archives jean-dominique carre contemporary art 52 rue mazarine f -75006 paris france- archives.carre(at)wanadoo.fr
Brutus Killed Caesar. 1974.
70 offset photo plates.
10 x 27.5 cm.
The Emily H. Davis Art Gallery of the University of Akron with the collaboration of the I. Sonnabend Gallery, New York and the Ohio State University of Columbus, Ohio, (1974).
Lyons J.: Artists' Books, p. 119; John Baldessari, The MOCA, Los Angeles, 1990, p. 247; A. Moeglin-Delcroix, Esthetique du livre d'artiste, p. 275.
Untitled (AS FAR AS/DOUBT/ASKING/HOLDING/RETURN/PARTICULAR/INDICATION/ACCEPT)
Acrylic and ink on paper.
Contemporary wooden frame.
Picture: 12 x 12.5 cm (4.72 x 4.92 in.)
Framed: 25.6 x 26.6 cm (10.07 x 10.07 in.)
Dated (1980) and signed (initials) in black pencil on each corner of the reverse: R/B/8/0
Private collection, acquired from the artist.
Color silkscreeen print and collage.
55.3 x 89.5 cm
Two cardboard collage pieces: 9 x 4 and 4 x 9 cm
Signed and numbered "e d'a" (epreuve d'artiste; artist proof) in black pencil in the lower right corner.
Fold to upper right corner (11 x 11 cm); lower right corner bumped and creased; creases along the lower edges near the corners. Somewhat solied, all over.
General condition: Good.
25 plates under a transparent cover.
Entirely screeenprinted, after the photographs of the L. Castro Theatre d'Ombres.
Soft cover. 20 x 30 cm.
Schraenen, Antwerp, 1974.
Edition of 20 + 250 numbered and signed by both G. Schreanen and L. Castro. One of the 250.
Galerie A. Iolas
Exhibition catalogue/Artist publication.
16p. of which 4pl. photo portraits by Mulas, Wolleh.
4 original interventions, double perforated pages of paper of different colors.
It comes with the invitation card, a double perforated sheet of glossy paper printed in colors: unfolded: 24.6 x 17 cm; picture: 8.5 x 12.5 cm.
Published on the occasion of the show at Galerie A. Iolas, Paris, 1966
Mit einer Einführung von Christos M. Joachimides.
Inscribed and signed copy.
Portfolio, containing 1 double sheet (title and colophon), 1 sheet (introductory text in German by von Christos M. Joachimides), 8 original full-page lithographs printed black.
Inside the original card slipcase.
Yellow cloth-covered card portfolio: 52 x 47 cm.
Published by Steinpresse Jochen Luft, Berlin, Germany, (1964).
First and only edition of 70 (60+10) copies, 60 from the stone press numbered 1-60 and 10 Hors-Comerce, numbered I - X.
This copy number 24/60.
Each lithograph is hand-printed and signed, numbered and dated in black pencil by the artist.
Condition: Card slipcase worn. Portfolio's spine shows some discoloration, plates are in fine condition, as new.
Dedication in German and signature in black pencil in the second page.
Untitled (3.50 Notte)
Tar and graphite on white paper.
Framed in glass and wood painted white.
Picture: 42 x 29.7 cm (16.54 x 11.70 in.).
Framed: 50.6 x 38.6 cm (19.92 x 15.20 in.).
No date (2010's).
Signed in black ballpoint pencil in the lower right corner.
Provenance: The artist; private collection.
Photograph: 40 x 52.7 cm
Framed: 58.5 x 72 cm
Dated, numbered, titled and signed on the reverse
Provenance: Galerie Yvon Lambert, Paris (Gallery's label pasted on the back); Private collection, Paris.
Africa and England
Offsetlithograph, partly in colors, partly black and white.
Paper: 63.2 x 139.8 cm
Image: 23.9 x 104.8 cm
Text (left): "2 works one vanishing with the wind the other with the tide".
Text (right): "Richard Long Africa and England 1969"..
Unidentified. Very probably from an edition denied by R. Long.
The four central black and white photographs were used for "Rian Dance", part of the "Artists & Photographs" box, Multiples Inc., in association with Colorcraft Inc., New York, NY, 1970.
Untitled (Caravaggio's Medusa; Medusa Marina).
Photographic image in colors, an adaptation of Caravaggio's Medusa (painted 1590), on a circular cast porcelain plate.
Diameter: 31.8 cm (12.5").
Edition size: unspecified.
Made by Bernardeau, Limoges, France.
