£100+

Works from the archive priced at £100 and above.

  • Recto (front): A. François Petit, Paris, December 1965. Recto: printed script invitation on pale green card stock. Text reads: "A. François Petit a l'honneur de vous inviter à l'Exposition d'œuvres choisies de" followed by the names Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen. At foot: Décembre 1965, 122 bd Haussmann, Paris 8e. Verso (back): A. François Petit, Paris, December 1965. Verso: plain pale green card stock, unprinted, with light age toning and minor surface wear consistent with handling.

    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

    Placed

    A. François Petit, Paris — Surrealist Group Exhibition Invitation, December 1965

    Placed
  • Original 1969 Olivier Mosset exhibition invitation, Galerie Rive Droite, Paris. Recto showing offset-printed red card stock with black sans-serif type stating artist name, venue, address (3 rue de Duras, Paris 8e), exhibition dates 5–25 December 1969, and vernissage time 18h30. No image. Approx. 10.5 × 13.5 cm. Reverse of 1969 Olivier Mosset exhibition invitation, Galerie Rive Droite, Paris. Verso showing plain red card stock, unprinted, with light surface wear and handling marks consistent with age.

    OLIVIER MOSSET — Galerie Rive Droite, Paris, 1969

    Placed

    OLIVIER MOSSET — Galerie Rive Droite, Paris, 1969

    Placed
  • Buñuel film still, yellow-black offset print, Cela s'appelle l'aurore, Centre Pompidou invitation recto ¡Todo Buñuel! inauguration programme, Centre Pompidou, Instituto Cervantes, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

  • Small Sculptures in Bronze, Metropolitan Museum of Art, New York, 1950. Printed paper wrappers, front cover. Interior spread, pages 28–29. Renaissance bronzes including Venus figures by Bologna and Sansovino.

    SMALL SCULPTURES IN BRONZE — Metropolitan Museum of Art, New York, 1950

    SMALL SCULPTURES IN BRONZE — Metropolitan Museum of Art, New York, 1950

  • Constructed Image, Constructed Object — The Alternative Museum, New York — 1984 Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

    Constructed Image, Constructed Object — The Alternative Museum, New York — 1984

  • Front cover Max Ernst, 1959. Black cover: silver mask sculpture centre, red handwritten 'max ernst' lower right. Rubbing and corner wear. Interior — Êtes-vous Ninié? spread Max Ernst, 1959. Interior: Pl. X, Êtes-vous Ninié?, 1956, Cat. 109 — black-and-white plate of metal sculpture (left).

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

  • Rauschenberg, Cardbirds, 1971. Corrugated cardboard cover with red stamp, stock number 33-6009, signed in green ink Cardbirds production photograph by Malcolm Lubliner. Rauschenberg holds fanned cardboard panels in Gemini workshop.

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

  • Interior spread — Guillaume Paris Fiasco, 1992. Interior spread: Guillaume Paris, Sans titre, 1988. Checkerboard plexiglas grid with milk carton and bell. Interior spread — Mike Kelley Fiasco, 1992. Interior spread: Mike Kelley, Duck, Goose, 1990. Two stuffed animals arranged on floor, one bent over other.

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

  • Front cover Artist book, Richard Hell / Josh Smith, Disgusting, 38th Street Publishers, New York, 2010. Front cover: heavy card cut from a promotional poster for the DVD reissue of Blank Generation (dir. Ulli Lommel, 1980). Orange ground with large bold black and white type reading: FEATURING LIVE P[ERFORMANCE] / RICHARD HELL[S]. Right edge carries vertical film credits in small type: directed by Ulli Lommel; starring Carole Bouquet, Richard He[ll]; produced by Roger Deutsch, Olli Lommel; cinematography by Endpapers Artist book, Richard Hell / Josh Smith, Disgusting, 38th Street Publishers, New York, 2010. Interior spread showing hand-painted endpapers by Josh Smith. Double-page spread of warm brown and white abstract impressions — branching, striated forms resembling wood grain or topographic contours — painted directly onto the paper. Left page lighter and more diffuse; right page denser and darker in tone. Original painting unique to this copy; not a reproduction.

