{"title":"£50–£100","description":"\u003cp\u003eWorks from the archive priced between £50 and £100.\u003c\/p\u003e","products":[{"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. 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The first half reproduces these digital files as full-colour pages, with corresponding dates printed on the left-hand page, giving the sequence the feeling of a diaristic archive or image ledger. The second half shifts into four sets of video stills taken from phone clips, producing a subtle flip-book effect as movement is slowed into print.\u003c\/p\u003e\u003cp\u003eAs an object, \u003cem\u003eWishing Wells\u003c\/em\u003e sits somewhere between photo archive, time-based document, and sculptural publication. Its thickness and handheld-marked plastic case give it a slightly industrial, provisional character — close to systems of storage, transit, and personal record-keeping. 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The exhibition opened at the Van Abbemuseum in Eindhoven in 1977, traveled to the Arnolfini Gallery in Bristol, and closed at the Serpentine Gallery in London in 1979.\u003c\/p\u003e\n\u003cp\u003eThis is the copy that got away from the archive. Tucked inside — still stapled together — are two typewritten sheets on Van Abbemuseum letterhead: the official Dutch-language catalog list from the Eindhoven presentation, dated 10 juni tot en met 10 juli 1977. A working document, not meant to travel. It lists every work in the show — \u003cem\u003eFPRE SU '65\u003c\/em\u003e, \u003cem\u003eSAND MUSLIN '66\u003c\/em\u003e, \u003cem\u003eHEAP 1 '68\u003c\/em\u003e, \u003cem\u003ePILE '68\u003c\/em\u003e, \u003cem\u003eDREAM OF MARBLE '75\u003c\/em\u003e — with materials noted in Dutch (gaas, doek, gips, mousseline, zand, Hornton-steen, gekerfd) and dimensions in inches. Institutional provenance is scattered throughout: Tate Gallery, Victoria and Albert Museum, Art and Project Amsterdam, Prof. P. Sanders Schiedam.\u003c\/p\u003e\n\u003cp\u003eFlanagan in this period was working with muslin, sand, hessian, canvas, resin, glass, aluminium, polyester — everyday materials handled with deliberate looseness, where the gesture of making was as present as the object itself. These are the works that precede the bronze hares. The conceptual groundwork, before the iconography took over.\u003c\/p\u003e\n\u003cp\u003eRudi Fuchs understood what he was looking at. The catalog reflects that — spare, serious, no excess.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Some toning to pages consistent with age. The inserted typewritten sheets are intact and legible, with light show-through from the reverse side. 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The sheet operates less as explanatory material than as a conceptual extension of the show itself — dedicated to Ornette Coleman, whose harmolodic theory rejected hierarchy and fixed structure, and designed to mirror those principles through abstraction, refusal, and displacement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eRather than conventional didactic content, Hammons reduces the text to two legible phrases — \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"This exhibition is dedicated to Ornette Coleman\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\"Harmolodic Thinker\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e — set against a dense field of hand-drawn, map-like lines. Distributed freely at the gallery, the document collapses the boundary between artwork and ephemera. 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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":"downtown-81-friends-of-basquiat-held-at-agnes-b","title":"Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)","description":"\u003cp\u003eAn original invitation to \u003cstrong\u003eDowntown 81: Friends of Basquiat\u003c\/strong\u003e, held at \u003cstrong\u003eAgnès B. 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Published in 1984 to accompany exhibitions at Kunsthalle Basel and Le Nouveau Musée, the book documents the period in which Holzer's language circulated through posters, plaques, stickers, T-shirts, and electronic signs — establishing text as a public medium rather than a private literary form.\u003c\/p\u003e\n\u003cp\u003eThe photographs are arranged in discrete sequences: \u003cem\u003eTruisms\u003c\/em\u003e (1977–1983), \u003cem\u003eEssays\u003c\/em\u003e (1979–1983), \u003cem\u003eLiving\u003c\/em\u003e (1981–1983), and \u003cem\u003eSurvival\u003c\/em\u003e (1983–1984). A brief introduction by Jean-Christophe Ammann appears at the front, with a biography and bibliography at the rear.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes this publication is its directness. Rather than functioning only as documentation, the book redistributes Holzer's work in portable form. Street posters, Times Square signage, inscriptions, and public declarations are reorganised here as a sequence of appearances. The result sits somewhere between exhibition record, artist's book, and distribution device.\u003c\/p\u003e\n\u003cp\u003eA strong early Holzer title, and an especially clear document of the years in which her texts moved through the street, the billboard, and the page. 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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. 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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. 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Minor handling marks consistent with age.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for an Annie Gramain exhibition at Galerie Baudoin Lebon, Paris, 1979. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media. This card is a small but precise document of an emerging contemporary art context in late-1970s Paris.\u003c\/p\u003e\u003cp\u003eThe card does very little, which is part of its interest. On the front, \"annie gramain\" is repeated in descending diagonal lines until the name stops functioning as signature and begins to operate as form. Language becomes layout. Identity is handled as a typographic unit. On the reverse, the exhibition information runs in a single justified line at the lower edge — as if the administrative fact of the show had been reduced to a footer.\u003c\/p\u003e\u003cp\u003eName as image. Invitation as structure. Authorship as graphic repetition. More document than promotion. 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Light age wear consistent with date.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOriginal invitation card for Jochen Gerz’s exhibition at Galerie Baudoin Lebon, Paris, June–July 1979. The title corresponds to \u003cem\u003eThe Depot \/ Le Dépôt\u003c\/em\u003e, catalogued by the artist as \u003cem\u003eKulchur Pieces 4\u003c\/em\u003e, 1979 — a large-scale installation in which several tree trunks, sawed into 5-cm-thick planks and painted with photographic opaque, were stacked horizontally on wooden spacers as they would be at a sawmill, so that the outer form of each trunk remained recognisable. A wall text accompanied the work, addressing doubts about artistic production and design.\u003c\/p\u003e\u003cp\u003eThe card’s colour is not incidental. The dark burgundy-brown ground matches the photographic opaque applied to the wood — the same material used to suppress the surface of the trunks in the installation. The invitation does not illustrate the work; it shares its pigment. On the recto, white type carries only the artist’s name and the work title. On the verso, the exhibition information runs at the lower edge — opening time, address, telephone, dates — reduced to administrative fact.