£50–£100

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

  • Cover of Richard Tuttle, Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, Klagenfurt, c. 1990s, showing a close-up photograph of a metallic reflective surface — the cover of the catalogue itself — with the title RICHARD TUTTLE / WARM BROWN, 1–67 / AND MESA PIECES printed diagonally in large orange sans-serif capitals, and a single metal screw pin visible at lower left. nterior page 62 from Richard Tuttle, Warm Brown 1–67 and Mesa Pieces, Kärntner Landesgalerie, c. 1990s, showing a colour reproduction of an untitled work comprising two overlapping pieces of torn and cut cardboard — a larger tan corrugated sheet and a smaller pale yellow piece — pinned to a white wall, with a small red mark and a drip of white paint visible on the surface.

    Richard Tuttle — Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, 1995

    Richard Tuttle — Warm Brown, 1–67 and Mesa Pieces, Kärntner Landesgalerie, 1995

  • Cover of Robert Williams, Visual Addiction: The Art of Robert Williams, Last Gasp, Berkeley, 1989, showing a painting of a monstrous open-mouthed creature with exposed teeth and tongue on the left and a nude woman reclining on a giant hamburger in front of a roadside diner on the right, with the title VISUAL ADDICTION in large yellow lightning-bolt lettering on a blue chevron-patterned background, and INTRODUCTION BY LYDIA LUNCH at top. Interior page from Robert Williams, Visual Addiction, Last Gasp, 1989, showing Number 27 (Large Painting), a densely composed colour painting featuring a clown with an exploding hand, a nude woman riding a giant hot dog, white horses, and a chaotic carnival scene, with two detail photographs below showing a close-up of the clown's face and a detail of an animated cartoon car and character.

    Robert Williams — Visual Addiction: The Art of Robert Williams, Last Gasp, 1989

    Robert Williams — Visual Addiction: The Art of Robert Williams, Last Gasp, 1989

  • Cover of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, Nice, 1993, showing a plain dark grey-green softcover with ERWIN WURM in small debossed type at centre and KUNSTVEREIN IN HAMBURG / VILLA ARSON NICE in small debossed type at lower left. Interior spread of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, 1993, showing four black-and-white photographs arranged in a two-by-two grid on a black ground, each depicting a figure whose head and upper body are entirely concealed within an oversized knitted sweater, the body contorted into abstract sculptural forms.

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

  • Cover of Zoe Leonard, Secession, Wiener Secession, Vienna, 1997, showing a black-and-white photograph of bare winter trees in a forest with the title SECESSION in large pale yellow sans-serif capitals at upper left and ZOE LEONARD in the same type at lower right. Interior spread of Zoe Leonard, Secession, Wiener Secession, 1997, pages 6–7, left page showing a black-and-white photograph of bare winter trees captioned "Untitled" by Zoe Leonard, 1997, right page showing the introduction to "Zoe Leonard Interviewed by Anna Blume," describing their meeting through ACT UP in New York in the early 1990s.

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997

    Zoe Leonard — Secession, Wiener Secession, Vienna, 1997

  • Cover of Drop Magazine, Fall/Winter 1997, New York, showing Amanda Lepore in a black bra holding a mobile phone against a red brick wall, with the text "tune in turn on" and a contents list including Amanda Lepore, Ned Ambler, Larry Tee, Sears and Robot, Wm. Van Meter, Nice Collective, and the Drop Magazine logo in yellow and blue at right. nterior spread of Drop Magazine, Fall/Winter 1997, featuring an Amanda Lepore feature with photography by David LaChapelle, showing two photographs of Amanda Lepore on a red brick background with accompanying interview text.

    Drop Magazine — Fall/Winter 1997, New York

    Placed

    Drop Magazine — Fall/Winter 1997, New York

    Placed
  • Cover Cover of Ralph Gibson, Deja-Vu, Lustrum Press, New York, 1973, showing the title in white italic serif type centred on a solid black softcover. Reverse of Ralph Gibson, Deja-Vu, Lustrum Press, 1973, showing a black-and-white photograph of a figure performing a one-armed handstand on a beach in swimwear and a top hat, mounted on black card.