    Richard Hell / Josh Smith — Disgusting — 2010

    Richard Hell / Josh Smith — Disgusting — 2010

  • Exhibition poster, Lawrence Weiner, Twenty Works, Anthony d'Offay Gallery, London, 1980. Offset-printed announcement listing all twenty work titles in a two-column grid. White paper with blue ruled border; light horizontal fold visible. Text includes gallery address: 23 Dering Street, New Bond Street, London W1; exhibition dates 22 October – 19 November 1980; private view Tuesday 21 October 5–7.

    LAWRENCE WEINER — Twenty Works — Anthony d'Offay, London, 1980

    LAWRENCE WEINER — Twenty Works — Anthony d'Offay, London, 1980

  • Magazine, Women's Art Magazine, No. 61, Women's Art Library, London, November/December 1994. Staple-bound magazine with dark green cover featuring a close-up blurred photograph of a woman's face, mouth open. Text reads: Women's Art Magazine, A Women's Art Library Publication, No61 November/December 1994, £2.50/$10. Cover line: Linda Nochlin: Confessions of a Feminist Thinker. Magazine, Women's Art Magazine, No. 59, Women's Art Library, London, 1994. Special Photography Issue. Staple-bound magazine with gold-toned cover featuring a photograph of a woman in costume reclining — Cindy Sherman. Text reads: Women's Art Magazine, A Women's Art Library Publication, No59 1994, £3.00/£15. Banner top and bottom: Photography Issue Special Photography Issue Special Photography. Cover text: Cindy Raids the Wardrobe.

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

  • Recto Walter Mehring, Mais où sont les neiges Dada…, 1966. Association pour l'étude du mouvement Dada, Goethe-Institut, Paris. Invitation recto: cream card; centred typographic text in mixed serif and small-caps — 'L'ASSOCIATION POUR L'ETUDE DU MOUVEMENT DADA / VOUS PRIE DE BIEN VOULOIR ASSISTER A LA CONFÉRENCE / de WALTER MEHRING / MAIS OU SONT LES NEIGES DADA . . . . / LE MARDI 25 OCTOBRE 1966, A 21 HEURES / DANS LES SALONS DU GOETHE INSTITUT / 17, AVENUE D'INÉA, PARIS (XVIᵉ)'; light age toning. Verso Walter Mehring, Mais où sont les neiges Dada…, 1966. Invitation verso: plain cream card stock, unprinted; light age toning and faint surface marks.

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

  • Recto Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard recto: colour photograph of a school class portrait — Public School 125, Manhattan, 1967, Class K2-567; approximately forty children in four rows with two adult teachers at either side; large American flag on the wall behind; children in formal dress; black placard in the foreground reading 'PUBLIC SCHOOL 125 / MANHATTAN / 1967 / CLASS K2-567'. Warm 1960s colour cast. Verso Zoe Leonard, My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14. Postcard verso: white stock; 'ZOE LEONARD / Born 1961, Liberty, NY / Lives and works in Brooklyn, NY' in small sans-serif upper left; 'My Kindergarten Class Photo, 2013' in italic below; vertical text — 'SMHart productions • Harlem Postcards • Fall/Winter 2013–14'; three address lines and stamp box; museum address at foot — 'The Studio Museum in Harlem 144 West 125th Street New York, NY 1002

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

    ZOE LEONARD — My Kindergarten Class Photo, 2013. Studio Museum in Harlem, Harlem Postcards: Fall/Winter 2013–14

  • Recto Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card recto: colour reproduction of a painting — a half-skeleton, half-portrait figure in a dark suit against a blue and white gestural ground, holding a bone staff with a dark heart-shaped form; small fish held in the other hand; large orange sphere upper right; yellow banner across top — 'MARTIN / DAS 2. SEIN / KIPPENBERGER' in black and white bold; 'INHALT AUF / REISEN' in yellow lower right; Verso Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card verso: vivid yellow ground; 'Vortragsreihe' in blue sans-serif at top; 'MARTIN KIPPENBERGER' in large black bold caps; 'DAS 2. SEIN' in white bold; venue note — 'Die Vorträge finden im Veranstaltungsraum des Museums für Neue Kunst | ZKM Karlsruhe im 3. OG statt. Beginn: 18.30 Uhr'; six lectures listed — 20.2 Veit Loers, 6.3 Wolfgang Brauneis, 20.3 Ralph Melcher, 2.4 Diedrich Diederichsen, 1

