Günther Uecker (after) - Bühnenbilder - Original lithographic print ** HANDSIGNED + COA **





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Description from the seller
Original autographed lithograph by Günther Uecker (*).
This work was edited for the artist's solo exhibition at Erker Galerie St. Gallen, in 1987, under the supervision of Günther Uecker.
Printed on high‑grammage cotton lithographic paper.
Large format.
Hand-signed by the artist.
Includes Certificate of Authenticity (COA).
Specifications:
Dimensions: 99.5 x 60 cm
Year: 1987
Condition: Excellent (this work has never been framed or exhibited, and has always been stored in a professional art folder, thus preserved in perfect condition).
Provenance: Private Collection.
The work will be carefully handled and packed in reinforced cardboard packaging. Shipping will be tracked with a certification number.
The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.
(*) Günther Uecker (*1930, Wendorf) is a German artist and a member of the ZERO movement, best known for his distinctive use of screws arranged in tactile paintings and sculptural works. Following his interest in Eastern philosophies, Uecker's use of screws on canvas served as a meditative ritual, with the repetitive nature of hammering turning his theories into a lived artistic practice. Initially drawn to Socialist Realism painting while studying postwar Berlin, Uecker began creating reliefs in 1957. The artist met John Cage in 1959, who influenced the scope of his practice. In Uecker's later work, the artist simply initiates a project and lets it take him wherever it needs to go, wherever he is, even if it ultimately ends up out of his hands. In 1961, after joining the ZERO group with Heinz Mack and Otto Piene, Uecker expanded his practice to include public participation. The artist currently lives and works in Düsseldorf, Germany. Uecker's works are in the collections of the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., the Museum of Modern Art in New York, and the Courtauld Institute of Art in London, among others.
Seller's Story
Original autographed lithograph by Günther Uecker (*).
This work was edited for the artist's solo exhibition at Erker Galerie St. Gallen, in 1987, under the supervision of Günther Uecker.
Printed on high‑grammage cotton lithographic paper.
Large format.
Hand-signed by the artist.
Includes Certificate of Authenticity (COA).
Specifications:
Dimensions: 99.5 x 60 cm
Year: 1987
Condition: Excellent (this work has never been framed or exhibited, and has always been stored in a professional art folder, thus preserved in perfect condition).
Provenance: Private Collection.
The work will be carefully handled and packed in reinforced cardboard packaging. Shipping will be tracked with a certification number.
The shipment will also include transport insurance for the final value of the work with full reimbursement in case of loss or damage, at no cost to the buyer.
(*) Günther Uecker (*1930, Wendorf) is a German artist and a member of the ZERO movement, best known for his distinctive use of screws arranged in tactile paintings and sculptural works. Following his interest in Eastern philosophies, Uecker's use of screws on canvas served as a meditative ritual, with the repetitive nature of hammering turning his theories into a lived artistic practice. Initially drawn to Socialist Realism painting while studying postwar Berlin, Uecker began creating reliefs in 1957. The artist met John Cage in 1959, who influenced the scope of his practice. In Uecker's later work, the artist simply initiates a project and lets it take him wherever it needs to go, wherever he is, even if it ultimately ends up out of his hands. In 1961, after joining the ZERO group with Heinz Mack and Otto Piene, Uecker expanded his practice to include public participation. The artist currently lives and works in Düsseldorf, Germany. Uecker's works are in the collections of the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., the Museum of Modern Art in New York, and the Courtauld Institute of Art in London, among others.
