RONI HORN (New York 1955–lives and works in New York) Steven's Bouquet. 1991. Solid aluminum and cast plastic, 6 units. 1/3. 160 × 120 × 38.5 cm (variabel installation). Provenance: - Galerie Jablonka, Cologne. - Private collection, acquired in the above gallery in 1992. - Auction Sotheby's, New York, 18.11.1999, lot 102. - Private collection, Switzerland, acquired at the above auction. “The object is not the end; what I’m interested in is the experience it provides for—how it incites and animates dialogue”. Roni Horn Roni Horn, born in New York in 1955, is a renowned American artist. She completed her design studies at the Rhode Island School of Design and later gained a Master of Fine Arts at Yale University. The great versatility of her oeuvre is evident not only in her choice of media, but also in the diversity of her content. Her works deal intensively with themes such as identity, change and the relationship between man and nature. Horn lives and works in both New York and Reykjavik - two contrasting environments that significantly inform her artistic practice. Her minimalist works question traditional notions of form and perception. They emphasise that what you see does not always correspond to what you think you see. In her works, Horn succeeds in subtly breaking through established attributions and in bringing to light the dynamics of changeability and diversity. In doing so, she transcends the boundaries between the visible and the invisible. She often utilises materials such as glass or light metals as well as motifs such as water or the weather, which are inherently multi-layered and changeable. Despite this diversity, certain preferences emerge again and again in her work, in particular a sensitive examination of language and its cultural, social and poetic potential. From the late 1980s onwards, Horn devoted herself to the poet Emily Dickinson and created several works inspired by her poems. One example of this is a series of narrow aluminium rods with white letters embedded in them and aligned vertically on walls. The word, which Horn had already explored before, now became the central subject and object of her art. The poet Wallace Stevens (1879–1955) is also one of the few literary figures who are repeatedly taken up in her work. Stevens, an important American poet of the 20th century, is known for his complex, philosophical poems, which often deal with the relationship between imagination and reality. His poetry is characterised by an elegance of form, rich imagery and philosophical depth. Many of his poems deal with themes such as the power of the human imagination, the nature of reality and the role of art. Stevens holds the view that the human imagination plays a central role in creating order and beauty in the chaos of reality. The work ‘Steven’s Bouquet’ by Roni Horn, created in 1991, is, as the title suggests, a tribute to the poet. It is a minimalist yet deeply symbolic installation that refers to Stevens' poem “Bouquet of Roses in Sunlight”, written in October 1947. One example of this rare three-part edition is in the collection of the Museum of Modern Art in New York. The rods of the installation are simple and industrial in design, which emphasises the formal rigour. The words encased in synthetic resin reflect the concept of language and reflection. This pared-down aesthetic creates connotations of clarity and precision. The structure of the installation and the choice of materials - aluminium and resin - are reminiscent of American minimalism, but at the same time the sensual experience is intensified by the contrast between the coolness of the aluminium and the sometimes delicate pastel shades of the letters. Viewing this sculpture opens up a wide array of associations that are not, however, directly predetermined by the artist. The work enters into an exciting dialogue between language and form. The title suggests something fleeting and ephemeral, while the material and the strict arrangement of the rods represent permanence and stability. The work thus invites the audience to reflect on the contrast between material reality and linguistic immateriality. Only a reading of Stevens' poem reveals the meaning of the words chosen in the work. In brief, ‘Steven’s Bouquet’ creates a meditative space for the viewer through its reduced formal language, the integration of poetry and the exploration of existential themes. The interface between language, art and nature can