{"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, London, 2017","description":"\u003cp\u003eSet of 3 exhibition postcards. Serpentine Galleries, London, 2017. Offset-printed on card stock, colour recto with printed artwork details verso.\u003c\/p\u003e\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\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\u003cp\u003eGuyton’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. 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Approx. 1,000 pages, full colour, digitally printed.\u003c\/p\u003e\u003cp\u003eBuilt from iPhone image files of wishing wells — indoors and outdoors, across locations and light conditions, 2023–2025. The first half reproduces these files as full-colour pages, each dated on the facing leaf. The second half presents four sets of video stills from phone clips: movement slowed into print, sequence replacing duration.\u003c\/p\u003e\u003cp\u003eMatthew Peers’ practice is rooted in sculpture but extends into exhibition-making, publishing, display, and the social life of objects. His works resist a clean separation between artwork, support, furniture, architecture, image, and fragment. Materials appear handled, provisional, reflective — carrying traces of use rather than presenting themselves as resolved. Objects do not settle into fixed categories. They gather meaning through placement, contact, and circulation.\u003c\/p\u003e\u003cp\u003eThe publication follows this logic. It treats the printed page as another support structure: a surface where images accumulate, repeat, and are repositioned across time. It is not a catalogue after the fact, but part of the same material system as the works themselves. A sculpture can become an image. An image can become a document. A document can become an edition. An edition can return to the exhibition as an object in its own right.\u003c\/p\u003e\u003cp\u003eThrough The New Rare Editions, Peers’ practice is placed within a broader context of unstable authorship and object circulation — a site where the roles of artist, gallerist, publisher, collector, and archivist overlap. The publication does not fix the work into a single narrative. It preserves the provisional nature of the practice: objects always being reframed, reclassified, and put back into circulation.\u003c\/p\u003e\u003cp\u003eThe first title published by The New Rare Editions.\u003c\/p\u003e","brand":"The New Rare Editions","offers":[{"title":"Default Title","offer_id":53040616767826,"sku":"PEERS-TNR-CAT-2025","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Matthew_Peers_wishing_wells_03.jpg?v=1776662523"},{"product_id":"barry-flanagan-sculptures-1966-1976-curated-by-rudi-fuchs","title":"BARRY FLANAGAN — Sculptures 1966–1976, Van Abbemuseum \/ Arnolfini \/ Serpentine, 1977–1979","description":"\u003cp\u003eExhibition catalogue. Van Abbemuseum, Eindhoven \/ Arnolfini, Bristol \/ Serpentine Gallery, London, 1977–1979. Curated by Rudi Fuchs.\u003c\/p\u003e\u003cp\u003eThe catalogue for Barry Flanagan’s landmark travelling retrospective, tracing a decade of early sculptural work made between 1966 and 1976. The exhibition opened at the Van Abbemuseum in Eindhoven in June 1977, travelled to the Arnolfini in Bristol, and closed at the Serpentine Gallery in London in 1979.\u003c\/p\u003e\u003cp\u003eThis copy contains an unusual survival. Tucked inside — still stapled together — are two typewritten sheets on Van Abbemuseum letterhead: the official Dutch-language catalogue 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 scattered throughout: Tate Gallery, Victoria and Albert Museum, Art and Project Amsterdam, Prof. P. Sanders Schiedam.\u003c\/p\u003e\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\u003cp\u003eRudi Fuchs understood what he was looking at. The catalogue reflects that — spare, serious, no excess.\u003c\/p\u003e\u003cp\u003eCondition: good. Some toning to pages consistent with age. The inserted typewritten sheets are intact and legible, with light show-through from the reverse side. A genuinely unusual survival.\u003c\/p\u003e","brand":"Van Abbemuseum","offers":[{"title":"Default Title","offer_id":53041424269650,"sku":"FLANAGAN-VANABBEMUSEUM-CAT-1977","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/BarryFlanagan001_76e10a7e-f88f-44c4-bdf1-7413d56894cc.jpg?v=1774610392"},{"product_id":"david-hammons-harmolodic-thinker-xerox-press-release-exhibition-handout-hauser-amp-wirth-los-angeles-18-may-11-august-2019","title":"David Hammons — Harmolodic Thinker, Hauser \u0026 Wirth Los Angeles, 2019","description":"\u003cp class=\"_p_ua7qq_109\"\u003e\u003cstrong\u003e\u003cspan\u003eDAVID HAMMONS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHarmolodic Thinker\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Hauser \u0026amp; Wirth, Los Angeles 18 May – 11 August 2019\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"_p_ua7qq_109\"\u003e\u003cspan\u003eOriginal xeroxed press release distributed at David Hammons' first solo exhibition in Los Angeles in 45 years. 