[Ephemera] Ben D'Armagnac, Gerrit Dekker, Louwrien Wijers Rare set of announceme…

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[Ephemera] Ben D'Armagnac, Gerrit Dekker, Louwrien Wijers Rare set of announcements, including: (1) Exhibition postcard Ben D'Armagnac and Gerrit Dekker at Wide White Space, Antwerp 1969. Mailed copy. (2-3) Two flyers for projects at Mickery Loenersloot in 1969. One promoting an extensive group show '(pr)o(b)ject' with Beuys, Hesse, Nauman, Panamarenko, Posenenske, Smithson, LeWitt, Schippers, Peeters, Armagnac, Dekkers et al. The other announces an exhibition by Armagnac and Dekkers, with an outdoor work by Paul Thek (decorations for a tree). (4-12) Flyers and press information published by Johannes Gachnang for events organized at the Goethe Institut/Provisorium, Amsterdam 1971-1973. Some printed on brown packing paper. Includes: Flyer for a project by D'Armagnac at Bickerseiland, Amsterdam 1971 (photos Oscar van Alphen); First exhibition by Louwrien Wijers, D'Armagnac and Gerrit Dekker, 1972; Four items on an D'Armagnac & Dekker project in 1972; Poster and flyer for 'Bilanz einer Aktivität', a large group show curated by Gachnang with Baselitz, Penck, Polke, Paul Goede, D'Armagnac, Gerrit Dekker, Louwrien Wijers et al. (13) Ben D'Armagnac, Sheets. Seriaal editions, Amsterdam 1974. (14) Obituary card Ben D'Armagnac 1940-1978, with an image of a performance at the Brooklyn Museum, New York 1978. (15) Invitation card for a retrospective show of D'Armagnac at the Van Reekum Museum Apeldoorn in 1982, recto with image of the Brooklyn Museum performance. (total 15)

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[Ephemera] Ben D'Armagnac, Gerrit Dekker, Louwrien Wijers Ra

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Estim. 3 000 - 3 500 EUR

Ron Wayne's Apple II Advance Order Information Brochure Ron Wayne’s original “Apple-II Advance Order Information” brochure released by Apple Computer in early 1977, four pages, 8.5 x 11, signed on the front in black ink by the Apple cofounder, "Ronald G. Wayne,” who signs over his embossed personal seal. The brochure, which bears Apple's first official address at "770 Welch Road, Palo Alto, CA"—the location of an answering service and mail drop that the company used while still operating out of the famous Jobs family garage—contains ample technical information relative to the Apple II computer, including specifications for “Video Display,” “Memory,” “I/O,” and “Software,” which includes “APPLE BASIC...an integer BASIC supplied in 6k bytes of ROM.” Most significantly, the brochure contains a “Get on the List” offer section and form with purchase options for quantity and memory. A section marked “The Offer,” reads, in full: “We expect a sizable backlog of orders almost immediately after APPLE-II is nationally announced in April. This advance offer is extended to allow you to order an Apple-II from the first production run, thus be guaranteed delivery by April 30, 1977. The terms of the advance order are as follows: 1. All orders will be processed on a first-come, first-served basis regardless of quantity. 2. A deposit of one-third (1/3) of the total dollar amount ordered will be required and must accompany the order, the balance due on delivery. 3. All California residents must add 6 1/2% sales tax on retail orders. 4. Apple will pay all shipping (UPS) and order handling charges. 5. Delivery is guaranteed on or before April 30, 1977. In very fine condition. A rare surviving piece of Apple II ephemera that predates the unit’s release and subsequent ascent as America’s most influential personal computer. Provenance: Christie’s Auctions, The Ron Wayne Apple Archive, December 2014.

Estim. 50 000 - 80 000 EUR

John Constable RA (1776-1837) The Gravel Pits of Hampstead Oil on paper laid on board, c.1820-22 18.1 x 25.8cm; 7 x 10¼in Provenance: Probably Charles Golding Constable (1821-1878); Probably with Dowdeswell and Dowdeswell, London, 1890s (the above according to inscription to reverse); Sotheby's, London, c.1952, where purchased by B. Y. McPeake; And by family descent “The world is wide. No two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world … In a sketch, there is nothing but the one state of mind – that which you were in at the time." -John Constable The Gravel Pits of Hampstead is a previously unpublished oil sketch by one of the great masters of not only British but of European art, John Constable. Painted in c.1820-22, it depicts workers at a gravel pit on Hampstead Heath. The Heath and its surroundings were one of the mainstays of Constable’s art in the second half of his career. He first took lodgings there in 1819, in part to help improve the health of his young family. However, with its combination of panoramic views across London and the rustic ruggedness of its steep banks and hollows, the area also held great appeal to him as an artist. He spent most summers there until 1827, when he purchased a house in Well Walk that was to remain his home for the rest of his life. It is Constable’s Hampstead period, alongside his time in Suffolk, which is most associated with the oil sketches, such as our painting, which today are amongst his most admired and best loved works. The Gravel Pits of Hampstead would have been executed in a single sitting and with its fluid, vigorous brushwork, it provides a fascinating insight into his working technique. Constable had the virtuoso ability to paint rapidly wet-on-wet, or alla prima, creating spontaneous impressions of the landscape around him. Constable painted these open air sketches in Hampstead, Suffolk and other locations until 1829, when he ceased the practice. These works were never intended for exhibition or sale, but instead he could refer back to them as he worked on larger compositions. In fact along the edges of our painting one can see the evenly placed pencil marks which indicate the artist intended to place ‘squaring threads’ in order to work up a larger version of the composition. There are also pin holes in the corners of the sheet, suggesting that Constable either had it pinned to a board whilst working in the open air, or that he had it attached to a studio wall as a compositional aid. An inscription to the reverse of the board reads ‘This sketch on paper, formerly the property of Captain C Constable, son of John Constable was mounted on this card by Dowdeswell the picture dealer.’ The London dealers Dowdeswell and Dowdeswell did in fact purchase works by John Constable at his son Charles Golding’s posthumous sale on 11 July 1887, including lot 70 (‘Sketch of Hampstead Heath – 1821’), and lot 74 (‘Hampstead Heath 1823’), both purchased for £21. It is conceivable that one of these lots is the present work. In the early 1950s the work was purchased by Ben McPeake, who was Managing Director of International Magazines, part of William Randolph Hearst’s publishing empire. The company published a number of titles, including McPeake's personal favourite, The Connoisseur magazine. McPeake lived for a time at Frognal House in Hampstead, and so it seems plausible that he acquired the present work, in part for the local subject matter. Constable’s oil sketches have always been held in the highest esteem and, for some, are more sought after than his finished paintings. The landscape painter Frederick Richard Lee wished to buy some, and was refused, and Samuel and Richard Redgrave wrote that ‘Constable himself knew the value of such studies, for he rarely parted with them. He used to say of his studies and pictures that he had no objection to part with the corn, but not with the field that grew it’. The oil sketches were also hugely influential on future generations of artists, both in Britain and in Europe, and even 100 years after his death John Piper wrote ‘His sketches mean more to us today than his big paintings in the end; they are so complete, vivid and timeless. … Constable … deeply affected the course of the [landscape] tradition and made the Impressionist movement, and ultimately the whole of the modern movement, possible and necessary’. We are grateful to Anne Lyles for her assistance in cataloguing the present work. Please note, this painting is displayed in a loan frame from Douglas McLeod Framing Ltd. Salisbury. Should you wish to purchase it please contact a member of the Old Masters, British & European Paintings department.

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