Products

  • Postcard recto, Richard Prince, Tell Me Everything, 1987, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction. Flat ochre/gold monochrome ground — acrylic and silkscreen on canvas, 56 × 48 inches; lower-centre text in small pink/red serif type: 'I went to see a psychiatrist. He said, "Tell me everything." I did, and now he's doing my act.' Skarstedt Collection, New York. Light handling wear, good/very good condition. Postcard verso, Richard Prince, Tell Me Everything, 1987, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Tell Me Everything, 1987 / Acrylic and silkscreen on canvas, 56 × 48 inches / Skarstedt Collection, New York / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001548'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Small age

    RICHARD PRINCE — Tell Me Everything, 1987 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Tell Me Everything, 1987 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), exhibition catalogue cover, Edward Cella Art & Architecture, Los Angeles, June 11–July 30 2016. Cover features a black leather motorcycle jacket gifted by Richard Prince to Douglas Blair Turnbaugh, c. 1979. Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), interior spread pp. 4–5. Left: acknowledgements text signed by Edward Cella. Right: leather jacket given to Douglas Turnbaugh by Richard Prince, c. 1979. Edward Cella Art & Architecture, Los Angeles, 2016.

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

  • Front cover of Richard Prince’s The Girl Next Door, still sealed in original shrinkwrap, showing a rural overgrown landscape with a basketball hoop and blue and pink title typography. Rear cover of Richard Prince’s The Girl Next Door, sealed in original shrinkwrap, showing a suburban house, deck, lawn, and road photographed in muted daylight.

    Richard Prince — The Girl Next Door

    Richard Prince — The Girl Next Door

  • Richard Prince, The Masochist #7, front cover. RATSTAR / Shoot the Lobster, 2020. Staple-bound softcover, 28 × 21 cm. White card cover with a single black-and-white photocopy-style drawing: a large hand with exaggerated fingers dominates the lower half; above it a face with spiky hair, wide eyes with star-burst marks, and a grinning open mouth showing teeth. Cross or star mark between the eyes. Colophon text lower right in small type: 'The Masochist #7 – Richard Prince / Editor at Large – David Rimanelli / Richard Prince, The Masochist #7, back cover. RATSTAR / Shoot the Lobster, 2020. Plain white card, no text or image. Staple binding visible at left spine edge.

    Richard Prince — The Masochist #7

    Richard Prince — The Masochist #7

  • Exhibition poster, Richard Prince, Third Place: Family Tweets, Desert X, Desert Hot Springs, 2017. Offset print on paper, approx. 41 × 57 cm. Enlarged Twitter interface showing @RichardPrince4 post dated 27 Feb 2014, embedded photograph of woman in sportswear, retweet and favourite counts visible. Good used condition with original folds and handling marks.

    Richard Prince — Third Place: Family Tweets, 2017

    Richard Prince — Third Place: Family Tweets, 2017

  • Richard Prince, Untitled (band), A+Mbookstore / Le Case d'Arte, Milan, 2014, white boards with title text in original shrink-wrap, front cover Richard Prince, Untitled (band), A+Mbookstore / Le Case d'Arte, Milan, 2014, white boards in original shrink-wrap, reverse

    RICHARD PRINCE — Untitled (band), A+Mbookstore / Le Case d'Arte, Milan, 2014

    RICHARD PRINCE — Untitled (band), A+Mbookstore / Le Case d'Arte, Milan, 2014

  • Postcard recto, Richard Prince, Untitled (cowboy), 1997–98, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Full-bleed vertical image — cowboy in denim jacket, white hat, leather chaps and boots wrestling a rearing dark horse by the reins; lasso trailing; arid desert landscape and deep blue sky behind. Ektacolor photograph, edition of 2, 60 × 40 inches. Light handling only, very good condition. ostcard verso, Richard Prince, Untitled (cowboy), 1997–98, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Untitled (cowboy), 1997–98 / Ektacolor photograph, edition of 2, 60 × 40 inches / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001546'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Light handling only, very good condit

    RICHARD PRINCE — Untitled (cowboy), 1997–98 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Untitled (cowboy), 1997–98 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Untitled (cowboy), 2003, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Full-bleed vertical image — cowboy in dark navy shirt, tan chaps, and wide-brimmed hat mid-stride across arid flat desert plain; lasso coiled on dusty ground around feet; vast ochre landscape, pale blue sky and distant mesa behind. Ektacolor photograph, edition of 2, 40 × 30 inches. Light handling only, very good condition. Postcard verso, Richard Prince, Untitled (cowboy), 2003, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Untitled (cowboy), 2003 / Ektacolor photograph, edition of 2, 40 × 30 inches / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001552'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Light handling only, very good condition.

