Products

  • Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000 Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000

    Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000

    Mario Testino — Kate Moss for Calvin Klein Jeans — Max Racks Promotional Postcard, c.2000

  • Original c. late 1990s–early 2000s Mario Testino Kate Moss Calvin Klein Jeans promotional postcard, recto showing a full-bleed colour photograph of Kate Moss standing in a field of dry grass, wearing a white cropped bra top and dark denim jeans, arms crossed, looking back over her shoulder toward camera; a dark brown leather armchair is positioned at lower centre with a second figure in jeans lying across it; 'cK Calvin Klein Jeans' logo in large serif and sans-serif type at lower centre; 'The Return of the Reverse of c. late 1990s–early 2000s Mario Testino Kate Moss Calvin Klein Jeans promotional postcard showing plain cream-white card stock, unused, with standard postcard address lines at right and printed stamp box at upper right; 'cK Calvin Klein Jeans' logo in small grey type at lower left; light surface marks and minor edge wear consistent with storage

    Mario Testino — Kate Moss for Calvin Klein Jeans — Promotional Postcard, c. late 1990s–early 2000s

    Mario Testino — Kate Moss for Calvin Klein Jeans — Promotional Postcard, c. late 1990s–early 2000s

  • nterior spread of c. 2002 Mark Borthwick Social Documentaries Amid this Piste, self-published photocopy edition. Double-page spread showing two grayscale Xerox photographs of a woman standing facing the camera against a plain studio wall: left image showing her in a dark zip-up top and a pale pleated midi skirt with white cuffs or wristbands; right image showing the same woman in a dark belted jacket and trousers with white cuffs, standing slightly further from the wall. Both images printed as horizontal ba Interior spread of c. 2002 Mark Borthwick Social Documentaries Amid this Piste, self-published photocopy edition. Left page showing a typed poem headed 'In order of things.' in small serif type, thirteen lines of verse beginning 'The margin of flowers, hope-cause afterwards / by events dirty fucking away.' Right page showing a grayscale Xerox photograph of a lone young conifer tree in an open flat landscape, two thin bare saplings beside it, dark treeline and pale sky in the background. Page number 4 at low

    MARK BORTHWICK — Social Documentaries Amid this Piste, Self-published, c. 2002

    MARK BORTHWICK — Social Documentaries Amid this Piste, Self-published, c. 2002

  • Original c. 2002 Mark Borthwick Xerox edition of 2000-1, Maison Martin Margiela. Front cover showing a plain unprinted tan-beige softcover with no title, text or image — only the warm, slightly uneven surface of the photocopied paper wrapper, with a faint inset rectangular panel visible at centre, and visible age toning and handling wear. 21.0 × 27.2 cm. nterior spread of c. 2002 Mark Borthwick Xerox edition of 2000-1, Maison Martin Margiela. Double-page spread showing two near-identical grayscale Xerox photographs of a woman seated in profile on a white folding chair against a plain pale ground: left image showing her in full-length dark trousers and ankle boots, right image showing the same pose with a shorter skirt and ankle boots, hands resting on knees, hair in a low ponytail. The diptych presents the same body and posture with a single change of garme

    MARK BORTHWICK — Xerox: 2000-1, Maison Martin Margiela, c. 2002

    MARK BORTHWICK — Xerox: 2000-1, Maison Martin Margiela, c. 2002

  • Reverse of 2019 Mark Bradford: Los Angeles exhibition card reproducing a photograph of the artist seated before Float (2019), a monumental installation of layered and stripped paper surfaces in vivid vertical bands of colour. Original 2019 Mark Bradford exhibition invitation card for Mark Bradford: Los Angeles at Long Museum West Bund, Shanghai, featuring title, exhibition dates 27 July–13 October 2019, and institutional identity printed in white on a flat orange field.

