Products

  • Exhibition poster, Lee Lozano, Drawings 1959–64, Karma, New York, 2021. Offset print, 45.5 × 61 cm. White ground; large bold black sans-serif type ‘LOZANO / 1959–64’ upper half; central reproduction of pencil drawing: torso of figure wearing chain necklace with large cross pendant, breasts visible, energetic hatched shading. Footer: ‘Lee Lozano Drawings 1959–64 July 12–August 13, 2021 Karma 22 E 2nd St, New York’. Good condition with handling wear.

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

  • 2024 Leidy Churchman Inner Dialogue Galerie Chantal Crousel Paris exhibition card. Recto: colour reproduction of painting showing fragmented geometric forms in green, orange, pink, blue, red, and brown; a magpie in flight at centre; scattered handwritten text fragments including 'NO', 'EYE', 'space', 'dead'; overlapping planes suggesting interior and exterior space simultaneously. Reverse of 2024 Leidy Churchman Inner Dialogue Galerie Chantal Crousel exhibition card. White uncoated stock; 'GALERIE / CHANTAL CROUSEL' in small caps at upper left; 'Leidy Churchman / Inner Dialogue' in large elegant serif type; '7 SEPTEMBRE — 5 OCTOBRE 2024 / 10 RUE CHARLOT, PARIS / +33 1 42 77 38 87 | CROUSEL.COM' at lower left; vertical caption at right edge crediting photo to Max L Lee-Russell.

    Leidy Churchman — Inner Dialogue — Exhibition Card, Galerie Chantal Crousel, Paris, 2024

    Leidy Churchman — Inner Dialogue — Exhibition Card, Galerie Chantal Crousel, Paris, 2024

  • Leopoldo Maler — Mortal Issues: A Sanctuary with Flames & Figures. Exhibition publication cover, Whitechapel Art Gallery, London, 1976. Black-and-white photograph of Maler standing before a monumental archway, arms crossed. Bold typographic title below. Interior spread from Leopoldo Maler exhibition publication, 1976. Black-and-white photograph of a typewriter with sheet of flames, captioned Hommage, 1974, Art Systems in Latin America, ICA London. Valerie Beston Library provenance stamp visible at top left.

    LEOPOLDO MALER — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, London, 1976

    LEOPOLDO MALER — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, London, 1976

  • Linus Bill + Adrien Horni, Gemälde, M J, Geneva, 2014. Front cover: cream card with two black geometric shapes — a notched vertical rectangle upper left and a horizontal square lower right — title 'Gemälde' upper right, publisher mark 'M J' lower left. Saddle-stitched catalogue, edition of 200. Linus Bill + Adrien Horni, Gemälde, M J, Geneva, 2014. Interior spread: left, grey ground with abstract collage of dark notched rectangle, black horizontal bar, white diagonal forms and pixelated fragments; right, white ground with collage of vertical grey bar, dark semicircle, circular disc, and black smudged form with grid texture upper right.

    LINUS BILL + ADRIEN HORNI — Gemälde. M J, Geneva, 2014

    LINUS BILL + ADRIEN HORNI — Gemälde. M J, Geneva, 2014

  • Linus Bill + Adrien Horni, Gemälde, Nathalie Karg Gallery, New York, 2014. Exhibition invitation, recto: blue ground with text "Dec. 11th, 6–8 pm" top and "41 Great Jones Street" bottom; centre, yellow publication cover showing "Linus Bill + Adrien Horni" with colour collage of red, yellow, blue and grey abstract forms, "Nathalie Karg Gallery / New York" below. Linus Bill + Adrien Horni, Gemälde, Nathalie Karg Gallery, New York, 2014. Exhibition invitation, verso: plain cream card, blank, light toning consistent with age.