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

  • MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981 MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

  • Recto Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation recto: cream card; formal text in dark green serif type — 'Monsieur Eugène CLAUDIUS PETIT, Président de l'Union Centrale des Arts Décoratifs vous prie de lui faire l'honneur d'assister à l'inauguration de l'exposition'; 'LUCIEN CLERGUE / photographies / 1954–1961' in large bold green type at centre; minister's name below; venue — 'Musée des Arts Décoratifs / Palais du Louvre, Pavillon de Marsan / 107, Rue de Ri Verso Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation verso: plain cream card; blind-embossed motif at centre, visible as a faint impressed relief without ink. Light age toning, minor surface impressions.

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

  • Cover Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation cover: cream paper; reproduced drawing in grey-green ink — swirling curvilinear forms suggesting clouds or cosmic energy; small female face with closed eyes at centre left, partially obscured by flowing forms; artist's signature lower right. Age toning, edge wear. Interior spread Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation interior, unfolded, 31.5 × 12 cm: left panel, exhibition details in black serif — 'GALERIE DEVAMBEZ / 43, Boulevard Malesherbes', 'Exposition des Œuvres de / MAURICE CHABAS / 1° Les Grandes Visions / 2° La Poésie dans la Nature / DU 1er AU 17 FÉVRIER 1922', hours, vernissage date, 'Carte valable pour le Vernissage et la durée de l'Exposition' in italic; centre and right panels, 'LES GRANDES VISIONS' heading in lar

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

  • Verso Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation verso: white card; pale grey text — 'Roberto et Maggy Altmann seraient heureux de vous recevoir au 55 quai de Valmy 75010 Paris les 24 et 25 Novembre 1973, de 18 à 22 heures'; exhibition title in orange sans-serif — 'Estampes et livres illustrés des Éditions Brunidor'; two-column roster in pale grey — left: 'Butor', 'Laude'; right: 'Bryen', 'Domela', 'Hélion', 'Hérold', 'Masson'; 'invitation personnelle de la part de' in small it Recto Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation recto: plain white card stock, entirely unprinted. Light age toning.

    BUTOR, LAUDE, BRYEN, DOMELA, HÉLION, HÉROLD, MASSON — Estampes et livres illustrés des Éditions Brunidor. Paris, 1973

    BUTOR, LAUDE, BRYEN, DOMELA, HÉLION, HÉROLD, MASSON — Estampes et livres illustrés des Éditions Brunidor. Paris, 1973

  • Recto Roger Brown, Galerie Darthea Speyer, Paris, 1974. Invitation recto: teal-green ground; 'Roger Brown' in white serif type above a monochrome reproduction of a patterned landscape — undulating rows of rounded forms, small isolated figure at centre right; exhibition dates, vernissage details, gallery name and address in small white sans-serif below. Diagonal creasing at upper corners. Verso Roger Brown, Galerie Darthea Speyer, Paris, 1974. Invitation verso: plain cream-white card, entirely unprinted. Diagonal creasing at upper corners, light age toning.

    ROGER BROWN — Roger Brown. Galerie Darthea Speyer, Paris, 1974

    ROGER BROWN — Roger Brown. Galerie Darthea Speyer, Paris, 1974

  • Recto — George Segal photograph Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation recto: colour photograph by George Segal — a figure in silhouette stands on a ladder or platform working across an illuminated theatre marquee at night, partially obscuring large black letters on a white backlit sign reading fragments "I EY POIT", "P…RUE", "PHI", "ORD E"; rows of amber and gold bulbs border the sign above and below; dark sky above. 14 × 9 cm. Verso — artist roster Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation verso: cream-white card; "PHOTONOTATIONS" in large bold black sans-serif type upper left; "PHOTOGRAPHS BY" in smaller bold black sans-serif type below; artist roster in regular black sans-serif type — "Arman, Bochner, Juszczyk, / LeWitt, R.Mangold, / S.Mangold, Pindell, Pozzi, / Rockburne, Sanderson, / Segal, Smithson, / Wesselmann, Zuyderland, / and others."; "MAY 4–28" in bold below; "ROSA ESMAN GALLERY / 29 WE