\u003c\/p\u003e\u003cp\u003eThe word “Kulchur” retains Pound’s damaged spelling, recast by Gerz as something stored, processed, and possibly neutralised. Culture as deposit. Exhibition as filing. Art as a proposition lodged inside its own support system. The invitation extends the work’s logic without explaining it.\u003c\/p\u003e\u003cp\u003eScarce. Galerie Baudoin Lebon ephemera from this period is seldom encountered.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53073790304594,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/JochenGerz_0001.jpg?v=1774996315"},{"product_id":"gianni-piacentino-stampe-galleria-plura-milan-1980","title":"Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980","description":"\u003cp\u003eOriginal mailed exhibition announcement for \u003cem\u003eStampe\u003c\/em\u003e, Galleria Plura, Milan, from Thursday 16 April 1980. 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":"gregor-schneider-die-familie-schneider-konrad-fischer-galerie-berlin-2014","title":"Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014","description":"\u003cp\u003eOriginal exhibition announcement card for Gregor Schneider's solo show \u003cem\u003eDie Familie Schneider\u003c\/em\u003e, Konrad Fischer Galerie, Berlin, 14 November 2014 – 10 January 2015. Opening: Friday 14 November 2014, 18–21 Uhr. Printed card with floral wallpaper motif to recto and exhibition details to verso. 15 × 10.5 cm.\u003c\/p\u003e\u003cp\u003eA quiet, unsettling piece of recent exhibition ephemera. The front is almost disarmingly soft — decorative wallpaper, the title set in script — but that domestic surface is exactly where Schneider's work tends to become unstable. \u003cem\u003eDie Familie Schneider\u003c\/em\u003e belongs to the artist's longer investigation of duplicated rooms, family structures, enclosure, and the psychological charge of ordinary interiors. Schneider's earlier project of the same title turned two near-identical houses in London into a deeply disorienting encounter, making the family home feel doubled, staged, and faintly threatening.\u003c\/p\u003e\u003cp\u003eSeen now, the card functions as more than a simple invitation. It compresses one of Schneider's key moves into a small printed object: the home as façade, pattern as cover, decoration as unease. A modest Konrad Fischer announcement, but one that carries the full emotional temperature of the work.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear and minor soft creasing at edges consistent with age 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":53157606588754,"sku":"EPH-2014-FISCHER-001","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gregor_Schneider_0001.jpg?v=1775689478"},{"product_id":"man-ray-kunsthalle-basel-1980","title":"Man Ray — Kunsthalle Basel, 1980","description":"\u003cp\u003eOriginal exhibition announcement card for Man Ray at Kunsthalle Basel, opening Saturday 19 January 1980, 18 Uhr, running through 24 February 1980. Kunsthalle Basel, Steinenberg 7. Printed card featuring \u003cem\u003eViolon d'Ingres\u003c\/em\u003e (1924) to recto and full exhibition, catalogue, and film-screening details to verso. 15 × 10.75 cm.\u003c\/p\u003e\u003cp\u003eA strong piece of institutional ephemera from the secondary life of Surrealism. The front reproduces one of Man Ray's most recognisable images — the nude back with f-holes drawn in, the body as instrument — but the reverse is where the card becomes especially useful: opening details, a 210-page catalogue (162 black-and-white illustrations, 15 colour plates) with texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, and H. Molderings, and a film programme including \u003cem\u003eRetour à la raison\u003c\/em\u003e (1923), \u003cem\u003eEmak Bakia\u003c\/em\u003e (1926), \u003cem\u003eL'Étoile de mer\u003c\/em\u003e (1927), and \u003cem\u003eMystère du château du dé\u003c\/em\u003e (1928).\u003c\/p\u003e\u003cp\u003eIt reads not just as an invitation but as a compact institutional script for how Man Ray was being framed in German-speaking Europe at the start of the 1980s — part of the wider 1978–1980 touring exhibition \u003cem\u003eMan Ray: Inventionen und Interpretationen\u003c\/em\u003e. Seen now, the card sits somewhere between postcard, checklist, and museum prompt: the familiar Surrealist image on one side, the machinery of exhibition-making on the other.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good; light handling wear, faint surface marks, and minor age toning consistent with age 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":53157707907410,"sku":"EPH-1980-BASEL-001","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Man_Ray_1980_0001.jpg?v=1775690555"},{"product_id":"alison-knowles-culture-des-haricots-galerie-art-contemporain-j-et-j-donguy-paris-1985","title":"Alison Knowles — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985","description":"\u003cp\u003eExhibition invitation for \u003cem\u003eCulture des Haricots\u003c\/em\u003e, a show by Alison Knowles at Galerie Art Contemporain J. et J. Donguy, 57 rue de la Roquette, Paris. Opening vernissage 4 June 1985; exhibition running 5–29 June 1985.\u003c\/p\u003e\u003cp\u003e21 × 15 cm. Semi-gloss cardstock. Printed recto; blank verso.\u003c\/p\u003e\u003cp\u003eThe front holds the full proposition: collaged graphic field, printed and handwritten-style text elements, exhibition details. The reverse is left empty. The object stays with its front.\u003c\/p\u003e\u003cp\u003eKnowles is a central figure in Fluxus, and the card sits clearly within that history — an announcement that functions as both document and graphic work.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, minor surface marking, and slight edge wear. Clean overall.\u003c\/p\u003e\u003cp\u003e£65 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170689311058,"sku":"TNR-AK-1985-CDH","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AlisonKnowles1985_0001.jpg?v=1775778679"},{"product_id":"jochen-gerz-griechische-stucke-bundner-kunstmuseum-chur-1978","title":"Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978","description":"\u003cp\u003eExhibition invitation for \u003cem\u003eGriechische Stücke\u003c\/em\u003e by Jochen Gerz, Bündner Kunstmuseum Chur, 13 March – 16 April 1978. Opening: Saturday 18 March, 17.00 Uhr.\u003c\/p\u003e\u003cp\u003e21 × 14.75 cm. Printed card with photographic recto and text-heavy verso. Mailed example.\u003c\/p\u003e\u003cp\u003eThe recto carries a black-and-white photograph — a figure prone on a parquet floor before a set of double doors, a dark mark running down the paintwork above. The verso holds the full institutional apparatus: artist biography, exhibition details, Museums-Maténée notice, and photo credit. Addressed in handwriting to Jacques Donguy, Ossun, France, with French postage stamp, rubber-stamped postal markings, and a faint Paris post office impression.\u003c\/p\u003e\u003cp\u003eA circulated exhibition document. Image on one side, institutional text on the other. The object remains indexed to its passage: addressed, stamped, received, retained.\u003c\/p\u003e\u003cp\u003eCondition: mailed and handled; light creasing, edge wear, surface marking, and age toning throughout.\u003c\/p\u003e\u003cp\u003e£85 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170737709394,"sku":"TNR-JG-1978-GS","price":85.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Jochen_Gerz_1978_0001.jpg?v=1775779979"},{"product_id":"aubertin-bischoffshausen-prantl-schoonhoven-galerie-heide-hildebrand-klagenfurt-1967","title":"Aubertin \/ Bischoffshausen \/ Prantl \/ Schoonhoven — Galerie Heide Hildebrand, Klagenfurt, 1967","description":"\u003cp\u003eFolded exhibition announcement for a four-artist exhibition at Galerie Heide Hildebrand, Klagenfurt, 4–30 September 1967. Vernissage: Saturday 2 September, 20:00.