JOHN M ARMLEDER, Concert piece project, 1975
10,2 x 14,8 cm
postal card with ink stamps
signed, numbered, postal stamp dated: ’26 IX 75′
here numbered 2/10
edition 10
rare
John M Armleder contributed to the Art Information Festival in Middelburg, Netherlands in 1975. This Festival was initiated and organised by Peter van Beveren.
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‘The idea of John and his Ecart Performance Group consisted of a performance based on a composition for three musicians and a conductor. In preparation for the concert, they spent a few days with me in Middelburg, as you can read in the sender’s details, id est “Ecart Publications” at the Art Information Center.
Through this edition, the concert was announced to, among others, around 20 people and institutions as a “Concert Piece Project” with the title “Chant Piano, Seul Chant”. The small stamps were part of my stamps with which I decorated correspondences and are here symbolic of the number of objects that were part of the concert.’
‘The piece of music set up by John Armleder consisted of three gentlemen sitting behind a table, namely John Armleder, Patrick Lucchini and Carlos Garcia. There were dozens of small items on the table, from toys to shredded paper. I was the conductor and with my baton, standing behind a lectern, I indicated who had to make as much noise as possible with the object of my choice for a few seconds. A score of John’s concept was handed out to the public.’
Peter van Beveren in a mail d.d. 9 August 2019
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Further information:
PETER VAN BEVEREN, catalogue page “The Art Information Festival”, 1975; the concert took place on 26 September 1975.
Close up of the ink stamp in a book of stamps by Peter van Beveren.
TAKAKO SAITO, Games, 1976
ca 50,4 x 35,3 cm
handmade cardboard folio with 21 offset prints, ink stamp, collage
signed, numbered, dated in print
nr 4/200, only ca 20 have been made
published by Noodle Edition, Düsseldorf, Germany
condition: excellent, lightly discoloured on the outside extremely rare
ask for details
€ 4.800,- plus € 32,- Track & Trace registered mail
Priavate collecion, Amsterdam, Margin scheme
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Each sheet is provided with a speech cloud and shows instructions of the game that may be played. This folder contains 7 different prints colored-in by the artist. Each print comes with 2 extra blank black and white prints, obviously meant for colouring them yourself. This game was designed to be played with other objects or pieces, as stated in Saito’s notes.
Two hundred signed and numbered copies were planned but ONLY circa 20 were made by Takako and sold (hence an early number from the edition). The amount of prints may vary from copy to copy. Fondazio Luigi Bonotto in Colseresa in Italy has a copy (number 5/200) with 8 different prints in its collection.
Ref. Takako Saito Fondazione Bonotto.
Introduction print in folio:
Example of coloured-in print plus two black and white copies
OLIVIER MOSSET, Untitled, 1991
ca 50 x 80 cm
screen print
signed, dated, numbered
edition 100
mint
€ 2.200,- 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.
History of prices:
Catherine Issert, Saint Paul de Vence, France January 2026 € 3,000.-
Galerie Eva Vautier, Nice, France € 3.000,- March 2020
Galerie Eva Vautier, Nice, France € 2.500,- June 2019
BEN VAUTIER, La vie est un film, 2019
ca 50 x 40 cm
signed, numbered
edition 100
published by Editions Galerie Eva Vautier, Nice, France
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This screen print was made parallel with the introduction of a film about Ben Vautier “la vie est un film”.
History of price:
Galerie Eva Vautier, Nice June 2019 € 450,-
ZOE LOENARD / Fierce Pussy, “List” posters, 1991
each 43,1 x 48 cm
Xeroxgraphy, stack of posters with sticker as issued
some slightly yellowed due to age
provenance: Printed Matter, New York, USA
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‘During the collective’s first meeting, at Zoe Leonard’s apartment in East Village in 1991, its members adopted Robert’s Rules of Order * and produced a no-frills poster on the spot using paper, scissors, a typewriter and inserted texts in between a matrix with capitals: “I AM A …… AND PROUD!”, i.e. words like “I AM A lezzie, butch, pervert, girlfriend, bulldagger, sister, dyke AND PROUD!” were used.