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":"antonin-artaud-dessins-centre-georges-pompidou-paris-1987","title":"ANTONIN ARTAUD — Dessins, Centre Georges Pompidou, Paris, 1987","description":"\u003cp\u003ePrivate view invitation card. Offset print on card stock. Centre Georges Pompidou, Musée national d'art moderne, Paris. 30 June – 11 October 1987.\u003c\/p\u003e\u003cp\u003eRecto reproduces Artaud's \u003cem\u003ePortrait de Jany de Ruy\u003c\/em\u003e, 2 July 1947 — graphite and greasy coloured chalk on paper, made at the maison de santé du Dr Delmas, Ivry. Signed and dated by Artaud at lower centre. The work is held by the Musée national d'art moderne \/ Centre Pompidou.\u003c\/p\u003e\u003cp\u003eThe 1987 exhibition gathered Artaud's graphic work at the Salle d'Art Graphique, 4th floor: early \u003cem\u003eSorts\u003c\/em\u003e of 1939, calligraphed and burned letters, later drawings from 1948, notebooks, correspondence. More than sixty drawings, many leaving private collections for the first time.\u003c\/p\u003e\u003cp\u003eThis card is not the catalogue. It is the access object — the institutional surface through which Artaud's drawings entered the museum: name, date, room, press hour, invitation status, reproduced wound.\u003c\/p\u003e\u003cp\u003eNot a reproduction in the ordinary sense. Not a later document. A surviving exhibition support from the opening structure itself, held outside the institutional archive.\u003c\/p\u003e\u003cp\u003eThe catalogue remains traceable. The invitation does not circulate in the same way. Its function was temporary: admit, announce, disappear. Here it survives as a small Pompidou object, carrying Artaud's late graphic violence in reduced administrative form.\u003c\/p\u003e\u003cp\u003eA borderline artwork-object: Artaud's drawing translated into museum card, the museum card returned to circulation as image, document, and support.\u003c\/p\u003e","brand":"Centre Georges Pompidou","offers":[{"title":"Default Title","offer_id":53042897092946,"sku":"ARTAUD-POMPIDOU-INV-1987","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Artaud_Antonin._Show_invite_Pompidou._1987.jpg?v=1779944538"},{"product_id":"downtown-81-friends-of-basquiat-held-at-agnes-b","title":"JEAN-MICHEL BASQUIAT — Downtown 81: Friends of Basquiat, Agnès B. Skyline, Paris, 2006","description":"\u003cp\u003eExhibition invitation, double-sided. Offset print. Agnès B. Skyline, 19 rue des Frigos, Paris. Festival d'Automne à Paris. 21 October – 21 November 2006.\u003c\/p\u003e\u003cp\u003eRecto reproduces a celebrated still from \u003cem\u003eDowntown 81\u003c\/em\u003e — the posthumously completed film starring Basquiat, directed by Edo Bertoglio and produced by Maripol. Shot on the Lower East Side, Basquiat stands before graffiti-covered walls bearing the phrase \u003cem\u003eLike an Ignorant\u003c\/em\u003e: a raw, street-level image that encapsulates the urban visual language at the heart of his practice.\u003c\/p\u003e\u003cp\u003eVerso adopts a bold graphic identity: distressed stencil-style numerals, high-contrast red and black typography, Downtown 81 \/ F.O.B. (Friends of Basquiat) branding. Opening concert by No Wave icon James Chance.\u003c\/p\u003e\u003cp\u003eThe involvement of Agnès B. — a long-standing champion of Basquiat and the downtown New York scene — grounds the piece within the fashion-art crossover that defined his cultural reach. A rare artifact connecting Basquiat's early 1980s world to its 21st-century institutional recognition.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Agnès B. Skyline","offers":[{"title":"Default Title","offer_id":53043152814418,"sku":"BASQUIAT-AGNESB-INV-2006","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Basquiat_Downtown_81_01.jpg?v=1774625735"},{"product_id":"jenny-holzer-private-property-created-crime-1984","title":"JENNY HOLZER — Private Property Created Crime, Kunsthalle Basel \/ Le Nouveau Musée, 1984","description":"\u003cp\u003eKunsthalle Basel \/ Le Nouveau Musée, Basel \/ Villeurbanne, 1984. Softcover artist book and exhibition catalogue, approx. 21.5 × 21.5 cm, 63 pp. Colour and black-and-white throughout. English.\u003c\/p\u003e\u003cp\u003ePublished 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\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\u003cp\u003eRather 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. 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Revolver, Frankfurt am Main, with Künstlerhaus Bethanien, Berlin, 2002.\u003c\/p\u003e\u003cp\u003eA compact publication centred on Jankowski’s \u003cem\u003eThe Holy Artwork\u003c\/em\u003e (2001), a video work filmed at Harvest Fellowship Church in San Antonio, Texas, in collaboration with Pastor Peter Spencer. In the video, Jankowski collapses at the pastor’s podium; Spencer interprets the action for the congregation and television audience as a form of holy art — merging sermon, performance, and broadcast into a single gesture.