Products

  • East Village '85: A Guide. A Documentary, Roland Hagenberg et al., Pelham Press, New York, 1985. Front cover. Solid red ground. Cream outline illustration by Mark Kostabi: five schematic figures seated and standing around a table, two figures exchanging a rectangular object labelled '85'. Title in large cream block capitals: 'EASTVILLAGE'. Below in smaller type: 'Roland Hagenberg, Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege'. Lower centre: 'A guide. A documentary.' Publisher: Pelham Press. East Village '85: A Guide. A Documentary, Pelham Press, 1985. Condition detail: Basquiat and Madonna. Red softcover spine intact. Very good overall condition for a heavily used 1985 softcover.

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

  • Roman Polanski / Ivan Butler, The Cinema of Roman Polanski, 1970, powder-blue softcover with Mia Farrow from Rosemary's Baby Roman Polanski / Ivan Butler, The Cinema of Roman Polanski, 1970, p.51, Catherine Deneuve portrait, Repulsion chapter with cast list

    ROMAN POLANSKI / IVAN BUTLER — The Cinema of Roman Polanski, A. Zwemmer / A.S. Barnes, 1970

    ROMAN POLANSKI / IVAN BUTLER — The Cinema of Roman Polanski, A. Zwemmer / A.S. Barnes, 1970

  • Roman Signer, Fast Changes / Schnelle Veränderungen, front cover: solid red, white spaced capitals, title in English and German, light creasing Roman Signer, Fast Changes, interior: colour photo of red barrel on wooden crate by window left; German Liste der früheren Aktionen with action descriptions 1981–1985 right

    ROMAN SIGNER — Fast Changes / Schnelle Veränderungen, Künstlerhaus Stuttgart, 1985

    ROMAN SIGNER — Fast Changes / Schnelle Veränderungen, Künstlerhaus Stuttgart, 1985

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

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

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

  • Front cover Roni Horn, Catalogs, Artist's Books and Monographs, Edizioni Periferia / a+mbookstore Edizioni, 2004. Front cover: metallic gold reflective wrappers with rippled, cloud-like surface texture in warm gold and pale yellow tones; "RONI HORN" in small spaced blue serif capitals centre; "CATALOGS, ARTIST'S BOOKS / AND MONOGRAPHS" in smaller spaced blue serif type below. Softcover, staple-bound, 10.5 × 15 cm. Rubbing, surface marks and light scratching visible across wrappers. Back cover Roni Horn, Catalogs, Artist's Books and Monographs, Edizioni Periferia / a+mbookstore Edizioni, 2004. Back cover: metallic gold reflective wrappers with rippled surface texture, lighter and more diffuse than front; "EDIZIONI PERIFERIA · A+MBOOKSTORE EDIZIONI · CHRISTOPHE DAVIET-THÉRY" in small spaced blue serif type lower centre. Edge wear and small area of loss along lower edge visible.

    RONI HORN — Catalogs, Artist’s Books and Monographs. Edizioni Periferia / a+mbookstore, 2004

    RONI HORN — Catalogs, Artist’s Books and Monographs. Edizioni Periferia / a+mbookstore, 2004

  • Front cover — institutional title strip Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition booklet front cover: fluorescent yellow-green wrappers; narrow vertical grey institutional title strip along left edge — double-B logo of Fondazione Bevilacqua La Masa in black above, then "FONDAZIONE / BEVILACQUA / LA MASA" in small black type, then "Centre / Pompidou" in black, then "Galleria di Piazza San Marco, / Venezia", then "Roni Horn / Dessins/Dr Interior spread — pages 8–9 Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition booklet interior spread, pages 8–9: left page, bibliography column upper left listing Horn publications — Pooling Waters (1999), Bluff Life (2000s), Lava (2001–02), Another Water (2002), Cão Comum (2006) — followed by essay "Roni Horn a Venezia" by Angela Vettese in two columns of small Italian serif type, discussing Horn's relationship to water, Iceland, photography

