{"title":"£100+","description":"\u003cp\u003eWorks from the archive priced at £100 and above.\u003c\/p\u003e","products":[{"product_id":"art-scribe-no-51","title":"Art Scribe No. 51 (March–April 1985) — Basquiat, Kathy Acker, Lynne Cooke","description":"\u003cp\u003e\u003cstrong\u003eArt Scribe No. 51\u003c\/strong\u003e\u003cbr\u003eMarch–April 1985\u003c\/p\u003e\n\u003cp\u003eCover: Bruce McLean\u003cbr\u003eFeaturing: Jean-Michel Basquiat (ICA London)\u003c\/p\u003e\n\u003cp\u003eSoftcover magazine\u003cbr\u003ePublished: March–April 1985\u003cbr\u003eLondon: Artscribe Ltd\u003cbr\u003eEditor: Matthew Collings\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContents:\u003c\/strong\u003e\u003cbr\u003e– Jean Michel Basquiat — review by Kathy Acker (p.52)\u003cbr\u003e– Neo-Primitivism — essay by Lynne Cooke (p.16)\u003cbr\u003e– Bruce McLean interview by Mel Gooding\u003cbr\u003e– Reviews: Jonathan Borofsky, Richard Wilson, Ger van Elk, Ian McKeever, Chagall, among others\u003cbr\u003e– Report: 2nd International Contemporary Art Fair\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eA mid-1980s London art magazine capturing Basquiat at a precise moment of reception in the UK. He appears twice here — first through Kathy Acker’s review of his ICA exhibition, written with her characteristic urgency, and again within Lynne Cooke’s essay on Neo-Primitivism, where his work is folded into a broader critical debate around authorship, instinct, and cultural projection.\u003c\/p\u003e\n\u003cp\u003eThe issue sits at an intersection: literary critique, institutional framing, and the British art context encountering Basquiat in real time. The Bruce McLean cover further grounds it within the language of British conceptual and post-performance practice of the period.\u003c\/p\u003e\n\u003cp\u003eFor Basquiat-focused collectors, this functions less as a magazine and more as a document of early critical positioning — before the narrative settled.\u003c\/p\u003e\n\u003cp\u003eLike and follow for more rare art books and ephemera.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53035119149394,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat01.jpg?v=1774539700"},{"product_id":"wade-guyton-set-of-3-exhibition-postcards-serpentine-galleries-2017","title":"Wade Guyton – Set of 3 Exhibition Postcards, Serpentine Galleries, 2017","description":"\u003cp\u003eSet of 3 exhibition postcards, 2017\u003cbr\u003eSerpentine Galleries, London\u003c\/p\u003e\n\u003cp\u003eOffset-printed postcards on card stock, colour recto with printed verso details\u003c\/p\u003e\n\u003cp\u003ePrice includes shipping and packaging; ships securely with backing protection.\u003c\/p\u003e\n\u003cp\u003eOriginal set of three Wade Guyton postcards issued for his 2017 exhibition at Serpentine Galleries. Each card reproduces a work in Guyton's characteristic inkjet-on-linen mode, with clean institutional design and full artwork details printed on the reverse. As a small group, they make a sharp piece of contemporary exhibition ephemera—compact documents of a practice deeply invested in the instability between painting, printing, digital imaging, and circulation.\u003c\/p\u003e\n\u003cp\u003eWhat gives this set extra resonance is the 2009 interview exchange in which David Armstrong asks Guyton what he thinks when he sees postcards of his work in museums, only for Guyton to reply that he has never seen one. Read alongside that moment, these cards feel more than promotional matter. They sit right inside the logic of his work, where the artwork is never fully sealed off from its own reproduction, mediation, or afterlife as image.\u003c\/p\u003e\n\u003cp\u003eArt historically, Guyton's work emerged at a point when painting could no longer ignore the screen, the printer, or the conditions of digital reproduction. His use of misfeeds, drag marks, compression, and mechanical error turned the inkjet process into both tool and subject. These postcards echo that tension exactly: they are secondary objects, but also uncannily close to the questions the work itself asks about surface, authorship, and circulation. In that sense, this set functions not just as exhibition material, but as a concise extension of Guyton's broader project.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53039715483986,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wade_Guyton_Postcards_06.jpg?v=1774600585"},{"product_id":"urs-luthi-original-exhibition-invitation-brussels-1975-bifolded-with-2-inserts","title":"Urs Lüthi — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975","description":"\u003cp\u003e\u003cstrong\u003eURS LÜTHI\u003c\/strong\u003e\u003cbr\u003eGalerie Isy Brachot, Brussels\u003cbr\u003eNovember 12, 1975 – January 8, 1976\u003cbr\u003eOpening: November 10, 19h\u003c\/p\u003e\u003cp\u003eOriginal invitation for Urs Lüthi's 1975 solo exhibition at Galerie Isy Brachot, a key moment in the development of self-performance and gender-fluid identity in postwar European art. The invitation is a bifolded card with two loose inserts, measuring 29.7 × 21.0 cm unfolded, and features stark black-and-white photographs of the artist staging his own body — sometimes disguised, sometimes vulnerable, always deliberately composed.\u003c\/p\u003e\u003cp\u003eEmerging from the 1970s conceptual wave, Lüthi's work blended performance, photography, and personal mythology. He rejected the neutral stance of much conceptual art in favour of something more intimate, melancholic, and theatrical. The images shown here — posed, exposed, and occasionally erased — point to early preoccupations with the self as both object and illusion.\u003c\/p\u003e\u003cp\u003eThis exhibition came at a time when Lüthi was establishing his visual lexicon: the reclining body, the play with androgyny, the subtle references to artifice and autobiography. Surviving ephemera from this period is exceptionally scarce, and this invitation offers both historical significance and stark formal beauty.\u003c\/p\u003e","brand":"Galerie Isy Brachot","offers":[{"title":"Default Title","offer_id":53039877456210,"sku":null,"price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/UrsLuthi01.jpg?v=1774601935"},{"product_id":"claude-monet-le-naturalisme-abstrait-galerie-art-vivant-paris-june-18-1959","title":"Claude Monet — Exhibition Invitation, Galerie Art Vivant, Paris, 1959","description":"\u003cp\u003e\u003cstrong\u003eCLAUDE MONET\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eLe Naturalisme Abstrait\u003c\/em\u003e\u003cbr\u003eGalerie Art Vivant, Paris\u003cbr\u003e18 June 1959\u003c\/p\u003e\u003cp\u003eOriginal invitation to \u003cem\u003eClaude Monet et Le Naturalisme Abstrait\u003c\/em\u003e, a bold curatorial proposition staged at Galerie Art Vivant in June 1959. The exhibition reframed Monet's late work not as historical artifact but as visionary precursor to postwar abstraction — placing him in direct lineage with Turner, Géricault, and the emerging generation of painters working through colour, light, and metaphysical depth.\u003c\/p\u003e\u003cp\u003eThe fold-out invitation includes an essay by Waldemar-George drawing these connections across time, arguing for Monet as the tutelary god of a painting that restores soul to a soulless century. Alongside Monet, the exhibition presented works by André Masson, Marie Raymond, Jean-Paul Vulliamy, Bryen, Garbell, Halpern, Lan-Bar, and Szenès — a gathering that underscored his influence on mid-century spiritual formalism and the Parisian lyrical abstraction of the period.\u003c\/p\u003e\u003cp\u003ePrinted on pale mint-green card stock with elegant letterpress typography, the object itself reflects the refined material culture of the 1950s Paris art world. A rare document from a moment when abstraction looked backward in order to move forward.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Fold-out invitation card\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good\u003c\/p\u003e","brand":"Galerie Art Vivant","offers":[{"title":"Default Title","offer_id":53041769742674,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Claude_Monet_01.jpg?v=1774613540"},{"product_id":"carl-andre-whitechapel-sculpture-1954-1978-exhibition-archive-1978","title":"Carl Andre — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978","description":"\u003cp\u003e\u003cstrong\u003eCARL ANDRE\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSculpture 1954–1978\u003c\/em\u003e\u003cbr\u003eWhitechapel Art Gallery, London\u003cbr\u003e17 March – 23 April 1978\u003c\/p\u003e\u003cp\u003eArchive of three original documents from Carl Andre's major retrospective at the Whitechapel Art Gallery in 1978 — one of the most significant presentations of his work in Britain, arriving just three years after the “Bricks” controversy at the Tate had made him the most debated artist in the country.\u003c\/p\u003e\u003cp\u003eThe set comprises a letterhead text printed on official Whitechapel stationery, a multi-page works list and programme, and a ticket to the public discussion held on the opening night, 17 March 1978 at 7pm. The ticket, marked with a handwritten X, is a trace of attendance — someone was there.\u003c\/p\u003e\u003cp\u003eThe letterhead document reproduces Andre's own words in full, selected and arranged without editorial commentary. The statements move from the agricultural to the philosophical: \u003cem\u003e“I think art is agricultural, that is involved with maintaining life and feeding life.”\u003c\/em\u003e \u003cem\u003e“My idea of a piece of sculpture is a road.”\u003c\/em\u003e \u003cem\u003e“I like work that is just there until it needs you and you need it.”\u003c\/em\u003e Printed on Whitechapel letterhead, the text functions simultaneously as press material and as a kind of concrete poetry — Andre's language performing the same economy as his floor pieces.\u003c\/p\u003e\u003cp\u003eThe works list documents 31 sculptures spanning 1954 to 1978, with full dimensions, materials, lenders, and extended notes — including the EQUIVALENTS series lent by the Tate, the ELEMENT SERIES, the DIPOLES made for this exhibition, and CRUX, a new cedar work produced for the Whitechapel entrance hall. 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Exhibition presented until 11 October 1987, Salle d’Art Graphique, 4th floor. Invitation valid for two persons.\u003c\/p\u003e\u003cp\u003eThe reproduced work, \u003cem\u003ePortrait de Jany de Ruy\u003c\/em\u003e, is held by the Musée national d’art moderne \/ Centre Pompidou and was made at the maison de santé du Dr Delmas, Ivry, in graphite and greasy coloured chalk on paper. The Pompidou records the drawing as signed and dated by Artaud on 2 July 1947.\u003c\/p\u003e\u003cp\u003eThe 1987 exhibition gathered Artaud’s graphic work at the Musée national d’art moderne, including the early \u003cem\u003eSorts\u003c\/em\u003e of 1939, calligraphed, drawn and burned letters, later drawings from 1948, notebooks and correspondence. The Pompidou describes the exhibition as bringing together more than sixty drawings, with many works leaving private collections for the first time.\u003c\/p\u003e\u003cp\u003eThis card is not the catalogue. It is the access object. The institutional surface through which Artaud’s drawings entered the museum: name, date, room, press hour, invitation status, reproduced wound.\u003c\/p\u003e\u003cp\u003eNot a reproduction in the ordinary sense. Not a later document. A surviving exhibition support from the opening structure itself. Held outside the institutional archive.\u003c\/p\u003e\u003cp\u003eThe catalogue remains traceable. The invitation does not circulate in the same way. Its function was temporary: admit, announce, disappear. Here it survives as a small Pompidou object, carrying Artaud’s late graphic violence in reduced administrative form.\u003c\/p\u003e\u003cp\u003eA borderline artwork-object: Artaud’s drawing translated into museum card, the museum card returned to circulation as image, document, and support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping included.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53042897092946,"sku":"ARTAUD-POMPIDOU-INV-1987","price":130.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Artaud_Antonin._Show_invite_Pompidou._1987.jpg?v=1779944538"},{"product_id":"hans-bellmer-67-photographies-inedites-galerie-francois-petit-1983-84","title":"Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eApprox. 10.5 × 15 cm\u003cbr\u003eDouble-sided offset print on card\u003cbr\u003eFrench text\u003cbr\u003eGalerie François Petit, 196 boulevard Saint-Germain, Paris\u003cbr\u003eExhibition dates: 20 December 1983 – 25 February 1984\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good. Clean, crisp surface with light age toning and minor handling consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation card for \u003cem\u003eHans Bellmer — 67 photographies inédites\u003c\/em\u003e, issued by Galerie François Petit for the Paris exhibition of previously unpublished photographs. The recto carries a black-and-white photographic image: face, hand, obstruction, gaze. The verso reduces the exhibition to script, dates, address, and gallery placement.