    RICHARD PRINCE — Untitled (cowboy), 2003 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Untitled (cowboy), 2003 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Aftershock, Dickinson Roundell 2003, front cover, white ground, green AFTERSHOCK title, bicycle wheel on white stool, Dickinson Aftershock, Dickinson Roundell 2003, invitation unfolded, three panels: exhibition text left, blue spiral centre, front cover right

    RICHARD PRINCE, ELAINE STURTEVANT, CINDY SHERMAN et al.: Aftershock — The Legacy of the Readymade — Exhibition Invitation and Private-View Insert, Dickinson Roundell Inc., New York, 2003

    RICHARD PRINCE, ELAINE STURTEVANT, CINDY SHERMAN et al.: Aftershock — The Legacy of the Readymade — Exhibition Invitation and Private-View Insert, Dickinson Roundell Inc., New York, 2003

  • frieze Issue 1, 1991, cover, red masthead on teal, circular photograph, four cover lines Richard Prince, Diamonds and Dirt spread, Untitled (Cowboys) 1987, frieze Issue 1

    RICHARD PRINCE, GAVIN TURK, ADRIAN PIPER et al., frieze, Issue 1, London, 1991

    RICHARD PRINCE, GAVIN TURK, ADRIAN PIPER et al., frieze, Issue 1, London, 1991

  • Richard Prince, Phaidon Contemporary Artists 2003, front dust jacket, Untitled (Cowboy) silhouette at dusk, white title text Richard Prince, Phaidon 2003, interior, Untitled (Girlfriend) c.1983, b&w photograph, woman with long hair on motorcycle

    RICHARD PRINCE, Phaidon Press, London / New York, 2003

    RICHARD PRINCE, Phaidon Press, London / New York, 2003

  • Richard Prince, 1 2 3 4, Fulton Ryder 2025, front cover, white cloth boards, large black numerals 1 2 3 4, Richard Prince serif Richard Prince, 1 2 3 4, Fulton Ryder 2025, back in shrinkwrap, plain white cloth boards, original stock label lower right

    RICHARD PRINCE: 1, 2, 3, 4, Fulton Ryder, New York, 2025

    Placed

    RICHARD PRINCE: 1, 2, 3, 4, Fulton Ryder, New York, 2025

    Placed
  • Richard Prince, American Prayer, Gagosian / Rizzoli 2011, front cover, bold black typography, joke text and book stack photograph Richard Prince, American Prayer, 2011, interior, grid of black-and-white portraits with pink frames, ink splatter

    RICHARD PRINCE: American Prayer, Gagosian Gallery / Rizzoli, New York, 2011

    RICHARD PRINCE: American Prayer, Gagosian Gallery / Rizzoli, New York, 2011

  • Richard Prince, Everyday, Sadie Coles HQ 2023, front cover, Just My Luck I Was at the Airport When My Ship Came In, joke over handwritten notes Richard Prince, Everyday, 2023, interior p.15, Hostile, collage of handwritten notes and newspaper clippings, red and black text

    RICHARD PRINCE: Everyday, Sadie Coles HQ, London, 2023

    RICHARD PRINCE: Everyday, Sadie Coles HQ, London, 2023

  • Richard Prince, Naked Nurses, JMc & GHB 2006, Front cover, colour photograph, three figures in nurse costume, bedroom interior Richard Prince, Naked Nurses, 2006, title page signed in black marker by David LaChapelle, JMc & GHB New York 2006

    RICHARD PRINCE: Naked Nurses, JMc & GHB Editions, New York, 2006 — Signed by David LaChapelle

    Placed

    RICHARD PRINCE: Naked Nurses, JMc & GHB Editions, New York, 2006 — Signed by David LaChapelle