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004

  • Recto — Clownpout (4) reproduction Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition invitation recto: full-bleed colour reproduction of Clownpout (4), 2002 — two photographic heads cut apart and interlocked, face appearing simultaneously doubled, blurred and partially erased; pale pink and white tones, open mouth visible at centre, features dissolved into abstraction; lower edge, horizontal strip with institutional logos and text in small bl Verso — exhibition details Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition invitation verso: white card, almost entirely unprinted; upper left, small black sans-serif text — "Fondazione Bevilacqua La Masa / Comune di Venezia / La S.V. è invitata / all'inaugurazione della mostra / Roni Horn / Dessins/ Drawings/ Disegni / a cura di Jonas Storsve / Sabato 31 gennaio 2004 / ore 18.30 / Galleria Bevilacqua La Masa / Piazza San Marco, 71/c / Vene

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004 [invitation]

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004 [invitation]

  • Roni Horn / Isabelle Huppert, Roni Horn, Collection Lambert en Avignon, 2009, front cover Roni Horn / Isabelle Huppert, Roni Horn, Collection Lambert en Avignon, 2009, rear board with ISBN barcode

    Roni Horn — Roni Horn (Collection Lambert en Avignon / Éditions Phébus, 2009)

    Roni Horn — Roni Horn (Collection Lambert en Avignon / Éditions Phébus, 2009)

  • Front cover — black-and-white portrait with overwrap Roni Horn aka Roni Horn, Whitney Museum of American Art, New York, 2009. Exhibition guide front cover: pale blue printed overwrap overlaid on self-wrapper; overwrap carries "November 6, 2009–January 24, 2010" in small dark grey sans-serif type upper left; "Roni Horn / aka / Roni Horn" in large dark grey sans-serif type centre left; "Whitney Museum of American Art, New York" in small dark grey sans-serif type lower left; behind overwrap, black-and-white cl Back cover — colour portrait with overwrap Roni Horn aka Roni Horn, Whitney Museum of American Art, New York, 2009. Exhibition guide back cover: pale blue printed overwrap overlaid on self-wrapper; overwrap carries "November 6, 2009–January 24, 2010" in small dark grey sans-serif type upper left; "Roni Horn / aka / Roni Horn" in large dark grey sans-serif type centre left; "Whitney Museum of American Art, New York" in small dark grey sans-serif type lower left; behind overwrap, colour close-up photograph o

    RONI HORN — Roni Horn aka Roni Horn. Whitney Museum of American Art, New York, 2009

    RONI HORN — Roni Horn aka Roni Horn. Whitney Museum of American Art, New York, 2009

  • Roni Horn, De Pont Foundation for Contemporary Art, Tilburg, 1994, front cover, figure seated on basalt cliff above Icelandic river Roni Horn, Pair Field, 1994, interior spread, grid of 18 copper and stainless-steel sculptural forms, De Pont catalogue

    RONI HORN, De Pont Foundation for Contemporary Art, 1994

    RONI HORN, De Pont Foundation for Contemporary Art, 1994

  • Roni Horn: Mother, Wonder (Ísland: To Place 11), Steidl, Göttingen, 2023 Roni Horn, Mother Wonder, Ísland To Place 11, Steidl 2023, back cover in shrinkwrap, barcode label

    Roni Horn: Mother, Wonder (Ísland: To Place 11), Steidl, Göttingen, 2023

    Roni Horn: Mother, Wonder (Ísland: To Place 11), Steidl, Göttingen, 2023

  • ROSE WYLIE, Horse, Bird, Cat, David Zwirner, 2016 ROSE WYLIE, Horse, Bird, Cat, David Zwirner, 2016

    ROSE WYLIE, Horse, Bird, Cat, David Zwirner, 2016

    ROSE WYLIE, Horse, Bird, Cat, David Zwirner, 2016

  • Magazine cover, ZG Magazine No. 12: Religion, edited by Rosetta Brooks, New York, Fall 1984. Offset-printed, staple-bound periodical, 41.9 × 27.9 cm. Red ground. Upper left: bold black 'ZG' logotype. Upper right: black diagonal band — white bold sans-serif 'RELIGION'. Centre: black-and-white photograph of a television set showing a smiling male figure in white jacket raising one arm — televangelist or political figure; below the TV screen: small silhouetted figure with arms raised before a podium, flanked b Interior page, ZG Magazine No. 12: Religion, edited by Rosetta Brooks, New York, Fall 1984. Page 17. Black ground. Three overlapping black-and-white photographic reproductions of Hollywood studio portraits — upper left: blonde female figure in white fur, reclining, smiling; centre: dark-haired female figure in white gown, direct gaze, strong makeup; lower right: dark-haired female figure in profile, white ruffled neckline, upward gaze. White borders to each photograph, arranged diagonally overlapping. Lower

