EDWARD RUSCHA, City Space, 2006
23.75 x 19.75 inches
colour aquatint with sugar lift flat bite and hard ground etching
edition 30
published by Crown Point Press, San Francisco, USA
not available
Edward Ruscha seems to strip down traffic signs and in general gives order to the barrage of mass media-fed images that assault us on a daily basis. His early career as a graphic artist continues to strongly influence his aesthetic and thematic approaches, as may be shown here in City Space.
History of price:
Crown Point Press, San Francisco, USA € 5,000.- March 2010
EDWARD RUSCHA, Your Space #2, 2006
29.75 x 29 inches
edition 30
colour aquatint with sugar lift flat bite and hard ground etching
published by Crown Point Press, San Francisco, USA
not available
At the age of 18, Edward Ruscha intended to become a commercial painter but found himself drawn to fine art, over time being shaped by three influences: Marcel Duchamp, Pop art, and the movies. Meeting Duchamp when the Pasadena Art Museum hosted the French conceptual artist’s first U.S. show, Ruscha was especially affected by his use of readymade objects and imagery, rendered unfamiliar through unexpected titles or text. He says: ‘When I began painting, all my paintings were of words which were gutteral utterances like Smash, Boss, Eat. Those words were like flowers in a vase; I just happened to paint words like someone else paints flowers. It wasn’t until later that I was interested in combinations of words and making thoughts, sentences, and things like that.’
History of price:
Crown Point Press, San Francisco, USA € 5,000.- February 2010
FRED TOMASELLI, Guilty, 2005
13 x 13 inches
inkjet print, perforated archival paper
edition 100, signed, numbered
published by James Cohan Gallery, New York, USA December 2012
For his works on paper Fred Tomaselli saves New York Times articles and defaces them with paint because some articles have made him angry. Other works on paper utilize the grid form with brightly painted sections and were taken from LSD tabs which usually come in quarter inch perforated squares.
Fred Tomaselli: “In my collages, I use all these images that are made by others. They come through my hands and they end up being something else. You could call me the conductor of these images. There’s something similar about how newspapers operate, with their editors, fact-checkers, photographers, and writers all coming together to spotlight certain things and omit others. They try to present themselves as objective entities, but they are anything but that. I love the idea that in my work I’m just another subjective voice in this subjective world of the news. I become another editor, imposing my editorial acumen.”
MARLENE DUMAS
Lucy, 2005
lithograph
edition 25
signed, dated + catalogue signed by both artists
+ MARIJKE VAN WARMERDAM
Luciaaaa!, 2005
lithograph, gold leaf
edition 25
signed, dated + catalogue signed by both artists
published by Walther Koenig Buchhandlung, Cologne, Germany
2 parts in linen covered cardboard triptych box
Photo: K. van Gelder, Amsterdam
Caravaggio’s painting Sepulture of Santa Lucia, which hangs in the Regional Museum of Palazzo Bellomo in Syracuse, prompted Marlene Dumas and Marijke van Warmerdam to make works on the legend of martyr Santa Lucia. Both ‘Lucia’ of Dumas and ‘Luciaaaa!’ of Van Warmerdam is a reproduction in high quality print of one of the works they made for their duo exhibition ‘Con vista al celestiale’ in Syracuse.
Marijke van Warmerdam thought that Lucia’s calling to God and God’s calling to Lucia could best be expressed with the aid of a Jacob’s ladder. She says: ‘A Jacob’s ladder descends from heaven and God calls: “Luciaaaa!” I placed her name in gold letters upside-down on the print, actually as seen through the eyes of God.’