\u003c\/p\u003e\u003cp\u003eWhat makes the book especially strong is the way it preserves that transfer between institutions. Rather than simply documenting a video, it reorganises the project as a portable sequence of stills, text, sermon fragments, and mediated images — moving between televangelism, performance, video art, and printed matter. 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Light wear from age; overall very good.\u003c\/p\u003e","brand":"CAPC Bordeaux","offers":[{"title":"Default Title","offer_id":53073498734930,"sku":"SARKIS-CAPC-INV-1980","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sarkis_0001_7a9e9a5e-59f7-4fed-8e2b-271d7dae5248.jpg?v=1774990937"},{"product_id":"sarkis-ma-chambre-de-la-rue-krutenau-ile-san-lazzaro-venice-1990","title":"SARKIS — Ma Chambre de la Rue Krutenau à l’Île San Lazzaro, Venice, 1990","description":"\u003cp\u003e\u003cstrong\u003eSarkis, \u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e — invitation card, Venice 1990\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA period invitation card for Sarkis's installation \u003cstrong\u003e\u003cem\u003eMa Chambre de la Rue Krutenau à l'Île San Lazzaro\u003c\/em\u003e\u003c\/strong\u003e, presented jointly by \u003cstrong\u003eLes Musées de la Ville de Strasbourg\u003c\/strong\u003e and \u003cstrong\u003eLe Centre National d'Art Contemporain de Grenoble, Magasin\u003c\/strong\u003e, with the collaboration of the A.F.A.A. and the Ministère des Affaires Étrangères, Paris. The exhibition was staged at the \u003cstrong\u003eCouvent des Pères Méchitaristes, Île San Lazzaro degli Armeni, Venice\u003c\/strong\u003e, opening 23 May 1990 and running through 30 September.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces a photograph of the neon installation — a luminous, biomorphic form suspended against deep black, its teal glow pooling outward. The verso carries the full institutional text in French, including vaporetto departure times from Riva Schiavoni. That logistical detail is characteristic of the work's situation: an installation accessible only by water, on an Armenian monastery island, organised through a relay of French cultural institutions. The card is itself a document of that improbable geography.\u003c\/p\u003e\n\u003cp\u003eThe work belongs to a sustained period in Sarkis's practice in which memory, displacement, and the charged specificity of place — particularly sites carrying religious, historical, or linguistic weight — became structural to the installation itself. San Lazzaro, home to the Méchitarist congregation and one of the oldest Armenian cultural centres in Europe, was not incidental to the work. It was the work's condition.\u003c\/p\u003e\n\u003cp\u003ePrinted card, approximately \u003cstrong\u003e15 × 10.5 cm\u003c\/strong\u003e. Light wear consistent with age; overall very good. Scarce.\u003c\/p\u003e","brand":"Musées de la Ville de Strasbourg","offers":[{"title":"Default Title","offer_id":53073595728210,"sku":"SARKIS-STRASBOURG-INV-1990","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/SakrisGrenoble_0001.jpg?v=1774990355"},{"product_id":"annie-gramain-galerie-baudoin-lebon-paris-1979-exhibition-invitation","title":"ANNIE GRAMAIN — Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003eOffset print on card stock. 14 × 9 cm. Galerie Baudoin Lebon, 36 rue des Archives, 75004 Paris. 7 March – 14 April 1979. Vernissage Wednesday 7 March 1979.\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. The gallery, founded in 1976 at 36 rue des Archives in the Marais, developed a programme noted for its range across media and its attention to emerging conceptual practices. This card is a small but precise document of that context — late-1970s Paris, when the invitation was still a site where the work could continue.\u003c\/p\u003e\u003cp\u003eMore document than promotion. More proposition than souvenir.\u003c\/p\u003e\u003cp\u003eCondition: good to very good. Minor handling marks consistent with age.\u003c\/p\u003e","brand":"Galerie Baudoin Lebon","offers":[{"title":"Default Title","offer_id":53073745215826,"sku":"GRAMAIN-BAUDOINLEBON-INV-1979","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/AnnieGramain_0001.jpg?v=1774994517"},{"product_id":"jochen-gerz-le-depot-kulchur-piece-4-galerie-baudoin-lebon-paris-1979","title":"JOCHEN GERZ — Le Dépôt · Kulchur Pièce, 4, Galerie Baudoin Lebon, Paris, 1979","description":"\u003cp\u003eGalerie Baudoin Lebon, 36 rue des Archives, Paris, 1979. Original exhibition invitation card, 14 × 9 cm. Offset print on card stock, double-sided.\u003c\/p\u003e\u003cp\u003eIssued for Jochen Gerz’s exhibition at Galerie Baudoin Lebon, 7 June – 7 July 1979, vernissage Thursday 7 June. 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.