    ROSETTA BROOKS (ed.) — ZG Magazine No. 12: Religion, New York, Fall 1984

    ROSETTA BROOKS (ed.) — ZG Magazine No. 12: Religion, New York, Fall 1984

  • Magazine cover, ZG Magazine No. 13: Political Fictions, edited by Rosetta Brooks, Spring 1985. Offset-printed, staple-bound periodical, 41.9 × 27.9 cm. Bold yellow and black diagonal hazard-stripe ground. Upper left: grey sans-serif 'ZG' logotype. Upper right: grey sans-serif 'POLITICAL FICTIONS' in two lines. Centre: white line-drawn face — open mouth, heavy-lidded eyes, long hair, distressed expression — by Nancy Dwyer. Upper right corner: 'NO. 13 SPRING 85 / £1.30 $3.00'. Handling wear, rubbing, creasing Interior spread, ZG Magazine No. 13: Political Fictions, edited by Rosetta Brooks, Spring 1985. Pages 4–5. 'Image Dislocation' — essay by Krystina Kitsis. Left page: large black-and-white press photograph of Margaret Thatcher; caption 'HEADS OF STATE: Mrs Thatcher takes a critical look at "herself" today'; below: black-and-white photograph of a woman in a '58% DON'T WANT PERSHING' protest T-shirt at a formal event; dense two-column text. Right page: grid of black-and-white press photographs — women in domes

    ROSETTA BROOKS (ed.) — ZG Magazine No. 13: Political Fictions, Spring 1985

    ROSETTA BROOKS (ed.) — ZG Magazine No. 13: Political Fictions, Spring 1985

  • Magazine cover, ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984. Edited by Rosetta Brooks. Large-format staple-bound periodical, 28 × 42 cm. Yellow horizontal band upper third — bold black 'ZG' logotype left; white sans-serif 'DOUBLE TROUBLE' right; below band: 'with ART&TEXT'. Full-bleed black-and-white photograph — two female figures in hazy backlit environment; foreground figure in short slip dress, short dark hair; background figure in dark structured outf Interior spread, ZG No. 11 / Art & Text 15: Double Trouble, 1984. Pages 6–7. Left: 'DYSTOPIA REVISITED' — essay by Peter Halley with black-and-white film stills including motorcycles, futuristic vehicles, and armoured figure. Right: 'ROSETTA BROOKS' header; black-and-white photograph of figures in white robes before pyramids and sphinx; below: 'GUYS AND DOLLS' essay with black-and-white performance photograph. Dense two-column text throughout.

    ROSETTA BROOKS (ed.) — ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984

    ROSETTA BROOKS (ed.) — ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984

  • Cover of Art and Artists, Volume One Number Three, June 1966, Venice Biennale Number, showing a close-cropped reproduction of Roy Lichtenstein's comic-book painting of a blonde woman's face with Ben-Day dot shading, red lips, and a striped ribbon in her hair, with the masthead ART and artists in large black sans-serif type at top, and VENICE BIENNALE NUMBER in bold black capitals below, priced 4s $1. Interior spread from Art and Artists, June 1966, pages 12–13, showing the opening of the feature "Lichtenstein: The Printed Image at Venice," with a black-and-white reproduction of Drowning Girl, 1963, oil on canvas, collection Mr and Mrs C.B. Wright, showing a woman's face submerged in stylised waves with a speech bubble reading "I DON'T CARE! I'D RATHER SINK THAN CALL BRAD FOR HELP!," alongside critical text in two columns.

    ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

    ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

  • Cover of Art and Artists, Vol. II, No. 10, January 1968, London: Hansom Books. Offset lithograph, approx. 27.5 × 21 cm. Black ground with large modernist masthead 'art and artists JANUARY 1968 6s $1.50' in white. Cover image: Roy Lichtenstein, Modern Painting with Ionic Column, 1967 — Ben-Day dot pattern, yellow diagonal beam, classical column, red and black geometric forms. Rubbing and edge wear to covers visible. Interior spread of Art and Artists, Vol. II, No. 10, January 1968, pp. 30–31. Feature 'George Segal' by Robert Pincus-Witten. Left page: full-bleed colour photograph of Segal's The Costume Party, 1965, plaster and mixed media, John Janis Gallery, New York — white plaster figures in red-lit environment with animal heads. Right page: two-column critical text with large bold footer 'George Segal by Robert Pincus-Witten'.

    ROY LICHTENSTEIN — Art and Artists, Vol. II, No. 10, January 1968

    ROY LICHTENSTEIN — Art and Artists, Vol. II, No. 10, January 1968

  • Exhibition catalogue cover, Roy Lichtenstein, Galerie Ileana Sonnabend, Paris, 1965. Full-bleed Benday-dot pattern in blue and black across cream wrappers; artist name ROY LICHTENSTEIN set diagonally in bold black serif capitals from lower-left to upper-right. Age toning and foxing visible at lower corners. Stapled binding. `Two-page colour spread, Landscape, 1965, by Roy Lichtenstein. Horizontal bands of blue Benday dots separated by white cloud and ground forms; dark black dot band across the middle ground. Title and date captioned in small type at upper left: LANDSCAPE / 1965. Vertical use fold visible through centre of spread. Catalogue open flat, printed on cream paper.`

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

  • Ryan McGinley, Vertical Color of Sound, exhibition invitation front. Galerie Perrotin, Hong Kong, 2014. Square colour photograph: a nude figure leaps from a hay bale into a pale blue dusk sky, arms outstretched, back to camera. Open field and flat horizon behind. Image: Hay Hop, 2014. Ryan McGinley, Vertical Color of Sound, exhibition invitation reverse. Galerie Perrotin, Hong Kong, 2014. Cream card with 'RYAN McGINLEY' in large serif type and '"Vertical Color of Sound"' below. Opening reception: Tuesday May 13th, 6–9pm. Exhibition dates: 13 May–21 June 2014, Tuesday–Saturday 11am–7pm. Text repeated in Chinese. Galerie Perrotin address: 50 Connaught Road Central, 17th Floor, Hong Kong. Vertical caption strip at right edge notes: Hay Hop, 2014, C-print, 51 1/8 × 72 7/16 inches / 130 × 175

    Ryan McGinley — Vertical Color of Sound

    Ryan McGinley — Vertical Color of Sound

  • Salvador Dalí, Ma révolution culturelle, Les Livres de Nulle Part c.1990, both eyes across open spread, grainy b&w Salvador Dalí, Ma révolution culturelle, Les Livres de Nulle Part c.1990, right eye extreme close-up, back cover

    SALVADOR DALÍ / RAYMOND ROUSSEL — Ma révolution culturelle suivi de Dalí à Paris: hallucination partielle, six apparitions en vitrines, c. 1990–93

    SALVADOR DALÍ / RAYMOND ROUSSEL — Ma révolution culturelle suivi de Dalí à Paris: hallucination partielle, six apparitions en vitrines, c. 1990–93

  • Salvador Dalí, Centre Georges Pompidou inauguration invitation, Paris, 18 December 1979. Classical figure silhouette against tiled museum floor; black invitation text signed by Jean Millier and Pontus Hultén." Reverse of 1979 Salvador Dalí Pompidou exhibition invitation card. Plain cream stock, blank.