    LINUS BILL + ADRIEN HORNI — Gemälde. Nathalie Karg Gallery, New York, 2014

    LINUS BILL + ADRIEN HORNI — Gemälde. Nathalie Karg Gallery, New York, 2014

  • Original 1968 offset-printed illustration by Lorenzo Alessandri for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, Rome, showing a surrealist pen-and-ink composition in black on cream paper: at left a seated nude female figure with close-cropped hair, her body turned slightly away, one hand raised to her chest; at right a large robed ecclesiastical figure in an ornate mitre and vestments leaning toward her; between them on the ground an arrangement of small ritual objects including bottl Reverse of 1968 Lorenzo Alessandri illustration sheet for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, showing a plain blank cream paper with light age toning and minor surface marks consistent with vintage condition. You appear to be offline. Messaging may not work as expected. Kolosimo, … back.jpg

    Lorenzo Alessandri — Illustration for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, 1968

    Lorenzo Alessandri — Illustration for Guida al Mondo dei Sogni by Peter Kolosimo, Edizioni Mediterranee, 1968

  • Exhibition catalogue, Louise Bourgeois, Autobiographical Prints, Hayward Publishing, London, 2016. Softcover, 96 pp., approx. 16 × 24 cm. Front cover: dark teal-grey ground; white serif type ‘LOUISE’ upper third, ‘BOURGEOIS’ lower third; central cream panel with red line etching of pregnant mosquito. ISBN 978-1-85332-343-0. Exhibition catalogue interior spread, Louise Bourgeois, Autobiographical Prints, Hayward Publishing, 2016. Page 30: left page text ‘Madeleine’ and page number; right page: drypoint print of female profile in close-up, face half in shadow, eye visible, lips parted, chain at neck. Black and white, high contrast. From the Autobiographical Series, 1994.

    Louise Bourgeois — Autobiographical Prints, Hayward Publishing, London, 2016

    Louise Bourgeois — Autobiographical Prints, Hayward Publishing, London, 2016

  • Louise Bourgeois, Papillons Noirs, exhibition announcement front cover. Hauser & Wirth, St. Moritz, 2018–2019. White card cover. 'HAUSER & WIRTH' in small spaced sans-serif caps at top centre. Centred below in large serif type, mixed roman and italic: 'Louise / Bourgeois / Papillons / Noirs'. Minimal, typographic design on plain white ground. Light handling marks and minor surface wear. Louise Bourgeois, Papillons Noirs, exhibition announcement inside spread. Hauser & Wirth, St. Moritz, 2018–2019. Folded card, two panels. Left panel: white ground with black sans-serif text. 'LOUISE BOURGEOIS' in large bold caps; 'PAPILLONS NOIRS' in smaller bold caps below. Opening reception details: 'FRIDAY 28 DECEMBER 2018 / 6–8 PM'. Exhibition dates: '28 DECEMBER 2018 – 10 FEBRUARY 2019'. Gallery address: 'VIA SERLAS 22, 7500 ST. MORITZ / PHONE +41 81 552 1000'. Opening hours: 'TUESDAY–SUNDAY 10 AM–7 PM

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

  • Original 2005 Louise Bourgeois Selected Prints 1989–2005 exhibition catalogue, Marlborough Graphics, London. Front cover showing a pale cream ground with a large drypoint reproduction of Bourgeois's The Angry Cat (1999): a female cat standing upright on its hind legs, arms crossed over its chest, tail curling to the right, rendered in fine hatched lines. Title 'Louise Bourgeois' in bold black serif type at upper right, subtitle 'Selected Prints 1989–2005' in smaller type below. Approx. 21 × 15 cm, illustrat Interior spread of 2005 Louise Bourgeois Selected Prints 1989–2005 catalogue, Marlborough Graphics, London. Left page showing a reproduction of Ears (2004): a grid of twelve human ears in three rows of four, each with a small circular mark at the canal, on a pale grey ground. Caption 'Ears 2004' at lower left. Right page showing Spiral Woman (2003): a female figure whose torso is replaced by four stacked pale ovoid forms, long dark hair streaming upward in multiple strands, small legs walking below. Caption

    LOUISE BOURGEOIS — Selected Prints 1989–2005, Marlborough Graphics, 2005

    LOUISE BOURGEOIS — Selected Prints 1989–2005, Marlborough Graphics, 2005

  • 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 Louise Bourgeois Zeichnungen und Skulpturen exhibition programme, Kunsthaus Bregenz, KUB 02.03. Front cover showing a pale grey ground with four overlapping spiral coils in red and grey pencil — reproducing Bourgeois's drawing On the Tile (1998) — arranged diagonally from lower left to upper right. Blue sans-serif text at lower right reads 'Louise Bourgeois / Zeichnungen und Skulpturen' with exhibition dates below. KUB 02.03 identifier at lower left. Loop-stapled binding visible at left edge. Left: colour reproduction of Ohne Titel (1970), jagged black and red zigzag forms on white paper. Right: large colour photograph of Ohne Titel (1990), a mobile-like structure suspending pale fabric garments and organic forms from horizontal arms. Essay text in two columns below.