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

  • Original 2015 Mark Grotjahn K&H Liquors artist book, Karma, New York. Front cover showing two men standing in a liquor store aisle lined with bottles, with the Karma imprint visible at lower left. Open spread from Mark Grotjahn K&H Liquors, Karma, 2015. Two handmade liquor store price signs: 'Watneys $5.99 Tx' in red and blue on yellowed label, and 'Special Potters 219 Zoo' on fluorescent green Young's Market Company sticker.

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

  • Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011 Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

  • Recto Martin Gardiner, Norman Cook (Fatboy Slim), Los Angeles, 1999. NPG postcard, 2001. Recto: colour photograph — full-length portrait of a shaven-headed man in a dark zip-up jacket and grey trousers, standing on a Los Angeles pavement, right hand raised to mouth, cigarette between fingers; dramatic cloudy sky at dusk; street furniture and parked vehicles in background. Polaroid-style white border Verso Martin Gardiner, Norman Cook (Fatboy Slim), 1999. NPG postcard, 2001. Verso: plain white stock; National Portrait Gallery logo upper left in serif type; lower left caption — 'Norman Cook (Fatboy Slim), b.1963 / Martin Gardiner, Los Angeles, 1999. C-type print, 495 x 394mm / © Martin Gardiner 1999. By courtesy of Rebecca Valentine. National Portrait Gallery (NPG x88630) / Sold to support the National Portrait Gallery, London. www.npg.org.uk'; barcode lower right.

    MARTIN GARDINER — Norman Cook (Fatboy Slim), b. 1963. National Portrait Gallery postcard, 2001

    MARTIN GARDINER — Norman Cook (Fatboy Slim), b. 1963. National Portrait Gallery postcard, 2001

  • Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Recto: colour illustration of two children holding a star lantern on a pole against a night sky, within an arched frame; artist name below in bold serif type. Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Verso: exhibition dates 12 November – 24 December 1999, opening Thursday 11 November (Saint Martin's Day) 6–8pm, Matthew Marks Gallery address 523 West 24th Street, New York, printed in black on white card.

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

  • Original 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Edition Julie Sylvester / Schirmer/Mosel. Front cover showing a colour photograph of a dishevelled hotel room interior: an unmade bed with a gold bedspread, a black office chair, and a portable television on a stand. Title in small serif type upper centre: 'Martin Kippenberger / 67 Improved Papertigers / Not Afraid of Repetition'. Publisher imprint 'Edition Julie Sylvester / Schirmer/Mosel' lower centre. Cream wrappers. Reverse of 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel. Back cover showing a colour snapshot photograph of a bearded man in white underwear standing in a hotel room, looking down, with a television and wood-panelled wall behind him. ISBN barcode 9783829603508 lower right. Cream wrappers with handling wear.

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

    Placed

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

    Placed
  • Recto Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card recto: colour reproduction of a painting — a half-skeleton, half-portrait figure in a dark suit against a blue and white gestural ground, holding a bone staff with a dark heart-shaped form; small fish held in the other hand; large orange sphere upper right; yellow banner across top — 'MARTIN / DAS 2. SEIN / KIPPENBERGER' in black and white bold; 'INHALT AUF / REISEN' in yellow lower right; Verso Martin Kippenberger, Das 2. Sein: Inhalt auf Reisen, Museum für Neue Kunst / ZKM Karlsruhe, 2003. Programme card verso: vivid yellow ground; 'Vortragsreihe' in blue sans-serif at top; 'MARTIN KIPPENBERGER' in large black bold caps; 'DAS 2. SEIN' in white bold; venue note — 'Die Vorträge finden im Veranstaltungsraum des Museums für Neue Kunst | ZKM Karlsruhe im 3. OG statt. Beginn: 18.30 Uhr'; six lectures listed — 20.2 Veit Loers, 6.3 Wolfgang Brauneis, 20.3 Ralph Melcher, 2.4 Diedrich Diederichsen, 1

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

    MARTIN KIPPENBERGER — Das 2. Sein: Inhalt auf Reisen. Museum für Neue Kunst / ZKM Karlsruhe, 2003