    Salvador Dalí — Centre Georges Pompidou — Exhibition Inauguration Invitation Card, Paris, 1979

    Salvador Dalí — Centre Georges Pompidou — Exhibition Inauguration Invitation Card, Paris, 1979

  • Dali by Dali, Salvador Dalí, 1970, title page inscribed to Angus, translated by Eleanor R. Morse, Abrams New York Dali by Dali, Salvador Dalí, Abrams 1970, back cover, yellow surrealist landscape, melting DALI lettering, seated figure

    SALVADOR DALÍ — Dali by Dali, Harry N. Abrams, New York, 1970

    SALVADOR DALÍ — Dali by Dali, Harry N. Abrams, New York, 1970

  • 1977 Salvador Dalí La Gare de Perpignan Galerie André François Petit Paris exhibition invitation card. Recto: dark surrealist composition on gold-toned ground — radiating beams of light from a central floating bus or vehicle at top, silhouetted figures at left and right edges, a small winged insect at the vanishing point, shadowy forms including a hat and rake in the foreground; theatrical chiaroscuro atmosphere. 1977 Salvador Dalí Galerie André François Petit Paris exhibition announcement card. Recto: cream stock with elegant italic script typography reading 'À l'occasion de l'exposition du tableau / "La Gare de Perpignan" / Salvador Dalí / de passage à Paris, en route pour les États-Unis d'Amérique / montrera un "Portrait de Gala" sur cuivre / et pour la première fois au monde / une "Peinture à l'Huile stéréoscopique" / ces deux œuvres "in process" / La spatialisation stéréoscopique naturelle est due à Robert Desc

    Salvador Dalí — La Gare de Perpignan — Pair of Exhibition Invitation Cards, Galerie André François Petit, Paris, 1977

    Salvador Dalí — La Gare de Perpignan — Pair of Exhibition Invitation Cards, Galerie André François Petit, Paris, 1977

  • Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Front cover: full-bleed newsprint cover with large bold headline reading 'I sometimes wonder how long I've got' and Guardian G2 masthead at top Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Interior spread, pages 14–15: two colour photographs — left: Old Man River, two leather straps pinned to a brick wall; right: You do it with really hairy bums, close-up of a buttock with a small cross-shaped object pinned to it

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

  • r Original 2015 Sarah Lucas exhibition guide for I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, front cover, showing a bright yellow folded card with SARAH LUCAS / BRITISH PAVILION in large bold dark navy serif capitals at the top, below which a white floor plan diagram of the British Pavilion with numbered work positions 1–21 across six rooms and the Portico, and below that TEXT & ARTWORKS: SARAH LUCAS / Translation: Elisabetta Rabajoli / Photographs & Design: Julian Simmons / 56TH INTERNATIONAL nterior spread of 2015 Sarah Lucas exhibition guide for I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, showing the guide fully unfolded to reveal six bilingual text panels on a yellow ground: IT STARTED WITH AN EGG / È INIZIATO CON UN UOVO, SPOTS / POIS, FAGS / BIONDE, CATS / GATTI, each with a black-and-white installation photograph below, and at far right the front cover panel with floor plan and exhibition details.

    Sarah Lucas — I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, 2015

    Sarah Lucas — I SCREAM DADDIO, British Pavilion, 56th Venice Biennale, 2015

  • Corpus Delicti: London i 90'erne, Kunstforeningen, Copenhagen, 1995, front cover, blue photograph of woman lying inverted on leather sofa Corpus Delicti, Kunstforeningen, 1995, back cover, twelve artist names in spaced capitals, monogram and British Council logo

    SARAH LUCAS, JAKE & DINOS CHAPMAN, MAT COLLISHAW, ANGELA BULLOCH ET AL. — Corpus Delicti: London i 90'erne, Kunstforeningen, Copenhagen, 1995

    SARAH LUCAS, JAKE & DINOS CHAPMAN, MAT COLLISHAW, ANGELA BULLOCH ET AL. — Corpus Delicti: London i 90'erne, Kunstforeningen, Copenhagen, 1995

  • Original 1990 Sarkis exhibition invitation card, Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice. Recto reproducing a colour photograph of the neon installation: a luminous biomorphic form suspended against deep black ground, teal glow pooling outward. Printed card, c.15 × 10.5 cm. Musées de la Ville de Strasbourg and CNAC Grenoble, Magasin. Sarkis exhibition invitation card, Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice. Verso showing full institutional text in French: exhibition title, presenting institutions (Musées de la Ville de Strasbourg, Centre National d'Art Contemporain de Grenoble, Magasin), venue (Couvent des Pères Méchitaristes, Île San Lazzaro degli Armeni), opening date 23 May 1990, closing 30 September 1990, and vaporetto departure times from Riva Schiavoni.