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

  • Recto — photograph Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard recto: monochrome photograph within a Polaroid-like white border — close-up of a young woman's face tilted sideways against a dark background, hair loose and wind-blown, a small clothes peg held between her lips, hoop earring visible, braided hair at left; high-contrast black-and-white printing. 10.5 × 15 cm. postcard back Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard verso: white postcard stock; upper left, small black serif text — "Nobuyoshi Araki / ohne Titel, 1995"; stamp box upper right with Kunstmuseum Wolfsburg whale emblem and exhibition dates "vom 25.11.1995 / bis 18.2.1996"; vertical black serif text along right edge — "GEBR. KÖNIG POSTKARTEN-VERLAG · BREITE STR. 93 · D-50667 KÖLN · PRINTED IN GERMANY"; lower left, "Serie 255 · Tokyo Novelle / Karte 1 v

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

  • title and author Laura Carpenter, Philippe Thomas, Insights, Galerie Claire Burrus, Paris, 1990. Exhibition invitation recto: cream card with pale warm-toned photographic ground — soft, diffuse abstract forms in ivory and sand, suggesting fabric or folded paper, more concentrated at left and right edges; "INSIGHTS" in spaced blue serif capitals centre; "LAURA CARPENTER" in smaller spaced blue serif type below. No other text. 17.5 × 13 cm. Light sun bleaching and age toning. Verso — gallery and event details Laura Carpenter, Philippe Thomas, Insights, Galerie Claire Burrus, Paris, 1990. Exhibition invitation verso: cream card with pale warm-toned photographic ground; "LA GALERIE CLAIRE BURRUS" in spaced grey serif capitals upper centre; "vous invite à la présentation du livre de Laura Carpenter" in small grey serif type below; "INSIGHTS" in large spaced blue serif capitals centre; "le 10 mars 1990 à 15 h / exposition du 10 mars au 17 mars 1990" in small grey serif type below; "

    LAURA CARPENTER / PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]

    LAURA CARPENTER / PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]

  • Recto — translucent sheet over barcode card Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Recto, translucent outer sheet folded over barcode card: enlarged barcode in pale grey visible beneath translucent paper; overprinted in dark grey italic serif type — upper: "Nous vous invitons à une soirée le 30 septembre 1988, / 20 heures – 13, rue Simon Dereure, Paris 18."; lower: "R.S.V.P avant le 15 septembre. tél (1) 42.55.86.30."; barcode digits "SC 17001988" upper and "A 01 131286" lower visible thro Verso — translucent sheet, edition credit Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Verso, translucent outer sheet: plain pale cream-white translucent paper, almost entirely blank; small black italic serif text lower centre — "Tirage limité d'après un original de Jean Paul ALBINET / se composant des premières données de la cause à l'effet." Light age toning and faint fold marks visible. Numbered 9/75 in pencil (not visible on this side).

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

  • Front (artist list / Fine Rats logo) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation front, in clear plastic pouch: upper third, yellow ground with "fine rats / INTERNATIONAL / presents" in black italic and sans-serif type; lower two-thirds, white ground with artist list — "Bram Åångström, Francis Gomila / Zbigniew Karkowski, Colin Pearce / Mark Renn, Roman Signer / Ivan Smith, Barbara Van Loon / Maria Vedder" — and "UNDER SPAGHETTI JUNCTION" in spaced black capita Back (event details / aerial view) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation back, in clear plastic pouch: upper third, yellow ground with event details in black type — "UNDER SPAGHETTI JUNCTION / An international exposition of innovative visual art under the M6 motorway intersection in Birmingham, UK. / 3rd & 4th September 1993 / 9 pm to 12 midnight / ADMISSION FREE / Entrance at Electric Avenue / Follow AA signs / A-Z ref 4C 60 / TEL + 44(0) 21 565 0597"; l

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

  • Front — envelope with Crumb drawing Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Front of illustrated paper envelope inside clear protective sleeve: white paper with "ROBERT CRUMB POSTCARDS / A Set of 10 Different Cards by R. Crumb ($4.95 / $5.95 in Canada) / Published by FANTAGRAPHICS BOOKS 7563 Lake City Way NE Seattle, WA 98115 / Phone (206) 524-1967 Fax (206) 524-2104" in black type upper centre; large black-and-white Crumb drawing below — a squat, scowling male figure seated on a bench, Back — clear protective sleeve Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Reverse of clear protective sleeve enclosing the original envelope: translucent plastic with tape strips at corners and edges; blank white stock labels; handwritten "1990" notation on a small label lower right. Creasing and surface marks throughout.

