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The day to Celebrate Love is around the corner, Sunday 14th of February, and while Cupid will be busy throwing arrows left and right, make sure that this day you plan in advance to say I Love You in the most thoughtful way - with an iconic limited art edition.

Why art, you may ask.

Because:
1. Holds its value, and it's a great asset at an affordable entry price
2. Brings a smile to your face by just looking at it
3. Enriches your spirit and builds your confidence
4. Great conversation starter - those are all iconic pieces by leading artists!
5. Makes memories and can be passed through generations

We selected our top favourites, with you in mind of course, that speak of love. Whether it is for your partner, spouse, wife, husband, or loved one - make sure that they won't become the one that got away.

With works by: Donald BAECHLER, Renate BERTLMANN, Damien HIRST, Robert INDIANA, Aley KATZ, Jeff KOONS, Andy WARHOL, YUE Minjun


Explore a festive selection, attached the VALENTINE'S DAY selection here, and if you have any questions - get in touch!
Use the LiveAssistance button, WhatsApp/WeChat +41 76 541 56 58, or email info@wengcontemporary.com⁠

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RENATE BERTLMANN
Knife-rose, 2019
Murano glass and metal, protected by acrylic case
Edition of 50, plus 20 APs
50 x 11 x 11 cm (19.6 x 4.3 x 4.3 in.)

Signed, numbered, and dated
In mint condition

Explore the edition link here

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DAMIEN HIRST
Gold Tears,
2012
Inkjet print, glaze, and foil block
Edition of 55
86,5 x 71 cm (34 x 27.9 in.)

Signed and numbered
In excellent condition

Explore the edition link here

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JEFF KOONS
Diamond (Red), 2020
French Limoges porcelain with chromatic coating
Edition of 599
height: 32,4 cm (12.7 in) diameter: 39,2 cm (15.4 in.)

Signed and numbered
In mint condition

Explore the edition link here

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ANDY WARHOL
Marilyn (Louisiana), 1967-1986
Colour offset lithograph / Archival Pigment Print
55.8 x 55.8 cm (21.9 x 21.9 in)

Signed
In excellent condition

Link to explore the edition here

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YUE MINJUN
Ingres and I, 2009
Lithography
Edition of 130
80 cm x 120 (31.5 x 47.2 in.)

Signed and numbered
In mint condition

Link to the edition here

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Explore more festive art editions, that speak of Love, here. If you have any questions - get in touch!

Use the LiveAssistance button
WhatsApp/WeChat +41 76 541 56 58
or email info@wengcontemporary.com⁠

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Loyalty (The Virtues, H9-7), 2021
Diasec-mounted Giclée print on aluminium composite panel
Edition of 1067
120 x 96 cm (47.2 x 37.8 in)

Hand-signed and numbered on label (verso)
In mint condition

Find out more here

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Mercy (The Virtues, H9-3), 2021
Diasec-mounted Giclée print on aluminium composite panel
Edition of 817
120 x 96 cm (47.2 x 37.8 in)

Hand-signed and numbered on label (verso)
In mint condition

Find out more here

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The Virtues (portfolio of 8), 2021
Diasec-mounted Giclée print on aluminium composite panel
Clockwise: Justice, Courage, Mercy, Politeness, Honesty, Honour, Loyalty, Control
In matching edition numbers
Each: 120 x 96 cm (47.2 x 37.8 in)
In mint condition

Find out more here

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In Paper Kite Butterfly on Oleander, Hirst features his signature motif – the butterfly – alive in its natural surroundings, hanging from a beautiful, strikingly coloured blossom. In this, he has created an uplifting and celestial image that inspires childlike wonder in the face of such a beauty of nature. At the same time, however, it provokes fundamental questions about the meaning of life, a life which is characterized by death, and the fragility of biological existence.

“I love butterflies because when they are dead they look alive."—Damien Hirst

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The distinction between life and death, myth and medicine, is explored by the Cabinet series, as they serve as a shrine to modern pharmaceuticals.

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There is no imminent promise of salvation, no escape offered in these works. Those black pills, as in Dark Black Heaven, are as threatening as they are strangely attractive, a dark fatal allure which we already know leads to one ultimate destiny.

Hirst’s work questions the equivocal role of medicine. It can either take life and save life or destroy and restore. These pills are not a memento mori like the skulls or the butterflies. They are a symbol of resignation and alienation from life, and a fatal attraction towards death.

"It’s like God should be, the way they sell you the pills, the forms, the utopia, the hope, the cure. We’ve come a long way since quack doctors."—Damien Hirst

The pharmaceutical cabinets, as in Hirst’s work Utopia, question people´s complete reliance on medications and their power to heal, which fulfill the natural desire for immortality. However, the question is: Can drugs cure this problem, or can art?

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On the other hand, Gold tears, which is part of the Utopia series, depicts rows of shiny diamonds on shelves covered with golden foil in front of a golden-beige background. The image is an intense vision of a golden cabinet filled with diamonds, a vision often associated with glorious eternity. But as always in Hirst’s art, the ambiguity is obvious – this cabinet points to the fact that behind all the shiny glittery surfaces there might be nothing, no meaning, and no soul. And hence the desire for eternity is less a promise than a condemnation.

"I can’t understand why most people believe in medicine and don’t believe in art, without questioning either."—Damien Hirst

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