Special Offers
In this section we are offering a rotating selection of fine art editions at usually 60% of their retail value, which will be periodically updated. In most cases only one copy of each edition is available, and will be marked when sold. All works are signed and numbered, and are in good condition unless otherwise indicated. For once, the listed Euro prices include VAT and shipping costs (Federal Express, UPS, TNT) within Europe. The listed US$ prices include shipping to the United States and Canada. Shipping costs for other overseas destinations on request. However the buyer may be responsible for any applicable duties/taxes.
Gottfried Bechtold
Standbilder (1971/2001)
Enzo Cucchi
Guida al Disegno
Hanne Darboven
Kalenderblätter (Calendar sheets)
Mona Hatoum
Red Jesus (Venice)
Rebecca Horn
Dancing Giraffe Tree
Axel Hütte
Seattle, Library-II
Joan Jonas
Disinformed to Death
Joseph Kosuth
L'essence de la rhétorique est dans l'allégorie IV
Julian LaVerdiere
F.A.M.S.F.
Via Lewandowsky
Bona Fide (Unmöglichkeit künstlicher Beatmung bei gleichzeitiger Erhaltung der Anmut)
Richard Long
Two Sahara Works
Reinhard Mucha
Documenta-Edition
Tony Oursler
Fool
Jack Pierson
Last Summer @Rockaway
Tobias Rehberger
from: On Otto
James Richards
Untitled
Hans Schabus
Forlorn
Thomas Schütte
Sophie
Santiago Sierra
Economical Study On The Skin Of Caracans
Sam Taylor-Johnson
Looking out
Red Jesus (Venice)
2003/2005
Published for the 51st Venice Biennale
Photograph (C-print), 43.2 x 54 cm (17 x 21¼ in). Edition of 50, signed and numbered.
In Red Jesus (Venice), Hatoum explores the direct coexistence of opposing ideologies within a simple and seemingly idyllic everyday street scene in Venice. The Communist symbol of the hammer and sickle, an image of Jesus Christ, and even a sign for the left-wing democratic party coexist in a short stretch of space, while the men sitting below calmly drink beer. Through subtle shifts and visual accentuations, Hatoum questions the latent tensions in public space and reflects on the ambivalence between harmony and confrontation.
€ 1,000 € 600 / $720 shipping costs included
Dancing Giraffe Tree
1998
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.
€ 1,200 € 720 / $800 shipping costs included
Seattle, Library-II
2005
Duratrans on mirror, in mat, framed, 50 x 56 x 6 cm (19¾ x 22 x 2 in). Edition of 30, signed and numbered.
In this edition, Seattle, Library-II, Axel Hütte captures a nocturnal cityscape from a mysterious perspective. The intricate pattern suggests a sense of surveillance and entrapment. Hütte plays with light and shadow, with the even illumination provided by Duratrans enhancing the image and creating an enigmatic atmosphere.
€ 1,800 € 1,080 / $1,250 Versandkosten inklusive
Disinformed to Death
2020
From Cadavre Exquis / Manet Olympia
Digital pigment print, on Hahnemühle Photo Rag, hand-torn, 54 x 40 cm (21.25 x 15.75 in). Edition of 20, signed and numbered on label verso.
special price € 900 / $1,000 shipping costs included
L'essence de la rhétorique est dans l'allégorie IV
1998
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 + X.
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.
€ 1,750 € 1,050 / $1,200 shipping costs included
Two Sahara Works
1988
Set of 1 grano lithograph and 1 silkscreen, on rag paper, each print 63 x 93 cm (24¾ x 36½ in), each signed and numbered. Edition of 75.
The edition Two Sahara Works was created during Richard Long’s journey through the Algerian Sahara. There, Long carried out a simple yet powerful intervention in the landscape by clearing a circular, stone-covered area of its material — an elemental gesture of revelation. The circle, which Long describes as “universal and timeless,” is, like the line, spiral, or square, one of the archetypal forms of his work. The photographic work is accompanied by a poetic text printed in rust-red ink, arranged in a circular layout. It lists found objects from the walk, thereby reflecting the principle of infinity.
