DALED
— Memorandum About the Collection and Its Presentation
Some facts must be established from the start: — The collection in itself (outside of its historical context) is of limited interest. The collection is characterised by its irregular and disproportionate character as well as the modesty of the acquisitions. — One cannot deny that what we did between 1966 and 1978 has affected the minds, and continues to haunt the memories, of all those protagonists who were active during that period. — This makes us hope that the presentation in Munich will focus on what was done and in what context, rather than on what has been acquired. — We expect that through the presentation of the artworks, and their detailed documentation, a precise ‘historical recon struction’ of that period might be created. The aim of this would be to ensure that the presentation of the collection would have an authentic documentary value that could be recognised by historians investigating this crucial period in art history.
Verlag der Buchhandlung Walther König
Haus der Kunst München
Collection
DALED
A Bit of Matter and a Little Bit More A Bit of Matter and a Little Bit More
The Collection and Archives of
Herman and Nicole Daled 1966-1978
Edited by Patrizia Dander and Ulrich Wilmes Haus der Kunst MĂźnchen Verlag der Buchhandlung Walther KĂśnig
... and a Little Bit More The Archival Passion of the Collector Chris Dercon, Dirk Snauwaert, Ulrich Wilmes
6]
Synchronies A Journey of Discovery through Herman and Nicole Daled’s Collection and Archives – 1966-1978 Birgit Pelzer
16]
Selection of Works Acquired between 1966 and 1978 81]
Content
Art Belge et Conceptuel Daledien: An Abecedarium (incomplete) Benjamin H. D. Buchloh
266]
Memorandum About the Collection and Its Presentation Herman and Nicole Daled
282]
Chronology Daled Collection 1966-1978 Eva Brauer, Patrizia Dander
296]
Archive Materials 310] Artists from the Daled Collection 438] Inventory of Works Acquired between 1966 and 1978 442] Imprint 455]
‌ and a Little Bit More The Archival Passion of the Collector Chris Dercon, Dirk Snauwaert and Ulrich Wilmes
At the close of the first decade of the 21st century, our transition from an analogue to a digital world has largely been completed. Similarly radical transformations in other epochs have also had lasting consequences and effects. Nevertheless, we are naturally inclined to regard those things closest to us as the most effective in each individual case, because they confront us with developments that in turn have consequences we are unable to survey. The established, adult generation is seldom prepared for such a socially relevant impetus, whereas the younger generation grows up with it and duly learns to assimilate it as a matter of course. Cultural practices within their different thematic areas are decisively influenced and altered by such developments. They take place in a time frame determined by the internal and external factors of the present. In this sense, contemporary fine art, since the 1950s at the latest, has been shadowing this acceleration of daily reality, which has in turn embraced every imaginable sector of life on a progressive scale. In so doing, art has ultimately supplanted and bade farewell to the linear sequence of innovation and reaction – which never really existed as such – in favour of a pluralism that has continued to develop out of a radicalisation of modernist artistic thought and practice. This pluralism encompasses a parallel presence of equally significant developments to boot, which unfold in different directions. Hierarchical status criteria between these tendencies are as equally obsolete as the historical permanence of the generic concepts of the artworks they produced. The interval between the given and the new becomes increasingly attenuated as we approach the present day, and as the amplitude between transformation and reflection continues to diminish. Thus, the production and distribution, as well as the presentation and accumulation of art serve to confirm the laws of a Western capitalist economy and its perennial fantasies of expansion. Coinciding with the establishment of a contemporary-style art market in the shape of the art fairs in Cologne (13 September 1967) and Basel (11-16 June 1970), important contemporary movements turned towards a critique of the material and commercial conditions of the artwork per se. Interestingly, a critical engagement with the structure of the market played an important part in this enterprise. The acceleration of information and mobility, as well as its simultaneous critique, became involved in a race not unlike the fabled contest between the hare and the tortoise; albeit with a decisive difference, namely that the roles were not clearly distributed, but tended to alternate. Serially produced editions of objects served to increase distribution with a concomitant reduction in price. This essentially democratic intention was geared 7