    LOUISE BOURGEOIS — Zeichnungen und Skulpturen, Kunsthaus Bregenz, 2002

    LOUISE BOURGEOIS — Zeichnungen und Skulpturen, Kunsthaus Bregenz, 2002

  • Louise Bourgeois, Estampes, BnF, 1995, front cover with Bourgeois quotation in blue, cahiers d'une exposition Louise Bourgeois, Estampes, 1995, interior spread with Pernoud essay, Vase of Tears print and bronze hand sculpture

    LOUISE BOURGEOIS, Estampes, Bibliothèque nationale de France, 1995

    LOUISE BOURGEOIS, Estampes, Bibliothèque nationale de France, 1995

  • Louise Bourgeois / Mâkhi Xenakis, The Blind Leading the Blind, Actes Sud / Galerie Lelong, 2008, front cover Louise Bourgeois, school correspondence notebook 1920–21, registration form, and class photograph, 1922, spread pp.44–45

    LOUISE BOURGEOIS: THE BLIND LEADING THE BLIND, Mâkhi Xenakis, Actes Sud / Galerie Lelong, 2008

    LOUISE BOURGEOIS: THE BLIND LEADING THE BLIND, Mâkhi Xenakis, Actes Sud / Galerie Lelong, 2008

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

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

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

  • Original 2006 Lucas Samaras iMovies exhibition poster, PaceWildenstein, 534 W 25th St, New York. Offset lithograph, 71 × 51 cm. Left panel: grid of 24 viewer portrait photographs on black ground. Right panel: Samaras standing beside a wooden chair, hand resting on chair back. Vertical title iMOVIES in multicolour letters. Bottom text: Samaras PaceWildenstein, opening reception Sept 12, 6–8 PM, on view through Oct 7, 2006. Fold lines visible.

    LUCAS SAMARAS — iMovies, PaceWildenstein, New York, 2006

    LUCAS SAMARAS — iMovies, PaceWildenstein, New York, 2006

  • Recto Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation recto: cream card; formal text in dark green serif type — 'Monsieur Eugène CLAUDIUS PETIT, Président de l'Union Centrale des Arts Décoratifs vous prie de lui faire l'honneur d'assister à l'inauguration de l'exposition'; 'LUCIEN CLERGUE / photographies / 1954–1961' in large bold green type at centre; minister's name below; venue — 'Musée des Arts Décoratifs / Palais du Louvre, Pavillon de Marsan / 107, Rue de Ri Verso Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation verso: plain cream card; blind-embossed motif at centre, visible as a faint impressed relief without ink. Light age toning, minor surface impressions.

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

  • Lucy McKenzie & Alan Michael, Unlawful Assembly, Koenig Books, 2013, front cover, photo Josephine Pryde Lucy McKenzie & Alan Michael, Unlawful Assembly, 2013, appendix spread, alternate cover with pink ornate lettering

    LUCY McKENZIE & ALAN MICHAEL, Unlawful Assembly, Koenig Books, 2013

    LUCY McKENZIE & ALAN MICHAEL, Unlawful Assembly, Koenig Books, 2013

  • Buñuel film still, yellow-black offset print, Cela s'appelle l'aurore, Centre Pompidou invitation recto ¡Todo Buñuel! inauguration programme, Centre Pompidou, Instituto Cervantes, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

    Luis Buñuel — ¡Todo Buñuel! Centre Pompidou, Paris, 2000

  • Recto (front): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Recto: book cover reproduction showing Maciunas' handwritten charts and flow diagrams on curling paper sheets; title in black and red type, author Astrit Schmidt-Burkhardt above, publisher and collection credit below. Verso (back): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Verso: plain cream card with publisher details — Vice Versa Verlag, Leuschnerdamm 5, 10999 Berlin, Germany; info@vice-versa-vertrieb.de — and ISBN 3-932809-39-4 at lower left.

