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  • Literature

    Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 96 and pp. 382-383

  • Catalogue Essay

    "Olafur Eliasson belongs to a generation of artists who in the 90's explored and expanded the boundaries between art, science and nature and the perception there-of. For years, the artist has transferred natural phenomena such as water, light, wind, temperature and movement into the art context using simple technical aids, always clearly emphasizing for the viewer the technology involved. In his sculptures, installations, and photographs, Eliasson's artistic interest is focused on dialogic processes occurring between the viewer and his perception. the elemental naturalness of the materials employed - like water and earth - produce an open structure to his work."

    - Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 96

  • Artist Biography

    Olafur Eliasson

    Danish-Icelandic • 1967

    Conceptual artist Olafur Eliasson was born in Copenhagen, Denmark to parents who had emigrated from Iceland. Characterized by a lack of traditional materiality, Eliasson’s work is typically quite simple and clean in appearance. Known for engaging with environmental issues, the artist often creates immersive works that activate the senses beyond just sight. Due to his consistent interest in light, Eliasson’s practice has been compared to both James Turrell and Dan Flavin. 

    One of his most popular installations, The Weather Project, 2003, saw Eliasson fill the entirety of Turbine Hall at the Tate Modern with light from an artificial Sun. Another project, New York City Waterfalls, 2008, became one of the most expensive public art installations ever, with a cost exceeding $15 million. The artist has been collected by institutions like the Guggenheim, the Kunstmuseum Basel and the National Gallery of Art, among others.

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40

Jökulsgilskvisl (Glacier Canyon Fork), from Double Exposure

2003
The complete set of two chromogenic prints, on photo paper flush-mounted to Forex board (as issued), the full sheets.
both S. 40 x 60 cm (15 3/4 x 23 5/8 in.)
Both signed in black ink and numbered 'H.C. 2/2' in pencil on a label affixed to the reverse (one of 2 hors commerce sets, the edition was 45 and 10 artist's proofs), published by Edition Schellmann, Munich and New York, both framed.

Estimate
£1,500 - 2,000 

Sold for £2,000

Contact Specialist

Anne Schneider-Wilson

Head of Sale, Senior Specialist 
London
+44 207 4042

Edition Schellmann: Fifty Are Better Than One

London Auction 6 June 2019