B. WURTZ, Survival, 1989
10,2 x 14 x 0,6 cm
invitation card, hand stamped on cardboard
hand signed and numbered
edition 1045, here nr 13/1045
published by Feature, New York, USA
splendid condition
rare
€ 220,-
inv.BWur 851
Author Archives: admin
CARSTEN HÖLLER, Zukunft ist wichtiger als Freizeit., 1989
Photo K. van Gelder
CARSTEN HÖLLER, Zukunft ist wichtiger als Freizeit., 1989
5,4 x 4,9 x 0,6 cm
2 match books, vintage colour photo (8,8 x 13,1 cm)
edition 5000
hand out, published by the artist
mint condition
each € 130,- plus € 15,- Track & Trace EU registered mail
inv.CHoe 249
Carsten Höller was flabbergasted by Helmut Kohl’s speech at the Deutschen Ingenieurtag on 26th of May 1987 given in Munich, Germany: “…Wer über die Zukunft unserer Gesellschaft mitentscheiden will, tut gut daran, dies nicht nur in der unbeständigen Aufgeregtheit des Zeitgeistes zu tun, sondern mit Nachdenklichkeit und Besonnenheit.”
“…Einer Gesellschaft, in der für viele die Freizeit immer mehr zum wichtigsten Wert wird, ist schwer verständlich zu machen, dass Zukunft wichtiger ist als Freizeit und dass Zukunft ohne Anstrengungen nicht gesichert werden kann.”
The idea that a future with efforts or even hard labour, i.e. ‘Anstrengungen’, is more important than leasure time made the artist decide to appropriate the slogan of German politician Helmut Kohl.
SIGMAR POLKE, Ohne Titel, 1989 [‘splash’ screen print]
SIGMAR POLKE, Untitled, 1989
98,5 x 69 cm / 38.5 x 27 inches
screen print on Schoellershammer 250 grams/m²
signed, edition 940
excellent condition
published by Griffelkunst Vereinigung, Hamburg, Germany
€ 880,- plus € 24,- Track & Trace EU registered mail
inv.SPol 000-pr
Sigmar Polke was the practicioner of large-scale works whose interest in cartoon and mass media was once called Capitalist Realism in Germany, and whose intensely varied marks yielded a lifelong inventiveness with form, media and chance.
The screen print edition Untitled 1989 of the Griffelkunst Vereinigung is part of the MoMA Print Collection, New York, USA.
History of prices:
Jeschke Jádi Auctions, Berlin, Germany 13 December € 600 (hammer price, poor condition)
Ketterer Kunst, Hamburg, Germany 24 May 2025 € 550 (hammer price)
Van ham Kunstauktionen, Cologne, Germany 9 April 2025 € 800 (hammer price, poor condition))
Antiquariat Querido, Düsseldorf, Germany March 2025 € 1.300
Grisebach Auktionen, Berlin, Germany 18 August 2023 € 1.143
Nosbüsh & Stucke, Berlin, Germany 13 May 2023 € 800 (hammer price)
1st Dibs, Hamburg, Germany, May 2022 € 3.400
Van Ham Kunstauktionen, Cologne, Germany, 6 February 2020 € 1.000 (hammer price)
Jetschke-Van Vliet, Berlin, Germany, November 2020 € 900 (hammer price)
GERHARD RICHTER, Kerze [1988] – Goslar
GERHARD RICHTER, ‘Kerze’, n.d. [1988 Goslar Kerze]
89,5 x 94,5 cm / 35.2 x 37.2 inches offset
signed, edition 250
published by Verein zur Förderung moderner Kunst / Mönchehaus-Museum für moderne Kunst, Goslar, Germany
sold
still available: signed poster with text in very attractive high quality frame. Ref. Goslar Kerze, text, framed
Gerhard Richter’s Goslar Kerze is a reproduction of a painting called “Kerze” (1982), although image mirrored. Originally this motiv was used for a poster designed by the artist announcing his solo exhibition in Mönchehaus-Museum für moderne Kunst in Goslar in 1988.
In 2004 Süddeutsche.de Neueste Nachrichten announced a sudden appearance of Gerhard Richter’s ‘Kerze’ signed with the names Joseph Beuys and Georg Baselitz. “At that time I signed for fun also with Beuys and Baselitz”. This was not done as a provocation, but more in a spirit of “foolhardiness”.
Gerhard Richter signed with ‘Beuys’ and ‘Baselitz’.
The painter Gerhard Richter said he signed with names such as Beuys and Baselitz on early offset prints ‘just for fun’. He confessed this in the latest edition of “Monopol” magazine, published by Florian Illies. In 1988 Gerhard Richter signed 250 copies of his offset print ‘Kerze I’ at a price of 50 marks each, on behalf of the ‘Verein zur Förderung moderner Kunst’ in Goslar.
