HENK PEETERS, Ausstellung Henk in Sicht? zu sehen im…, 1998
10,5 x 24,8 cm / 10,3 x 24,8 cm
offset, ink and tip-ex, postcards
signed
This work is unique and could be considered as a bagatelle. The handwritten text about a meeting for a coming exhibition and an altered invitation card shows the spirit and humor of Henk Peeters.
SIGMAR POLKE, Hallucie, 1998
70 x 50 cm / 27.6 × 19.5 inches
screen print on cardboard
numbered, signed
edition 70 + XX
published by Edition Klaus Staeck, Heidelberg, Germany
excellent condition, although slight bending in darker area of lower part of print
€ 2.250,- plus € 40,- Track & Trace registered EU mail
Sigmar Polke (1941-2010) rarely gave interviews, and on the few occasions when he did so, his responses often frustrated the interviewer’s quest for information. Similarly, he wrote very few artist statements. The relative lack of guidance from the artist has meant that viewers and those who write about Polke’s work must take risks, makes guesses, puzzle things out for themselves. Here in ‘Hallucie’ alluding with faces that may be found within the dots of a printer’s screen is obvious.
The edition “Hallucie” is part of the MoMA Print Collection, New York, USA.
History of prices:
Klaus Staeck Editionen € 2.600,- January 2023
Korff-Stiftung, Ilmmünster, Germany: € 2.400,- December 2021
Korff-Stiftung, Ilmmünster, Germany: € 2.800,- November 2019
Kunsthaus Artes, Germany: € 2.400,- April 2018
Klaus Staeck Editionen € 2.400,- April 2017
Klaus Staeck Editionen € 2.400,- February 2015
JAAP KRONEMAN, Globloids, 1998
various magazine sizes
screen print on transparent foil, 10 parts
signed on label, cardboard box
edition 75
published by Plaats Maken, Arnhem, Netherlands
inv.JK 000_000-pr
Jaap Kroneman is the founder of Flat Art, to which the works of Dutch artists Hester Oerlemans, Wouter van Riessen, Wouter van Risen, Lieven Hendriks, Rosemin Hendriks, a.o. could belong to. They are known for their graphic-like contour paintings and drawings. The Globloids depicted above on floor was installed by the artist on behalf of his solo exhibition at Galerie van Gelder, Amsterdam.
JOHN BALDESSARI, I saw it, 1997
40,6 x 50,8 cm / 16 x 20 inches
offset
signed, numbered, dated
edition 100
published by Benefit Edition, Los Angeles, USA
John Baldessari is questioning the conventions of picture-making, among other things. One of the other things is very much related to picture-reading. The work “I saw it” refers obviously to objects one may see passing by in the sky, e.g. UFO’s.
HERBERT ZANGS, untitled, 1997
60 x 43,2 cm
screen print
signed, numbered
edition 50
printed by Wartmann, Mönchengladbach, Germany
MARIJKE VAN WARMERDAM, ’92-’96, 1996
110 x 80 cm
offset on paper, aluminum
signed, dated
edition 50
published by Wiener Secession, Vienna, Austria / Marijke van Warmerdam
p.o.r.
“After the artist had made the final selection of works for her exhibition in the Wiener Secession, she noticed that her choice contained a work from every year between 1992 and 1995. Based on this fact she made a poster, but because the poster itself was also a work, the year 1996 was added as a new fact. The image of white dates on a black background created the suggestion of five consecutive frames of a film.” From text by Kees van Gelder in catalogue ‘Close by in the distance’ (2011), p. 74.
GERHARD RICHTER, Hood, 1996
44 x 43,7 cm / 17.3 х 17.2 inches
offset, cardboard
edition 110 + 20 AP, i.e. 50 numbered, signed and dated and 60 numbered, signed and marked exclusively for Dokumenta X in 1997
signed, numbered, dated
This print is based on a photograph taken from the Frankfurter Allgemeine Zeitung. The newspaper image was painted over, photographed and then printed in offset.
History of prices:
Christie’s, New York, US$ 2,125.- 7-8 February 2008
Christie’s, London, US$ 2,983.- 18 September 2013
MARIJKE VAN MARMERDAM, Pannenkoek, 1995
176 x 117 cm
screen print on paper, aluminum
edition 50
only few copies left
€ 9.500,- excluding crating and transport
MARIJKE VAN WARMERDAM, La Fille aux Crêpes, 1995
13,6 x 20,6 cm
paper on aluminum
edition 10 + 2 AP
published by the artist
During the opening days of the Venice Biennale 1995 Marijke van Warmerdam was named ‘the girl with the pancakes’ by Didier Vermeiren, because of her contribution in the catalogue. For her first Dutch solo exhibition (in Galerie van Gelder) in 1995 she used this nickname as the title of the exhibition, beside her own name. With the edition La fille aux crêpes she sought to raise that ambiguity once again.
SIGURDUR GUDMUNDSSON, Salt, ca 1995
82 x 62 cm
litho