Synchronies
Synchronies
Opening of Daniel Buren’s exhibition at the Wide White Space gallery in Antwerp, January 1969 Top and middle: Michel Claura, Isi Fiszman, Herman Daled Bottom: N.N., N.N., Jacques Caumont, Isi Fiszman, N.N., Daniel Buren, Marcel Broodthaers, Otto Hahn, Herman Daled Photos: © Maria Gilissen
30
Nicole and Herman Daled with André Cadere at the Ghent Museum of Fine Arts, 1975
43
Lion belge 1968 Le rĂŠchaud Ă gaz 1968-70 101 Marcel Broodthaers
105 Marcel Broodthaers
Peinture acrylique blanche sur tissu rayĂŠ blanc et colorĂŠ 1969
Income (Outgo) Piece 1969 145 Daniel Buren
191 Dan Graham
Solomon R. Guggenheim Museum Board of Trustees 1974
Tierlidl 1968 206 Hans Haacke
213 Jรถrg Immendorff
Abdr체cke eines Pinsels Nr. 50, wiederholt in regelm채ssigen Abst채nden (30 cm) 1978 Installation Haus der Kunst, Munich, 2010
Untitled 1961 249 Niele Toroni
251 Cy Twombly
1956 The radiologist Herman Daled (b. 12 June 1930) and the doctor of law Nicole Verstraeten (b. 11 September 1931) marry in Dinant on 25 July 1956. Their son, Pierre, is born on 19 May 1960. Inspired by Herman Daled’s first boss, Dr. Albert Claude, a cytologist, Nobel Prize winner in Physiology and Medicine and passionate devotee of ‘New Music’, the couple start to become interested in contemporary art.
Chronology Daled Collection 1966-1978 Eva Brauer, Patrizia Dander
1966 The start of their ‘active participation’ in the art scene of the day is marked by the purchase of their first work by Marcel Broodthaers, Maria (1966*), on 8 November 1966 at the Galerie Cogeime, Brussels. This work is paradigmatic for the further development of the collection. Marcel Broodthaers becomes a close friend and confidant of the Daleds. Acquisitions in 1966 include: Marcel Broodthaers, César (Baldaccini), Remo Martini, Robert Stenne, Cy Twombly, Paul Van Hoeydonck.
p. 100
1967 Acquisitions in 1967 include: Enrico Baj, Marcel Broodthaers. 1968 In 1968, Nicole and Herman Daled move to their apartment in the Avenue Messidor, where many of the artists represented in the collection will be frequent visitors. They meet Daniel Buren at the opening of Marcel Broodthaers’ Musée d’Art Moderne. Département des Aigles (Museum of Modern Art. Department of Eagles) in the Rue de la Pépinière, Brussels, on 27 September 1968. The desire to acquire a work by Daniel Buren begins to take shape. Throughout 1968 and 1969, the Daleds, together with Isi Fiszman, systematically acquire each one of Marcel Broodthaers’ thermoformed plastic plaques, alternately receiving the edition numbers 1 and 2 respectively*. Acquisitions in 1968 include: Marcel Broodthaers, Alain Jacquet, Remo Martini, Nikos Navridis, Panayiotis Vassilakis Takis, Cy Twombly.
see pp. 104-15
Right: Herman and Nicole Daled with Marcel Broodthaers at the Musée d’Art Moderne. Département des Aigles, December 1969 Photo: © Maria Gilissen 297
Archive Materials
312
Inventory of Works
Enrico Baj
Acquired between 1966 and 1978 The inventory of works is based on Herman and Nicole Daled’s acquisitions between 1966 and 1978. The inventory entries are sorted first by artist and then chronologically. Each entry comprises the following information: artist title, year edition number technique / media measurement (height x width x depth in cm) provenance date of acquisition
Vito Acconci
Provenance and date of acquisition are listed where available, edition number where applicable and available. The measurements refer to the size of the work unless otherwise stated. The works exhibited at the Haus der Kunst are marked with *. The works whose titles could not be reliably verified (on the works, in publications or through certificates), i.e. that solely refer to notes in the archives of Herman and Nicole Daled, are marked with **.