\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\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age wear consistent with date. Original period item.\u003c\/p\u003e","brand":"Galerie Baudoin Lebon","offers":[{"title":"Default Title","offer_id":53073790304594,"sku":"GERZ-BAUDOIN-INV-1979","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\u003eGalleria Plura, Milan, 1980. Original mailed exhibition postcard, 15 × 11.25 cm. Applied photographic image to recto; postmarked and stamped, handwritten address to verso.\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eStampe\u003c\/em\u003e, Galleria Plura, Milan, from Thursday 16 April 1980. The recto carries 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. Addressed on verso to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris — the Paris gallery associated with publisher and dealer Jacques Damase, known for exhibitions and publications around figures including Sonia Delaunay.\u003c\/p\u003e\u003cp\u003eA modest but unusually complete piece of gallery ephemera: part announcement, part mailed object, part distribution trace. Stamped in Milan and sent onward to Paris, 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light surface wear, soft corner wear, minor creasing and age toning consistent with handling and postal use. Original period item.\u003c\/p\u003e","brand":"Galleria Plura","offers":[{"title":"Default Title","offer_id":53157534302546,"sku":"PIACENTINO-PLURA-INV-1980","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\u003eKonrad Fischer Galerie, Berlin, 2014. Original exhibition announcement card, 15 × 10.5 cm. Floral wallpaper motif to recto, exhibition details to verso.\u003c\/p\u003e\u003cp\u003eIssued 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.\u003c\/p\u003e\u003cp\u003eThe 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\u003eThe card 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 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. Original period item.\u003c\/p\u003e","brand":"Konrad Fischer Galerie","offers":[{"title":"Default Title","offer_id":53157606588754,"sku":"SCHNEIDER-FISCHER-INV-2014","price":125.0,"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\u003eKunsthalle Basel, Steinenberg 7, 1980. Original exhibition announcement card, 15 × 10.75 cm. Printed recto and verso.\u003c\/p\u003e\u003cp\u003eIssued for Man Ray at Kunsthalle Basel, opening Saturday 19 January 1980, 18 Uhr, running through 24 February 1980. Recto reproduces \u003cem\u003eViolon d’Ingres\u003c\/em\u003e (1924); verso carries full exhibition, catalogue, and film-screening details.\u003c\/p\u003e\u003cp\u003eThe front reproduces one of Man Ray’s most recognisable images — the nude back with f-holes drawn in, the body as instrument. 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\u003ePart of the wider 1978–1980 touring exhibition \u003cem\u003eMan Ray: Inventionen und Interpretationen\u003c\/em\u003e. The card 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 — 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. Original period item.\u003c\/p\u003e","brand":"Kunsthalle Basel","offers":[{"title":"Default Title","offer_id":53157707907410,"sku":"MANRAY-KUNSTHALLEBASEL-INV-1980","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":"jochen-gerz-griechische-stucke-bundner-kunstmuseum-chur-1978","title":"JOCHEN GERZ — Griechische Stücke, Bündner Kunstmuseum Chur, 1978","description":"\u003cp\u003eBündner Kunstmuseum Chur, 1978. Mailed exhibition invitation card, 21 × 14.75 cm. Printed card with photographic recto and text-heavy verso.\u003c\/p\u003e\u003cp\u003eIssued 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\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\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Mailed and handled. Light creasing, edge wear, surface marking, and age toning throughout. Original period item.\u003c\/p\u003e","brand":"Bündner Kunstmuseum Chur","offers":[{"title":"Default Title","offer_id":53170737709394,"sku":"GERZ-BUNDNER-INV-1978","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":"giovanni-anselmo-musee-dart-contemporain-lyon-1989","title":"GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989","description":"\u003cp\u003eMusée d’Art Contemporain, Lyon, 1989. Single exhibition announcement sheet, 30 × 21.2 cm. Satin cardstock, printed recto and verso.\u003c\/p\u003e\u003cp\u003eIssued for Giovanni Anselmo at the Musée d’Art Contemporain, Lyon, 12 October – 19 November 1989. The recto carries a colour installation view — two works in a white-walled space: a leaning triangular stone form and a granite block with a small bunch of leaves tucked into its surface, both cast in strong diagonal light. The verso holds the full institutional apparatus: exhibition details, an extended interview with the artist conducted by Walter Guadagnini, reference images, and a footnote on Joseph Kosuth.