be experienced here. Horn succeeds in translating Stevens' poem, which uses images of nature to convey abstract thoughts, into a material form. By choosing aluminium and synthetic resin - materials associated with modern technology and industry - she lends the work a timeless quality that embraces both the concrete and the abstract. Bouquet of Roses in Sunlight Say that it is a crude effect, black reds, Pink yellows, orange whites, too much as they are To be anything else in the sunlight of the room, Too much as they are to be changed by metaphor, Too actual, things that in being real Make any imaginings of them lesser things. And yet this effect is a consequence of the way We feel and, therefore, is not real, except In our sense of it, our sense of the fertilest red, Of yellow as first color and of white, In which the sense lies still, as a man lies, Enormous, in a completing of his truth. Our sense of these things changes and they change, Not as in metaphor, but in our sense Of them. So sense exceeds all metaphor. It exceeds the heavy changes of the light. It is like a flow of meanings with no speech And of as many meanings as of men. We are two that use these roses as we are, In seeing them. This is what makes them seem So far beyond the rhetorician’s touch. Wallace Stevens * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- RONI HORN (New York 1955–lebt und arbeitet u.a. in New York) Steven's Bouquet. 1991. Aluminium und Kunstharz, 6-teilig. 1/3. 160 × 120 × 38,5 cm (Installation variabel). Provenienz: - Galerie Jablonka, Köln. - Privatsammlung, in obiger Galerie 1992 erworben. - Auktion Sotheby's, New York, 18.11.1999, Los 102. - Privatsammlung Schweiz, an obiger Auktion erworben. "The object is not the end; what I’m interested in is the experience it provides for – how it incites and animates dialogue". Roni Horn Roni Horn, 1955 in New York geboren, absolviert ihr Designstudium an der Rhode Island School of Design und erlangt später den Master of Fine Arts an der Yale University. Die grosse Vielfalt ihres Œuvres zeigt sich nicht nur in der Wahl der Medien, sondern auch in ihrer inhaltlichen Diversität. Ihre Arbeiten setzen sich intensiv mit Themen wie Identität, Wandel und der Beziehung zwischen Mensch und Natur auseinander. Horn lebt und arbeitet sowohl in New York als auch in Reykjavik – zwei gegensätzliche Umgebungen, die ihre künstlerische Praxis massgeblich prägen. Ihre minimalistischen Werke hinterfragen traditionelle Vorstellungen von Form und Wahrnehmung. Sie verdeutlichen, dass das, was man sieht, nicht immer dem entspricht, was man zu sehen glaubt. In ihren Arbeiten gelingt es Horn, diese Zuordnungen subtil zu durchbrechen und die Dynamik von Veränderlichkeit und Vielfalt sichtbar zu machen. Sie überschreitet dabei die Grenzen zwischen dem Sichtbaren und dem Unsichtbaren. Oft greift sie auf Materialien wie Glas oder leichte Metalle sowie auf Motive wie Wasser oder das Wetter zurück, die von Natur aus vielschichtig und wandelbar sind. Trotz dieser Vielfalt treten in ihrem Werk immer wieder bestimmte Vorlieben auf, insbesondere die Auseinandersetzung mit der Sprache und ihrem kulturellen, sozialen und poetischen Potenzial. Ab den späten 1980er Jahren widmet sich Horn der Dichterin Emily Dickinson und schafft mehrere Werke, die von ihren Gedichten inspiriert sind. Ein Beispiel hierfür ist die Serie der schmalen Aluminiumstangen, in die weisse Buchstaben eingelassen sind und die vertikal an die Wände platziert werden. Das Wort, mit dem sich Horn bereits zuvor auseinandersetzt, wird nun zum zentralen Sujet und Objekt ihrer Kunst. Auch der Dichter Wallace Stevens (1879–1955) zählt zu den wenigen literarischen Figuren, die in ihrem Werk wiederholt aufgegriffen werden. Stevens, ein bedeutender amerikanischer Dichter des 20. Jahrhunderts, ist bekannt für seine komplexen, philosophischen Gedichte, die sich häufig mit der Beziehung zwischen Imagination und Realität befassen. Seine Lyrik zeichnet sich durch formale Eleganz, reiche Bildsprache und philosophische Tiefe aus. Viele seiner Gedichte behandeln Themen wie die Macht der menschlichen Vorstellungskraft, die Natur der Realität und die Rolle der Kunst. Stevens vertritt die Auffassung, dass die menschliche Imagination eine zentrale Rolle dabei spielt, Ordnung und Schönheit im Chaos der Realität zu erschaffen. Das Werk "Steven's Bouquet" von Roni Horn, entstanden im Jahr 1991, ist, wie der Titel bereits andeutet, eine Hommage an den