Special Offers

Portfolio of seven prints (Skia Photography), 90 x 65 cm (35½ x 25½ in), edition of 30, each signed and numbered.

The photographs of this edition by Lothar Baumgarten originate from the creation process of Matteawan/Fishkill Creek, an 80-minute sound recording made one night at Denning’s Point on the Hudson River near Beacon, N.Y. This spit of land was once home to various Native American tribes and later the site of a brick works before it was purchased by New York State in 1988.

Set € 5,000  € 3,000 / $3,400  shipping costs included

Calendar with 13 high gloss laminated prints, 42 x 60 cm (16½ x 23½ in) each. Unsigned copy in addition to the edition of 300.

In this edition, Sister Project (2000), Vanessa Beecroft stages her sister Jennifer in twelve large-format photographs inspired by classic nudes. Through variations in light and color, each image reflects the mood of a particular month, turning the model's body into a painterly medium of expression.

special price  € 150 / $200  shipping costs included

Published for Kunsthaus Bregenz
Etching on rag paper, 40 x 50 cm (15¾ x 19¾ in). Edition of 60, signed and numbered.

€ 1,200  € 720 / $820  shipping costs included

Aquatint with silkscreen, 32 x 23 cm (12½ x 9 in). Edition of 90, signed and numbered, bound in a 1985 publication of Louisiana Museum.

€ 800  € 480 / $550  shipping costs included

Aluminum foil relief print with reflective surface (which changes in the light), mounted on museum board, with silkscreen, 78.5 x 86 cm (31 x 34 in). Edition of 100, signed and numbered, #91/100. 
Condition: small abrasion, see separate image.

This edition documents one of Gilbert & George's earliest performances (Singing Sculpture, first performed in 1969) and illustrates their radical approach of presenting themselves as living sculptures. In London’s Cable Street, they appeared with bronze-painted faces and hands, wearing their characteristic flannel suits, and presented a precisely choreographed, mechanically-appearing singing and dance performance to Underneath the Arches by Flanagan & Allen. This work marked the beginning of their consistent artistic practice, which consciously dissolved the boundaries between art and life.

special price  € 1,800 / US$2,000  shipping costs included

Published for Documenta 11 
Giclée print on rag paper, 59.7 x 42 cm (22¾ x 16½ in). Edition of 45, signed and numbered.

A progenitor of the reinvention of documentary photography in the charged territory of apartheid, David Goldblatt's immense photographic corpus comprises critical, historical and social documents representing the legacy of colonialism through the post-apartheid period. In a quiet and ambivalent way, Goldblatt negotiates both personal and political aspects of the South African landscape, recording the obscure, in-between sites that register and reverberate the memory, territory, history, and architecture of apartheid. The two photographs, Joburg Intersections, are part of visual explorations of some of the changes that have come to Johannesburg since the end of apartheid.

€ 800  € 480 / $550  shipping costs included

Published for Documenta 11
Cardboard, foil, plastic, golden wrapping paper, tape; overall size 250 x 80 x 10 cm (98½ x 31½ x 4 in). Edition of 50, signed and numbered.

This sculptural edition by Thomas Hirschhorn features a gaudy gold-painted chain with a large “CNN” pendant – an unmistakable emblem of global media. Fashioned from Hirschhorn’s characteristic low-grade materials like cardboard, foil, and tape, the piece exemplifies his strategy of "cheapness" not just as aesthetic, but as conceptual methodology. The oversized, handmade quality of the necklace references “bling” culture – luxury consumerism associated with hip-hop and pop iconography – yet it’s rendered in unmistakably crude craft, turning ostentation into critique. The use of CNN, a media titan, as the pendant ties the sculpture to themes of information saturation, power, and spectacle. As with his other “chain” pieces, Hirschhorn plays with symbolic dissonance. Here, global capitalism, pop culture, and mass media are compressed into a single, absurdly monumental object. It’s at once humorous and biting, elevating what might appear as kitsch into a complex reflection on value, representation, and the political economy of visibility.

special price  € 6,000 / $6,500  shipping costs included

From Forty Are Better Than One
Double sided 10-part leporello, embossing/debossing on Gmund Colors 21 paper, 32 x 250 cm (12½ x 98½ in). Edition: 75, signed and numbered on label on archival sleeve.