This is a stack of one of the first “List” posters printed by a New York-based collective with Nancy Brooks Brody and Zoe Leonard in 1991. The latter were respectively working in the design departments at GQ and Traveller magazines in the group’s early days. During quiet moments around the office, they ran off hundreds of patchy Fierce Pussy posters on the available copy machines.’
* Robert’s Rules of Order is the most widely used manual of parliamentary procedure in the United States. It governs the meetings of a diverse range of organizations — including church groups, county commissions, homeowners associations, nonprofit associations, professional societies, school boards, and trade unions — that have adopted it as their parliamentary authority.
YOKO ONO / JOHN LENNON, War Is Over! If you want it, n.d. [1969]
75,5 x 50,5 cm
block print letterpress
edition unknown extremely rare in this vintage condition
condition: aged with various pinholes, two small tears in lower part
hand written text in pencil at lower left: ‘Sonja Carnaby Street London 1969’
Collection Thora Johansen, Amsterdam
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“War Is Over, if you want it” is a 1969 poster and billboard action that inspired so much political action that the president of the United States Lyndon B. Johnson sought to have British Yoko Ono and John Lennon deported for fear that they would undermine his foreign policy and political fortunes.
At the lower left corner the following text is written in pencil: Sonja Carnaby Street London 1969.
Additional information:
This version of the poster with sub-text ‘Love and Piece from John & Yoko’ is in the collection of MoMA / Museum of Modern Art, New York, USA. In 1969 Yoko Ono and John Lennon showed the poster with the sub-text ‘Happy Christmas from John & Yoko’.
GLENN LIGON, Untitled (Barber shop), 2009
48 x 33 cm
offset, printed on MC paper
splendid condition
€ 950,- plus € 32,- Track & Trace registered EU mail
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Originally this poster was clandestinely distributed on the streets in Toronto.
Glenn Ligon is at the forefront of a generation of artists who came to prominence in the late 1980s with conceptually based work that investigates the social, linguistic, and political constructions of race, gender, and sexuality.
ANDY WARHOL, Cow, 1976
wallpaper
74 x 50 cm
screen print in black and white, framed
text in print: “Andy Warhol – TRIM”
edition unknown
condition: paper and colour more than excellent, left top corner shows a very weak dog’s ear, hardly noticeable toning
uncommon, details on provenance available
€ 3.800,- plus € 28,- Track & Trace registered mail
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This screen print comes with a certificate of authenticity (produced by an auction house in 2018) in which is stated that the provenance is from a collection of a neighbour of Andy Warhol.
See at The Archive is Limited: “Cow” (black and white, red) and “Mao” (2 heads, black and white) that were also part of her collection.
The left top corner of this print has a very light flattened dog ear. For the rest in good condition; a more than attractive lived-through original print.
Added information
This snippet was a model for Andy Warhol’s cow in 1966. Warhol’s collaborator and Factory-assistant Gerard Malanga found this cow photo in an agricultural magazine; Jersey cattle, according to the article, possessed a “quality of refinement.”
History of price:
Hughes, Los Angeles, USA US$ 1,100.- Cow 1976; 8 June 2025 (poor condition)
ANDY WARHOL, Cow, 1976
110 x 75 cm
wallpaper, screen print in red, black and white, framed
dated in print
text: “Copyright Andy Warhol La Biennale 1976”
edition unknown
condition: very good to excellent
€ 1.500,- plus courier costs
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‘The iconic Warhol’s print of a cow was first executed in 1966 for his exhibition at the Leo Castelli Gallery, New York: ‘The idea to use a picture of a cow’s head reportedly stemmed from a comment by the dealer Ivan Karp that no one painted pastoral scenes any more. Warhol’s response was to find a picture of a cow in an old agricultural magazine and have it silkscreened as wallpaper’. Source: TATE Modern, London, UK.
Another source says: ‘Art dealer Ivan Karp proposed Andy Warhol to paint some cows after he claimed that traditional painting was “dead”. Printer Gerard Malanga subsequently came up with some photographs of a cow’s head which were shown to Warhol. This resulted in a series of cow prints, all screen printed on wallpaper between 1966 – 1976’.