Dichter. Eine minimalistische, jedoch tief symbolische Installation, die auf Stevens Gedicht "Bouquet of Roses in Sunlight", im Oktober 1947 verfasst, Bezug nimmt. Eine dieser auf drei limitierte Auflagenarbeit befindet sich in der Sammlung des Museum of Modern Art in New York. Die Stäbe der Installation sind schlicht und industriell gestaltet, was die formale Strenge unterstreicht. Die in Kunstharz eingefassten Wörter reflektieren den Aspekt der Sprache und der Reflexion. Diese reduzierte Ästhetik weckt Assoziationen von Klarheit und Präzision. Der Aufbau der Installation sowie die Materialwahl aus Aluminium und Harz erinnern an den amerikanischen Minimalismus, doch gleichzeitig wird das sinnliche Empfinden durch den Kontrast zwischen der Kühle des Aluminiums und den teils zarten Pastelltönen der Buchstaben intensiviert. In der Betrachtung dieser Skulptur eröffnet sich ein weitreichendes Spektrum an Assoziationen, die von der Künstlerin jedoch nicht unmittelbar vorgegeben werden. Das Werk tritt in einen spannungsreichen Dialog zwischen Sprache und Form. Der Titel deutet auf etwas Flüchtiges und Vergängliches hin, während das Material und die strenge Anordnung der Stäbe Beständigkeit und Stabilität verkörpern. Somit fordert die Arbeit das Publikum auf, über den Gegensatz zwischen materieller Realität und sprachlicher Immaterialität nachzudenken. Erst die Lektüre von Stevens Gedicht offenbart die Bedeutung der im Werk gewählten Worte. Zusammengefasst schafft "Steven's Bouquet" durch seine reduzierte Formensprache. Mittels der Einbindung von Poesie und über die Auseinandersetzung mit existenziellen Themen einen meditativen Raum für die Betrachtenden. Hier wird die Schnittstelle von Sprache, Kunst und Natur erfahrbar. Horn gelingt es, Stevens Gedicht, das Naturbilder verwendet, um abstrakte Gedanken zu vermitteln, in eine materielle Form zu übersetzen. Durch die Wahl von Aluminium und Kunstharz – Materialien, die mit moderner Technik und Industrie assoziiert werden – verleiht sie dem Werk eine zeitlose Qualität, die sowohl das Konkrete als auch das Abstrakte umschliesst. Bouquet of Roses in Sunlight Say that it is a crude effect, black reds, Pink yellows, orange whites, too much as they are To be anything else in the sunlight of the room, Too much as they are to be changed by metaphor, Too actual, things that in being real Make any imaginings of them lesser things. And yet this effect is a consequence of the way We feel and, therefore, is not real, except In our sense of it, our sense of the fertilest red, Of yellow as first color and of white, In which the sense lies still, as a man lies, Enormous, in a completing of his truth. Our sense of these things changes and they change, Not as in metaphor, but in our sense Of them. So sense exceeds all metaphor. It exceeds the heavy changes of the light. It is like a flow of meanings with no speech And of as many meanings as of men. We are two that use these roses as we are, In seeing them. This is what makes them seem So far beyond the rhetorician’s touch. Wallace Stevens Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.
Roni Horn (b.1955) Untitled (To Nest) Digital pigment print in colours, 2001, signed, dated, and numbered in pencil verso, from the edition of 100, published by Counter Editions, London, on Arches paper, with full margins, sheet 400 x 610mm (16 x 21in)
11" long by 3 1/4" in diameter. Richard Vernon Greeves (Born 1935) is active/lives in Wyoming, Missouri. Richard Greeves is known for Indian figure sculpture. A sculptor of monumental bronze Indian figures, Richard Greeves was born and grew up in an Italian neighborhood in St. Louis, where he lived in his words, a "Huck Finn childhood." Many of his neighbors were handy with tools, and they influenced his love of building and creating. At age 15, he met an Indian girl whom he visited on the Wind River Reservation in Wyoming, and he later moved there and purchased the local trading post which became his home and studio. With one third of an acre enclosed and 26-foot high ceilings, he has plenty of room to work. Greeves is winner of the James Earle Fraser Award for Outstanding Artistic Merit at the National Cowboy & Western Heritage Museum in 2000, and his monuments to Chief Washakie and Crazy Horse reside in the gardens at the Buffalo Bill Historical Center. For the courtyard of the Buffalo Bill Historical Center in Cody, he sculpted a monument of Indian figures 1 and 1/2 times life-size.