A few prints now popped up that show a completely different signature. Richter, who is now considered the most expensive German artist alive, said: ‘Back then I also signed with Beuys and Baselitz on them, out of burlesqueness.’ This was not a provocation, it was more “overconfidence”
Richter’s modest comment on “Kerze I” that was sold at Sotheby’s in New York last May for $ 26,400: ‘Of course, $ 26,000 is at least $ 25,000 too much.’
Süddeutsche Zeitung, 29.09.2004
History of prices:
Mönchehaus-Museum für moderne Kunst, Goslar, Germany DM 800,- December 1988
Auction House Ketterer Kunst, Munich, Germany € 7.500,- November 2011
JOHN M ARMLEDER, Untitled [flag], 1988
untitled, 1988
200 x 300 cm
polyester flag
edition of 10
Published by Gran Pavese, The Hague (?), Netherlands
John M Armleder has worked for more than thirty years, starting off in the 1960s as a performance artist in the Fluxus inspired Geneva group Ecart (trans. French for ‘diversion’). Rather than work out of a studio, he travels, using galleries as studio spaces, working up shows in response to particular spaces, opportunities, possibilities. Here a flag of dots was made for a flag project in The Netherlands in 1988.
JOHN M ARMLEDER, Furniture Sculpture 193, Caprice, 1988
‘Furniture Sculpture 193, Caprice’, 1988
Ø 25,4 cm
engraving on bowling ball Caprice by Columbia, vinyl bag
edition 24
not signed, unnumbered
comes with vintage label hand written by JMA and used at Art Basel Edition 1992
€ 3.000,- plus € 32,- Track & Trace registered mail
inv.JMA 994-label
ROB SCHOLTE, Mens erger je niet! / Ne l’en fais pas!, 1988
ROB SCHOLTE, Mens erger je niet! / Ne l’en fais pas!, 1988
300 x 200 cm
hand knotted carpet with white tassels
signed, numbered and dated on linen cloth
edition 15
mint
published by Equador Production, Brussels, Belgium
€ 9.500,-
inv.RSchol 394-pr
history
Installation of this carpet (version with black tassels) at Ranbir Singh/Petra Grunert’s home in Brussels, Belgium, in 1990
RICHARD ARTSCHWAGER, Face, 1988
RICHARD ARTSCHWAGER, Face, 1988
32 x 28 cm
screen print
signed, dated, numbered,
edition 7
published by Bébert / Contemporary Archeology Part III, Rotterdam
mint condition
€ 460,- plus € 18,- Track & Trace registered mail
inv.RArt 000-pr
Added background information
Although this print is made in an edition of 7 it is similar to the print that is part of a box published by House Bébert in Rotterdam as shown below.
History of prices:
eBay-Kunstwest, Cologne, Germany € 490,- March 2021
Heart Fine Art, Edinburgh, UK GBP 850.- July 2016
Catawiki € 160,- January 2014
SIGMAR POLKE, Ohne Titel, 1988 [‘nose’ screen print]
SIGMAR POLKE, Untitled, 1988
98,5 x 69 cm / 38.5 x 27 inches
screen print on Schoellershammer 250 grams/m²
signed, edition 940
published by Griffelkunst Vereinigung, Hamburg, Germany
splendid condition
not available
SPolk 555
Sigmar Polke was the practicioner of large-scale works whose interest in cartoon and mass media was once called Capitalist Realism in Germany, and whose intensely varied marks yielded a lifelong inventiveness with form, media and chance.
The screen print edition Untitled 1989 of the Griffelkunst Vereinigung is part of the MoMA Print Collection, New York, USA.
History of prices:
Jeschke Jádi Auctions, Berlin, Germany 13 December € 500 (hammer price, poor condition)
1st DIBS, Hamburg, Germany, May 2022 € 3.400,-
DAVID ROBILLIARD, Old Flames are Dead Matches, 1987
DAVID ROBILLIARD, Old Flames are Dead Matches, 1987
4 x 5,6 x 0,6 cm
matchbox, matches with coloured heads
signed and dated in print
edition unknown
published by Friedman-Guinness Gallery, Frankfurt, Germany
mint condition
rare
each € 195,- plus € 15,- registered mail Trace & Track
inv.DRob 1160_1161-pr
David Robilliard (1952-1988) was a self-taught painter and poet. He shared a studio with Andrew Heard and met Gilbert & George in 1979 who called him their favourite poet. Later on he became one of their models and appeared as the angry young man in the film “The World of Gilbert & George” made in 1981. His poetical one-liners were super fluently present in his paintings and his poetry was performed frequently by the group The Robilliards, Stephen Chamberlain, and Mental Mary who put Robilliard’ s texts into songs.