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Tom Hopman

In auction: 

Banksy – Kate Moss postcard framed (Crude Oils)
Year: 2005
Rare and limited production, Kate Moss showcard / postcard made for Crude Oils Exhibition (14th – 24th october 2005).
The piece features an image of Kate Moss presented in the style of Andy Warhol’s Marylin.

Artist: Banksy
Object: Exhibition Card / Postcard - Framed
Title: Kate Moss (Crude Oils)
Postcard size: 5 4/5 x 4 1/10 in - 14,8 x 10,40 cm – Visible 14,20 x 10,00 cm
Frame size: 21,00 x 19,00 cm x 4,00 cm 
Condition: Excellent. This piece has been kept in pristine condition, ensuring it remains a timeless treasure.
Framing: Professionally framed with protective glass to preserve its beauty and integrity. This is not your average frame; it's crafted with attention to detail and quality, ensuring the artwork and fabric piece are displayed in their full glory.
Packaging & Shipping: Will be carefully packaged to ensure it arrives in perfect condition. Sent by registered mail with track and trace options (GLS, UPS, BRT or DHL), giving you peace of mind throughout its journey.
Very limited edition - Rare

A true collectible item whose value continues to grow.

Banksy is today one of the references of contemporary art and street art... and one of the most highly rated artists with an over €11 millions record auction in 2020.



An exceptional opportunity to acquire an authentic artwork by Christo and Jeanne Claude (also known in different periods as Cristo, Chrito, Javacheff), a rare limited edition offset, book, framed, or lithograph print that belongs to the same visionary current of monumental wrapped interventions. This work evokes the artistic language that resonates with the spirit of Andy Warhol pop art, the provocations of Banksy, Invader, Cattelan, Robert Indiana, Damien Hirst, Mario Schifano, Lodola, and even contemporary Street Art like bordalo, aerosol, fin dac, Whatshisname and monopoly.

Christo and Jeanne Claude’s career spans extraordinary projects: from the London Mastaba floating on the Serpentine, to The Floating Piers on Lake Iseo (lago, Italy, Italia, near Como), where saffron colored panels invited the public to walk on water; from the dramatic wrapping of the Reichstag in Berlin to the luminous fabric gates in New York’s Central Park among the trees. Their legacy also includes The Pont Neuf in Paris, the majestic Umbrellas in both Japan (Ibaraki, Yellow) and California (Los Angeles, Tejon Pass), the legendary Running Fence across landscapes, oceanfront Walk Ways, and ambitious concepts like Over the River (Arkansas, Rio Grande, New Mexico). Earlier gestures included the Wall of Oil Barrels, interventions in Rue Visconti in 1962, and the playful Store Front Project with a purple store front in Rome.

Other celebrated achievements are the pink Surrounded Islands in Miami’s Biscayne Bay, Florida, the monumental Mastaba project in Abu Dhabi, United Arab Emirates, the studies in the desert of Liwa, and site-specific works in Coast Sydney, Bern Kunsthalle, Kassel (Documentation IV), Fondation Beyeler in Basel, and of course the historic Arc de Triomphe wrapping in Paris, a silvery vision shaped by the blue ropes and recyclable polypropylene fabric. Italian and Roman settings resonate too: Duomo, Piazza Vittorio Emanuele, Villa Borghese, Veneto, all bearing witness to ephemeral transformations.

Christo’s materials and techniques became signatures: wrap, wrapped, wrapping with polyethylene, polypropylene, woven polyester, heavy woven white nylon, aluminum, rope, twine, steel cable. Early explorations included playful packages—“Paket, Empaquetage”—objects like a wheelbarrow, cubicmeter, or everyday bottles and cans, transformed into poetic gestures. Strong elements like oil, iron, curtain revealed his fascination with density and monumentality. Documentation and collaboration often involved figures such as Michael S. Cullen and Roland Specker, guardians of memory and narrative.
This artwork, held in prestigious institutions such as MoMA (Museum of Modern Art, New York), Center Pompidou (France), and celebrated in exhibitions across Rome, Paris, Berlin, Bristol, Swiss museums, German collections, and sites in Usa, Central Park, Colorado, Valley Curtain, Swatch, Rifle, Aspen, San Francisco on the Pacific Ocean, Tokyo, Australia, California, and the United States (Missouri, Kansas, Jacob Loose), belongs to a global legacy of monumental transformation.
Brand desig”: Vitra, Knoll, Herman Miller, USM Haller, Louis Poulsen, HAY, Iittala, Thonet, Minotti
Designer/architetti: Arne Jacobsen, Aalto, Panton, Saarinen, Castiglioni, Mangiorotti, De Lucchi, Bouroullec, Rams, Noguchi

As an object, this piece is also a luxury treasure: it dialogues not only with the world of fine art but with the culture of design (Kartell, Eames, Artifort, Flos, bearbrick), high fashion (Prada, Dior, Louis Vuitton, Givenchy, Fendi, Gucci, YSL, Saint Laurean, Hermès), watches (Rolex Daytona, Patek Philippe Nautilus, Audemars Piguet, Submariner, GMT, Richard Mille, C215), and even the refined aura of Porsche and Ferrari—true works of mechanical art. References to pop icons such as Spider-Man, Asterix, Tintin further place Christo’s art in a living cultural dialogue.