Contemporary print by Roni Horn (b.1955). Signed. Framed. Measuring 16 by 20 inches overall and 14.5 by 18.5 print alone. Please see all images for condition. Size is measured and written on the back of the painting. The first size is the overall size, the second size is the image size. For detailed condition questions please text 617-835-2496
RONI HORN (1955- ) Piece (I). Photograph in five parts. Iris prints, four images measuring 559x740 mm; 22x29⅛ inches, and one slightly smaller, the first one with Horn's signature, title, date, edition notation 5/5, and print order notation #1 of 5 in pencil, the other four consecutively numbered "#[2-5] of 5," also in pencil, on verso. 1998. Provenance: Rafaella Cortese Gallery, Milano, Italy; to the Present Owner.
Roni Horn Lava Fields of Iceland 1992 letterpress 18.25 h x 24.375 w in (46 x 62 cm) Signed, titled, dated and numbered to lower edge 'Lava Fields of Iceland 1992 # 30/100 Roni Horn'. This work is number 30 from the edition of 100 published by the artist. This work will ship from Chicago, Illinois.
Roni Horn Begin with Palm Trees 1993 gouache, watercolor, gum arabic on paper 8 h x 10 w in (20 x 25 cm) Signed and inscribed to verso 'Roni Horn RH740'. Provenance: Xavier Hufkens, Brussels | Matthew Marks Gallery, New York | Important Philadelphia Estate This work will ship from Lambertville, New Jersey.
HORN, RONI 1955 NEW YORK Title: From: You Are The Weather (for Parkett 54). Date: 1998. Technique: Colour silkscreen. Arches Measurement: 50,5 x 60,5cm. Notation: Signed and numbered. Publisher: Parkett-Verlag, Zurich (publisher). Number: 2/60. Frame/Pedestal: Framed. Condition: Sheet minimally wavy due to mounting. Otherwise the work is in very good condition. Not examined out of the frame. With Parkett magazine. "Horn is fascinated by Hitchcock's attraction to women and the cinematic consequences of his lack of satisfaction; by Kafka's hatred of fur, teeth, children, flowers, meat, and heavy furniture as a reflection of his introverted sensuality; by Dickinson's reclusiveness and the passion that seemed to be reserved exclusively for the mundane world that surrounded her; by Pasolini's and Polanski's raw sensuality. Horn knows that sexuality crystallizes on the circumference of one's being and that it is symptomatic of the center of human existence. Thus Horn asserts her place in the world by introducing her pathology into the pure geometry of the ideal world." Jerry Gorovoy, Parkett No. 54, 1998/99. Article on the work and artist from Parkett edition no. 54. Explanations to the Catalogue
Roni Horn (b.1955) Roni Horn (b.1955) Two first edition volumes, including: DOUBT BOX , 2006. First edition of 1,000, Book IX from Horn's 'To Place' series, black linen clamshell box with shadow black stamped title on upper cover, housing 56 four-color photo-illustrated cards, taken in Iceland between 1990-2002. Germany: Steidl, 2006. YOU ARE THE WEATHER, 1997. First Edition, hardback, photo-illustrated paper boards, 128pp., with 100 photographs that comprise Horn's series of portraits of Margaret in Iceland's geothermal pools. Zurich: Scalo, 1997. Literature: Parr & Badger, The Photobook: A History, vol.II, p.164 [Doubt Box]
Roni Horn The Blind Leading the Blind (from the Hack-Wit series) 2014 offset lithograph in colors image: 12.125 h x 8.25 w in (31 x 21 cm) sheet: 14 h x 9.5 w in (36 x 24 cm) Signed, dated and numbered to lower edge 'Roni Horn 2014 ed. 60/110'. This work is number 60 from the edition of 110 published by the artist. Sold with original envelope. This work will ship from Chicago, Illinois.
