Items Similar to Signed print from exhibition TRACEY EMIN/EDVARD MUNCH THE LONELINESS OF THE SOUL
Want more images or videos?
Request additional images or videos from the seller
1 of 8
Tracey EminSigned print from exhibition TRACEY EMIN/EDVARD MUNCH THE LONELINESS OF THE SOUL2021
2021
About the Item
Tracey Emin
Svart katt / Black cat (2008), from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021
Offset lithograph promotional print on card stock (hand signed by Tracey Emin)
Boldly signed in black marker on the front
Frame included
Accompanied by gallery issued Certificate of Guarantee
This offset lithograph promotional print on card stock was produced by the Royal Academy in London in a limited edition of an unknown quanity on the occasion of the exhibition TRACEY EMIN/EDVARD MUNCH EXHIBITION: THE LONELINESS OF THE SOUL, 2021. The card depicts Emin's 2008 work "Svart katt / Black cat". It was issued unsigned; however, exceptionally, Tracey Emin hand signed the present work in black marker at White Cube Gallery. It has been elegantly framed in a museum quality wood frame with UV plexiglass.
Measurements:
Framed:
13.5 inches (vertica)l by 12.5 inches (horizontal) by 1.5 inches depth
Signed card:
7 inches (vertical) by 5.75 inches (horizontal)
Provenance
Card acquired from the Royal Academy and signed by Tracy Emin at White Cube Gallery
About Tracey Emin:
Self-portraiture and the nude run throughout her practice, which Emin has described as being about ‘rites of passage, of time and age, and the simple realisation that we are always alone’. Her earliest works refer to her family, childhood and chaotic teenage years, growing up in the seaside town of Margate and leaving home at the age of fifteen. What happened next is explored, in a manner that is neither tragic nor sentimental, in drawing, painting, film, photography, sewn appliqué, sculpture, neon and writing, as the vicissitudes of relationships, pregnancies and abortions intersect with her commitment to the formal disciplines of art. Most recently, the artist has experienced her body as a battleground, through illness and ageing, on which she reports with characteristic fearlessness.
The playful title of Emin’s first solo exhibition, My Major Retrospective 1963–1993, suggests the artist felt, despite being at the beginning of her career, significant things had already happened. Her obsessive assemblage of personal memorabilia included tiny photographs of her art school paintings that she’d destroyed, a ‘photographic graveyard’ that revealed an admiration for paintings by Egon Schiele and Edvard Munch. She details this ‘emotional suiside’ in Tracey Emin’s CV Cunt Vernacular (1997), among several early video works that give further insight into her formation as an artist, highlighting moments of epiphany through the use of first-person narrative. ‘I realised there was the essence of creativity, that moment of conception,’ she says in How It Feels (1996), a pivotal film in which she tells the story of her abortion. ‘The whole being of everything… it had to be about where it was really coming from’. Speaking to camera while walking through the streets of London, she concludes that conceptual art, as an act of reproduction, is inseparable from the artist’s inner life. Developing this connection, the haunting film Homage to Edvard Munch and All My Dead Children (1998) shows the artist on the pier near Munch’s house, naked and prostrate in the foetal position, the dawn rising over the water as she lifts her head and screams – a guttural response to great painter’s iconic image.
In 1998, Emin created My Bed, an uncensored presentation of her most personal habitat. The double bed has become abstracted from function as it sits on the gallery floor, in conversation with art history and a stage for life events: birth, sleep, sex, depression, illness, death. The accumulation of real objects (slippers, condoms, cigarettes, empty bottles, underwear) on and around the unmade bed builds a portrait of the artist with bracing matter-of-factness, defying convention to exhibit what most people would keep private. The work gained international attention as part of the Turner Prize, entering Emin into public consciousness. Another work that became a byword for her art of disclosure was the sculpture Everyone I Have Ever Slept With 1963−1995 (1995, destroyed 2004), where the names of all those she had ever shared a bed with – friends, lovers and family – were sewn on the inside of a tent, a crawl-space that invites the viewer to reflect on their own inventory.
