BROODTHAERS, Marcel
Artist's book. Unpaginated (28pp.). 2 pages of a text by M. Broodthaers (foreword by the artist and the text of Heinrich Heine's poem "Die Lorelei", in German and French on opposite pages). Letterpress. Only reproductions of which 6 in colors: seven full page facsimiles of drawings from German and French stock exchange tables, six pages of drawings incorporating reproductions of commercial chromolithographs, and six pages of reproductions from the romantic period of the Henrich Heine's poem, "die Lorelei". Publisher's white wrappers. Printed on Zeta Mattpost paper. First edition of only 116 (100+10+6), handnumbered in black ink in the colophon page, -this copy numbered 30/100- bearing the rubber stamp Estate M. Broodthaers" (The edition was intended to be signed by M. Broodthaers, but due to his untimely death the copies were signed with the estate stamp: Estate Marcel Broodthaers ). 32 x 24.5 cm. Fine with a few black ink printing marks (from the printer) on the front cover: thin pale black horizontal and vertical short lines. References: Ceuleers & Van de Velde, 2012: Marcel Broodthaers, The Complete Prints and Books L'oeuvre graphique complète et les livres - Het complete grafische werk en de boeken, n°45. M. Werner, Köln, 1982: M.B., Catalogue of books, #21, p. 58-59. Jamar: Marcel Broodthaers - Complete Graphic Work & Books 44.
Oversized art fair catalogue, 44,5 x 32 cm. Soft cover. Unpaginated (52pp.). Profusely illustarted with b/w photos of works. Most of these participating galleries made the history of the avant-garde of the 60ies and 70ies art: Appel + Fertsch, Francfort; René Block, Berlin; Dieter Brusberg, Hanovre; Buchholz, Munich; Leo Castelli, New York; André Emmerich, New York; Richard Feigen, New York; Konrad Fischer, Düsseldorf; Heiner Friedrich, Munich, Cologne; Ursula Lichter, Francfort; van de Loo, Munich; Müller, Stuttgart, Cologne; Neuendorf, Hambourg, Cologne; Niepel, Düsseldorf; Reese Falley, New York; Reckermann, Cologne; Denise René, Paris, Krefeld; Ricke, Cologne; Rothe, Heidelberg; Gerry Schum, Düsseldorf; Schwarz, Milan; Sperone, Turin; Der Spiegel, Cologne; Springer, Berlin; Stangl, Munich; Thelen, Essen, Cologne; Thomas, Munich; Tobies + Silex, Cologne; Michael Werner, Cologne; Wide White Space, Anvers; Wilbrand, Cologne, Renée Ziegler, Zurich; Rudolf Zwirner, Cologne; Librairie W. König, Cologne. Very good condition.
Exhibition catalogue in newspaper style, 54 x 39.5 cm. 44pp., loose, in two sections, essays in Dutch by Wim Beeren, Rini Dippel, P. Restani, P. Manzoni and others, profusely illustrated with phto reproductions of works. Show 6/24 - 8/30, 1964. Artists include: Arman, Baj, Peter Blake, Christo, Bruce Conner, Dufrene, Fahlstrom, Hains, Hamilton, Hockney, Indiana, Johns, Allen Jones, Klein, Kudo, Lichtenstein, Oldenburg, Paolozzi, Rauschenberg, Raysse, Rotella, Spoerri, Tinguely, Villegle, Warhol, et. al. Horizontal centerfold; paper age-toned, yelowed, some frayed edges, tears, horizontal centerfold, vertical tear (20 cm high, no lack of paper), on the front page of the first section, near the spine. Spine torn at some places. No lacks of paper. General condition: Good+.