RONI HORN (né en 1955) Clownmirror # 4 2001 Signé au dos. C-print. Diptyque. Edition 2/7. Achteraan getekend. C-Print. Dyptiek. Editie 2/7. Signed on the reverse. C-print. Diptych. Edition 2/7. 76,2 x 76,2 cm (chaque élement)
Roni Horn Index Cixous: CIX Pax 2005 c-print, bound book 5.128 h x 7.5 w in (13 x 19 cm) Signed and numbered to lower left of photograph 'Roni Horn 44/100'. Signed and numbered to cover page 'Roni Horn 44/100'. This work is number 44 from the edition of 100. Sold with additional photograph illustrating collaborator and writer, Helene Cixous. This work will ship from Lambertville, New Jersey.
Roni Horn Island: To Place: Bluff Life, Folds, Verne's Journey, and Haralsdottir (four works from the Island series) 1990-96 bound printed paper 10.5 h x 8.5 w x .5 d in (27 x 22 x 1 cm) Lot includes To Place: Bluff Life published in an edition of 1000 by Peter Blum Editions, New York, To Place: Folds published in an edition of 700 by Mary Boone Gallery, New York, To Place: Verne's Journey published in an edition of 1000 by Verlag der Buchhandlung Walther Konig, Koln, and To Place: Haralsdottir published in an edition of 1100 by Ginny Williams. This work will ship from Chicago, Illinois.
Roni Horn Angie and Emily Dickinson 2005 inkjet print on paper 9.25 h × 7.625 w in (23 × 19 cm) Signed and numbered to lower right 'Roni Horn 46/50'. Inscribed to lower left 'For Matthew and Jack and 2006 best'. This work is number 46 from the edition of 50. This work will ship from Rago in Lambertville, New Jersey.
Roni Horn To Place: Lava 1992 gelatin silver print, bound book photograph: 9.875 h × 8 w in (25 × 20 cm) book: 10.5 h × 8.5 w in (27 × 22 cm) Lot is comprised of one book and one photograph; two pieces total. Signed and numbered to end page 'Roni Horn 51/100'. Signed and numbered to verso 'Roni Horn 51/100'. This work is number 51 from the edition of 100 signed and numbered copies, from a total edition of 750 published by the artist. This work will ship from Rago in Lambertville, New Jersey.
Roni Horn Index Cixous: CIX Pax 2005 c-print, bound book photograph: 5.128 h × 7.5 w in (13 × 19 cm) book: 8 h × 5.625 w in (20 × 14 cm) Signed and numbered to cover page 'Roni Horn 44/100'. Signed and numbered to lower left of photograph 'Roni Horn 44/100'. This work is number 44 from the edition of 100. Sold with additional photograph illustrating collaborator and writer, Helene Cixous. This work will ship from Rago in Lambertville, New Jersey.
Roni Horn If on a Winter's Night... 1974 / 2004 inkjet print on paper 10.75 h × 8 w in (27 × 20 cm) Inscribed to upper center 'Long title'. Signed, dated, numbered and inscribed to lower edge 'For Matt and Jack for 2004 Roni 22/33'. This work is number 22 from the edition of 33. This work will ship from Rago in Lambertville, New Jersey.
Roni Horn Untitled 1982 pigment and wash on paper 5 h × 3.875 w in (13 × 10 cm) Signed to lower left 'RH'. This work will ship from Rago in Lambertville, New Jersey.
Roni Horn Untitled 2003 c-print mounted to acrylic image: 30 h × 30.5 w in (76 × 77 cm) sheet: 33 h × 33.5 w in (84 × 85 cm) This work is from the edition of 13. Provenance: Matthew Marks Gallery, New York | Private Collection This work will ship from Wright in Chicago, Illinois.
