Artists’ books from Iceland, 1983
29,7 x 21 cm
plastic strip binder, SC, 9 pp.
ill. and listing of exhibited books
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.
inner cover, backside:
NELLY VAN DOESBURG, list of (ehemaligen) Sammlung Nelly van Doesburg, Paris, 1986
29,7 x 21 cm
vintage photo copies, 3 sheets incl. J.Roggendorf transport list
LAWRENCE WEINER, Some things brought to hand, 1996
29,7 x 20,9 cm
folded as mailed, 4 pp. plus inlay
information leaflet No. 11, curator Piet de Jonge
published by Museum Boijmans Van Beuningen, Rotterdam, Netherlands
condition: very good; folded as mailed
Inlay of Information leaflet No. 11
JCJ VANDERHEYDEN, Zilveren Spiegel, 1991 [mirror]
38,9 x 35,9 x 3,5 cm
mirror, wood, paint
signed, date, year
series of 2 unique works with yellow brims
€ 6.400,- plus € 32,- Track & Trace EU registered mail
JCJ Vanderheyden has produced various mirrors, most of the time for the sake of an exhibition in order to play with repetition through mirroring. This one comes with two yellow painted glass laths, i.e. one on the lower side and one on the right side. A method he uses on the edges of his paintings as well. The horizontal and vertical painted laths reappear in the reflection of the mirror.
LAWRENCE WEINER, Under den Linden, 1994
10,5 x 14,8 cm
published by Parkett, Zurich, Switzerland
This postcard announced the edition “Unter den Linden / Under lime trees” for Parkett Nr 42.
LAWRENCE WEINER, Thrown someplace, 1991
21 x 10 cm
SC, stapled, English/Dutch
splendid condition, although slightly yellowed by age
published by Art & Project, Amsterdam
€ 85,- plus € 12,- Track & Trace EU registered mail
THOMAS RUFF, Sterne, 01h 55m/-30º, 1989
14.8 x 10.4 cm
signed with silver marker
splendid condition, with verso partly residual glue and paper
€ 295,- plus 12,- Track & Trace registered mail
Uncommon signature put straight into the image of the print, by which the artist’s name seems to become part of the firmament depicted.
BEN VAUTIER, Anything Anyhow / N’importe Quoi n’Importe Comment, nd. 
each 9,5 x 12,5 cm
2 loose cards, offset on thin paper (160 g/m2)
published by Rijksuniversiteit Utrecht, Utrecht, The Netherlands
These two loose cards come from an envelope that contains five contributions of Ben Vautier, George Brecht, Gerhard von Graevenitz and François Morellet. The envelope was part of “TOEVAL”, a ring binder produced on behalf of a symposium. A fifth contribution consists of two dices with a Mozart score. It is published as examples of chance, but may be considered as an artist’s edition since the ideas and instructions come straight from the artists. It is not known if all loose contributions by various artists (e.g. “Chance Imagery” of George Brecht) have been added to the complete edition of 2000 copies.
A copy is in the collection of the Van Abbemuseum, Eindhoven, The Netherlands.
‘Actually it is not a catalogue but an artist’s book, with mostly original contributions by artists. That Morellet sheet – translucent paper – is usually signed.’
Mail 22 of January 2021 by Harry Ruhé to KvG.
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’
BEN VAUTIER, Cher, 1966
21,4 x 16,5 cm
letterpress on firm paper
published by the artist
This unaddressed letter in print is obviously prefabricated for sending to artists who are admired by Ben Vautier and fit to a Dada mentality.