\u003c\/p\u003e\u003cp\u003eProduced at the scale of a small poster rather than a standard invitation card. A printed exhibition record in which image, curatorial framing, and institutional information are carried on the same support. Anselmo’s position within Arte Povera gives the sheet added historical density without requiring it to exceed its administrative function.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Light general handling wear, soft surface marks, and minor edge wear consistent with age and material. Original period item.\u003c\/p\u003e","brand":"Musée d’Art Contemporain de Lyon","offers":[{"title":"Default Title","offer_id":53170757402962,"sku":"ANSELMO-MACL-INV-1989","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Giovanni_Anselmo_1989__0001.jpg?v=1775780266"},{"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","brand":"Galerie Heide Hildebrand","offers":[{"title":"Default Title","offer_id":53170872549714,"sku":"AUBERTIN-HILDEBRAND-INV-1967","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":"danh-vo-homosapiens-marian-goodman-gallery-london-2015","title":"DANH VŌ — Homosapiens, Marian Goodman Gallery, London, 2015","description":"\u003cp\u003eExhibition invitation card for \u003cem\u003eHomosapiens\u003c\/em\u003e at Marian Goodman Gallery, 5–8 Lower John Street, London W1F 9DY, 15 January–21 February 2015. Reception: Thursday 15 January, 6–8 pm.\u003c\/p\u003e\u003cp\u003e15 × 10.75 cm. Heavy multi-ply cardstock with a soft, almost velvety surface. Single card, printed recto and verso.\u003c\/p\u003e\u003cp\u003eThe recto carries exhibition and venue details in restrained serif typography on cream stock. The verso prints a world migration map titled HOMO SAPIENS — routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa. Administrative on one side, geopolitical on the other.\u003c\/p\u003e\u003cp\u003eA compact exhibition document in which invitation, image, and thesis are held in a single card.\u003c\/p\u003e\u003cp\u003eCondition: light general handling wear, otherwise clean overall.\u003c\/p\u003e","brand":"Marian Goodman Gallery","offers":[{"title":"Default Title","offer_id":53170893390162,"sku":"DANHVO-GOODMAN-INV-2015","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Dahn_Vo_2015_0001.jpg?v=1775779561"},{"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\u003eDimensions: 27 × 20 cm folded; 54 × 40 cm unfolded. Printed in black and red.\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. It functions less as neutral exhibition support than as a compact research surface.\u003c\/p\u003e\u003cp\u003eA 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\u003eCondition: 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","brand":"House of Vans","offers":[{"title":"Default Title","offer_id":53186553905490,"sku":"HEATEDWORDS-VANS-INV-2015","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. 4-page folded pamphlet. 27 × 21 cm. Offset print on thin wove stock.\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\u003eThe object holds a double condition: 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\u003eCondition: 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","brand":"Biennale di Venezia","offers":[{"title":"Default Title","offer_id":53190153797970,"sku":"RAINER-BIENNALE-INV-1978","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, Architekturmuseum Basel, 1985","description":"\u003cp\u003eArchitekturmuseum in Basel, 1985. Original mailed exhibition card, 15 × 10.5 cm. Offset print on light card stock, black and white. Recto with paired photographic images; verso with exhibition details, Basel postal stamp, and typed address label to Connaissance des Arts, Paris.\u003c\/p\u003e\u003cp\u003eIssued for Charles Simonds’s \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel, 1985. The card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object.\u003c\/p\u003e\u003cp\u003eThe addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries 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. The card behaves like a compact exhibition model — not the exhibition itself, but one of its delegated surfaces. A mailed card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. 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Title, venue, date, image. The circular form on the recto 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\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning and minor surface wear. Blank verso. 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Recto printed, verso blank.\u003c\/p\u003e\u003cp\u003eIssued for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen, 14 November – 4 December; vernissage Monday 14 November.\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 staged without excess, the object remaining 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\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light general handling wear, small surface abrasion to verso, otherwise clean and well preserved. Original period item.