For this edition, Joseph Kosuth chose a quote by French philosopher, mystic and political activist Simone Weil, which states that contradiction is not a flaw in our understanding of reality, but a sign we are engaging with something truly real and necessary. The full, embossed quote reads: 
THE CONTRADICTIONS THE MIND COMES UP AGAINST – THESE ARE THE ONLY REALITIES: THEY ARE THE CRITERION OF THE REAL
THERE IS NO CONTRADICTION IN WHAT IS IMAGINARY. CONTRADICTION IS THE TEST OF NECESSITY. SIMONE WEIL

€1,000  €600 / $700  shipping costs included

Three silkscreens on copperplate printing paper, with punched holes, and one hand-painted gouache on rag paper. 76 x 56 cm. Edition: 30, with silkscreens in colors illustrated + XX with silkscreens in additional colors; each signed and numbered on verso.

This early work by Gerhard Merz is a four-part edition created in conjunction with his exhibition of the same name at the Lenbachhaus in Munich. Both in content and in title, the works reference Gualtiero Jacopetti’s 1962 film of the same name, which – with its often shocking images of foreign cultures – founded its own genre: the mondo films. Merz takes up this theme by presenting portraits that resemble ethnographic depictions of foreign cultures. The figures shown appear to be from another, "exotic" world – marked by symbols, traditions, and rituals that seem alien to the Western gaze. The fourth sheet in this edition, a monochrome gouache painted in blue, contrasts with these images both formally and thematically. It can be interpreted as a symbol of Western modernity – a counter-image to the diversity of the others, though not without ambiguity or meaning.

special price € 2,700 / $3,000  shipping costs included

From Forty Are Better Than One
10-part leporello, screenprint on Gmund Colors 50 paper, 32 x 250 cm (12½ x 98½ in). Edition: 75, signed and numbered.

For this edition, Paul Morrison created a dense, panoramic landscape. The title, which is the Latin name for honeysuckle, signals the artist’s ongoing interest in flora as both scientific subject and symbolic motif. Here, oversized flowers and detailed foliage appear layered against a traditional cottage scene, rendered in Morrison’s signature high-contrast black and white. The visual field is compressed and intricate, evoking a surreal collision of scales and timescapes – where domestic idyll and wild overgrowth coexist.

€ 1,200  € 720 / $820  shipping costs included

Silkscreen on rag paper, 101 x 80 cm (39¾ x 31½ in). Edition of 60, signed and numbered.

With this edition, Rosemarie Trockel offers a compelling portrait that plays with surface, identity, and perception. Rendered in a halftone aesthetic reminiscent of mass-media reproduction, the image shows a smiling woman in a seemingly conventional pose – elegant, composed, yet subtly performative. The title, referencing Lewis Carroll’s Alice’s Adventures in Wonderland, introduces a layer of irony and ambiguity, hinting at the slippage between appearance and reality, self-presentation and fantasy. Trockel often challenges traditional representations of femininity, and this work is no exception. The fine grain of the screenprint, with its illusion of photographic realism, underscores the constructed nature of the image, while the subject’s exaggerated expression and poised hands suggest both glamour and parody. As with much of Trockel’s work, Alice im Wunderland resists easy interpretation: it is at once seductive and unsettling, humorous and critical, reminding us that the “wonderland” of gender, identity, and image is never neutral ground.
This work is held in the collection of the Harvard Art Museums.

€ 1,500  € 900 / $1,000  shipping costs included

Published for Kunsthaus Bregenz
Digital pigment print (Ditone) on photo rag paper, 59.5 x 84 cm (23 ½ x 33 in). Edition of 60, signed and numbered.

In 2005, Rachel Whiteread created her series Doors, an assemblage of casts of 14 different doors in distinct colors and patterns taken from different buildings in London, for an exhibition at the Kunsthaus Bregenz in Austria. This edition, Untitled, 2005, is based on a drawing/collage Rachel Whiteread had made to illustrate the possible installation of her sculpture and was published by Schellmann Art for Kunsthaus Bregenz as the accompanying print for the museum installation. 

€ 1,800  € 1,080 / $1,200  shipping costs included