Explicitly feminist, and acknowledging the influence of her friend and collaborator Louise Bourgeois, Emin’s choice of medium is integral to the story she tells. In hand-embroidered blankets and quilts, traditionally associated with women’s work, she pierces the visual field with words, combining scraps of different material with uneven stitching to spell out statements whose syntax and spelling remain uncorrected. With titles such as Mad Tracey from Margate. Everyone’s been there, (1997) or Helter Fucking Skelter (2001), they register the artist’s acute sensitivity to the views of those around her and give a riposte, just as the medium is a riposte to the classification of fine art, for centuries dominated by male artists. As she herself became newsworthy, both nationally and internationally, Emin used the publicity to prick other forms of decorum in the professional art world – such as never over-explaining. In longer form, her memoir, Strangeland (2005) offers an account of her journey to becoming ‘a fucked, crazy, anorexic-alcoholic-childless, beautiful woman. I never dreamt it would be like this.’ The text is riddled with spelling mistakes that challenge the form and carry through a sense of unfiltered process, as was also the case with her long-running newspaper column for The Independent (2005–09), in which she narrated her weekly goings-on under the title ‘My Life in a Column’.
Emin’s ongoing series of neons features snatches of text in her recognisable slanted handwriting, elevating fleeting thoughts and feelings as aphorisms: You touch my Soul (2020), I Longed For you (2019) or I don’t Believe in Love but I believe in you (2012). Her formulation of statements in the second person has the effect of placing the viewer squarely in the situation, and can encapsulate an entire romance in a pithy phrase, as in I want my time with You (2018), a twenty-metre-wide neon that greets passengers at London’s St Pancras Station. A critical part of her practice since the 1990s, the neons evoke the seafront lights of Margate, latent with the sense of dusk and faded glamour. Her birthplace is an abiding subject; it resurfaces in large-scale sculptures, where reclaimed wood and found materials are assembled in jagged structures that allude to the beach, pier, huts and tide markers. Margate’s famous theme park ‘Dreamland’ is referred to in several works, among them Self-Portrait (2001), which recreates the pleasure ground’s helter-skelter, and It’s Not the Way I want to Die (2005), which recalls the undulating roller-coaster in rickety, worn wood, fragile to the point of collapse. Margate is ‘part of me’, Emin says, and while looking back she is now looking to the future with the establishment of TKE Studios, a new art school and artists’ studios.
Questions of mortality and the centrality of the female reproductive body drive The Mother (2021), one of Emin’s most significant public sculptures. Permanently sited next to the new Munch Museum, Oslo, it marks the death of her own mother, and brings her lifelong admiration for Munch full circle. Fifteen tonnes of bronze standing nine metres high, this woman with ‘her legs open to the Fjord’ is visible from afar over land and water, a monument to the female figure as protector without compromising on her vulnerability or eroticism. By contrast, Baby Things, Emin’s accurate rendering of children’s tiny lost shoes and clothes in bronze, was installed as if by chance outside the British Pavilion at the Venice Biennale (2007) and around Folkestone Triennial (2008), intimate tokens that might inadvertently provoke a range of reactions, from fear for those we love most, to the indifference with which we treat a discarded object.
Most recently, Emin’s work has been charged by the seriousness of her medical situation, since in 2020 she was diagnosed with bladder cancer. Self-portraits taken on her camera phone in bed find the artist facing her ‘crippling’ insomnia in the small hours, and in recovery from extensive surgery. Her paintings of the nude figure have a tempestuous energy. Emin’s graphic line, by turn delicate or vigorous, imparts a sense of urgency; with each abandoned and assertive gesture, she is flaying herself open. Drips and obliterations point to the fluidity of the body, as it fluctuates between joy and suffering on its journey between birth and death. Explosions of colour allude to a self that is overcome by feeling and triumphing in sheer sensuality.
Tracey Emin was born in 1963 in London. She currently lives and works between London, the South of France, and Margate, UK. Emin has exhibited extensively including major exhibitions at Royal Academy of Arts, London (2020); Musée d’Orsay, Paris (2019); Château La Coste, Aix-en-Provence, France (2017); Leopold Museum, Vienna (2015); Museum of Contemporary Art, Miami (2013); Museo de Arte Latinoamericano de Buenos Aires (2012); Turner Contemporary, Margate, UK (2012); Hayward Gallery, London (2011); Kunstmuseum Bern (2009); Scottish National Gallery of Modern Art, Edinburgh (2008); Centro de Arte Contemporáneo, Malaga, Spain (2008); Art Gallery of New South Wales, Sydney (2003); and Stedelijk Museum, Amsterdam (2002).
