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  • Recto (front): A. François Petit, Paris, December 1965. Recto: printed script invitation on pale green card stock. Text reads: "A. François Petit a l'honneur de vous inviter à l'Exposition d'œuvres choisies de" followed by the names Hans Bellmer, Victor Brauner, Salvador Dalí, Max Ernst, Wifredo Lam, René Magritte, Pierre Roy, Alberto Savinio, Max Walter Svanberg, Yves Tanguy, and Toyen. At foot: Décembre 1965, 122 bd Haussmann, Paris 8e. Verso (back): A. François Petit, Paris, December 1965. Verso: plain pale green card stock, unprinted, with light age toning and minor surface wear consistent with handling.

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

    Placed

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

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

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

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

  • Robert Gober's severed leg sculpture — wax, cloth, shoe — against Warhol Oxidation Painting surface. Title "Abject Art / Repulsion and Desire in American Art" and "Whitney Museum of American Art" in type. Claes Oldenburg, Soft Toilet, 1966, photographed left page; introduction text right page.

    ABJECT ART: Repulsion and Desire in American Art, Whitney Museum of American Art, New York, 1993

    Placed

    ABJECT ART: Repulsion and Desire in American Art, Whitney Museum of American Art, New York, 1993

    Placed
  • Front cover of the 1985 Achille Castiglioni exhibition invitation, featuring a bold blue and black graphic image with red side borders for *du design au ready-made* at Centre Georges Pompidou. Original 1985 Centre Georges Pompidou invitation for *Achille Castiglioni: du design au ready-made*, printed in red typography on off-white card with exhibition details and Pompidou logo.

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

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

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

    Acne Paper No. 14 — Manhattan Portraits, Winter 2012

  • Ad Reinhardt, Joseph Kosuth, Félix González-Torres, Symptoms of Interference, Academy Editions 1994, front cover, black paper stack Symptoms of Interference 1994, Félix González-Torres, candy work and poster stacks, six colour photographs

    AD REINHARDT, JOSEPH KOSUTH, FÉLIX GONZÁLEZ-TORRES: Symptoms of Interference, Conditions of Possibility, Academy Editions, London, 1994

    AD REINHARDT, JOSEPH KOSUTH, FÉLIX GONZÁLEZ-TORRES: Symptoms of Interference, Conditions of Possibility, Academy Editions, London, 1994

  • 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 2015 Pace London exhibition invitation for Adam Pendleton, New Work, front cover, plain white card with PACE LONDON in bold stencil-style black capitals centred on the page, no other text or image. Interior spread of 2015 Pace London exhibition invitation for Adam Pendleton, New Work, showing a full-bleed black-and-white reproduction of a work from Pendleton's Black Dada series: a dark ground with BLACK / LIVES / MATTER in large white hand-painted capitals overlaid on a photographic image of a figure, the lower portion of the text partially obscured by a collaged dark rectangular element, the whole image printed with high contrast on the card interior.

    Adam Pendleton — New Work, Pace London, 2015

    Adam Pendleton — New Work, Pace London, 2015

  • Original 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Lincoln, 2009, C-print, 50 × 68½ inches: colour photograph of the artist reclining across a seated white sculptural figure based on the Lincoln Memorial, shot on a New York street corner in winter light with bare trees, yellow taxis, and urban buildings visible in background. Reverse of 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — verso in minimal serif and sans-serif typography on cream stock; artwork caption upper left: Lincoln, 2009 (detail), C-print, 50 × 68½ inches / 127 × 174.2 cm; exhibition text lower right: Adel Abdessemed / Rio / April 3 through May 9, 2009 / Reception April 3, 2009, 6 to 8 pm / David Zwirner / 519 & 525 & 533 West 19th Street, New York, NY 10011 / 212 727 2070 telephone / 212 727 2072 fax / www.davidzwirner.com.