\u003c\/p\u003e\u003cp\u003eFolded offset-printed sheet on lightweight stock, 21 × 15 cm folded; approximately 21 × 30 cm open. Glossy printed exterior, buff\/matte interior. Artist names printed across the outer faces — Bernard Aubertin, Hans Bischoffshausen, Karl Prantl, J. J. Schoonhoven — with a brown-mauve accent to the letter “n” in each surname. Gallery details reduced to a single line at the lower edge.\u003c\/p\u003e\u003cp\u003eA restrained late-1960s gallery document operating through typography, orientation, and distribution. The grouping places the piece in proximity to the wider ZERO \/ Nul field without overstating the exhibition as such. An invitation, but also a small record of alignment.\u003c\/p\u003e\u003cp\u003eVariant: folded printed version. Other states or accompanying formats may have been issued.\u003c\/p\u003e\u003cp\u003eCondition: light handling wear, soft creasing, minor edge wear, pencil notation to upper right, and light age toning. Clean overall.\u003c\/p\u003e\u003cp\u003e£75 — price includes shipping and handling. Flat-packed dispatch. Tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53170872549714,"sku":"TNR-GHH-1967-ABPS","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Galerie_Heide_Hildebrand_1967_0001.jpg?v=1775780776"},{"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":"heated-words-initial-research-house-of-vans-london-2015","title":"Heated Words: Initial Research — House of Vans, London, 2015","description":"\u003cp\u003eA printed exhibition object issued for \u003cem\u003eHeated Words: Initial Research\u003c\/em\u003e, House of Vans, London, 2015. Folded to pamphlet scale and opening to a larger poster format, the piece documents a project centred on the circulation of an anonymous transfer-letter style moving through late 1970s and 1980s New York street culture, early hip-hop, punk, custom clothing, and graphic vernacular.\u003c\/p\u003e\u003cp\u003eThe recto consists of a single full-image panel: a black-and-white street photograph overprinted in red with title, dates, and contributor list. The verso opens into four panels combining typographic enlargement, a diagrammatic mapping of names and scenes, programme information, and a text by Gary Warnett. Printed in black and red, it functions less as neutral exhibition support than as a compact research surface.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the interest lies in the conversion that takes place here. A vernacular form with no fixed author passes into exhibition research; exhibition research passes into print; print remains as the retained object. What is offered is not the source material itself, but its organised afterlife: a folded record of circulation, selection, and display.\u003c\/p\u003e\u003cp\u003eThe names listed do not operate simply as a roster of exhibiting artists, but as research nodes within a larger field of use, influence, documentation, and scene formation. In that sense, the guide holds a distributed authorship structure already close to the New Rare framework: not originality as such, but placement; not origin, but transfer; not statement, but residue.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 27 × 20 cm folded \/ 54 × 40 cm unfolded.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e very good overall, with original fold lines, light handling wear, minor softening to edges and corners, and faint creasing consistent with use and format.\u003c\/p\u003e\u003cp\u003ePrice includes shipping and handling. Packed flat with protective support; tracked service included.\u003c\/p\u003e","brand":"House of Vans","offers":[{"title":"Default Title","offer_id":53186553905490,"sku":null,"price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Heated_Words_0001.jpg?v=1776078996"},{"product_id":"arnulf-rainer-linguaggio-del-corpo-biennale-1978","title":"Arnulf Rainer — Linguaggio del corpo, Biennale di Venezia, 1978","description":"\u003cp\u003eBiennale di Venezia, Austrian presentation.\u003cbr\u003e4-page folded pamphlet \/ exhibition object.\u003cbr\u003e27 × 21 cm. Offset print on thin wove stock.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e\u003cp\u003eIssued for Arnulf Rainer's contribution to the Austrian presentation at the 1978 Venice Biennale, this pamphlet condenses a body of work into a small printed support: self-representations, altered photographic images, body positions, ecstasies, entanglements, death masks. A national-pavilion handout, but also a reduced form of the work's own logic.\u003c\/p\u003e\u003cp\u003eThe interior reproduces a sequence of Rainer's 1970s photo-based works under Italian headings, while the reverse carries \u003cem\u003eAutorappresentazioni\u003c\/em\u003e, a compact first-person text on self-image, falsification, psychic intensification, and the instability of identity. The publication does not merely explain the work. It repeats its method in print: selection, reduction, distortion, and remainder.\u003c\/p\u003e\u003cp\u003eFor The New Rare, the interest lies in the object's double condition. It is both support material and residue: a Biennale pamphlet that survives as a minor document of placement, translation, and national framing. The imposed horizontal fold across the sheet — evidently made after issue, against its intended flat format — interrupts the object's original state but also gives it a second physical history. Not damage alone, but a further inscription of passage.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e good vintage condition with visible handling wear, toning, light creasing, and a strong horizontal fold across the centre from later forced folding. Minor edge wear and soft corner wear. Structurally sound. The fold remains the defining condition note.\u003c\/p\u003e\u003cp\u003eRainer's work of this period moved through overpainting, self-portrait distortion, facial grimace, bodily compression, and photographic intervention. This pamphlet sits close to that moment and retains it in a thin, portable form.\u003c\/p\u003e","brand":"Biennale di Venezia","offers":[{"title":"Default Title","offer_id":53190153797970,"sku":"RAINER-1978-BDV","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Arnulf_Rainer_1978_0001_9733b6a4-0894-4b99-8ab1-67a3df5e6803.jpg?v=1776125694"},{"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":"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":"bernard-rancillac-pornographie-galerie-daniel-templon-paris-1969","title":"Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969","description":"\u003cp\u003e\u003cem\u003eGalerie Daniel Templon, Paris, 1969\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eExhibition invitation card issued for Rancillac's \u003cem\u003ePornographie\u003c\/em\u003e, held at Galerie Daniel Templon, 58 rue Bonaparte, Paris, from 22 April to 3 May 1969. Marked \u003cem\u003estrictement sur invitation\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePrinted on thick white coated stock, 16.6 × 13.5 cm. Black illustration to recto — a high-contrast photographic image reduced to printed signal. Black text to verso: gallery name, address, exhibition title, dates, and the controlled-access notice that defined the terms of entry.\u003c\/p\u003e\n\u003cp\u003eMore than a simple announcement, the card preserves the threshold where exhibition, scandal, and circulation briefly met. The exhibition survives here in one of its secondary forms: announced, compressed, and transferred to paper.