\u003c\/p\u003e","brand":"Galerie Galea","offers":[{"title":"Default Title","offer_id":53229952205138,"sku":"HUBAUT-SOHIER-INV-1979","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":"BERNARD RANCILLAC — Pornographie, Galerie Daniel Templon, Paris, 1969","description":"\u003cp\u003eGalerie Daniel Templon, Paris, 1969. Single exhibition invitation card, 16.6 × 13.5 cm. Black on white coated stock.\u003c\/p\u003e\u003cp\u003eIssued for Rancillac’s \u003cem\u003ePornographie\u003c\/em\u003e, Galerie Daniel Templon, 58 rue Bonaparte, Paris, 22 April – 3 May 1969. Marked \u003cem\u003estrictement sur invitation\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003eBlack 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\u003cp\u003eMore than a simple announcement, the card preserves the threshold where exhibition, scandal, and circulation briefly met. Produced at an early and charged moment in the history of Galerie Daniel Templon, it carries the atmosphere of late-1960s Paris in a particularly concise way — both invitation and filter, a small paper document through which the exhibition was framed, restricted, and made public only in part.\u003c\/p\u003e\u003cp\u003eWhat 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\u003cp\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. 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Black on white card; solid black recto, printed text verso.\u003c\/p\u003e\u003cp\u003eIssued 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\u003eCondition:\u003c\/strong\u003e Very good. Light handling wear, minor surface softness, clean overall. Original period item. Sent flat with protective support.\u003c\/p\u003e","brand":"Galerie Daniel Buchholz","offers":[{"title":"Default Title","offer_id":53247788286290,"sku":"OLESEN-BUCHHOLZ-INV-2008","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, Paul Maenz, Berlin \/ Cologne, 1987","description":"\u003cp\u003eErnst A. Busche \/ Paul Maenz, Berlin \/ Cologne, 1987. Exhibition catalogue. Softcover, approx. 27.5 × 20 cm, 24 pp. with colour illustrations.\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.\u003c\/p\u003e\u003cp\u003eThis 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. A period artist catalogue from the Cologne-centred 1980s art system — a support for reputation, distribution, and placement as much as a record of paintings.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Light shelf wear and handling consistent with period art paperbacks. 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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. Original period item.\u003c\/p\u003e","brand":"Archives of American Art","offers":[{"title":"Default Title","offer_id":53288957870418,"sku":"KELLY-AAA-INV-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. Exhibition catalogue. Original card covers, 4to.\u003c\/p\u003e\u003cp\u003ePublished on the occasion of the exhibition \u003cem\u003eStuart Brisley\u003c\/em\u003e, ICA, 21 April – 31 May 1981. Texts 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. The ICA imprint sits low on the cover; the reverse carries only the institution’s name. No image intervenes.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light wear to covers, minor handling marks, clean internally. Original 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. Softcover photographic booklet, 16 pp., 25.8 × 18.3 cm. Black-and-white offset print with spot colour. Cover price: 200 yen.\u003c\/p\u003e\u003cp\u003eSecond issue of 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. 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\u003cem\u003eThis appears to be an original 1979 issue, not the 2012 Steidl\/Le Bal facsimile reissue, based on the single No. 2 booklet format, 200 yen cover price, period wear, and absence of slipcase, ISBN, or reprint markings. 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Black-and-white illustrations by Diane DiMassa; collages by Freddie Baer.\u003c\/p\u003e\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\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 — the kind of object that circulates outside institutional channels and accumulates meaning through use.\u003c\/p\u003e\u003cp\u003e\u003cem\u003ePussycat Fever\u003c\/em\u003e sits within Acker’s wider economy of self-mythology, plagiarism, sexuality, and breakdown. It does not resolve into a stable literary object. 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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. Internally clean.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal period item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTHE NEW RARE\u003c\/span\u003e\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53300409368914,"sku":"ACKER-BLOODGUTS-GROVE-1984","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Acker_-Kathy.