  • Martin Kippenberger, Jacqueline, Metro Pictures New York 2000, sage green card, blue pink orange vertical bands, front cove Martin Kippenberger, Jacqueline, Metro Pictures 2000, David Douglas Duncan photo, Jacqueline Roque with dog, Picasso canvas

    MARTIN KIPPENBERGER — Jacqueline: The Paintings Pablo Couldn’t Paint Anymore, Metro Pictures, New York, 2000

    MARTIN KIPPENBERGER — Jacqueline: The Paintings Pablo Couldn’t Paint Anymore, Metro Pictures, New York, 2000

  • Original 2006 Edition 5 artist postcard reproducing Martin Kippenberger's sculpture Martin, ab in die Ecke und schäm dich, 1989, showing a life-size resin figure of a man in a checked shirt, braces, grey trousers, and black shoes, standing with his back to the viewer, face pressed into the corner of two white gallery walls, arms clasped behind his back, the figure photographed in a clean white gallery space with a grey floor. Reverse of 2006 Edition 5 artist postcard for Martin Kippenberger, Martin, ab in die Ecke und schäm dich, 1989, showing a plain white reverse with a horizontal rule and the Edition 5 website address and order number 2042 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Martin, ab in die Ecke und scham dich, 1989 Cast resin and clothes, 180 × 76 × 30 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a large-format close-up of a fluffy white dog painted in acrylic on canvas, the animal's face filling the composition with wide dark eyes and a black nose, the fur rendered in loose gestural strokes of white and grey against a pale grey background, the image combining sentimental subject matter with the deliberate commercial execution characteristic of the serie Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2039 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 240 × 300 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a colour photorealist painting of a suited man reclining on a dark upholstered sofa abandoned on a city pavement at a wide intersection, a lamp post rising behind him, a US postal mailbox at left, and an Exxon petrol station sign visible across the street in the background, the scene rendered with the flat commercial precision characteristic of the series. Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2040 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 200 × 150 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Cover of Martin Kippenberger, Picture a Moon, Shining in the Sky: Conversation with Martin Kippenberger, Starship Verlag, Berlin, 2007, showing a handwritten columnar note with figures headed Venezia, Martin, and M.K. on grey card with a green and white title label below and Starship logo upper left. nterior spread of Martin Kippenberger, Picture a Moon, Shining in the Sky, Starship Verlag, 2007, left page showing a black-and-white photograph of a group of figures at a party captioned "Cover chosen by Martin Kippenberger for ARTFAN," right page showing the title and an italicised epigraph signed M.K.

    Martin Kippenberger — Picture a Moon, Shining in the Sky, Starship Verlag, Berlin, 2007

    Placed

    Martin Kippenberger — Picture a Moon, Shining in the Sky, Starship Verlag, Berlin, 2007

    Placed
  • Recto Massao Mascaro, Untitled (Jardin #25), 2016. Galerie C Contemporary Art. Card recto: monochrome photograph on heavily textured card — a nude figure lying face-down on a brick ledge, head turned to one side, one arm raised; concrete surface and dark foliage visible behind; soft diffuse light; high-grain, low-contrast silver gelatin aesthetic. Verso Massao Mascaro, Untitled (Jardin #25), 2016. Galerie C Contemporary Art. Card verso: heavily textured white card; large blind-embossed text filling the upper two-thirds — Francis Ponge quotation beginning 'La tâche de l'artiste est', impressed into the paper with no ink; 'C' logo in small serif upper left; three-column footer in small monospaced type — 'Galerie C / Contemporary Art', 'Citation: / Francis Ponge', 'Image: Massao Mascaro, «Untitled (Jardin #25)», 2016'.