RONI HORN (New York City 1955–lives and works in New York City) Untitled. 1987. Monotype. Signed and dated in pencil lower left: Roni Horn 87, as well as inscribed on the reverse: GT/RH 12 87 W.Y., as well as with the inscription: PAG/001. Image 25.1 × 56.7 cm on wove paper, firmly laid down on wove paper 45.8 × 76.2 cm. Provenance: - Dranoff Fine Art, New York. - Purchased from the above in 2006 by the present owner, since then private collector Switzerland. --------------- RONI HORN (New York City 1955–lebt und arbeitet u.a. in New York City) Ohne Titel. 1987. Monotypie. Unten links mit Bleistift signiert und datiert: Roni Horn 87, sowie verso bezeichnet: GT/RH 12 87 W.Y. und mit der Bezeichnung: PAG/001. Darstellung 25,1 × 56,7 cm auf Vélin, fest auf Vélin aufgelegt 45,8 × 76,2 cm. Provenienz: - Dranoff Fine Art, New York. - Bei obiger Galerie 2006 vom heutigen Besitzer erworben, seitdem Privatsammlung Schweiz.
RONI HORN (B. 1955) When Dickinson Shut Her Eyes, no. 886 plastic and aluminum, in eight parts each ranging from: 20 5/8 x 2 x 2 in. ( 52.3 x 5.1 x 5.1 cm.) to 54 5/8 x 2 x 2 in. (138.6 x 5.1 x 5.1 cm.) (overall installation dimensions variable)
Roni HORN (Né en 1955) UNTITLED (PORTRAIT OF ISABELLE HUPPERT), 2013 Digital print Signée Edition à 480 exemplaires 54 x 44 cm A vendre sans prix de réserve
RONI HORN (AMERICAN B.1955) Untitled (Portrait of Isabelle Huppert) 2013 signed by the artist edition of 480 digital prints in colour 54 x 44 cm framed
RONI HORN (AMERICAN B.1955) UNTITLED (TO NEST) - 2001 Digital inkjet print, 52/100, signed, dated and numbered verso, published by Counter Editions (the sheet 40cm x 61cm (15.75in x 24in))
Roni Horn (b. 1955) Untitled signed 'Roni Horn' (lower left of mount) powdered pigment on four joined pieces of paperboard on artist's mount 12 3/4 x 12 5/8 in. (32.4 x 31.8 cm.) Executed in 1985.
Roni Horn New York 1955 - lebt in New York und Reykjavik Verne`s Journey. Selections. Drei farb. Offsets. 1991. 36 x 29,2 cm. Signiert und nummeriert. (29) Exemplar 15/100. - Die Mappe mit den drei Islandphotos, einem Text und Titelblatt erschien als Privatdruck vor der im Kölner Verlag von Walther König herausgegebenen Buchausgabe. - Auf dem Mappentitel zusätzlich mit 'Mön...bach' bezeichnet. - Die Blätter vorzüglich erhalten; die Mappe teils minimal aufgehellt.
Work entirely illustrated with drawings and photographs specially made by Roni Horn. Description of the volumes: 1) Island. To Like. Bluff Life, New York, Peter Blum Edition, 1990; binding covered with anthracite gray canvas, 26x22 cm, pp. 36, graphic design by Roni Horn and Klaus Baumgärtner, edition of 1,150 copies. 2) lsland. To Like. Folds, New York, Mary Boone Gallery, 1991; binding covered in anthracite gray canvas, 26x22 cm, pp. 72, graphic design by Roni Horn and Andrew Mc Call Associates, print run of 700/750 copies. 3) Island. To Like. Lava, New York, Roni Horn, 1992; binding covered with anthracite gray canvas, 26x22 cm, pp. 96, graphic design by Roni Horn and Andrew Mc Call Associates, circulation of 750 copies. 4a) (volume I) lsland. To Like. Pooling Waters (illustrations), Köln, Walther Kõnig, 1994; binding covered with anthracite gray canvas, 26x22 cm, pp. 96, circulation of 1,000 copies. 4b) (volume II) lsland. To Like. Pooling Waters (text), Köln, Walther Kõnig, 1994; anthracite gray canvas binding, 26x22 cm, pp. 176, circulation of 1,000 copies. 5) lsland. To Like. Verne’s Journey, Köln, Walther Kõnig, 1995; binding covered with anthracite gray canvas, 26x22 cm, pp. 56, circulation of 1,000 copies. 