Ensemble de douze ouvrages et une revue d'artiste. RISTELHUEBER, SOPHIE (1949) *Sophie Ristelhueber par Ann Hindry. Paris : Hazan, 1998. Broché. 24 x 18 cm. 110 p. Édition originale bilingue français / anglais. *Op.rations. Quimper : Le Quartier, 2007. Relié. 16,5 x 12 cm. Édition originale de 450 exemplaires numérotés. Cet exemplaire est signé par l'artiste et porte le numéro 266 / 450. TOSANI, PATRICK (1954) *Patrick Tosani. Paris : Hazan, 1997. Broché. 24 x 18 cm. Édition originale. Édition bilingue français / anglais avec un texte de Gilles A. Tiberghien. Cet exemplaire est dédicacé par l'artiste et l'auteur du texte. *Patrick Tosani Fotoarbeiten seit 1976. Essen : Museum Folkwang, 1997. Broché avec une jaquette illustrée. 26 x 22,5 cm. 94 p. Édition originale. Minimes défauts. Textes d'Ute Eskilden et Herta Wolf. CLOSKY , CLAUDE (1963) *Claude Closky par Fr.d.ric Paul. Paris : Hazan, 1999 Broché illustré. 26 x 22,5 cm. 112 p. Édition originale. *27 x 20 Le Havre : Éditions Flux, 2000 Broché. 27 x 20,5 cm. Édition originale de 1500 exemplaires. Minimes défauts. Livre d'artiste. Dessins de l'artiste. HYBERT, FABRICE (1961) *Fabrice Hybert. Paris : Hazan, 1999 et 2000. Broché, couverture illustréee. 24 x 18 cm. 102 p. Édition française / anglaise. Minimes défauts. Édition bilingue français / anglais avec texte de Pascal Rousseau. *OEuvres 1980-1993. Fabrice Hybert. Bordeaux : CAPC Musée d'Art Contemporain, 1993. Broché, sous jaquette verte imprimée, avec pages dépliantes. 28 x 22 cm. 92 p. Édition originale. Minimes défauts. Textes de Catherine Strasser et Pierre Gicquel. *HYBERT PROJET pour Jeu Vid.o / HYBERPANORAMIQUE. Paris : Éditions Daviet-Thery, 2001. Deux feuilles pliées. 23,5 x 16 cm. Édition originale de 500 exemplaires. Cette publication est composée de deux feuilles libres (dépliées 47 x 32,5 cm), illustrées de dessins en couleurs de l'artiste. CATTELAN, MAURIZIO (1960) *Maurizio Cattelan. Hypercontemporain. Paris : Hazan, 2007. Broché couverture illustréee. 21 x 17 cm. Édition originale française. On y joint le premier numéro de Permanent Food de 1995, revue de Maurizio Cattelan. « A magazine about magazines ». *Maurizio Cattelan. Paris / Dijon & Brétigny-sur-Orge : Galerie Emmanuel Perrotin / Le Consortium / Centre d'art de Brétigny-sur-Orge, 1997. Broché. 27 x 23 cm. Édition originale. Minimes défauts. *Maurizio Cattelan. Milano : Edizioni Charta, 1999. Broché. 28 x 17 cm. 60 p. Édition originale. Petits défauts. Bilingue Italien / français.
Sophie Ristelhueber (born 1949) is a French photographer. Her photographs concern the human impact of war, and she has photographed extensively in the Balkans and Middle East. She was born in Paris, where she still lives. In January 2010, she earned a place on the shortlist for the Deutsche Börse Photography Prize.[1] In March 2010, it was announced that she had won the prize and it was presented to her by film director Terry Gilliam. Fabrice Hybert (born 1961 in Luçon, Vendée) is a French artist. Internationally renowned artist, he works in many diverse ways - accumulation, proliferation, hybridization - sliding between painting, sculpture, installation and video. In 1994, he created UR (Unlimited Responsibility), an organisation with the goal of building links between artists and enterprises.