    Placed
  • Richard Prince, Photographien / Photographs 1977–1993, Kestner-Gesellschaft 1994, front cover, plain white pictorial boards Richard Prince, Photographien 1994, interior, Untitled (Party) 1993, Ektacolor print, man in Harley Davidson vest, p.57 —

    RICHARD PRINCE: Photographien / Photographs 1977–1993, Kestner-Gesellschaft, Hannover, 1994

    RICHARD PRINCE: Photographien / Photographs 1977–1993, Kestner-Gesellschaft, Hannover, 1994

  • RICHARD PRINCE: The Entertainers 1982–1983, Fulton Ryder, New York, 2023 The back cover of The Entertainers Richard Prince art book featuring a textured off-white cover with a central vertical black panel containing a blue-toned portrait photograph, and a barcode sticker in the bottom right corner.

    RICHARD PRINCE: The Entertainers 1982–1983, Fulton Ryder, New York, 2023

    RICHARD PRINCE: The Entertainers 1982–1983, Fulton Ryder, New York, 2023

  • Cover of Art and Artists, Vol. II, No. 8, November 1967, London: Hansom Books. Offset lithograph, approx. 27.5 × 21 cm. White ground with large modernist masthead 'art and artists november 1967 6s $1.50' in black. Cover image specially designed by Richard Smith: two tall yellow rectangular forms divided by a central vertical black line and a horizontal black line, on white ground. Contents listed upper right: Calder's Fables, Beardsley's Erotica, John Moores Liverpool, Frank Brangwyn. Creasing and handling Interior spread of Art and Artists, Vol. II, No. 8, November 1967, pp. 12–13. Feature 'Calder's Fables'. Left page: two framed line drawings by Alexander Calder — upper, A Fox and Grapes, fox beneath vine with grapes; lower, A Flea and a Man, nude male figure with flea. Introductory text below: 'Calder's Fables'. Right page: two further framed Calder line drawings with fable texts in period typography. Clean white pages, light age toning.

    RICHARD SMITH — Art and Artists, Vol. II, No. 8, November 1967

    RICHARD SMITH — Art and Artists, Vol. II, No. 8, November 1967

  • Richard Tuttle — Grey Walls Work Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

  • Richard Tuttle, New Mexico Silver / Firenze Gold, Galleria Victoria Miro Florence 1990, announcement: cream card, green ruled frame, dispersed typography, 16 May–12 June Richard Tuttle, New Mexico Silver / Firenze Gold, Galleria Victoria Miro 1990, interior spread: plain cream card stock, blank as issued, light age toning

    RICHARD TUTTLE — New Mexico Silver / Firenze Gold, Galleria Victoria Miro, Florence, 1990

    RICHARD TUTTLE — New Mexico Silver / Firenze Gold, Galleria Victoria Miro, Florence, 1990

  • 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

  • Invitation front — gymnast backbend Rineke Dijkstra, The Gymschool, St Petersburg / Marianna (The Fairy Doll), Galerie Marian Goodman, Paris, 2015. Exhibition invitation front: colour photograph of a young gymnast in a black leotard performing a backbend on a bare cream floor, legs raised and crossed at the ankle in ballet slippers, face visible between her arms looking directly at the camera. White border. Approx. A5. Invitation back — text only Rineke Dijkstra, The Gymschool, St Petersburg / Marianna (The Fairy Doll), Galerie Marian Goodman, Paris, 2015. Exhibition invitation back: white card with "13 janvier — 21 février 2015" upper left; "Vernissage le mardi 13 janvier de 18h à 20h" upper right; "RINEKE DIJKSTRA" in spaced black serif capitals centre; "The Gymschool, St Petersburg, 2014 — Marianna (The Fairy Doll), 2014" in italic below; "GALERIE MARIAN GOODMAN / 79, rue du Temple 75003 PARIS / T. +33 1 48 04 70 52 /

    RINEKE DIJKSTRA — The Gymschool, St Petersburg, 2014 / Marianna (The Fairy Doll), 2014. Galerie Marian Goodman, Paris, 2015

    RINEKE DIJKSTRA — The Gymschool, St Petersburg, 2014 / Marianna (The Fairy Doll), 2014. Galerie Marian Goodman, Paris, 2015

  • Original 2016 Rita Ackermann Jezebels artist's book, Soccer Club Club / Drag City, Chicago. Front cover showing saturated electric-blue painted surface with Jezebels title in cursive script, photographs by Richard Kern. Interior spread of 2016 Rita Ackermann Jezebels showing a colour photograph of a masked woman in black niqab aiming a crossbow at a man in a white shirt in the foreground, against a blue painted ground by Ackermann.

