£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

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

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  • Olivier Mosset Red exhibition invitation with black text on a white background Olivier Mosset white background from a 1969 exhibition invitation

    Olivier Mosset — Galerie Rive Droite, Paris, 1969

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    Olivier Mosset — Galerie Rive Droite, Paris, 1969

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  • Original 2011 In Deed: Certificates of Authenticity in Art catalogue, ed. Hapgood & Lauf. Salmon-pink cover with title in bold black serif type left, artist list right. Spine repeating 'deed' in red. Interior page from In Deed, 2011. Carey Young, Donorcard, 2005, offset on card stock, signed. Blue credit-card with red heart; reverse shows legal certificate text, signed and dated 16/11/2005.

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

  • Mike Kelley Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (with Sonic Youth) / The Peristaltic Airwaves (2012) double CD in sealed jewel case. Purple-toned cover image featuring cave-like formations with white typography. Published by Compound Annex Records. Reverse of sealed Mike Kelley double CD showing track information, recording credits, performance details, and a black-and-white photograph of Kelley. Includes references to Sonic Youth, Artists Space, New York, and KPFK Radio, Los Angeles.

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

  • Stack of art theory books spine-out including Roland Barthes Camera Lucida, Mythologies, Image Music Text, Walter Benjamin Illuminations, Jean Baudrillard America, Douglas Crimp On the Museum's Ruins, and Mark Dion Natural History and Other Fictions. Second stack including Art After Modernism, Harrison & Wood Art in Theory 1900–1990, Lucy Lippard Six Years The Dematerialization of the Art Object, Beyond Recognition by Owens, and Modernism in Dispute.

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

  • Félix González-Torres exhibition catalogue with a dark green abstract cover image resembling a cosmic field or atmospheric surface. Soft-focus light effects and deep green tonal variations create a minimal, contemplative appearance. Open spread from the Félix González-Torres exhibition catalogue showing a text essay opposite a minimalist grid drawing with a diagonal line. Small black-and-white image reproduced within the essay.

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

  • Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges. Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges.

    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

  • Original 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover with a close-up black-and-white photograph of a curved shadow cast across a pale textured surface, suggesting a body or sculptural form. 'INSIGHTS' in spaced white serif capitals at upper centre, 'LAURA CARPENTER' in smaller spaced white serif type at lower centre. Light surface wear and minor corner softening consistent with period. Reverse of 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover back showing a close-up colour photograph of two adjacent fabric surfaces — a warm yellow draped textile on the left and a cool grey-blue fabric on the right — meeting at a diagonal fold, no text, no imprint. Light surface wear and age toning consistent with period.

    Laura Carpenter / Philippe Thomas — Insights

    Laura Carpenter / Philippe Thomas — Insights

  • Original 1973 William S. Burroughs White Subway, Aloes Books, London, first edition. Photo-illustrated softcover showing a collaged black-and-white street photograph: a building facade with a partially visible sign reading 'ATORS' at upper left, a bare winter tree at centre, and a figure walking on the pavement below, with 'WHITE SUBWAY' and 'william burroughs' in white type overlaid on the image. Reverse of 1973 William S. Burroughs White Subway, Aloes Books. Plain unprinted card back cover showing age toning, foxing, and handling marks consistent with a small-press publication of the period.

    William S. Burroughs — White Subway — Aloes Books, London, 1973

    William S. Burroughs — White Subway — Aloes Books, London, 1973

  • Original 1979 AA Bronson and Peggy Gale, eds., Performance by Artists, Art Metropole, Toronto. Softcover with white ground and bold black title typography, 'Performance by Artists' in large sans-serif type, editors' names below, Art Metropole imprint at foot. Interior page from 1979 Performance by Artists, Art Metropole. Black-and-white photograph of Ulay and Marina Abramovic in a durational performance, two nude figures facing each other with a clothed photographer between them in a narrow doorway.

    AA Bronson & Peggy Gale, eds. — Performance by Artists

    AA Bronson & Peggy Gale, eds. — Performance by Artists

  • Original 1970 Larry Bell, Robert Irwin, Doug Wheeler exhibition catalogue, Tate Gallery, London, 5–31 May 1970. Plain pale yellow square-format cover, unprinted, with visible age toning and light surface wear consistent with period exhibition material. Interior spread from 1970 Larry Bell, Robert Irwin, Doug Wheeler, Tate Gallery. Four black-and-white film stills showing blurred motion of a vehicle or object in a darkened space, printed across a double-page spread.

