Category Archives: prints



JOSEPH BEUYS, Diebstahl, n.d. [between 1974-1977]

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JOSEPH BEUYS, Diebstahl, n.d. [between 1974-1977]
two individual prints as flyers, framed recto & verso
each print 29,8 x 21 cm, here framed: 40 x 51,5 cm
unlimited edition, although less than 500
signed
published by Edition Klaus Staeck, Heidelberg, Germany
inv.JBeu 000
Ref. https://www.edition-staeck.de/produkt/joseph-beuys-diebstahl/

 

Two prints have been framed next to each other, out of the edition of 500 signed copies.

Announcement on flyer reads:
“Kaiser Wilhelm Museum, Verwaltung der Kunstmuseen.
D i e b s t a h l.
Am Sonntag, den 9. Juni 1974 sind zwei Beuys-Zeichnungen aus unsere Ausstellung gestohlen worden. Bitte setzen Sie sich mit uns oder mit der Kriminalpolizei in Verbindung, falls Ihnen die Zeichnungen angeboten werden.”

English translation:
‘Kaiser Wilhelm Museum, Administration of the Art Museums.
T h e f t.
On Sunday, June 9th 1974, two Beuys drawings were stolen from our exhibition.
Please contact us or the Criminal Investigation Department in case these drawings are offered to you.’

GÜNTHER BRUS, Der Trauermantel, 1976

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GÜNTHER BRUS, Der Trauermantel, 1976
30,7 x 21,5 cm
screen print
signed, dated
edition unknown
not available

The lower part of ‘Der Trauermantel’ is the base of a DIY sculpture to be made of cut outs of the upper part of the print. In this way two cardboard pedestals on top of each other may be created.

PIETER LAURENS MOL, This paper is yours, this is mine, 1974

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PLMol1974thisPaperIsYours600

PIETER LAURENS MOL, This paper is yours, this     is mine, 1974
43 x 29,5 cm / 30 x 4,2 cm (diameter)
punched sheet of thin paper (40 gr/m2), cardboard tube, printed texts in letterpress
edition unknown
published by the artist
condition: aged paper and cardboard, small crumpling on vertical edges
not available anymore

In the early seventies Pieter Laurens Mol was an outspoken protagonist of Concrete Poetry. Twisted Dutch sayings like ‘De vloer met jezelf aanvegen’ [meaning: instead of walk over someone… walking over oneself] were visualized into a print or photo. Or the six letters of the word POETRY were cast in concrete and hold together by a rope.

KRISTJAN GUDMUNDSSON, Shipwreck, 1973 – 1974

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KRISTJAN GUDMUNDSSON, Shipwreck, 1973 – 1974
29,5 x 22,5 cm
offset on tracing paper, folded as issued
signed, dated, numbered
edition 20
published by the artist
condition: splendid, although aged semi-translucent tracing paper
Private collection
€ 3.500,- plus € 18,- Track & Trace registered EU mail
inv.KG 000-pr 

Kristjan Gudmundsson installed the print ‘Shipwreck’ behind a glass plate for the first time in Galerie van Gelder in Amsterdam in the late eighties. Originally in the seventies it used to be an object in a wooden box; a paper folded boat lying on its side at the bottom of the box. Now the paper sculpture is conserved in a wooden frame with a signature in capital letters.
In 1974 Kristjan Gudmundsson went to Drukkerij Andersen in Amsterdam that forwarded the order to Drukkerij Van der Stolk also in Amsterdam (Ruyschdaelkade). At that time Kees van Gelder was the only employee in this offset printer’s firm by which he had to print this order on tracing paper.

 

 

LOUWRIEN WIJERS, untitled sculpture [Woman is the Jewel], 1971

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LOUWRIEN WIJERS, untitled sculpture [Woman is the Jewel], 1971
30 x 30 cm
printed in cold lead typesetting, i.e. book printing
8 sheets, cover sheet, cardboard base, vintage rope
edition 44
condition: good, although aged with protection sheet worn at the extremeties
published by De Appel, Amsterdam / the artist
very rare
Private collection, Amsterdam
inv.LWije 000-pr

 

The introduction text starts with a description of a visit to the studio of Hanne Darboven in Hamburg. From the first page on each next loose sheet is printed with a bigger font.
During the afternoon of the 9th of December, sitting with Hanne Darboven in her workingroom at the parental Hamburg home where she lives, I experienced a fight within myself which forced me to either deny her work in order to be able to respect her person or deny myself and continue an agreeable feeling towards the work lying between us on the table.….

 

History of price:
Zwiggelaar Auctions, Amsterdam, 24 June 2022 € 800,- (hammer price)

DAAN VAN GOLDEN, Untitled, 1971

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DAAN VAN GOLDEN, Untitled, 1971
75 x 56 cm
screen print in 6 colours, coloured paper
verso signed, dated, numbered
edition 25 (unknown if the edition of 25 was issued as published)
p.o.r.
inv.DvG xxx

Opposite to printed matter for Daan van Golden when it comes to making a photo edition there is not really an interest in limiting the edition, although sometimes he uses edition numbers. Basically he prefers to have for instance the amount of a photo edition defined by the amount of buyers during an exhibition. Re-using a work from even decades ago is another modus operandi. In this sense the editions by Daan van Golden are contextualized and for him re-usable any time in whatever form or technique. And seen in this light, the following story was often put forward by Van Golden:
An emperor commissioned a team of Greek and a team of Chinese artists each to paint a wall. A partition was made between the two with a wall so that they could not prematurely see each other’s work. When the Chinese finished their job, their mural was unveiled. A few weeks later, the Greeks had finished their work also. The emperor was invited to come and to see the result. They had polished their wall surface so that the painting of the Chinese reflected softly in it.
The image featured in this print could be in some way or the other the image of an Eastern-like figure with arms high in the air mirrored in a pond or lake?