In 2007 Emin represented Great Britain at the 52nd Venice Biennale and her installation My Bed has been included in ‘In Focus’ displays at Tate Britain with Francis Bacon (2015), Tate Liverpool with William Blake and also at Turner Contemporary, Margate alongside JMW Turner (2017). In 2011, Emin was appointed Professor of Drawing at the Royal Academy of Arts, London, and in 2012 was made Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts.
Courtesy of White Cube
- Creator:Tracey Emin (1963, British)
- Creation Year:2021
- Dimensions:Height: 13.5 in (34.29 cm)Width: 12.5 in (31.75 cm)Depth: 1.5 in (3.81 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745214179532
Tracey Emin
Tracey Emin was born in Croydon, in South London, in 1963, and raised in Margate, Kent. She studied fashion at the Medway College of Design (now the University for the Creative Arts) from 1980–82. At Medway, she met Billy Childish, who would become a huge inspiration for her work, and became closely associated with The Medway Poets. During this time, Emin became the administrator for Childish’s small printing press, Hangman Books.
In 1984 she went on to study printing at Maidstone Art College. In 1983, Emin opened a shop with fellow artist Sarah Lucas, called The Shop in Bethnal Green. The Shop sold works by Emin and Lucas, including original t-shirts and ashtrays featuring iconic artist Damien Hirst.
In November 1993, Emin held her first solo show at White Cube in London. She named her autobiographical exhibition “My Major Retrospective,” which largely consisted of personal photographs, photos of her own early paintings that she had destroyed, and a few emotionally charged items such as a packet of cigarettes her uncle was holding when he was decapitated in a car crash.
In 1994, Emin toured the United States, making stops en route with partner Carl Freedman to give readings from her autobiographical book Exploration of the Soul. In 1995, Emin produced her famous “tent” — Everyone I Have Ever Slept With 1963-1995 — which was exhibited in Freedman’s curated show “Minky Manky” at the South London Gallery. This piece was later bought by Charles Saatchi and included in the acclaimed 1997 “Sensation” exhibition at the Royal Academy of Arts in London, going on to tour Berlin and New York.
Emin appeared on a Channel 4 television series in 1997 titled Is Painting Dead? that largely comprised a discussion over the Turner Prize. Two years later, in 1999, Emin was shortlisted for the Turner Prize herself and exhibited My Bed at the Tate Gallery. In the same year, she exhibited a number of monoprint drawings inspired by Princess Diana for an exhibition at The Blue Gallery, London.
Elton John and George Michael are both famed collectors of Emin’s work, with Michael holding the “A Tribute to Tracey Emin” exhibition in September 2007 at the Dallas-based Goss-Michael Foundation. A solo exhibition, “This is Another Place,” was held at the Modern Art Oxford from 2002–03, and in 2007, Emin was included in the British Pavilion at the Venice Biennale. The same year, Emin was made Royal Academician by the Royal Academy of Arts. She has previously been invited to include works at the Royal Academy “Summer Exhibitions” dating back to 2001. Emin curated the 2008 “Summer Exhibition” and gave a public talk and interview with Matthew Collings, during which they mused on her role within the Royal Academy. Emin’s art has fetched astronomical amounts at auction, selling to Charles Saatchi, the 2011 Prime Minister (David Cameron), David Bowie and more for their private collections.
Find original Tracey Emin prints and other art on 1stDibs.
About the Seller
5.0
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 2007
1stDibs seller since 2022
408 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Shipping from: New York, NY
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View AllDodecahedron (Hand Signed Poster by Mark Ryden)
By Mark Ryden
Located in New York, NY
Mark Ryden
Dodecahedron (Hand Signed by Mark Ryden), 2015
Offset Lithograph poster (hand signed by Mark Ryden)
Hand signed by artist on lower right front for the present owner.
20 × 16 inches
Unframed
This Mark Ryden offset lithograph poster was published on the occasion of his exhibition at the Paul Kasmin...
Category
2010s Contemporary Figurative Prints
Materials
Lithograph, Offset, Permanent Marker
Lincoln Center Festival print, hand signed & inscribed by Glenn Ligon, Black Art
By Glenn Ligon
Located in New York, NY
Glenn Ligon
Lincoln Center Festival (Hand signed, inscribed and dated), 2004
Offset lithograph on wove paper
LARGE: 41 1/2 inches (vertical) × 32 inches (horizontal)
(Ships in a tube...