\u003c\/p\u003e\u003cp\u003eBellmer’s work moved through Surrealism by way of the constructed body, the doll, the erotic fragment, and the image as psychological apparatus. By the early 1980s, his photographic practice was being re-entered into circulation through exhibitions, catalogues, and specialist gallery contexts in Paris.\u003c\/p\u003e\u003cp\u003eLess commonly encountered than the related exhibition catalogue, the invitation survives as a lighter administrative fragment from the same exhibition structure. Produced for short-term circulation, examples appear infrequently on the secondary market.\u003c\/p\u003e\u003cp\u003eAs object, this card sits between announcement and retained support. It was made to pass briefly through the gallery system and disappear. Its survival gives it a second condition: invitation, document, and secondary photographic object.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected with tracked postage.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053706830162,"sku":"BELLMER-GAL3PLUS2-INV-1983","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer_Hans._Show_invite_67_photographies_inedites_._1983.jpg?v=1779946086"},{"product_id":"isa-genzken-verlag-silke-schreiber-1988","title":"Isa Genzken — Verlag Silke Schreiber — 1988","description":"\u003cp\u003e\u003cstrong\u003eIsa Genzken \/ Verlag Silke Schreiber \/ 1988\u003c\/strong\u003e\u003cbr\u003eText by Klaus Honnef. Published by Verlag Silke Schreiber, Munich, to accompany exhibitions in Bonn, Winterthur, and Rotterdam.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e hardcover with cloth spine\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e approx. 24 × 28 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 112 pages\u003cbr\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e 65 black-and-white and colour illustrations\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e German and English\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good; clean and tight throughout with light shelf wear consistent with age\u003c\/p\u003e\n\u003cp\u003eA substantial early monograph on Isa Genzken, published in 1988 to accompany a touring exhibition across three venues. The book surveys Genzken’s sculpture and installation work from the late 1970s through the mid-1980s — the period in which she developed her signature formal language: elongated concrete and epoxy forms, architectural references, and a rigorous engagement with space, material, and scale.\u003c\/p\u003e\n\u003cp\u003eKlaus Honnef’s critical essay situates Genzken’s practice in relation to architectural modernism, drawing connections to El Lissitzky, Mart Stam, and the ABC group. The illustrations document key works including \u003cem\u003eRheinbrücke\u003c\/em\u003e (1983), \u003cem\u003eWeltempfänger\u003c\/em\u003e (1982), and the Kölnischer Kunstverein installation (1982), alongside earlier concrete sculptures photographed in situ.\u003c\/p\u003e\n\u003cp\u003eThe cover reproduces a photograph of a glass door reflecting one of Genzken’s sculptures — an image that captures the spatial and reflective qualities central to her practice. The pale green cloth spine is characteristic of Verlag Silke Schreiber’s production values of the period.\u003c\/p\u003e\n\u003cp\u003eAn important and now scarce document of Genzken’s early career, published before her international profile was fully established. Increasingly sought after by collectors and researchers.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53053728653650,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/IsaGenzken1988001.jpg?v=1774843163"},{"product_id":"olivier-mosset-galerie-rive-droite-paris-1969-exhibition-invitation","title":"Olivier Mosset — Galerie Rive Droite, Paris, 1969","description":"\u003cp\u003e\u003cstrong\u003eOlivier Mosset — Galerie Rive Droite, Paris, 1969\u003c\/strong\u003e\u003cbr\u003eOriginal exhibition invitation\u003c\/p\u003e\u003cp\u003eArtist: \u003cstrong\u003eOlivier Mosset\u003c\/strong\u003e\u003cbr\u003eVenue: \u003cstrong\u003eGalerie Rive Droite\u003c\/strong\u003e\u003cbr\u003eAddress: \u003cstrong\u003e3 rue de Duras, Paris 8e\u003c\/strong\u003e\u003cbr\u003eDates: \u003cstrong\u003e5–25 December 1969\u003c\/strong\u003e\u003cbr\u003eVernissage: \u003cstrong\u003e5 December, 18h30\u003c\/strong\u003e\u003cbr\u003eFormat: \u003cstrong\u003ePrinted invitation card\u003c\/strong\u003e\u003cbr\u003eDimensions: \u003cstrong\u003eapprox. 10.5 × 13.5 cm\u003c\/strong\u003e\u003cbr\u003eMaterials: \u003cstrong\u003eOffset print on red card stock\u003c\/strong\u003e\u003cbr\u003eCondition: \u003cstrong\u003eGood to very good. Light surface wear and handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAn original invitation issued for Mosset's December 1969 exhibition at Galerie Rive Droite — one of his earliest solo presentations in Paris, and a key institutional moment in the post-BMPT period. The gallery is documented in Mosset's bibliography as the site of his first Paris exhibitions.\u003c\/p\u003e\u003cp\u003eThe card is almost without image. A red field. Black type. Venue, address, dates, opening time. Information replaces illustration. The object does not describe the exhibition so much as state its administrative fact — a position entirely consistent with Mosset's practice at the end of the 1960s, when painting was being reduced to repetition, neutrality, and the refusal of expressive difference. Between 1966 and 1974, he produced his serial circle paintings, a body of work inseparable from the debates around BMPT and the broader dismantling of authorship and pictorial identity.\u003c\/p\u003e\u003cp\u003eThis invitation belongs to that moment. The severe typography and unmodulated red ground read less as design than as declaration. No image, no seduction, no explanation. A card that behaves with the same restraint as the work it announces.\u003c\/p\u003e\u003cp\u003eScarce early Mosset ephemera from a documented exhibition. Comparable early Galerie Rive Droite material from this period is seldom encountered.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073639866706,"sku":null,"price":160.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/OlivierMosset_0001.jpg?v=1774992246"},{"product_id":"dessins-allemands-invitation-card-galerie-bama-paris-1975","title":"Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975","description":"\u003cp\u003eOriginal exhibition invitation card for \u003cem\u003eDessins Allemands\u003c\/em\u003e, Galerie Bama, Paris, 19 September–30 October 1975. Featuring Joseph Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, and Voss. Printed card with handwritten address on verso; addressed but never mailed. 15.5 × 9.5 cm.\u003c\/p\u003e\u003cp\u003eA concise and unusually charged piece of 1970s exhibition ephemera: part gallery notice, part administrative trace, part suspended communication object. What sharpens this example is the handwritten verso, addressed to G. J. de Rook, Utrecht, Pays-Bas — linking the card to the Dutch experimental poetry and mail-art milieu around the Utrecht-based visual poet and publisher. Prepared for circulation but never sent, the card remains caught between private address and public announcement, turning a functional invitation into a compact object of intention, delay, and historical residue.\u003c\/p\u003e\u003cp\u003eSeen now, it operates both as a surviving fragment from the distribution structure of the exhibition and as a small self-contained work in its own right — a printed artifact in which typography, naming, handling, and withheld movement become the form. 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Postcard format with applied photographic image on recto — a reproduction of Piacentino's sleek engineered forms, mounted into the card rather than simply printed as image-field, giving the piece a quieter, constructed presence. Postmarked and stamped; handwritten address on verso to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris. 15 × 11.25 cm.\u003c\/p\u003e\u003cp\u003eA modest but unusually complete piece of gallery ephemera: part announcement, part mailed object, part distribution trace. On the reverse, the card remains fully within the circulation system that produced it — stamped in Milan and sent onward to Galerie de Varenne, the Paris gallery associated with publisher and dealer Jacques Damase, known for exhibitions and publications around figures including Sonia Delaunay.\u003c\/p\u003e\u003cp\u003eSeen now, it reads less as documentation than as a small exhibition object in its own right: image, address, postal handling, and gallery-to-gallery transmission held together in one surface. A useful reminder that the art world often moved first through the mail.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall; light surface wear, soft corner wear, minor creasing and age toning consistent with handling and postal use.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157534302546,"sku":"EPH-1980-PLURA-001","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gianni_Placentino_0001.jpg?v=1775687965"},{"product_id":"a-francois-petit-paris-surrealist-group-exhibition-invitation-1965","title":"A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965","description":"\u003cp\u003eOriginal printed invitation card for an exhibition of selected works at A. François Petit, 122 boulevard Haussmann, Paris 8e, December 1965. Printed in script on pale green card stock. 10 × 8 cm.\u003c\/p\u003e\u003cp\u003eThe card lists eleven artists: Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen.\u003c\/p\u003e\u003cp\u003eA small and unusually elegant piece of mid-1960s Paris gallery ephemera. No image, no reproduction — just names, and the names do the work. The card condenses an entire Surrealist afterlife into a discreet printed square: Bellmer, Dalí, Ernst, Lam, Magritte, Tanguy, Toyen. Seen now, it reads less as a simple invitation than as a compact index of market formation, taste, and historical positioning in postwar Paris.\u003c\/p\u003e\u003cp\u003eThe address is worth noting. André-François Petit ran his gallery from 122 boulevard Haussmann and became known as a committed dealer in Surrealism, handling figures including Dalí, Bellmer, Ernst, Magritte, and others from the movement's wider orbit.\u003c\/p\u003e\u003cp\u003eA minimal object, but a dense one: a private invitation, a dealer's calling card, and a quiet administrative fragment from the secondary life of Surrealism.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light age toning and minor handling wear consistent with age.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157598691666,"sku":"EPH-1965-PETIT-001","price":100.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/A._Francois_Petit_Gallery_0001.jpg?v=1775688835"},{"product_id":"charles-ross-point-source-star-space-john-weber-susan-caldwell-new-york-1977","title":"Charles Ross, Point Source \/ Star Space — John Weber Gallery \u0026 Susan Caldwell Gallery, New York, 1977","description":"\u003cp\u003eOriginal mailed exhibition announcement \/ postcard for Charles Ross's two-gallery presentation \u003cem\u003ePoint Source \/ Star Space\u003c\/em\u003e, John Weber Gallery (420 West Broadway) and Susan Caldwell Gallery (383 West Broadway), New York, 23 March – 16 April 1977. Opening reception: Thursday 24 March, 6–9 pm. Mailed copy addressed to Hermann Kern, Kunstraum München, Nikolaistraße 15, Munich, Germany. New York meter mark dated 17 March 1977. 15.25 × 10.25 cm.\u003c\/p\u003e\u003cp\u003eA strong piece of late-1970s gallery ephemera with real transatlantic movement still intact. The recto does the work in one sharp graphic gesture: star field, yellow diagonal band, a central point-source, and the paired gallery credits below. The reverse keeps the object inside the distribution system that produced it — typed label, New York meter mark, and delivery to Kunstraum München at Nikolaistraße 15, the address closely associated with the institution's early programme. Hermann Kern was a key figure at Kunstraum München from the early 1970s and later became director of Haus der Kunst.\u003c\/p\u003e\u003cp\u003eSeen now, it reads as more than an invitation. It is also a small record of how conceptual and post-minimal work circulated: gallery to kunstverein, New York to Munich, announcement as network document. The addressed verso gives the card an added charge, placing Ross's cosmological abstractions back inside the practical infrastructure of the art world.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light age toning, minor surface wear, soft handling marks, and slight creasing consistent with mailing and storage.