    MASSAO MASCARO — Untitled (Jardin #25), 2016. Galerie C Contemporary Art

    MASSAO MASCARO — Untitled (Jardin #25), 2016. Galerie C Contemporary Art

  • Original 2011 Matias Faldbakken Search / Suche booklet, dOCUMENTA (13) 100 Notes – 100 Thoughts No. 035, Hatje Cantz. Front cover showing pale typographic wrapper with artist name, title SEARCH / SUCHE, dOCUMENTA (13) and Hatje Cantz imprint. Reverse of 2011 Matias Faldbakken Search / Suche booklet, dOCUMENTA (13) 100 Notes No. 035, Hatje Cantz. Back cover showing Nº035 serial number and artist name in slab-serif type on pale wrapper

    MATIAS FALDBAKKEN — Search / Suche, dOCUMENTA (13): 100 Notes – 100 Thoughts, No. 035, Hatje Cantz, 2011

    MATIAS FALDBAKKEN — Search / Suche, dOCUMENTA (13): 100 Notes – 100 Thoughts, No. 035, Hatje Cantz, 2011

  • Original 2007 Matthew Barney Supercontemporary exhibition publication, Electa, Milan. Cover showing Barney in prosthetic makeup with pointed ears and pale skin, wearing a white suit jacket, set against a blue tartan background, with the title in magenta type and series name in a red vertical band. Interior page from 2007 Matthew Barney Supercontemporary, Electa. Showing a production photograph of multiple figures with elaborate floral and bubble headdresses submerged in a field of white pearled material, Barney at centre.

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

  • Matthew Peers, Wishing Wells, 2023–2025, artist book published by The New Rare Editions, 2026. Open spread showing iPhone image file of an interior space with sculptural works including perforated metal panels and a low plinth, dated 16.08.2024 16:23. Matthew Peers, Wishing Wells, 2023–2025, artist book published by The New Rare Editions, 2026. Plastic case open alongside book block, showing reversed title "2023.2025" on case interior and plain white cover of book.

    MATTHEW PEERS — Wishing Wells, 2023–2025 — The New Rare Editions

    MATTHEW PEERS — Wishing Wells, 2023–2025 — The New Rare Editions

  • Cover Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation cover: cream paper; reproduced drawing in grey-green ink — swirling curvilinear forms suggesting clouds or cosmic energy; small female face with closed eyes at centre left, partially obscured by flowing forms; artist's signature lower right. Age toning, edge wear. Interior spread Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation interior, unfolded, 31.5 × 12 cm: left panel, exhibition details in black serif — 'GALERIE DEVAMBEZ / 43, Boulevard Malesherbes', 'Exposition des Œuvres de / MAURICE CHABAS / 1° Les Grandes Visions / 2° La Poésie dans la Nature / DU 1er AU 17 FÉVRIER 1922', hours, vernissage date, 'Carte valable pour le Vernissage et la durée de l'Exposition' in italic; centre and right panels, 'LES GRANDES VISIONS' heading in lar

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

  • Maurizio. Cattelan, La Rivoluzione siamo noi, 2000, figure hanging from rack, Guggenheim All postcard, 2011 Maurizio Cattelan All, Guggenheim, through January 22, GoCard postcard format, postal field

    MAURIZIO CATTELAN — All, Promotional Postcard, Solomon R. Guggenheim Museum, New York, 2011

    MAURIZIO CATTELAN — All, Promotional Postcard, Solomon R. Guggenheim Museum, New York, 2011

  • Max Ernst, Bibliothèque Nationale Paris, press communiqué recto, Estampes et Livres Illustrés, 1975 Max Ernst, Bibliothèque Nationale Paris, catalogue cover, two oval forms over frottage field, 1975

    Max Ernst — Estampes et Livres Illustrés, Bibliothèque Nationale, 1975

    Max Ernst — Estampes et Livres Illustrés, Bibliothèque Nationale, 1975

  • MAX ERNST — Estampes, Livres Illustrés, Bibliothèque Nationale, Paris, 1975 MAX ERNST — Estampes, Livres Illustrés, Bibliothèque Nationale, Paris, 1975

    MAX ERNST — Estampes, Livres Illustrés, Bibliothèque Nationale, Paris, 1975

    MAX ERNST — Estampes, Livres Illustrés, Bibliothèque Nationale, Paris, 1975

  • Front cover Max Ernst, 1959. Black cover: silver mask sculpture centre, red handwritten 'max ernst' lower right. Rubbing and corner wear. Interior — Êtes-vous Ninié? spread Max Ernst, 1959. Interior: Pl. X, Êtes-vous Ninié?, 1956, Cat. 109 — black-and-white plate of metal sculpture (left).