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

  • Anonymous postcard reproduction after Jean-Michel Basquiat, Untitled III from The Figure Portfolio, 1982. Recto showing two schematic figures in red, orange and yellow against a dense field of handwritten letters, diagrams, colour notations and repeated graphic marks on white ground, 14.8 × 10 cm, colour-process print on coated card. Reverse of anonymous postcard reproduction after Jean-Michel Basquiat, c. 1982. Verso showing standard divided postal format on uncoated matte white card with address lines and Place Stamp Here box. No title, artist credit, publisher or copyright statement. Unposted and unwritten.

    AFTER JEAN-MICHEL BASQUIAT — Untitled III, from The Figure Portfolio, Postcard Reproduction, c. 1982

    AFTER JEAN-MICHEL BASQUIAT — Untitled III, from The Figure Portfolio, Postcard Reproduction, c. 1982

  • Agnes Martin, Paintings and Drawings 1977–1991, Serpentine Gallery 1993, front cover, grid drawing, grey typography Agnes Martin, interior spread, Untitled #3 1990 and Untitled #4 1990, ink on paper, grid drawings, Pace Gallery

    AGNES MARTIN: Paintings and Drawings 1977–1991, Serpentine Gallery, London, 1993

    AGNES MARTIN: Paintings and Drawings 1977–1991, Serpentine Gallery, London, 1993

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

    Albert Cossery — Men God Forgot

    Albert Cossery — Men God Forgot

  • 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

  • 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

  • ALEX ISRAEL, LA Californie, Almine Rech, Paris, 2023 ALEX ISRAEL, LA Californie, Almine Rech, Paris, 2023

    ALEX ISRAEL, LA Californie, Almine Rech, Paris, 2023

    ALEX ISRAEL, LA Californie, Almine Rech, Paris, 2023

  • Exterior front of 1984 Alibis Centre Georges Pompidou exhibition invitation card, folded, showing a colour aerial photograph of a film studio backlot with a large rectangular billboard painted with a flat blue sky at centre, water tower at upper left, and surrounding low-rise industrial rooftops, printed to the right half of the folded card on semi-gloss stock. Exterior of 1984 Alibis Centre Georges Pompidou exhibition invitation card unfolded, showing right-hand panel with colour aerial photograph of a film studio backlot: low-rise industrial buildings, a water tower at left, and a large rectangular billboard structure painted with a flat blue sky, dominating the centre of the composition; left panel white with Centre Georges Pompidou / Musée national d'art moderne logotype at lower left in small black sans-serif type.

    Alibis — Exhibition Invitation Card, Centre Georges Pompidou / Musée national d’art moderne, Paris, 1984

    Alibis — Exhibition Invitation Card, Centre Georges Pompidou / Musée national d’art moderne, Paris, 1984

  • Original 1988 Alison Knowles exhibition invitation for A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, front, printed in blue offset lithography on cream card stock, showing at left ALISON KNOWLES in bold sans-serif capitals, the exhibition dates 21 juin – 9 juillet 1988 and opening hours, the vernissage note mardi 21 juin 18h–21h, and the gallery address Galerie J & J Donguy, 57 rue de la Roquette, dans la cour, 75011 Paris; at right a loose gestural drawing of two book-like rectangular forms Reverse of 1988 Alison Knowles exhibition invitation for A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, showing a plain blank cream card stock with light age toning and minor surface marks consistent with vintage condition. You appear to be offline. Messaging may not work as expected. Knowles, A… back.jpg

    Alison Knowles — A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, 1988

    Alison Knowles — A Finger Book (Prints & Video), Galerie J & J Donguy, Paris, 1988

  • Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Recto: collaged card with torn paper fragments, handwritten annotation reading "And then as we were leaving I found this steel right at the gate to his new house," exhibition dates 5–29 juin 1985. Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Verso: plain cream card, blank.

    ALISON KNOWLES — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

    ALISON KNOWLES — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

  • Black-and-white softcover catalogue titled André Kertész. The cover features a blurred self-portrait-like silhouette reflected against a doorway, with the photographer's name printed across the centre. Early photograph The Kiss, Budapest (1915), depicting a formally dressed couple embracing beneath foliage.