Carl Andre
p. 82] Following Piece, 1969* black-and-white photographs, map and marker on cardboard 76.0 × 102.0 cm (frame) provenance: John Gibson Gallery Inc, New York purchased in 1971
p. 87] A Theory of Poetry, 1969* ed. 1/36 book, 152 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
p. 83] Room Piece, 1970* black-and-white photographs, map, typewriter and ballpoint pen on paper, marker on cardboard 76.0 × 102.0 cm (frame) provenance: John Gibson Gallery Inc, New York purchased in June 1971
p. 88] America Drill, 1969* ed. 1/36 book, 98 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
p. 83] Room Situation (Proximity), 1970* black-and-white photographs and marker on cardboard 76.0 × 102.0 cm (frame) provenance: John Gibson Gallery Inc, New York purchased in 1971 p. 82] Rubbing Piece, 1970* colour photographs and pencil on cardboard 76.0 × 102.0 cm (frame) provenance: John Gibson Gallery Inc, New York purchased in 1971
Kathy Acker A Second of Time, 1978* sketchbook, 52 pages, mixed media on paper 31.2 × 25.5 cm (closed) provenance: Kathy Acker gift of the artist in 1978
p. 86] Shape and Structure, 1969* ed. 1/36 book, 150 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971 p. 89] Three Operas, 1969* ed. 1/36 book, 122 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
p. 89] Lyrics and Odes, 1969* ed. 1/36 book, 166 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
p. 84] 16 Steel Rod Run, 1970* 16 parts, steel reinforcement rod composed from 16 parts of different dimensions from 2.0 × 13.0 × 2.3 cm to 2.0 × 28.6 × 2.3 cm each overall size: 2.0 × 378.0 × 2.3 cm provenance: Dwan Gallery, New York purchased in 1971
p. 88] One Hundred Sonnets, 1969* ed. 1/36 book, 202 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
p. 85] 41 Ivory Line, 1974* 41 parts, ivory composed from 41 identical parts 0.1 × 2.2 × 3.5 cm each overall size: 0.1 × 2.2 × 143.5 cm provenance: Carl Andre gift of the artist in 1978
p. 87] Passport, 1969* ed. 1/36 book, 200 pages, offset print on paper in plastic binder 29.5 × 25.1 × 3.6 cm (binder) provenance: Dwan Gallery, New York purchased in 1971
442
Shusaku Arakawa p. 91] The Portrait of Mr. M., 1967* silkscreen, acrylic and pencil on canvas 163.0 × 118.5 cm (frame) provenance: Yvon Lambert, Paris purchased in March 1969
Officier avec son adjudant, n.d. mixed media on canvas 92.0 × 73.2 × 2.3 cm provenance: Galerie Cogeime, Brussels purchased in December 1967
Robert Barry pp. 93-95] 10° #2, 1968* 11 drawings, ink on polar coordinate paper 28.2 × 21.6 cm each provenance: Leo Castelli Inc, New York purchased in 1972 4 to 1, 1968* ink on graph paper 21.7 × 28.0 cm provenance: Leo Castelli Inc, New York purchased in 1972 Untitled, 1968*/** ink on logarithmic paper 29.0 × 21.7 cm provenance: Leo Castelli Inc, New York purchased in 1972 p. 92] Art Work, 1971* print on paper 30.4 × 42.6 cm provenance: Art & Project, Amsterdam purchased in November 1972
Bill Beckley A Quartet, 1971 black-and-white photographs, sheets of music and ink on paper 50.8 × 76.0 cm provenance: John Gibson Gallery Inc, New York purchased in 1972 Middle ‘C’, Cardial, Swinging, 1971 black-and-white photographs and ink on paper 50.8 × 76.0 cm provenance: John Gibson Gallery Inc, New York purchased in 1972 Three Songs for Specific Audiences, 1971-72 sheets of music and ink on paper 50.8 × 76.0 cm provenance: John Gibson Gallery Inc, New York purchased in 1972
Gary Bigot Untitled, 1978** 2 boxes with paper files, pencil on paper, plexiglass 10.5 × 15.5 × 4.6 cm each (box) 9.7 × 14.9 cm each (paper files) provenance: Galerie mtl, Brussels purchased in 1978