Hybert has suggested that his work explores 'the enormous reservoir of the possible' (Eyestorm 2007) via a deconstruction of language and communication. To this end he deploys a very wide range of media for the purpose of expanding the range of his creative practice, deconstructing language in order to present the viewer with puzzles. He abjures the coherent, instantly understandable, text and the consistent oeuvre in favour of a proliferation that reflects the fundamentally nonlinear character of cognition. This is art in the tradition of the Surrealist object and stream of consciousness. It is more akin to James Joyce's Finnegans Wake than it is to classic narrative, it is Dionysian rather than Apollonian. On the other hand some of his projects look like exercises in visual language, his square football is not especially bewildering. It is quite simply a functional object that is turned into an ideal form (the cube). His idealised, cubed football maps onto the horror of function that characterises post-Duchampian fine art that rose into dominance in the international art world in the 1960s. Fabrice ironically refers to such functionless objects as Prototypes d'objects en fonctionnement (prototypes of working objects), or POF. Another instance of connecting the previously unconnected (cf. Simon Starling) is Hybert's Swing (POF No 3), 1990. This is a playground swing with the addition of 'two phallic protuberances on the seat, one hard, one soft' (Eyestorm 2007). The pedophilic connotations appear to escape the artist or the art world for that matter. Another work Roof-Ceiling (POF No 10), 1995, consists of a mechanical device which vacuums up the rubbish in a room and deposits it in a transparent ceiling overhead; installed in a hairdressing salon, it allows the viewer's newly sheared locks to become part of the architecture. '(Eyestorm 2007). This work is not only a demonstration of creative cognition it is also a valuable excursion of fine art outside the museum and into everyday life. Hybert is one of the artists that Nicolas Bourriaud included in his account of so-called relational art which is to say art that engages with people and everyday life (Bourriaud 2002).
Maurizio Cattelan (September 21, 1960, Padova, Italy) is an Italian artist based in New York. He is known for his satirical sculptures, particularly La Nona Ora (The Ninth Hour), depicting the Pope John Paul II struck down by a meteorite.
Maurizio Cattelan (September 21, 1960, Padova, Italy) is an Italian artist based in New York. He is known for his satirical sculptures, particularly La Nona Ora (The Ninth Hour), depicting the Pope John Paul II struck down by a meteorite.
Cattelan has shown work internationally in many exhibitions including in Manifesta 2, 1998, Luxembourg, Melbourne International Biennial 1999 "Signs of live", 2004 Whitney Biennal [1] in New York, "Apocalypse: Beauty and Horror in Contemporary Art" at the Royal Academy of Art [2] in London, "Partners" at Haus der Kunst [3] in Munich, "Home is Where the Heart Is" at Museum van Loon [4] in Amsterdam and the 2004 Seville International Biennale [5]. In 2004, Cattelan exhibited the controversial sculpture Untitled featuring 3 hanging kids for the Nicola Trussardi Foundation. He is represented by Emmanuel Perrotin [6] in Paris, Massimo de Carlo [7] in Milan and Marian Goodman Gallery in New York [8].
Maurizio Cattelan along with long-term collaborators Ali Subotnick and Massimiliano Gioni, curated the 2006 Berlin Biennale [9], ran the Wrong Gallery [10], a glass door in New York attracting many highly accomplished artists to exhibit and published Charley: an occasional slightly satirical arts journal. He frequently submitted articles to international publications such as Flash Art [11]. Cattelan's personal art practice has led to him gaining a reputation as an art scene's joker.[Need quotation to verify] One of his best known sculptures, 'La Nona Ora' consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work. Another of Cattelan's quirks is his use of a 'stand-in' in media interviews equipped with a stock of evasive answers and non-sensical explanations. Cattelan's art makes fun of various systems of order - be it social niceties or his regular digs at the art world - and he often utilises themes and motifs from art of the past and other cultural sectors in order to get his point across. Cattelan saw no reason why contemporary art should be excluded from the critical spotlight it shines on other areas of life and his work seeks to highlight the incongruous nature of the world and our interventions within it no matter where they may lie. His work was often based on simple puns or subverts clichéd situations by, for example, substituting animals for people in sculptural tableaux. Frequently morbidly fascinating, Cattelan's dark humour setted his work above the simple pleasures of well-made visual one-liners.[citation needed] He has been described by Jonathan P. Binstock, curator of contemporary art at the Corcoran Gallery of Art "as one of the great post-Duchampian artists and a smartass, too".
