MARLENE DUMAS, ‘For Whom the Bell Tolls’, 2015
101 x 101 cm
Habotai silk scarf, original linen bound box, card
edition 500
published by Tate Modern, London, England
mint
inv.MDum 000-pr
MARLENE DUMAS, For Whom the Bell Tolls, 2008. In this painting – here in print – Marlene Dumas shows interest in emotional expressions that are often represented in cinema, and rarely in contemporary painting. For this she applied a variety of watery drip painting techniques and used a film still (from ‘For Whom the Bell Tolls’, 1943) of Ingrid Bergman experiencing sorrow and mourning. Two seemingly emblematic black bird images in the eyes add an extra eery and dramatic touch to it all.
‘In 2007 my mother died at noon at the age of 86.
For Whom the Bell Tolls was about loss and departure, but also about transformation and freedom. A spirit set free, my grief and her relief. So I made the [film] stars [Ingrid Bergman. a.o.] and the gods weep for her. Marlene Dumas
This item is wrapped in a linen box with a loose piece of paper with instructions for cleaning.
Additional information
Marlene Dumas’s painting For Whom te Bell Tolls was used for the reproduction of her Tate Modern scarf and the painting from 2008 itself is based on a film still. Appropriation is of all times, also e.g. Victor Young’s vinyl “For whom the bell tolls” (2019) features the same image.
History of price:
ArtWise, Brooklyn, New York, USA US$ 125.- August 2021
Tate Modern, London, England GBP 85.- February 2015 (since May 2017 not available anymore)
Ref. Tate Modern, London: silk scarf Marlene Dumas
LAWRENCE WEINER, Here, there & everywhere, 2015
diameter 5,5 cm
badge
edition unknown
published by Whitney Museum of American Art, New York, USA
€ 145,- plus € 12,- Track & Trace registered EU mail
YOKO ONO, Mended Cups and Unbroken Cup, 2015
17 x 29 x 29 cm
print on ceramics, 14 parts in display box, leaflet, tag, folded poster
published by Illy Art Collection, Italy
Collection Kees van Gelder, Amsterdam
inv.YOno 000-pr
“Mended Cups and Unbroken Cup” consists of six cups that bear gold, ‘shattered’ and ‘mended’ crack lines – accompanied by six individual saucers that state, in Yoko Ono’s handwriting, six catastrophic events that have affected the world; some have directly affected her life, and others only indirectly, yet bringing death to millions of people. Each saucer states the date and place of the tragic event. Why and how the tragic events have been “mended” is unclear….
The seventh cup in the collection, ‘Unbroken Cup’, is untouched with no cracked or mended lines, reflecting peace and hope with Ono’s handwritten words on the saucer, Yoko Ono: “This cup will never be broken as it will be under your protection.”
GERT VERHOEVEN, ‘OVAL OFFICE, Ouah-Ouah-Cik-Cik-Mja-Mja / A slice of panoramic wallpaper’, n.d. [2014]
– insert in De Witte Raaf
ca 41 x 57 cm
screen print on spread of offset newspaper
twice folded as issued
signed, numbered
edition 68
– cover of De Witte Raaf
ca 20,5 x 28,5 cm
screen print on newspaper, ink stamps, blind stamp, resealable celluloid foil envelope
signed, numbered
edition 68
Published by Frans Masereel Centrum, Kasterlee, Belgium
€ 120,- plus € 15,- Track & Trace registered EU mail
inv.GVe 1069-pr
For the 169 issue of De Witte Raaf about Flemish nationalism and culture/the arts (in collaboration with Koen Brams), artist Gert Verhoeven made an artist’s contribution about the recent history and future of Belgium. During his residency at Frans Masereel Centrum he used copies of De Witte Raaf to turn his proof of ‘contemporary history art’ into an edition.
CUT magazine about art, issue #14, 2014
29,7 x 21 cm, 12 pp.
digital printed magazine
edition 50
for the first Special Cut Subscribers: multiple by Éric Giraudet de Boudemange
signed, numbered, dated
edition of 15
‘CUT magazine about art appears irregularly however often’ and is published by Galerie van Gelder. This time the magazine is printed in full colour, although leafing through the pages one gets a mainly black and white impression.
