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herman de vries: wit is overdaad

herman de vries: [wit is overdaad] 1st edition numbered 120 copies published by herman de vries : Arnhem 1960 artists' book with 20 white pages in folder, stapled dimensions: 13.5 × 10.5 cm In very fine condition the first book by herman de vries appeared in 1960. 'book' may be a big word for this small format booklet of a few sheets, bound with two staples and, surprisingly, without print. no title on the cover, it is blank too. on the colophon page only a few words are printed, in very pale ink and in four languages, like a poem: 'wit / wit is overdaad / blanc est surabondance / white is superabundance / weiss ist übermässig / wit / wit / wit is overdaad'. one might say that this book is at the same time an end and a beginning. it constitutes the end of the work of a scientist soon to renounce the study of nature and who has just announced this by renaming the offprints of a personal scientific publication 'manifest of castrated reality'. it also marks the final point of his parallel work as a painter, related to the abstract movement 'zero'. from 1956 herman de vries has been making monochrome paintings and from 1959, white paintings. [source: Anne Moeglin-Delcroix, 'beyond language', in herman de vries. les livres & les publications (saint-yrieix-la-perche 2005) 29]
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Dieter Roth: Gorgona 9

Dieter Roth: Gorgona 9 page (each): 8 1/4 x 7 5/8" (21 x 19.3 cm); sheet: 5 7/8 x 4" (15 x 10.1 cm); overall (closed): 8 5/16 x 7 5/8 x 1/16" (21.1 x 19.4 x 0.2 cm) Zagreb, 1966. Stupidogramm (Stupidogram)
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Miljenko Horvat: Gorgona 7

Screenprinted cover and two gelatin silver prints.. This edition of Gorgona contains 2 original photographs taken in Denmark. Photographs are identical, presenting two different stages of photographic development. Miljenko Horvat: Gorgona A photograph of the lighthouse and the dead seagull from Skagen, which Miljenko Horvat shot in 1963, during his visit to the further most north point of Denmark, was sent to Josip Vaništa and used as a photo-contribution to the anti-magazine Gorgona no. 7 from 1965. This enigmatic, but almost emblematic image contains within itself the basic principle of not only Gorgonian photography, but also of Horvat's personal approach to the medium. And this is firstly a thought, and only far after it an actual photograph of the seaside with a lighthouse and a dead seagull. The photograph unambiguously has the built-in component of the "mysterious reality".
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Julije Knifer: Gorgona 2

Julije Knifer, Gorgona artists group. Gorgona no. 2 Zagreb 1961. Periodical with screenprinted cover and screenprinted insert. page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm). Julije Knifer designed the second issue, with a serpentine black-and-white geometri
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Marijan Jevšovar: Gorgona 3

Marijan Jevšovar: Gorgona 3 Zagreb, 1962. Stanje: odlićno. Condition: very good. Periodical with screenprinted cover and screenprinted insert. page (each): 8 1/4 x 7 9/16" 21 x 19.2 cm Marijan Jevšovar was born in Zagreb in 1922. Besides his painting, he was an accomplished graphic designer, specialized in books and posters. He died in 1998 in Zagreb. The art of Marijan Jevšovar is punctuated by his association with Gorgona (1959 -1966).
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Josip Vanista: Leonardo da Vinci

Josip Vaništa: Leonardo da Vinci Zagreb 1960/1965 Artist Book Collage. HandMade / Ručno izrađen Unique 15x21,5cm 12pp Collage S urednim papirima
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Ivan Kozaric: Gorgona 5

Periodical with screenprinted cover and relief half-tone plate Dimensions page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) Zagreb, 1961. The Gorgona Group was a Croatian avant-garde art group which consisted of artists and art historians: Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa, operated along the lines of anti-art in Zagreb between 1959 and 1966. Beside individual works linked to traditional techniques, the members proposed different concepts and forms of artistic communication and published the anti-magazine Gorgona - 11 issues.
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Josip Vaništa: Gorgona 1

Josip Vaništa: Gorgona 1 Zagreb, 1961. Periodical with screenprint cover and relief half-tone prints Dimensions: page (each): 8 1/4 x 7 5/8" (21 x 19.3 cm) Josip Vaništa, the group's founder, conceived the first issue, which consisted of the same photograph of an empty shop window reproduced on each of its nine pages.
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Victor Vasarely: Gorgona 4 (CRO)

Victor Vasarely: Gorgona 4 (CRO) Gorgona no 4. Victor Vasarely 1961. Croatian language edition. Edition privée, Josip Vaništa, Zagreb, Yougoslavie. Exemplarie 113 / 250 Izdanje na hrvatskom jeziku. Screenprinted cover and screenprinted insert page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) Vasarely's Gorgona includes several drawings from that period and the author's text. Fine condition. The Gorgona Group, was a Croatian avant-garde art group which consisted of artists and art historians: Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa, operated along the lines of anti-art in Zagreb between 1959 and 1966. Beside individual works linked to traditional techniques, the members proposed different concepts and forms of artistic communication and published the anti-magazine Gorgona - 11 issues. Autor: Victor Vasarely Izdavač: Josip Vaništa, Zagreb Izdanje: prvo/first Godina: 1961 Uvez: meki Format: 20,8x19.2
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Victor Vasarely: Gorgona 4 (FRA)

Gorgona no 4. Francuski / French 4/61. VictorVasarely 1961 Nice condition screenprinted cover and screenprinted insert page (each): 8 1/4 x 7 9/16" (21 x 19.2 cm) privée Vasarely's Gorgona includes several drawings from that period and the author's
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Mangelos: Shid-Theory

Screenprint on cardboard, 8 pages, published by the artist. 14 1/10 × 9 4/5 in. 35.8 × 25 cm. As he himself accurately foresaw, Dimitrije Bašičević Mangelos died in 1987 at the age of 66; in his manifesto Shid Theory, published and exhibited in
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Harold Pinter: Gorgona 8 (ENG)

Harold Pinter: Tea Party. Gorgona No. 8, 1965. Josip Vaništa, vlastita naklada. Vaništa sent Harold Pinter the seven issues of Gorgona that had already come out and asked him to “design his issue like Vasarely and others had done”. Pinter, in turn, sent
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Vlado Martek & Mladen Stilinovic: Knjigarad

Knjigarad = Bookwork. Artist Book. Limited and Rare. Galerija Studentskog centra, Zagreb 1980. This book is stapled in the center, creating space for a catalogue for two artists. The left side contains Martek's work and the right side contains Stilinović'
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Mangelos: Energija no 9.