Artists pubication. Soft cover, staple bound. 122 pages with numerous reproducions, ill. Tall format, 41 x 27 cm. Covers and pages printed on the same very thin paper. In 1968 an exhibition entitled "The Machines Seen at the End of the Mechanical Age" was held at the Brooklyn Museum in New York City. The exhibited works were comments upon the world of machines and technology. In connection with this exhibition, the museum asked Experiments in Art and Technology for a contribution to the section dedicated to new technologies. E.A.T. (Experiments in Art and Technology) was founded to promote collaboration between engineers and artists. In this context, a competition was announced for works to be shown in this exhibition. The jury for this competition consisted of James M. Brownlow of IBM Research Laboratories, Michael D. Golder of Celanese Plastics Company, Cyril Mr. Harris, Professor of Electronic Engineering and Architecture at Columbia University, John W. Pan of Bell Telephone Company Laboratories and William G. Rosen of the National Science Foundation. The contributions were judged and selected based on their inventiveness and imaginative content. The first prize went to Harris Hyman and Ralph Martel for Heart Beats Dust. Catalogue designed by Billy Kluver, Julie Martin, and Robert Rauschenberg. Reference: Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1953 1970. 1968, 013: November 1968: "A dust sculpture, a fog room, and a leased steel environment are among 137 examples in an exhibition of art involved with new technology opening at The Brooklyn Museum on November 26. Entitled Some More Beginnings, the exhibition is being presented by Experiments in Art and Technology, Incorporated, an organization devoted to furthering collaboration between artists and engineers. The scientists application of technology to the imagination of the artist has produced fascinating new modes of expression. This alliance has created works that totally involve the onlooker, and in many cases require him to participate. Objects talk, move, blink, whir, make music, and demand response. The exhibition comprises paintings, reliefs, sculpture, constructions, environments and films, and will occupy the entire West Gallery and Sculpture Court on the fifth floor. The works are the result of an international competition held by E.A.T. which received 150 entries 95 of them collaborative efforts, from 19 states in this country, and from 8 foreign countries. Some More Beginnings will remain on view at The Brooklyn Museum through January 5, 1969. Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1953 1970. 1968, 013″ A small fold, very barely visible, to the lower right corner of the front cover, loss (3 x 3 cm) of paper to the upper left corner of the back cover. Near fine.
Boxed set of prints and objects by 31 artists. In a varnished red card clamshell box: 37 x 30 x 7.8 cm. Deluxe copy of the Saltoarte box which includes signed multiples by a variety of artists and the original printed subscription form for the publication signed by Panamarenko and Beuys. When left-wing publisher and editor of POUR journal Jean-Claude Garot entered into a financial crisis, Belgian collector and diamond merchant Isi Fiszman offered to create an artistic event to support his publications. Fiszman enlisted the help of his friend Harald Szeemann, whose participation was crucial as it lent international exposure to the event, which was inaugurated on May 23, 1975 at The Museum of Ixelles. A boxed set of editions and multiples was produced and sold as a result of the 'Salto Arte' happening, with all proceeds going to the financing of POUR magazine. Published in an edition of XXI + 100 (I to XXI considered as the "original edition", 1 to 100 being the Deluxe edition, signed and numbered), 900 copies of the normal edition. This copy is one of the 100 Deluxe, n° 66/100. Edition size: XXI + 100 (I to XXI considered as the "original edition", 1 to 100, being the Deluxe edition, signed and numbered), 900 copies of the normal edition. This copy is one of the 100, n° 66/100. Contents: original signed works the box by ANATOL, Carl ANDRE, Igninio BALDERI, BEN (Vautier), Joseph BEUYS, Christian BOLTANSKI, James Lee BYARS, Jacques CHARLIER, CHRISTO, Johannes CLADDERS, Pierre DAQUIN, Hanne DARBOVEN, Robert FILLIOU, Hans HAACKE, Pierre Alain HUBERT, Douglas HUEBLER, Jörg IMMENDORFF, Jacques LE GAC, Sol LEWITT, Bernd LOHAUS, Konrad LUEG-FISCHER, Annette MESSAGER, J. NICOLA, Yoko ONO, PANAMARENKO, A.R. PENCK, Jacques PINEAU, Sigmar POLKE, Katharina SIEVERDING, Klaus STAECK, Paul VAN RAFELGHEM. This box represents, symbolizes an important moment of the avant-garde art and the counter culture of the seventies, which involves and associates art, politics, solidarity, all this in a single goal: Freedom! Very Good+/Fine. We also PROVIDE SIXTEEN (16) ORIGINAL DOCUMENTS that presided over the edition of the SaltoArte box, giving the context, the event, soliciting artists and the result, the exhibition "Je/Nous Ik/Wij", the show in the circus and the conception/manufacturing the box SaltoArte. This includes: - A typed letter by Iisi Fiszman - 2 b/w silver prints entitled "La Fête de Mai", circus tent and shows - 4 issues of the magazine "Le Point - 4 issues of the magazine "Pour" - 4 posters (newspaper supplements in support of the magazine "POUR". And the envelope addressed to M. Broothaers: this set is contained in a posted brown kraft paper envelope with the rubber stamp "POUR", addressed to Marcel Broodthaers. See our description in Abebooks titled: "Salto/Arte (Saltoarte) Pour Écrire la Liberté. SALTO/ARTE, the context, documents". These documents are in fine condition. DETAILED DESRIPTION and CONDITION of the BOX and CONTENTS on DEMAND.