    Ralph Gibson — Deja-Vu, Lustrum Press, New York, 1973

    Ralph Gibson — Deja-Vu, Lustrum Press, New York, 1973

  • Original 2001 Olaf Breuning Ugly, Hatje Cantz, Ostfildern-Ruit — hardcover front showing full-bleed colour photograph of a young woman in round sunglasses, white crop top, and shoulder holster, holding a pistol raised to shoulder height and a power drill at hip, standing in a narrow wooden doorway, red lipstick, direct gaze Reverse of 2001 Olaf Breuning Ugly, Hatje Cantz — hardcover back showing full-bleed colour photograph of a shirtless young man in aviator sunglasses and black wig covered in temporary tattoos including a large tiger on the abdomen, holding a Gatorade bottle, standing outdoors against a rocky background in red Champion shorts

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

    Olaf Breuning — Ugly — Hatje Cantz, Ostfildern-Ruit, 2001

  • Original 1982 Louise Bourgeois Bourgeois Truth exhibition catalogue, Robert Miller Gallery, New York — cream square softcover with full-bleed black ink drawing of densely hatched grass-like blade forms on aged yellow-cream ground, no title text on cover Interior spread of 1982 Louise Bourgeois Bourgeois Truth — left page with colour photograph of a small figure in a fur coat standing against a stone wall in dim light, mounted on blue-grey card; right page with title page reading Robert Pincus-Witten / BOURGEOIS TRUTH / Robert Miller, New York in serif type

    Louise Bourgeois — Truth — Robert Pincus-Witten— New York, 1982

    Louise Bourgeois — Truth — Robert Pincus-Witten— New York, 1982

  • Original 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records, Los Angeles — jewel case front with blue-sky photographic cover showing a large hotel-casino building on a rocky hillside beside a lake, title Suicide Moi in pink cursive script at top, artist name Jean Baudrillard The Chance Band in white serif text at foot Reverse of 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records — dark back cover with colour photograph of two performers on stage, a woman in a red dress at left and an older man reading from papers at a microphone at right, Compound Annex Records copyright line and Los Angeles address at foot

    Jean Baudrillard & The Chance Band — Suicide Moi

    Jean Baudrillard & The Chance Band — Suicide Moi

  • Wade Guyton, Galerie Chantal Crousel, Paris, 2023. Full-bleed photograph of a dead deer lying on a wet pebble shoreline, sepia-toned, viewed from above; cream card border. Wade Guyton exhibition card verso, Galerie Chantal Crousel, Paris, 2023. White stock; 'GALERIE / CHANTAL CROUSEL' in small caps; 'Wade Guyton' in large serif; '3 JUIN — 22 JUILLET 2023 / 10 RUE CHARLOT, 75003 PARIS'; © Wade Guyton / Crousel 2023 credit at right edge.

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

  • Aneta Grzeszykowska, Untitled Film Stills #30, 2006, c-print, Raster Gallery Warsaw. Close-up of young woman with short dark hair, wide eyes, smudged mascara, open mouth, lit against dark blue interior; restaged after Cindy Sherman. Reverse of Aneta Grzeszykowska Untitled Film Stills #30 Raster Gallery postcard, 2006. Cream stock; bilingual caption text describing the 70-photograph series and Berlin Biennale context; Raster logo and address ul. Hoża 42/8, 00-516 Warszawa; www.raster.art.pl.

    Aneta Grzeszykowska — Untitled Film Stills #30, 2006 — Artist Postcard, Raster Gallery, Warsaw

    Aneta Grzeszykowska — Untitled Film Stills #30, 2006 — Artist Postcard, Raster Gallery, Warsaw

  • Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Cover: assemblage painting with green and blue spray paint, hazard tape border, scattered coins, £20 and €50 banknotes, Scottish £20 note, toy wooden gun, and photographic fragments. Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Interior: purple and white gestural painting with arc of gold coins, small portrait photograph with halo effect, and grey painted panel below.

    Isa Genzken — Geldbilder — Folded Exhibition Invitation, Hauser & Wirth, London, 2015

    Isa Genzken — Geldbilder — Folded Exhibition Invitation, Hauser & Wirth, London, 2015

  • Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, Paris, 1982. Monochrome field with numbered sphere clusters (4, 5, 6, 7), directional arrows, cross marks, and photographic haze. Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, 57 rue de la Roquette, Paris, 1982. Black ground, white typewriter text; dot-matrix title SPHERES SPHERES; vernissage 16 juin, exhibition 17 juin–13 juillet.

    Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. & J. Donguy, Paris, c.1982

    Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. & J. Donguy, Paris, c.1982

  • 1999 Dada Surréalisme Avant-Gardes Centre Wallonie-Bruxelles Paris exhibition invitation, cover: colour reproduction of Marcel Mariën's Parler de soie (1975), showing a fragmented female face — eyes and nose within a speech-bubble cutout form, lips detached below — on cream ground; handwritten caption 'Parler de soie.' at lower left and 'Mariën 9.6.75' at lower right. Reverse of 1999 Centre Wallonie-Bruxelles Dada Surréalisme Avant-Gardes invitation, showing plain cream card stock with light age toning and faint surface marks.

    DADA | SURRÉALISME | AVANT-GARDES — Un siècle de collage en Belgique — Exhibition Invitation with Insert, Centre Wallonie-Bruxelles, Paris, 1999–2000

    DADA | SURRÉALISME | AVANT-GARDES — Un siècle de collage en Belgique — Exhibition Invitation with Insert, Centre Wallonie-Bruxelles, Paris, 1999–2000

  • 1990 Philippe Cazal Collection Galerie Claire Burrus Paris exhibition invitation card. Recto: repeating horizontal stripe pattern alternating dark grey and cream bands, each carrying 'PHILIPPE CAZAL' in bold white/dark sans-serif and 'COLLECTION' mirrored below in grey outline type, creating a dense optical rhythm across the full card surface. Reverse of 1990 Philippe Cazal Collection Galerie Claire Burrus invitation card. Cream stock with 'galerie claire burrus / 30–32 rue de lappe 75011 paris' in small sans-serif; Philippe Cazal Collection logo in box at lower left; vernissage and exhibition dates 2–30 avril 1990; red postal frank dated 27.3.90; handwritten address label to A. Morain, 75014 Paris; Nicole Renvier sponsor credit at lower right.

    Philippe Cazal — Collection — Exhibition Invitation Card, Galerie Claire Burrus, Paris, 1990

    Philippe Cazal — Collection — Exhibition Invitation Card, Galerie Claire Burrus, Paris, 1990

  • Front cover of c.1960s Madeleine Alain Brieux Collages Galerie du Passeur Paris exhibition invitation card showing a full-bleed colour offset lithograph reproduction of a surrealist collage: at left, a Dutch Old Master floral still life in an arched window frame overlaid with large pink-red hands reaching upward among peonies, tulips, and mixed flowers; at centre, a large flat mauve-purple silhouetted figure form; at upper right, acrobatic male figures in coloured costumes leaping across an ornate architect nterior of c.1960s Madeleine Alain Brieux Collages Galerie du Passeur Paris exhibition invitation unfolded, showing two panels on cream-white ground in black serif type: left panel with numbered checklist of 37 works in two columns including titles such as 'Nature morte', 'Machine à vapeur', 'Orbite de révolution', 'Le Pont des Deux-Anges', 'Pyramide intérieure', 'Le Siège du dedans', 'L'Élonnurée', 'Bouquet no 1', 'Pachamamgories', 'Les séquences du Don Juan', 'L'esprit pour le meilleur et pour le père', '

    Madeleine Alain Brieux — Collages — Exhibition Invitation, Galerie du Passeur, Paris, c.1960s

    Madeleine Alain Brieux — Collages — Exhibition Invitation, Galerie du Passeur, Paris, c.1960s

  • Original 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card, offset print in black ink on cream card stock, showing bold graphic layout: upper half with mixed-size italic and roman typography reading 'le vendredi 19 novembre / de 18 à 21 heures / NOVEMBRE/DÉCEMBRE 1971 / la librairie les "ALISCANS" présente / l'exemplaire de tête illustré par / abdallah BENANTEUR de :'; large bold italic display type reading 'l'air pauvre' across centre with 'textes de monique BOUCHER' in smaller Reverse of 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card showing plain cream-white thin card stock with warm age toning, light surface marks, and visible creasing and handling wear to lower corners consistent with fragile early-1970s paper ephemera.

