Sequences, 1998

From Sequences
Two duotone offset lithographs on white board. Each print 50 x 40 cm (19¾ x 15¾ in). Edition of 60 +X, each signed and numbered.

Bernd and Hilla Becher's photographs of blast furnaces show prototypical plants that have been in operation across Europe and the USA since the 1960s. The photographs were taken either during their use or shortly after their decommissioning. As central elements of the steel industry, blast furnaces were used to produce pig iron and, with their characteristic architecture, they shaped the appearance of industrial regions. Their unmistakable shape makes them both a symbol of steel production and an iconic testimony to industrial culture.

Set EUR 4,000

From Sequences
Three grano lithographs, printed in six colors on Rives rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

This work, consisting of three grano lithographs, represents a rare and remarkable departure from Hanne Darboven's characteristic black-and-white, grid-like works. Printed in six colors on Rives BFK paper, they feature intricately drawn marble structures discovered in the artist's hometown neighborhood of Harburg. Each lithograph in this edition is titled and labeled accordingly, expanding Hanne Darboven's conceptual approach with an unexpected visual opulence.

Set EUR 1,000

From Sequences
Three aquatints printed from two to three plates each on Twinrocker handmade rag paper. Each print 50 x 40 cm (19¾ x 15¾ in). Edition of 60 + X, each print numbered and estate signed by the artist's son, Stephen Flavin.

Since 1961, the artist Dan Flavin used almost exclusively the industrial fluorescent tube as his material; his focus was not on the arrangement of the light sources but on the effects of their complex colored light within an interior space. In his few monochromatic editions on paper, Flavin does not illustrate the fluorescent light itself but rather proposes a translation of color and light into the graphic medium.

Set EUR 3,300

From Sequences
Three mixed media prints (silkscreen and offset lithograph) on glossy coated board. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

Fleury exploits elements of fashion in her works, using its formal principles or the highly recognizable images created by the fashion industry. She does this without taking a critical position towards the mechanisms of the market or of consumption. She is merely interested in the principles of fashion and the investigation of its aesthetic and conceptual aspects. By applying artistic means to the phenomena of fashion, Sylvie Fleury releases them from their transitory nature so they become blueprints for thinking.

EUR 3,500

From Sequences
Three etchings on Rives BFK rag paper. Each print 50 x 40 cm (19¾ x 15¾ in). Edition of 60 + X, each signed and numbered.

Günther Förg’s Coda editions, named after a poem by Ezra Pound, are a striking exploration of abstraction and the impact of color. Characterized by broad vertical bands in vivid tones against a textured background, these works reflect Förg’s nuanced understanding of spatial relationships and surface depth. The restrained yet contrasting color palette creates a rhythmic dynamism, highlighting Förg’s ability to evoke emotional resonance through abstraction.

Set EUR 6,000

From Sequences
a: Alf Bold Dead, August 18, 1993;
b: Fritz Five Days Old, August 18, 1993;
c: Stromboli at Dawn.
Set of three Ilfochrome prints. Each print 40 x 50 cm (15¾ x19¾ in), set signed on image b. Edition of 60 + X.

Nan Goldin on this edition: "On August 18, 1993 I spent the day by the bedside of my best friend Alf Bold listening to his death-rattle. I left the hospital briefly to meet my friend Hans Werner's newborn son, Fritz. When I returned to the hospital an hour later Alf had died."

Set EUR 3,300

From Sequences
Two silkscreens, printed in 23 or 14 colors (Day-glo, metallic and pearlescent), with embossing, on Arches rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

Peter Halley on this edition: "In this new pair of prints, I have, for the first time, begun to work with metallic and pearlescent paints I'm using in my new paintings. Employing these shimmering hues, whose appearance is so easily altered by the subtleties of their application, has been a true test of the printmaker's art."

Set EUR 5,000

From Sequences
Two soft ground etchings on dyed transparent Japanese paper, collaged on Hahnemühle etching paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

 

Rebecca Horn constructs ensembles of discrete, often kinetic parts to create evocative, almost theatrical, installations. The central and connecting theme of her works – in sculpture, installations, drawings and prints – is the transmission and free flow of energy which the artist directs into poetic ensembles, often suggesting a surreal expression.

Set EUR 1,200

From Sequences
Two silkscreen and offset lithographs on Somerset rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

The two editions titled Levlvovich’s Coincidences refer to a work series of the same name by Ilya and Emilia Kabakov. In this reference, a multi-layered play with narration and memory unfolds – characteristic of the Kabakovs’ conceptual practice.

Set EUR 1,200

From Sequences
Three lithographs, printed from three to five stones on Velin Arches rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.
 

Per Kirkeby’s lithograph Athos (1999) captivates with a central, luminous red framed by fields of yellow. Only upon closer inspection does a complex texture of hatching, smudges, and scratch marks reveal itself. The yellow areas condense into rock-like structures – a nod to Kirkeby’s geological interests. The title of this edition refers to Mount Athos, a spiritual center known for its centuries-old monasteries and caves. Kirkeby plays with ambivalence: the red forms at the center of the image open like mysterious mouths, their meaning remaining elusive. With masterful use of lithography, he merges delicate drawing with painterly depth and vibrant color dynamics.

Set EUR 3,000

From Sequences
Three-part print: Two silkscreens, printed with phosphorous pigment, and mezzotint, all printed on Rives BFK rag paper. Each print 40 x 50 cm (15¾ x 19¾ in), set signed and numbered on mezzotint. Edition of 60 + X.