It comes with its original packaging and the Norton Family's season greetings card.
The 1999 Peter Norton Family Christmas Project.
Intermediterraneo. Love Difference.
Silkscreen print on plexiglas mirror.
Inside the publisher's black paper folder.
Print: 25 x 35 cm
Edition of 500 numbered and signed in black felt pen in the lower left corner.
Publisher: Artistic Movement for an InterMediterranean Politic, 2002.
This print has been created to raise money to create and support the Pistoletto's "Love Difference" movement: "Love Difference- Artistic Movement for an InterMediterranean Politic aims to set in motion processes of exchange and interaction between different cultures. Art is means of proposing innovative patterns for society also in its politics. The Mediterranean is an ideal starting place to understand, accept and love difference". M. Pistoletto.
"Support Love Difference in its commitment to offering society a new model of cultural integration. Love Difference is a movement whose goal is a new conception of art and creativity, which promotes projects that respond to current social problems. Love Difference proposes solutions that offer the assurance of social responsibility in the world of creativity."
One of the realizations of the Pistoletto's program "Progetto Arte".
RAT BASTARD PROTECTIVE ASSOCIATION
Untitled (Pasted paper around Michael Mc.Clure)
Paper, gouache, ink.
Picture: 31.5 x 24.3 cm
Framed: 44.3 x 36.5 cm
Signed and dated 1968 in the lower right corner.
Paper label pasted on the back with typed text:
"Pasted paper around Michael Mc.Clure
Rat bastard protective association
(Mc.Clure, J. Defeo, J. Brown, W. Berman)
2707 Jenner St
Baltimore MD 21209"
THE RAT BASTARD PROTECTIVE ASSOCIATION, an underground arts association, was founded by Bruce Conner in 1959 in San Francisco, three years after the Allen Ginsberg's poem "Howl" and its public lecture, two years after the Jack Kerouac's "On the Road". The San Francisco "Bay Area" became the place where a new generation of writers, painters and musicians rebelled against the "American academicians", the place where the Beat Generation was born. The society marginalized violently the new culture and its upholders. In this hostile context, in which the underground movement were rejected and marginalized, treated like rats, Bruce Conner forged the name of Rat Bastard Protective Association, coined after the name of the "Scavengers Protective Society", the San Francisco garbage collectors company and from the Pre-Raphaelite Brotherhood (PRB, like the Rat Bastard's RBP). The members of this informal group were, besides Bruce Conner, Manuel Neri, Joan Brown, Jay DeFeo, Wally Hedrick, Wallace Berman, Jess Collins, George Herms, Michael McClure, LG Williams
Galerie A. Iolas, Paris
Unpaginated. (28)p./pl. Text by O. Hahn, "Martial Raysse ou l'obsession solaire", biography.
4 full-page color lithographs printed by Fernand Mourlot: "Peinture à haute tension"; "Made in Japan en Martialcolor"; "Raysseland"; "Tableau dans le style français".
Photographs by Geroges Veron.
20.7 x 16.8 cm.
It comes with 1) the list of the works, loose, and 2) the announcement (see left, folding card with Raysse's lithograph on the cover, text inside: folded: 12.5 x 16.6 cm; unfolded: 25 x 16.6 cm.
Title of the show: "...Made in Japan... Tableau horrible... Tableau de mauvais goût”.
Galerie Alexandre Iolas, Paris, June 10 - July 10, 1965.
Fine, near as new.
Galerie Alexandre Iolas, Paris
Photoportrait in frontispice, 2pp. text in English by Henry T. Hopkins, 14 full-page illustrations, list of the paintings.
21.2 x 15.9 cm.
Book design by Sergio Tosi.
Edward Ruscha’s second solo show in New York at Alexandre Iolas Gallery and his first exhibition catalogue, 1970.
CONTINENTAL IV. 1973.
Black and white gelatin silver print.
Framed on a wooden board behind a clear Plexiglas panel.
Signed, titled and dated in black ink at the bottom of the picture, center.
Also signed, titled and dated on the back of the wooden panel.
Private collection, Paris.
Untitled (COLLAGE WITH TWO STRIPS GLUED TOGETHER)
Two strips of brown paper glued together on a white paper sheet.
Signed on the back in black pencil.
Framed with steel and glass.
Sheet: 35.3 x 28 cm (14.9 x 11.02 inc.).
Frame (contemporary): 50.5 x 42.5 cm (19.88 x 16.73 inc.).