-Blood-and-Guts-in-High-School_-1984--cover.jpg?v=1777322140"},{"product_id":"obliques-la-femme-surrealiste-no-14-15-editions-borderie-1977","title":"Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977","description":"\u003cp\u003e\u003cstrong\u003eObliques — La Femme Surréaliste\u003c\/strong\u003e\u003cbr\u003eNuméro 14–15\u003cbr\u003eÉditions Borderie, Paris, 1977\u003c\/p\u003e\u003cp\u003eJournal \/ revue\u003cbr\u003eOffset print on textured card wraps\u003cbr\u003eApprox. 300+ pages\u003cbr\u003e21 × 21 cm\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. 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. The body appears as landscape, then as symbol, then as frame.\u003c\/p\u003e\u003cp\u003eInside, the issue accumulates: Bellmer, Zürn, Artaud, Sade, Kafka, Genet. The feminine figure is treated less as subject than as structure — myth, projection, conduit, refusal. Text and image repeat this instability: diagrammatic drawings, photographic fragments, archival reproductions, and critical passages sit without hierarchy.\u003c\/p\u003e\u003cp\u003ePaul Buck's presence operates within this system as translation and relay — rendering Zürn and adjacent texts across languages, extending the publication outward into an Anglo-French exchange rather than fixing it within a single context.\u003c\/p\u003e\u003cp\u003eThe result is not a single argument but a field of references — Surrealism read through accumulation, displacement, and return.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping included (UK).\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53301717991762,"sku":"OBL-1415-1977","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Raymond-_-Others-Borderie.-La-femme-surrealiste.-N_-14-15-de-la-revue-_Obliques_85be1e14-ffdf-4173-b16d-08275ec17457.jpg?v=1777360381"},{"product_id":"david-diao-lying-2-postmasters-gallery-new-york-2000","title":"David Diao — Lying 2, Postmasters Gallery, New York, 2000","description":"\u003cp\u003e\u003cstrong\u003eDavid Diao — Lying 2\u003c\/strong\u003e\u003cbr\u003ePostmasters Gallery, New York, 2000\u003cbr\u003eExhibition announcement card\u003cbr\u003e18 × 12.7 cm\u003cbr\u003eOffset print on semi-gloss card\u003cbr\u003eColour image recto; black-and-white exhibition information verso\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to very good. 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. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53336120754514,"sku":"DD-LYING2-POSTMASTERS-2000","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/DAvid_Diao_0001.jpg?v=1777843295"},{"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. The catalogue was reduced for carrying — placed into a jacket or back pocket, taken somewhere. The rear wrapper carries a handwritten note in ink, reading approximately:\u003c\/p\u003e\u003cp\u003e\u003cem\u003e[Picallce?] Michel \/ chez Madame Savignat \/ 274 Rue St Honoré \/ Paris Ier\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe first word remains partially illegible. The note appears to record a Paris address or temporary lodging: “at Madame Savignat’s,” 274 rue Saint-Honoré, Paris 1er. Sonnabend’s gallery appears inside as institution. The rear inscription supplies another address. Between the two, the object moves.\u003c\/p\u003e\u003cp\u003eThis copy was not only retained. It was folded, carried, and marked. It has a secondary route.\u003c\/p\u003e\u003cp\u003eRetained in good vintage condition. General age toning, handling wear, light creasing and surface marks throughout. The vertical fold is structural and consistent throughout. Rear wrapper with handwritten ownership or address note in ink.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Exhibition catalogue, first edition\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 18.1 × 25.7 cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 16 pp.\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003cbr\u003e\u003cstrong\u003ePublisher\/Venue:\u003c\/strong\u003e Galerie Ileana Sonnabend, Paris\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1965\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53339471151442,"sku":"TNR-RL-1965-SONN","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Roy_Lichtenstein_1965_-_001.jpg?v=1777909022"},{"product_id":"peter-downsbrough-take-note-villa-arson-nice-1988","title":"Peter Downsbrough — Take Note, Villa Arson, Nice, 1988","description":"\u003cp\u003eArtist's book published on the occasion of \u003cem\u003eUnder the Sun \/ Sous le soleil exactement…\u003c\/em\u003e, Villa Arson, Nice, 1988. Original manuscript written in 1987. Published by Villa Arson, Nice; publishing director: Christian Bernard. Text in English. 36 pp., 13.5 × 19.5 cm, flexible printed blue wrappers.