Photo: K. van Gelder, Amsterdam
History of prices:
Phillips, London, UK € 1.145,- 23 September 2025 (hammer price)
Sotheby’s, Amsterdam 23 May 2007 € 5.040,- / $ 6,795.- (incl. premium)
Phillips, New York, USA 1 December 2007 US$ 3,750.-
CHRISTIAN JANKOWSKI, Überhappy, 2005
DVD, 2’28” min.
composition “Überhappy (1)” by Chiel Meijering
2nd film by counterpart advertising company DDB, Berlin and Chief Creative Officer Amir Kassaei
booklet, 12 pp., English text by Paul Groot
one time limited edition 800
published by the Bifrons Foundation, Amsterdam
menu for both loop and single play
€ 180,-
Basically Christian Jankowski is collaborative in nature and his works are based on interactions with non-artworld counterparts, including bankers, weight-lifting champions, cleaning companies, porn studios, horror film producers and in this case director/founder Thora Johansen of the Bifrons Foundation in Amsterdam. Often incorporating chance, accident, and spur of the moment decisions lead to the finished artwork, Jankowski never fulfils a brief as expected, identifying contemporary phenomena that interest him and inverting their meaning.
In the case of Überhappy Christian Jankowski asked both director and harpsichordist Thora Johansen to let herself musically involved and to dance in her studio which she co-operatively did. Question is whether this is painful for her or the artist. Or both…..
FRANZ WEST, Gesammelte Gespräche und Interviews, 2005
4to., 180 pp.
book, transparent envelope with 240 images of portraits
signed, numbered
special edition 50 + 5 AP
published by Walther Koenig, Cologne, Germany
not available anymore
All persons mentioned in this artist’s book are represented with their portraits taken from internet. Empty pages give the owner the possibility to glue the portraits within given frames inside the book without asking the persons involved for permission to be “published” in the book.
“Dieses Buch hat auch die Note des Interaktiven, das bei mir ja das tragende Element war. Der Inhaber kann die markierten Stellen mit den entsprechenden Photos – diese können zum Beispiel aus dem Internet oder aus Zeitungen sein – vervollständigen.” Franz West
LAWRENCE WEINER, À fripon fripon et demi, n.d. [ca 2004]
74 cm / 7 x 4,5 cm
aluminum dogtag, chain, printed envelope (5 x 3 cm)
edition 300
mint rare
€ 285,- plus € 18,- Track & Trace registered EU mail
inv.LWei 000-pr
Collection Lambert opened its doors in June 2000 during the celebrations for ‘Avignon – European Cultural Capital’. With a view to making a future donation, gallerist and collector Yvon Lambert decided to place on loan 350 artworks. Housed in an 18th century mansion, these works are borrowed from his personal collection that at this stage comprises more than 1200 artworks dating from the 1960s to the present day.
The event ‘À fripon fripon et demi’ (English translation: ‘How to catch a thief with a thief’) focused on children and their art, with a new room in the museum specially devoted to their work. For the occasion, the Collection Lambert looked back over four years of educational initiatives with projects by On Kawara, Claude Lévêque and Joey Kötting.
YANN SÉRANDOUR, [Supplement] – A Needle In A Haystack, 2004
24 x 17 cm / 23,9 x 16,8 cm
diptych card / printed inlay, offset
edition 50, neither numbered, nor signed as issued
This work comes with a catalogue raisonné “Specific & General Works” (1993) of Lawrence Weiner, of which Sérandour’s supplement is a derived version.
The price shown on the back of the book of Lawrence Weiner was 369 French francs, equal to 54,88 euros. Yann Sérandour seems to have said about the selling price of his supplement: ‘Les comptes ronds faisant les bons amis’ (i.e. “Precision in money affairs keeps friendship’), explaining the very precise price of 45,12 euros printed on the back of the diptych.
OLAFUR ELIASSON, Eye, 2004
8 x 8 x 8 cm
glass, red ribbon with text, booklets, cardboard box
Glass blown eye ball as Christmas ball, in original silver coloured box with two small booklets in English and Icelandic
signed in print on object
limited edition extremely rare due to mis-production
published by SLF / The Benefit Society for Children with Disabilities, Reykjadalur, Iceland
€ 780,- plus € 24,- Track & trace registered EU mail
inv.OEli 1172
An ephemeral image as a kind of mirage is seen when one looks straight into the balls eye. A black and white printed iris is reflected in the mirror at the rear of the glass ball. As a miniaturized image the spiral iris construction is ingeniously appearing with an illusionistic result! Due to a complicated production technique a large part of the limited edition was mis-produced and destroyed, hence more than rare.