Category
Early 2000s Contemporary Figurative Prints
Materials
Permanent Marker, Lithograph, Offset
2 part invitation forming a 3-D Dodecahedron Hand signed by Mark Ryden at Kasmin
By Mark Ryden
Located in New York, NY
Mark Ryden
2 part invitation forming a 3-D Dodecahedron (hand signed by Mark Ryden), 2016
Offset lithograph invitation
Hand signed by Mark Ryden
6 1/2 in diameter
Ingeniously desig...
Category
2010s Surrealist Figurative Prints
Materials
Lithograph, Offset, Permanent Marker
Through the Eyes of the Needle to the Anvil (Hand signed by James Rosenquist)
By James Rosenquist
Located in New York, NY
James Rosenquist
Rosenquist at Leo Castelli (Hand Signed and inscribed by James Rosenquist), 1988
Offset Lithograph Poster (Hand Signed and Dedicated)
Frame included: held in original vintage frame under plexiglass
A collectors' item when hand signed by the artist as the present work
Early historic Leo Castelli exhibition poster published on the occasion of the James Rosenquist exhibition "Through the Eye of the Needle...
Category
1980s Pop Art Abstract Prints
Materials
Permanent Marker, Lithograph, Offset
Rarely seen limited edition Spanish/English protest poster, Signed by Baldessari
By John Baldessari
Located in New York, NY
John Baldessari
Flowers of Life for Central America/Flores de Vida por Centro America (Hand Signed), 1984
Rare Offset Lithograph (Hand signed by Baldessari)
24 3/5 × 18 inches
Boldly signed in white sharpie by Baldessari lower front
The regular, unsigned edition was only approx. 100, though the present work was, exceptionally, uniquely hand signed by the artist
Extremely rare vintage political poster...
Category
1980s Conceptual Abstract Prints
Materials
Offset, Permanent Marker, Lithograph
America Needs Hart (vintage campaign offset lithograph hand signed by Ed Ruscha)
By Ed Ruscha
Located in New York, NY
Ed Ruscha
America Needs Hart (Hand Signed), 1983
Offset lithograph (Hand signed by Ed Ruscha)
36 inches (vertical) x 24 inches (horizontal)
Boldly signed in marker by Ed Ruscha on th...
Category
1980s Pop Art Abstract Prints
Materials
Permanent Marker, Lithograph, Offset
You May Also Like
Milton Glaser San Francisco Opera 1981 (Milton Glaser posters)
By Milton Glaser
Located in NEW YORK, NY
1980s Milton Glaser Poster Art:
Milton Glaser San Francisco Opera: Vintage original Milton Glaser poster c.1981. Designed by Milton Glaser on the ...
Category
1980s Contemporary Figurative Prints
Materials
Lithograph, Offset
$396 Sale Price
20% Off
Symbolic Self-Portrait with Equals
By Claes Oldenburg
Located in New York, NY
A very good impression of this color offset lithograph on white, thick, smooth Louvain Supreme Vellum Bristol 150-pound paper. Signed and numbered 190/300 in pencil. Printed by Color...
Category
1970s Pop Art Abstract Prints
Materials
Vellum, Color, Lithograph, Offset
1970s Modernist Swiss Colorful Surrealism Signed Dada Lithograph Andre Thomkins
By André Thomkins
Located in Surfside, FL
This one is titled "Walk in a Broken Lake" and depicts a surreal figure of a robed woman walking in an abstract landscape in yellow, green, red and blue with a Salvador Dali esque quality about it.
Published by Edition Hansjörg Mayer, Stuttgart They published concrete poetry and art books by Mark Boyle, Richard Hamilton, Dorothy Iannone, John Latham, Tom Phillips, Dieter Roth, André Thompkins and Emmett Williams, to name just a few.
André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet. He attended art-school, taught by Max von Moos, 1947 – 1949 and the Académie de la Grande Chaumière, Paris, France, 1950. From 1952, he lived in Germany and taught at the Kunstakademie Düsseldorf between 1971 and 1973.