Mel Bochner p. 97] 8 Square Inches, 4 Measurements, 1967-71* felt-tip pen on graph paper 35.7 × 42.7 cm provenance: Mel Bochner purchased in 1971 Measurement, 1968-71* felt-tip pen on paper 28.0 × 28.0 cm provenance: Mel Bochner gift of the artist on 5 April 1971 p. 96] Translation, 1971* felt-tip pen on graph paper 35.5 × 43.0 cm provenance: Mel Bochner purchased in 1971
Marcel Broodthaers
p. 127] Pense-Bête, 1963-64* 2 copies book, 32 pages, letterpress printing 29.5 × 22.2 cm (closed) provenance: Librairie Corman, Brussels purchased in 1969 Bouche dans un pot de confiture, 1965 colour photograph, glass 12.0 × 10.0 × 10.0 cm provenance: Marcel Broodthaers gift of the artist in 1970 p. 102] Frites, 1966* wood, paint, bowl 24.0 × 24.0 × 22.0 cm provenance: Marcel Broodthaers purchased in November 1970 p. 100] Maria, 1966* also known as Robe de Maria dress, hanger, eggshells on paper, canvas 112.0 × 100.0 × 12.0 cm provenance: Galerie Cogeime, Brussels purchased on 8 November 1966 Œil dans une boîte en plastique, c. 1966* colour photograph, plastic 4.2 × 3.4 × 3.4 cm provenance: Marcel Broodthaers gift of the artist in 1970
p. 126] Untitled (Louis Bourgoignie d’écriture), 1954*/** book, ink on paper, plastic cover 21.0 × 16.5 cm (closed) provenance: Yves Gevaert, Brussels purchased in 1978
Quatre œufs, 1966* eggshells and paint on canvas 22.0 × 27.0 × 8.0 cm provenance: Galerie Cogeime, Brussels received as New Year’s gift from Galerie Cogeime in 1967
p. 127] Mon livre d’ogre, 1957* ed. 80/175 book, 44 pages, letterpress printing 21.0 × 16.1 cm (closed) provenance: unknown purchased in 1971
p. 107] Académie I, 1968* ed. 1/7 thermoformed plastic, paint 85.7 × 119.2 cm provenance: Marcel Broodthaers purchased in June 1968
p. 127] Minuit, 1960* eds. 31/213, 48/213 book, 24 pages, letterpress printing 21.4 × 16.8 cm (closed) provenance: Librairie Simonson, Brussels first copy purchased in 1976, second copy purchased on 17 January 1981
p. 107] Académie II, 1968* ed. 1/7 thermoformed plastic, paint 85.7 × 119.2 cm provenance: Marcel Broodthaers purchased in June 1968
p. 127] La bête noire, 1961* eds. 111/700, 138/700, 139/700 book, 16 pages, letterpress printing 13.8 × 27.4 cm (closed) provenance: Librairie Corman, Brussels purchased in 1969
443
p. 102] Caquelon de moules, 1968* mixed media 15.0 × 33.0 × 25.0 cm provenance: Marcel Broodthaers purchased in November 1970 p. 105] Chez votre fournisseur (Le Vinaigre des Aigles), 1968* ed. 1/7
p. 115] Musée d’Art Moderne. Les Aigles. Section XIXe siècle, 1969* ed. 1/7 diptych, thermoformed plastic, paint 193.5 × 178.0 cm provenance: Marcel Broodthaers purchased in February 1969 p. 111] Museum. Enfants non admis, 1968-69* ed. 2/7 thermoformed plastic, paint 82.0 × 118.7 cm provenance: Marcel Broodthaers purchased in 1968
p. 99] Un pari perdu, 1969*/** thermoformed plastic 60.5 × 80.5 cm provenance: Marcel Broodthaers received from the artist in 1969 in exchange for a lost bet p. 128] Vingt ans après (Tome 1), 1969* ed. 43/75 book with publisher’s band, print on paper 16.6 × 11.2 cm (closed) provenance: Marcel Broodthaers gift of the artist in 1969
p. 111] Museum. Enfants non admis, 1968-69* ed. 2/7 thermoformed plastic, paint 81.7 × 118.7 cm provenance: Marcel Broodthaers purchased in 1968
p. 141] Général au cigare, 1970*/** oil on canvas, cigar 40.0 × 30.0 × 7.0 cm provenance: Marcel Broodthaers received in December 1970 in exchange for three bottles of Dom Pérignon champagne