    MACIUNAS’ LEARNING MACHINES — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

    MACIUNAS’ LEARNING MACHINES — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

  • 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

  • Reverse Reverse of 2016 Simon Lee Gallery exhibition invitation for Mai-Thu Perret, Zone, London, deep blue-grey card printed with a large circle in fluorescent magenta outline containing a regular rectangular grid of fine magenta lines, the grid slightly denser vertically than horizontally, centred on the card with the circle touching near the top and bottom edges, no text. ront Original 2016 Simon Lee Gallery exhibition invitation for Mai-Thu Perret, Zone, London, front, deep blue-grey card with all text in fluorescent magenta capitals: MAI-THU PERRET / ZONE in large bold type at centre; below 23 NOVEMBER 2016 – 4 FEBRUARY 2017; then PRIVATE VIEW: TUESDAY, 22 NOVEMBER 6 – 9 PM; then SIMON LEE GALLERY LONDON / 12 BERKELEY STREET W1J 8DT / TEL +44 (0) 207 491 0100 / SIMONLEEGALLERY.COM in smaller type.

    Mai-Thu Perret — Zone, Simon Lee Gallery, London, 2016

    Mai-Thu Perret — Zone, Simon Lee Gallery, London, 2016

  • Front 2026 Danish Pavilion exhibition guide for Maja Malou Lyse, Things to Come, 61st Venice Biennale, front, bright yellow folded card with MAJA MALOU LYSE in small purple caps and THINGS TO COME in large bold purple condensed type, repeated twice in stacked format; DANISH PAVILION / BIENNALE ARTE, 6.5–22.11 2026 below each; EN language indicator in oval at upper left; La Biennale di Venezia Partecipazioni Nazionali red logo sticker at upper right. Unfolded image panel 2026 Danish Pavilion exhibition guide for Maja Malou Lyse, Things to Come, 61st Venice Biennale, unfolded inner image panel, showing a close-up colour photograph of a figure's lower torso and upper thighs wearing a red string bikini bottom tied at each hip, against a pale skin-toned ground with a faint teal edge at upper left, the image printed full-bleed across the unfolded sheet with a horizontal fold line visible across the centre.

    Maja Malou Lyse — Things to Come, Danish Pavilion, 61st Venice Biennale, 2026

    Maja Malou Lyse — Things to Come, Danish Pavilion, 61st Venice Biennale, 2026

  • Exhibition catalogue cover, Impresario: Malcolm McLaren & The British New Wave, New Museum of Contemporary Art / The MIT Press, New York / Cambridge MA, 1988. Softcover with French flaps, 27 × 18 cm. Bright blue ground. Bold white and black sans-serif typography — 'IMPRESARIO:' upper left in white; 'MALCOLM / MCLAREN / & THE BRITISH / NEW / WAVE' in large black below. Inset colour photograph lower right — three figures in police uniforms, two in helmets, one in peaked cap; direct camera gaze. Rubbing and sc Exhibition catalogue back cover, Impresario: Malcolm McLaren & The British New Wave, New Museum of Contemporary Art / The MIT Press, New York / Cambridge MA, 1988. Bright blue ground. Centre: inset colour photograph within black film-strip border — blue-painted male figure holding yellow surfboard with yin-yang motif; seated male figure in black clothing on rocks; coastal landscape behind; 'KODAK EPR 6017' printed to film strip upper edge; 'EPR 11' and 'EPR 12' lower. Lower left: black sans-serif — 'THE NEW

    MALCOLM MCLAREN / PAUL TAYLOR — Impresario: Malcolm McLaren & The British New Wave, New Museum / MIT Press, 1988

    MALCOLM MCLAREN / PAUL TAYLOR — Impresario: Malcolm McLaren & The British New Wave, New Museum / MIT Press, 1988

  • Recto (front): Man Ray, Kunsthalle Basel, 1980. Recto: black-and-white reproduction of Violon d'Ingres (1924) — female nude seen from behind, wearing a turban, with f-holes drawn onto the lower back. Man Ray monogram visible at lower right. Verso (back): Man Ray, Kunsthalle Basel, 1980. Verso: printed exhibition announcement in German. Kunsthalle Basel, Steinenberg 7; opening Saturday 19 January 1980, 18 Uhr; through 24 February. Catalogue details: 210 pages, 162 b/w illustrations, 15 colour plates; texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, H. Molderings. Film programme: Retour à la raison (1923), Emak Bakia (1926), L'Étoile de mer (1927), Mystère du château de dé (1928). Caption at foot: Man Ray: Violon d'Ingres,