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

  • William S. Burroughs: Painting, The October Gallery, London, 1992. Exhibition invitation front cover: solid black card with colour reproduction of Burroughs painting — red-orange totemic figure with rounded head, hollow eyes, wide ears and a circular void in the torso, standing on short forked legs against a black ground. Produced by Lococo · Mulder · New York City. Time Out London "Supported by" sticker lower left. Portrait format. William S. Burroughs, The Seven Deadly Sins, October Gallery / Lococo Mulder, 1991. Promotional handbill front: bright red card, landscape format, with "William S. Burroughs" in large black blackletter type upper centre and "The Seven Deadly Sins" in smaller black blackletter type lower centre. No other text. Deckled left edge visible.

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

  • Artist book, Kathy Acker, Hello, I’m Erica Jong, Contact II Publications, New York, 1982. First edition, [20] pp., stapled black wrappers, 17.9 × 21.5 cm. Front cover: dark grey-green ground, silver-grey serif type reading ‘HELLO, / I’M ERICA JONG’ centred upper half, ‘by kathy acker’ lower right in smaller italic. Good vintage condition with surface wear. Artist book interior spread, Kathy Acker, Hello, I’m Erica Jong, 1982. Left page: pink-red crayon drawing of skull and skeletal torso on white ground. Right page: serif text reading ‘Hello, I’m Erica Jong. / All of you liked my novel / Fear of Flying because in it you met / real people… My new novel How to Die Successfully / contains those same characters. And / it contains 2 new characters. You and / me. All of us are real. Goodbye.’

    Kathy Acker — Hello, I’m Erica Jong, Contact II Publications, New York, 1982

    Kathy Acker — Hello, I’m Erica Jong, Contact II Publications, New York, 1982

  • Exhibition poster, Lee Lozano, Drawings 1959–64, Karma, New York, 2021. Offset print, 45.5 × 61 cm. White ground; large bold black sans-serif type ‘LOZANO / 1959–64’ upper half; central reproduction of pencil drawing: torso of figure wearing chain necklace with large cross pendant, breasts visible, energetic hatched shading. Footer: ‘Lee Lozano Drawings 1959–64 July 12–August 13, 2021 Karma 22 E 2nd St, New York’. Good condition with handling wear.

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

  • Exhibition poster, International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall), A che punto sei? / Where Are You Standing?, Venice, 2026. Offset print on white paper. Header in blue: ‘A CHE PUNTO SEI?’. Italian text body describing three social paths through the Venice Biennale. Centre: labyrinthine map with letters A–Q and numbers 1–3 marking positions. Columns of Italian text below. Footer: ‘INTERNATIONAL LOCAL’ in bold. Good condition with handling wear.

    International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall) — A che punto sei? / Where Are You Standing?, Venice, 2026

    International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall) — A che punto sei? / Where Are You Standing?, Venice, 2026

  • Poster, Joseph Kosuth, Consciousness of Self, Imschoot Uitgevers / The Archives, Rotterdam, 1991. Screenprint, 100 × 60 cm, yellow and blue on black paper. Yellow italic script: ‘Consciousness of self is in itself and for itself… it is only by being recognized. Hegel, Phenomenology of Mind’. Blue institutional text below, nearly invisible on black ground. Lower left: ‘Poster: Joseph Kosuth’. Good vintage condition.

    Joseph Kosuth — Consciousness of Self, Imschoot / The Archives, Rotterdam, 1991

    Joseph Kosuth — Consciousness of Self, Imschoot / The Archives, Rotterdam, 1991

  • Exhibition poster, Wade Guyton, Natural Wine, Galerie Chantal Crousel, Paris, 2019. Offset print, A1, 59.4 × 84.1 cm. Grey-toned photograph of New York skyline with construction cranes and misty atmosphere; bold red sans-serif title ‘NATURAL WINE’ upper third; black text below: ‘WADE GUYTON CROUSEL PARIS 23. FÉVR. – 6. AVRIL 2019’. Very good condition with light fold lines.