On the back, top, written in black pencil in block characters:
"COLLAGE WITH TWO STRIPS GLUED TOGETHER BY RICHARD TUTTLE SUMMER 1973 (to Y. LAMBERT 7-4-1974)"
10p., ill., texts in French by Jean-Jacques Lebel, Alain Jouffroy and John Ashbery.
Folding print, reproduction of the "Blue Electric Chair".
Original illustrated white stapled wrappers.
26.5 x 18 cm.
Photographs by Shunk-Kender.
Published on the occasion of the show at Galerie I. Sonnabend, Paris, France, January-February 1964.
Fine (rust to staples).
Exhibition catalogue and announcement card.
(12)p., a one-color (blue) silkprint on offset, yellow endpapers. Text in French by O. Hahn. Wrappers.
14.5 x 14.5 cm.
Galerie Ileana Sonnabend, Paris, May 1965.
Includes the invitation card for the opening May 12, (1965), printed on one side in blue silkprint and on the other side in black offset flowers.
Card: small light crease to the announcement card upper right corner; Catalogue: small abrasion on and a tiny (2 mm -0.7 inc.- long) crease to the lower edge of front cover. Overall: very good+, near fine condition.
(12)p., a one-color (blue) silkprint on offset, yellow endpapers.
Text in French by O. Hahn.
14.5 x 14.5 cm.
Galerie Ileana Sonnabend, Paris, May 1965.
A folded red paper sheet printed black, loose inside the publisher's illustrated card folder (flowers in color offset lithograph on both front and back covers).
Text in German by Udo Kultermann.
24 x 16.3 cm.
First A. Warhol's solo show in Germany, at Galerie M.E. Thelen, Essen, November 26 - end of December, 1965.
The Thirteen Most Wanted Men. Police department, City of New York. Dossier N° 2357. 1967.
Exhibition catalogue/ Artist publication/ Print.
5 leaves (3p. text in French by Otto Hahn, 2p. biogr.).
1 b/w silkscreen print: offset printed photo portrait of one of the thirteen most wanted men: John Joseph H (photo by Shunk-Kender, 21 x 17 cm).
Inside a card folder, pages and print stapled to the back cover, inside.
26.5 x 18 cm.
Galerie I. Sonnabend, Paris, 1967.
Andy WARHOL / Fred W. McDARRAH
Andy Warhol in Bandmaster Costume, 1967.
Black and white offset lithograph on matte paper.
After the photograph by Fred W. McDARRAH taken in St. Mark's Place, New York City, December 9, 1966.
108.5 x 75cm.
Published by Personality Posters, NY, 1967, under the reference "169 Andy Warhol".
Rare image and poster of Andy Warhol.
Fred W. McDARRAH (1926-2007) was a famous The Village Voice staff photographer.
Most Wanted Men
A single card sheet folded in two.
Full-page offset printed portrait of one of the Most Wanted Men series on the last page.
22.2 x 14.6 cm.
Show at Rowan Gallery, London, March 8 28, 1968.
Musée d'Art Moderne de la Ville de Paris (Cow)
Color silkprint illustrations, of which two full pages and a photo portrait of A. Warhol. Text in French by G. Brownstone and A. Pacquement.
Folded: 20 x 26.5 cm.
Unfolded: 120 x 26.5 cm.
Published on the occasion of the A. Warhol solo show at the MAM, Paris, Dec. 16, 1970 - Jan. 14, 1971.
Silkprint on wallpaper.
100 x 75.5 cm.
Published for the Warhol exhibition at the Musée Galliera, Paris, France, February 23rd - March 18th 1974.
Printer: Bill Miller's Wallpaper Studio, New York.
Publisher: Factory Additions, New York.
Unknown edition size of which approximately 100 signed.
Signed (lower right) and inscribed (lower left) in black felt pen.
Two parallel short (2 cm long each) light soft creases in the middle of the paper, repeated vertically every 10 cm from top to bottom, due to the rolling of the sheet at the very beginning (then it has been kept flat and framed from almost the origin), almost invisible.
On the back, a small stain (6 x 3 cm), invisible on the front.
Overall: Fine condition.
Schellmann II 125 A.
Kynaston McShine (ed.): "Andy Warhol: A retrospective," catalogue of the show, MoMA, New York, 1989, p. 332.
Eric Shanes: Andy Warhol, La vie et les Chefs-d'oeuvre, New York, 2004, p. 164.
David Bourdon: Andy Warhol, Flammarion, Paris, 1965, p. 319, #248.
Inscription. ......... Signature
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