\u003cbr\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Ships flat in a protective sleeve with backing board.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53157747163474,"sku":"EPH-1977-WEBER-001","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Ross_0001.jpg?v=1775691094"},{"product_id":"richard-prince-de-kooning-gagosian-gallery-paris-2011","title":"Richard Prince — de Kooning, Gagosian Gallery, Paris, 2011","description":"\u003cp\u003eFolded exhibition invitation for Richard Prince's \u003cem\u003ede Kooning\u003c\/em\u003e exhibition at Gagosian Gallery, Paris, held 30 March–21 May 2011. Opening reception: Tuesday 29 March, 5–8 pm.\u003c\/p\u003e\u003cp\u003eOversized card, printed in colour on card stock and folded once, with a full image spread across the interior and exhibition details set on a vertical white panel.\u003c\/p\u003e\u003cp\u003eThe front presents a cropped reproduction from Prince's de Kooning series against a warm peach ground, already staging the collision the works depend on: quotation, distortion, repainting, and the unstable return of a canonical image through another artist's hand. Opened out, the card expands into a near full-bleed detail, intensifying the abrasive facture and unstable figuration associated with the series. The reverse is nearly blank, carrying only the work caption in small type: \u003cem\u003eUntitled (de Kooning)\u003c\/em\u003e, 2009, inkjet and acrylic on canvas.\u003c\/p\u003e\u003cp\u003eWhat circulates here is not only an announcement but a compressed statement of method. Prince's de Kooning paintings rework Willem de Kooning's already volatile women into a second-order image economy of reproduction, collage, and repainting. In invitation form, that logic becomes especially clear: the card itself operates through cropping, folding, enlargement, and redistribution. A work about appropriation is encountered through another act of appropriation.\u003c\/p\u003e\u003cp\u003eFor The New Rare, this is where the object settles. Not simply gallery ephemera, but a small printed mechanism through which authorship, citation, and display are restaged. The folded card holds exhibition, argument, and residue in one support.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e light handling wear and minor corner and edge rubbing visible from age and storage; structurally sound and clean overall.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 21 × 25.5 cm folded; 25.5 × 37 cm unfolded.\u003c\/p\u003e\u003cp\u003ePrice includes shipping and handling.\u003c\/p\u003e","brand":"Gagosian Gallery","offers":[{"title":"Default Title","offer_id":53185586790738,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Richard_Prince_2011_0001.jpg?v=1776061946"},{"product_id":"leopoldo-maler-mortal-issues-whitechapel-1976","title":"Leopoldo Maler — Mortal Issues: A Sanctuary with Flames \u0026 Figures, Whitechapel Art Gallery, 1976","description":"\u003cp\u003eWhitechapel Art Gallery, London.\u003cbr\u003e12-page exhibition publication \/ object record.\u003cbr\u003e30 × 21 cm. Stapled wraps. Black-and-white offset print.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e\u003cp\u003eIssued for Maler's exhibition at Whitechapel Art Gallery, 26 February–4 April 1976, this booklet no longer reads only as exhibition support material. It remains as a compressed exhibition form: image, statement, bibliography, notes, documentation. A show reduced to pages. A public event retained as a portable object.\u003c\/p\u003e\u003cp\u003eThis copy bears the stamp: \u003cem\u003eValerie Beston Library \/ Gift of the Estate of John Edwards\u003c\/em\u003e. That mark shifts the publication away from simple reference and toward association copy, custody trace, and art-world remainder. Not only a document of Maler's Whitechapel exhibition, but a document of its later passage through another system of storage, attention, and inheritance.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the interest lies there. The publication is not presented here as neutral catalogue matter, but as a minor object of retention: part guide, part dossier, part residue. The typewritten pages, bibliography, and black-and-white performance documentation do not stabilize the work so much as leave it in circulation under another form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good vintage condition with visible handling wear, light creasing, rubbing to covers, minor edge wear, gentle toning, and slight waviness to some interior pages. Staples intact. Provenance stamp present.\u003c\/p\u003e\u003cp\u003eMaler's work in the years leading up to this exhibition moved between performance, choreography, film, installation, text, and image. That instability is registered here. The booklet does not summarize the practice cleanly; it preserves its dispersion.\u003c\/p\u003e","brand":"Whitechapel Art Gallery","offers":[{"title":"Default Title","offer_id":53190004703570,"sku":"MALER-1976-WAG","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Leopold_Maler_1976_0001.jpg?v=1776119335"},{"product_id":"charles-simonds-the-three-trees-1985","title":"Charles Simonds — The Three Trees, 1985","description":"\u003cp\u003eArchitekturmuseum in Basel, Basel\u003cbr\u003eOriginal mailed exhibition card \/ invitation\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset print on light card stock, black and white\u003cbr\u003eRecto with paired photographic images; verso with exhibition details, Basel postal stamp, and typed address label to Connaissance des Arts, Paris\u003cbr\u003eCondition: very good, with light age toning, minor wear, soft corner friction, and visible signs of postal handling\u003c\/p\u003e\u003cp\u003eIssued for Charles Simonds's \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel in 1985, this card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object. The addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries with it a small but precise social geography — museum, postal system, editorial office, archive. A work about passage as much as announcement.\u003c\/p\u003e\u003cp\u003eThe front is equally exact. A modernist building and a stand of trees are placed side by side with almost schematic clarity, as though the exhibition were being reduced to two transferable images: structure and growth, façade and obstruction, institution and outside. In that sense the card behaves like a compact exhibition model. Not the exhibition itself, but one of its delegated surfaces.\u003c\/p\u003e\u003cp\u003eThat relay structure feels close to Simonds, but also to a Collin-Thiébaut-like logic: the artwork not as singular event but as something distributed through reproduction, framing, citation, and reappearance elsewhere. What remains here is not simply promotion, but a small operational fragment of the show's public life.\u003c\/p\u003e\u003cp\u003eA mailed exhibition card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227350884690,"sku":"CS-3TREES-1985-EC","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Simonds_0001.jpg?v=1776420618"},{"product_id":"katharina-sieverding-portuguese-language-artist-card-c-1973","title":"Katharina Sieverding — Portuguese-Language Artist Card, c. 1973","description":"\u003cp\u003eLikely issued in connection with \u003cem\u003eFotolinguagem\u003c\/em\u003e, Museu de Arte Moderna do Rio de Janeiro \/ Museu de Arte Moderna de São Paulo, Brazil\u003cbr\u003e15.5 × 10.5 cm\u003cbr\u003eOffset-printed card on light stock; black-and-white image to recto; Portuguese biographical text and exhibition history to verso\u003cbr\u003eCondition: very good; light handling wear, faint corner softening, minor age toning consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eA small distribution object from an early international point in Katharina Sieverding’s career. Neither a standard invitation nor a later museum survey card, it operates more narrowly: image, biography, exhibition history, circulation. The Portuguese text is the key detail. Sieverding was not Portuguese but German, and the language situates the card within her Brazilian context in 1973, when she was included in \u003cem\u003eFotolinguagem\u003c\/em\u003e, organized by Iole de Freitas and shown at MAM Rio and MAM São Paulo.\u003c\/p\u003e\u003cp\u003eThe object is most compelling at that level. A Düsseldorf-based artist associated with the post-Beuys field of photography, self-staging, and identity construction enters another institutional system through translation. The card reduces that movement to its necessary parts: a portrait, a list, a place of residence, a sequence of appearances. Administrative, almost neutral, but exact. It carries the artist as information.\u003c\/p\u003e\u003cp\u003eBefore the later retrospective framing of Sieverding’s practice, there is this lighter support structure: printed matter designed for passage, classification, and local legibility. Not quite ephemera in the casual sense, more a small paper relay between artist and institution. A concise record of entry.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227654218066,"sku":"KS-PTCARD-1973-EC","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Katharina_Sieverding_0001.jpg?v=1776426758"},{"product_id":"esther-hess-energie-et-vent-1985","title":"Esther Hess — Énergie et Vent, 1985","description":"\u003cp\u003eOriginal exhibition invitation card for Esther Hess’s \u003cem\u003eénergie et vent\u003c\/em\u003e, site-art présent, Paris\u003cbr\u003e21 × 10.5 cm\u003cbr\u003eOffset invitation card, printed recto only\u003cbr\u003eVenue: site-art présent, 10 rue Coquillière, 75001 Paris\u003cbr\u003eDate: 5 February–15 March 1985\u003cbr\u003eCondition: very good vintage condition; light age toning and minor surface wear; blank verso\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition organized around energy, wind, and invisible movement. Title, venue, date, image. The circular form functions as object, diagram, and sign at once. Not a record after the event so much as one of the forms through which the exhibition entered circulation.\u003c\/p\u003e\u003cp\u003eA small Paris document from the mid-1980s where sculpture is displaced toward field, force, and transmission.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229836599634,"sku":"EH-ENERGIE-1985-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Esther_Hess_001.jpg?v=1776446061"},{"product_id":"joel-hubaut-michel-sohier-epidemik-box-galerie-galea-caen-c-1979","title":"Joël Hubaut \/ Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979","description":"\u003cp\u003eOriginal exhibition invitation card for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen\u003cbr\u003eVenue: Galerie Galea, 19 rue des Croisiers, 14000 Caen\u003cbr\u003eExhibition: 14 November – 4 December; vernissage Monday 14 November\u003cbr\u003eFormat: recto-printed invitation card in dark brown ink on orange-brown card stock\u003cbr\u003eCondition: very good vintage condition; light general handling wear; small surface abrasion to verso; otherwise clean and well preserved\u003c\/p\u003e\u003cp\u003eA printed support in which the exhibition appears in reduced form: two names, one venue, a set of dates, and the phrase Epidemik-Box. The card operates somewhere between notice, label, and distribution point. Typography is boxed, information is staged without excess, and the object remains close to an administrative surface.\u003c\/p\u003e\u003cp\u003eIts interest lies in this economy. Hubaut and Sohier are not interpreted here so much as placed into circulation. The orange-brown stock and dark brown ink keep the card near the graphic language of filing, storage, and controlled release. What remains is a minor exhibition document in which publicity is almost withdrawn, leaving a more procedural form behind.\u003c\/p\u003e\u003cp\u003eCaen, c. 1979. Printed matter as relay, residue, and placement.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229952205138,"sku":"JH-MS-EPIDEMIK-1979-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Joel_Hubaut_Michel_Sohier_001.jpg?v=1776448987"},{"product_id":"p-s-1-museum-fall-exhibitions-preview-invitation-1989","title":"P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989","description":"\u003cp\u003eCatherine Beaugrand, André Cadere (1934–78), Raymond Hains\u003cbr\u003eThe Institute for Contemporary Art \/ P.S.1 Museum, Long Island City, New York\u003cbr\u003e15 October 1989\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e21 × 10.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOffset print on light card stock; recto printed, verso blank\u003cbr\u003eCondition: very good; light handling wear, minor corner softening, light age toning, blank reverse clean overall\u003c\/p\u003e\n\u003cp\u003eA reception card in which the institution supplies the image.\u003c\/p\u003e\n\u003cp\u003eNot the work.\u003cbr\u003eNot the exhibition.\u003cbr\u003eThe building.