    Monique Boucher — L’air pauvre — Exhibition / Literary Event Invitation, Les Aliscans Librairie, Paris, 1971

    Monique Boucher — L’air pauvre — Exhibition / Literary Event Invitation, Les Aliscans Librairie, Paris, 1971

  • Reverse of 2009 Michaël Borremans Taking Turns David Zwirner New York exhibition invitation card showing pale cream-white ground with small caption at upper right in light grey serif type reading 'Taking Turns, 2009 (film still) / 35mm film transferred to DVD'; centred lower half with 'Michaël Borremans' in large light serif type, 'Taking Turns' in smaller italic below, exhibition dates 'February 24 through / March 25, 2009', reception 'February 24, 2009, 6 to 8 pm', and 'David Zwirner' in bold serif with a Front of 2009 Michaël Borremans Taking Turns David Zwirner exhibition invitation card showing a near-square colour film still from Taking Turns (2009), 35mm film transferred to DVD: two figures seen from behind in close proximity, both with short blonde hair, wearing dark clothing, their heads slightly turned toward each other against a very dark, almost black background; the image is soft-focus and atmospherically lit, creating a sense of psychological tension, doubling, and uneasy intimacy.

    Michaël Borremans — Taking Turns — Exhibition Invitation Card, David Zwirner, New York, 2009

    Michaël Borremans — Taking Turns — Exhibition Invitation Card, David Zwirner, New York, 2009

  • Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior red-orange panel showing full-bleed flat red-orange card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 541 WEST 24 STREET NEW YORK'; light surface marks consistent with period gallery ephemera. Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior green panel showing full-bleed flat mid-green card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 745 FIFTH AVENUE NEW YORK'; light surface marks and faint handling wear consistent with period gallery ephemera.

    Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery / Mary Boone Gallery, New York, 2007

    Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery / Mary Boone Gallery, New York, 2007

  • Original c. late 1980s–early 1990s Christopher Wool Prankster graphic card, offset print on white card stock, showing the word 'PRANKSTER' printed in large bold black stencil-style block capitals across three lines reading 'PRA / NKS / TER', each letter fractured by thin white gaps at intersections consistent with Wool's text-based stencil language; letters fill the full card surface edge to edge against white ground. Reverse of c. late 1980s–early 1990s Christopher Wool Prankster graphic card showing plain cream-white card stock, blank, with light age toning, soft surface marks, minor creasing, and faint discoloration consistent with period printed ephemera and archive storage.

    Christopher Wool — Prankster Card, c. late 1980s–early 1990s

    Christopher Wool — Prankster Card, c. late 1980s–early 1990s

  • Original 1989 Coup d'envois ou l'art à la lettre Musée de La Poste Paris press dossier cover showing cream-white ground with black spiral binding at left, 'dossier de presse' in small light italic serif type at top, 'Coup d'envois' in large bold italic serif type at centre, 'ou l'art à la lettre' in smaller italic below, followed by '100 artistes et écrivains dont' and a two-column artist list in small sans-serif capitals: Alechinsky, Arman, Barthes, Beuys, Bonnard, Broodthaers, Buraglio, Carl Andre, Cesar, Reverse of 1989 Coup d'envois ou l'art à la lettre Musée de La Poste press dossier showing plain cream-white stock with black spiral binding at right edge, light age toning, surface marks, and soft creasing consistent with archive storage and institutional circulation.

    Coup d’envois ou l’art à la lettre — Press Dossier, Musée de La Poste, Paris, 1989

    Coup d’envois ou l’art à la lettre — Press Dossier, Musée de La Poste, Paris, 1989

  • Original c.1966 Seul, et le corps… Galerie du Dragon Paris exhibition catalogue cover showing cream-white matte ground with centred black italic serif typography reading 'SEUL, ET LE CORPS…' in large type at top, followed by artist list in medium italic: 'Balthus, Bellmer, / César, Cremonini, Dali, / Giacometti, Hélion, Hiquily, / Ipoustéguy, Magritte, Matta, / Petlin, Rosofsky'; 'GALERIE DU DRAGON' in small spaced capitals at foot. Interior spread from Seul, et le corps…, Galerie du Dragon, Paris, c.1966, right page showing a black-and-white reproduction of a painting by Balthus: a reclining female nude on a daybed or sofa, her body loosely arranged across rumpled white fabric, legs extended and slightly raised, the head turned away or obscured in shadow, the composition rendered in Balthus's characteristic flattened, classical figuration against a dark background.