\u003c\/p\u003e\u003cp\u003ePeter Downsbrough's practice moves between sculpture, photography, architecture, typography, and the book form, using short words, lines, divisions, and spatial intervals to alter how a site or page is read. In \u003cem\u003eTake Note\u003c\/em\u003e, the book becomes an extension of placement: words such as NOTE, HELD, ENFORCE, and STATUS sit against blank space, red rules, grey blocks, and cropped photographic fragments — a printed structure for looking, reading, and positioning.\u003c\/p\u003e\u003cp\u003eThe 1988 Villa Arson publication is listed in Downsbrough's exhibition history and bibliographic records. Some references carry the title \u003cem\u003eTake Notes\u003c\/em\u003e; the object itself uses the reduced form \u003cem\u003eTake Note \/ Note\u003c\/em\u003e, consistent with Downsbrough's characteristic economy of language.\u003c\/p\u003e\u003cp\u003eCondition: Good vintage condition. Light rubbing and handling wear to blue wrappers, minor edge and corner wear, small surface marks, and light internal handling. 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. Negligible bumping to front wrapper. Light handling wear only. Clean internally.\u003c\/p\u003e\u003cp\u003eSpecial edition made by Richard Prince for \u003cem\u003ePurple Fashion\u003c\/em\u003e no. 18, marking twenty years of Purple magazine. The publication brings together fragments of Prince's “Bird Talk” texts with collages made from celebrity headshots, film stills, promotional photographs, album material, and other collected image debris.\u003c\/p\u003e\u003cp\u003eA fashion magazine supplement as artist book.\u003cbr\u003eA Richard Prince object routed through Purple.\u003cbr\u003eCelebrity material, handwritten captions, rhetorical questions, commercial images, and borrowed surfaces.\u003c\/p\u003e\u003cp\u003eThe book sits close to Prince’s long use of existing cultural material: publicity photographs, entertainment residue, fan-image circulation, soft celebrity, advertising language, and the unstable line between collecting and authorship. The source image remains visible. The gesture is in the re-captioning, grouping, and return to circulation.\u003c\/p\u003e\u003cp\u003eHere, Purple is not only publisher but frame. Fashion magazine, artist book, anniversary object, and promotional support occupy the same printed form. Prince’s image-world is placed inside another image-world, then released as a magazine-adjacent edition.\u003c\/p\u003e\u003cp\u003eA secondary object made from secondary images.\u003cbr\u003eThe found photograph becomes layout.\u003cbr\u003eThe caption becomes authorship.\u003cbr\u003eThe magazine becomes support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price.\u003c\/p\u003e","brand":"Purple Institute","offers":[{"title":"Default Title","offer_id":53390010220882,"sku":"RP-P20-PUR-2012","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-purple-20-years-the-richard-prince-purple-book.-2012--cover.jpg?v=1778489164"},{"product_id":"terence-koh-the-whole-family-peres-projects-2008","title":"Terence Koh — The Whole Family","description":"\u003cp\u003ePeres Projects, Los Angeles, 2008\u003cbr\u003eSoftcover artist’s book \/ exhibition publication\u003cbr\u003e36 pp.\u003cbr\u003eApprox. 19 × 12.7 cm \/ 7.5 × 5 in.\u003cbr\u003eColour and black-and-white images\u003cbr\u003eTexts by Terence Koh and others\u003cbr\u003ePublished on the occasion of \u003cem\u003eThe Whole Family\u003c\/em\u003e, Peres Projects, Los Angeles, 10 May–21 June 2008\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good \/ very good. 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. The publication keeps the exhibition in a minor key: white space, soft images, sentimental texts, sharp objects, and a family structure that appears both real and performed.\u003c\/p\u003e\u003cp\u003eA gallery catalogue as social residue.\u003cbr\u003eA small book object from the Peres Projects system.\u003c\/p\u003e\u003cp\u003eShipping and handling included in listed price. Ships protected.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53402088210770,"sku":"TK-TWF-PP-2008","price":50.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Koh_-Terrance.-The-Whole-Family-1-front-cover.jpg?v=1778557370"},{"product_id":"ryan-mcginley-vertical-color-of-sound-perrotin-hong-kong-2014","title":"Ryan McGinley — Vertical Color of Sound","description":"\u003cp\u003eGalerie Perrotin, Hong Kong, 2014\u003cbr\u003eExhibition invitation card\u003cbr\u003eOffset colour print on card\u003cbr\u003e17 × 17 cm\u003cbr\u003eText in English and Chinese\u003cbr\u003eRecto image: \u003cem\u003eHay Hop\u003c\/em\u003e, 2014\u003cbr\u003eVerso with exhibition details, opening reception, bilingual text, and Galerie Perrotin Hong Kong address\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. 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","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"}],"url":"https:\/\/thenewrare.com\/collections\/50-to-100.oembed?page=6","provider":"The New Rare","version":"1.0","type":"link"}