\u003c\/p\u003e\n\u003cp\u003eProduced at an early and charged moment in the history of Galerie Daniel Templon, the card carries the atmosphere of late-1960s Paris in a particularly concise way. It is both invitation and filter — a small paper document through which the exhibition was framed, restricted, and made public only in part. What remains is not just an advertisement for a show, but a retained access piece: a document of entry, discretion, provocation, and display.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Single invitation card\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 16.6 × 13.5 cm\u003cbr\u003e\u003cstrong\u003ePrint:\u003c\/strong\u003e Black on white coated stock\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good — light handling wear, faint surface marking, soft age toning, and a pressure crease to the lower edge consistent with prior storage or clipping\u003c\/p\u003e\n\u003cp\u003eShipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53246448107858,"sku":"BR-PORNO-1969-INV","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rancillac_1069_001.jpg?v=1776667441"},{"product_id":"henrik-olesen-some-faggy-gestures-galerie-daniel-buchholz-berlin-2008","title":"Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008","description":"\u003cp\u003e\u003cem\u003eGalerie Daniel Buchholz, Berlin, 2008\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eA printed support issued on the occasion of \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e at Galerie Daniel Buchholz, Berlin, dated 11 December 2008 — the same date as the opening of Olesen's concurrent Buchholz exhibition \u003cem\u003eHow do I make myself a body?\u003c\/em\u003e, placing the card precisely within a live exhibition and publication moment rather than as a generic gallery handout.\u003c\/p\u003e\u003cp\u003eThe front is reduced to a near-total black field. The reverse carries the announcement in a restrained administrative layout. Less invitation than relay mechanism, it sits between gallery card, publication notice, and distribution object.\u003c\/p\u003e\u003cp\u003eIn 2008, Olesen's work was already closely associated with collage, appropriation, queer historiography, and the social construction of identity. \u003cem\u003eSome Faggy Gestures\u003c\/em\u003e belongs to that body of work. The black recto pushes the card toward refusal; the verso returns it to administration. A small and exact object of circulation in which exhibition, publication, and authorship are compressed into format.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Single printed card\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e Approx. 21 × 14.8 cm\u003cbr\u003e\u003cstrong\u003ePrint:\u003c\/strong\u003e Black on white card; solid black recto, printed text verso\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good — light handling wear, minor surface softness, clean overall\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Sent flat with protective support.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53247788286290,"sku":"HO-SFG-2008-INV","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Henrik_Olesen_001.jpg?v=1776685909"},{"product_id":"jiri-georg-dokoupil-exhibition-catalogue-1987","title":"Jiří Georg Dokoupil — Exhibition Catalogue, 1987","description":"\u003cp\u003eErnst A. Busche \/ Paul Maenz, Berlin \/ Cologne, 1987. Softcover exhibition catalogue \/ artist monograph.\u003c\/p\u003e\u003cp\u003eApprox. 27.5 × 20 cm. 24 pages with colour illustrations. Printed wrappers.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Varies by copy. Examples on the market show light shelf wear and handling consistent with period art paperbacks.\u003c\/p\u003e\u003cp\u003eAn early Dokoupil catalogue from the late 1980s, tied to the Paul Maenz context and to the moment when his name was becoming fixed within the wider field of postwar European painting. Dokoupil emerged around the Mülheimer Freiheit \/ Junge Wilde milieu but quickly became harder to stabilise than that label suggests, moving restlessly across styles, surfaces, and procedures. This book belongs to that first strong period of circulation: not yet a late retrospective object, but a working document from the moment his position was still being actively produced.\u003c\/p\u003e\u003cp\u003eA period artist book from the Cologne-centred 1980s art system — a support for reputation, distribution, and placement as much as a record of paintings.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53270317629778,"sku":"JGD-1987-001","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dokoupil_-Jiri-Georg-1_f499ffa9-4ab5-4fc2-9207-f953c19c524d.jpg?v=1777106032"},{"product_id":"ellsworth-kelly-archives-of-american-art-1999","title":"Ellsworth Kelly — A Salute to Ellsworth Kelly, Archives of American Art, 1999","description":"\u003cp\u003eArchives of American Art, New York, 1999\u003cbr\u003eProgramme publication\u003cbr\u003eStaple-bound wraps\u003cbr\u003eApprox. 21 × 21 cm\u003cbr\u003eOffset print, colour and black-and-white\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eA Salute to Ellsworth Kelly\u003c\/em\u003e, October 19, 1999.\u003c\/p\u003e\u003cp\u003eA single-event publication structured around acknowledgement, image circulation, and institutional alignment. The red cover carries the entire proposition in one line; inside, the programme unfolds as a sequence of studio photographs, reproduced works, and references to prior publications, arranged without hierarchy.\u003c\/p\u003e\u003cp\u003eThe images function as placements rather than illustrations: Kelly’s studio in Spencertown (1994), works in progress, installed canvases, printed matter positioned as objects among other objects. A secondary spread gathers books, portfolios, and reproductions into a flat display — publication reflecting on publication.\u003c\/p\u003e\u003cp\u003eAcknowledgements occupy a full field on the closing page, listing donors, galleries, printers, and mediating figures. Gemini G.E.L., Matthew Marks Gallery, and the Archives itself appear not as background support but as visible components of the structure. The edition of \u003cem\u003eBlue Curve\u003c\/em\u003e (1999), noted in the text, sits within this network as both artwork and event residue.\u003c\/p\u003e\u003cp\u003eThe programme does not document the evening so much as stabilise its conditions: tribute, archive, reproduction, sponsorship. Kelly’s work is present, but displaced into image, reference, and circulation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear to covers, minor edge softening, clean interior.\u003c\/p\u003e\u003cp\u003eAn object organised around a single date, extending outward through images, credits, and prior editions.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Archives of American Art","offers":[{"title":"Default Title","offer_id":53288957870418,"sku":"EK-AAA-1999","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Archives-of-American-Art_-A-Salute-to-Ellsworth-Kelly_-1999.jpg?v=1777186864"},{"product_id":"stuart-brisley-ica-london-1981","title":"Stuart Brisley — Institute of Contemporary Arts, London, 1981","description":"\u003cp\u003eInstitute of Contemporary Arts, London, 1981\u003cbr\u003eExhibition catalogue\u003cbr\u003eOriginal card covers\u003cbr\u003e4to\u003c\/p\u003e\u003cp\u003ePublished on the occasion of the exhibition \u003cem\u003eStuart Brisley\u003c\/em\u003e, ICA, 21 April – 31 May 1981.\u003cbr\u003eTexts by Paul Overy, John Roberts, and Stuart Hood.