Special Offers

From Forty Are Better Than One
10-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag paper, 32 x 250 cm (12½ x 98½ in). Edition: 75 + 25 AP, signed and numbered on label verso.
Realised as a leporello that folds down to a 32 × 25 cm format, in archival sleeve for shipping and storage.

In this edition, John Baldessari spells out his own name using a playful and surreal visual alphabet. Each letter is paired with an unexpected image – a bone for "B", a salt shaker for "S", a dog, an ear, an infinity sign – turning the act of spelling into a semiotic game. This work exemplifies Baldessari’s signature approach: collapsing text and image into a single, witty composition that questions how meaning is constructed. Both humorous and conceptual, the piece highlights Baldessari’s ongoing fascination with language, identity, and the absurdities of visual culture. It’s a cheer, a puzzle, and a self-portrait all at once – an artwork that quite literally spells out the artist’s legacy.
This work was created as part of the group project Forty Are Better Than One: as a special edition of Edition Schellmann's catalogue raisonné to mark the gallery's 40th anniversary.

€ 1,500  € 900 / $1,050  shipping costs included

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  € 825 / $950  shipping costs included

3 offset prints on cardboard, je 33.5 x 91.3 cm (13 x 36 in). Edition of 470, each with printed signature on verso, not numbered.
Condition: hinges on verso

Set € 1,500  € 900 / $1,050  shipping costs included

From Door Cycle
Screenprint on both sides of an Amphibolin-primed wooden door panel. Size: 200 x 90 x 4 cm (78¾ x 35½ x 1½ in). Edition: 15, signed and numbered on separate label.

The sculptures of Katharina Fritsch (born 1956 in Essen, lives and works in Düsseldorf) have a way of imprinting themselves on one's mind. With their simple outlines and bold use of color, they have the clarity of icons or pictographs. Her figures and objects are reminiscent of fairy tales, fables and myths. The attention Fritsch pays to the surfaces of the sculptures, and to their color, scale, and the space in which they are presented creates a strange tension between the familiar and the uncanny. A life-size elephant is anatomically exact down to the last fold of skin, but painted in an unearthly blue-green. A man, tucked up in bed, is confronted by a giant black mouse that squats on his chest. The effect of giving solid reality to the visionary and fantastic is unsettling. It is a relationship that Fritsch is keen to explore: "I find the play between reality and apparition very interesting," she says, "I think my work moves back and forth between these two poles." Her sculptures open up dark areas of our collective consciousness and confront deep-seated anxieties, although this is often tempered by humor. Their iconography is drawn from many different sources, including Christianity, artist history and folklore, without being reducible to a single source or meaning.
"My 'drawings' were based on illustrations from a 1936 edition of the Duden pictorial lexicon. The book (...) always fascinated me as a child. It actually shows every aspect of life from birth to death in a dry, standardized form in little pictures. I was interested in this kind of standard drawing. What is a drawing? For me a drawing is first of all a sheet of white paper with black lines on it that represent something (...)« The Lexikonzeichnungen show »a strong, firmly fixed world order, borrowed from a nineteenth-century Romantic Germany that didn't exist at the time either. That is the second plane of these drawings for me: black lines on a white background, (...) representing a completely intangible illusion."

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

Portfolio with 2 silkscreens on rag paper, 45.5 x 60 cm (23½ x 17¾ in) each. Edition of 30, with artist's book (20 pp., edition of 300), all signed and numbered.

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

From Forty Are Better Than One
10-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 250 x 32 cm (98½ x 12½ in). Edition of 75 + 25 AP, signed and numbered on label verso.
Realised as a leporello that folds down to a 32 × 25 cm format, in archival sleeve for shipping and storage.

This edition is part of Robin Rhode’s larger Walk Off series – a term borrowed from basketball that, for the artist, signifies the final frame that “walks the viewer off” the work. In this photographic sequence, Rhode performs a fictional act: wielding a real spade, he mimics the physical motion of digging into the wall. However, the "dirt" that seems to scatter from each impact is a chalk drawing, blending performance with illusion. As in much of his work, Rhode temporarily claims public space, drawing everyday objects in chalk before interacting with them – here, turning a two-dimensional sketch into a performative gesture. This interplay between drawing and performance is central to Rhode’s practice: the imagined becomes real because he treats it as such. Spade for Spade reflects Rhode’s unique ability to weave narratives from the textures of Johannesburg’s urban life, where cultural symbolism, street aesthetics, and absurdity collide in a language that is both playful and politically charged.

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

Set of four digital pigment prints (Ditone) on Etching paper, 42 x 62 cm (16½ x 24½ in) each. Edition of 30, each signed and numbered.

In this edition, Thomas Scheibitz explores the dynamics of repetition and variation across four closely related prints. Each work revisits the same foundational composition – featuring bold geometric shapes such as cubes, circles, and angular planes – but with painterly shifts in color, texture, and emphasis. Dominated by a graphic palette of red, black, blue, and white, the sequence echoes the sequential logic of animation, as if capturing frames from a visual narrative in motion. With this series, Scheibitz fuses the structured language of abstraction with a sense of movement and transformation, inviting viewers to reflect on how form and meaning evolve across iterations.

special price set  € 2,100 / $2,400  shipping costs included

Etching on rag paper, 80.5 x 57.1 cm (32 x 22 in). Edition of 99, signed and numbered.

This edition by Rosemarie Trockel marks a striking departure from her celebrated knitting pictures, highlighting the artist’s continual reinvention and conceptual depth. In Artist 2000, a pink-toned portrait emerges through vertical striations that both reveal and obscure the figure beneath. The subject stares out at the viewer with a seemingly direct gaze, yet remains elusive – dissolved into abstraction by the rhythmic interruption of lines. With this work, Trockel invites reflection on the act of looking and the instability of representation. The edition resists clear interpretation, underscoring her ongoing interest in perception, identity, and the boundaries of visibility.
This work is in the collection of MoMA, New York. 

€ 1,500  € 900 / $1,050  shipping costs included

Published for Haus der Kunst, Munich
Portfolio with 17 digital pigment prints on semi-transparent paper, mounted on sheets of rag paper, 50 x 40 cm (19¾ x 15¾ in) each, plus text. Edition of 50, signed and numbered on colophon page.

This portfolio was published on the occasion of Luc Tuymans’s eponymous solo exhibition at Haus der Kunst, Munich. The 17 different prints beautifully illustrate the artist’s practice of transforming photographs into eerie, more sinister versions of the original while the portfolio’s title – Wenn der Frühling kommt (When Spring Comes) – intentionally belies the gloominess of the images. 

special price  € 1,600 / $1,600  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 € 1,500  € 900 / $1,050  shipping costs included