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

    MAX ERNST — Max Ernst — Musée national d’Art moderne, Paris — 1959

  • Max Ernst, Rencontres d'Art 79 invitation recto; grey typography on textured cream stock, Musée Ingres Montauban 1979 Max Ernst, Rencontres d'Art 79 invitation verso; blank textured cream card stock

    MAX ERNST — Rencontres d'Art 79: Hommage à Max Ernst, Musée Ingres, Montauban, 1979

    MAX ERNST — Rencontres d'Art 79: Hommage à Max Ernst, Musée Ingres, Montauban, 1979

  • Exhibition poster, Max Ernst, Sammlung de Menil, Kestner-Gesellschaft Hannover, 1970. Offset lithograph, 42 × 59 cm. White ground; header ‘Kestner-Gesellschaft Hannover’; central colour reproduction of dark forest painting with pale arc and ghostly figure; bold type ‘Max Ernst / Sammlung de Menil’; foot: ‘Warmbüchenstraße 16 · 3. Juli bis 30. August 1970’. Good vintage condition.

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

  • Merlin Carpenter, Business Women exhibition logo, red splat form, yellow shield with black horned figure, Galerie Neu, 2017 Merlin Carpenter, Business Women, 12.06–22.07.2017, Galerie Neu, Linienstrasse 119abc, Berlin

    MERLIN CARPENTER — Business Women, Exhibition Invitation, Galerie Neu, Berlin, 2017

    MERLIN CARPENTER — Business Women, Exhibition Invitation, Galerie Neu, Berlin, 2017

  • Miatta Kawinzi, Streetspeak, 2016, Studio Museum in Harlem Harlem Postcards Summer 2016. Eight dark-skinned hands reaching inward from the edges of a clear blue sky; small white text at centre reads 'my sista' Reverse of Miatta Kawinzi Streetspeak Harlem Postcards Summer 2016 postcard. White stock; 'Miatta Kawinzi / Born 1987, Nashville, TN / Lives and works in Brooklyn, NY / Streetspeak, 2016'; vertical text 'Harlem Postcards | Summer 2016'; The Studio Museum in Harlem, 144 West 125th Street, New York.

    Miatta Kawinzi — Streetspeak — Harlem Postcards Summer 2016, The Studio Museum in Harlem

    Miatta Kawinzi — Streetspeak — Harlem Postcards Summer 2016, The Studio Museum in Harlem

  • 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

  • Michael Steiner and Larry Poons, Skulpturen und Gemälde aus New York, Kunst- und Museumsverein Wuppertal 1978, front cover: Steiner steel sculpture foreground, Poons green painting behind Larry Poons, Ohne Titel (78 B 3), 1978, colour photo of large poured abstract painting, vertical white and green drips on pale ground

    MICHAEL STEINER / LARRY POONS — Skulpturen und Gemälde aus New York, Wuppertal, 1978

    MICHAEL STEINER / LARRY POONS — Skulpturen und Gemälde aus New York, Wuppertal, 1978

  • Original 1971 Michel Ciry exhibition invitation for Galerie de Paris, announcing paintings, watercolors, and drawings from 26 October to 27 November 1971 on folded cream card Handwritten German archival reference card mentioning Robert Waissenberger and *Die Wiener Secession: Eine Dokumentation*, with publication details and price noted in graphite on folded paper.