p. 108] Porte A, 1969* ed. 2/7 thermoformed plastic, paint 85.2 × 118.5 cm provenance: Marcel Broodthaers purchased in April 1969
p. 101] Le réchaud à gaz, 1968-70** eggshells, feathers, stove 20.0 × 35.0 × 16.0 cm provenance: Marcel Broodthaers purchased in November 1970
p. 108] Porte A, 1969* ed. 2/7 thermoformed plastic, paint 85.0 × 118.0 cm provenance: Marcel Broodthaers purchased in April 1969 p. 114] Puzzle, 1969* thermoformed plastic, paint 83.6 × 59.4 cm provenance: Marcel Broodthaers gift of the artist in 1969 p. 129] Un coup de dés jamais n’abolira le hasard. Image, 1969* 2 copies of an ed. of 90 book, 32 pages, offset print on translucent paper 32.5 × 24.6 cm (closed) provenance: Marcel Broodthaers purchased in 1969 pp. 130-31] Un coup de dés jamais n’abolira le hasard. Image, 1969* 12 parts, anodised aluminium 32.4 × 49.7 cm each provenance: Wide White Space, Antwerp purchased in 1969
p. 125] M.B., 24 images / seconde, 1970* a.p. II/X 35 mm film and pencil on cardboard 50.0 × 65.0 cm (work) 67.1 × 81.6 cm (frame) provenance: Galerie Folker Skulima, Berlin gift of Folker Skulima in February 1971 The Politics of Experience, 1970* black-and-white photographs and ballpoint pen on paper 27.5 × 21.5 cm provenance: Marcel Broodthaers gift of the artist in July 1970
p. 124] 24 images / seconde, 1972* black-and-white photograph on cardboard 59.0 × 21.0 cm provenance: unknown Do You Have a Tongue in Your Mouth?, 1972* magnetic tape, 6:25 mins provenance: Jack Wendler Gallery, London purchased in December 1972, together with the Peintures littéraires. Série anglaise p. 132] Lettre ouverte, 1972* unlimited ed. offset print on cardboard 37.9 × 51.3 cm provenance: unknown purchased in 1976 pp. 136-37] Musée-Museum, 1972* eds. 50/100, 68/100 2 parts, postcards, offset print on paper 29.5 × 42.0 cm (text) 50.5 × 75.0 cm (print with postcards) provenance: Museumsverein Mönchengladbach purchased in 1972 p. 138] Museum-Museum, 1972* ed. 45/100 diptych, serigraphy on cardboard 83.7 × 59.1 cm each provenance: Marcel Broodthaers purchased in 1972 pp. 116-19] Peintures littéraires. Série anglaise, 1972* also known as Série anglaise (Ensemble en forme de neuf toiles) 9 parts, silkscreen on canvas 79.7 × 99.6 cm each provenance: Jack Wendler Gallery, London purchased in December 1972
p. 133] Musée d’Art Moderne à vendre – Pour cause de faillite, 1970-71* book, 74 pages, offset print on paper 45.0 × 32.0 cm (closed) provenance: Galerie Michael Werner, Cologne purchased in 1971
Tractatus logico-catalogicus, 1972* ed. 1/100 offset print on paper 69.6 × 154.0 cm provenance: Galerie mtl, Brussels purchased in 1972
p. 133] Untitled (Musée d’Art Moderne. Faculté Deutsche Bank), 1970-71* series of 12 unique copies exercise book, ink on paper, banknote, envelope 20.8 × 14.8 cm (closed) provenance: Marcel Broodthaers purchased in 1971
p. 128] Charles Baudelaire. Je hais le mouvement qui déplace les lignes, 1973* 3 copies, ed. I/XX, 2 copies from an unnumbered edition of 300 book, 16 pages, letterpress printing 32.0 × 25.0 cm (closed) provenance: Paul Lebeer, Brussels purchased in 1973
445