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premium up to 500 000 e, 24% (1) inclusive of tax, above 500 000 e, 19% (1) inclusive of tax. This calculation will be applied to each lot separately. Payments
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either a carrier approved by Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts, or to deposit a cheque covering the eventual VAT costs which may
demanded of Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts in the case of the export documents not being supplied by the buyer. The buyer must
take delivery of the lot within three working days after the auction. After that delay, Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts reserve the
right, without prior notice, to transfer paid-for lots that have not collected to storage at the cost, risk and perils of the buyer. After 3 months, these lots may
be sold without prior notice in order to write off the costs that the buyer is responsible for. In this case, the resale price will be deposited at a deposit and
consignment office in the name of the buyer, after deductions for buyer's costs, reselling costs, and the difference in price.
DELAY IN PAYMENT
All sums not paid 30 days after the auction will be subject to charge without prior notice of 1% per month. Furthermore, in the case of non-payment at
settling date, the amount due will be increased in full right by 15%. Without prejudice to proceedings for payment at the charge of the buyer, lots unpaid
after 3 working days may be put into auction again without reserve without prior notice; in which case, the defaulting buyer will be held responsible for
paying the difference between the new price, as well as all costs and outlays relative to having to put the lot back into auction, and cannot claim any excess
if there is any.
RESPONSIBILITY
The indications appearing on the catalogues, advertisements, brochures and any other written material produced by Pierre Bergé & Associés (Belgium)
- Salle des Beaux-Arts should be considered as simple indications, and are not binding in any case. They do not guarantee the exactitude of a declaration
relative to the author, origin, date, age, attribution, provenance, weight or material state of the lot. No employee is authorised to give such guarantees.
Consequently buyers must verify for themselves the nature and material state of the lots. Detailed information on the condition of the lots described by the
experts and the auction house is available to buyers who request it. The working condition of the pendulums and the condition of the mechanisms is not guaranteed.
DISPUTES
Any disputes must reach Pierre Bergé & associés (Belgium) - Salle des Beaux-Arts by recorded delivery not later than 10 days after the retrieval of the object,
or cannot be considered. In any case, for sales subject to article 1649 quater of the Belgian Code Civil, the seller answers to the consumer for any fault
of conformity that exists when the good is delivered or which appears within a delay of one year of this date; the buyer must inform the seller of the
existence of a fault of conformity within a delay of two months of noticing the fault.
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The auctions, including the auctioning process, are subject to Belgian law. All dispute concerning their validity, their interpretation, their execution
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(1) The global amount to be paid has to be considered as an amount inclusive of tax.
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The sale will be conducted in Euros. In addition to the hammer price, the buyer agrees to pay us the buyer's premium together with any applicable value added tax.
The hammer stroke will mark the acceptance of the highest bid and the pronouncing of the word "adjugé" or any equivalent will amount to the conclusion of the purchase contract between the seller and the last bidder taken in consideration.
The present general conditions apply to all sales organised by Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts. Participation in the sale implies
the acceptance of these conditions.
The internet bid live constitutes a bidding contract between the bidder and Pierre Bergé et Associés.
Bidding order will be in accordance with the lot numbers of the catalogue. Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts reserve the right
to set the order of the progression of the lots, and bidders are required to conform to this. The highest and last bid shall be the buyer. In case of dispute or mistake over highest bid, the lot shall be put up for sale again.
The auctioneer and huissier judiciaire have the right to make the final decision concerning all difficulty arising during bidding at the auction.