Imi Knoebel’s edition Tür und Tor [Door and Gate] unfolds as a rigorously composed sequence of three prints, in which two rectangular forms—A and B—appear in varying arrangements. The series follows a reduced logic: first in the combination A+B, then A in isolation, and finally B. This principle of alternating presence and absence creates a subtle play of positive and negative forms that challenges the boundaries between figure and ground.

Set EUR 3,500

From Sequences
Three-part aquatint and heliogravure on Rives BFK rag paper. Each print 40 x 50 cm (15¾ x 19¾ in), signed and numbered on second print. Edition of 60.

With this edition, Joseph Kosuth references a René Magritte painting, L'apparition (1928), in which amorphous elements are a repeated motif. These "clouds of language" contain the major concepts of Michel Foucault's essay Ceci n'est pas une pipe from 1973, in which the French philosopher investigated the semiotic character of Magritte's word pictures. Kosuth has described his projects as investigations which examine the conceptual and representational shifts between the identity of words and the reality of things.

EUR 1,750

From Sequences
Three lithographs, printed from one stone on Sicars rag paper with collaged newspaper, folded and printed over with a second stone. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

Set EUR 3,500

From Sequences
Triptych of three woodcuts, printed with oil paint on Awa Kozo Japanese paper, 50 x 40 cm (19¾ x 15¾ in). Edition: 60 + X, signed and numbered on print c.

From Sequences
Three grano lithographs on Rives rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 +X.

The River Avon Mud Drawings are a visual record of a natural process: the movement or progression of fine river silt down a piece of paper that the artist dipped in the mud. Infinitely varying patterns result, suggesting nature's complex organic processes.

Set EUR 4,000

From Sequences
a, b: Two silkscreens, c: Grano lithograph; all printed on Magnani rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

Gerhard Merz, who has occasionally been labeled a modern classicist, uses the elements of artist – measurement, form and light – in a careful reconsideration of modernism. These three prints document the idea, the architectural plan, and the realized artist space at the German Pavillion of the Venice Biennale 1997: brick walls, plaster and fluorescent light – clarity and blankness. "The beautiful is mute and blank."

Set EUR 1,200

From Sequences
Two silkscreen and offset lithographs on Gohrsmühle rag paper, folded as passe-partouts, printed inside and outside. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

"All my works revolve around a diaphragm implicit in the image – like an ideal mirror that reflects and reveals the appearance which constitute it. The two prints Chiaroscuro (light-dark) represent two different versions of the same image; a black spot on a white sheet (La Sainte-Vierge by Francis Picabia, 1920) and a white spot on a black sky (fireworks from a photograph by Paolo Mussat Sartor). The first image frames the second and vice versa."

EUR 800

From Sequences
Three acrylic glass mirrors, printed with silkscreen. Each print 50 x 40 cm (19¾ x 15¾ in), signed and numbered on verso. Edition of 60 + X.

Set EUR 7,500

From Sequences
Two grano lithographs on Fabriano rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and titled, edition of 60.

Set EUR 900

From Sequences
Three silkscreens, printed in five to seven colors on primed Rising museum board, each handworked with monotype and poured resin. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

Set EUR 5,000

From Sequences
a, b: Two grano lithographs and c: Silkscreen, all on Rives rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

Since the mid-sixties Sturtevant has been investigating the conceptual strategy of recreating existing, well-known works of contemporary artist, and thus can be considered a precursor of the appropriation artist of the eighties. Short-circuiting the dualism implied by the question of original and imitation, each of her works sets up a confrontation with the content of artist, freed of the obstructing patina of the original and freed from the predominance of the signature of the author. Causing artist-as-phenomenon to appear in its very being – that seems to be the infinite significance of Sturtevant's repetitions.

Set EUR 1,800

From Sequences
Two heliogravures on Rives rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60.

Rosemarie Trockel gained recognition through her stove plate and knitted images, consciously referencing the traditional role of women in the domestic sphere. Trockel does not knit the images herself but has them created by a knitting machine based on her designs. Often, political symbols, brand names, and signs are woven into the fabric. In doing so, she raises questions about the sociopolitical status of art and the role of the female artist. With the color scheme of the two works in this edition, Rosemarie Trockel alludes to socially assigned gender roles in baby clothing for boys and girls.

Set EUR 4,000

From Sequences
One drypoint etching on Somerset White Rag paper and one silkscreen, printed in five colors on acetate on both sides, hand-colored additions. The two sheets can be viewed separately or overlapping. Each print 40 x 50 cm (15¾ x 19¾ in), set signed and numbered on etching. Edition of 60.

Tuttle's work is composed of fragile beauty assembled and transformed from the experience of everyday life. Always experimenting, in these prints, Tuttle manipulated the process of silkscreen by using guided blasts of water directly on the screen to form the imagery of the mylar overlay. As with his works in general, Tuttle continues to investigate the perceptive and cognitive boundaries of the visual field.

EUR 1,500  EUR 900 / $950  shipping costs included

From Sequences
Two grano lithographs on Fabriano rag paper. Each print 50 x 40 cm (19¾ x 15¾ in), each signed and numbered. Edition of 60 + X.

Published as part of the group portfolio Sequences, this edition is based on photographs James Welling had taken of Sherrie Levine’s cast glass sculptures Black and White Bottles, 1992.   

Set EUR 1,500