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

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

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

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

  • Andrea Bowers, Sam Durant, Bob & Roberta Smith, Georgina Starr et al. — Couldn't Get Ahead, 1995, front cover, IAS Georgina Starr — Couldn't Get Ahead, 1995, interior spread, yellow page "Lost: Desire to Participate / Compromise"

    ANDREA BOWERS, SAM DURANT, BOB & ROBERTA SMITH, GEORGINA STARR ET AL. — Couldn’t Get Ahead, Independent Art Space, London, 1995

    ANDREA BOWERS, SAM DURANT, BOB & ROBERTA SMITH, GEORGINA STARR ET AL. — Couldn’t Get Ahead, Independent Art Space, London, 1995

  • Cover of Andrea Zittel, Selected Sleeping Arrangements: The A-Z Bed Book, 1995. A-Z Administrative Services / Transcript, University of Dundee. 21 × 26 cm, staple-bound softcover, 16 pp. Pale cream stock with reddish-brown typography. Title 'Andrea Zittel' in large serif type, subtitle 'Selected Sleeping Arrangements' in spaced capitals below. Centre: colour photograph of A-Z Sleeping Loft, 1994 — low rounded terracotta-coloured foam form on white ground. Lower centre: circular A-Z Administrative Services s Back cover of Andrea Zittel, Selected Sleeping Arrangements: The A-Z Bed Book, 1995. Pale cream stock with reddish-brown text. Upper left: A-Z Administrative Services circular stamp logo. Below: colophon text — 'Andrea Zittel / The A-Z Bed Book / Produced in coordination with Transcript (A Journal of Visual Culture), University of Dundee, Scotland.' Exhibition credits: Andrea Rosen Gallery New York, Whitney Biennial, Whitney Museum of American Art New York, NUTOPI: Rooseum Contemporary Art Malmö Sweden. Pho

    ANDREA ZITTEL — Selected Sleeping Arrangements: The A-Z Bed Book, 1995

    ANDREA ZITTEL — Selected Sleeping Arrangements: The A-Z Bed Book, 1995

  • Andreas Gursky, Love Parade, 2001, artist postcard recto. Matthew Marks Gallery, New York, 2001. Colour reproduction of a large-format C-print: aerial view of an enormous crowd filling a clearing in a dense green forest, photographed from directly above. The mass of people — hundreds of thousands — forms an irregular oval shape, their individual figures indistinguishable at this scale, creating a dense texture of skin tones, clothing, and colour. Two long vehicles or floats are visible at the left and lower Andreas Gursky, Love Parade, 2001, artist postcard verso. Matthew Marks Gallery, New York, 2001. Cream bifold card, plain to the right panel. Left panel: small sans-serif caption text at lower left: 'ANDREAS GURSKY. German, b. 1955. / Love Parade. 2001. C-print mounted to plexiglass in artist's frame. / © 2001 Andreas Gursky. Courtesy Matthew Marks Gallery, New York.' Light handling marks and minor surface wear.

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

  • Official Andres Serrano exhibition postcard reproducing *Piss Christ (Immersions)* (1987), showing a glowing crucifix suspended within an amber-red field of light. Reverse of Andres Serrano exhibition postcard issued for *Portraits d’Amérique*, Galerie Nathalie Obadia Paris–Brussels, with exhibition and copyright details printed on white card stock.

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

  • Andrew Wilson, ed., Conceptual Art in Britain 1964–1979, Tate Publishing 2016, front cover: white, black title, b&w strip of five Keith Arnatt self-burial photographs across lower half Ed Herring, Proposition, 1970, in Conceptual Art in Britain 1964–1979, Tate 2016 — open metal filing cabinet drawer packed with 400 aged postcards; caption below

