‘U 40 drop cloth’, 1992
ca 30 x 30 cm
each piece is unique, edition of 106
dripping paint on cloth, pizza box, label on lid
signed, dated
€ 450,- plus € 18,- Track & Trace registered EU mail
produced by Galerie van Gelder Editions, Amsterdam
This is a series of unique ‘Drop cloths’ John Armleder has made on cotton. While preparing his solo exhibition in the Centraal Museum Utrecht in 1992 creating a large three panel ‘Pour Painting’ of 3 x 6 meters. After having finished the huge painting the poured over piece of cotton was one big left-over, which was eventually cut into 105 pieces, still wet and very smelly. The 106th piece appeared to be a real left-over as it is shaped in the form of a very long stretched out triangle. The artist folded this one zigzagging into the last pizza box. The code ‘U 40′ refers to the forty paintings he showed in the museum. On the pizza box is a large red sticker ‘U 40 Drop Cloth’ with artist’ name and date. All are signed on the inside of the box. Some of the works are signed on the cloth itself as well as on the box. The edition has not been numbered.
Note: in 1993 the Wiener Secession in Vienna produced a second drop cloth edition, smaller in size and on coloured fabric with a label on the inside of each pizza box.
JOHN M ARMLEDER, Ardor, 1992
height 6 cm, Ø 19,5 cm
electric heater, plug-in electricity cable, cardboard box, label
signed, numbered
edition 12
published by Massimo de Carlo, Milan, Italy
Foto: K. van Gelder, Amsterdam
sold
EVELYNE JANSSEN, Metaphor Magnet, 1992
11 x 6,3 cm (unfolded ca 32 x 6,3 cm)
offset, leporello, plastic, magnet, metal, cellophane bag
edition 100
published by The Archives, Rotterdam, Netherlands
For decades Dutch artist Evelyne Janssen collects toys that often become part of her works and installations combined with other objects. Commenting on this practise she says: “… a spectacle for young and old, and a huge autobiographical report on my days.”
SIGURDUR GUDMUNDSSON, Untitled [horizon/zon], 1991
51 x 55 x 1 cm
edition 10
metal, steel stamped initials, year and number 9/10
published by the artist
p.o.r.
SIGURDUR GUDMUNDSSON, sketch for Untitled [horizon/sun], 1990
14 x 21 cm
ball point ink on back of invite
Originally Sigurdur Gudmundsson planned to have four horizontal lines and five vertical lines within the iron frame. He brought this idea back to two lines in both ways. In the left top corner a detail is drawn of the 1 x 1 cm bars.
RICHARD TUTTLE, Poem in corner No 1, 1991
44 x 21,2 x 40,1 cm
mixed media,
signed and numbered on sticker as certificate
edition 100
published by ICA / Institute for Contemporary Art, Amsterdam
very good condition
when ordered number may vary
p.o.r.
LAWRENCE WEINER, Stars Don’t Stand Still, 1991
4,7 x 55,5 cm – 1 7/8 x 2 3/16 inches
enameled pin with initials ‘L.W. and P.N.FAM.’, cotton, cardboard match box
edition unknown
published by Peter Norton Family Foundation, Santa Monica, CA, USA
splendid condition
€ 140,- plus € 15,- Track & Trace EU registered mail
inv.LW 000
History of prices:
eBay-artplus, New York, USA, US$ 100.- December 2022
Alternate Projects, Cincinnati, USA, US$ 150.- October 2020
Galerie van Gelder, Amsterdam, € 100,- July 2013
RAÚL MARROQUIN, Marroquin Font, 1991
31,5 x 21,5 x 3,2 cm
screen print on sheets of acetate, cardboard box
signed and numbered on certificate, text in screen print on box
ca 1.3 kgs
edition 20
splendid condition
published by Zeger Reijers’ Multiples, Rotterdam, Netherlands
€ 1.200,- plus costs registered mail
Raúl Marroquin is known for undermining existing structures whether in video art, pop music (with his would-be pop band The Sets) or high-tech stream systems. In 1991 he introduced a new type font and in 1998 his letter innovation was bought by Adobe and integrated in their official typefaces. Later on also Apple Inc. included his font in their standard letter faces.