6) lsland. To Like. Haraldsdòtfir, Denver, Ginny Williams, 1996; binding covered with anthracite gray canvas, 26x22 cm, pp. 96, circulation of 1,100 copies. 7) lsland. To Like. Arctic Circles, Denver, Ginny Williams, 1998; binding covered with anthracite gray canvas, 26x22 cm, pp. 136, edition of 1,650 copies. 8) lsland. To Like. Becoming a Landscape, Denver / Köln, Ginny Williams / Walther König, 2001; 26x22 cm, case covered in maize yellow canvas containing 2 paperback tomes. Volume I: pp. 48, Volume II: pp. 48, print run of 900 copies. 8) lsland. To Like. Becoming a Landscape, Denver / Köln, Ginny Williams / Walther König, 2001; 26x22 cm, case covered in flesh-colored canvas, containing 2 paperback tomes. Volume I: pp. 48, Volume II: pp. 48. Special edition in the limited edition of 100 copies signed by Roni Horn with 2 photographs signed by the artist. 9) lsland. To Like. Doubt Box, Gölttingen, Steidl Verlag, 2006; case covered in black canvas, 26x22 cm, 28 loose boards in cardboard, edition of 1,000 copies. 10) lsland. To Like. Haraldsdòttir, Part Two, Gölttingen, Steidl Verlag, 2011; binding covered with anthracite gray canvas, 26x22 cm, pp. 144, circulation of 1,000 copies. Attachment: Island. To place. Inner Geography, East Greenwich, Meridian Printing Company, 1994; paperback, pp. 32, exhibition catalog fully illustrated in color with texts by Alex Castro and Jan Howard. This volume is mistakenly considered a supplement to the third volume. Print run of 2,000 copies. [Literature: Philippe Aarons - Andrew Roth, In Numbers. Serial Publications by Artsts Since 1955, s.l., PPP Editions, 2009: pp. 388-393; Andrea Joostens - Petra Roettig, Kunstlerbucher / Artists ’books. Die Sammlung / The Collection, Hamburg, Hamburger Kunsthalle, 2018: pp. 66-67; Martin Arr - Gerry Badger, The Photobook. A History, London, Phaidon, 2006-2008, 2 volumes: volume II, pp. 164-165; Andrew Roth, The Open Book. A history of the photographic book from 1878 to the present, Götheborg, Hasselblad Center, 2004: pp. 348-351].
Roni Horn (American, 1955) When Dickinson Shut Her Eyes, no. 863 1993 / 2000 incised '863' (on one end of each element) solid cast black plastic and aluminum, in four parts Smallest Element: 41 3/4 by 2 by 2 1/8 in. 106 by 5.1 by 5.4 cm. Largest Element: 61 by 2 by 2 1/8 in. 155 by 5.1 by 5.4 cm. This work was executed in 1993, and is number 2 from an edition of 3. For further information on this lot please visit the Bonhams website
Roni Horn (American b.1955) 'Untitled (Portrait of Isabelle Huppert)' 2013 Digital Prints in Colour Edition of 480, signed by the artist 54 x 44 cm ARR
Roni Horn (b. 1955) A Mink Look, 1998 Iris printed photograph, Edition of 15 Dimensions: 19 1/2 x 26 1/2 in. (sight) Framed Dimensions: 26 1/4 x 33 1/8 x 1 3/4 in. MOCA 2000 Iris printed photograph on Monadnock paper Signed, titled, dated, and numbered in pencil, verso Provenance: Private Collection, California
Roni Horn (American b.1955) 'Untitled (Portrait of Isabelle Huppert)' 2013 Digital Prints in Colour Edition of 480, signed by the artist 54 x 44 cm ARR
![RONI HORN (1955, New York) [U.S.A.] "Her, Her, Her & Her" 2004](https://stageimg.invaluable.com/housePhotos/Picenum/93/687493/H21456-L231245892.jpg)
![Horn, Roni Ísland. To place 1990-2011 - [complete collection of all 10 published books (12 volumes)].](https://stageimg.invaluable.com/housePhotos/Finarte/80/677380/H0484-L215861326.jpg)