\u003c\/p\u003e\u003cp\u003eA document organised around performance after the fact. The cover opens with a definition: \u003cem\u003ePerformance\u003c\/em\u003e — set as a block of borrowed language, positioned against the artist’s name. The work begins in citation before any image appears.\u003c\/p\u003e\u003cp\u003eInside, the pages assemble a sequence of actions translated into print. Black-and-white plates record situations already completed: enclosed rooms, obstructed views, the body in states of endurance, suspension, or depletion. A face seen through a cut aperture. A figure seated, absorbed into a darkened interior. A body submerged, partially visible, held in material conditions rather than depicted as subject.\u003c\/p\u003e\u003cp\u003eThe Georgiana Collection operates here as a framework rather than a fixed series: an invented institutional structure derived from a domestic address, extending into sound, action, and accumulation. The catalogue does not stabilise this structure but indexes it — listing events, sites, collaborators, and fragments of activity across London, Hamburg, Coventry, Kassel.\u003c\/p\u003e\u003cp\u003eText and image remain discontinuous. Chronologies appear as numbered entries, detached from the images they might describe. Performance is held at a distance, redistributed as documentation, caption, and residue.\u003c\/p\u003e\u003cp\u003eThe ICA imprint sits low on the cover; the reverse carries only the institution’s name. No image intervenes. The publication maintains a closed surface, with the work contained as record.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light wear to covers, minor handling marks, clean internally.\u003c\/p\u003e\u003cp\u003eAn object that registers action through delay. Performance translated into sequence, index, and printed field.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Institute of Contemporary Arts","offers":[{"title":"Default Title","offer_id":53289048768850,"sku":"BRISLEY-ICA-1981","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Brisley_-Stuart.-Institute-of-Contemporary-Arts_-21-April---31-May-1981-1.jpg?v=1777188647"},{"product_id":"kitajima-keizo-photo-express-tokyo-no-2-1979","title":"Keizō Kitajima — Photo Express Tokyo No. 2, February 1979","description":"\u003cp\u003eTokyo, February 1979\u003cbr\u003eSoftcover photographic booklet\u003cbr\u003e16 pp.\u003cbr\u003e25.8 × 18.3 cm\u003cbr\u003eBlack-and-white offset print with spot colour\u003cbr\u003e200 yen cover price\u003c\/p\u003e\u003cp\u003eSecond issue from Keizō Kitajima’s \u003cem\u003ePhoto Express Tokyo\u003c\/em\u003e, a twelve-part sequence of monthly photographic booklets published in 1979 in connection with his year-long exhibition project at CAMP gallery, Tokyo. Each issue contained sixteen pages and operated as both publication and immediate extension of the exhibition.\u003c\/p\u003e\u003cp\u003eThe images are high-contrast, nocturnal, unstable. Figures emerge through flash, grain, clothing, cigarette smoke, sunglasses, surface glare. Tokyo appears less as city than as printed impact: bodies pressed into black ink, social space reduced to gesture, pose, and exposure.\u003c\/p\u003e\u003cp\u003eThe cover gives the structure clearly: Tokyo, No. 2, February 1979, 200 yen. The publication is not a later photobook in the conventional sense, but a fast object — made to circulate close to the time of the photographs and the exhibition itself. The booklet format keeps the work provisional, serial, and disposable.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Surface rubbing, creasing, edge wear, and handling marks throughout. Stapled spine intact. General wear consistent with age and circulation.\u003c\/p\u003e\u003cp\u003eA printed fragment from one of the key late-1970s Japanese photobook projects: serial, urban, immediate, and already half-consumed by its own reproduction.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eThis appears to be an original 1979 issue, not the 2012 Steidl\/Le Bal facsimile, based on the single No. 2 booklet format, 200 yen cover price, period wear, and absence of slipcase, ISBN, or reprint markings. The 2012 edition reissued all twelve booklets as a facsimile set in slipcase. Offered as “apparently first issue” pending colophon confirmation.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eOriginal period item, apparently first issue.\u003c\/p\u003e","brand":"CAMP Gallery","offers":[{"title":"Default Title","offer_id":53289130983762,"sku":"KITAJIMA-PET-02-1979","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kitajima_-Keizo.-1979-Photo-Express-Tokyo---back-cover.jpg?v=1777192178"},{"product_id":"kathy-acker-pussycat-fever-1995","title":"Kathy Acker — Pussycat Fever, AK Press, 1995","description":"\u003cp\u003eAK Press, 1995\u003cbr\u003ePaperback\u003cbr\u003e75 pp.\u003cbr\u003e14 × 22 cm\u003cbr\u003eBlack-and-white illustrations\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Kathy Acker, with illustrations by Diane DiMassa and collages by Freddie Baer.\u003c\/p\u003e\n\u003cp\u003eA small paperback object positioned between fiction, comic, and printed disturbance. The cover carries its own terms: desire, violence, sex, danger, price, barcode. Acker’s name sits above the image, already functioning as author, persona, and circulation device.\u003c\/p\u003e\n\u003cp\u003eInside, language and image move in parallel. DiMassa’s drawings extend the text into a graphic register of bodies, jokes, threat, and refusal. Baer’s collage work interrupts the surface further, keeping the book close to zine, pamphlet, and underground comic production.\u003c\/p\u003e\n\u003cp\u003eThe book does not resolve into a stable literary object. It behaves more like a portable fragment: handled, read, passed on, absorbed into Acker’s wider economy of self-mythology, plagiarism, sexuality, and breakdown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Minor signs of wear.\u003c\/p\u003e\n\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"AK Press","offers":[{"title":"Default Title","offer_id":53298655002962,"sku":"ACKER-PUSSYCAT-1995","price":80.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Pussycat-Fever_-1995-1-cover.jpg?v=1777305162"},{"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. 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Light surface wear to covers, minor edge softening consistent with handling and age. 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Light edge wear, minor creasing to covers, handling marks consistent with age. Interior clean.\u003c\/p\u003e\u003cp\u003eDouble issue of \u003cem\u003eObliques\u003c\/em\u003e dedicated to the figure of the surrealist woman, assembled as a dense, near-dictionary structure of texts, images, citations, and reproductions. Published in French only.\u003c\/p\u003e\u003cp\u003eEdited by Roger Borderie and Michel Camus, the volume moves between historical Surrealist positions and later critical readings, holding canonical and marginal voices in the same field. Writers, translators, and interlocutors circulate rather than resolve.\u003c\/p\u003e\u003cp\u003eJane Graverol's \u003cem\u003eL'Esprit saint\u003c\/em\u003e (1962) is positioned on the cover as both image and entry point: a bird suspended within a rock formation that reads as a torso. 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Light surface wear, faint toning, minor edge and corner handling consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal announcement card issued by Postmasters Gallery for David Diao’s 2000 exhibition, 14 October – 11 November. The verso identifies the reproduced painting as \u003cem\u003eLying 2\u003c\/em\u003e, 2000, acrylic on canvas, 79 × 115 inches.