\u003c\/p\u003e\n\u003cp\u003eA cropped view of the P.S.1 roofline is used as the stable visual support while names, dates, and programmes are passed across it. The same image appears on other P.S.1 invitations from the period, which places this card less in the register of design than in that of reuse: an administrative image kept in circulation.\u003c\/p\u003e\n\u003cp\u003eBeaugrand, Cadere, Hains. Three positions brought together under one printed roof. The card does not interpret them. It hosts them.\u003c\/p\u003e\n\u003cp\u003eAs shop\/object, it reads as a minor institutional readymade: architecture reduced to sign, invitation reduced to function, exhibition reduced to list. A small transfer object in which authorship is shared between venue, programme, typography, and repetition.\u003c\/p\u003e\n\u003cp\u003eNew York, late 1980s.\u003cbr\u003eA card for entry.\u003cbr\u003eA card in which P.S.1 pictures itself.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53231061500242,"sku":"PS1-FALL89-INV","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alanna_Heiss_001.jpg?v=1776490560"},{"product_id":"new-observations-nos-50-51-84","title":"New Observations — Nos. 50, 51 \u0026 84","description":"\u003cp\u003eNew York, 1987 \/ c. early 1990s\u003cbr\u003eMagazine issues\u003cbr\u003eOffset print on paper\u003cbr\u003eApprox. 27 × 21 cm each\u003c\/p\u003e\u003cp\u003eThree issues of \u003cem\u003eNew Observations\u003c\/em\u003e, a New York–based magazine operating at the intersection of art, criticism, and theory during the late 1980s moment when image culture, appropriation, and postmodern discourse converged into a shared field.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 50 — Sculpture and Paradise\u003c\/strong\u003e (guest edited by Alain Kirili) assembles a cross-section of sculptural thinking alongside figures such as Louise Bourgeois, Julia Kristeva, and Stephen Westfall — positioning sculpture not as medium but as a conceptual condition moving between language, body, and form.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 51 — Radical Consumption and the New Poverty\u003c\/strong\u003e (guest edited by Collins \u0026amp; Milazzo) shifts toward the economies of images and objects, with contributions from a dense network of artists including Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Allan McCollum, and John Dogg — the latter functioning as the shared alias of Richard Prince and Colin de Land, inserting authorship itself into the field of exchange.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIssue 84 — Alchemy\u003c\/strong\u003e extends this logic into a more diffuse, quasi-symbolic register, bringing together names such as Marcel Duchamp, Joseph Beuys, Sigmar Polke, and Gordon Matta-Clark under a thematic structure that reads less as editorial coherence and more as an accumulation of references — material, conceptual, and historical.\u003c\/p\u003e\u003cp\u003eAcross the three, the publication operates as a site of alignment rather than documentation: artists, critics, and positions are placed in proximity, indexed, and circulated. The magazine becomes a container for overlapping authorial identities, where contribution and citation blur into one another.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to very good. General age toning, light surface wear, and handling marks consistent with periodical use and storage.\u003c\/p\u003e\u003cp\u003eSold as a group. Original period items. Shipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53288792424786,"sku":"NEW-OBS-50-51-84","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/New-Observations-magazine-005.jpg?v=1777178675"},{"product_id":"william-popel-some-things-you-can-do-with-blackness-2005","title":"William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005","description":"\u003cp\u003eKenny Schachter Rove, London, 2005\u003cbr\u003eExhibition catalogue\u003cbr\u003eSoftcover\u003cbr\u003e36 pp.\u003cbr\u003eEnglish\u003cbr\u003eISBN: 978-0954960506\u003c\/p\u003e\u003cp\u003ePublished on the occasion of William Pope.L’s exhibition \u003cem\u003esome things you can do with blackness…\u003c\/em\u003e, held at Kenny Schachter Rove, London, 25 February – 24 April 2005.\u003c\/p\u003e\u003cp\u003eA catalogue for a project organised around blackness as material, proposition, joke, wound, commodity, and social engine. The cover presents a small black bear-like object on a red ground; inside, the publication moves through documentation, drawings, performance images, props, text, and residues from \u003cem\u003eThe Black Factory\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eThe pages register Pope.L’s method as circulation rather than illustration. Rubber ducks, bottled water, diagrams, handwritten plans, chocolate, cornflakes, inflatable forms, and street actions appear as components in a larger operating system. The object is comic, unstable, and difficult to neutralise.\u003c\/p\u003e\u003cp\u003eIncluded are references to \u003cem\u003eThe Great White Way\u003c\/em\u003e, Pope.L’s long-running crawl begun in 2002, and \u003cem\u003eThe Black Factory\u003c\/em\u003e, a mobile social project in which objects associated with blackness were collected, transformed, archived, and redistributed. 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Blackness appears here not as theme alone, but as operation: processed, staged, exchanged, consumed, and returned as image.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Kenny Schachter Rove","offers":[{"title":"Default Title","offer_id":53290037412178,"sku":"POPEL-BLACKNESS-2005","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Pope.L_William._Some_things_you_can_do_with_blackness.jpg?v=1777205186"},{"product_id":"kathy-acker-blood-and-guts-in-high-school-japanese-1992","title":"Kathy Acker — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)","description":"\u003cp\u003eHakusuisha, Tokyo, 1992\u003cbr\u003eJapanese edition\u003cbr\u003eTranslated by Sachie Watanabe\u003cbr\u003eHardcover with dust jacket\u003cbr\u003e263 pp.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJapanese edition of Kathy Acker’s \u003cem\u003eBlood and Guts in High School\u003c\/em\u003e, published by Hakusuisha in 1992.\u003c\/p\u003e\n\u003cp\u003eAcker’s text is carried into another language system: English title, Japanese title, blue printed surface, white jacket, translated body. The object does not simply reproduce the book; it relocates it.\u003c\/p\u003e\n\u003cp\u003eInside, the instability of the original remains visible through translation, handwriting, repetition, and diagram. The photographed spread holds several languages at once: English, Japanese, Persian script, phonetic instruction, bodily vocabulary. The page becomes lesson, wound, and index.\u003c\/p\u003e\n\u003cp\u003eThe edition places Acker inside a different publishing context, where the work’s violence and fragmentation are retained but visually reordered. Translation becomes part of the object’s structure: not secondary, but material.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light wear to dust jacket, minor edge wear and handling marks consistent with age. Interior clean.\u003c\/p\u003e\n\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Hakusuisha","offers":[{"title":"Default Title","offer_id":53300341997906,"sku":"ACKER-BLOODGUTS-JP-1992","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Japanese-edition_-Blood-and-Guts-in-high-school--cover.jpg?v=1777319662"},{"product_id":"kathy-acker-blood-and-guts-in-high-school-grove-press-1984","title":"Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984","description":"\u003cp\u003e\u003cspan\u003eKathy Acker — Blood and Guts in High School\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrove Press, New York, 1984\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSoftcover\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOffset-printed wrappers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApprox. 165 pp.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrove Press softcover issue of Blood and Guts in High School, published in 1984 after the text’s earlier fragmented circulation in the late 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal illustrated wrappers by Sue Coe: black field, red titling, image as signal. Interior pages combine narrative, diagram, letter, drawing, mistranslation, transcription, and appropriated material. The book does not settle into a single literary form. It distributes itself across available supports.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJaney appears less as a fixed character than as a point of passage: sexual, geographic, linguistic, institutional. The body is moved through systems. The text follows by breaking sequence, importing fragments, and refusing stable address.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs object, the book belongs to the moment when experimental writing, punk-adjacent publishing, feminist rupture, and visual interruption enter the paperback field. A mass-market form carrying a damaged, unstable structure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition: very good. Light surface wear to covers, minor edge softening consistent with handling and age. Internally clean.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal period item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTHE NEW RARE\u003c\/span\u003e\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53300409368914,"sku":"ACKER-BLOODGUTS-GROVE-1984","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Blood-and-Guts-in-High-School_-1984--cover.jpg?v=1777322140"},{"product_id":"richard-prince-new-portraits-gagosian-gallery-2014","title":"Richard Prince — New Portraits, Gagosian Gallery, 2014","description":"\u003cp data-start=\"589\" data-end=\"805\"\u003e\u003cstrong data-start=\"589\" data-end=\"607\"\u003eRichard Prince\u003c\/strong\u003e\u003cbr data-start=\"607\" data-end=\"610\"\u003e\u003cstrong data-start=\"610\" data-end=\"627\"\u003eNew Portraits\u003c\/strong\u003e\u003cbr data-start=\"627\" data-end=\"630\"\u003eGagosian Gallery, New York, 2014\u003cbr data-start=\"662\" data-end=\"665\"\u003e72-page exhibition booklet \/ catalogue\u003cbr data-start=\"703\" data-end=\"706\"\u003eEdition of 500\u003cbr data-start=\"720\" data-end=\"723\"\u003e6 × 8 inches\u003cbr data-start=\"735\" data-end=\"738\"\u003eStaple-bound booklet, offset printed\u003cbr data-start=\"774\" data-end=\"777\"\u003e\u003cstrong data-start=\"777\" data-end=\"805\"\u003e£295 — shipping included\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"807\" data-end=\"981\"\u003eOriginal booklet issued for Richard Prince’s \u003cem data-start=\"852\" data-end=\"867\"\u003eNew Portraits\u003c\/em\u003e, the 2014 exhibition of Instagram-sourced images enlarged as inkjet-on-canvas works with Prince’s added comments.\u003c\/p\u003e\n\u003cp data-start=\"983\" data-end=\"1203\"\u003eThe booklet repeats the structure of the feed: handle, image, likes, caption, comment. A social image is moved into the gallery, then returned to paper as catalogue. The object records this transfer without resolving it.\u003c\/p\u003e\n\u003cp data-start=\"1205\" data-end=\"1490\"\u003eThe series remains tied to questions of authorship, permission, display, celebrity, and legal afterlife. Donald Graham’s \u003cem data-start=\"1326\" data-end=\"1355\"\u003eRastafarian Smoking a Joint\u003c\/em\u003e, reproduced through the \u003cem data-start=\"1380\" data-end=\"1395\"\u003eNew Portraits\u003c\/em\u003e project, later became part of the litigation around Prince’s use of Instagram-sourced imagery.\u003c\/p\u003e\n\u003cp data-start=\"1492\" data-end=\"1645\"\u003eCondition: very good, with a noticeable bump\/crease to the top right corner, visible on the cover and some pages. Light handling wear consistent with storage.\u003c\/p\u003e\n\u003cp data-start=\"1647\" data-end=\"1741\"\u003eImage, caption, comment, claim.\u003cbr data-start=\"1678\" data-end=\"1681\"\u003eThe feed becomes exhibition.\u003cbr data-start=\"1709\" data-end=\"1712\"\u003eThe exhibition becomes paper.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53317011636562,"sku":"RP-NP-GAG-2014","price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits_-2014-1-cover.jpg?v=1777493215"},{"product_id":"tracey-emin-i-need-art-like-i-need-god-jay-jopling-1998","title":"Tracey Emin — I Need Art Like I Need God, Jay Jopling \/ London, 1998","description":"\u003cp\u003e\u003cstrong\u003eTracey Emin — I Need Art Like I Need God\u003c\/strong\u003e\u003cbr\u003eJay Jopling \/ London, 1998\u003cbr\u003ePublished for \u003cem\u003eTracey Emin: I Need Art Like I Need God\u003c\/em\u003e, South London Gallery, 16 April–18 May 1997\u003c\/p\u003e\u003cp\u003eSoftcover exhibition monograph with stiff glossy wraps\u003cbr\u003e73 pp., colour plates\u003cbr\u003e30 × 21 cm \/ large quarto\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e English\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. Light rubbing, handling marks, faint surface wear to glossy covers, minor edge\/corner wear, original rear price\/barcode sticker present. Interior clean and bright.