    SARKIS — Ma Chambre de la Rue Krutenau à l’Île San Lazzaro, Venice, 1990

    SARKIS — Ma Chambre de la Rue Krutenau à l’Île San Lazzaro, Venice, 1990

  • Original 1990 Sarkis exhibition invitation card, Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice. Recto reproducing a colour photograph of the neon installation: a luminous biomorphic form suspended against deep black ground, teal glow pooling outward. Printed card, c.15 × 10.5 cm. Musées de la Ville de Strasbourg and CNAC Grenoble, Magasin. Reverse of 1990 Sarkis exhibition invitation card, Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice. Verso showing full institutional text in French: exhibition title, presenting institutions (Musées de la Ville de Strasbourg, Centre National d'Art Contemporain de Grenoble, Magasin), venue (Couvent des Pères Méchitaristes, Île San Lazzaro degli Armeni), opening date 23 May 1990, closing 30 September 1990, and vaporetto departure times from Riva Schiavoni.

    SARKIS — Réserves sans retour, CAPC Bordeaux, 1980

    SARKIS — Réserves sans retour, CAPC Bordeaux, 1980

  • Sean Landers, [sic], Riverhead Books, New York, 1995 — front cover, blue-toned photograph with yellow title Sean Landers, [sic], 1995 — interior spread, handwritten preface recto, age-toned pages

    SEAN LANDERS — [sic] — Riverhead Books, 1995 — Second Edition

    SEAN LANDERS — [sic] — Riverhead Books, 1995 — Second Edition

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

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

    Placed

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

    Placed
  • Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates. Interior fold-out essay spread from the Sherrie Levine *Directions* brochure with curatorial texts by Phyllis Rosenzweig and Susan Krane, reproductions of Levine works, and multiple columns of exhibition writing printed on cream paper.

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

  • Cover of Sherrie Levine, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988, showing a plain cream-yellow softcover with SHERRIE LEVINE in small red serif capitals at upper centre and GALERIE NÄCHST ST. STEPHAN / ROSEMARIE SCHWARZWÄLDER in small black serif capitals at lower centre, with a faint vertical pencil mark at left. Interior spread from Sherrie Levine, Galerie nächst St. Stephan, Vienna, 1988, left page blank, right page showing a black-and-white reproduction of Untitled (After Walker Evans), 1981, depicting an elderly man in a light suit standing before a clapboard wall, captioned "1. „Untitled" (After Walker Evans), 1981."

    Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988

    Sherrie Levine — Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 1988

  • Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron. Reverse side of Sherrie Levine’s *Pie Town* exhibition card from David Zwirner, London, printed with exhibition details in black text on white card stock. Includes title, dates, gallery address, and information identifying the reproduced work *After Russell Lee: 1–60* (2016).

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

  • Shirin Neshat / Neery Melkonian, Henie Onstad Kunstsenter, 1999, front cover, Women of Allah series Shirin Neshat / Neery Melkonian, Henie Onstad Kunstsenter, 1999, reverse, with handwritten £11.00 price sticker

    Shirin Neshat — Melkonian & Wendt (Henie Onstad Kunstsenter, 1999)

    Shirin Neshat — Melkonian & Wendt (Henie Onstad Kunstsenter, 1999)

  • Shirin Neshat, Serpentine Gallery exhibition guide, 2000, front cover, Rapture still, chadors on beach Shirin Neshat, Women of Allah series, hand raised to lips, Persian calligraphy covering fingers and palm

    SHIRIN NESHAT — Serpentine Gallery Exhibition Guide, London, 2000

    SHIRIN NESHAT — Serpentine Gallery Exhibition Guide, London, 2000

  • Shotaro Akiyama, Watashi no Shigoto / My Work, 1976, front cover, portrait of woman, bare shoulder, black background Shotaro Akiyama, Watashi no Shigoto / My Work, 1976, back cover, red rose, flowering cherry trees, cropped nude torso

    SHOTARO AKIYAMA, Watashi no Shigoto / My Work, Nippon Shashin Kikaku, 1976

    Placed

    SHOTARO AKIYAMA, Watashi no Shigoto / My Work, Nippon Shashin Kikaku, 1976

    Placed