\u003c\/p\u003e\u003cp\u003eA small Postmasters object from Diao’s early-2000s circulation. The painting appears as reproduction, framed by a teal field and converted into gallery notice. On the reverse, image gives way to schedule, address, phone number, web address, and email. The exhibition is reduced to a card-sized administrative surface.\u003c\/p\u003e\u003cp\u003eA secondary line at the bottom records Jennifer and Kevin McCoy’s \u003cem\u003ePink Light\u003c\/em\u003e in the “hole in the floor” project space, placing the object inside the wider Postmasters programme.\u003c\/p\u003e\u003cp\u003ePainting as notice. Gallery as layout. Exhibition as mailed support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. 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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":"roy-lichtenstein-galerie-ileana-sonnabend-paris-1965","title":"Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965","description":"\u003cp\u003eExhibition catalogue published for Roy Lichtenstein’s 1965 exhibition at Galerie Ileana Sonnabend, Paris. First edition.\u003c\/p\u003e\u003cp\u003e18.1 × 25.7 cm, 16 pp. Offset-printed wrappers with Benday-dot cover design in blue and black, artist name set diagonally in bold serif type. Stapled binding. Illustrated throughout in black and white, with a two-page colour spread of \u003cem\u003eLandscape\u003c\/em\u003e, 1965. Text in French, including a translation of Gene Swenson’s interview “What is Pop Art?”, first published in \u003cem\u003eARTnews\u003c\/em\u003e, November 1963.\u003c\/p\u003e\u003cp\u003eThe exhibition focused on landscape works — seascape, sunrise, horizon, cloud. Subjects that allowed Lichtenstein to move the comic-strip and commercial-print vocabulary into a more classical genre. The Benday dot is no longer only a quotation from mass reproduction. It becomes atmosphere, weather, surface, and system.\u003c\/p\u003e\u003cp\u003eThis copy has a history. A pronounced vertical crease runs through the full publication: not a publishing fold but a use fold. 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Binding intact.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53341804462418,"sku":null,"price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Peter_Downsbrough_1988_001.jpg?v=1777968980"},{"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. 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Light handling, surface marks, rubbing and age toning to wrappers, with some visible marks to rear cover. Interior clean, binding sound.\u003c\/p\u003e\u003cp\u003ePublished for Terence Koh’s 2008 exhibition at Peres Projects, \u003cem\u003eThe Whole Family\u003c\/em\u003e sits inside the compressed social mythology around Koh, Javier Peres, Asianpunkboy, performance, glamour, damage, intimacy, and late-2000s art-world image culture. The book mixes photographs, short texts, playlist-like material, personal fragments, and staged documentation. It reads less as a standard catalogue than as a soft record of a circle: friends, animals, aliases, props, music, bodies, and gallery life converted into printed matter.\u003c\/p\u003e\u003cp\u003eKoh’s work at this point moved between monochrome ritual, queer theatricality, celebrity proximity, self-mythology, and controlled abjection. Here that language becomes small, pale, and portable. 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Light handling wear, faint surface marks, minor edge\/corner softness, and slight toning to verso consistent with age and storage.\u003c\/p\u003e\u003cp\u003eIssued for Ryan McGinley’s \u003cem\u003eVertical Color of Sound\u003c\/em\u003e, held at Galerie Perrotin, Hong Kong, 13 May–21 June 2014. The exhibition marked McGinley’s first solo presentation in China and gathered large-scale photographic works from his summer road-trip series: bodies in motion, open landscapes, artificial freedom, and colour as atmosphere.\u003c\/p\u003e\u003cp\u003eThe invitation reduces one of those images to a square paper support. A figure suspended above field and sky; exhibition information held on the reverse. The photograph is made portable, folded into the distribution system of the gallery.\u003c\/p\u003e\u003cp\u003eBy 2014, McGinley’s work had moved from the diaristic energy of downtown New York youth culture toward a more staged and cinematic image-world. The card belongs to that later circulation: Perrotin, Hong Kong, bilingual text, image as announcement, gallery object as residue.\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":53441311441234,"sku":"RM-VCS-GP-2014","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/McGinley_-Ryan.-Vertical-Colour-of-Sound_-show-invite-2014-front.jpg?v=1778778385"},{"product_id":"pipilotti-rist-heroes-of-birth-luhring-augustine-2010","title":"Pipilotti Rist — Heroes of Birth","description":"\u003cp\u003eLuhring Augustine, New York, 2010\u003cbr\u003eExhibition announcement card\u003cbr\u003e22 × 18.5 cm\u003cbr\u003eMedium-weight card, printed both sides\u003cbr\u003eColour image to recto; red letterpress-style typography to verso\u003cbr\u003eIssued for \u003cem\u003eHeroes of Birth\u003c\/em\u003e, Luhring Augustine, Chelsea, New York, 11 September – 16 October 2010\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface marks, minor handling wear, faint corner\/edge wear consistent with use and storage.\u003c\/p\u003e\u003cp\u003ePublished for Pipilotti Rist’s third solo exhibition at Luhring Augustine, \u003cem\u003eHeroes of Birth\u003c\/em\u003e presented new work including two video installations and a smaller video sculpture. The exhibition included \u003cem\u003eLayers Mama Layers\u003c\/em\u003e and continued Rist’s long investigation into the body, image, colour, sound, and immersive projection as a spatial experience rather than a fixed screen-based form.\u003c\/p\u003e\u003cp\u003eRist had been a central figure in experimental video and installation since the late 1980s, bringing together pop, feminism, bodily imagery, music, and dreamlike saturation. By 2010 her work had moved fully into large-scale environments: rooms as optical and psychological fields. The image on this card — a pregnant body in a clinical setting, marked by red monitoring devices — operates as announcement, threshold, and bodily signal. Birth appears less as subject than as system: medical, visual, intimate, public.\u003c\/p\u003e\u003cp\u003eA retained gallery object from the circulation of a video exhibition. One side carries the image; the other fixes the administrative record: artist, title, dates, venue, address. The card reduces an immersive installation to a portable surface.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat with protective backing.\u003c\/p\u003e","brand":"Luhring Augustine","offers":[{"title":"Default Title","offer_id":53441567785298,"sku":"PR-HOB-LA-2010","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rist_-Pippilotti.-_Heroes-of-Birth_-show-postcard.-2010-front.jpg?v=1778783764"},{"product_id":"robert-kushner-the-dance-the-kiss-daniel-templon-paris-1979","title":"Robert Kushner — “The dance, the kiss,…”","description":"\u003cp\u003eGalerie Daniel Templon, Paris, 1979\u003cbr\u003eExhibition invitation card\u003cbr\u003e15 × 10 cm\u003cbr\u003eOffset print on card stock; black-and-white image to recto; exhibition details printed to verso\u003cbr\u003eExhibition dates: 31 March – 3 May 1979\u003cbr\u003eVernissage: Saturday 31 March, 10h–19h\u003cbr\u003eGalerie Daniel Templon, 30 rue Beaubourg, Paris\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning, minor handling wear, faint edge\/corner softening consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation card issued for Robert Kushner’s solo exhibition \u003cem\u003e“The dance, the kiss,…”\u003c\/em\u003e at Galerie Daniel Templon, Paris, 1979. The recto carries a cropped black-and-white image of entwined figures, while the verso is almost entirely administrative: gallery name, artist, title, dates, and opening hours.