\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition already moving beyond exhibition status.\u003c\/p\u003e\u003cp\u003eBefore \u003cem\u003eMy Bed\u003c\/em\u003e became the public shorthand, this book fixes an earlier arrangement: body, room, handwriting, photograph, confession, object. The cover stages the artist from behind, inside the workspace, already converted into image and signature. The back cover reduces the body further: four small vertical fragments set into a field of turquoise, with the shop label still attached.\u003c\/p\u003e\u003cp\u003eInside, the sequence continues as document and display. Clothes, blankets, studio floor, handwritten notes, framed fragments, street images, hotel paper. Nothing is outside the work once it enters the catalogue. Biography becomes layout. Intimacy becomes plate. 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It files her.\u003c\/p\u003e\u003cp\u003eA catalogue as exhibition residue.\u003cbr\u003eA self-portrait routed through paper.\u003cbr\u003eAn object from the construction of a public name.\u003c\/p\u003e\u003cp\u003eShipping included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53318458736978,"sku":"TE-INALIG-1998","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.--I-Need-Art-Like-I-Need-God-cover.jpg?v=1777513928"},{"product_id":"robert-mapplethorpe-fotografie-idea-books-milan-1983","title":"Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983","description":"\u003cp\u003e\u003cstrong\u003eRobert Mapplethorpe — Fotografie\u003c\/strong\u003e\u003cbr\u003eIdea Books Edizioni, Milan, 1983\u003cbr\u003eInterview by Germano Celant\u003cbr\u003eItalian-language edition\u003c\/p\u003e\u003cp\u003eSoftcover, black-and-white illustrations\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good used copy. Rubbing and shelf wear to covers, edge and corner wear, light creasing, surface marks, and general handling. Original yellow N.P.G. price sticker to rear cover. Interior appears clean. Clippings show folds, toning, creasing, and newspaper fragility consistent with retained press material.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWith retained period newspaper and magazine clippings.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIdea Books publication on Robert Mapplethorpe, issued in Milan in 1983 with an interview by Germano Celant. Portraits, bodies, flowers, studio arrangements. The classical pose and the charged image held inside a compact Italian publication.\u003c\/p\u003e\u003cp\u003eThis copy includes a group of retained newspaper and magazine clippings relating to Mapplethorpe’s public reception after publication: reviews, censorship coverage, obituary material, television listings, and articles around obscenity, public funding, and institutional display. One clipping is annotated “Guardian 8 X 1990.”\u003c\/p\u003e\u003cp\u003eThe book enters as monograph.\u003cbr\u003eThe clippings enter as record.\u003c\/p\u003e\u003cp\u003eImage, interview, publisher, sticker, review, obituary, legal anxiety, television listing.\u003c\/p\u003e\u003cp\u003eA monograph displaced into dossier form.\u003c\/p\u003e\u003cp\u003eMapplethorpe is held here by two paper systems: the Italian art book and the English-language press file. One fixes the work in 1983. The other records its later movement through publicity, controversy, and reception.\u003c\/p\u003e\u003cp\u003eBook and afterlife, retained together.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53318910116178,"sku":"RM-FOT-IDEA-1983","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mapplethorpe_-Robert.-Fotografie-1983-back-cover_3c793ee3-8781-4c4a-a7d5-ca5406e113c4.jpg?v=1777535435"},{"product_id":"east-village-85-a-guide-a-documentary-pelham-press-1985","title":"Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985","description":"\u003cp\u003e\u003cstrong\u003eRoland Hagenberg et al.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEast Village ’85: A Guide. 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Includes references and appearances connected to Jean-Michel Basquiat, Keith Haring, Jeff Koons, Madonna, Kenny Scharf, Walter Robinson, Gracie Mansion, Piezo Electric, Limbo, Civilian Warfare, Artmart, Nolo Contendere, Wolff, and many others.\u003c\/p\u003e\u003cp\u003eA book that converts a neighbourhood into a printed system.\u003cbr\u003eMap, gallery, portrait, advertisement, essay, directory, gossip structure.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eEast Village ’85\u003c\/em\u003e does not sit outside the scene it describes. It participates in it. The book has the form of a yearbook, a sales prospectus, a local index, and a documentary device. Artists, dealers, photographers, critics, performers, and galleries are arranged as entries within a short-lived cultural economy. The East Village appears here not as myth after the fact, but as a working surface: named, mapped, promoted, monetised, and already becoming historical.\u003c\/p\u003e\u003cp\u003eThe commercial language is part of the object. Hagenberg’s project understood the East Village as a place where documentation and promotion could not be separated. The guide records the scene while helping to produce its visibility. In that sense it belongs to the same economy as the gallery card, the downtown flyer, the paid page, the art-world directory, and the social photograph.\u003c\/p\u003e\u003cp\u003eAs shop\/object, this copy functions as retained evidence from a moment when art, nightlife, real estate, youth culture, and market formation briefly occupied the same paper field. Not a neutral guide. A printed mechanism for placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53333045018962,"sku":"EV85-HAGENBERG-PELHAM-1985","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/East_Village_85_A_guide._A_documentary_cover.jpg?v=1777822032"},{"product_id":"seul-et-le-corps-galerie-du-dragon-paris-1966","title":"Seul, et le corps… — Galerie du Dragon, Paris, 1966","description":"\u003cp\u003eExhibition catalogue for \u003cem\u003eSeul, et le corps…\u003c\/em\u003e, a group exhibition held at Galerie du Dragon, 19 rue du Dragon, Paris 6e, février–mars 1966. Participants: Balthus, Bellmer, César, Cremonini, Dalí, Giacometti, Hélion, Hiquily, Ipoustéguy, Magritte, Matta, Petlin, Rosofsky.\u003c\/p\u003e\u003cp\u003eThe catalogue is a compact square booklet, 19 × 20 cm, [38] pp., printed in black and white throughout. Matte printed wrappers. Accompanied by a separate glossy announcement sheet, which repeats the cover typography and adds the gallery address and exhibition dates — a second surface, same exhibition, different function.\u003c\/p\u003e\u003cp\u003eThe two objects are not identical. The matte booklet holds the image sequence: body as motif, fragment, fantasy, sculpture, reproduced figure. The glossy sheet restores the administrative fact of the exhibition — place, address, date — and returns it to circulation. One carries the work. The other places it.\u003c\/p\u003e\u003cp\u003eThe sequence moves across Surrealism, post-Surrealism, postwar figuration, and sculptural treatments of the body. The body here is not stable. It is staged, handled, distorted, cast, drawn, and filed. Reclining figures give way to dissected anatomy; Surrealist pressure meets sculptural mass. The range of participants — from Giacometti and Magritte to César and Ipoustéguy — is held together not by style but by the body as shared problem.\u003c\/p\u003e\u003cp\u003eA Paris document from 1966, retained in good vintage condition. General age toning, light handling wear, minor edge wear and softening to corners. Interior pages clean overall with expected paper toning. The glossy sheet shows surface and wear consistent with its different material and function.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Exhibition catalogue with separate announcement sheet\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 19 × 20 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e [38] pp.\u003cbr\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e Black-and-white throughout\u003cbr\u003e\u003cstrong\u003ePublisher\/Venue:\u003c\/strong\u003e Galerie du Dragon, Paris\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1966\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53337987940690,"sku":"TNR-MULTI-1966-SELC","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Seul_Et_Le_Corps..._1966_001.jpg?v=1777888302"},{"product_id":"sarah-lucas-god-is-dad-guardian-g2-2005","title":"Sarah Lucas — GOD IS DAD, The Guardian \/ G2, 17 October 2005","description":"\u003cp\u003eOriginal G2 special issue produced with Sarah Lucas for \u003cem\u003eThe Guardian\u003c\/em\u003e, published 17 October 2005. 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Ships carefully packed with tracked delivery.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53366912745810,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/0277ACCC-2BE1-4B20-A53D-DCA638DD2ED9_0c0a854f-dbbf-4164-a737-6f6babcf4f7a.jpg?v=1778237646"},{"product_id":"richard-prince-douglas-blair-turnbaugh-collection-1977-1988","title":"Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)","description":"\u003cp\u003eEdward Cella Art \u0026amp; Architecture, Los Angeles, 2016\u003c\/p\u003e\u003cp\u003eExhibition catalogue\u003cbr\u003e22.6 × 15.1 cm\u003cbr\u003e48 pp.\u003cbr\u003eOffset-printed pictorial wrappers\u003cbr\u003eBlack-and-white illustrations\u003cbr\u003eEdition of 1,000\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage \/ used condition. Light handling wear, soft rubbing and minor surface marking to wrappers. Interior clean overall, binding intact.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of \u003cem\u003eRichard Prince: The Douglas Blair Turnbaugh Collection (1977–1988)\u003c\/em\u003e at Edward Cella Art \u0026amp; Architecture, Los Angeles, 11 June–30 July 2016. The catalogue documents material from the private archive of Douglas Blair Turnbaugh, an early friend, collector, and supporter of Prince. The exhibition gathered artworks, letters, exhibition announcements, publications, postcards, photographs, altered ephemera, and related objects from the artist's formative years.\u003c\/p\u003e\u003cp\u003eA catalogue of secondary material around an artist whose work depends on secondary material. Prince's practice is built through existing images, jokes, advertisements, printed matter, cultural debris, and shifts of authorship. Here the surrounding paper becomes the subject: the letter, the invitation, the checklist, the matchbook, the jacket, the early publication.\u003c\/p\u003e\u003cp\u003eThe book records the period in which Prince's work moved through Artists Space, Metro Pictures, the Pictures Generation, SoHo, East Village networks, and early European exhibition circulation. It is not a retrospective of finished works so much as an inventory of formation.\u003c\/p\u003e\u003cp\u003eAn artist's career, seen through retained paper.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"Edward Cella Art \u0026 Architecture","offers":[{"title":"Default Title","offer_id":53386196713810,"sku":"RP-DBT-ECAA-2016","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-THE-DOUGLAS-BLAIR-TURNBAUGH-COLLECTION-_1977-1988_.-2016--cover_7736879e-4dc1-47a7-ba07-594ea867f60c.jpg?v=1778472545"},{"product_id":"richard-prince-purple-20-years-the-richard-prince-purple-book-2012","title":"Richard Prince — Purple 20 Years: The Richard Prince Purple Book","description":"\u003cp\u003ePurple Institute, Paris, 2012\u003c\/p\u003e\u003cp\u003eSpecial edition produced for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18\u003cbr\u003ePublished for the 20th anniversary of Purple magazine\u003cbr\u003e78 pp.\u003cbr\u003eSoftcover\u003cbr\u003ePictorial paper wrappers\u003cbr\u003eApprox. 28 × 20.5 cm \/ 11 × 8 in.\u003cbr\u003eColour and black-and-white reproductions throughout\u003cbr\u003eText and image work by Richard Prince\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Near fine. Negligible bumping to front wrapper. Light handling wear only. Clean internally.\u003c\/p\u003e\u003cp\u003eSpecial edition made by Richard Prince for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18, marking twenty years of Purple magazine. The publication brings together fragments of Prince's “Bird Talk” texts with collages made from celebrity headshots, film stills, promotional photographs, album material, and other collected image debris.\u003c\/p\u003e\u003cp\u003eA fashion magazine supplement as artist book.\u003cbr\u003eA Richard Prince object routed through Purple.\u003cbr\u003eCelebrity material, handwritten captions, rhetorical questions, commercial images, and borrowed surfaces.