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

  • Recto Michel Majerus, overdose, 1997. Matthew Marks Gallery, Los Angeles, 2015. Invitation recto: detail from a monumental 15-panel acrylic painting — dense collage of commercial imagery including a chocolate sandwich ice cream wrapper with 'Over-dose' branding, Woody from Toy Story lower right, a Micro Systems logo, detergent packaging, a club flyer reading 'BLIZZ', and a Parkcafé München advertisement; vivid colour, flat graphic style, imagery layered edge to edge. Verso Michel Majerus, Matthew Marks Gallery, Los Angeles, 2015. Invitation verso: white card; 'MICHEL MAJERUS' in large bold sans-serif; 'OPENING SATURDAY, NOVEMBER 21, 6–8 PM / THROUGH JANUARY 9, 2016'; 'MATTHEW MARKS GALLERY / 1062 NORTH ORANGE GROVE / LOS ANGELES 90046 / MATTHEWMARKS.COM'; work caption in small type — 'overdose, 1997 / Acrylic on canvas, 15 parts / Overall: 189 × 275¾ inches; 480 × 700 cm'. Surface rubbing and faint marks.

    MICHEL MAJERUS — Michel Majerus. Matthew Marks Gallery, Los Angeles, 2015

    MICHEL MAJERUS — Michel Majerus. Matthew Marks Gallery, Los Angeles, 2015

  • Front 2023 Galleria Continua invitation for Michelangelo Pistoletto, Segno Arte, Paris, front, colour photograph of Pistoletto in black outfit and purple hat, arms raised, legs spread, standing inside a large magenta-pink frame structure whose diagonal struts form an X around his body, in a gallery or fair space. Reverse of 2023 Galleria Continua invitation for Michelangelo Pistoletto, Segno Arte, Paris, white card with purple and black text: artist name, exhibition title, dates 23.06–21.09.2023, vernissage details, bilingual 90th birthday text, full 8-venue itinerary from San Gimignano to Dubaï, gallery address, and Galleria Continua logo at foot.

    Michelangelo Pistoletto — Segno Arte, Galleria Continua, Paris, 2023

    Michelangelo Pistoletto — Segno Arte, Galleria Continua, Paris, 2023

  • Original 2024 Michele Ciacciofera / Han Bing / Amélie Caritey exhibition guide, Passerelle Centre d'art contemporain, Brest, folded exterior front panel showing white ground with fluorescent orange typography: 'Centre d'art contemporain / PASSERELLE' in large bold serif and sans-serif type at centre left with horizontal orange rule below, 'Brest — FR' in smaller type beneath; at right, artist names in large stacked display type: 'MICHELE / CIACCIOFERA / HAN BING / AMÉLIE / CARITEY' in mixed serif and pixela Interior of 2024 Michele Ciacciofera / Han Bing / Amélie Caritey exhibition guide unfolded to full sheet, showing three-panel layout in fluorescent orange on white: left panel headed 'MICHELE CIACCIOFERA / Condenser l'Infini' with colour photograph of ceramic vessel forms and dense two-column exhibition text; centre panel headed 'HAN BING / 7:77' with black-and-white performance photograph and exhibition text; right panel headed 'AMÉLIE CARITEY / Bonne arrivée chérie enen' with geometric orange tile pattern

    Michele Ciacciofera / Han Bing / Amélie Caritey — Exhibition Guide, Passerelle Centre d’art contemporain, Brest, 2024

    Michele Ciacciofera / Han Bing / Amélie Caritey — Exhibition Guide, Passerelle Centre d’art contemporain, Brest, 2024

  • MIKA / Roland Villeneuve, L'Envers du Miroir, Paris 1972, verso, gallery emblem and typographic announcement MIKA / Roland Villeneuve, L'Envers du Miroir invitation 1972, recto, exhibition card with spectral rider

    MIKA / ROLAND VILLENEUVE, L'Univers diabolique, Librairie-Galerie L'Envers du Miroir, Paris, 1972

    MIKA / ROLAND VILLENEUVE, L'Univers diabolique, Librairie-Galerie L'Envers du Miroir, Paris, 1972