    Seul, et le corps… — Exhibition Catalogue, Galerie du Dragon, Paris, c.1966

    Seul, et le corps… — Exhibition Catalogue, Galerie du Dragon, Paris, c.1966

  • Original 1986 Eric Bainbridge Viewpoints Walker Art Center Minneapolis exhibition brochure cover showing white ground with 'Viewpoints' in small light serif type at upper left, 'Eric Bainbridge' in bold black serif type below a thin green rule, and a colour photograph of Bainbridge's sculpture Handle (1986): a large seated rabbit-like form covered in beige fur fabric with dark brown oval spots, mounted on two black rounded leg forms on a grey speckled oval base, photographed from behind against a white gall nterior and back panel of 1986 Eric Bainbridge Viewpoints Walker Art Center exhibition brochure showing two-column black serif text on white ground: left column with artist biography (born Consett, England, 1955; Newcastle Polytechnic B.A. 1977; Royal College of Art M.A. 1981), a black-and-white photograph of Handle (rear view), and a numbered checklist of five works (Dark Style Swan 1985, Statue of Tommy Ferzackely 1985, Disguise Style Swan 1985, Din-O-Saur New York New York 1985, Handle 1986), all fur fab

    Eric Bainbridge — Viewpoints — Exhibition Brochure, Walker Art Center, Minneapolis, 1986

    Eric Bainbridge — Viewpoints — Exhibition Brochure, Walker Art Center, Minneapolis, 1986

  • Original 2015 Alex Bag The Van (Redux) ICA Miami exhibition poster, large-format offset print on glossy blue ground with bold white condensed sans-serif type reading 'LEROY LELOUP / PRESENTS / THE VAN / (REDUX)' at upper half, overlaid on two dark photographic stills from video: upper image showing a shadowed figure in a hat, lower image showing a figure in a cowboy hat with a gloved hand reaching into frame; date 'December 1, 2015 – January 31, 2016' in large white italic type at lower left; asterisk note

    Alex Bag — The Leroy Group: The Van (Redux)* — Exhibition Poster, ICA Miami, 2015

    Alex Bag — The Leroy Group: The Van (Redux)* — Exhibition Poster, ICA Miami, 2015

  • Original 1998 Young Americans 2 Part Two Saatchi Gallery London exhibition catalogue cover showing cream-white ground with centred black spaced-capital sans-serif typography reading 'YOUNG AMERICANS 2 / PART TWO SEPTEMBER 10 TO NOVEMBER 22 1998' followed by artist list: Michael Ashkin, John Currin, Tom Friedman, Martin Kersels, Clay Ketter, Robin Lowe, Josiah McElheney, Sarah Morris, Laura Owens, Elizabeth Peyton, Monique Prieto, Brian Tolle, Sue Williams, Lisa Yuskavage; 'THE SAATCHI GALLERY' at foot, all Reverse of 1998 Young Americans 2 Saatchi Gallery London exhibition catalogue showing plain cream-white stock with light age toning and surface marks, with small black sans-serif text at foot reading 'THE SAATCHI GALLERY 98A BOUNDARY ROAD LONDON NW8 0RH TELEPHONE: 0171-624 8299 / OPENING HOURS: THURSDAY, FRIDAY, SATURDAY & SUNDAY 12–6PM'.

    Young Americans 2: Part Two — Exhibition Catalogue, The Saatchi Gallery, London, 1998

    Young Americans 2: Part Two — Exhibition Catalogue, The Saatchi Gallery, London, 1998

  • Original 2012 The Virgins Show Family Business New York exhibition invitation card, recto showing a colour photograph of six figures posed in a wood-panelled library interior with floor-to-ceiling bookshelves: from left, a young woman in a black dress, an older woman in white, a seated woman in a green armchair holding a microwave oven on her lap, a man in a dark suit, a teenage girl in a beige suit, and a young boy in a dark suit, standing on a red geometric-patterned carpet Reverse of 2012 The Virgins Show Family Business invitation card showing cream ground with light grey sans-serif type reading 'THE VIRGINS SHOW / CURATED BY MARILYN MINTER / OPENING FEBRUARY 16 2012 6–8PM', followed by two participant lists: 'THE VIRGINS' including Andrew Brischler, Eric Mistretta, David Mramor, Rebecca Ward and more; 'THE BORN AGAIN VIRGINS' including Patty Chang, Kate Gilmore, Laurel Nakadate, Wangechi Mutu, Mika Rottenberg, Aida Ruilova; below, 'FAMILY BUSINESS / 520 WEST 21ST ST. NY, NY

