DIETER ROTH, Karnickelkoettelkarnickel (Rabbit-shit rabbit), 1972
21 x 19 x 10 cm
rabbit droppings, straw
verso signed and numbered on label
edition 200
splendid condition
Private collection, margin scheme
Dieter Roth is known for his artist’s books, speedy drawings, sculptures and installations. He was an extreme example of a Fluxus artist using found materials, including rotting food, melt chocolate and, like in this multiple, animal droppings. He once said: ‘Wait, later this will be nothing’. He is known as Dieter Roth and Diter Rot.
This edition is in the collection of the Moma in New York, USA: Dieter Roth, MOMA.
History of prices:
Christie’s, Netherlands € 5.000 – € 7.000 estimate 22 November 2022
Karl & Faber, Munich, Germany € 7.500,- (incl. premium)
Van Ham Kunstauktionen, Cologne € 7.000,- (hammer price) 30 November 2016 – nota bene: same edition number as auctioned on 2 June 2016
Van Ham Kunstauktionen, Cologne € 5.000,- (hammer price) 2 June 2016
Christie’s, Zurich, Switzerland € 8.625,- (hammer price)/€ 10.350,- 5 May 2015
Germann Auktionshaus, Zurich, Switzerland € 11.500,- 11 June 2012
In 1987 Eat Art Galerie in Düsseldorf published “Karnickelköttelkarnickel” in an edition of 250 + 26 AP:
DIETER ROTH, Karnickelkoettelkarnickel (Rabbit-shit rabbit), 1987
21 x 19 x 10 cm
rabbit droppings, straw
edition AP: 26
published by Eat Art Galerie, Düsseldorf, Germany
TAKAKO SAITO, unique performance garment [beetle], 1972
ca 72 x 164 cm
cotton, peasant blouse, buttons, embroidery
signed, dated
TAKAKO SAITO, unique performance garment [pine trees], 1972
ca 68 x 130 cm
cotton, peasant blouse, buttons, embroidery
signed, dated
In the seventies these unique garments have been used by Takako Saito during performances in the US. Both peasant blouses are all-over hand embroidered with flowers, puppets, trees, animals and abstract decorations. Provenance Steven Leiber, New York, USA. Collection Kees van Gelder.
HANNES VAN ES, Confrontated, In Crisis and Portraits, 1971
A4, 5 parts
black & white photos in original frames
signed, dated, number 1/8, unique
planned edition 8 of which only this unique series came into production
published by Galerie van Gelder, Amsterdam
€ 3.400,-
In the early seventies the artists Hannes van Es and Louwrien Wijers lived on a boat. Both artists were only influenced by their time of hippie dom and alternative ways of living together. In their case they were specifically inspired by Ben d’Armagnac and Ger Dekker. The individual titles of this series of photos are “hannes van es confrontated” [sic], “louwrien wijers in crisis”, “louwrien wijers in crisis”, “portrait of louwrien wijers” and “portrait of hannes van es”.
LOUWRIEN WIJERS, untitled sculpture [Woman is the Jewel], 1971
30 x 30 cm
printed in cold lead typesetting, i.e. book printing
8 sheets, cover sheet, cardboard base, vintage rope
edition 44
condition: good, although aged with protection sheet worn at the extremeties
published by De Appel, Amsterdam / the artist very rare
Private collection, Amsterdam
inv.LWije 000-pr
The introduction text starts with a description of a visit to the studio of Hanne Darboven in Hamburg. From the first page on each next loose sheet is printed with a bigger font. During the afternoon of the 9th of December, sitting with Hanne Darboven in her workingroom at the parental Hamburg home where she lives, I experienced a fight within myself which forced me to either deny her work in order to be able to respect her person or deny myself and continue an agreeable feeling towards the work lying between us on the table.….
History of price:
Zwiggelaar Auctions, Amsterdam, 24 June 2022 € 800,- (hammer price)
FRANZ ERHARD WALTHER, Find a purpose for the pocket, 1969
ca 37 x 13,5 cm
canvas shaped pocket
unlimited edition stamp signed, dated
condition: good, slightly discoloured
published by Vice-Versand, Remscheid, Germany
€ 1.450,- + € 18,- Track & Trace registered mail
inv. FEWal 27
Here the older and smaller version with stamped signature and date is shown. Franz Erhard Walther began making objects (…the work as a tool…) of fabric that invite the viewer to become active. Here a loop sewn onto the verso enables one to wear this triangle shaped pocket on a belt.