Thomkins painted and drew ironic and fantastic pictures influenced by surrealism and dadaism. Together with Dieter Roth and Daniel Spoerri he prepared works of Eat Art. He also was a writer of palindromes. His friends and collaborators included Daniel Spoerri, Dieter Roth, George Brecht, Richard Hamilton and Karl Gerstner, Thomkins gained a reputation as an ‘artist’s artist’, and is considered one of the most important Swiss artists of the second half of the twentieth century.He died in 1985.
His work is currently represented by Hauser & Wirth Zurich, Switzerland.
Select group exhibitions:
2018
Kunsthalle Krems, 'Pablo Picasso. Arshile Gorky, Andy Warhol. Sculptures and Works on Paper. Hubert Looser Collection', Krems, Austria
2017
Kunsthandel Wolfgang Werner, 'Martin Barré, Karl Otto Götz, Ernst Wilhelm Nay, André Thomkins',
Berlin, Germany
2013
Fabian & Claude Walter Galerie, 'Schweizer Avantgarde Kunst nach 1940', Zurich, Switzerland
2009
The Modern Institute, 'Thomas Houseago, Dieter Roth, Andre Thomkins', Glasgow, England
Museum of Modern Art, 'Compass in Hand: Selections from the Judith Rothschild Collection', NYC
2004
Kunsthandel Wolfgang Werner, 'Arman, Baumeister, Götz, Graubner, Tàpies, Thomkins', Berlin,
Germany
1994
Kunstmuseum Solothurn, 'Eine Schenkung. Grafik von Eduardo Chillida, Antoni Tàpies, Alexander Calder, Jean Dubuffet, Ben Nicholson, Giacometti, Tinguely, Thomkins', Solothurn, Switzerland
1992
Galerie Littmann, Tinguely zu Ehren. A Tribute to Jean Tinguely. Hommage à Tinguely, Basel,
1988
Museum Ludwig, 'Uebrigens sterben immer die anderen. Marcel Duchamp und die Avantgarde seit
1950', Cologne, Germany
1987
Aargauer Kunsthaus, 'Otto Grimm. Marc-Antoine Fehr. Christoph Gredinger', Aarau, Switzerland
Cercle Municipal, 'Art contemporain suisse. Collection de la Banque du Gothard', Luxembourg,
1985
Centre national d'art et de culture Georges Pompidou, 'Livres d'artistes', Paris, France
Rathaus, 'Claude Sandoz – Hans Schärer...
Category
1970s Surrealist Figurative Prints
Materials
Lithograph, Offset
1970s Modernist Swiss Colorful Surrealism Signed Dada Lithograph Andre Thomkins
By André Thomkins
Located in Surfside, FL
This one is titled "Halemaid" and depicts a surreal figure of a robed woman in yellow red and blue with a Salvador Dali esque quality about it.
Published by Edition Hansjörg Mayer, Stuttgart They published concrete poetry and art books by Mark Boyle, Richard Hamilton, Dorothy Iannone, John Latham, Tom Phillips, Dieter Roth, André Thompkins and Emmett Williams, to name just a few.
André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet. He attended art-school, taught by Max von Moos, 1947 – 1949 and the Académie de la Grande Chaumière, Paris, France, 1950. From 1952, he lived in Germany and taught at the Kunstakademie Düsseldorf between 1971 and 1973.
Thomkins painted and drew ironic and fantastic pictures influenced by surrealism and dadaism. Together with Dieter Roth and Daniel Spoerri he prepared works of Eat Art. He also was a writer of palindromes. His friends and collaborators included Daniel Spoerri, Dieter Roth, George Brecht, Richard Hamilton and Karl Gerstner, Thomkins gained a reputation as an ‘artist’s artist’, and is considered one of the most important Swiss artists of the second half of the twentieth century.He died in 1985.
His work is currently represented by Hauser & Wirth Zurich, Switzerland.