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

  • Film poster, Henry Darger / Jessica Yu, In the Realms of the Unreal: The Mystery of Henry Darger, Wellspring Media, 2004. Offset print, 43 × 61 cm. Full-bleed Darger watercolour: young girl in white dress standing before large winged creatures in red, yellow and blue stripes. Handwritten text visible: ‘LED BLENGINS / E BOY KING’ and ‘ONE IS A TUSKORN THE OTHER’. Title in red and black below. Theatre listings at foot. Film poster verso, Henry Darger / Jessica Yu, In the Realms of the Unreal, 2004. Full press sheet: title ‘THE MYSTERY OF HENRY DARGER’ and ‘NOBODY KNEW THE ARTIST WELL-HIDDEN IN A ROOM’; Darger watercolour reproductions; stills of the Chicago room; director’s statement by Jessica Yu; production credits; American Folk Art Museum listings; US theatre schedule including New York, San Francisco, Los Angeles, Boston, Chicago, Washington D.C., Honolulu.

    Henry Darger / Jessica Yu — In the Realms of the Unreal: The Mystery of Henry Darger, 2004

    Henry Darger / Jessica Yu — In the Realms of the Unreal: The Mystery of Henry Darger, 2004

  • Exhibition poster, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. Offset print, 44 × 59 cm. Black crumpled vinyl surface printed with blue text listing 1988 box office titles in two columns: BIG, CROCODILE DUNDEE II, COMING TO AMERICA, BEETLEJUICE, MOONSTRUCK, DIE HARD, COCKTAIL, WHO FRAMED ROGER RABBIT, THREE MEN AND A BABY, GOOD MORNING VIETNAM. Very good condition, folded as issued. Exhibition poster reverse, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. White verso with red Sprüth Magers logotype and black exhibition details: ‘Gretchen Bender / Political Entertainment / November 14, 2025–April 4, 2026 / Public Reception: Thursday, November 13, 5–8 pm / Oranienburger Straße 18, 10178 Berlin’. Light fold lines visible.

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

  • Exhibition poster, Max Ernst, Sammlung de Menil, Kestner-Gesellschaft Hannover, 1970. Offset lithograph, 42 × 59 cm. White ground; header ‘Kestner-Gesellschaft Hannover’; central colour reproduction of dark forest painting with pale arc and ghostly figure; bold type ‘Max Ernst / Sammlung de Menil’; foot: ‘Warmbüchenstraße 16 · 3. Juli bis 30. August 1970’. Good vintage condition.

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

  • Exhibition catalogue, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Offset print on textured cream stock, 14.5 × 22 cm folded. Front cover: sepia photograph by Kate Simon of Burroughs seated on porch in Lawrence, Kansas, 14 September 1987, fedora, shotgun across lap. Text: ‘WILLIAM S. BURROUGHS / DECEMBER 19 THROUGH JANUARY 24, 1988 / TONY SHAFRAZI GALLERY / 163 MERCER STREET, NEW YORK, NY 10012 / 212 925-8732’. Exhibition catalogue unfolded, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Full spread, 73.5 × 22 cm: essay text columns, sepia reproductions of shotgun paintings including ‘No Buest Be White’ and ‘Untitled’, and formal works checklist at far right. Offset printed on cream textured stock.

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

  • Exhibition poster interior, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Interior spread printed in yellow on white: full list of works including Mondrian Chair, Einstein on the Beach Table, Kafka II, Mother: A Chair for Agnes Martin, Stalin Chairs, Madame Butterfly, Alice in Bed Chair, and others. Good vintage condition. Exhibition poster, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Printed paper, 29.5 × 40 cm unfolded, folded twice. Front cover: minimal white ground, grey text reading ‘A MOVE A/B / MOVE ABLE / A SEAT’ and ‘ROBERT WILSON’ in light grey. Good vintage condition with original folds and handling marks.

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002