    RITA ACKERMANN — Jezebels, Soccer Club Club / Drag City, Chicago, 2016

    RITA ACKERMANN — Jezebels, Soccer Club Club / Drag City, Chicago, 2016

  • Rob Wynne, I Wish I Was You, 2005, photogram, white liquid lettering on black ground, recto of Radiant Darkness invitation Rob Wynne, Radiant Darkness, Galerie Mitterrand, Paris, 2023, exhibition invitation verso with dates and gallery text

    ROB WYNNE, Radiant Darkness, Galerie Mitterrand, Paris, 2023

    ROB WYNNE, Radiant Darkness, Galerie Mitterrand, Paris, 2023

  • Front — envelope with Crumb drawing Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Front of illustrated paper envelope inside clear protective sleeve: white paper with "ROBERT CRUMB POSTCARDS / A Set of 10 Different Cards by R. Crumb ($4.95 / $5.95 in Canada) / Published by FANTAGRAPHICS BOOKS 7563 Lake City Way NE Seattle, WA 98115 / Phone (206) 524-1967 Fax (206) 524-2104" in black type upper centre; large black-and-white Crumb drawing below — a squat, scowling male figure seated on a bench, Back — clear protective sleeve Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Reverse of clear protective sleeve enclosing the original envelope: translucent plastic with tape strips at corners and edges; blank white stock labels; handwritten "1990" notation on a small label lower right. Creasing and surface marks throughout.

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

  • Robert Kushner, 'The dance, the kiss,...', exhibition invitation recto. Galerie Daniel Templon, Paris, 1979. Black-and-white reproduction of a large-scale drawing or print: two figures in close embrace, faces almost touching in a near-kiss. The woman on the left has wavy hair and closed eyes; the man on the right wears a suit and tie, head tilted toward her. Her dress or top is rendered with dense teardrop or scale-like patterning across the bodice and shoulders. Bold, fluid black line work on white ground, Robert Kushner, 'The dance, the kiss,...', exhibition invitation verso. Galerie Daniel Templon, Paris, 1979. Cream card. Header in bold sans-serif caps: 'DANIEL TEMPLON / 30, rue Beaubourg. Paris 3. 272.14.10'. Below in bold: 'ROBERT KUSHNER'. Below in italic: '"The dance, the kiss,..."'. Exhibition dates in French: 'du 31 mars au 3 mai 1979 / vernissage le samedi 31 mars de 10 h à 19 h'. Plain typographic layout on cream stock. Light age toning and minor surface marks.

    Robert Kushner — “The dance, the kiss,…”

    Robert Kushner — “The dance, the kiss,…”

  • Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Front cover. Black ground, title in spaced white capitals: 'Robert Mapplethorpe fotografie'. Centre: black-and-white photograph of a male torso in a white swimsuit, cropped at shoulders and thighs, high-contrast studio lighting. Lower text: 'Intervista con R. Mapplethorpe a cura di Germano Celant'. ISBN 88-7017-032-2. Original yellow N.P.G. price sticker lower right: 19.95. Photography monograph, Italian edition. Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Back cover. Black ground with white border rule. Black-and-white photograph: a young Black woman in profile, nude to the waist, holding a white draped cloth across her body, rings on her fingers, eyes downcast. Title in white block capitals along lower edge: 'ROBERT MAPPLETHORPE'. Photography monograph, Italian edition.

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

  • Cover of Robert Mapplethorpe, Some Women, Bulfinch Press, Boston, 1992, showing a black-and-white close-up photograph of a woman's face cropped from the forehead to the chin, eyes gazing directly at the camera, against a dark background, with the title SOME WOMEN in white serif capitals at lower left and ROBERT MAPPLETHORPE in smaller white serif capitals above. Interior page from Robert Mapplethorpe, Some Women, Bulfinch Press, 1992, showing a black-and-white portrait of Patti Smith, photographed outdoors against a background of dried straw or reeds, wearing a dark knitted sweater, her dark hair loose with a fringe, holding a braid of her hair in both hands, looking directly at the camera with a composed, direct expression.

