RICHARD PRINCE, I never had a penny to my name…., 1994

RICHARD PRINCE, ‘I never had a penny to my name, so I changed my name.[1985]’, 1994
10,5 x 15 cm
signed, dated
p.o.r.

 

This signed postcard is a reproduction of a Richard Prince Joke painting that comes in more than one version. A shadow line in between the two parts of the painting has been replaced by a designer’s cut on the post card. By this a vertical white line is created that is not part of the painting as is shown below.

RPrince.i-never-had-a-penny500

RPrinceRubellFamilyColl.500
Coll. Rubell Family Collection, Miami, USA
inv.BF-storage.card

Mechanical Reproduction, 1994

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Mechanical Reproduction, 1994
14,8 x 10,5 cm
artists: HENRY BOND & LIAM GILLICK, SYLVIE FLEURY, RICHARD HAWKINS, ARNOLD MOSSELMAN and WOLFGANG TILLMANS
17 machine produced photos, 2 pages with text, transparant celluloid cover, 20 pp.
hand numbered
edition 50
extremely rare
published by Galerie van Gelder, Amsterdam
€ 1.500,- plus € 18,- Track & Trace registered mail

Published on behalf of exhibition ‘Een goed in de weg staande tafel’ / “A table absolutely standing in the way” in Galerie van Gelder in 1994, curator Jack Jaeger.

STEVEN PARRINO, Black Flag, 1993

STEVEN PARRINO, Black Flag, 2003
42 x 30 cm
portfolio of 4 sheets
edition 15
signed, numbered, name stamped
published by Galerie de Multiple, Paris, France
not available

STEVEN PARRINO was among other things known for wiping out texts with his black marker in order to draw attention to the language of the images in photographed printed matter. Here a few pages of a book about the history of the band Black Flag has been reproduced. Less important parts in the text have been eliminated by the artist in order to come to essentials like: “The tortuous music was meant to signify the band member’s intense engagement – most tattooed the Black Flag bars on their bodies – and the frustration of tooling around in the face of poverty and indifference. Black Flag’ work ethic – the constant touring, the fully committed performances, the relentless rehearsals – was a way of working through the pain, drowning it out in wave after wave of noise and adrenaline. As the old joke goes, Black Flag was suffering for their art, and now the audience had to suffer for it, too. Gina even had a name for the approach ‘the blasting concept’, or a sonic assault on the audience. Joe Carducci recalls one show when the band played for over two hours. “By the end,” he says, “people were just straggling away, like from a battlefield.”
The band had become as alienated from its own audience as it was from society in general. “We were trying to play through the audience rather than to the audience.” Stevenson said “We would put our heads down, play as hard as we could, and didn’t acknowledge their existence.”….

 

History of prices:
Galerie de Multiple, Paris, France   € 900,- February 2013

MARTIN KIPPENBERGER, Schlecht belegte Studentenpizza gepollockt, 1993

MARTIN KIPPENBERGER, Schlecht belegte Studentenpizza gepollockt [quarter], 1993
22 x 30 x 2,5 cm
wood, paint
edition 28 + 8 AP
signed, numbered, certificate
published by Printed Matter, New York, USA

not available anymore

MARTIN KIPPENBERGER, Schlecht belegte Studentenpizza gepollockt / Poorly topped student pizza, pollocked, 1993
diameter 45,1 cm / 17 3/4 inches
carved and painted wood, signed, numbered
edition 10 + 5 AP

 

This multiple was issued in 3 variations: full pizza, half and quarter slices. Ref. “Kippenberger: Multiples,” Verlag der Buchhandlung Walther König, Cologne, 2003, 120-121 pp.

 

History of prices:
The Archive is Limited € 1.500,- December 2012

PAUL PERRY, untitled, n.d. [1992]

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PAUL PERRY, untitled, n.d. [1992]
22,5 x 12 x 9,5 cm
log, LSD, plastic, nails
edition unknown
Collection Kees van Gelder, Amsterdam

This multiple by Paul Perry (1956) was shown at ‘Multiple Difference’ at Galerie Fons Welters in Amsterdam, 1992.

EVELYNE JANSSEN, Metaphor Magnet, 1992

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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.”

JOHN M ARMLEDER, OLIVIER MOSSET and SYLVIE FLEURY, Three Monkeys, 1991

JOHN M ARMLEDER, OLIVIER MOSSET, SYLVIE FLEURY, Three Monkeys, 1991
72,5 x 104 cm
screen print
edition of 100
signed, dated
€ 740,- plus € 18,- Track & Trace registered EU mail
inv.AMF 000-pr

In the nineties John Armleder told me the following. One day he, Olivier Mosset and Sylvie Fleury passed a shopping window in which three cuddly toy monkeys were put on display. They looked at each other and at themselves and Sylvie took a picture. Three monkeys forming the AMF clan under which name they regularly had exhibitions together. Not much later this screen print was made.

AMF is a word play of the artists surnames and a company named AMF / American Machine and Foundry that merged in 1969 with Harley Davidson Company. Its logo AMF refers also to one of the AMF artists Olivier Mosset, an enthousiastic Harley Davidson motorcyclist.

History of price:
Koller Auktionen, Zürich, Switzerland 27 June 2023 € 765,- (hammer price)
The Archive is Limited, Amsterdam July 2023 € 700,-

RAÚL MARROQUIN, Marroquin Font, 1991

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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.

 

Certificate:

RMarroquin1991marroquinfont-certificate700