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William Kentridge, William Kentridge: Triumphs & Laments (Hand signed by William Kentridge), 2018

William Kentridge


Current Stock: 1


William Kentridge

William Kentridge: Triumphs & Laments (Hand signed by William Kentridge), 2018

Hardback monograph with cloth cover and no dust jacket as issued (hand signed by William Kentridge)

Boldly signed in dark ink by William Kentridge on the title page

8 × 5 1/2 × 1 inches


Boldly signed by William Kentridge in black ink on the title page.

Signed by William Kentridge for the present owner, so provenance is direct

Publisher's Blurb:
Triumphs and Laments celebrates William Kentridge’s (born 1955) monumental frieze, drawn along the banks of the Tiber River in Rome, as well as the performance which inaugurated it. This reprint of Kentridge’s artist’s book serves as an illustrated guide to one of his most memorable and ambitious projects. Designed with the early Baedekers in mind, it acts as an essential component to viewing Kentridge’s erased-graffiti figures and to understanding the process of their creation. Gatefolds, a poster and a leporello of the frieze are included. The texts, which include a conversation between the artist and Carlos Basualdo, as well as two essays by Salvatore Settis and Gabriele Guercio, explore the meaning of the work and its resonance with the millennia-long history of Rome.

Book information:
Publisher: Verlag Der Buchhandlung Walther-Werke König, Köln, 2018
300 pgs / 144 color / 48 bw. and Illustrated with gatefold pages
This accompanying poster is not included here as it was also hand signed by William Kentridge and is being sold separately.

About the Triumphs and Laments' project:
This project, a frieze on the walls of the Lungotevere between Ponte Sisto and Ponte Mazzini, a distance of some 500 metres, was many years in the making. It was promoted, pushed and brought to fruition by Kristin Jones, who long had the idea and a wish for the bank of the Tiber river to be a space for public art. The work really started out of a sense of my own ignorance. I knew on the one hand, as we all do, of the glories of Rome – the Basilica of St Peter on the Trastevere side of the river – and I was also aware much later, maybe in my twenties, of the existence of the ghetto – the enclosed section for Jews on the other side of the river, about a kilometre down from St Peter’s. I had never thought of them as connected and I suppose it was a gap in my knowledge the that the establishment of the ghetto and the growth of St Peter’s had happened at the same time. What I had known of Rome was the great cathedrals, the glories of the Baroque and the starting shock of the project was that realization that the ghetto was actually a project of modernity. If you were to take a straight line from St Peter’s to the ghetto, it would more or less run straight through the section of the Tiber on which the work was done.

William Kentridge Studio
About William Kentridge:
William Kentridge was born in 1955 in Johannesburg, South Africa where he currently lives and works. Often drawing from socio-political conditions in post-apartheid South Africa, William Kentridge’s work takes on a form that is expressionist in nature. For Kentridge, the process of recording history is constructed from reconfigured fragments to arrive at a provisional understanding of the past—this act of recording, dismembering and reordering crosses over into an essential activity of the studio. His work spans a diverse range of artistic media such as drawing, performance, film, printmaking, sculpture and painting. Kentridge has also directed a number of acclaimed operas and theatrical productions.

Kentridge is the recipient of honorary doctorates from several universities including Yale and the University of London. In 2012 he presented the Charles Eliot Norton lectures at Harvard University. In 2013 he served as Humanitas Visiting Professor in Contemporary Art at Oxford University, and Distinguished Visiting Humanist at the University of Rochester, New York, and in 2015 he was appointed an Honorary Academician of the Royal Academy in London. In 2017 he received the Princesa de Asturias Award for the Arts, Spain, in 2018, the Antonio Feltrinelli International Prize, Italy, in 2021 the Ruth Baumgarte Art Prize, Hanover, and in 2023 the Olivier Award for Outstanding Achievement in Opera, London. Previous awards include the Kyoto Prize, Japan (2010), the Oskar Kokoschka Award, Vienna (2008), the Kaiserring Prize (2003), and the Sharjah Biennial 6 Prize (2003), among others.

Recent major exhibitions of his work have been shown at MFA Houston, Texas (2023); The Broad Museum, Los Angeles (2022); the Royal Academy, London (2022); Kunstmuseum Basel, Switzerland (2019); and a traveling show which opened at the Whitechapel Gallery, London in 2016 and travelled to subsequent venues, including the Louisiana Museum, Copenhagen, Denmark and the Museum der Moderne, Salzburg (2017). In 2016 his 500 meter frieze Triumphs and Laments was presented along the banks of the Tiber River in Rome. Notes Towards a Model Opera, shown at the Ullens Center in Beijing, China (2015) travelled as Peripheral Thinking to The National Museum of Modern and Contemporary Art, Seoul (2016). A major traveling exhibition, Fortuna, toured multiple venues in Latin America from 2012-2015. Kentridge has participated in Documenta (2012, 2002, 1997) as well as the Venice Biennale (2015, 2005, 1999 and 1993).

Courtesy of Marian Goodman Gallery

Signed by William Kentridge for the present owner, so provenance is direct


Height:   8.00
Width:   5.50
Depth:   1.00