    ANDREW WILSON, ED. — Conceptual Art in Britain 1964–1979, Tate Publishing, 2016

    ANDREW WILSON, ED. — Conceptual Art in Britain 1964–1979, Tate Publishing, 2016

  • Cover of Art and Artists, Vol. 1, No. 11, February 1967, London: Hansom Books. Offset lithograph, 27.5 × 21.2 cm. Large modernist masthead 'art and artists' in black on white ground. Cover image: Andy Warhol, Flowers — four hibiscus blooms in orange, hot pink, and peach on dark green silkscreened ground. Price: 5s $1. Light rubbing and edge wear visible. Interior spread of Art and Artists, Vol. 1, No. 11, February 1967. Left page: colour reproduction of John Walker, Antilled, 1966, acrylic on canvas, 91 × 15 cm, Amon Gallery, showing three green ovoid forms on purple ground. Right page: London column 'In a Perfumed Garden' with black-and-white reproduction of Colin Self, Cinema 14 and Astroid, 1965, Gravure and acrylic, 22 × 30 in, Robert Fraser Gallery. Dense two-column critical text throughout.

    ANDY WARHOL — Art and Artists, Vol. 1, No. 11, February 1967

    ANDY WARHOL — Art and Artists, Vol. 1, No. 11, February 1967

  • Robert Gober, Féminimasculin: Le Sexe de l'Art, Centre Pompidou 1995, front cover: torso photograph, title in red and white type Andy Warhol, Féminimasculin 1995, interior pp.2–3: Identités et mascarades; Man Ray, Pierre Molinier, Claude Cahun, Andy Warhol

    ANDY WARHOL — Féminin–Masculin: Le sexe de l'art, Centre Pompidou, 1995

    ANDY WARHOL — Féminin–Masculin: Le sexe de l'art, Centre Pompidou, 1995

  • Andy Warhol, Hammer and Sickle, Haunch of Venison, London, 2004. Fold-out poster cover unfolded, approx. 59.5 × 42 cm. Red ground. Large-scale black line drawing of hammer and sickle — hammer head upper left, sickle blade upper right, handles crossing at centre; bold contour lines with hatched shading throughout; small signature or notation lower right. Horizontal and vertical fold lines visible as issued. Interior spread, Andy Warhol, Hammer and Sickle, Haunch of Venison, London, 2004. White ground. Two colour plates side by side. Left: Still Life (Hammer and Sickle), 1977 — graphite and wash on ivory wove paper, 28 × 40½ in, 71 × 104 cm; hammer and sickle in red wash with graphite outline, white ground. Right: Still Life (Hammer and Sickle), 1977 — graphite and wash on ivory wove paper, 27⅛ × 41 in, 71 × 104 cm; similar composition, red wash more saturated. Red cloth binding visible at left edge.

    ANDY WARHOL — Hammer and Sickle, Haunch of Venison, London, 2004

    ANDY WARHOL — Hammer and Sickle, Haunch of Venison, London, 2004

  • Andy Warhol, Stitched Photographs 1976–86, Anthony d'Offay Gallery, London, 1998, exhibition poster recto Andy Warhol, Stitched Photographs 1976–86, Anthony d'Offay Gallery, London, 1998, poster verso, fold marks

    ANDY WARHOL — Stitched Photographs 1976–1986, Anthony d’Offay Gallery, London, 1998

    ANDY WARHOL — Stitched Photographs 1976–1986, Anthony d’Offay Gallery, London, 1998

  • 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

  • `Animals in Pre-Columbian Art — André Emmerich Gallery, New York — exhibition catalogue front cover. Black and white photograph of a Pre-Columbian ceramic effigy vessel: a squat, four-legged jar with a zoomorphic face — wide-set eyes, open mouth with teeth, and stubby limbs — on a grey ground. Yellow Strand Bookstore price sticker upper right ($15.00). Title in black sans-serif at foot: "ANIMALS IN PRE-COLUMBIAN ART".` `Animals in Pre-Columbian Art — André Emmerich Gallery — interior plate. Two catalogue entries. Top: Cat. no. 6, Owl, Mochica, North Coast of Peru, ca. 300 B.C.–A.D. 100. Cream and light brown pottery stirrup-spout vessel in the form of a seated owl with incised feather detail, 7" high. Bottom: Cat. no. 7, Female seal with cub, and mate, Mochica I, North Coast of Peru, ca. 500–200 B.C. Two dark grey pottery stirrup-spout vessels modelled as seals, 6½" and 7" high.`