    The Virgins Show — Curated by Marilyn Minter — Exhibition Invitation Card, Family Business, New York, 2012

    The Virgins Show — Curated by Marilyn Minter — Exhibition Invitation Card, Family Business, New York, 2012

  • Interior of 1996 Rona Pondick Patricia Faure Gallery exhibition poster showing a full-bleed offset lithograph reproduction of a Pondick work: upper half densely covered in small black handwritten or printed text forming a grey field with four vertical spine-like forms emerging from it; lower half showing three large blue and dark purple ovoid forms with serrated white edges and vertical brushstroke marks suggesting teeth, spines, or organic protrusions, against a white ground. Exterior address side of 1996 Rona Pondick Patricia Faure Gallery poster/mailer showing cream ground with 'Patricia Faure Gallery' in small spaced serif caps and '2525 Michigan Avenue B7 Santa Monica CA 90404' below, with a bulk-rate postal indicia box top right reading 'Bulk-Rate Mail / U.S. Postage / Paid / Mercury Mailing Systems, Inc.

    Rona Pondick — Exhibition Poster/Mailer, Patricia Faure Gallery, Santa Monica, 1996

    Rona Pondick — Exhibition Poster/Mailer, Patricia Faure Gallery, Santa Monica, 1996

  • Original 2014 Adam McEwen Non-Alignment Pact exhibition opening card, Art : Concept, Paris, recto showing a colour photograph of a chestnut horse standing on a concrete yard surface with its legs placed in three plastic buckets — blue, yellow, and red — with a rural landscape and metal fencing visible in the background. Reverse of 2014 Adam McEwen Non-Alignment Pact exhibition card showing white ground with black type in two registers: upper section with date '24 oct – 6 déc 2014' in small type at left, 'Adam McEwen' in large bold sans-serif at right, 'Vernissage / jeudi 23 octobre / 18:00–22:00' centred below, and gallery details 'Art : Concept / 13 rue des Arquebusiers–75003 Paris' with website, email, and telephone; lower section with 'Non-Alignment Pact' in large bold type and a small colon-dot logotype bottom left."

    Adam McEwen — Non-Alignment Pact — Exhibition Opening Card, Art : Concept, Paris, 2014

    Adam McEwen — Non-Alignment Pact — Exhibition Opening Card, Art : Concept, Paris, 2014

  • Original 1995 Slavica Perković with Lewis Baltz 'Desire' exhibition postcard, Gallery RAM, Santa Monica, recto showing a cropped colour photograph of a feminine figure in a floral top and white skirt or tights seated on what appears to be a fairground ride, overlaid with bold red italic text reading 'Men usually like when I dress like a little girl. Reverse of 1995 Slavica Perković / Lewis Baltz Desire exhibition postcard showing cream card with black bold text block reading 'Desire / Slavica Perkovic with Lewis Baltz / 20 April – 15 June / Reception 20 April 6pm – 8pm / artist will be in attendance / Gallery RAM / Bergamot Station / 2525 Michigan Ave, A2 / Santa Monica, CA, 90404 / Tel. 310-453-0843 / Fax 310-264-4988.'

    Slavica Perković with Lewis Baltz — Desire — Exhibition Postcard, Gallery RAM, Santa Monica, 1995

    Slavica Perković with Lewis Baltz — Desire — Exhibition Postcard, Gallery RAM, Santa Monica, 1995

  • Original 2007 Charles Ray exhibition announcement card for Matthew Marks Gallery, New York, recto showing a solid green ground with three exhibition titles printed in large dark green sans-serif uppercase text: 'CHICKEN', 'THE NEW BEE- / TLE', and 'FATHER FIGURE', stacked vertically with generous leading. Reverse of 2007 Charles Ray Matthew Marks Gallery exhibition card showing a near-black ground with centred silver-grey text reading 'Charles Ray / Matthew Marks Gallery / November 14, 2007 to January 19, 2008 / 522 West 22nd Street, New York / 212 243 0200 www.matthewmarks.com' in spaced small caps and serif type.

    Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007

    Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007

  • Original 1992 Richard Prince Good Revolution postcard for Parkett 34, recto showing a colour reproduction of the edition: a framed display piece combining a dark photographic C-print backdrop depicting a nightclub or cabaret scene with neon signage, overlaid with the text 'Richard Prince' and 'good revolution' in retro gold lettering with a Playboy bunny motif, and a gold 7-inch vinyl record mounted to the right with a Parkett label, above a small engraved silver plaque. Reverse of 1992 Richard Prince Parkett 34 postcard showing plain cream card with Parkett Verlag and Parkett Publishers address block in small grey type — Quellenstrasse 27, CH-8005 Zürich and 636 Broadway, New York NY 10012 — with the Parkett logotype in gothic script bottom left and the caption 'Richard Prince Edition for Parkett 34' bottom right.

    Richard Prince — Good Revolution / Parkett 34 Postcard, 1992

    Richard Prince — Good Revolution / Parkett 34 Postcard, 1992

  • Original Richard Prince 'I Changed My Name' Artpost postcard, recto showing a reproduction of the 1988 text painting: two deep navy blue panels divided by a thin white vertical line, with pink lowercase text reading 'I never had a penny to my name' on the left panel and 'so I changed my name.' on the right panel. Reverse of Richard Prince 'I Changed My Name' Artpost postcard showing standard postcard layout with artwork details in small sans-serif type: 'Richard Prince / I Changed My Name, 1988 / Acrylic, silkscreen on canvas, 56¼ × 78 ⅜in' with copyright line crediting Barbara Gladstone Gallery, New York, barcode, and Artpost imprint bottom right.

    Richard Prince — I Changed My Name Postcard, Artpost, c. 1990s–2000s

    Richard Prince — I Changed My Name Postcard, Artpost, c. 1990s–2000s

  • Reverse of 2006 Riflemaker becomes Indica announcement card showing a black-and-white photograph of four figures standing against a plain background, one with face obscured by a white balloon, alongside the text 'Riflemaker becomes Indica, November 20' and a list of participating artists including Takis, Conrad Shawcross, Yoko Ono, Gustav Metzger, Goldfrapp, Jesús Rafael Soto, Jaime Gill, Mark Boyle, Boyle Family, Janfamily, Liliane Lijn, Juan Fontanive, Lourdes Castro, David Medalla, and Julio le Parc. Original 2006 Janfamily / Riflemaker promotional announcement card, recto showing two colour photographs stacked vertically: upper image of figures seated at a dining table with white paper squares obscuring their faces; lower image of a group of people gathered in a domestic interior with bookshelves, several wearing green, with the text 'Janfamily' top left and 'Riflemaker' bottom right in small serif type.

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

  • Original 1979 Dennis Oppenheim exhibition invitation card for Projects 78/79, ARC Paris, Musée d'Art Moderne de la Ville de Paris, showing the artist's name in large bold lowercase type alongside the exhibition title, vernissage date Friday 14 December 18–21h, and run dates through 20 January 1980, with a formal invitation line from the Mayor of Paris at the top. Reverse of 1979 Dennis Oppenheim Projects 78/79 invitation card showing a black-and-white photograph of an installation view — a large-scale sculptural structure with angled metal supports, flat platform surfaces, and dramatic directional light casting sharp shadows across the interior space, consistent with Oppenheim's late 1970s architectural and machine-based sculptural environments.

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

    Dennis Oppenheim — Projects 78/79, ARC Paris, 1979–1980

  • Front cover of original 2015 Alex Bag, The Van (Redux) exhibition brochure, ICA Miami — black ground with video still of a blonde woman in profile, white text reading ALEX BAG / The Van / (Redux), ICA Miami logo lower right. Interior text page of Alex Bag, The Van (Redux) exhibition brochure, ICA Miami, 2015 — exhibition essay describing Bag's video practice and ICA Miami presentation, alongside a dark video still of a figure smoking.

    Alex Bag — The Van (Redux)*, Institute of Contemporary Art, Miami, 2015

    Alex Bag — The Van (Redux)*, Institute of Contemporary Art, Miami, 2015

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

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

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