Delay in Payment
All sums not paid 30 days after the auction will be subject to charge without prior notice of 1% per month.
Furthermore, in the case of non-payment at settling date, the amount due will be increased in full right by 15%.
Without prejudice to proceedings for payment at the charge of the buyer, lots unpaid after 3 working days may be put into auction again without reserve without prior notice; in which case, the defaulting buyer will be held responsible for paying the difference between the new price, as well as all costs and outlays relative to having to put the lot back into auction, and cannot claim any excess if there is any.
Shipping
Auction House does NOT shi, BUT will help arrange shipment, at buyer's expense. PLEASE CONTACT THE AUCTION HOUSE FIRST.
All formalities concerning transport are the exclusive responsibility of the buyer. In case of exporting outside the European Union, the buyer is committedto accept the financial consequences to Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts for that exportation.
The buyer is also committed to use either a carrier approved by Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts, or to deposit a cheque covering the eventual VAT costs which may demanded of Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts in the case of the export documents not being supplied by the buyer.
The buyer must take delivery of the lot within three working days after the auction. After that delay, Pierre Bergé & Associés (Belgium) - Salle des Beaux-Arts reserve the right, without prior notice, to transfer paid-for lots that have not collected to storage at the cost, risk and perils of the buyer.
After 3 months, these lots may be sold without prior notice in order to write off the costs that the buyer is responsible for. In this case, the resale price will be deposited at a deposit and consignment office in the name of the buyer, after deductions for buyer's costs, reselling costs, and the difference in price.
Premium
The auction will be conducted in Euros (€).
No delay will be allowed concerning payment.
As well as the hammer price, buyers will pay the following premium
up to 500 000 Euros, 24% (1) inclusive of tax,
above 500 000 Euros, 19% (1) inclusive of tax.
This calculation will be applied to each lot separately. Payments and taxes may be paid in Euros (e) at : Pierre Bergé & associés (Belgique). Banque : I.N.G.-Rue du Trône, 1-B-1 000 Bruxelles-N° compte : 310 - 0503145 - 92 IBAN : BE12 3100 5031 4592-SWIFT? : BBRU BE BB
(1) The global amount to be paid has to be considered as an amount inclusive of tax.
Taxes and VAT
For works to which Artist's Resale Rights are applicable, the successful bidder will pay a 4 percent supplement to total sale price and legal costs.
For all information concerning which works are subject to Artist's Resale Rights, potential buyers may contact Pierre Bergé & Associés before the auction.
For lots whose seller is a non-resident (lots signalled by a black square), the successful bidder will pay VAT of 6% on top of the total sale price, plus legal costs.
This VAT will be reimbursed upon presentation of proof of export outside the EU , within a maximum delay of one month.
For lots sold by non-resident (lots marked by a black square or a red square) the buyer will pay a 21% VAT (lot marked by a black square) or a 6% VAT (lot marked by a red square) on the hammer price plus the premium.
The buyer will be refunded of this VAT when he will be presenting our cashier with proof of export out of EE C.
The 21 % VAT on lots marked by a green triangle will be reimbursed, for persons liable for VAT and for purchases to be exported, upon presentation of proof of export.
Responsibility
Pierre Bergé et Associés is happy to provide condition reports for individual lots upon request (PLEASE NOTE THAT WE DO NOT SEND CONDITION REPORT FOR THE LOT UNDER THE ESTIMATE OF 500 euros).
The indications appearing on the catalogues, advertisements, brochures and any other written material produced by Pierre Bergé & Associés (Belgium)- Salle des Beaux-Arts should be considered as simple indications, and are not binding in any case. They do not guarantee the exactitude of a declaration relative to the author, origin, date, age, attribution, provenance, weight or material state of the lot. No employee is authorised to give such guarantees.
Consequently buyers must verify for themselves the nature and material state of the lots. <br>Detailed information on the condition of the lots described by the experts and the auction house is available to buyers who request it.
The working condition of the pendulums and the condition of the mechanisms is not guaranteed.
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