Each sheet: 22 x 30 inches (56.0 x 76.0 cm)
Price on application
Original color lithographs drawn by hand by the artist and printed from stone, the portfolio of 19, plus a unique color monoprint lithograph, for a total of 20 prints, all fine, fresh impressions, the full sheets, printed on 250gsm Velin d’Arches paper, to the edges, each print hand-signed, dated, numbered and inscribed with the ordering number, SN1 through SN19 on the reverse (with the exception of the title page which is signed recto and is also an original lithograph,) the monoprint is inscribed SN20, pulled in an edition of 33 examples (there are also V artist proofs, numbered EA I/V to EA V/V, one Archive proof which has been reserved for the collaborators and is not for sale, and one proof signed and inscribed C.d.E.,) printed by Rasmus Urwald aided by June Rehak and Thomas Villars, co-published by World House Editions, South Orange, New Jersey (now Middlebury, Connecticut) and Edition Copenhagen, Copenhagen, containted in a special, hand-made box with the title embossed into the cover, with the colophon/justification page also printed in lithography, all in excellent condition, unframed.
New York, The Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 – Now, 10 October 2006 – 01 September 2007, catalogue, pp.190-91, illustrated in color (four from the portfolio of 20 – the museum’s example exhibited and illustrated.)
Geneva, Mamco, Musée d’art moderne et contemporain, John M Armleder: Amor vacui, horror vacui, 18 October 2006 – 21 January 2007 (another example exhibited.)
New York, The Museum of Modern Art, Since 2000: Printmaking Now, 02 May – 18 September 2006 (the museum’s example.)
Humlaebak, Denmark, Louisiana Museum for Moderne Kunst, Selections from the Permanent Collection, May – September 2005 (the museum’s example.)
Humlaebak, Denmark, Louisiana Museum for Moderne Kunst, WORKS AND DAYS: Selected new works in the Louisiana Collection 2000 – 2004, 23 June – 22 August 2004 (the museums example.)
Copenhagen, Galerie Edition Copenhagen, John Armleder: SUPERNOVA, 21 February – 30 March 2004 (another example.)
Roberts, Rebecca. MoMA: Highlights Since 1980: 250 Works from The Museum of Modern Art, New York, 2007, New York, The Museum of Modern Art, p.233, illustrated.
Wye, Deborah and Weitman, Wendy. Eye on Europe: Prints, Books & Multiples, 1960 – Now. 2006, New York, The Museum of Modern Art, pp. 22, 174, 190-91, illustrated (four of the twenty images from the portfolio.)
Rexer, Lyle. “Romancing the Stone” article in Art On Paper, September/October 2005, vol.XX, no.XX, pp.XX-XX, illustrated p.XX in color (another example.)
Marcus, Mette. “Uudtømmelig” article in Louisiana Magasin, 2005, May, no.17, pp.32-34, illustrated in color, p.34.
Tjner, Poul Erik. “Til glaeden” article in Louisiana Magasin. 2004, September, no.14, Humlebaek, Louisiana Museum for Moderne Kunst, pp.14-16, illustrated in color, p.15
Staff. “Generous Gifts,” article in Art On Paper, November/December 2004, vol. 9, no.2, referenced p.66, illustrated p.67.
To be included in the forthcoming catalogue raisonné of the prints and multiples of John Armleder presently in preparation by the Cabinet des Estampes, Geneva.
Please note each sheet measures 22 x 30 inches (56 x 76 cm)
With the exception of the title page, the artist has not designated a specific orientation to each sheet, therefore the prints may be installed horizontally, vertically or on a diagonal and in any configuration.
The SUPERNOVA portfolio is in the following permanent collections:
The Museum of Modern Art, New York
The Louisiana Museum of Modern Art, Humlebaek, Denmark
The Cabinet des Estampes, Geneva
The Microsoft Art Collection, Microsoft Corporation, Redmond, Washington
The Progressive Corporation Art Collection, Mayfield Village, Ohio