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
€ 700,- plus € 24,- 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.
History of prices:
Ketterer Kunst, Hamburg, Germany 26 May 2025 € 810 (hammer price)
Rago, Lambertville, NJ, USA 16 October 2024 € 1.012 (hammer price)
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.
GERHARD RICHTER Schwarz, Rot, Gold II, 1998
21 x 29,7 x 1,3 cm /8.27×11.69 inches
synthetic resin paint behind glass, hard fiberboard mount, metal parts
4 different shades of each colour
edition of a unique series 64 + 3 AP
verso signed, dated on sticker
published by Galerie Fred Jahn, Munich, Germany
out of stock
This edition is marked with a three digit combination in felt-tip pen on reverse and each multiple with inv.id WV-Nr. 855-8 was made in conjunction with ‘Schwarz, Rot, Gold’ from 1999, a commissioned work by the German Bundestag for the Reichstag building in Berlin, Germany.
History of prices:
Auction Ketterer Kunst, Munich, Germany € 5.000,- / $ 6,657.- 24 April 2010
Auction Van Ham, Cologne, Germany € 6.200,- / $ 8,300.- June 2011
ROB SCHOLTE, Nu met gratis doek van Rob Scholte, ca 1997
27,5 x 9,3 x 5,5 cm
Glassex Ultra-Action pistol, flex print on cloth, sealed as issued
signed in print
limited edition unknown
inv.RSchol-pr 307
Rob Scholte is being looked at as the enfent terrible in the Dutch art scene. Appropriation of a polka dot, a Monopoly game or a Philips logo it is all in the game of making the notion copyright into a dispute. Here with ‘Nu met gratis “piece of fabric” van Rob Scholte’/’Now with free canvas of Rob Scholte’ he alludes to giving away a canvas to the buyer of a commodity item.
Next to a yellow spray cap there is a blue spray cap version called Glassex Multi-Action and a re-fill flask, both including a cloth with signature in print.
MESCHAC GABA, Untitled, 1997
1,2 x 5,9 x 3,9 cm
22 safety pins with banknote particles, plastic box
signed on lid
edition unknown
published by the artist
Collection K. van Gelder, Amsterdam
inv.MGaba 419-pr
In 1997 various items made out of banknotes were offered at one of the annual Open Ateliers of the Rijksakademie in Amsterdam. This transparent box produced in a small edition was offered for sale in the studio of Meschac Gaba. Gold coloured safety pins are stuck into Benin banknote particles in the shape of a tiny circle.
“No matter how determined Gaba’s refusal to speak about colonialism, the art system still tends to categorize his art within that framework. As early as 2001, he made a crystal clear opening statement in the ‘Library of the Museum’: “I use money, because I refuse to use the word colonialism.” The valuation system of money is continuously challenged by this artist. Before his Rijksakademie residency in 1997 and 1998, money as a physical object already was present in his assemblages. Later he turned devaluated banknotes of the Central Bank of the States of West Africa into confetti. The confetti was glued on all kinds of everyday objects. African devaluated coins glued to a simple ring, became desirable jewelry. Banknotes were transformed, by replacing the faces of the usual presidents by the artist’s, his fellows’, Picasso’s, or else his hair sculptures ‘Tresses’, and called them ‘Artist with American (or African) inspiration’. He also mounted the confetti on safety pins as a service in return for people becoming sponsors of his Museum of Contemporary African Art.” Daphne Pappers, 4 April 2014 in Africanah.org
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.
SIGURDUR GUDMUNDSSON, Nutoen, 1997
23,8 x 16,7 cm
offset, 2 volumes (16 pp. + 32 pp.), transparent sleeve
edition 500
published by Frans Hals Museum, Haarlem, 1997
This publication could beconsidered as half catalogue, half artist book. The picture on the front of volume I and the picture on the back of volume II form together one image of a sculpture installation ‘Disturb me’ (1997) of Sigurdur Gudmundsson. Both volumes come with a Dutch text by the artist about the making of the book and the works in his exhibition in the Frans Hals Museum, Haarlem.
HREINN FRIDFINNSSON, Impromptu (leftovers of the day from the studio of the artist), 1997
ca 35 x 20 x 1 cm
magnet, metal, 4 parts
unique series with various sizes and material
certificate
VOEBE DE GRUYTER, Dokalucht, 1996
29,7 x 15,2 cm
book with text in Dutch, each with original hand made charcoal drawing, tracing paper dustcover, SC, 24 pp.
edition 120
signed, numbered
published by The Bifrons Publisher / Galerie van Gelder, Amsterdam
€ 150,-
original sketch for the cover of the charcoal drawings of “Dokalucht”:
Dikwijls worden de werken van Voebe de Gruyter begeleid met een tekst. Hier reproduceert zij een dialoog: “Je moet nog een titel vinden voor het boekje!”
“Ja, maar het moet niet te literair zijn door het bijvoorbeeld naar een van de stukjes te noemen.”
Ik vond het vreselijk moeilijk. Drie dagen later kreeg ik plots een idee. Ik kwam op een vroege avond buiten en rook een sterke, zurige lucht om me heen. Waarschijnlijk een mengsel van uitlaatgassen van auto’s en vrachtwagens en andere stadsapparaten. Vrijwel onmiddellijk wist ik de titel: beelden uit een stad die aan het ontwikkelen zijn, waarvan sommigen al beeld zijn geworden en vorm hebben gekregen in stukjes.