€ 3,000 € 1,800 / $2,000 shipping costs included
Reinhard Mucha
Documenta-Edition
1997
Published for Documenta X
Glass, aluminum, screenprint, Duotone print, 100 x 65 x 1.5 cm (39½ x 25½ x ½ in). Edition of 65, signed and numbered.
Condition: all works have slight imperfections in the finish, production-related.
"Perhaps this is the source of mystery behind Reinhard Mucha's sculptures and installations: a devotion to things that has to be knowledgeable because it is interested in the history of precise connections among things and between people and things, because it is interested in the history of dealing with them and getting used to them, and finally because it is interested in the connection with the fate through which things in their turn participate in what Mucha calls 'collective biography'."
special price € 600 / $720 plus shipping costs
Fool
2009
From Forty Are Better Than One
10-part leporello (zig zag fold), digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 250 x 30 cm (98½ x 12½ in). Edition: 75, signed and numbered.
This print edition by Tony Oursler presents a vertical sequence of circular images – all stills taken from his 2006 video Fools, created for the Door Cycle edition. Each orb-like frame captures a distorted, disembodied face or symbolic form, rendered in vivid, almost fluorescent colors. Arranged like a column of blinking eyes or surveillance lenses, the images evoke a sense of psychological fragmentation and voyeuristic intensity. In typical Oursler fashion, the faces appear warped, stretched, or eerily animated, merging digital manipulation with the artist's interest in subconscious fears, media saturation, and pop-cultural detritus. The result is a totem-like strip of visual disturbances – part dream, part nightmare – that reflect the artist’s fascination with fractured identity and the uncanny in contemporary life.
€ 1,000 € 600 / $720 shipping costs included
Jack Pierson
Last Summer @Rockaway
2001
Set of two photographs, on Kodak professional paper, 25.5 x 20.5 cm (10 x 8 in) each. Edition of 45, one print signed, the other numbered.
€ 1,000 € 600 / $720 shipping costs included
Untitled
2020
From Cadavre Exquis / Manet Olympia
Digital pigment print, on Hahnemühle Photo Rag paper, hand-torn, 46 x 35 cm (18 x 13.75 in). Edition of 20, signed and numbered on label verso.
special price € 750 / $960 shipping costs included
Sophie
2005
Published for the 51st Venice Biennale
Etching from two Nylo plates on Somerset rag paper, 75.5 x 57 cm (29¾ x 22½ in). Edition of 50, signed and numbered.
This etching edition by Thomas Schütte captures a quiet moment of presence through the simplicity of line and the subtlety of tone. The figure, wearing a hooded jacket and rendered with gentle outlines against a pale blue ground, appears both direct and introspective. With minimal gestures, Schütte conveys individuality and emotion, balancing intimacy with restraint. The subject’s calm, open gaze and the soft, almost ghostly handling of form evoke a sense of immediacy and vulnerability. Sophie exemplifies Schütte’s gift for portraiture that is neither idealised nor detached, but human, empathetic, and quietly monumental.
This work was published on the occasion of the Venice Biennale in the year Thomas Schütte was awarded the Golden Lion for Best Artist – a milestone that marked his international acclaim.
€ 2,000 € 1,200 / $1,350 shipping costs included
Economical Study On The Skin Of Caracans
2009
From Forty Are Better Than One
8-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag Bright White paper, 200 x 32 cm (78¾ x 12½ in). Edition: 75, signed and numbered.
Santiago Sierra’s edition Economical Study on the Skin of Caracans confronts systemic racism and economic inequality through a rigorously structured conceptual work that visualises a stark correlation: the darker a person’s skin, the lower their average yearly income. Sierra photographed the backs of 35 individuals – not as symbols of labour, but as neutral yet intimate surfaces for registering racial difference. He then averaged the grayscale value of each skin tone and paired it with a corresponding income level in US dollars. The result is a haunting visual graph of social segregation, rendered through anonymised skin and monochrome fields. Rather than aestheticising injustice, Sierra exposes the mechanics of discrimination, offering a blunt but necessary reflection on the politics of visibility, value, and power.
€ 800 € 480 / $550 shipping costs included