A set of sixteen (16) original documents that presided over the edition of the SaltoArte box, giving the context, preparing the event, soliciting artists and the result, the exhibition "Je/Nous Ik/Wij", the show in the circus and the conception/manufacturing the box Salto/Arte, event created by Isi Fiszman and Harald Szeemann. These documents must naturally accompany the box, inseparable. This set of sixteen (16) includes: - A) A typed letter in French by Isi Fiszman, printed on one side in black ink on a sheet of white paper, 30.3 x 21.1 cm, January 14, 1975. Letter sent to artists whose participation in the event they wish Letterhead Saltoarte in the left corner and, in the right corner, typed the title of the exhibition: Signed by Isi Fiszman in black ink (Isi Fiszman was an Antwerp collector who hosted the alternative space A379089 in Antwerp, co-founder with Jean-Claude Garot of the weeklies "Point" and "Pour"); - B) Two b/w silver prints entitled "La Fête de Mai", circus tent and shows, 18.3 x 24.5 cm each; - C) Four issues of the magazine "Le Point"; - D) Four issues of magazine "POUR"; - E) Four posters (newspaper supplements in support of the magazine "POUR": 2 for the "May Festival", 1 for "Dario Fo's show Mistero Buffo" by the "Nouvelle Scène Internationale Collective" and 1 advertisement for the magazine "POUR", each folded four times; unfolded: 57.7 x 67.7 cm; - F) A posted brown kraft paper envelope with the rubber stamp "POUR", addressed to Marcel BROODTHAERS, 30 x 23 cm. This set of 16 elements is contained in the posted brown kraft paper envelope with the rubber stamp "POUR", addressed to Marcel BROODTHAERS. Fine, near as new.
Retrospective exhibition catalogue. Exhibition organized by Didier Semin. 305 pages. 234 reproductions of works, b./w. and in colors. Text in French. Foreword by Robert Calle, introduction by Didier Semin. Work classified in chronological order by Véronique Dabin, from 1958 trhough 1992. Extensive biography and bibliography. Wrappers. 27 x 22 cm. Touring show: Galerie Nationale du Jeu de Paume, Paris, Nov. 1992 - Jan. 1993; Museum Moderner Kunst, Vienna, Austria, Feb.-April 1993; IVAM, Valencia, Spain, June-August 1993; Carré d'Art, Nîmes, F., Sept.-Dec. 1993. Co-publishers: Galerie Nationale du Jeu de Paume, Paris, Carré d'Art, Nîmes, RMN, 1992. First edition, out of print. Undoubtly the best, the richest source existing at the moment for the Martial Raysse's work. Almost a catalogue raisonne. In NEW condition, still packed and sealed in the publisher's clear plastic wrap.