\u003c\/p\u003e\u003cp\u003eThe book sits close to Prince’s long use of existing cultural material: publicity photographs, entertainment residue, fan-image circulation, soft celebrity, advertising language, and the unstable line between collecting and authorship. The source image remains visible. The gesture is in the re-captioning, grouping, and return to circulation.\u003c\/p\u003e\u003cp\u003eHere, Purple is not only publisher but frame. Fashion magazine, artist book, anniversary object, and promotional support occupy the same printed form. Prince’s image-world is placed inside another image-world, then released as a magazine-adjacent edition.\u003c\/p\u003e\u003cp\u003eA secondary object made from secondary images.\u003cbr\u003eThe found photograph becomes layout.\u003cbr\u003eThe caption becomes authorship.\u003cbr\u003eThe magazine becomes support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Purple Institute","offers":[{"title":"Default Title","offer_id":53390010220882,"sku":"RP-P20-PUR-2012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-purple-20-years-the-richard-prince-purple-book.-2012--cover.jpg?v=1778489164"},{"product_id":"richard-prince-menthol-wars-printed-matter-2009","title":"Richard Prince — Menthol Wars","description":"\u003cp\u003ePrinted Matter, New York, 2009\u003cbr\u003eFacsimile reprint of the 1980 artist’s book\u003cbr\u003eStaple-bound wrappers\u003cbr\u003e22 pp.\u003cbr\u003e14.1 × 21.3 cm\u003cbr\u003eBlack-and-white offset printing\u003cbr\u003eEdition of 2,000\u003cbr\u003eUnsigned facsimile reprint\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling and minor surface wear to wrappers, faint rubbing to black cover, clean interior, staples intact.\u003c\/p\u003e\u003cp\u003eOriginally published in October 1980 to coincide with a Richard Prince window installation at \u003ca href=\"https:\/\/www.printedmatter.org\"\u003ePrinted Matter\u003c\/a\u003e’s original 7 Lispenard Street location, \u003cem\u003eMenthol Wars\u003c\/em\u003e belongs to Prince’s early sequence of narrative artist books, alongside \u003cem\u003eWar Pictures\u003c\/em\u003e and \u003cem\u003eMenthol Pictures\u003c\/em\u003e. Printed Matter reissued this facsimile in 2009 for \u003cem\u003eRichard Prince: Calling All Readers\u003c\/em\u003e, curated by John McWhinnie at the New York Art Book Fair.\u003c\/p\u003e\u003cp\u003eThe book sits before the more stabilised image of Prince as the artist of cowboys, jokes, nurses, and rephotographed American desire. Here the material is thinner and stranger: short texts, names, overheard voices, social drift, cigarettes, style, movies, records, and conversational fragments. The book form functions less as catalogue than as distribution system — a cheap printed support for fiction, pose, and borrowed atmosphere.\u003c\/p\u003e\u003cp\u003eAs a facsimile, the 2009 edition is also a second object: not the scarce 1980 original, but its controlled return through Printed Matter. A re-entry of early Prince into the artist-book market, produced through the same institution that first held the window installation. The copy becomes a readable substitute, a later administrative version of an early downtown object.\u003c\/p\u003e\u003cp\u003eOriginal period content, later institutional reprint.\u003cbr\u003eA minor book object from Prince’s pre-market vocabulary.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships flat \/ protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53401122242898,"sku":"RP-MW-PM-2009","price":385.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-.-MENTHOL-WARS.-2009-1-front-cover_cc6fe57d-23b4-4f37-b4e8-558b3c420b4c.jpg?v=1778554046"},{"product_id":"richard-prince-new-portraits-blum-poe-2016","title":"Richard Prince — New Portraits","description":"\u003cp\u003eBlum \u0026amp; Poe, Los Angeles \/ New York \/ Tokyo, 2016\u003cbr\u003eScrew-bound acrylic hardcover\u003cbr\u003e64 pp.\u003cbr\u003e26 × 33 cm\u003cbr\u003eColour offset printing\u003cbr\u003eEdition of 1,000\u003cbr\u003eISBN: 978-0-9861128-4-3\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface scratching, rubbing, and handling marks to acrylic covers, consistent with the material. Interior clean. Original Japanese bookseller sticker (Komiyama Tokyo) to front cover. Screw binding intact.\u003c\/p\u003e\u003cp\u003ePublished by Blum \u0026amp; Poe in 2016, following Richard Prince’s \u003cem\u003eNew Portraits\u003c\/em\u003e exhibition at Blum \u0026amp; Poe Tokyo, 3 April–30 May 2015. The book holds installation views, reproductions from the \u003cem\u003eNew Portraits\u003c\/em\u003e series, and Prince’s ‘Bird Talk’ text in Japanese and English.\u003c\/p\u003e\u003cp\u003eA book made after the feed had already been enlarged, printed, exhibited, argued over, and returned to print. Instagram appears here not as platform but as support. The portrait is no longer a post, not exactly a painting, not simply a reproduction. It has passed through several systems of authorisation and arrives as a bound object.\u003c\/p\u003e\u003cp\u003eThe acrylic covers extend the logic of display. Transparent, reflective, protective, and slightly industrial, they make the catalogue behave closer to a case file or portable vitrine.\u003c\/p\u003e\u003cp\u003eWithin Prince’s longer practice of appropriation, joke transfer, advertising extraction, and re-captioned American image culture, \u003cem\u003eNew Portraits\u003c\/em\u003e marks the point where social media becomes both source and surface. Authorship is not removed; it is displaced, commented on, enlarged, litigated, and reissued. The catalogue remains as residue of that passage.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Blum \u0026 Poe","offers":[{"title":"Default Title","offer_id":53425817813330,"sku":"RP-NP-BP-2016","price":595.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits.-2016-cover.jpg?v=1778690133"},{"product_id":"richard-prince-early-photographs-1977-1979-skarstedt-2001","title":"Richard Prince — Early Photographs 1977–1979","description":"\u003cp\u003eSkarstedt Fine Art, New York, 2001\u003cbr\u003eHardcover\u003cbr\u003e46–47 pp.\u003cbr\u003e20.3 × 30.5 cm\u003cbr\u003eColour offset printing\u003cbr\u003eText in English\u003cbr\u003eIncludes writing by Richard Prince taken from \u003cem\u003eWhy I Go to the Movies Alone\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light shelf wear to grey boards, faint surface rubbing and minor corner\/edge wear. Interior clean, with strong colour plates.\u003c\/p\u003e\u003cp\u003ePublished by Skarstedt Fine Art on the occasion of Richard Prince’s 2001 exhibition \u003cem\u003ePhotographs 1977–1979\u003c\/em\u003e. The exhibition gathered the early re-photographic works that established Prince’s long engagement with authorship, originality, advertising, and the borrowed image.\u003c\/p\u003e\u003cp\u003eThe book is restrained and object-like: grey hardcover boards, pale blue title typography, wide white margins, and captioned colour plates. Cigarettes, jewellery, couples, interiors, and commercial surfaces appear as already-circulated images, removed from their first use and placed back into view. The publication keeps that operation quiet. Advertisement becomes photograph. Photograph becomes inventory. Inventory becomes book.\u003c\/p\u003e\u003cp\u003eA compact record from the early-2000s consolidation of Prince’s late-1970s photographic language. Published in limited quantity by Skarstedt Fine Art.\u003c\/p\u003e\u003cp\u003eOriginal period publication.\u003cbr\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53426283872594,"sku":"RP-EP-SKA-2001","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard-Early-Photographs-1977-1979-cover.jpg?v=1778698843"},{"product_id":"damien-hirst-medicine-cabinets-lm-arts-2010","title":"Damien Hirst — Medicine Cabinets","description":"\u003cp\u003eL\u0026amp;M Arts, New York, 2010\u003cbr\u003eExhibition invitation card\u003cbr\u003e18.5 × 22.5 cm\u003cbr\u003eHeavy multi-ply cardstock; glossy image side, matte printed verso\u003cbr\u003eOpening reception: 28 October 2010, 6–8 pm\u003cbr\u003eExhibition dates: 28 October – 11 December 2010\u003cbr\u003eL\u0026amp;M Arts, 45 East 78th Street, New York\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor edge and corner wear consistent with circulation and storage.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for Damien Hirst’s \u003cem\u003eMedicine Cabinets\u003c\/em\u003e exhibition at L\u0026amp;M Arts, New York, 2010. The card reduces the exhibition to image, venue, date, and catalogue notice: pharmaceutical surface as announcement.\u003c\/p\u003e\u003cp\u003eFirst developed in 1988 while Hirst was at Goldsmiths, the medicine cabinet works became one of the clearest structures in his early practice. Medical packaging is arranged as belief system, consumer image, bodily proxy, and temporary defence against decay. The cabinet promises order. The products promise repair. The image holds both promises in place.\u003c\/p\u003e\u003cp\u003eThis invitation carries that system in secondary form. Bottles, labels, dosages, warnings, and branded containers move from cabinet to photograph to printed card. An exhibition document, retained after the event.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53441411219794,"sku":"DH-MC-LMA-2010","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hirst_-Damien.-Medicine-Cabinets_-invite-card.jpg?v=1778781033"},{"product_id":"anton-corbijn-still-lives-torch-gallery-amsterdam-2000","title":"Anton Corbijn — Still Lives","description":"\u003cp\u003eTORCH Gallery, Amsterdam, 2000\u003cbr\u003eMailed exhibition announcement \/ circulation object\u003cbr\u003e15 × 21 cm\u003cbr\u003eOffset print on card; photographic image to recto; exhibition details, gallery information, address label, Belgian postal machine marks, and red handling notation to verso\u003cbr\u003eOpening: 15 April 2000, 17.00–19.00 hrs\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks, minor corner softening, and postal wear consistent with mailing.\u003c\/p\u003e\u003cp\u003eOriginal exhibition announcement for Anton Corbijn’s \u003cem\u003eStill Lives\u003c\/em\u003e at TORCH Gallery, Amsterdam. The recto reproduces Corbijn’s image of Björk, Reykjavik, 1999, connected to his \u003cem\u003e33 Still Lives\u003c\/em\u003e project: a body of staged celebrity portraits made to resemble paparazzi images, film stills, and fragments from imagined documentaries.\u003c\/p\u003e\u003cp\u003eThis copy was mailed to Nicole Tran Ba Vang at 130 rue Lafayette, Paris. The verso retains its address label, Brussels\/Belgian postal markings, and red handling notation. These marks are not incidental. They place the announcement back into circulation: gallery to post, post to artist, image to address, document to retained object.\u003c\/p\u003e\u003cp\u003eCorbijn’s image of Björk carries the public face of the card. Tran Ba Vang’s name and address carry its private route. The object survives between exhibition announcement, celebrity image, postal record, and artist-addressed document.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53441869250898,"sku":"AC-SL-TOR-2000","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Corbijn_-Anton.-Still-Lives-show-opening-card_-15-4-2000-front.jpg?v=1778785891"},{"product_id":"tracey-emin-flux-magazine-the-all-seeing-i-postcard-1999","title":"Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard","description":"\u003cp\u003eFLUX Magazine, Manchester, c. 1999\u003cbr\u003ePromotional postcard\u003cbr\u003e10.5 × 15 cm\u003cbr\u003eOffset print on card\u003cbr\u003eBlack-and-white Tracey Emin cover image to recto with red FLUX masthead and typography; printed postcard verso with FLUX Magazine address, Manchester\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, faint handling marks, minor corner softness and age-related paper toning consistent with period ephemera.\u003c\/p\u003e\u003cp\u003ePromotional postcard issued by FLUX Magazine, a British style, culture, fashion, music, and art publication based in Manchester. The recto reproduces a stark cover image of Tracey Emin with the feature title ‘The All Seeing I \/ Paper Recordings’. The cover also places Emin within a late-1990s cultural field that includes Leftfield, Le Tone, \u003cem\u003eThe Blair Witch Project\u003c\/em\u003e, and \u003cem\u003eReal Goodfellas\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eTracey Emin emerged in the 1990s as one of the defining figures associated with the Young British Artists. Her work brought autobiography, confession, sexuality, grief, and public exposure into the centre of contemporary British art. By the time of this FLUX feature, Emin had already made works such as \u003cem\u003eEveryone I Have Ever Slept With 1963–1995\u003c\/em\u003e and was close to the wider public attention surrounding \u003cem\u003eMy Bed\u003c\/em\u003e and the Turner Prize.