Forty Are Better Than One, 2009

From Forty Are Better Than One
a Manuscript for the performance printed in digital pigment print on four seven-part card stock leporellos, 32 x 175 cm each. Edition: 150, numbered, unsigned. b DVD of a broadcasting of Hessischer Rundfunk with fragments from the performance held May 30, 1969, and a subsequent debate.
Only available as part of the complete set of the portfolio's Edition A. 

From Forty Are Better Than One
6-part leporello, digital pigment print (Ditone) on 230 g card stock, 32 x 150 cm (12½ x 59 in). Edition: 150, unsigned. A quarter of the edition printed in gray, red, blue, and yellow, respectively. 
Only available as part of the complete set of the portfolio's Edition A.  

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, signed and numbered.

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.

EUR 1,500

From Forty Are Better Than One
6-part leporello, digital pigment print (Ditone) on Fiba-Print White Matte paper, 32 x 150 cm (12½ x 59 in). Edition: 75, signed and numbered.

This edition by Lothar Baumgarten was created as part of the group project Forty Are Better Than One: as a special edition of the catalogue raisonné of Edition Schellmann on the occasion of the gallery's 40th anniversary. The print visualizes a recording of various sounds, rhythms and noises from our natural environment. 

EUR 800

From Forty Are Better Than One
5-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 32 x 125 cm (12½ x 49¼ in). Edition of 75,  signed "B. + H. Becher" by Hilla Becher and numbered on verso.

For the edition Förderturm Zeche Waltrop, Bernd und Hilla Becher turned their typological lens toward the winding tower of the Waltrop coal mine. Captured from five subtly shifting viewpoints, the image series isolates and examines the architectural form with their hallmark precision and neutrality. The consistent lighting and frontal compositions emphasize structural logic over expressive effect. Unlike the Bechers’ more familiar grids of varied examples, this edition focuses on the sculptural presence of a single industrial object, observed in the round. Originally photographed in 1982 and published as an edition in 2009 – on the occasion of Edition Schellmann's 40th anniversary –, the work reflects their sustained interest in industrial vernaculars and the quiet monumentality of obsolete technologies.

EUR 3,000

From Forty Are Better Than One
10-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag paper, 250 x 32 cm (98½ x 12½ in). Edition: 75, stamped and hand-numbered by the artist.

Daniel Buren contributed this edition to 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. 

EUR 2,000

From Forty Are Better Than One
7-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 32 x 175 cm (12½ x 69 in). Edition: 75, signed and numbered.

Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83 was a 1983 environmental artwork that saw Christo and Jeanne-Claude surround an island archipelago in Miami with pink fabric. 
In 2009, the artists chose several images of the project and arranged them to create this edition that was published as part of the group project Forty Are Better Than One, as a special edition of Schellmann Art's catalogue raisonné, celebrating the gallery's 40th anniversary. 

EUR 2,500

From Forty Are Better Than One
Two 8-part leporellos, offset print on 200 g Bilderdruck Paper, 200 x 32 cm (78¾ x 12½ in) each. Edition: 75, signed and numbered.

From Forty Are Better Than One
6-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag paper, 32 x 150 cm (12½ x 59 in). Edition: 75, signed and numbered.

This edition is based on the Liam Gillick's eponymous exhibition at the British Council Gallery in Prague in 1998, where the artist displayed logos of former state-owned industries in the UK that had been privatised under Margaret Thatcher. With this, the artist wanted to make a connection between the upheaval in the Czech Republic and the breakdown of social ownership in the UK. The logos incorporated into this work are British Rail, British Leyland, British Gas, British Telecom and British Steel. The first is one the artist created by overlaying all logos to create a composite logo.

EUR 800

From Forty Are Better Than One
5-part leporello, digital pigment print (Ditone) on handmade rice paper, 125 x 32 cm (49¼ x 12½ in). Edition: 75, signed and numbered.

For this edition, Peter Halley arranged five differently colored "exploding cells" next to each other. Though the "exploding cell" motif appears to contradict the structured, geometric compositions that define Halley's work in both form and content, it is a recurring element in his oeuvre. In fact, this work also references an earlier series of editions the artist published with Schellmann Art, Exploding Cell (1994), where the artist created a cartoon-style narrative of a cell undergoing various transformative states. 

€ 1,000  € 600 / $720  shipping costs included

From Forty Are Better Than One
5-part leporello, digital pigment print (Ditone) on 230 g card stock, 25 x 160 cm (9¾ x 63 in). Edition: 75, signed and numbered.

For this edition, published on the occasion of Edition Schellmann’s 40th anniversary, Candida Höfer selected a photograph she had taken of the Biblioteca Marucelliana in Florence, Italy. Captured in her signature style – marked by precision, symmetry, and an absence of human presence – the image presents the vast, light-filled interior of this historic library as a quiet monument to knowledge and order. 

EUR 2,500

From Forty Are Better Than One
8-part leporello, silkscreen on Hahnemuehle Photo Rag paper, 32 x 200 cm (12½ x 78¾ in). Edition: 75, signed and numbered.

