Null [Ephemera] Yves Klein, Le Monochrome Eponge Bleu (souvenir), 1991 Transpare…

Description

[Ephemera] Yves Klein, Le Monochrome Eponge Bleu (souvenir), 1991 Transparent plastic box 5.3 x 5.3 x 5.3 cm, housing an International Klein Blue (IKB) coloured sponge and 3 cards. The thick stock cards measure 5 x 5 cm and are coloured blue, gold and pink in typical Yves Klein tones, mirroring his famous Monochrome und Feuer triptych from 1961. The cards are stamped on verso with information about the object which was produced on the occasion of an Yves Klein exhibition in November 1991 at The Archives, Rotterdam, directed by Peter van Beveren. The miniature set was made in an unknown yet numbered edition, this one labeled 'Souvenir No.211' on rear of the gold card. In mint condition. Rare.

6516

[Ephemera] Yves Klein, Le Monochrome Eponge Bleu (souvenir), 1991 Transparent plastic box 5.3 x 5.3 x 5.3 cm, housing an International Klein Blue (IKB) coloured sponge and 3 cards. The thick stock cards measure 5 x 5 cm and are coloured blue, gold and pink in typical Yves Klein tones, mirroring his famous Monochrome und Feuer triptych from 1961. The cards are stamped on verso with information about the object which was produced on the occasion of an Yves Klein exhibition in November 1991 at The Archives, Rotterdam, directed by Peter van Beveren. The miniature set was made in an unknown yet numbered edition, this one labeled 'Souvenir No.211' on rear of the gold card. In mint condition. Rare.

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Estim. 200 - 300 EUR

Émile COHL (1857-1938) Brothers, we have to laugh! Jules Lévy le père des incohérérents drawn incoherently by Emile Cohl India ink on paper lined with cardboard, signed lower left, titled center. 36.5 x 25 cm Bibliography: Juan Gris, dessinateur de presse à Montmartre, Pierre Bacholet, Editions Louise Leiris, reproduced and described on page 495 with the following text: Drawing by Emile Cohl, André Gil's friend and one of the creators of animation, published in Le Courrier français n°39, March 12, 1885. Reproduced in Le Courrier français, March 12, 1885, which "became, at the beginning of its publication, the organ of the Incohérents, a group of artists who wanted to push certain graphic audacities to the point of absurdity, not without announcing cubism... The magazine had its offices in the press district at 25, rue de Richelieu, in the building next door to Le Cri de Paris. A whole host of artists worked for the Courrier français, including Willette, Forain, Félicien Rops, Louis Legrand, Hermann-Paul, Emile Cohl, Uzès, Toulouse-Lautrec, Henri Pille, Ferdinand Lunel, Steinlen, Félix Vallotton, Jacques Villon, Marcel Duchamp and Juan Gris." Pierre Bacholet, op. cit. Brothers, we have to laugh! This is the dogma of the Incohérents art movement. If it's a bit of a misnomer to speak of an artistic movement as such, this moment in art history can be considered "the avant-garde of the avant-garde". Still little-known, little-documented, but promoted in recent years by art historians and notably by the philosopher Michel Onfray, incoherent art originated at the end of the 19th century thanks to Jules Lévy and other personalities whose aim was to mock official, if not serious, art, by adopting its codes and hijacking them. It was in this atmosphere that the first exhibition for people who couldn't draw took place in Paris in 1882. One of the canvases exhibited was Combat de nègres dans une cave pendant la nuit. It was the first monochrome in art history, before Malevitch or Klein. It was also the first time that everyday objects were shown simply for what they were. A simple pair of suspenders, for example, found its place among paintings and other objects presented as art. This was also the first Readymade, more than twenty years before Marcel Duchamp and his famous Urinoir. Driven by a pre-Dada, pre-Surrealist spirit, the Incohérents chose laughter and puns to mock official art. This is the atmosphere reflected in our drawing: Emile Cohl portrays Jules Lévy, the father of the Incohérents, with mischievous eyes and a toothy grin, topped by a harlequin with bells, seemingly inviting us to join in his inspiration for jubilant buffoonery. Michel Onfray, Les Anartistes. Le trésor retrouvé des Arts incohérents, Paris, Albin Michel, April 2022

Starting price 20 USD

Poster for the exhibition YVES KLEIN "PEINTURES DE FEU" at the Karl Flinker gallery in Paris from October to November 1976 Offset printing 78 x 51 cm (wear, soiling)

Starting price 20 USD

FRENCH-RUSSIAN ALLIANCE Monochrome earthenware plate entitled "La Bratina" (Fraternity Cup - July 1891), depicting a scene signed Charles Berton showing a French sailor and a Russian sailor shaking hands, each holding the flag of their respective countries, the ends of which are intertwined; they are topped by a medallion bearing the inscription "souvenir cordial de la ville de St Pétersbourg au cuirassé Marengo en souvenir de sa visite amicale à la Russie en juillet 1891" ("Cordial souvenir from the city of St Petersburg to the battleship Marengo in memory of its friendly visit to Russia in July 1891"). Attributed to the Sarreguemines factory. Diameter: 21.80 cm - A small lack of enamel at 12 o'clock.

Estim. 100 - 200 EUR

Apple Macworld Promotional Material with 2000 Macworld Mouse, Programs, Posters, and T-Shirts Collection of souvenirs and ephemera from various Macworld Expo events, highlighted by the Apple Pro Mouse introduced and given away at Macworld New York 2000, used but in its original box. At the end of Steve Jobs's keynote address, he informed the audience that taped under each seat was a ticket redeemable for Apple's first optical mouse—'I want all of you to be the first ones to get your hands on it,' said Jobs. Additional items include: programs from the Macworld Conference & Expo events held in 2001, 2002, 2003, and 2004; souvenirs including a tote bag, notepad, and pins; nine t-shirts; and four 24 x 36 Macworld 2000 "Yin/Yang" iMac posters. In overall very good to fine condition.

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