Although the name “Marroquin Font” on the cover of the box suggests the official title, it differs from the name printed on the accompanying and signed certificate. There the multiple is called “Marroquin Roman” referring to the typeface he designed in 1991 as a playful challenge to his friends who would never think of having their names connected to a typographic font. Traditionally a Roman font is provided with serifs, but Marroquin decided to have his without.
RICHARD PRINCE, Skull Bunny shopping bag, 1991
50 x 28 x 8 cm
offset on stiff paper bag
limited edition
published during Art Basel 1991 by Printed Matter, New York, USA and Art Metropole, Toronto, Canada
text ‘Learn to read Art’ by Lawrence Weiner, bag printed by Imschoot, Uitgevers
condition: used
€ 380,- plus € 24,- Track & Trace registered EU mail
This paper bag by Richard Prince was produced for supporting Art Metropole at Art Basel 1991. For the sake of supporting Art Metropole Richard Prince signed 29 bags.
History of prices:
Nosbüsch & Stucke, Berlin, Germany 13 May 2023 € 330,- (hammer price)
eBay-lakersla8, Los Angeles, USA, October 2022 US$ 2,000.- (offer)
eBay-banksysells, New York, USA, December 2021 US$ 1,500.- (offer)
Artcurial SVV, Paris, France 16 May 2018 € 1.950,- *
Nosbüsh & Stucke, Berlin, Germany 13 May 2023 € 330,- (hammer price)
eBay-artplus, New York, USA, December 2022 US$ 700.-
Zwiggelaar Auctions, Amsterdam June 24 2022 € 400,- (hammer price)
Printed Matter, New York, USA July 2021 US$ 500.-
eBay/moplen2003, 13 January 2021 € 650,-
Paddle auction, 16 July 2014 US$ 1,700.-
Art Metropole, Toronto and in booth at Art Basel 1991 SFr 150.- (in year of issue)
* NB unsigned
HREINN FRIDFINNSSON, Fragment of Remembrance, 1990
ca 48 x 72 cm / ca 19 x 28 inches (sizes may differ from each other)
iron, silver foiled cristals, 13 parts in wooden box with sticker
edition 12
signed, numbered on certificate
published by Galerie van Gelder Editions, Amsterdam rare
€ 6.500,- plus € 32,- Track & Trace registered mail
Margin Scheme
‘Fragment of Remembrance’ refers to memories of his youth and is partly made of a rolled up iron sheep fence used in the countryside of Iceland to keep sheep together close to the farm, when they are not taken to the mountains for grazing. Born in 1943 in Baer Dölum, Iceland, Hreinn Fridfinnsson employs media that are remarkably varied in scale and substance, from photography, drawings and tracings to presentations and installations of sound, texts and ready-mades. As in this edition Fridfinnnsson often presents found objects with which he interferes as little as possible, creating new works that investigate ideas of the self and of time. He has said that: ‘Notions of time are always compelling. The feeling and the interest in the essence of time is serious, but my dealing with time is not knowledge-based; it is more exploratory and feeling-based.’
GENERAL IDEA, Aids-Amsterdam Tram Project, 1990
62,5 x 63,7 cm
screen print on sticker
handwritten title: Amsterdam Tram Project edition 40, nr 2/40
signed, numbered and dated in black ink
exclusively made for and published by Museum Fodor, Amsterdam
very rare in this mint condition
sold
More than three decades ago in 1990 trams in Amsterdam were covered with this very early AIDS silkscreen poster of General Idea. The ‘Amsterdam Tram Project’ became quite controversial, i.e. conductors refused to drive their trams covered with the colourful and marked stickers afraid of giving their support to or at least being compromised and associated with homosexuality. Later on the artists group had other versions produced in larger editions.
In the mid-1980’s, the Canadian art group General Idea – AA Bronson, Felix Partz, and Jorge Zontal – created a symbol using the acronym AIDS, using the letters in a manner that resembled Robert Indiana’s LOVE logo. This witty allusion became part of Imagevirus, a project of paintings, sculptures, videos, posters, wallpapers and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. Imagevirus spread like a visual virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately.
Museum Fodor Amsterdam issued the posters in a signed and numbered edition. Beautiful and witty allusion of Robert Indiana’s famous LOVE icon.