Select group exhibitions:
2018
Kunsthalle Krems, 'Pablo Picasso. Arshile Gorky, Andy Warhol. Sculptures and Works on Paper. Hubert Looser Collection', Krems, Austria
2017
Kunsthandel Wolfgang Werner, 'Martin Barré, Karl Otto Götz, Ernst Wilhelm Nay, André Thomkins',
Berlin, Germany
2013
Fabian & Claude Walter Galerie, 'Schweizer Avantgarde Kunst nach 1940', Zurich, Switzerland
2009
The Modern Institute, 'Thomas Houseago, Dieter Roth, Andre Thomkins', Glasgow, England
Museum of Modern Art, 'Compass in Hand: Selections from the Judith Rothschild Collection', NYC
2004
Kunsthandel Wolfgang Werner, 'Arman, Baumeister, Götz, Graubner, Tàpies, Thomkins', Berlin,
Germany
1994
Kunstmuseum Solothurn, 'Eine Schenkung. Grafik von Eduardo Chillida, Antoni Tàpies, Alexander Calder, Jean Dubuffet, Ben Nicholson, Giacometti, Tinguely, Thomkins', Solothurn, Switzerland
1992
Galerie Littmann, Tinguely zu Ehren. A Tribute to Jean Tinguely. Hommage à Tinguely, Basel,
1988
Museum Ludwig, 'Uebrigens sterben immer die anderen. Marcel Duchamp und die Avantgarde seit
1950', Cologne, Germany
1987
Aargauer Kunsthaus, 'Otto Grimm. Marc-Antoine Fehr. Christoph Gredinger', Aarau, Switzerland
Cercle Municipal, 'Art contemporain suisse. Collection de la Banque du Gothard', Luxembourg,
1985
Centre national d'art et de culture Georges Pompidou, 'Livres d'artistes', Paris, France
Rathaus, 'Claude Sandoz – Hans Schärer...
Category
1970s Surrealist Figurative Prints
Materials
Lithograph, Offset
1970s Modernist Swiss Colorful Surrealism Signed Dada Lithograph Andre Thomkins
By André Thomkins
Located in Surfside, FL
This one is untitled and depicts a portrait of a young woman in yellow, red and blue with a Maryan like quality to it.
Published by Edition Hansjörg Mayer, Stuttgart They published concrete poetry and art books by Mark Boyle, Richard Hamilton, Dorothy Iannone, John Latham, Tom Phillips, Dieter Roth, André Thompkins and Emmett Williams, to name just a few.
André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet. He attended art-school, taught by Max von Moos, 1947 – 1949 and the Académie de la Grande Chaumière, Paris, France, 1950. From 1952, he lived in Germany and taught at the Kunstakademie Düsseldorf between 1971 and 1973.
Thomkins painted and drew ironic and fantastic pictures influenced by surrealism and dadaism. Together with Dieter Roth and Daniel Spoerri he prepared works of Eat Art. He also was a writer of palindromes. His friends and collaborators included Daniel Spoerri, Dieter Roth, George Brecht, Richard Hamilton and Karl Gerstner, Thomkins gained a reputation as an ‘artist’s artist’, and is considered one of the most important Swiss artists of the second half of the twentieth century.He died in 1985.
His work is currently represented by Hauser & Wirth Zurich, Switzerland.
Select group exhibitions:
2018
Kunsthalle Krems, 'Pablo Picasso. Arshile Gorky, Andy Warhol. Sculptures and Works on Paper. Hubert Looser Collection', Krems, Austria
2017
Kunsthandel Wolfgang Werner, 'Martin Barré, Karl Otto Götz, Ernst Wilhelm Nay, André Thomkins',
Berlin, Germany
2013
Fabian & Claude Walter Galerie, 'Schweizer Avantgarde Kunst nach 1940', Zurich, Switzerland
2009
The Modern Institute, 'Thomas Houseago, Dieter Roth, Andre Thomkins', Glasgow, England
Museum of Modern Art, 'Compass in Hand: Selections from the Judith Rothschild Collection', NYC
2004
Kunsthandel Wolfgang Werner, 'Arman, Baumeister, Götz, Graubner, Tàpies, Thomkins', Berlin,
Germany
1994
Kunstmuseum Solothurn, 'Eine Schenkung. Grafik von Eduardo Chillida, Antoni Tàpies, Alexander Calder, Jean Dubuffet, Ben Nicholson, Giacometti, Tinguely, Thomkins', Solothurn, Switzerland
1992
Galerie Littmann, Tinguely zu Ehren. A Tribute to Jean Tinguely. Hommage à Tinguely, Basel,
1988
Museum Ludwig, 'Uebrigens sterben immer die anderen. Marcel Duchamp und die Avantgarde seit
1950', Cologne, Germany
1987
Aargauer Kunsthaus, 'Otto Grimm. Marc-Antoine Fehr. Christoph Gredinger', Aarau, Switzerland
Cercle Municipal, 'Art contemporain suisse. Collection de la Banque du Gothard', Luxembourg,
1985
Centre national d'art et de culture Georges Pompidou, 'Livres d'artistes', Paris, France
Rathaus, 'Claude Sandoz – Hans Schärer...