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

  • Original 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec paperback, TVRT Press and Printed Matter, New York. Front cover with black-and-white photographic image of two pairs of legs, one in stockings raised in the air, the other bare and low. Title in lowercase serif type: all she wants is love... Publisher imprints PM and TVRT Press at foot with ISBN 0-931106-21-4. Original price $4.50 at top left. Covers with age toning and surface wear. Reverse of 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec, TVRT Press and Printed Matter. Back cover with black-and-white photographic image of intertwined bare limbs and hands. Title and author credit in white serif type at lower centre: The Adult Life of Toulouse Lautrec / By Henri Toulouse Lautrec. Age toning and surface scuffing to covers.

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

  • Original 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series, New York. Front cover in vivid pink with repeating text pattern in lighter pink forming the background, overlaid with bold black title lettering and author name. Printed wrappers in good condition with minor shelf wear. Reverse of 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series. Back cover in magenta-pink showing a halftone portrait photograph of Acker and the text: This writing is all fake (copied from other writing) so you should go away and not read any of it. ISBN and series imprint at foot.

    Kathy Acker — Hannibal Lecter, My Father (1991)

    Kathy Acker — Hannibal Lecter, My Father (1991)

  • Original 1982 Kathy Acker Great Expectations paperback, Open Book Publications, San Francisco. Front cover with title in bold serif type above a black-and-white woodcut illustration of a hunched long-haired figure leaning over a bed with a cane. Printed wrappers with toning and wear to spine. Interior spread of 1982 Kathy Acker Great Expectations, Open Book Publications. Left page shows black-and-white woodcut of a hunched figure at a desk. Right page opens Chapter 1 titled Plagiarism, subsection I Recall My Childhood, with Dickens-derived opening paragraph. Page 5.

    Kathy Acker — Great Expectations (1982)

    Kathy Acker — Great Expectations (1982)

  • Front cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: saturated composite of fragmented urban photography, abstracted figures, and colour fields in yellow, green, orange, and blue; Kathy Acker in black diagonal type at lower left; ALGERIA in large bold black capitals; DTV logo at upper right; cover design functioning as graphic assault and media noise. Back cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: dense field of small human figures rendered in warm amber, orange, and white tones against a glowing ground, figures repeated across the surface in a pattern suggesting mass, heat, and dissolution; TTC 69 F / ISBN 2-86219-035-7 printed vertically at left; compact livre logo in black square at lower right.

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

  • Original 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — recto printed entirely in red on textured cream handmade-style paper; horizontal format; REBUS galleria d'arte contemporanea in mixed serif and sans-serif type at top; VENERDÌ 16 DICEMBRE 1977 – ORE 21,30; Mostra personale di in italic; BERNARD AUBERTIN in large spaced capitals; SARÀ PRESENTE L'ARTISTA · CATALOGO IN GALLERIA; address 50129 FIRENZE – Via della Fortezza, 9/r – Telef. 496.701 at foot. Reverse of 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — verso showing plain unprinted textured cream paper stock with light age toning, minor corner wear, and handling marks consistent with period circulation and storage.

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

  • Original 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — cover reproducing a Bellmer line drawing of a female figure tightly bound and folded, contour lines describing compressed flesh and limbs in a crouching posture; HANS BELLMER in spaced serif capitals below; SVENSK-FRANSKA / KONSTGALLERIET in two lines at foot. Inside spread of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — left panel with Swedish biographical text on Hans Bellmer (born Katowice, Poland, 1902), noting his connections to Grosz, Heartfield, Schwitters, Éluard, Tanguy, and La Poupée, and references to Galerie Gmurzynska, Köln; right panel headed Teckningar listing 20 drawings dated 1942–1966 including Hommage à Antonine Artaud (1942), Revel II Juillet (1946), Komposition, Vorzeichnung zu Madame Ewarda, Danseurs, De

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

  • Original 1971 Hans Bellmer exhibition invitation card, Centre national d'art contemporain (CNAC), Paris — recto printed in white and black on pink-to-cream gradient card stock; CNAC in large white serif type at top; text reading le centre national d'art contemporain 11 rue berryer paris 8 / présente / du 30 novembre 1971 au 17 janvier 1972 / bellmer in large bold black type / ouvert tous les jours sauf le mardi de 12 h à 19 h entrée 3 f / vernissage le mardi 30 novembre 1971 de 18 h à 20 h. Reverse of 1971 Hans Bellmer CNAC exhibition invitation card, Centre national d'art contemporain, Paris — verso showing plain unprinted cream card stock with light age toning and minor surface marks consistent with period paper ephemera.

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

  • Original 1983 Hans Bellmer exhibition invitation, Galerie François Petit, Paris — recto reproducing a black-and-white photograph of a doll's face partially obscured by a large hand pressing across the eyes and forehead, a cross-shaped object visible at left margin; from the series of doll photographs for which Bellmer is known. Reverse of 1983 Hans Bellmer 67 photographies inédites exhibition invitation, Galerie François Petit, Paris — verso printed in elegant cursive script typography with artist name Hans Bellmer, exhibition title 67 photographies inédites, dates 20 décembre 1983 au 25 février 1984, gallery name Galerie François Petit, address 196 boulevard Saint-Germain 75007 Paris, telephone 544.64.83.

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

  • Original 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — recto reproducing Bellmer's Les mains immobiles, 1971: dark-ground photographic image of a bronze sculpture showing a crouching figure with multiple articulated mechanical arms and hands, cast by Ateliers Godard in an edition of 21, height 28 cm. Surface rubbing and scuffing consistent with postal handling. Reverse of 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — verso showing bilingual printed artwork caption in French and English identifying Les mains immobiles / The still hand, 1971, bronze, Ateliers Godard, éditions Georges Visat; handwritten New Year greeting in French from La Galerie Suzanne Visat addressed to Monsieur François Lullerat, 95 Bd St Michel, Paris 5e; Paris cancellation stamp dated 10 January 1972 with 0.50 franc postage; copyright notice Hans Bellmer 1971 lower left; p

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

  • Original 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — recto reproducing Artaud's Portrait de Jany de Ruy, 2 July 1947: portrait head in graphite and greasy coloured chalk with blue wash, surrounded by dense handwritten text in French, signed and dated antonin artaud / 2 juillet 1947 at lower centre. Reverse of 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — verso showing formal inauguration invitation text from Jean Maheu, Président du Centre National d'Art et de Culture Georges Pompidou, and Bernard Ceysson, Directeur du Musée National d'Art Moderne; exhibition dates 30 June–11 October 1987, Salle d'Art Graphique 4e étage; large typeset ANTONIN ARTAUD / DESSINS; Centre Georges Pompidou logo lower left; invitation valable pour deux personnes.

    Antonin Artaud — Dessins, Centre Georges Pompidou, Paris, 1987

    Antonin Artaud — Dessins, Centre Georges Pompidou, Paris, 1987

  • Original 1990 Collages Surréalistes exhibition invitation, Galerie Zabriskie, Paris — cover reproducing Georges Hugnet, Le Sphinx du Moulin Vert, 1934: aerial black-and-white photograph of Paris with radiating boulevards, a single realistic eye with lashes montaged at centre. Original 1990 Collages Surréalistes vernissage insert, Galerie Zabriskie, Paris — recto printed in brown on cream stock with ZABRISKIE in vertical type at left margin; invitation text from Virginia Zabriskie for cocktail reception Tuesday 27 March 1990, 18h30, 37 rue Quincampoix, entry code 2457, 1er étage gauche.

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

    Collages Surréalistes — Exhibition Invitation, Galerie Zabriskie, Paris, 1990

  • Original 1974 Anthea Alley exhibition card, Annely Juda Fine Art, London — recto showing black-and-white photographic portrait of the artist standing beside welded metal sculpture in a studio or exhibition space. Photograph by Jorge Lewinski. Reverse of 1974 Anthea Alley exhibition card, Annely Juda Fine Art, showing printed text with exhibition title, dates 25 January–16 February 1974, gallery address 11 Tottenham Mews London W1P 9PJ, opening hours, biographical note, and one-man and group exhibition history including Arnolfini, Hamilton Galleries, and Bradford City Art Gallery.