\u003c\/p\u003e\u003cp\u003eKushner was a central figure in the Pattern and Decoration movement, which emerged in the 1970s as a deliberate turn away from the austerity of Minimalism and Conceptual art. His work from this period brought together ornament, fabric, gesture, eroticism, and performance-like figuration. This Paris invitation places that language inside a small printed support: sensual image on one side, institutional record on the other.\u003c\/p\u003e\u003cp\u003eA retained document from a key late-1970s moment in Kushner’s European reception.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected, and tracked.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53458585157970,"sku":"RK-DK-DT-1979","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kushner_-Robert.-_The-dance_-the-kiss_-show-invite.-1979-front.jpg?v=1778880796"},{"product_id":"louise-bourgeois-papillons-noirs-hauser-wirth-st-moritz-2018","title":"Louise Bourgeois — Papillons Noirs, Hauser \u0026 Wirth St. Moritz, 2018–2019","description":"\u003cp\u003eHauser \u0026amp; Wirth, St. Moritz, 2018–2019\u003cbr\u003eBifold gallery exhibition brochure \/ invitation\u003cbr\u003e20 × 26 cm folded; 40 × 26 cm unfolded\u003cbr\u003eOffset print on white stock; colour installation image to interior; text and exhibition details to exterior\u003cbr\u003eOpening reception: Friday 28 December 2018, 6–8 PM\u003cbr\u003eExhibition dates: 28 December 2018 – 10 February 2019\u003cbr\u003eVia Serlas 22, 7500 St. Moritz\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling marks and minor surface wear consistent with gallery use.\u003c\/p\u003e\u003cp\u003eOriginal exhibition brochure issued for \u003cem\u003eLouise Bourgeois: Papillons Noirs\u003c\/em\u003e, the inaugural exhibition at Hauser \u0026amp; Wirth St. Moritz. The gallery opened its St. Moritz space with this posthumous presentation of Bourgeois, positioning the artist’s late canon within a luxury Alpine gallery setting and within Hauser \u0026amp; Wirth’s expanding international structure.\u003c\/p\u003e\u003cp\u003eThe brochure reproduces Bourgeois’s \u003cem\u003eCell (Choisy)\u003c\/em\u003e, 1990, on the interior spread, with a text work from 1959 printed to the reverse: ‘The sound of a pebble that falls in the black and distant water of a well. the unconscious memories that are reborn.’ The object moves between invitation, handout, and miniature exhibition record. It does not function as a catalogue, but as a retained support for the opening moment.\u003c\/p\u003e\u003cp\u003eBourgeois’s work turns around memory, enclosure, family, sexuality, anxiety, and repair. Here those terms are carried through the language of the cell, the well, the unconscious, and the black butterfly. The commercial setting is precise: an artist associated with psychic interiority and bodily vulnerability used to inaugurate a new blue-chip gallery address.\u003c\/p\u003e\u003cp\u003eA clean, scarce paper record of Bourgeois’s posthumous circulation through estate, foundation, gallery, and destination-market infrastructure.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat, protected in archival sleeve with rigid backing.\u003c\/p\u003e","brand":"Hauser \u0026 Wirth","offers":[{"title":"Default Title","offer_id":53459442958674,"sku":"LB-PN-HW-2018","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bourgeois_Louise_PapillonsNoirs_Showhandout2018back.jpg?v=1778907129"},{"product_id":"jean-clareboudt-oblique-haute-credac-ivry-sur-seine-1990","title":"Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990","description":"\u003cp\u003eCREDAC, Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990\u003cbr\u003eOriginal exhibition invitation \/ announcement card\u003cbr\u003eOffset print on card stock\u003cbr\u003eBlack-and-white photographic recto with red typography; text and location map to verso\u003cbr\u003ePhotograph: Michel Dambrine\u003cbr\u003eVernissage: Wednesday 24 January 1990, 18h–21h\u003cbr\u003eExhibition dates: 24 January – 25 March 1990\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Handling wear, light toning, small surface marks, edge wear, and central fold\/pressure marks consistent with period exhibition ephemera.\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for Jean Clareboudt’s 1990 exhibition \u003cem\u003eOblique Haute\u003c\/em\u003e at CREDAC, Ivry-sur-Seine, produced in connection with the installation of the monumental work \u003cem\u003eOrme au Chat\u003c\/em\u003e on Boulevard Brandenbourg. The invitation was issued under the name of Jacques Laloë, Mayor of Ivry, marking the civic dimension of the commission.\u003c\/p\u003e\u003cp\u003eThe front image carries much of the object’s force: a suspended mass, a crane, a public site, and the artist’s name in red. Clareboudt’s sculpture often worked through weight, tension, industrial material, and open space. Here those concerns remain in reduced form, held by the card itself.\u003c\/p\u003e\u003cp\u003eA strong printed trace of a temporary sculptural event. Small format, large object behind it.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective archival packaging.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459481985362,"sku":"JC-OH-CREDAC-1990","price":90.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Clareboudt_Jean._Oblique_Haute_Centre_of_Contemporary_Art_Invite._1990_front_3f04453f-1fbe-4d4c-9822-b7a082eb7c43.jpg?v=1778909039"},{"product_id":"dan-colen-the-sorcerers-apprentice-greenberg-gallery-2013","title":"Dan Colen — The Sorcerer’s Apprentice, The Greenberg Gallery, 2013","description":"\u003cp\u003eThe Greenberg Gallery, St. Louis, Missouri, c. 2013\u003cbr\u003eArtist \/ gallery announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset-printed card; colour reproduction to recto, gallery mailing-list text to verso\u003cbr\u003eWork illustrated: \u003cem\u003eThe Sorcerer’s Apprentice\u003c\/em\u003e, 2013, oil and pigment on panel, 39½ × 60 in.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear and minor surface marks consistent with gallery ephemera.\u003c\/p\u003e\u003cp\u003eSmall-format gallery card reproducing Dan Colen’s \u003cem\u003eThe Sorcerer’s Apprentice\u003c\/em\u003e, a 2013 painting from the period in which the artist moved from the abject materials and downtown mythology of his earlier work toward more refined, process-based image-making. The work draws on the visual residue of Disney’s \u003cem\u003eFantasia\u003c\/em\u003e, converting a mass-cultural image into a dark, particulate field of oil, pigment, and atmosphere.\u003c\/p\u003e\u003cp\u003eThe reverse is almost as useful as the image: a direct request to join The Greenberg Gallery’s email list. As an object, the card sits at the edge of two systems — the printed gallery announcement and the emerging digital mailing list. Physical card, digital future.\u003c\/p\u003e\u003cp\u003eA compact survivor from the early-2010s contemporary art market, when Colen’s work moved between downtown legend, blue-chip circulation, and process-based abstraction.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Ships flat in protective archival packaging.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53459499549010,"sku":"DC-TSA-GG-2013","price":70.