Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

Scully, Sean: Dark Yet

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Martin Mosebach / Rebecca Horn:
Das Lamm
(The Lamb)

Softcover with dust jacket in slipcase
21.4 x 31.2 cm
200 pages with 24 color illustrations on inserted single sheets
350 signed and numbered copies
240.00 Euro

Collector’s Edition
24 copies with an original print by
Rebecca Horn (nos. 4–27)
30 x 21 cm (w x h)
1000.00 Euro


Available prints


Martin Mosebach writes his books by hand. Between 1995 and 1997, he produced 172 very closely written pages for a novel provisionally entitled Das Lamm (The Lamb). The 575-page book was published in 2000 by Aufbau Verlag in Berlin as “Eine lange Nacht” (A Long Night). The handwriting of the original manuscript is minuscule, and deciphering the text is strenuous, useful working material for an author trying to keep a firm grip on his concept.

When Rebecca Horn saw the manuscript, she was enthusiastic about its aesthetic qualities and artistic strength. Every page is a picture that reveals the writer’s stream of thought and shows his concentration, precision, and artistic vision. She decided to make an artwork out of this “objet trouvé”. In 2002, she staged the story of the long night for a photo shooting on location at the original sites in Frankfurt/Main. Twenty-four photo-paintings are based on this material. The photographs’ distinctive multiple-exposure technique allows the story’s protagonist to fuse with the action’s settings. Overpainted by Rebecca Horn afterwards, the images connect the real world with the world of ideas. They observe and commentate. Fields and waves of energy are inscribed on the pictures while mythical creatures carry us into a fanciful and poetic transitional world.

The artists’ book Das Lamm draws all this material together: Martin Mosebach’s manuscripts are reproduced as facsimiles on 200 pages. Rebecca Horn’s photo-paintings, opulently printed on art paper, are inserted loose between the pages like bookmarks or notes. They are embedded in the author’s ideas and produce a vast new painting.