There are two versions: one with stamped signature and the year 1969 and one without. Apparently at some point not all editions were stamp signed and dated.
This work may be found with various titles like ‘Find a reason for this pocket’ or ‘Find a purpose for the bag’. In 1969 Wolfgang Feelisch advertised the multiple as “Find a purpose for the pocket”.
History of prices:
Alternateprojects.com, US$ 1,800.- 19 August 2021 (stamp signed)
Alternateprojects.com, US$ 1,800.- 16 April 2020 (stamp signed)
Van Ham Kunstauktionen, Cologne, Germany € 400,- (hammer price) 24 October 2019 (stamp signed)
Karl & Faber, Munich, Germany € 500,- (excl. VAT) 6 December 2018 (stamp signed)
Artax, Düsseldorf, Germany € 450,- October 2015 (unsigned)
Grisebach, Berlin, Germany € 400,- (hammer price) 29 November 2014 (stamp signed)
FRANZ ERHARD WALTHER, ‘Sockel: Hand und Arm unten’, 1969
59,3 x 19 x 2 cm / 23 3/8 x 7 ½ x 0 6/8 inches
hand sewn fabric
edition 20
signed, dated, numbered on technical drawing as work certificate (A4 size)
not available
The pedestal or ‘Sockel’ to be actively used by the viewer is a central concept in Franz Erhard Walther’s work. During the 1960s Franz Erhard Walther produced a series of 58 sculptural objects that were collectively titled ‘1. Werksatz’ (trans. “First Set of Works”). The earliest of these, ‘Stirnstück’ (trans. “Forehead Piece”), 1963, involved using the front of the head to slide a strip of maroon velvet down a wall. The works in the 1. Werksatz series explicitly tackle the relationship body versus sculpture, also dragging in the problem of the pedestal. Here ‘Sockel, Arm und Hand unten’ (1969) is next to being a title basically an instruction for using the piece as a pedestal. Not only meant physically as Piero Manzoni anticipated his ideas with his ‘Magic Bases’ (1962), namely conceived as a means of turning anyone who climbed onto them into a statue, but also as “a condition that produce a mental image”. The pedestal is a metaphor for everything that supports the human individual and upon which our own images come into being.
BEN VAUTIER, Fourre-Tout No. 3, 1968
CONTENU DE L’ENVELOPPE
18,9 x 17,4 cm includes all objects, as issued
printed matter and objects in plastic envelope with hand numbered sticker
stamp numbered, here number 00016
6 parts and 1 printed list of contents with felt pen hand drawing of a bocal
edition 100
not available anymore
In an accompanying text of this issue it is announced by Ben and Annie (Noël) that “Fourre-tout” number 3 will be the last one. It is explained that ‘The content of this jar is learning us to admit everything. It reads the idea through the object.’
Issues number 1 and 2 were published in 1967 in an edition 250 each. A copy of issue number 3 is in the collection of the MoMA in New York, USA. The museum has one of the 100 glass jars in its collection that accompanies this periodical with an edition of 100 (+ 1 larger ‘jar’ with original manuscripts), although archived separately from its publication.
Complete content of original plastic envelope “Contenu de l’enveloppe”:
KEN FRIEDMAN – print with ink stamped text: Friedman’zart
HENRY FLYNT – print: Overthrow the Human Race!!
BEN VAUTIER – cut page with pencil drawn circles (recto verso) from paperback book
BEN VAUTIER – punched postcard called There might be an aeroplane in the sky of this tiny postcard
ERIC ANDERSSON [sic] – Tape piece, 3 tiny cards with texts/instruction + loose piece of tape
BEN VAUTIER/GEORGE MACIUNAS ? – small Fluxus bag with paste called A medicine for the asthma of Maciunas
Nota bene: This issue No. 3 is complete, although a glass jar the index is referring to as CONTENU DU BOCAL is lacking.
Extra information
Copy edition number 40/100 in the collection of the MoMa, New York. The glass jar with cork that is part of the publication has been archived by the museum separately.