Category
1970s Dada Figurative Prints
Materials
Lithograph, Offset
1970s Modernist Swiss Colorful Surrealism Signed Dada Lithograph Andre Thomkins
By André Thomkins
Located in Surfside, FL
This one is titled "Pissnake" It depicts a nude woman with a Niki de Saint Phalle style coiled snake. in pink, blue, red and yellow colors.
Published by Edition Hansjörg Mayer, Stuttgart They published concrete poetry and art books by Mark Boyle, Richard Hamilton, Dorothy Iannone, John Latham, Tom Phillips, Dieter Roth, André Thompkins and Emmett Williams, to name just a few.
André Thomkins (1930 - 1985) was a Swiss painter, illustrator, and poet. He attended art-school, taught by Max von Moos, 1947 – 1949 and the Académie de la Grande Chaumière, Paris, France, 1950. From 1952, he lived in Germany and taught at the Kunstakademie Düsseldorf between 1971 and 1973.
Thomkins painted and drew ironic and fantastic pictures influenced by surrealism and dadaism. Together with Dieter Roth and Daniel Spoerri he prepared works of Eat Art. He also was a writer of palindromes. His friends and collaborators included Daniel Spoerri, Dieter Roth, George Brecht, Richard Hamilton and Karl Gerstner, Thomkins gained a reputation as an ‘artist’s artist’, and is considered one of the most important Swiss artists of the second half of the twentieth century.He died in 1985.
His work is currently represented by Hauser & Wirth Zurich, Switzerland.
Select group exhibitions:
2018
Kunsthalle Krems, 'Pablo Picasso. Arshile Gorky, Andy Warhol. Sculptures and Works on Paper. Hubert Looser Collection', Krems, Austria
2017
Kunsthandel Wolfgang Werner, 'Martin Barré, Karl Otto Götz, Ernst Wilhelm Nay, André Thomkins',
Berlin, Germany
2013
Fabian & Claude Walter Galerie, 'Schweizer Avantgarde Kunst nach 1940', Zurich, Switzerland
2009
The Modern Institute, 'Thomas Houseago, Dieter Roth, Andre Thomkins', Glasgow, England
Museum of Modern Art, 'Compass in Hand: Selections from the Judith Rothschild Collection', NYC
2004
Kunsthandel Wolfgang Werner, 'Arman, Baumeister, Götz, Graubner, Tàpies, Thomkins', Berlin,
Germany
1994
Kunstmuseum Solothurn, 'Eine Schenkung. Grafik von Eduardo Chillida, Antoni Tàpies, Alexander Calder, Jean Dubuffet, Ben Nicholson, Giacometti, Tinguely, Thomkins', Solothurn, Switzerland
1992
Galerie Littmann, Tinguely zu Ehren. A Tribute to Jean Tinguely. Hommage à Tinguely, Basel,
1988
Museum Ludwig, 'Uebrigens sterben immer die anderen. Marcel Duchamp und die Avantgarde seit
1950', Cologne, Germany
1987
Aargauer Kunsthaus, 'Otto Grimm. Marc-Antoine Fehr. Christoph Gredinger', Aarau, Switzerland
Cercle Municipal, 'Art contemporain suisse. Collection de la Banque du Gothard', Luxembourg,
1985
Centre national d'art et de culture Georges Pompidou, 'Livres d'artistes', Paris, France
Rathaus, 'Claude Sandoz – Hans Schärer...
Category
1970s Dada Figurative Prints
Materials
Lithograph, Offset
Recently Viewed
View AllMore Ways To Browse
Great Houses Of The South
On The Floor Bed
Black And White Quilts
Love From Afar
Royal Bed Frames
Sculptures Inside On The Floor
Mother Baby Sculpture
Space Age Bed Frame
D Cigarette Case
Cigarette Display
French Male Nude Sculpture
Age Tent
Used Cigarette Display
Scotland Bed
Applique Space Age
Babies Sleeping
Black Cigarette Case
Over Bed Lights