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.
DIETER ROTH, catalogue Biennale Venice, 1982
29,7 x 21 cm
stack of loose pages, SC, bound with metal fastener
splendid condition, very gently used
published by Swiss Pavilion / Pro Helvetia
€ 150,- plus € 12,- Track & Trace registered EU mail
inv.DRot 906-pr
This book comes with a customised cardboard box:
History of price:
Ursus Books, New York, USA, July 2025 US$ 175.-
LILY VAN DER STOKKER, Worteltje, 1997 [contemplative stone]
21 x 30 x 30 cm
acrylic paint on epoxy resin
signed, dated, numbered 3/4
edition 4
€ 8.600,- plus € 32,- Track & Trace registered EU mail
inv.LvdS 000
Production Galerie van Gelder, Amsterdam
For this series each ‘contemplation stone’ is hand painted by the artist. On each numbered copy the depicted flower is coloured slightly different. In 1997 this edition was offered at Feature in New York for the first time. After its closure it is unknown what happened to copies #1/4, #2/4 and #4/4.
LvdS: ‘I don’t know why I wrote ‘Worteltje’ on it, although I remember that I liked that word a lot, at the time.’
ROMAN SIGNER, Roman Signer Works, 2000
15 x 20 cm
invitation card
mint
published by Bonnefanten Museum, Maastricht, Netherlands
€ 80,- plus € 12,- Track & Trace registered EU mail
inv.RSig 000-pr
KRISTBERGUR PÉTURSSON, invitation, 1987
11,1 x 15,6 cm
photo copy on cream coloured paper, stamp dated on envelope
mint rare
€ 80,- plus € 12,- Track & Trace registered EU mail
inv.KPet 000-pr
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.”
SYLVIE FLEURY, ‘Delft Cuddly Painting’, 1992
30 x 30 x 5 cm
fake fur
edition 30
signed, dated, numbered
mint
published by Ecart, Geneva, Switzerland
inv.SF 000
History of prices:
Lempertz Auction House, Cologne, Germany, € 4.960,- (hammer price)
Piasa, Paris, France, 27 September 2023 € 2.600 (incl. premium)
NIKOLAUS URBAN, Sweet Card, ca 1973
10 x 14,9 cm
postcard, sugar
series of unique postcards
condition excellent, verso fine, slightly aged
edition unknown rare
published by the artist, printed by the Jan van Eyck Academie, Maastricht
not available
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.
GERHARD ERWALD WALTHER, Fläche Weinrot, 1997
23 x 16,5 cm
heavy fabric, sewn, envelope with sticker
edition 100 + 20 AP, here number 50/100
signed, numbered, dated
published by Edition Texte zur Kunst, Berlin, Germany.
€ 300,- plus € 12,- Track & Trace registered EU mail
inv.FEW 000-pr
Textiles were an instrument for the viewer and prompted a specific action, such as lying on or leaning against them. According to Walthers, the textile objects he sewed became works of art when a person or a group of people did something with them, he stated. In this case a hand may be resting on the surface of the neatly sewn canvas.
Here Franz Erhard Walther’s hand is put on a copy of the edition.
