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  • Literature

    Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 96-97 and p. 406

  • Catalogue Essay

    "Between 1964 and 1966 Willem de Kooning painted a series of female figures on hollow-core wood doors, which were later exhibited at the Whitney Museum of American Art, March 14 through May 26, 1996. The doors which de Kooning used as painting surfaces had previously been installed in his studio, however the artist was dissatisfied with them and had them replaced with sturdier doors. After the hollow-core doors had been stored in his studio for years, de Kooning decided to paint on them. The resulting works were called the Door Cycle.

    Using a door – an object charged with metaphoric values – as a painting surface seemed particularly appropriate as its measurements correspond with the human size; at the same time its appearance and dimensions represent a painter's canvas. Thinking about these formal and poetic qualities of a door, Before The Law by Franz Kafka came to mind, also works by Marcel Duchamp (door of Etant donnes, 1948-50) and Joseph Beuys (Door, 1854/56).

    With its flat, empty surface, light weight and painting-size, the mass-produced door panel seemed to be an appropriate contemporary product to make work in editions with. After two years of consideration, Edition Schellmann invited a group of artists to create works of art on prefabricated hollow-core doors. The 16 works that resulted – painting, object, silkscreen, sculpture, relief, and other techniques, on wood, glass, steel and even paper – were produced in editions of 15."

    - Jörg Schellmann ed., Forty Are Better Than One, Munich/New York, 2009, p. 406

  • 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.

    View More Works


Sunset Door, from Door Cycle

Painted wooden door panel with curved colour effect glass filter and galvanised steel bucket with light fitting.
210 x 90 x 12.2 cm (82 5/8 x 35 3/8 x 4 3/4 in.)
light filter 60 x 8.2 cm (23 5/8 x 3 1/4 in.)
bucket 26.3 x 36 x 31.5 cm (10 3/8 x 14 1/8 x 12 3/8 in.)

Signed and annotated 'A.C.' in black ink on the accompanying label (an 'archive copy', the edition was 15 and 2 artist's proofs), published by Edition Schellmann, Munich and New York.

£8,000 - 12,000 

Sold for £10,000

Contact Specialist

Anne Schneider-Wilson

Head of Sale, Senior Specialist 
+44 207 4042

Edition Schellmann: Fifty Are Better Than One

London Auction 6 June 2019