DITER ROT (DIETER ROTH), Rathaus, 1968 [Serie 3: Kassel nr. 5]

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.

LUDWIG GOSEWITZ, Der Anziehschmit, 1967

LUDWIG GOSEWITZ, Der Anziehschmit, 1967
60 x 42 cm
offset print for cut outs
edition 150
published by Edition René Block, Berlin, Germany

Ludwig Gosewitz found methods to transfer astrological birth constellations in a visual system. Via compasses and colours he translated the scientific knowledge about planets and constellations into geometrical watercolours and gouaches. In 1971 he began to create mouth-blown glass objects. The process of producing the colourful vases and bowls, the working with the hot glass, functioned like an opposite pole to the geometrical and mathematical based drawings in terms of unpredictability and chance.

BEN VAUTIER, Mon admiration pour votre oeuvre, 1966 [Fluxus]

BVautier1966monAdmirationPourVotreOeuvre600

BEN VAUTIER, Mon admiration pour votre Oeuvre, 1966 / Nice, le 13 Mars
21,5 x 16,5 cm
letterpress print on firm paper
Fluxus announcement / event with an artist statement in French
dated in print: ’13 March, 1966′

 

Part of the text reads roughly in French:
Dear
I would like to express my admiration for your work.
Since Dada in 1920,
the ready-made of Duchamp
the supertemporal of Isou
and the indeterminacy of Cage
and since all that I have taken possession of
is art everywhere:
to wait for someone
to listen to a fly
to move the left arm
to draw a 1 cm line every day.

So the smallest detail, or even the title of the greatest, contains art.
All old conditions for harmony, work, quality, aesthetics have been wiped out.
Everything is art, and it is within the framework of this really everything that you knew how to insert it into your oeuvre.
…..

ERIC ANDERSEN, Opus 36, n.d. [1965]

ERIC ANDERSEN, Opus 36, n.d. [ca 1965]
13,5 x 19,4 cm
text, selfpublished stencil
edition unknown
Collection Kees van Gelder, Amsterdam
inv.EAnd 927

text:
Write two exactly identical envelopes to me and place with tape the right amount in coins instead of stamps. Then put the one into the other and send the letter to me. If I get the letter I will maybe be able to see the exact difference between these two envelopes, and, maybe I will have a useful relationship. And maybe I will be a clever boy. And I will be a happy boy.
eric andersen, vangede bygade 9, gentofte, copenhagen.