This screen print “Cow” (1976) comes with a certificate of authenticity stating that the provenance is from a collection of a neighbour of Andy Warhol. See at The Archive is Limited: “Cow” (black and white) and “Mao” (2 heads, black and white) that were also part of this collection.
Condition details.
Overall the print looks excellent with bright paper colour. A very attractive lived-through wallpaper print! Framed as shown below.
History of prices:
Roseberys, London, UK € 1.824,- Cow n.d. pink on blue / 25 November 2025 (hammer price)
Selkirk Auctioneers & Appraisers, Saint Louis MO, USA € 2,161 Cow 1976 pink on violet / 13 June 2025 (hammer price, poor condition)
Andrew Jones Auctions, Los Angeles, USA € 5,489.- Cow 1971; brown on blue / 17 July 2024 (hammer price)
Phillips, New York, USA € 10.273,- Cow 1971; brown on blue / 27 June 2024 (hammer price)
Edward Kurstak Gallery, Casselberry, USA € 1.028,95 Cow 1976; red on b&w / June 2024
Bonhams, Los Angeles, USA US$ 1,912.- Cow 1976; red on b&w / 9 December 2021 incl. premium
Stair Galleries, Hudson NY, USA € 10.124,- Cow 1976; red on b&w / 2 June 2022 incl. premium
Cornette de Saint Cyr, Paris, France € 3.500,- Cow 1976; red on lemon yellow / 21 January 2021 incl. premium
Cornette de Saint Cyr, Paris, France € 4.550,- Cow 1976; red on lemon yellow / 21 January 2021 incl. premium
Rosebery’s Hill, London, UK € 4.617,- Cow 1976; dark pink on yellow / 6 October 2020, incl. premium
Quittenbaum, Munich, Germany € 800,- Cow 1976; purple on b&w / 27 June 2019, hammer price
ArtPrice.com € 1.910,- 12 December 2019, Cow 1976, incl. premium
Invaluable € 1500,- 4 December 2018, Cow 1976, hammer price
Prints from 1966:
Phillips, New York, USA € 9.427,- Cow 1966; red on yellow / 21 April 2021 (incl. premium)
Rosebery’s, London, UK € 8.178,- Cow 1966; red on yellow / 9 March 2021 (hammer price)
Phillips, New York, US$ 6,875.- Cow 1966; pink on yellow / 8 June 2011 (hammer price)
Phillips, New York, US$ 5,250.- Cow 1966 (stated as ‘1989’); pink on yellow / 26 April 2008 (hammer price)
More information about ‘Cow’ prints, 1966-1976
There are various kinds of so called Cow prints, with various widths and also publishers. One print run was made in 1966 with a text TRIM Andy Warhol, one in 1971 and another one in 1976.
In 1966, for the first time Andy Warhol produced Cow prints for his exhibition at Gallery Leo Castelli. For the Whitney Museum in New York he made another series of Cow prints. On the edge it reads: Whiney Musuem May 1 – June 13 1971.
For the Venice Biennale 1976 he showed Cow wallpaper produced on behalf of his presentation at the pavilion of the USA. On the brim of each sheet of wallpaper a text reads: Copyright Andy Warhol La Biennale 1976.
The first of the series, Cow, 1966, was published as a wallpaper for an exhibition at the Leo Castelli Gallery. Repeated imagery of cows on the wall surrounded visitors.
The second screen print of the series features an orange cow against a lilac background. This image was published for a 1971 Warhol exhibition at the Whitney Museum in New York.
The third screen print shows a cow that is coloured in bright yellow against a blue background. Of this work 150 copies have been hand signed. The unsigned versions have been authenticated by the Andy Warhol Art Authentication Board.
The last screen print of the series shows the cow in light pink against a purple background. This work was published for an exhibition at the Modern Art Pavilion in Seattle, Washington, from November, 1976-January 9, 1977. Prints in various colours have been signed in an unknown edition.
For some reason there is a fifth series of various colour combinations made in 1976, apparently during the time when the fourth series was produced. Several copies have been signed by the artist. See image below.
verso