\u003c\/p\u003e\u003cp\u003eA small printed support from the period in which Emin’s image moved between art, media, celebrity, and confession. Magazine cover becomes postcard. Artist becomes circulation. The face is retained as both portrait and promotional device.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships flat, protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53442447835474,"sku":"TE-FLUX-ASI-1999","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.-_The-all-seeing-I-paper-recordings_-Flux-magazine-postcard.-Mid-2000s-front.jpg?v=1778795822"},{"product_id":"richard-prince-the-masochist-7-ratstar-shoot-the-lobster-2020","title":"Richard Prince — The Masochist #7","description":"\u003cp\u003eRATSTAR \/ Shoot the Lobster, Brooklyn \/ New York, 2020\u003cbr\u003eFirst edition artists’ book \/ zine\u003cbr\u003eStaple-bound softcover\u003cbr\u003e36 pp.\u003cbr\u003e28 × 21 cm\u003cbr\u003eBlack-and-white photocopy-style reproductions of drawings\u003cbr\u003eEdited by David Rimanelli\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers and edges, minor surface marks consistent with the format.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThe Masochist #7\u003c\/em\u003e presents a group of Richard Prince drawings in a deliberately reduced, low-production format. The booklet sits closer to zine, studio photocopy, or provisional drawing packet than conventional exhibition catalogue. Its crude figures, notebook edges, visible reproduction grain, and stapled construction place the work against the polished surface of Prince’s more familiar appropriated media images.\u003c\/p\u003e\u003cp\u003ePrince’s practice has long moved between found image, joke, celebrity, advertising, and self-authored interruption. Here the gesture appears almost anti-monumental: drawings that look immediate, juvenile, and unstable are routed through a modest printed support. The title introduces a darker register, while the images remain blunt, cartoon-like, and unresolved.\u003c\/p\u003e\u003cp\u003eA small-format publication from Prince’s late-period printed output. The book functions as an accessible carrier for drawings, but also as a deliberately plain object within a larger practice built around authorship, reproduction, circulation, and value.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Ships protected.\u003c\/p\u003e","brand":"RATSTAR \/ Shoot the Lobster","offers":[{"title":"Default Title","offer_id":53445467078994,"sku":"RP-TM7-STL-2020","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-Masochist-_7.-2020-cover.jpg?v=1778823410"},{"product_id":"richard-hamilton-private-view-invitation-serpentine-gallery-1975","title":"Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975","description":"\u003cp\u003eSerpentine Gallery, London, 1975\u003cbr\u003eOriginal private view invitation card\u003cbr\u003e10.5 × 15 cm\u003cbr\u003ePrinted card; black-and-white image to recto, exhibition details to verso\u003cbr\u003ePrivate view: Friday 3 October 1975, 5–8 pm\u003cbr\u003eExhibition dates: 4 October – 2 November 1975\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light age toning, handling marks, surface creasing, faint staining, and softened corners consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal private view invitation for \u003cem\u003eRichard Hamilton: Paintings, Pastels, Prints\u003c\/em\u003e at the Serpentine Gallery, Kensington Gardens, London. This was Hamilton’s first solo exhibition in England in five years, following his 1970 Tate retrospective.\u003c\/p\u003e\u003cp\u003eThe show included works from the mid-1970s in which Hamilton returned to advertising, domestic imagery, romantic landscape, and consumer surfaces with deliberately awkward results. Series such as \u003cem\u003eFlowers and Shit\u003c\/em\u003e, the \u003cem\u003eSoft Landscapes\u003c\/em\u003e, and the sunset pastels placed sentimental visual language beside low or banal material references, confusing expectations around Pop, taste, and seriousness.\u003c\/p\u003e\u003cp\u003eThe invitation is a small public-facing support for that moment. One side carries the image; the other gives only the administrative facts: artist, private view, venue, date, opening hours, admission free. Its design is plain, centred, and institutional, closer to notice than promotion. As retained Serpentine material from 1975, it sits between announcement, archive fragment, and secondary object.\u003c\/p\u003e\u003cp\u003eA scarce private view card from an important post-Tate Hamilton exhibition, especially interesting for its modest format and the contrast between the subdued institutional typography and the provocative body of work it announced.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003cbr\u003eShipping and handling included in the listed price. Packed flat with protective support.\u003c\/p\u003e","brand":"Serpentine Gallery","offers":[{"title":"Default Title","offer_id":53458192105810,"sku":"RH-PV-SERP-1975","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hamilton_Richard._Serpentine_Gallery_show_invite._1975_front.jpg?v=1778878549"},{"product_id":"rachel-lachowicz-yoko-ono-shoshana-wayne-gallery-santa-monica-1996","title":"Rachel Lachowicz \/ Yoko Ono — Shoshana Wayne Gallery, 1996","description":"\u003cp\u003eShoshana Wayne Gallery, Bergamot Station, Santa Monica, 1996\u003cbr\u003eOriginal exhibition announcement card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on cream card stock; printed recto, blank verso\u003cbr\u003eMain Gallery: Rachel Lachowicz\u003cbr\u003eWest Gallery: Yoko Ono — \u003cem\u003eWishing Tree\u003c\/em\u003e\u003cbr\u003eExhibition dates: April 13 – May 18, 1996\u003cbr\u003eOpening reception: Saturday, April 13, 5–8 PM\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling marks and faint edge\/corner wear consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal 1996 exhibition announcement card for a two-part programme at Shoshana Wayne Gallery, Bergamot Station: Rachel Lachowicz in the Main Gallery and Yoko Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e in the West Gallery. The Santa Monica presentation is noted as the first exhibited version of Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e, making this a modest but significant document in the early public history of one of her central participatory works.\u003c\/p\u003e\u003cp\u003eThe pairing records a specific mid-1990s Los Angeles moment. Lachowicz’s work was closely associated with feminist critique, reworking the authority of Minimalism and male art-historical form through cosmetics and bodily materials. Ono’s \u003cem\u003eWishing Tree\u003c\/em\u003e extended her long-standing instruction-based practice into a social, participatory structure: the viewer’s written wish became part of the work.\u003c\/p\u003e\u003cp\u003eThe card itself remains spare and administrative: centred type, cream stock, no image, blank reverse. It does not reproduce the artwork. It marks its placement.\u003c\/p\u003e\u003cp\u003eA small printed support for feminist critique, Fluxus afterlife, and participatory instruction entering 1990s gallery circulation.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships protected in archival sleeve with rigid backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459413795154,"sku":"RL-YO-SWG-1996","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lachowicz_Rachel_and_Ono_Yoko._Shoshana_Wayne_Gallery_invite_card._1996_front.jpg?v=1778904766"},{"product_id":"andreas-gursky-love-parade-matthew-marks-gallery-2001","title":"Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001","description":"\u003cp\u003eMatthew Marks Gallery, New York, 2001\u003cbr\u003eOriginal exhibition announcement postcard\u003cbr\u003e22.5 × 10.5 cm\u003cbr\u003eOffset-printed postcard on card stock; colour reproduction to recto; exhibition\/work credit and divided postcard back to verso\u003cbr\u003eImage: \u003cem\u003eLove Parade\u003c\/em\u003e, 2001, C-print mounted to plexiglass in artist’s frame\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, faint surface marks and minor age toning visible to verso.\u003c\/p\u003e\u003cp\u003eOriginal period announcement card for Andreas Gursky’s \u003cem\u003eLove Parade\u003c\/em\u003e, issued by Matthew Marks Gallery in 2001. The card reproduces one of Gursky’s large-format crowd images in reduced, horizontal form: a mass public event compressed into a narrow printed support.\u003c\/p\u003e\u003cp\u003eGursky’s work from the 1990s and early 2000s helped define a new photographic scale, combining documentary distance, digital construction, and the visual logic of global systems. \u003cem\u003eLove Parade\u003c\/em\u003e sits within that moment: music culture, crowd formation, spectacle, and market entry all held inside a single image.\u003c\/p\u003e\u003cp\u003eAs an object, the card is not only promotional material. It records the moment of institutional circulation around the work: title, date, medium, gallery credit, and distribution format. A monumental photograph becomes a retained paper unit. The mass event returns to circulation through the mail.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective packaging.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53459535954258,"sku":"AG-LP-MMG-2001","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gursky_-Andreas.-Artist-postcard_-Matthew-Marks-Gallery.-2001-front.jpg?v=1778912794"},{"product_id":"paul-klee-12-aquarelles-galerie-berggruen-paris-1964","title":"Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964","description":"\u003cp\u003eGalerie Berggruen, 70 Rue de l’Université, Paris VII\u003cbr\u003eOriginal folded exhibition invitation card\u003cbr\u003eOrange folded card; black printed text and line drawing to recto; exhibition text to interior\u003cbr\u003eImage after \u003cem\u003ePerspective — Raum Clu\u003c\/em\u003e, 1928\/29\u003cbr\u003eExhibition dates: 5 October – 30 November 1964\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Sun-fading and toning, light edge wear, handling marks, and age-related discoloration consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued to coincide with the publication of \u003cem\u003ePaul Klee — 12 Aquarelles\u003c\/em\u003e, a Berggruen portfolio project circulating Klee’s works on paper through a postwar Paris market. The printed image reproduces a perspective drawing from 1928\/29 — part of Klee’s ‘ghost chamber’ works, where perspective is treated as unstable structure: interior space reduced to a skeletal, almost theatrical diagram.\u003c\/p\u003e\u003cp\u003eBy the 1960s, Klee’s position had shifted from Bauhaus-era experimenter to canonised modernist. Berggruen’s programme played a key role in this transition, distributing his work through albums, exhibitions, and printed matter that functioned as both documentation and extension of the work itself. This card sits precisely in that space: a small-format support where reproduction, publication, and exhibition converge.\u003c\/p\u003e\u003cp\u003eA minor but exact object — paper carrying the afterlife of a 1920s drawing into 1964 Paris circulation.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53465081446738,"sku":"PK-12A-GB-1964","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul.GalerieBerggruenexhibitioncard.19641-sunbleachedfront.jpg?v=1778993110"},{"product_id":"paul-klee-12-aquarelles-galerie-berggruen-paris-1964-ii","title":"Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]","description":"\u003cp\u003eGalerie Berggruen, 70 Rue de l’Université, Paris VII\u003cbr\u003eOriginal folded exhibition invitation card\u003cbr\u003eOrange folded card; black printed text and line drawing to recto; exhibition text to interior\u003cbr\u003eImage after \u003cem\u003ePerspective — Raum Clu\u003c\/em\u003e, 1928\/29\u003cbr\u003eExhibition dates: 5 October – 30 November 1964\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and minor surface marks consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued to coincide with the publication of \u003cem\u003ePaul Klee — 12 Aquarelles\u003c\/em\u003e, a Berggruen portfolio project circulating Klee’s works on paper through a postwar Paris market. The printed image reproduces a perspective drawing from 1928\/29 — part of Klee’s ‘ghost chamber’ works, where perspective is treated as unstable structure: interior space reduced to a skeletal, almost theatrical diagram.\u003c\/p\u003e\u003cp\u003eThe card is orange throughout. Not as ground for text or image, but as field — a single chromatic decision that holds the drawing, the typography, and the blank interior panel inside the same vivid plane. The colour does not illustrate the work. It is the work’s first condition.\u003c\/p\u003e\u003cp\u003eBerggruen’s programme played a key role in Klee’s postwar canonisation, distributing his work through albums, exhibitions, and printed matter that functioned as both documentation and extension of the work itself. This card sits precisely in that space: a small-format support where reproduction, publication, and exhibition converge.