This edition by Terence Koh features his frequently recurring rabbit motif, here rendered in a striking, horizontally stretched silhouette that spans the width of the composition. The minimalist presentation and stark contrast amplify the presence of the rabbit, transforming it from a mere figure into a meditative symbol. Rabbits appear often in Koh’s practice as rich, multifaceted symbols – embodying innocence, vulnerability, sexuality, mythology, and ritual – core themes that run throughout his body of work. The symbol also references one of Koh’s own aliases, Kohbunny, blurring the lines between personal mythology and artistic gesture. As in much of Koh’s work, this rabbit is not simply an animal – it is a vessel of meaning, quietly loaded with emotional and symbolic weight.

EUR 600

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

EUR 1,000

From Forty Are Better Than One
7-part leporello (accordion fold), digital pigment print (Ditone) on 308 g Hahnemühle Rag paper, 175 x 32 cm (69 x 12½ in). Edition: 75, signed and numbered.

In this edition, Robert Longo brings together symbolically charged black-and-white images: a piece of fabric, an ocean wave, a cloud, a child’s face, and a shark’s open mouth. A composition poised between beauty, threat, and vulnerability. The only accent of color is a vivid red rose in the center, acting like a visual pause. The sequence unfolds a quiet yet powerful dramaturgy. Essentials exemplifies Longo’s ability to fuse media-driven aesthetics with emotional and existential depth.

EUR 3,800

From Forty Are Better Than One
6-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 32 x 150 cm (12½ x 59 in). Edition: 75, signed and numbered.

With this edition – a photograph of Venice taken with a camera obscura – Vera Lutter captures the city’s iconic scenery in a transformed way. Lutter’s depiction of the Grand Canal and Venetian architecture is alienated through the inversion of black and white, lending the familiar cityscape an almost ghostly quality. The water in particular, due to the long exposure times, appears shimmering and ephemeral – like a fleeting reflection of time.

EUR 1,800 

From Forty Are Better Than One
8-part leporello, digital pigment print (Ditone) on 230g card stock, 32 x 200 cm (12½ x 78¾ in). Edition: 75, signed and numbered.

This edition refers to an installation by Gerhard Merz, which consists of a row of Lumilux 11 fluorescent tubes above a monochrome stripe painting in cold gray.

EUR 800

From Forty Are Better Than One
9-part leporello (zig zag fold), digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag paper, 32 x 225 cm (12½ x 88½ in). Edition: 75, signed and numbered.

This edition is part of Sarah Morris’s broader Origami series, wherein she transforms intricate origami crease patterns into bold, abstract compositions of geometric shapes.

EUR 2,200

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.

EUR 1,200

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.

EUR 1,000

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: 75, signed and numbered.

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.

EUR 850

From Forty Are Better Than One
8-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper, 32 x 200 cm (12½ x 78¾ in). Edition: 75, signed and numbered.

A continuation of Thomas Ruff’s celebrated Substrates series, this edition assembles six images that dissolve narrative into layered color and light – transforming digital imagery into pure aesthetic experience. For Substrates, Ruff draws from internet-sourced comic images, layering and multiplying them through digital processing until they lose all narrative coherence. What remains are vibrant fields of swirling color and light, detached from clear meaning yet rich in visual impact. Thus, Ruff investigates the nature of contemporary visual culture, where virtual images are no longer representations of reality but autonomous aesthetic signals – abstract, seductive, and fundamentally ambiguous.

From Forty Are Better Than One
Double-sided 6-part leporello, digital pigment print (Ditone) on 308 g Hahnemühle Photo Rag paper, 32 x 150 cm (12½ x 59 in). Edition: 75, signed and numbered on label on archival sleeve.

Thomas Scheibitz’s edition Lexikon is a large-format horizontal print composed of six panels, printed on both sides. The front presents a sequence of abstract-figurative compositions in vivid colors: fragmented forms, architectural elements, and graphic structures converge to form complex visual spaces. The reverse reveals a drawn vocabulary of pared-down line illustrations – a kind of visual archive of objects, symbols, and signs, punctuated by sparse touches of color. Balancing systematic structure with associative openness, Lexikon reveals the artist’s visual thinking and unites two central strands of his practice: painting and drawing, surface and structure, order and imagination.

EUR 800

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.

EUR 800

From Forty Are Better Than One
8-part leporello, digital pigment print (Ditone) on 188 g Hahnemühle Photo Rag paper, 200 x 32 cm (78¾ x 12½ in). Edition: 75, signed and numbered.

The eight images in this edition are based on black and white films taken by Luc Tuymans in 1981-82 with a Super 8 camera. Refribell refers to the artist's recordings of several buildings in the harbor of Antwerp that have since been demolished, in particular the enormous cold storage facility of Belgian refrigeration company Refribell. Harbors refers to Tuymans's footage of a ship's bow and a full moon and refers to the collective memory associated with harbors. 

From Forty Are Better Than One
5-part leporello, screenprint on Gmund Colors 50 paper, 32 x 125 cm (12½ x 49¼ in). Edition of 75, signed and numbered.

This work, published on the occasion of Schellmann Art's 40th anniversary, consists of the negative prints of the drawings for Untitled (Nets), 2002, Rachel Whiteread's first edition with Schellmann Art. 

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