    MAN RAY — Kunsthalle Basel, 1980

    MAN RAY — Kunsthalle Basel, 1980

  • Postcard recto, Man Ray, Tonsure (Marcel Duchamp), 1921, published by Fotofolio, New York, n.d. [c.1984]. Offset black-and-white reproduction on cream card, 15 × 10 cm. Close-up photograph of the back of Marcel Duchamp's head — dark hair with a white star-shaped tonsure shaved into the crown; small black pipe held in the left hand, visible at lower left; wooden table edge and checked tablecloth in lower half of frame; plain wall behind. Light handling wear, good vintage condition. Postcard verso, Man Ray, Tonsure (Marcel Duchamp), 1921, published by Fotofolio, New York, n.d. [c.1984]. White ground, divided postal back with vertical rule and small registration mark at centre. Upper left: small black sans-serif — 'TONSURE (MARCEL DUCHAMP), 1921 / PHOTOGRAPH BY MAN RAY'. Lower left: '© MAN RAY TRUST / © FOTOFOLIO, BOX 661 CANAL STA., NY, NY 10013 / ISBN 1-881270-62-9 / MR30'. Light age toning, small marks, good vintage condition.

    MAN RAY — Tonsure (Marcel Duchamp), 1921 / Fotofolio, New York, 1984

    MAN RAY — Tonsure (Marcel Duchamp), 1921 / Fotofolio, New York, 1984

  • Marc Quinn, Tate Liverpool 2002, front cover, extreme close-up infant face, eyes and nose, colour photograph Marc Quinn, Tate Liverpool 2002, interior spread, conversation with Sarah Whitfield, colour photograph grandmother holding infant

    MARC QUINN, Tate Liverpool, 2002

    Placed

    MARC QUINN, Tate Liverpool, 2002

    Placed
  • Original 1967 Galerie Delpire exhibition announcement card for Marc Riboud, Les trois bannières de la Chine, Paris, recto, full-bleed black-and-white photograph: two figures in heavy winter clothing and flat caps, one wearing round dark-lensed glasses and eating from a bowl with chopsticks, the other reaching toward them, both in close-up against a dark background. Original 1967 Galerie Delpire exhibition announcement card for Marc Riboud, Les trois bannières de la Chine, Paris, verso, white card with bold black sans-serif typography: A l'occasion de la parution de l'album in small type at top; les trois / bannières / de la / Chine in very large bold lower-case type at left; publisher and exhibition details below; at upper right a blue French postage stamp (0.25 F, Mont-de-Marsan heraldic arms) with wavy-line postal cancellation; handwritten address in ink at centre

    Marc Riboud — Les trois bannières de la Chine, Galerie Delpire, Paris, 1967

    Marc Riboud — Les trois bannières de la Chine, Galerie Delpire, Paris, 1967

  • MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981 MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

  • Marcel Duchamp, Duchamp, Jean-Christophe Bailly, Roman Cieslewicz, Fernand Hazan, 1984, front cover Marcel Duchamp, Duchamp, Jean-Christophe Bailly, Roman Cieslewicz, Fernand Hazan, 1984, back cover, Flammarion 65-franc price label dated 5/88

    MARCEL DUCHAMP — Duchamp, Jean-Christophe Bailly, Fernand Hazan, Paris, 1984

    MARCEL DUCHAMP — Duchamp, Jean-Christophe Bailly, Fernand Hazan, Paris, 1984

  • Marcel Duchamp, Duchamp par Jean-Christophe Bailly, Fernand Hazan, 1984, front cover, tonsured head photograph, yellow title block Marcel Duchamp, Duchamp par Jean-Christophe Bailly, 1984, back cover with photograph of Duchamp and Flammarion price label

    Marcel Duchamp — Duchamp, Jean-Christophe Bailly, Fernand Hazan, Paris, 1984

    Marcel Duchamp — Duchamp, Jean-Christophe Bailly, Fernand Hazan, Paris, 1984

  • Marcel Duchamp, L.H.O.O.Q., 1919. MoMA postcard, 2006. Recto: colour reproduction of Duchamp’s rectified readymade — a commercially printed Mona Lisa with pencil moustache and goatee added to the figure’s upper lip and chin; warm sepia and grey tones; landscape background visible; ‘L.H.O.O.Q.’ inscribed in pencil in capitals along the lower edge of the image. Retained in a transparent protective sleeve. Marcel Duchamp, L.H.O.O.Q., 1919. MoMA postcard, 2006. Verso: white stock; MoMA address upper left; caption — ‘Rectified readymade; pencil on reproduction of da Vinci’s Mona Lisa, 19.7 × 12.4 cm. Private collection. © 2006 ARS, New York / ADAGP, Paris. 59506’; barcode lower right.