    ANIMALS IN PRE-COLUMBIAN ART — André Emmerich Inc., New York, 1965

    ANIMALS IN PRE-COLUMBIAN ART — André Emmerich Inc., New York, 1965

  • Anna Howard, Coasters, 2026 — front cover, single copy, heavy pooled wine-glass ring stain Anna Howard, Coasters, 2026 — four covers showing unique wine-glass ring stains across the edition

    ANNA HOWARD — Coasters, The New Rare Editions, London, 2026

    ANNA HOWARD — Coasters, The New Rare Editions, London, 2026

  • Anne & Patrick Poirier, Dangerzone, 2004, front cover: red ground, glass vessel with flower, DANGERZONE title in pink Anne & Patrick Poirier, Dangerzone, 2004, interior: archival photo, masked figures and man in suit, full bleed I

    ANNE & PATRICK POIRIER — Dangerzone, Centre d’Art Passerelle, 2004

    ANNE & PATRICK POIRIER — Dangerzone, Centre d’Art Passerelle, 2004

  • ANNI ALBERS — Notebook 1970–1980, David Zwirner Books, New York, 2017 An open Anni Albers artist book on a plain white background, showing graph paper pages with a vertical gold binding strip and a square printed pattern on the right page.

    ANNI ALBERS — Notebook 1970–1980, David Zwirner Books, New York, 2017

    ANNI ALBERS — Notebook 1970–1980, David Zwirner Books, New York, 2017

  • Original 1979 Annie Gramain exhibition invitation, Galerie Baudoin Lebon, Paris. Recto showing offset-printed card with the artist's name "annie gramain" repeated in descending diagonal lines across a blue ground, the name functioning as typographic field rather than signature. 14 × 9 cm. Reverse of 1979 Annie Gramain exhibition invitation, Galerie Baudoin Lebon, Paris. Verso showing plain deep teal card stock with two lines of white spaced sans-serif type at the lower edge: 'vernissage le mercredi 7 mars 1979 exposition jusqu'au samedi 14 avril 1979 / baudoin lebon 36 rue des archives 75004 paris téléphone 272-09-10'. The upper field is entirely unprinted. 14 × 9 cm.

    ANNIE GRAMAIN — Galerie Baudoin Lebon, Paris, 1979

    ANNIE GRAMAIN — Galerie Baudoin Lebon, Paris, 1979

  • Verso Annie Leibovitz, The Early Years, 1970–1983: Archive Project No. 1, Hauser & Wirth Los Angeles, 2019. Invitation verso: plain white card; 'HAUSER & WIRTH' in small spaced caps at top; 'ANNIE LEIBOVITZ' in large bold sans-serif; 'THE EARLY YEARS, 1970–1983' in smaller bold caps; 'PUBLIC OPENING / SATURDAY 16 FEBRUARY 2019 / 3–6 PM'; '14 FEBRUARY – 14 APRIL 2019'; '901 EAST 3RD STREET LOS ANGELES CA 90013 / PHONE +1 213 943 1620'; opening hours Tuesday–Sunday 11 AM–6 PM; 'WWW.HAUSERWIRTH.COM'; image cre Recto Annie Leibovitz, The Early Years, 1970–1983: Archive Project No. 1, Hauser & Wirth Los Angeles, 2019. Invitation recto: white card; four black and white photographs in a 2×2 grid — top left, view from inside a car approaching the Golden Gate Bridge in fog, 1977; top right, coastal landscape seen through a car window, Half Moon Bay, California, 1968; bottom left, close self-portrait of a woman from the shoulders up, San Francisco, 1968; bottom right, two wooden ladders standing among trees and shrubs,

    ANNIE LEIBOVITZ — The Early Years, 1970–1983: Archive Project No. 1. Hauser & Wirth Los Angeles, 2019

    ANNIE LEIBOVITZ — The Early Years, 1970–1983: Archive Project No. 1. Hauser & Wirth Los Angeles, 2019