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.
KRISTJÁN GUDMUNDSSON, Circles, 1973
20,7 x 20,7 cm
artist’s book, 3 pp., cardboard covers
limited edition 500
published by Stedelijk Museum, Amsterdam
excellent condition
€ 125,- plus € 12,- registered mail
inv.KG 654
The first page in the book ‘Circles’ of Kristján Gudmundsson is made of thin paper, the next page is of a heavier kind and the third page is the thickest. On each page circles in water are depicted that were caused by a stone thrown into the water. As is stated in the book the weight of each thrown stone is equal to the weight of each individual page. The result of the consequently different circles are depicted on each page. Definitively a sculptural book.
History of prices:
FTN Books, The Hague, Netherlands April 2024 € 140,-
KRISTJÁN GUDMUNDSSON, invitation / announcement Galerie 845, 1972
27,7 x 21,9 cm
printed paper
typeset and published by the artist
pinholes and small tears
extremely rare invitation, folded as mailed
€ 740,-
HREINN FRIDFINNSSON, invitation card In-Out Center [hand written], 1972
6,5 x 9,8 cm / 7,2 x 10,4 cm
pencil on card / envelope
signed
edition ca 15
published by and handed out by the artist
extremely rare
inv.HF 688
Hreinn Fridfinnsson preferred to avoid to draw attention to his exhibitions. Yet is was important to get some friends and colleagues to his opening. Instead of having a printed invitation card for his solo show in In-Out Center he handed out a completely handwritten invite with name. It could quite well be that this card is the only one that still exists. As this hand made card represents quite well the attitude of Hreinn Fridfinnsson it ought to be considered a piece in itself, actually.
KRISTJAN GUDMUNDSSON, Nidur / Down, 1972
26,4 x 27,2 x 2,2 cm
offset, SC, book object, hand bound by the artist
edition 150, of which very few handmade by the artist signed, numbered
condition: excellent, although aged, some traces of use on couver extremely rare
published by Silver Press, Reykjavik / Amsterdam, 1972
Collection Kees van Gelder, Amsterdam
p.o.r.
inv.KG 000-pr
‘Nidur / Down’ is an object book a hand bound by Kristjan Gudmundsson who produced several of these books in Daniel Stalpertstraat, Amsterdam, in the seventies. It is a book about the ‘Highest point of land’ and the ‘Lowest point of sea’ containing many parallel horizontal lines on each page. The total amount of lines are equal to the distance of the highest point on earth and the deepest point in the sea.
The production of this self published book by Silver Press – owned by the artist – was very laborious and no more than ‘circa 30-50’ [sic] copies were hand bound, as stated by the artist. (Probably much less have been made.) In 1982 Ottenhausen Verlag in Aachen / Munich, Germany, took over the project and published a limited edition of 100 copies.
History of price:
Zwiggelaar Auctions, Amsterdam 8 December 2023 € 2.600,- (hammer price)
Lesbian Dream Press, 1971
ca 24,5 x 17 cm
12 pp.,
paper collage, typed written texts on cover; recto and verso, book block of empty pages
edition unknown.
Published by Jón Gunnar Árnason, Reykjavik, Iceland
inv.SG 000-pr
This issue number 6 was handed out to Sigurdur Gudmundsson with machine types instructions on the back of the cover on how to participate with a contribution to the magazine. A handwritten text reads: Þessi bók er fyrir Sig Gu∂mundson (trans. ‘This book is for Sig Gudmundsson’).
DAAN VAN GOLDEN, Speciale Editie Ameland-Rapport, 1971
ca 22,5 x 15 x 2 cm or ca 30 cm x 21 cm
various sizes and techniques of sealed and assemblaged herbarium, includes colour postcard, feathers, sand, tree-leaves, grass, fern
published by Rotterdamse Kunststichting, Rotterdam
€ 550,- plus € 18,- Track & Trace registered mail
Daan Van Golden spends October and November 1971 on the island of Ameland; while walking and cycling he collects leaves, mosses; the result is a series of 500 cellophane wrapped herbariums. His Ameland-Report is distributed as the 6th edition of the ‘Atlas voor een nieuwe metropool’.
In 1971 -1972 in total 8 editions were made by Hans de Vries, Lex Wechelaar, Wim Gijzen, Cor Blok, Sjoerd Buisman, Daan van Golden and Pieter Engels.
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?
Foto: K. van Gelder