Artist's Book. Artist Edition for Exhibition, Galerija Dubrava, Zagreb January 1979. Postav izložbe Vlado Perović. Naklada 200 primjeraka.
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Mangelos: Manifesti: noart

Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978. Black. Dvojezično (hrvatsko-engleski) izdanje za drugu samostalnu izložbu Dimitrija Bašičevića Mangelosa, održanu u Atelieru Toše Dabca, Zagreb 1978. godine. Predgovor Nena Dimitrijević. Stanje - odlično. Silkprint on paper. Published on the occasion of the exhibition at ATD, Zagreb, 1978. Artist's edition. With a foreword by Nena Dimitrijevic. Dimitrije Basicevic Mangelos (1921-1987), - a member of avangarde group Gorgona and participated in the Nove tendencije movement. In Croatian and English language. Very rare. Autor: Dimitrije Bašičević Mangelos Izdavač: AtD - Atelier Tošo Dabac Izdanje: prvo/first Godina: 1978 Uvez: meki Format: 14x19 Stranica: 52
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OHO: Mushrooms in a book

Gobe v Knjigi (Mushrooms in a book) Iztok Geister (I.G. Plamen) and Marko Pogačnik Ljubljana, 1968. Drawings of mushrooms, circular holes in the front cover and the leaves and colored paper chips acting with the holes. Card covers, spiral binding. 9.1 x 22 cm 40pp letterpress, offset, collages and die-cut pages, spiral bound, 20 sheets
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Josip Stosic: Nacrti Za Pet Mojih I Jednu Vasu Pjesmu

Studentski Centar Sveucilista u Zagrebu, Josip Stosic, Zagreb, 1976. Paperback. Book Condition: Good. French poet and critic, Stephane Mallarme (1842 – 1898) was a major French symbolist poet, and his work anticipated and inspired several revolutionary ar
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Ivan Picelj: A (Edition a) 4

A (Edition a) 4. Serigraphie Brano Horvat. Ivan Picelj, vlastita naklada, Zagreb 1964. Founded by the painter Ivan Picelj edition a represented the aesthetic and ideological positions of the international art momevent New Tendencies, which took root in Za Anti gravi graphitron
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Mangelos: A (Edition a) 6

Artist Book, nonstories Mangelos. Jedan list, presavijen dva puta. Raširen, u formatu 16x47,8 cm. Sklopljen, format 16x16 cm. Godine 1968. Ivan Picelj je pokrenuo ediciju "a". Sveukupno je publicirano sedam brojeva Ova e
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Odzaci '84

Jugoslovenski umjetnički pečat Ivo Antič, predgovor Koncepcija i realizacija, korice Jaroslav Supek Odžaci, 1984. Ivo Antič, Nenad Bogdanović, Marijan Čekolj, Pop D. Djurdjev, Sandor Gogolyak, Vitazoslav Hronec, Ranko Igrič, Ivan Jelinčić merlin, Aleksandar Jovanović, Dobrica Kmaperelić, Laszlo Kerekes, Josef Klatik, Katalin Ladik, Radomir Mašić, Slavko Matković, R. Milinković, Tibor Varga, Josip Stošić, jaroslav supek, Balint Szombathy, Andrej Tišma 21x29cm 74pp Stanje - odlično
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Mangelos: Fenomen Picasso

Mangelos: Fenomen Picasso Plakat i pozivnica / katalog Novi Sad, Tribina mladih 17.-30.04.1972. Sitotisak / Silkprint Katalog i plakat Mangelos Štampa: Prosveta, Novi Sad Klišea: Forum, Novi Sad Urednici galerije: Csernik Attila, Mirko Radojičić, Biljana Tomić Katalog: 4p / A4. Colour version. Plakat: 29,6x39,6 cm
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Harold Pinter: Gorgona 8 (CRO)

Harold Pinter: Tea Party. Gorgona No. 8, 1965. Josip Vaništa, vlastita naklada. Croatian language edition. Tekst na hrvatskom jeziku. Vaništa sent Harold Pinter the seven issues of Gorgona that had already come out and asked him to “design his issue like Vasarely and others had done”. Pinter, in turn, sent his short story “Tea Party”, which was published in 1965. The Gorgona Group , was a Croatian avant-garde art group which consisted of artists and art historians: Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa, operated along the lines of anti-art in Zagreb between 1959 and 1966. Beside individual works linked to traditional techniques, the members proposed different concepts and forms of artistic communication and published the anti-magazine Gorgona - 11 issues. Autor: Harold Pinter Izdavač: Josip Vaništa, Zagreb Izdanje: prvo/first Godina: 1965 Uvez: meki Format: 20,8 x 19,2 Stranica: 14
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Maj 75 A

Maj 75, broj A; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić
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Maj 75 B

Maj 75, broj B, 1978; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Grupa jedan, dva tri, Mangelos, Goran Petercol 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić
Price on Request