\u003c\/p\u003e\u003cp\u003eA minor but exact object — paper carrying the afterlife of a 1920s drawing into 1964 Paris circulation.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53465256132946,"sku":"PK-12A-GB-1964-II","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul.GalerieBerggruenexhibitioncard.19642-goodcopyfront.jpg?v=1778994432"},{"product_id":"paul-klee-musee-national-art-moderne-paris-1969","title":"Paul Klee — Musée National d’Art Moderne, Paris, 1969","description":"\u003cp\u003eFrench Ministry of Cultural Affairs, Paris\u003cbr\u003eExhibition invitation (carton d’invitation)\u003cbr\u003eBlind-embossed laid card; offset lithograph reproduction to recto; printed invitation text to interior\u003cbr\u003eInauguration: Tuesday 25 November 1969, 15h–20h\u003cbr\u003eMusée National d’Art Moderne, 13 avenue du Président Wilson, Paris 16\u003cbr\u003eInvitation valid for two persons\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Even toning to laid stock, light handling wear consistent with age.\u003c\/p\u003e\u003cp\u003eOfficial invitation issued under the authority of the French Ministry of Cultural Affairs for a major retrospective of Paul Klee at the Musée National d’Art Moderne, Paris. The card is printed on high-quality laid paper bearing a blind-embossed manufacturer’s mark (‘LES MANUFACTURES D’ANSONS’), situating it within a tradition of refined French art publishing and state-issued cultural material.\u003c\/p\u003e\u003cp\u003eThe recto reproduces Klee’s 1924 drawing \u003cem\u003eIn der Segel-von-Taschen-Klip-Klap-Anstalt\u003c\/em\u003e, produced during his Bauhaus years. The work stages a mechanical, quasi-architectural fiction — part satire, part diagram — reflecting Klee’s resistance to rigid functionalism and his insistence on intuition within structured systems.\u003c\/p\u003e\u003cp\u003eThe interior text formalises the invitation through Monsieur Edmond Michelet, then Minister of State for Cultural Affairs, marking the exhibition as a state-level cultural event. The card operates less as a simple announcement and more as an administrative object: a controlled document issued to a limited network of officials, collectors, and institutional figures.\u003c\/p\u003e\u003cp\u003ePrinted support for the alignment of artist, state, and institution. A minor document carrying the consolidation of Klee within postwar French cultural policy.\u003c\/p\u003e\u003cp\u003eShips flat with protective backing.\u003c\/p\u003e","brand":"Musée National d’Art Moderne","offers":[{"title":"Default Title","offer_id":53465970213202,"sku":"PK-MNAM-1969","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klee_Paul._National_Museum_of_Modern_Art_Paris._Show_invitation._1969_front.jpg?v=1778995207"},{"product_id":"rafael-melendez-born-to-die","title":"Rafael Melendez — Born to Die","description":"\u003cp\u003eUnique artist’s book \/ assemblage publication\u003cbr\u003e2016\u003cbr\u003eApprox. 32 + 32 pages (64 pages total)\u003cbr\u003eDigitally manipulated screenshots and found images with text interventions\u003cbr\u003eHand-assembled and bound from two separate books joined at the spine\u003cbr\u003eOne-of-one\u003c\/p\u003e\u003cp\u003eCondition: unique handmade object with minor handling marks and material irregularities intrinsic to production.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eBorn to Die\u003c\/em\u003e began through the collection of screenshots, saved images, and text fragments gathered and reorganized through a stream-of-consciousness process. Images were resized, cropped, duplicated, and altered through simple consumer software applications, allowing the work to remain close to the logic of accumulation rather than formal composition.\u003c\/p\u003e\u003cp\u003eThe publication takes \u003cstrong\u003eMarina Abramović and Ulay’s\u003c\/strong\u003e performances \u003cem\u003eRelation in Time\u003c\/em\u003e (1977) and \u003cem\u003eRest Energy\u003c\/em\u003e (1980), together with \u003cstrong\u003eLouise Bourgeois’s\u003c\/strong\u003e \u003cem\u003eJanus\u003c\/em\u003e (1968), as underlying structural references rather than subjects for illustration. The paired body, the doubled body, tension, attachment, mirroring, dependence, and psychic division move through the publication in fragmented form.\u003c\/p\u003e\u003cp\u003ePhysically, the work consists of two separate 32-page books later joined into a single object through a \u003cstrong\u003edos-à-dos (back-to-back) binding structure\u003c\/strong\u003e, assembled with a deliberately loose spine connection. Traditionally the format allows two books to occupy one body while retaining separate orientations; here the logic is disrupted. The work behaves less as a conventional artist’s book than as a conjoined structure — two image sequences temporarily sharing a support while remaining partially independent.\u003c\/p\u003e\u003cp\u003eThe title \u003cem\u003eBorn to Die\u003c\/em\u003e introduces another circular structure: beginning and ending collapsed into a single phrase. Images circulate through the book in a similar way, appearing as residues rather than stable illustrations. Figures split, repeat, and return. Authorship itself moves between source material, appropriation, editing, and assembly.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eUnique work. 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A copy of \u003cem\u003eThe New York Times Magazine\u003c\/em\u003e (22 June 2008) becomes support, armature, and accidental collaborator. Pages are overlaid with hand-drawn figures, phrases, loose narratives, found scraps, notebook pages, and discarded envelopes attached in deliberately non-archival ways — taped, folded, glued, and left vulnerable to movement and deterioration. The object accumulates rather than resolves.\u003c\/p\u003e\u003cp\u003eThe work emerged from an early attempt to understand how images already circulating in the world might be reorganized rather than invented. Mass-media photography and editorial design are treated as material to be redirected. Drawings drift through the pages as interruptions: bodies stretch, split, repeat, mutate, and collide with headlines and fragments of language. Images cease functioning as illustrations and begin operating as relatives, stand-ins, or temporary actors within a larger unstable structure.\u003c\/p\u003e\u003cp\u003eThe project was loosely modeled on Henry Darger’s obsessive narrative universe and specifically on the impossible scale of \u003cem\u003eThe Story of the Vivian Girls, in What Is Known as the Realms of the Unreal…\u003c\/em\u003e Rather than attempting narrative coherence or epic completion, \u003cem\u003eNothing’s Wrong\u003c\/em\u003e adopts a similar logic of accumulation and continuous expansion. The pages read less like a finished sequence and more like entries from an ongoing private mythology. The object behaves as a small archive of interruptions.\u003c\/p\u003e\u003cp\u003eLooking back, the publication sits close to artist journals, outsider-book traditions, mail-art sensibilities, and early appropriation-based artist books, but also anticipates later Academy of Realness concerns: pseudonymous structures, found material, unstable authorship, and image circulation as a system of composition.\u003c\/p\u003e\u003cp\u003eThe title itself operates almost as a contradiction. Across the pages bodies bend, language fractures, and meanings slide away from one another, while \u003cem\u003eNothing’s Wrong\u003c\/em\u003e insists on its own refusal.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOriginal unique artist book. Studio object \/ retained working document.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Rafael Melendez","offers":[{"title":"Default Title","offer_id":53516791316818,"sku":"RM-NW-2008","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Nothing_s_Wrong_2008_001.jpg?v=1779348178"},{"product_id":"david-hammons-invitation-postcard-lm-arts-new-york-2011","title":"David Hammons — Exhibition Invitation Card, L\u0026M Arts, New York, 2011","description":"\u003cp\u003eExhibition invitation postcard\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; black-and-white typography to recto and verso\u003cbr\u003ePublished by L\u0026amp;M Arts, New York\u003cbr\u003eExhibition dates: January 26 – February 26, 2011\u003cbr\u003eCondition: very good; light handling wear and faint surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition by David Hammons at L\u0026amp;M Arts, New York. The invitation reduces itself almost completely to a name. White letters against black ground; date and venue on the reverse. No image, no explanatory text, no secondary information. The design follows a familiar Hammons strategy: withholding rather than announcing.\u003c\/p\u003e\u003cp\u003eThe exhibition itself marked Hammons's first presentation of new work since his earlier 2007 project at L\u0026amp;M and centred on large paintings and mixed-media works that partially concealed their own images beneath tarps, blankets, and weathered coverings. Beneath these surfaces viewers encountered fragments of abstraction — painting simultaneously revealed and denied. Critics frequently described the exhibition as operating between seduction and obstruction: beauty present but deliberately interrupted.\u003c\/p\u003e\u003cp\u003eThe works pushed forward concerns already active throughout Hammons's practice. Since the body prints of the late 1960s, snowball sales, found objects, bottle caps, hair pieces, basketball imagery, and street interventions, Hammons repeatedly positioned meaning at the edges of visibility. In these 2011 works, concealment itself became material. A painting remained present physically while refusing complete access.\u003c\/p\u003e\u003cp\u003eAs an object, the invitation behaves similarly. It withholds almost everything except a name. Read through a New Rare register, the card functions less as documentation than as a compressed proposition: the artist's name acting as image, announcement, and object simultaneously.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53547844141394,"sku":"HAMMONS-LM-INV-2011","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hammons_David._L_M_Arts_invitation_postcard._2011_front.jpg?v=1779596810"},{"product_id":"sherrie-levine-directions-hirshhorn-museum-washington-1988","title":"Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988","description":"\u003cp\u003eOriginal folded exhibition brochure \/ catalogue\u003cbr\u003eApprox. folded: 22.8 × 22.8 cm\u003cbr\u003eOffset print on cream stock with fold-out interior panels\u003cbr\u003ePublished by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution\u003cbr\u003eExhibition dates: 9 March – 30 May 1988\u003cbr\u003eCondition: good to very good; light toning, handling wear, minor corner softening and age-related surface marks\u003c\/p\u003e\u003cp\u003eIssued for Sherrie Levine’s 1988 \u003cem\u003eDirections\u003c\/em\u003e exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., later travelling to the High Museum of Art in Atlanta as part of \u003cem\u003eArt at the Edge\u003c\/em\u003e. The publication includes essays by Phyllis Rosenzweig and Susan Krane alongside a checklist, bibliography, exhibition history, and reproductions of works from Levine’s then-recent \u003cem\u003eLead Checks\u003c\/em\u003e and \u003cem\u003eGolden Knots\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe brochure marks a distinct moment in Levine’s practice. During the early 1980s her name became closely associated with re-photographed images and acts of appropriation, but by the late 1980s those strategies had migrated toward painting and material itself. The reproduced \u003cem\u003eLead Checks\u003c\/em\u003e works borrow the language of modernist geometry while removing its rhetoric of originality. The \u003cem\u003eGolden Knots\u003c\/em\u003e paintings similarly elevate accidental defects in commercially available plywood into subjects of attention.\u003c\/p\u003e\u003cp\u003eThe publication records a transition rather than a conclusion. Photography becomes painting, repetition becomes material, and citation becomes object. It also captures a moment when Neo-Geo and post-appropriation discourse were actively reorganising assumptions around authorship and artistic authority.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the brochure functions as a retained institutional support object — part checklist, part exhibition document, part evidence of a critical shift in Levine’s work becoming publicly fixed in print.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53549909442898,"sku":"LEVINE-HIRSH-BROCH-1988","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Directions_show_invite._1988_front.jpg?v=1779601140"}],"url":"https:\/\/thenewrare.com\/collections\/100-plus.oembed?page=2","provider":"The New Rare","version":"1.0","type":"link"}