Exceptional set: a totally illegible artist's book, a privately printed copy, artist's proof, composed by: 1) an artist boExceptional set: a totally illegible artist's book, a privately printed copy, artist's proof, composed by: 1) an artist book, illegible text printed in lithography, in black, on heavy white paper, on double sheets, loose. 2) an original frontispiece etching, in black, loose. 3) a suite of 10 etchings, loose, identical to that of the frontispiece, printed in 10 different colors and 4) the original copper engraving-die used for the print of the etching, scratched. The colophon gives the justification of the edition size in black lithography with an autograph mention by R. Groborne, "Manuscript written in July 1978 at Colle-sur-Loup" signed by artist, both in black ink. Description of this set: Artist's book entirely illegible composed of: 1) 25 double sheets, loose, with illegible text, graphics, printed in lithography, in black, 1 endpaper, blank, 1 title page. 2) 1 frontispiece page, including the original etching in black by R. Groborne, loose, printed in black, numbered "ea" (artist's proof) by hand in the lower left corner, and signed in the lower right corner, both in the lower margin, numbering and signature in black pencil. Each double page, double sheet, of heavy vellum, is numbered by hand in black ink on the first page in the lower left corner (a total of 23 double pages); 88 pp. numbered with text printed in lithography in black, illegible calligraphy. The pages are numbered in blue pencil in the corners at the top. Justification, in the colophon, loose: 30 copies on white vellum, including an etching by R. Groborne printed by Philippe Degrupe, intaglio, distributed as follows: 20 copies signed and numbered from I to XX and 10 registered copies. 170 copies on laid paper numbered from 1 to 170. Autograph mention in black ink, signed by R. Groborne at the bottom of the page: "Manuscript written in July 1978 in Colle-sur-Loup". This copy is a privately printed copy, an artist proof. 3) Separately, the suite of the etching: 10 plates, loose, prints of the etching of the frontispiece of the book, in 10 different colors. Each is printed on one side of one of the four pages of the double sheet of strong BFK Rives vellum paper with fringed edges. The etching appears in neutral, in relief, on the back of each of the colored etchings. Colors of the etchings: light brown, red, yellow, dark red, black, gray (a water stain in the upper left corner), raspberry, blue, orange, green. 4) Comes with the original copperplate, scratched, used to print the frontispiece etching by R. Groborne. Pages, loose, are under a cover with flaps of the same heavy white paper, the whole in a black cardboard case and a slipcase, author's name and title printed in gray ink on the back of the folder. In the slipcase: 24.5 x 16 x 4.5 cm. The suite of the etchings and the copper engraving-die are separate. Condition: A water stain on the back of one of the etchings in the suite, barely visible and a crack 4 cm high without lacks to the top of the spine of the slipcase and one on each joint of the case but a copy definitely in excellent general condition. A fine copy. The graphic work of Robert Groborne can be compared to those of Mirtha Dermisache, Christian Dotremont, Henri Michaux, Irma Blank, Carlfriedrich Claus, Guy de Cointet, Hanne Darboven, León Ferrari, Bernard Réquichot, or Mira Schendel. Une version en français de la description de ce livre est également disponible sur Abebooks, dans une autre fiche, les deux descriptions étant trop volumineuses pour l'espace ici alloué.
Square folio, 37.9 X 38.5 cm, (20) pages, loose, under a white cardboard cover, printed black. Inside the original blind black cardboard slipcase, 39.5 x 39 x 2.3 cm. Text in French by B. Heidsieck, artworks by E. Bal. Edition of 186 numbered and signed by the two artists in the colophon, placed at the beginnig of the book, of which 1 "hors commerce" containing the book model; 3 reserved for collaborators; 8 copies, each containing an original work by Eduard Bal, signed, a paper plane partially burnt, the fire that caused the plane to crash, under a protective transparent celluloid envelope; 4 hors commerce , each containing a fragment of the manuscript; 50 numbered 1 à 50. These first 66 copies contain 4 collages by Eduard Bal, the following 120 are numbered 51 à 170 and contain 4 silkscreens by Eduard Bal. All copies also contain a 45rpm VINYL RECORD, diameter 17 cm, Biopsie 13 Portrait-Pétales performed by Bernard Heidsieck. THIS COPY IS ONE OF THE 8 SIGNED AND NUMBERED D - K, CONTAINING AN ORIGINAL WORK SIGNED AND DATED BY E. BAL. THIS COPY, NUMBER I and A 45rpm VINYL RECORD. This book is an homage to Serge Combard, disappeared in a tourist plane that fell into the sea off Dakar in 1969. And in fact, the Bal's work, the paper airplane, mounted on a board, sinks further and further into the bottom of the board, until it practically disappears in the last board, as the pages go by, the last paper plane at the last moment before sinking completely into the sea. First edition. Condition: spine soiled and broken with occasional foxing, but covers, pages, book and slipcase in very good+, near fine condition.