Rare, collectible, and poetic, this signed edition represents not only an artwork but a gift (a perfect Xmas / Christmas Gift) of immense cultural resonance—an invitation to bring into one’s collection a piece of history shaped by fabric, light, and vision. It is art, it is documentation, it is lux, lusso, luxury, fabric lux: a vestibule into the extraordinary imagination of Christo and Jeanne Claude.
In this wider cultural landscape, Christo and Jeanne Claude’s poetics resonate with the energy of a new generation of artists who, like Matt Gondek, Juce Gace, Suketchi, Add fuel or Vhils, carve and deconstruct the urban skin of our cities, while JonOne, Swoon, Munday, OG slick, fake, pichiavo (or pichi avo) or Pantone transform color and gesture into vibrant urban stories. The irreverent language of D*Face, Blek le Rat, Mr. Brainwash or Chevrier keeps alive the provocations that once shook the art world, just as Séraiva, Seth and Snik Martin Whatson, Faccincani, Aubertin and Kostabi continue to blur the boundaries between tradition and experiment. Banksy’s interventions — from the Walled Off Hotel in Palestine to the Di Faced Tenner, Peckham Rock, Wall and Piece, the Love Welcome Mat and the biting irony of Weapons of Mass Distraction — extend the same tension between playfulness and critique that animated Christo’s monumental wrappings. Curators like Steve Lazarides, projects such as Crude Oils or Postcards, iconic figures like the Companion Obama or Marianne, and ephemeral universes like Dismaland in Weston-super-Mare or Cut & Run in Glasgow, all feed a narrative where art becomes both spectacle and statement. Even fashion, design and pop culture — from Balenciaga and Chanel to Disney, Liechtenstein and Virgil Abloh — become part of this conversation, proving that the fabric of contemporary imagination is woven across disciplines, borders, and generations.
Falco, Freeny, Art Vladi, borondo, XTC, britto, silkscreen, Hayden Kays, Jeff Aerosol, Thun, Natuzzi, Seen
Christo and Jeanne-Claude were visionaries whose monumental projects opened unexpected dialogues across the worlds of art, design, and culture. Their practice resonated with the rebellious energy of Pure Evil and Cope2, the playful aesthetics of Atari, Shrigley, and Dillon Boy, and the poetic interventions of JR, Findac, Icy & Sot, El Pez, Hopper, and Mesnager. Echoes of Lagasse, James Rizzi, and Angel Ortiz can be felt in their vibrant approach, just as the dotted universes of Yayoi Kusama, the futuristic gestures of Futura2000, and the surreal dreamscapes of Bruno Bani, Joan Miró, and Salvador Dalí aligned with their vision of transforming the ordinary into the extraordinary.

Their spirit was equally in tune with design and fashion. They admired the sleek lines of Alessi, Armani, and Apple, while their daring creativity recalled the boldness of Basquiat and the elegance of Bentley, Breitling, Cartier, Chopard, and Cavalli. The radical experiments of Daniel Arsham, Enzo Mari, and Gio Ponti paralleled their own, while the playful energy of Hot Wheels, Imbue, or even the cinematic glamour of James Bond brought their art into dialogue with popular icons. Jason Freeny’s deconstructed figures, Jordan’s timeless symbols, Liechtenstein’s pop language, the universes of Pikachu and Charizard, Mondriaan’s geometry, and the collectible culture of Medicom further reveal the breadth of their connections (arsham).
Drawing on a lineage that runs from Picasso, van Gogh, Monet, Dalí, and Rembrandt to Miró, Hockney, Ruscha, Ai Weiwei, Kapoor, Soulages, Noguchi, Le Corbusier, and Prouvé, Christo and Jeanne-Claude forged a language entirely their own.
Always curious about new forms, Christo and Jeanne-Claude embraced the irreverence of Mr Doodle, the craftsmanship of Montblanc, and the global impact of Nike, Nintendo, and Off-White. Their work shared affinities with Philippe Starck’s visionary design, Supreme’s street energy, Stik’s minimalist figures, and the playful imagination of Seletti, Stilnovo, and Yoshitomo Nara. Together, these affinities show how Christo and Jeanne-Claude were never isolated, but part of a vibrant cultural network where high art and everyday icons converged.

Please note that it is possible to issue a regular sales invoice for the auction in question, upon request.

Obey giant, Murakami, Kaws, Koons, Lego, Pokemon, Keith Haring, Shepard Fairey, Orlinski, Birkin, Kelly

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Banksy - Kate Moss postcard framed (Crude Oils) - 2005

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Banksy - Kate Moss postcard framed (Crude Oils) - 2005

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