p. 123] Comment va la mémoire et La Fontaine?, 1973* a.p. offset print on paper 64.8 × 43.9 cm (frame) provenance: Yvon Lambert, Paris purchased in 1976 p. 128] Magie. Art et Politique, 1973* ed. of 400 book, 24 pages, offset print on paper 21.0 × 14.8 cm (closed) provenance: Michel Durand, Paris gift of Michel Durand in 1973 p. 128] Charles Baudelaire. Pauvre Belgique, 1974* eds. B, 1/40, 3/40, 5/40, 8/40, 9/40, 10/40, 13/40, 16/40, 25/40, 34/40 book, 152 pages, offset print on paper 32.5 × 25.0 cm (closed) provenance: Herman Daled, Brussels edited by Herman Daled, Yves Gevaert and Paul Lebeer in 1974 La souris écrit rat (À compte d’auteur), 1974* eds. 13/150, 14/150, 15/150, 16/150, 36/150 lithography and ink on paper 76.0 × 56.5 cm provenance: Palais des Beaux-Arts, Brussels purchased in 1976 Le manuscrit trouvé dans une bouteille, 1974* ed. of 120 wine bottle, print on tissue paper, print on cardboard box 30.5 × 8.0 × 8.0 cm (box) provenance: Edition Block, Berlin purchased in 1974 Un Jardin d’Hiver, 1974* ed. 1/120 book, 28 pages, offset print on paper 20.2 × 20.2 cm (closed) provenance: unknown p. 139] Atlas, 1975* eds. 4/50, 5/50, 50/50 offset print on paper 49.0 × 63.0 cm provenance: Lebeer Hossmann, Brussels purchased in 1975 p. 139] La conquête de l’espace. Atlas à l’usage des artistes et des militaires, 1975* eds. 4/50, 45/50, 50/50
book, 38 pages, offset print on paper, slipcase 4.2 × 2.9 × 1.0 cm (slipcase) provenance: Lebeer Hossmann, Brussels purchased in 1975 Danger de mort, n.d.* thermoformed plastic, paint 6.0 × 10.0 cm provenance: Marcel Broodthaers gift of the artist on 11 September 1971
Stanley Brouwn p. 142-43] My Steps in Brussels 21-11-71 - 30-11-71, 1971* 11 parts, typewriter on paper 11.2 × 15.5 cm each provenance: Galerie mtl, Brussels purchased in 1971 One Step Two Times, 1971* ink and pencil on paper 101.7 × 75.8 cm (frame) provenance: Galerie mtl, Brussels purchased in 1971
Daniel Buren p. 145] Peinture acrylique blanche sur tissu rayé blanc et coloré, 1969* acrylic on fabric 219.0 × 184.0 cm provenance: Daniel Buren purchased on 21 June 1969 pp. 146-47] Tissu en coton rayé de bandes verticales blanches et colorées de 8,7 cm (+/- 0,3 cm) chacune. Les deux bandes extrêmes blanches recouvertes de peinture acrylique blanche recto-verso, 1970* 12 paintings, acrylic on fabric various sizes, c. 215.0 × 250.0 cm each provenance: Daniel Buren purchased monthly from January to December 1970 p. 270] Passage, 1972* 7 volumes in slipcase, offset print on paper 52.1 × 52.0 cm each (books) 53.8 × 53.0 × 6.5 cm (slipcase) provenance: unknown Recouvrement - Effacement (Dusseldorf, September 1971 / Venice, July 1972), 1971-72* black-and-white video, 14:17 mins provenance: Videogalerie Gerry Schum, Dusseldorf purchased in 1973
446
James Lee Byars p. 153] Ceinture-queue, c. 1969* stuffed fabric c. 3.0 × 90.0 × 3.0 cm provenance: James Lee Byars gift of the artist in 1971 p. 153] Chapeau pour trois personnes, c. 1969* fabric c. 20.0 × 350.0 × 30.0 cm provenance: James Lee Byars gift of the artist in 1971 p. 152] Masque pour deux personnes, c. 1969* silk c. 20.0 × 300.0 cm provenance: James Lee Byars gift of the artist in 1971 p. 149] Robe pour cinq personnes, 1969* also known as Five in a Dress fabric variable dimensions provenance: James Lee Byars gift of the artist in 1971 pp. 150-51, 152 (top)] The Pink Silk Airplane, 1969* also known as Robe pour cent personnes or A Pink Silk Airplane for 100 fabric variable dimensions provenance: James Lee Byars remnants of the T.V. Ball organised by Herman and Nicole Daled on 27 February 1970 p. 155] The Black Book, 1971* gold print on tissue paper 49.5 × 36.5 cm (print) 50.0 × 38.0 × 6.0 cm (wrapped in silk) provenance: Herman and Nicole Daled published by Herman and Nicole Daled in February 1971 p. 154] Untitled, n.d.*/** fabric and synthetic hair c. 7.0 × 80.0 × 20.0 cm provenance: James Lee Byars gift of the artist in 1971
André Cadere p. 156] Barre de bois rond (blanc, jaune, orange, rouge), B 01234000, 1974* paint on wood 118.0 × 2.2 cm diameter