Issue #14 opens with an photographic image ‘On the Stairs’ of Steel Stillman followed by pages of short sentences describing one of the many snap shots he made with a Kodak Instamatic camera decades ago. The other half of the magazine shows pages contributed by Éric Giraudet de Boudemange who is interested in ‘ethnographic experiences’ documented by film and combined with paraphrases he staged during the filming of deer hunters in the woods.
JONATHAN MONK, Finger Food, 2014
diameter 11 inches
series of 9 different colours
edition 10 (each colour)
signed, numbered on certificate
published by Art Metropole, Toronto, Canada
€ 1.050,- plus € 24,- registered mail
Jonathan Monk says about choices: ‘Once something has been done, it can be done again in a different colour.’ This certainly is again executed in his ‘Finger Food’ edition of dinner plates. A series of off-white ceramic dinner plates, each with two glazed thumb prints on the top and the remaining eight finger prints on the bottom side is produced in nine colours and are sold individually in red, rose, pink, black, grey, blue, dark blue, violet and light green.
DAVID SHRIGLEY, Anti-Psychotic Blend, 2014
height 11,3 cm, diameter 9 cm
hand numbered
edition 480
published by Art Sampler Tea Editions, Manchester, England
mint condition
€ 170,- plus € 15,- Track & Trace registered mail
YANN SÉRANDOUR, One Week, 2014
21, 6 x 17,7 cm / 22 x 18,5 x 0,5 cm
text on A4, folio folded out 37,2 x 44,7 cm
edition 50
published by Christophe Daviet-Thery, Paris, France
In 1969, Seth Siegelaub organized a group show “One Month” and selected 31 artists he invited to produce a work on their assigned day in March of that same year. As a kind of exhibition catalogue he produced a calendar of 31 pages entitled “March on 1969”, which included six blank pages corresponding to seven artists who turned down Siegelaub’s invitation (Carl Andre, Michael Asher, Dan Flavin, Sol Lewitt, Bruce Nauman and Ed Rusha and xxxx).
RAYMOND PETTIBON, They hung there, possible answers to any question that came up, 2014
127 x 127 cm
seafoam scarf of 10% cashmere, 90% modal
edition 200
JEFF KOONS, Balloon Dog, 2014
18 x 25,5 x 7,5 cm/ 7 x 10 x 3 inches
transfer print on leather handbag, limited edition protection pocket, original tags
signed, dated
published by H&M, New York/Los Angeles/Chicago and Dallas, USA
condition: gold felt pen ink has discoloured on all leather bags due to oxidation; nevertheless the dark signature is easy to detect.
€ 320,- plus € 32,- Track & Trace registred mail
This limited edition Balloon-Dog-on-leather-bag was only carried in select stores across the United States and not in Europe or Asia, including Los Angeles, Chicago and Dallas. The 15th of July 2014 was the opening day of H&M’s newest Fifth Avenue flagship store in Manhattan, New York. The regular edition was put online at the company’s site hm.com two days later on July 17th, 2014 and was sold out in minutes.
At the opening most probably a few hundred handbags have been signed and dated by Koons. Nikki Lohr, reporter of The Observer/Gallerist wrote on her blog: “Mr. Biesenbach was also on board: “I love Jeff Koons working with Lady Gaga and working with H&M,” said Mr. Biesenbach. “In a certain way, it is what his work deals with naturally. It makes complete sense.” Always a man of the people, Mr. Koons signed almost every purse and scrap of paper pushed at him throughout the night. A woman in a black silky baseball cap and short black pigtails held out a Sharpie and her white iPhone to Mr. Koons. “Will you sign it?” she squealed. He traced a ‘J’ before he looked up at the woman and said apologetically, “I’m sorry, it’s just not working.”
Original status in 2014 when the handbag was provided with a signature:
