£50–£100

Works from the archive priced between £50 and £100.

  • Matthew Peers – Wishing Wells, open spread showing blank left page with timestamp "16.08.2024 16:23" and full-bleed photograph of sculptural installation in studio interior on right page Matthew Peers – Wishing Wells publication , showing front cover and open clamshell box, title "2023.2025" printed in pixelated handheld-printer type

    Matthew Peers — Wishing Wells, 2023–2025

    Matthew Peers — Wishing Wells, 2023–2025

  • Dan Colen, The Sorcerer's Apprentice, gallery announcement card recto. The Greenberg Gallery, St. Louis, 2013. Colour reproduction of a painting: a dense arc of scattered pigment — white, lavender, blue, gold, and pink — curves across the upper portion of a deep black ground, suggesting a galaxy, firework burst, or spray of glitter. A dark reddish-brown mass occupies the lower centre, partially obscured by the arc. The image bleeds to the edges of the printed rectangle. Caption below in small sans-serif typ Dan Colen, The Sorcerer's Apprentice, gallery announcement card verso. The Greenberg Gallery, St. Louis, 2013. Cream card. Centred text in serif type. Header in large roman: 'Join Our Emailing List'. Body text: 'We want you to be apart of everything that is happening here at The Greenberg Gallery! If you are interested in becoming apart of our emailing list, please email or call us with your contact information. Sincerely, The Greenberg Gallery Team'. Horizontal rule below. Footer in spaced caps: 'THE GREEN

    Dan Colen — The Sorcerer’s Apprentice, The Greenberg Gallery, 2013

    Sold out

    Dan Colen — The Sorcerer’s Apprentice, The Greenberg Gallery, 2013

    Sold out
  • Kathy Acker — Pussycat Fever, AK Press, 1995. Front cover. Hot pink ground. Centre: illustration by Diane DiMassa of four figures — a punk girl in the foreground, two women behind, a figure in a pointed hat at rear. Purple ink throughout. Title "Pussycat Fever" in large purple block letters upper left. Author and illustrator credits right: "Kathy Acker / illustrated by / Diane DiMassa / and / Freddie Baer". Kathy Acker — Pussycat Fever, AK Press, 1995 — interior spread. Left page: full-page black-and-white illustration by Freddie Baer. A young girl in a dress surrounded by cats and large feline faces — leopard, tiger, domestic cats — rendered in dense Victorian collage style within an ornate floral border. Right page: text beginning "Before I—" in serif type with decorative border.

    Kathy Acker — Pussycat Fever, AK Press, 1995

    Sold out

    Kathy Acker — Pussycat Fever, AK Press, 1995

    Sold out
  • Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation recto: black-and-white photograph of a figure lying prone on a parquet floor before a set of white double doors, dark mark running down the paintwork above. Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation verso: printed artist biography and exhibition details, handwritten address to Jacques Donguy, Ossun, France, French postage stamp and postal markings.

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

    Sold out

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

    Sold out
  • 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

    Sold out

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

    Sold out
  • Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978 Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978

    Jenny Holzer — Private Property Created Crime — 1984

    Sold out

    Jenny Holzer — Private Property Created Crime — 1984

    Sold out
  • Original 2005 Yves Klein auction catalogue, Pierre Bergé & Associés, Drouot Richelieu, Paris. Front cover showing a colour photograph of La Vénus d'Alexandrie, a headless female torso sculpture coated in International Klein Blue (IKB), against a white ground. Title text in red and black: 'Vente Art Moderne / Art Contemporain / Quelques Klein... / de la collection Jean-Paul Ledeur / Le gardien du bleu'. Pierre Bergé & Associés imprint upper centre with associate names. Drouot Richelieu, Paris. Vendredi 25 no Open spread from 2005 Yves Klein / Jean-Paul Ledeur collection auction catalogue, Pierre Bergé & Associés. Left page: full-page black-and-white photograph of Yves Klein seated on the floor in a dark suit, holding a monochrome painting above his head and gazing up at it. Page number 4 lower left, with handwritten inscription 'W. Maywald' lower right. Right page: colour photograph of Jean-Paul Ledeur at work in a studio or laboratory, with blue pigment visible in the background, alongside the essay heading 'Y

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

  • Original 2006 Isa Genzken monograph, Phaidon Contemporary Artists Series. Front cover showing Rose II, a tall slender steel rose sculpture with a single bud, photographed against a pale sky in front of a modernist glass-and-steel institutional building. Title 'ISA GENZKEN' in black sans-serif type upper right, with author names Alex Farquharson, Diedrich Diederichsen, Sabine Breitwieser. Phaidon imprint lower left. Laminated ex-library copy. Two full-page close-up photographs of human ears against dark backgrounds, one plain, one with a small circular stud earring.

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

  • 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

  • Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017 Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

  • 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 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art, New York. Square softcover divided horizontally into two equal bands — upper half in warm amber-orange, lower half in deep cobalt blue — with 'EXTRAORDINARY' in white outlined rounded sans-serif type on the orange field and 'REALITIES' in the same type on the blue field. Spine wear, edge rubbing, and corner creasing consistent with period." nterior title page from 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art. Cream page with 'EXTRAORDINARY REALITIES' in large black outlined rounded sans-serif type at top, followed by 'by Robert Doty / with a preface by Edward Gorey / Whitney Museum of American Art, New York' in smaller serif type below.

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

  • Original 1968 Albert Cossery, Men God Forgot, City Lights Books, San Francisco, second printing. Cream softcover with 'men God forgot' in large bold lowercase serif type at top and 'cossery' at foot, with a black-and-white close-up photograph of a young man's face — dark eyes, strong features, slightly downward gaze — filling the lower two-thirds of the cover. Age toning, light rubbing, and edge wear consistent with period. Reverse of 1968 Albert Cossery, Men God Forgot, City Lights Books. Cream back cover with 'HENRY MILLER WRITES:' in bold serif type at top, followed by Miller's endorsement dated January 19, 1963: 'Am happy you are reprinting Men God Forgot. I reread it recently and still think it a gem. In a way, it's a classic...' Below: brief biography of Cossery noting he was born in Egypt in 1913 and lives in Paris, and a note that the cover photo is courtesy of New Directions. Price: $1.50 at foot.

    Albert Cossery — Men God Forgot

    Albert Cossery — Men God Forgot

  • Second cover variant of 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue. Large black-and-white halftone portrait of Andy Warhol with yellow hair and red lips, overlaid with dark green graffiti-style 'lovecat' lettering and Mr. Brainwash signature at lower right. Caption reads 'ANDY WARHOL BY MR. BRAINWASH / THE ART ISSUE / DON'T PAY ANY ATTENTION TO WHAT THEY WRITE ABOUT YOU. JUST MEASURE IT IN INCHES.' Contributors listed: Raphael Mazzucco, Anja Konstantinova, Chuck Close, Raica Oliveira. Original 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue, New York. Cover showing a large black-and-white halftone portrait of Cindy Crawford overlaid with pink graffiti-style 'lovecat' lettering, pink heart, and handwritten text reading 'Love is the Answer'. Caption reads 'CINDY CRAWFORD BY MR. BRAINWASH / THE ART ISSUE'. General handling wear and edge wear consistent with period fanzine.

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

  • Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

  • Original 1964 Arcade No. 1, William Burroughs Special, Dodo/Arcade, London. Cover showing large bold '5d' numeral in black on cream ground with 'arcade' in script below, a blue starburst label reading 'William Burroughs Special' across the centre, and a red price roundel showing '2/6'. Age toning and light soiling consistent with period. Interior spread from 1964 Arcade No. 1, William Burroughs Special. Page by Jane Beckett showing a grid of twelve black-and-white Victorian-era boxing and wrestling instruction photographs, with a column of technical move names in small type at lower right.

    William S. Burroughs — Arcade No. 1: William Burroughs Special

    William S. Burroughs — Arcade No. 1: William Burroughs Special

  • Original 2007 Matthew Barney Supercontemporary exhibition publication, Electa, Milan. Cover showing Barney in prosthetic makeup with pointed ears and pale skin, wearing a white suit jacket, set against a blue tartan background, with the title in magenta type and series name in a red vertical band. Interior page from 2007 Matthew Barney Supercontemporary, Electa. Showing a production photograph of multiple figures with elaborate floral and bubble headdresses submerged in a field of white pearled material, Barney at centre.

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

  • Original 2012 Acne Paper No. 14 magazine, Manhattan Portraits issue, Acne Studios, Winter 2012. Cover showing Brigitte Lacombe's portrait of Mikhail Baryshnikov against a dark background, with the Acne Paper logotype in large serif type at the foot of the page. Reverse of 2012 Acne Paper No. 14 magazine showing back cover with Givenchy fashion advertisement featuring a model in a dark coat, with the Givenchy logotype repeated in white.

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

  • 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)

  • 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 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — front cover in large bold serif and light grey typography on off-white stock; Hayward Gallery in small sans-serif at upper left; FRANCIS BACON in large black serif capitals; THE HUMAN BODY in large light grey serif capitals below; no imagery; typography functions as cover image. Back panel of 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — text in small serif type on white stock; left column: exhibition title, dates 5 February–5 April 1998, curatorial credit David Sylvester, organisational credits Martin Caiger-Smith and Gilly Paget, architectural consultant Daniela Ferretti, exhibition guide designed by Peter Campbell printed by Leycol Printers Ltd, © South Bank Centre 1998, text © David Sylvester 1998; right column headed CATALOGUE describing the il

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

  • 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

  • Reverse of 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Mouans-Sartoux — verso printed entirely in red on cream stock with the name Bernard Aubertin repeated in dense rows across the full surface of the card, functioning as typographic monochrome; name becomes pattern, artist becomes surface. Original 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Château de Mouans, Mouans-Sartoux — recto printed entirely in red on cream card stock; vertical format; header: Espace de l'Art Concret Château de Mouans; title le feu de la couleur in bold red; hommage à Bernard Aubertin / accompagné / de ses amis du mouvement Zéro; formal invitation text from André Aschièri, Maire de Mouans-Sartoux, Odile Biec, Directrice, and Sybil Albers-Barrier for vernissage

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

  • Original 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — recto with full-bleed photograph of arid rocky ground with tangled wire or thorn mass at centre; NE TRAVAILLEZ / JAMAIS in large hand-lettered white type across upper half; artist list in white capitals: Adel Abdessemed, Art Keller, Bruno Perramant, Conrad Bakker, Frank Perrin, Gianni Motti, Jannis Kounellis, Jimmie Durham, Julien Prévieux, Marc Boucherot, Philippe Meste, Raymond Pettibon; exhibition details: Une Exposit Reverse of 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — verso showing plain unprinted white card stock with visible handling marks, surface rubbing, light creasing, and pressure marks consistent with storage and circulation.

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

  • 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 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, front showing the single handwritten word Mirrors in black ink centred on metallic gold-coated card stock, surface now naturally dulled through age and handling. Reverse of 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, showing dual-exhibition layout divided into Project Room presenting Gilles Barbier Les trous sont la partie manquante de l'histoire and main space presenting Nedko Solakov Mirrors, with dates 20 janvier au 1 mars 2003, vernissage samedi 18 janvier à 18h, gallery address 36 Rue de Seine 75006 Paris, and Veuve Clicquot sponsorship note.

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

  • Original 1984 Gustave Courbet exhibition invitation card featuring a black-and-white portrait of a young Courbet with printed signature beneath, issued by Musée Maison Natale in Ornans, France. Verso of original 1984 Gustave Courbet exhibition invitation showing *Visage / Visages* exhibition details, handwritten vernissage note, Paris postal stamp, and addressed recipient information.

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

  • Original James Brown Salt exhibition invitation booklet from Galerie Lelong, Paris, 1990, featuring a reproduced painting with a bold ultramarine blue abstract totem-like figure against a pale dotted background in an ornate frame. Interior spread of original James Brown Salt – Peintures récentes exhibition booklet showing Galerie Lelong exhibition details, dates, opening reception information, and reference to Repères no. 67 with text by Jean Frémon

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

  • Original 1989 Gilles Brenta exhibition handout for F.M.R. Brussels, with black line drawing, artist name, and exhibition details. Inside spread of Gilles Brenta folded exhibition handout, showing surreal line drawings and French text for Un songe entre deux notes.

    Gilles Brenta — F.M.R., Brussels, 1989

    Gilles Brenta — F.M.R., Brussels, 1989

  • Original 1971 launch invitation for L'air pauvre, Les Aliscans, Paris, featuring bold black offset typography on cream card stock announcing the illustrated edition by Abdallah Benanteur with texts by Monique Boucher, event date Friday 19 November 1971, 18:00–21:00, with silhouetted figure and bookshop address at 57 rue de Rennes. Reverse of 1971 L'air pauvre launch invitation, Les Aliscans, Paris, showing blank cream card stock with age toning and light handling wear consistent with period paper ephemera.

    Monique Boucher / Abdallah Benanteur — L’air pauvre — Les Aliscans, Paris, 1971

    Monique Boucher / Abdallah Benanteur — L’air pauvre — Les Aliscans, Paris, 1971

  • Original 2002 Documents exhibition invitation from Galerie 1900–2000 Paris featuring a distressed archive-folder design with typewriter-style typography on textured brown paper. Interior of Documents exhibition invitation, Galerie 1900–2000 Paris, 2002, featuring a collage of Dada and Surrealist ephemera including DADAPhone, Anna Blume, Le Cœur à Barbe, Tristan Tzara references, and historical avant-garde printed material.

    Documents — Galerie 1900–2000, Paris, 2002

    Documents — Galerie 1900–2000, Paris, 2002

  • Official 1998 Cindy Sherman museum postcard reproducing *Untitled #317* (1995), showing a close-up gold mask-like face with dark eyes and red cosmetic details. Reverse of 1998 Museum of Contemporary Art Chicago Cindy Sherman retrospective promotional postcard featuring exhibition information, membership offer text, and museum details.

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

    Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998

  • Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron. Reverse side of Sherrie Levine’s *Pie Town* exhibition card from David Zwirner, London, printed with exhibition details in black text on white card stock. Includes title, dates, gallery address, and information identifying the reproduced work *After Russell Lee: 1–60* (2016).

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

  • 1999 Pierre Klossowski exhibition invitation featuring a color reproduction of *Roberte aux barres parallèles* (1990). Three stylized human figures are arranged around parallel bars on a circular base: a central female figure in pink clothing raises one leg while two surrounding figures engage with the structure. The sculpture is rendered in painted flesh, mauve, and brown tones against a neutral background, with “Pierre Klossowski” printed beneath. Reverse side of a 1999 Pierre Klossowski exhibition invitation card printed in French for *l'énoncé à nouveau dénoncé: Sculptures et tableaux*. Black typography on white card stock lists exhibition dates (3 April–12 June 1999), opening details, and Galerie Beaubourg at Château Notre-Dame des Fleurs in Vence, France. PIERRE KLOSSOWSKI / l'énoncé à nouveau dénoncé / Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

  • Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Recto: colour illustration of two children holding a star lantern on a pole against a night sky, within an arched frame; artist name below in bold serif type. Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Verso: exhibition dates 12 November – 24 December 1999, opening Thursday 11 November (Saint Martin's Day) 6–8pm, Matthew Marks Gallery address 523 West 24th Street, New York, printed in black on white card.

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

  • Jean Clareboudt, Oblique Haute, exhibition invitation recto. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Black-and-white photograph: a large irregular dark mass — a boulder or raw stone — suspended from a crane arm against a pale overcast sky. The crane extends diagonally from the upper left; industrial steel structures, scaffolding, and a brick building are visible below and behind. Low-angle shot emphasising the weight and scale of the suspended object. 'CLAREBOUDT' in l Jean Clareboudt, Oblique Haute, exhibition invitation verso. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Cream card. Text in French, centred, in mixed type weights. Header: 'A L'OCCASION DE L'IMPLANTATION DE L'OEUVRE MONUMENTALE / DE "L'ORME AU CHAT", 26 BD BRANDENBOURG A IVRY, / JACQUES LALOË, MAIRE D'IVRY / VOUS INVITE AU VERNISSAGE DE L'EXPOSITION DE'. Artist name in large bold caps: 'JEAN CLAREBOUDT'. Exhibition title in bold: '"OBLIQUE HAUTE"'. Photography credit in i

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990