Category Archives: prints



JOHN M ARMLEDER, Untitled, 1998 [spirograph drawing]

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JOHN M ARMLEDER, Untitled, 1998
53,1 x 38,2 cm (34,8 x 49,8)
spirograph drawing, colour pencil, lead pencil
signed, dated, numbered (as if it concerns an etching)
series of 25 unique drawings + 10 AP (numbered I-X)
published by Edition Franz Mäder Galerie, Basel, Switzerland
€ 4.200,- plus € 24,- Track & Trace registered EU mail
inv.JMA 000-pr

John M Armleder was invited to make an etching for publishing house Edition Franz Mäder Galerie, Basel. In stead of making a dry needle etching on copper plate he asked Mäder to make 25 blank plate prints on etching paper. On each of these Armleder drew unique spirograph drawings. He numbered them as if it concerned an edition.
At a certain point, Armleder used a spirograph by leaving the utensil uncontrolled run over the paper creating a most surprising juggler’s lightness and evocativeness. He once stated that for him in the end every time he has to think about how to make an art piece that is no more than a performance. Here it is, definitively, with it’s etching-like dancing appearance.

Close up:

 

Examples of drawings out of the so-called EA’s:

JONATHAN MONK, Picture Post Card From Post Box Pictured, 2025 [post card, signed]

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JONATHAN MONK, Picture Post Card From Post Box Pictured, 2025
14,8 x 10,5 cm
postcard, postdated 07-07-2025
signed
edition 100
published by Fifthsyllable, UK
inv.JMon 527-pr

In 2006 Jonathan Monk told David Shrigley in an interview: “I now think the only thing that stayed with me after art school was the idea of context. What and where things are placed in relationship to other things in the world.”

MARTHA ROSLER, Untitled (Postcard), 1973-2017 [postcard]

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MARTHA ROSLER, Untitled (Postcard), 1973-2017
15 x 10,5 cm
Postal Service Series #4
edition 100
mailed, condition: excellent
published by More Publishers, Brussels, Belgium
inv.MRos 897-pr

Postcards were sent to people from a mailing list of the artist. An enlarged version of the same postcard was released as a poster in an edition of 25 + 5 AP.

‘In her performances, videos, textual works, photographs, and installations, Rosler confronts her audiences with political subjects and the role of the media, analyzing quotidian, domestic, and urban life from a feminist viewpoint not altogether devoid of humor. In her series, “Beauty Knows No Pain,” or “Body Beautiful” (1965-74), she used techniques of collage to create a sense of unease with the ways in which women are portrayed. She has used this technique continuously, as in her well-known series of photomontages, “Bringing the War Home: House Beautiful,” and “Bringing the War Home: In Vietnam” (1967-72). Here, as in her installation “B-52 in Baby’s Tears” (1974), Rosler scrutinizes the role of the mass media in wartime.’ Generali Foundation 1974, Salzburg, Austria.

OTOBONG NKANGA, Crumbling Through Powdery Air, 2015 [edition, signed, numbered]

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OTOBONG NKANGA, Crumbling Through Powdery Air, 2015
80 x 59 cm
digital print, poster, laser cut
signed, numbered
edition 50
mint, unframed
published by Portikus, Frankfurt / am Main, Germany
€ 50,- For purchase visit: https://www.portikus.de/en/editions/728_crumbling_through_powdery_air_poster_edition

Added information:
This edition is made from the regular poster announcing the exhibition of Otobong Nkanga at Portikus. With the applied laser technique the lower part of the poster is cut off completely.

‘In 1875 a prospector scouting the land described Green Hill, an area so rich in ore minerals that it radiated the bright green colour of oxidised copper. The Green Hill would become legendary as having the highest concentration and diversity of minerals in Namibia. Yet what Nkanga came upon was a cavernous hole. The extraction of the minerals malachite and azurite had mined the hill into oblivion. The copper had been processed, transported and erected elsewhere with no tangible connection to its origins in Tsumeb. The closed mine, abandoned miners’ houses and disused railway buildings that Nkanga encountered languish – ruins and debris of places that once bustled and bristled with desire.’
From the website of Portikus.

History of price:
Portikus, Frankfurt am Main, Germany June 2025 € 50,-

VOEBE DE GRUYTER, zonder titel, 1999 [photograph with street text]

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VOEBE DE GRUYTER, zonder titel, 1999
70 x 50 cm
photo print
numbered, signed
edition 10
published by Galerie van Gelder Editions 1999
€ 700,- plus € 24,- Track & Trace registered EU mail
inv.VdG 000

This print shows a (illegally) painted text on a parking space in front of Galerie van Gelder being part of Voebe de Gruyter’s first solo exhibition in 1999. The text reads:
‘An elderly man with dangerously high blood pressure is sitting in a dirty old Mercedes diesel, the engine running, eating an orange. The engine is running very irregularly.’