    MARCEL DUCHAMP — L.H.O.O.Q., 1919. Museum of Modern Art postcard, 2006

    MARCEL DUCHAMP — L.H.O.O.Q., 1919. Museum of Modern Art postcard, 2006

  • Exhibition booklet, Marcel Duchamp's Travelling Box, Arts Council of Great Britain, London, 1982. Stapled softcover, approx. 15 × 15 cm. Black card wrapper. Upper third: white sans-serif text — 'MARCEL DUCHAMP'S' / 'TRAVELLING BOX'. Centre: white silhouette of Duchamp's head in profile facing left, mounted on black ground — signed 'marcel duchamp' lower right in small cursive. Lower third: white sans-serif text — 'TRAVELLING BOX'. Light rubbing and small marks to cover, good vintage condition. Interior spread, Marcel Duchamp's Travelling Box, Arts Council of Great Britain, London, 1982. Pages 20–21. Left: 'THE TRAVELLING BOX / Box in a Suitcase / La Boîte en Valise' — numbered diagram of open box showing positions of 15 mounted works; numbered checklist of contents mounted in box (items 1–15) with titles in English and French, locations and dates. Right: numbered checklist of contents mounted on separate sheets (items 16–36) with bilingual titles; black-and-white reproduction of 'Sad Young Man in

    MARCEL DUCHAMP — Marcel Duchamp’s Travelling Box, Arts Council of Great Britain, London, 1982

    MARCEL DUCHAMP — Marcel Duchamp’s Travelling Box, Arts Council of Great Britain, London, 1982

  • Marcel Duchamp centennial programme cover, Philadelphia Museum of Art, 1987; profile portrait with red moustache, translucent stock Marcel Duchamp, centennial programme interior, Philadelphia Museum of Art 1987; profile photo left, event listings right

    MARCEL DUCHAMP — Philadelphia Museum of Art — Apropos of Marcel Duchamp 1887/1987,

    MARCEL DUCHAMP — Philadelphia Museum of Art — Apropos of Marcel Duchamp 1887/1987,

  • Marcel Duchamp, L.H.O.O.Q. 1964 re-edition; colour reproduction of Mona Lisa with moustache and goatee, invitation recto Marcel Duchamp, Please Touch exhibition invitation verso; Thaddaeus Ropac London 2021, typography on white stock

    MARCEL DUCHAMP — Please Touch: Marcel Duchamp and the Fetish, Thaddaeus Ropac, London, 2021

    MARCEL DUCHAMP — Please Touch: Marcel Duchamp and the Fetish, Thaddaeus Ropac, London, 2021

  • Margery Mann / Anne Noggle, Women of Photography: An Historical Survey, San Francisco Museum of Art, 1975, front cover Margery Mann / Anne Noggle, Women of Photography: An Historical Survey, San Francisco Museum of Art, 1975, rear cover, plain cream boards

    MARGERY MANN / ANNE NOGGLE, Women of Photography: An Historical Survey, San Francisco Museum of Art, 1975

    MARGERY MANN / ANNE NOGGLE, Women of Photography: An Historical Survey, San Francisco Museum of Art, 1975

  • Marina Abramović, Boat Emptying Stream Entering, Victoria Miro 1989, recto: close-up photograph of red stone wall, artist name in spaced white capitals, dates 13 April to 12 May I Marina Abramović, Boat Emptying Stream Entering, Victoria Miro 1989, verso: blue ground, italic white title text, Victoria Miro 21 Cork Street London W1, vertical crease visible

    MARINA ABRAMOVIĆ — Boat Emptying, Stream Entering, Victoria Miro, London, 1989

    MARINA ABRAMOVIĆ — Boat Emptying, Stream Entering, Victoria Miro, London, 1989