van Ham Kunstauktionen, Cologne, Germany 1 June 2016 € 323,-
MARTIN CREED, Art is shit., 2017
ca 59 x 38 cm (41 x 38)
text on tote bag
published by Museum Voorlinden, Wassenaar, Netherlands
For purchase see: Martin Creed, shop Museum Voorlinden
inv.Tassen 619
Screen printed text on fabric: “Art is shit.
Art galleries are toilets.
Curators are toilet attenders.
Artists are bullshitters.”
This is a tote bag with a syllogistic quote from the artist: ‘Art is shit. Art galleries are toilets. Curators are toilet attendants. Artists are bullshitters.’ Apparently in the eyes of Martin Creed galleries show shit and curators are therefore toilet attendants, while artists produce shit. He says: ‘The more I work, the more I think I don’t know what I am doing. I have absolutely no idea what I am doing. It is like sweat or shit. It comes out as I go along …’.
MARTIN CREED, Everything is going to be alright – leporello, n.d. [ca 2012]
104,5 x 14,8 cm
offset postcards, leporello in cellophane envelope
edition unknown
JOB KOELEWIJN, Inhalatiezalf, 1995
7,9 x 7,9 x 2,7 cm
eucalyptus ointment in tin can, cardboard box, folded leaflet, 3 parts
edition unknown
published by the artist
Ref. Collectie Stedelijk Museum, Amsterdam: Job Koelewijn Inhalatiezalf, 1995
This multiple was issued on behalf of Job Koelewijn’s solo exhibition at Galerie Fons Welters in Amsterdam in 1995.
MARK DION, About Space – Souvenirs, 2014
22,5 x 31 x 3,7 cm
45 loose A4 cards in folder, black cardboard box, folded poster (42 x 59,4 cm), signed in plate by David Attenborough, black and white photo (10 x 15,2 cm) edition 80 + XX AP, here IX/XX
small tear in edge box
published with the support of Jan van Eyck Academie, Maastricht, Netherlands
This box contains a series of artist drawings/statements of David Lamelas, Willem Oorebeek, Zin Taylor, Matt Mullican, Adrian Paci, a.o.
JONATHAN MONK, Push or Pull?, 2012
30 x 20 x 0,8 cm
anodized aluminum door sign, transparent perspex
signed and numbered on certificate, edition of 20 + 3 A.P.
More Publishers, Brussels, Belgium
inv.JMon 000
In 2006 Jonathan Monk told David Shrigley in an interview: “I now think the only thing that stayed with me after art school was the idea of context. What and where things are placed in relationship to other things in the world.” The work ‘Push or Pull?’ could be quite well considered as such a thing, the more since the question mark seems to refer to anyone who stands in front of a glass door swiftly deciding either to push or pull. If this sign would be mounted on a glass door in a practical way, the question mark in the title would’t make much sense apart from being very practical for getting a door open in the right way. In order to safe the interrogative part in this work one could easily imagine to mount the transparant persex door sign in a non-practical way on a glass door. Meaning that if one pushes the door it will be blocked and at once the question is raised: ‘Push or Pull?’. KvG May 2013
ROB SCHOLTE, De Angst!, 2004
22,3 x 22,3 cm (18,3 x 18,3)
jigsaw puzzle, glued on cardboard as issued
signed, dated
edition unknown
condition: splendid very rare
inv.RSch 000-pr
It is not clear whether the image is a cartoon, as almost all medieval etchings show the Dutch-Belgian lion looking to the right. The lion on Rob Scholte’s puzzle looks to the left with the shield mirrored, engraved with “Erich Wichman”. The names of the towns and rivers on the map stayed readable. Is the lion’s gaze pointing back towards an opposite direction?
Erich Wichmann joined the Amsterdam city council in 1921 as co-founder with his Rapaille Party ‘Had-je-me-maar’. The puzzle is above all a tribute to contrariness in general and not so much to Wichmann’s sympathies for fascism at the end of his life. He was a Dutch artist, eccentric, anti-parliamentary troublemaker and anti-bourgeois writer. His paintings (on display in, among others, the Centraal Museum, Utrecht) are not without merit as such.
“Begin jaren 90 heeft Scholte De Angst! als jigsaw-puzzle doen uitgeven, waarvan dit een exemplaar is. De oplage is onbekend, maar de uitgave is uiterst zeldzaam. Door Scholte achterop getiteld, gedateerd (2004) en gesigneerd. Ref. De Angst ! text in Dutch; Rob Scholte Museum, Den Helder, Netherlands
MARTIN CREED, Thinking, not thinking, 2009
7″ vinyl record (blue), plastic sleeve, incl. invitation sticker, sealed
published by Hiromi Yoshii Gallery, Tokyo, Japan
inv. MCre 000-pr
MARTIN CREED, Say Cheese!, 2017
21 x 14,8 cm
catalogue, stapled brochures, each 16 pp.
2 parts: publication in English and Dutch, incl. entrance ticket
Added: “Full Moon”, 2017, 21 x 14,8 cm, catalogue, stapled brochures, each 16 pp., 2 parts: publication in English and Dutch.