BEN VAUTIER, Fourre-Tout, No. 3, 1968
glass jar, label, felt-tip pen ink, cork, various objects
10,2 x 5,1 cm
being part of periodical
published by Ben and Anne Vautier
Collection MoMA, New York, USA
DITER ROT (Dieter Roth), Rathaus, 1968 [Serie 3: Kassel nr. 5]
14,8 x 10,5 cm
offset postcard
out of set of 9 postcards, loose in original clear plastic envelope as issued
signed in initials, dated
published by Edition Tangente and distributed by Klaus Staeck, Heidelberg, Germany
€ 165,- plus € 13,- Track & Trace EU registered mail
References
“Exceedingly rare complete set of original postcards, published by Klaus Staeck in response to the controversial 4th Documenta show in Kassel in 1968. Each of the postcards is classified as an ‘Originalgrafik’, and this set includes Joseph Beuys’ very first artist postcard. This set is special in the fact that every one of the postcards is individually signed by the respective artist. It is not known how many signed sets were ever issued, but it is probable that not more than ten such sets exist. Each postcard’s image is inspired by the Museum Fridericianum in Kassel. List of the postcards: Nr.1 Joseph Beuys – Friedrichsplatz (documenta IV) – signed in pencil. [Ref. Schellmann, Joseph Beuys – The Multiples, P1, page 410]. Nr.2 Gabor Altorjay – Kassel – documenta IV – 1968 – offset – signed in pencil Nr.3 Gabor Altorjay – Kassel – documenta IV – 1968 – offset – signed in pencil Nr.4 Karl Heinz Krull – Friedrichsplatz – 1968 – offset – signed and dated 68 in pencil Nr.5 Dieter Rot – Rathaus – 1968 – offset – signed with initials and dated 68 in pencil Nr.6 Klaus Staeck – Museum Fridericianum – 1968 – woodcut – signed and dated in pencil Nr.7 Wolf Vostell – Multimedia Environment – Kassel 1968 – signed in pen Nr.8 Nikolaus Jungwirth – Museum Fridericianum – 1968 – offset – signed in pencil Nr.9 KP Brehmer – Museum Fridericianum – 1968 – offset – signed in pencil on reverse. This postcard also has Brehmer’s postage stamp which he designed for Documenta.”
Sims Reed Ltd., London, England
Nota Bene 1
DITER ROT (Dieter Roth), Rathaus, 1968 [Serie 3: Kassel nr. 5]
14,8 x 10,5 cm
offset postcard
out of set of 9 postcards, loose in original clear plastic envelope as issued
signed in initials, dated, numbered 1-30
part of ‘Vorzugsausgabe’
published by Edition Tangente and distributed by Klaus Staeck, Heidelberg, Germany
Nota Bene 2
DITER ROT (Dieter Roth), Rathaus, 1968 [Serie 3: Kassel nr. 5]
14,8 x 10,5 cm
scuffed offset postcard, painted, dated 1969
signed in initials
published by Edition Tangente and distributed by Klaus Staeck, Heidelberg, Germany
Nota Bene 3
The edition ‘Rathaus 1968, 9 postcards’ is not to be confused with ‘Heidelberg 1968, 14 postcards’; also published by Edition Tangente in 1968, Also as issued loose in original clear plastic envelope. (14.8 x 10.5 cm each).
Nr.1 Stefan Wewerka – Der Dom zu Köln im Jahre 5040 – offset – signed and dated in pencil on verso Nr.2 Dick Higgins – Der Dom im Himmel – 1968 – offset with collage element – signed in pen Nr.3 Gabor Altorjay – Köln Altstadt – offset – unsigned Nr.4 Karl Heinz Krull – 4711 immer dabei – offset – signed and dated 68 in pen Nr.5a Dieter Rot – Kölner Rheinbogen – offset – signed in pencil Nr.6 Klaus Staeck – Kölner Dom fur Raucher – woodcut – signed and dated in pen Nr.7 Wolf Vostell – Köln die deutsche Haupstadt der Kunst – signed in pen Nr.8 Nikolaus Jungwirth – Dom (ostseite) mit Rhein – offset – signed in pen Nr.9 Jean-Frederic Schnyder – Sieh Köln und Stirb – offset – signed in pen Nr.10 Werner Nöfer – Der Rhein bei Köln – offset – signed in pencil Nr.11 Friedrich Heubach – ziehen sie verbindungen – offset – signed in pen Nr.12 Alison Knowles – from the publication a house of dust – offset – signed in pen Nr.13 Alison Knowles – from the publication a house of dust – offset – signed in pen. Nr.14 Horst Antes – (Brief) – not issued. Nr.15 Joseph Beuys – Köln, signed in pen.