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Colen_Dan._The_Greenberg_Gallery_artist_card._2013_front_75fa47a9-eecc-4d9f-ba69-9c8cb9f896da.jpg?v=1778910444"},{"product_id":"martin-honert-invitation-matthew-marks-gallery-new-york-1999","title":"Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour illustration to recto, exhibition details to verso\u003cbr\u003ePublished by Matthew Marks Gallery, New York\u003cbr\u003eExhibition dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\u003cbr\u003eCondition: very good; light handling wear, minor surface marks, and faint age-related toning\u003c\/p\u003e\u003cp\u003eProduced for Martin Honert's solo exhibition at Matthew Marks Gallery, New York, in 1999. The front reproduces an image of two children taking part in a traditional German \u003cem\u003eLaternenumzug\u003c\/em\u003e, or lantern procession. The opening date connects directly to Saint Martin's Day, when children traditionally carry lanterns in evening parades.\u003c\/p\u003e\u003cp\u003eHonert's work often draws on childhood memory, folklore, schoolroom imagery, and postwar German visual culture. These references are not simply nostalgic. They are reconstructed as staged images and sculptural forms, where memory appears enlarged, clarified, and slightly estranged.\u003c\/p\u003e\u003cp\u003eAs an invitation, the card acts as a small support for this logic. A children's ritual becomes exhibition image. A date becomes thematic structure. The printed object remains as a reduced record of an event built around memory, folklore, and reconstruction.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53547970658642,"sku":"HONERT-MMG-INV-1999","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"pierre-klossowski-lenonce-a-nouveau-denonce-galerie-beaubourg-vence-1999","title":"Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour sculpture reproduction to recto, exhibition information to verso\u003cbr\u003ePublished by Galerie Beaubourg \/ Marianne \u0026amp; Pierre Nahon, Vence, France\u003cbr\u003eExhibition dates: 3 April – 12 June 1999\u003cbr\u003eCondition: very good; light handling wear and minor age-related surface marks\u003c\/p\u003e\u003cp\u003ePrinted for a solo exhibition by Pierre Klossowski titled \u003cem\u003el’énoncé à nouveau dénoncé\u003c\/em\u003e (“the statement denounced again”), held at the Château Notre-Dame des Fleurs in Vence under the direction of Marianne and Pierre Nahon. Issued late in Klossowski’s life, the exhibition gathered paintings and sculptures around a body of work that continuously moved between literature, philosophy, theatre, and image.\u003c\/p\u003e\u003cp\u003eThe front reproduces Klossowski’s \u003cem\u003eRoberte aux barres parallèles\u003c\/em\u003e (1990), a polychrome sculpture executed in painted synthetic resin, metal, and wood. The work animates characters from \u003cem\u003eThe Laws of Hospitality\u003c\/em\u003e, the avant-garde trilogy through which Klossowski developed the figure of Roberte — part fictional protagonist, part philosophical device, part recurring image-system. Across these texts and later visual works, desire becomes staged rather than narrated: roles are performed, exchanged, repeated, and observed.\u003c\/p\u003e\u003cp\u003eThe sculpture itself sits between mannequin, theatre prop, and philosophical proposition. The figures appear suspended in an ambiguous scene somewhere between choreography and ritual. As with much of Klossowski’s work, the image resists a stable reading; narrative and enactment begin to overlap.\u003c\/p\u003e\u003cp\u003eAs a printed object the card performs a similar reduction. Complex literary and philosophical structures are compressed into a portable support: title, image, date, place. The exhibition passes; the scenario remains.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Beaubourg","offers":[{"title":"Default Title","offer_id":53548089246034,"sku":"KLOSSOWSKI-GB-INV-1999","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klossowski_Pierre._Sculpture_and_painting_show_announcement_Galerie_Beubourg._1999_front.jpg?v=1779599409"},{"product_id":"sherrie-levine-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, London\u003cbr\u003eExhibition dates: 4 October – 18 November 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIssued for a solo exhibition by Sherrie Levine at David Zwirner, London. The card reproduces a detail from \u003cem\u003eAfter Russell Lee: 1–60\u003c\/em\u003e (2016), Levine’s reworking of historic documentary photographs originally made by Russell Lee during his work for the Farm Security Administration in the 1940s.\u003c\/p\u003e\u003cp\u003eThe image depicts Faro and Doris Caudill in Pie Town, New Mexico, photographed in October 1940. In Levine’s version, the original documentary image re-enters circulation as a new object: digitally translated, enlarged, and repositioned within the context of contemporary art. Rather than producing an image from nothing, Levine works through transfer, repetition, and displacement.\u003c\/p\u003e\u003cp\u003eSince the late 1970s Levine has repeatedly questioned the stability of authorship and originality through acts of appropriation. Existing images are not simply reused but placed under pressure. Ownership, historical authority, and artistic identity become unstable categories. The gesture is small and direct: take an image already embedded in culture and ask what changes when it appears again.\u003c\/p\u003e\u003cp\u003eWithin a New Rare register the invitation performs a similar operation. One image passes through multiple systems — documentary record, archive, artwork, exhibition support, printed card. Authorship remains active but temporarily unsettled.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53549335314770,"sku":"LEVINE-DZ-INV-2017","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Pie_Town_exhibition_card._David_Zwirner_London._2017_front.jpg?v=1779601142"},{"product_id":"cindy-sherman-untitled-317-retrospective-museum-of-contemporary-art-chicago-1998","title":"Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998","description":"\u003cp\u003eMuseum promotional postcard \/ exhibition announcement\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by the Museum of Contemporary Art, Chicago\u003cbr\u003eExhibition dates: 21 February – 31 May 1998\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCindy Sherman: Retrospective\u003c\/em\u003e, presented at the Museum of Contemporary Art, Chicago from 21 February – 31 May 1998 and jointly organised with the Museum of Contemporary Art, Los Angeles. The card reproduces \u003cem\u003eUntitled #317\u003c\/em\u003e (1995), a work from Sherman’s mid-1990s \u003cem\u003eMasks\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe reproduced image belongs to a body of work in which Sherman shifted from earlier self-performative roles toward prosthetic surfaces, mannequins, masks, and constructed identities. The tightly framed gold face produces an uncertain register somewhere between portrait, disguise, mannequin, and theatrical object. Identity appears less as revelation than as a manufactured surface.\u003c\/p\u003e\u003cp\u003eThe reverse retains traces of its original function. Alongside exhibition information, museum text, and a membership campaign offer, the object records a particular moment when institutional promotion, mass circulation, and a major retrospective converged. The postcard becomes both advertisement and residual exhibition material.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"SHERMAN-MCA-PC-1998","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Museum_of_Contemporary_Art_exhibition_announcement._1998_front.jpg?v=1779609858"}],"url":"https:\/\/thenewrare.com\/collections\/50-to-100.oembed?page=2","provider":"The New Rare","version":"1.0","type":"link"}