THOMAS HIRSCHHORN, Preparatory Drawings for Crystal of Resistance, 2012
35 x 51 cm
eighty-eight facsimiles in offset, three original drawings in variable sizes,
cardboard box, label, numbered by the artist, edition 29
published by Three Star Books, Paris, France
inv.ThHir?
This edition with unique preparatory drawings – not signed, though – is a follow-up to Crystal of Resistance, the artist’s large-scale work for the Swiss Pavilion at the 2011 Venice Biennial and one of the few artist’s notes which remained after the exhibition.
JIM SHAW, Hairdo, 2012
61 x 45,7 cm
lithograph, signed, numbered, edition 100
produced by Baltic, Gateshead, UK € 436,- / £ 350.- November 2012
The comic book image ‘Hairdo’ of a 1960s bouffant wig references a passage from Shaw’s proposed prog-rock opera based on his fictional religion Oism, a narrative he has been working on for more than 20 years. The image also refers to a mural ‘The Rinse Cycle’ 2012, in which a group of oversized bouffant hairdo’s hover around a desert landscape they share with the interior view of a washing machine in mid-cycle.
LATIFA ECHAKHCH, Untitled, 2012
21 x 29,7 cm
screenprint, 270 grams Zerkall paper
edition 100, here nr 178
signed, numbered on certificate
published by Portikus, Frankfurt, Germany
inv.LEch 000-pr
Reflecting on ideas of absence inherent in migration, French-Moroccan artist Latifa Echakhch – having herself a diverse cultural heritage, living in France and Switzerland – made a sculptural work that to an extent ‘repopulates’ the island over the winter months. With the expertise of the renowned Research Institute Senckenberg, the island’s biotope was mapped. Based on these findings, Echakhch developed a project centering around the transient nature of life on the island and the fluctuation of migrating birds, and fabricated a number of kites in the shape of birds to be attached to the trees. The kites are made from plastic bin-bags, echoing the paradox of a nature reserve in an urban cityscape. The screenprint Untitled, 2012 reminiscences this outdoor event.
JOHN BALDESSARI, Wrong [1966-1968], 2012
71 x 56 cm / 28 x 22 inches
digital print on archival paper
edition unknown
published by LACMA, Los Angeles, USA
mint rare
€ 340,- plus € 32,- Track & Trace EU registered mail
inv.JBal 000-pr
John Baldessari made this print as a painting between 1966 and 1968. He was intentionally questioning the conventions of photographic picture-making, among other things. He created this work after looking at an art instruction book about how to properly compose images. Baldessari had himself photographed in front of a palm tree. He comments: The person that did the book had sketches of the scene, of let’s say a landscape, but there would be two. And one would be right, according to him, and one would be wrong. And I loved the idea that somebody would just say that this is right and this is wrong. So I decided I would have a painting that was wrong, a work of art that was wrong, which seemed right to me.
Baldessari is interested in communicating his concept more than he is in creating something precious or unique. After he decided that his own handwriting was too personal and not distant enough he hired a professional sign painter to letter the word “wrong” you see on the original painting. This poster being just a mere reproduction may ‘as communicating his concept’ therefore be undeniably seen as a work of art, though unsigned.
John Baldessari says about his work: I’m very interested in both language and imagery; I don’t really know why, but I find word and image equally important. He is known for works that blend photographic materials such as film stills and applied discs in colour. He takes them out of their original context and rearranges their form, often outlining their shapes including the addition of words or short sentences.
This print is sold out at LACMA, Los Angeles, USA.
History of prices:
eBay-dynas-46, Secaucus, New Jersey, USA September 2023 US$ 450
eBay-hypegallery, Houston, USA August 2022 US$ 399
LAWRENCE WEINER, Untitled [Dem Frieden eine Form geben], 1985
85 x 60 cm
offset
edition 50, of which 30 copies numbered 1/30 – 30/30 and 20 AP copies numbered I/XX – XX/XX
signed, numbered
Edition René Block, Berlin, Germany
condition: splendid
€ 400,- plus Track & Trace registered EU mail
inv.LWein 000-pr
SARAH MORRIS, Big Ben 2012, 2011
76 x 60 cm
screen print with one glaze on 410 gsm paper
edition of 200
signed, numbered, dated
Counter Editions, London, UK GBP 900.- September 2012
Since the mid-1990s Sarah Morris has been creating complex, geometric, abstract paintings derived from cityscapes and architectural detail, signs and symbols. To celebrate the Paralympic Games 2012 in London Morris has created an abstract representation of one of the city’s most iconic landmarks: Big Ben. The grids and vivid colours create a sense of dynamism and also may evoke images of athletic tracks, swimming lanes, and field markings.
History of price:
Counter Editions, London, UK GBP 900.- September 2012
MARTIN CREED, Work No. 1273, 2011
76 x 60 cm
lithograph on 300 gsm paper
edition of 250
signed, numbered, dated
pubished by Counter Editions, London, UK
Martin Creed imposes simple rules on his creativity. He might create a painting using only paintbrushes bought in a multi-pack, or make only one mark a day with the same felt-tip pen until the whole paper surface is covered. Repetition, stacks, and intervals are familiar motifs in his work, along with ascending and descending structures. For Work No.1273, Creed has made five single brush marks using a palette derived from the Olympic colours. The marks are arranged in an ascending form that seems to represent an extended podium.
History of prices:
Counter Editions, London, UK £ 640.- September 2012
GERHARD RICHTER, Die Welt, 2012
57,3 x 40 cm
digital pigment print on heavy quality paper
signed, numbered
edition 100
published by Die Welt, Berlin, Germany
mint condition
€ 7.800,- plus € 32,- Track & Trace registered mail
inv.GRich 401-pr
The own family is a recurring motive in the work of Gerhard Richter, opposite to newspaper clippings of people he doesn’t know and that he integrates in his paintings. He painted his first wife, Ema, he portrayed his daughter “Betty” as well as his “Uncle Rudi” and “Aunt Marianne”. The latter two family members were painted in relation to Nazi Germany.
The front page of the edition of the daily newspaper “Die Welt” depicts Richter’s second wife Sabine in a white bathrobe and his son Theo in a striped towel, although not recognizable. Painted in his renowned style of blurring a realistic image. Gerhard Richter remarked that it reminded him of Ingres’ painting ‘The Turkish Bath’ (the picture was taken in hotel “Waldhaus” in Sils-Maria).
History of prices:
ArtPrintX.com, Ravensburg, Germany € 8.714,- February 2024
Artsation GmbH, Munich, Germany € 10.400,- June 2016
Lempertz, Cologne, Germany € 5.208,- November 2015 (hammer price)
Artsation GmbH, Munich, Germany € 10.400,- December 2014
Artsation GmbH, Munich, Germany € 7.350,- September 2013
Artsation GmbH, Munich, Germany € 5.350,- August 2013
Die Welt, Berlin, Germany September (year of issue) € 2.000,-
Extra information:
GERHARD RICHTER, Die Welt of 5 October 2012
offset newspaper
29,5 x 40 cm
edition ca 251.500
splendid condition, folded to tabloid size as shown
published by Die Welt, Berlin, Germany
inv.GRich 000-pr