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

  • Original 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, front cover showing artist name ANDRE STAS in serif type above a black-and-white collage of a ballerina figure standing atop a geological cross-section diagram with circular holes, offset printed on cream laid paper. Interior spread of 1975 André Stas exhibition brochure, Galerie La Marée, Brussels, showing mock-biographical chronology by Michel Thyrion on left — listing dates from 1949 to 1975 including glue, elections, and clandestinity — and essay text Orage Forêt ou Le jeune Laboureur by Tom Gutt on right, with two collage reproductions including a suitcase labelled Je suis l'idéal rêve and an amphitheatre scene.

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

    André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975

  • Hans Bellmer Dessins, œuvre gravée exhibition announcement Galerie 3+2 Paris 1971–72 Hans Bellmer surreal anatomical drawing inside Galerie 3+2 exhibition invitation folder Paris 1971–72 Original folded exhibition invitation / announcement folder Offset print in brown ink on graph-paper patterned stock Approx. dimensions: c. 21 × 10 cm folded (unfolds larger) Galerie 3+2, 5 rue Visconti, Paris 6e Exhibition dates: 10 December 1971 – 10 January 1972 Condition: Very good; light age toning, minor handling wear and soft edge wear consistent with period paper ephemera

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

  • Original 1970 Étienne Sandorfi exhibition invitation featuring a black-and-white image of a fragmented doll-like head with wires and mechanical elements in a surreal psychological composition. Original 1970 Étienne Sandorfi exhibition invitation for Galerie 3+3 in Paris featuring exhibition dates, opening information, and French descriptive text printed in black on folded cream card stock.

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

  • Original 1973 Yvonne Rainer and John Erdman performance postcard showing a black-and-white photograph of Yvonne Rainer performing *Trio A*, balancing with one leg raised on a stage. Reverse of original 1973 Portland Center for the Visual Arts announcement card with exhibition text for Yvonne Rainer and John Erdman’s *This is the story of a woman who . . .* and Portland venue details.

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

  • Yoko Ono *Dollar Piece* Printed Matter membership sheet from 2006 featuring a conceptual instruction text, reproduced signature, Studio One letterhead, and an illustration of the Dakota building at the bottom. Front of original Yoko Ono Studio One envelope distributed with the *Dollar Piece* Printed Matter membership multiple, showing return address information and light handling wear.

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

  • Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011 Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

  • Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates. Interior fold-out essay spread from the Sherrie Levine *Directions* brochure with curatorial texts by Phyllis Rosenzweig and Susan Krane, reproductions of Levine works, and multiple columns of exhibition writing printed on cream paper.

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

  • David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Recto: white sans-serif text reading DAVID HAMMONS on solid black ground. David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Verso: exhibition dates January 26 – February 26, 2011, and L&M Arts gallery address, 45 East 78 Street, New York, printed in black on white card

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

  • Exterior view showing heavily worked covers and spine; blue tape, polka-dot paper patches, and layered collage elements visible across front and back boards; accumulated material thickness visible at spine edge; object shows significant handling consistent with production and use Unique artist book open to interior spread; left page shows ink drawings of conjoined figures, heart motif with 'Nothing Is Nothing' text, and collaged photographs; right page shows ink-drawn figures including a woman with 'Is Fleeing' text and a turtle-like form; fan stamps throughout; layered found paper and tape

    Rafael Melendez — Nothing’s Wrong

    Rafael Melendez — Nothing’s Wrong

  • Already applied to the listing: > Rafael Melendez, *Born to Die*, 2016 — unique artist's book open to interior spread; left page shows circular form on dark denim-textured ground with 'Rafael Melendez ©2016' credit; right page shows black-and-white portrait of Kurt Cobain with blue text 'Money Changes Everything'; dos-à-dos binding visible at spine

    Rafael Melendez — Born to Die

    Rafael Melendez — Born to Die

  • Paul Klee, exhibition invitation card recto. Musée National d'Art Moderne, Paris, 1969. Cream card. Black line drawing printed on cream ground: a horizontal landscape composition combining industrial, architectural, and fantastical elements. At left, a squat brick chimney stack emits three rounded tree-like forms. Centre: scattered figures, flags, a crescent moon shape, and horizontal elements suggesting a ground plane. At right, a large triangular form — part tent, part tower — rises steeply, with a spiral Paul Klee, exhibition invitation card verso. Musée National d'Art Moderne, Paris, 1969. Plain cream card, no text or image. Faint embossed or impressed text visible along the top edge, partially legible, consistent with a printed address or gallery name pressed through from the interior. Light age toning, minor surface marks, and faint handling wear.

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964