    Robert Mapplethorpe — Some Women, Bulfinch Press, 1992

    Robert Mapplethorpe — Some Women, Bulfinch Press, 1992

  • Robert Mapplethorpe, 2000 Calendar, teNeues, front in CD jewel case, seated male nude, circular dark ground Robert Mapplethorpe, 2000 Calendar, January card, male torso with diagonal shadow stripes, black-and-white

    ROBERT MAPPLETHORPE: 2000 Calendar — CD Case Edition, teNeues, 1999

    ROBERT MAPPLETHORPE: 2000 Calendar — CD Case Edition, teNeues, 1999

  • Robert Rauschenberg, Bilder Zeichnungen Lithos, Amerika Haus Berlin 1965, front cover: dark ground, purple serif type Rauschenberg 1965, interior: Magnet Zeichnung 62 left; title page with biography and studio photograph right, German text

    ROBERT RAUSCHENBERG — Bilder. Zeichnungen. Lithos, Amerika-Haus Berlin, 1965

    ROBERT RAUSCHENBERG — Bilder. Zeichnungen. Lithos, Amerika-Haus Berlin, 1965

  • Rauschenberg, Cardbirds, 1971. Corrugated cardboard cover with red stamp, stock number 33-6009, signed in green ink Cardbirds production photograph by Malcolm Lubliner. Rauschenberg holds fanned cardboard panels in Gemini workshop.

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

    ROBERT RAUSCHENBERG — Cardbirds — Gemini G.E.L. — 1971

  • Robert Rauschenberg, Ileana Sonnabend Gallery, Paris, 1963 — exhibition catalogue, front cover. Staple-bound wraps, offset print, black and white. Title in French: Première Exposition (oeuvres 1954–1961), Seconde Exposition (oeuvres 1962–63). Robert Rauschenberg, Monogram, 1955–1959 — interior plate. Black and white photograph of the Combine: a taxidermied angora goat encircled by a rubber tyre, mounted on a painted flatbed base. Caption: "Monogram" · 1955–1959, 183 × 183 × 122 cm.

    ROBERT RAUSCHENBERG — Ileana Sonnabend Gallery, Paris, 1963

    ROBERT RAUSCHENBERG — Ileana Sonnabend Gallery, Paris, 1963

  • Rauschenberg, ROCI, 1990. Green cover with red turtle illustration, globe motif, white ROCI title. Neue Berliner Galerie. ROCI interior p.6. Donald J. Saff essay in German; black-and-white photo of Rauschenberg in Pearl Street studio, c.1955.

    ROBERT RAUSCHENBERG — ROCI — Neue Berliner Galerie im Alten Museum — 1990

    ROBERT RAUSCHENBERG — ROCI — Neue Berliner Galerie im Alten Museum — 1990

  • 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

  • Exhibition poster interior, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Interior spread printed in yellow on white: full list of works including Mondrian Chair, Einstein on the Beach Table, Kafka II, Mother: A Chair for Agnes Martin, Stalin Chairs, Madame Butterfly, Alice in Bed Chair, and others. Good vintage condition. Exhibition poster, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Printed paper, 29.5 × 40 cm unfolded, folded twice. Front cover: minimal white ground, grey text reading ‘A MOVE A/B / MOVE ABLE / A SEAT’ and ‘ROBERT WILSON’ in light grey. Good vintage condition with original folds and handling marks.

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002

  • Roberto Cuoghi: full-bleed bold black sans-serif "WAR / IS / OVER!" filling the card, "IF YOU SURRENDER" in smaller caps below. ROBERTO CUOGHI — PEPSIS, Exhibition Invitation, Galerie Chantal Crousel, Paris, 2024

    ROBERTO CUOGHI — PEPSIS, Exhibition Invitation, Galerie Chantal Crousel, Paris, 2024

    ROBERTO CUOGHI — PEPSIS, Exhibition Invitation, Galerie Chantal Crousel, Paris, 2024