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  • Tracey Emin — I Need Art Like I Need God, Jay Jopling/London, 1998. Front cover. Turquoise ground, handwritten blue signature 'Tracey Emin' upper left. Centre: photograph of the artist nude from behind, crouching on a studio floor, facing a large gestural canvas. Published for her 1997 exhibition at South London Gallery. Tracey Emin — I Need Art Like I Need God, 1998. Interior page: reproduction of Love Poem, appliqué blanket. Purple upper field, blue lower field. Multicoloured cut-letter text: 'YOU PUT YOUR HAND ACROSS MY MOUTH STILL THE NOISE CONTINUES EVERY PART OF MY BODY IS SCREAMING IM LOST ABOUT TO BE SMASHED INTO A THOUSAND MILLION PIECES EACH PART FOR EVER BELONGING TO YOU'. Small Tracey Emin label lower right. YBA, textile art,

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

  • Original 1974 Kunstraum München exhibition guide for Ulrich Rückriem, front cover, white paper with ULRICH RÜCKRIEM in large black sans-serif caps at top; below a line-drawn architectural floor plan of the Kunstraum showing Vorplatz, Zi.A, Zi.B, and Eingang with directional arrow; KUNSTRAUM München e.V. / 21.3.1974–5.5.1974 in large black sans-serif type at foot. Interior spread of 1974 Kunstraum München exhibition guide for Ulrich Rückriem, left page showing checklist of exhibited works in small black sans-serif type: Stahl geschmiedet 3×6×75 cm 1973 (Galerio Paul Maenz, Köln), found steel ring completed to disc, Stahl ergänzt 3×50×99 cm (Dr. Heiner Oettli, Fislisbach); right page showing edition announcement for KUNSTRAUM-Grundriß series, 27 offset prints, linen cassette, edition 110, DM 110, members only; below imprint: Herausgeber KUNSTRAUM München e.V., Redakt

    Ulrich Rückriem — Ergänzungsstücke, Kunstraum München e.V., 1974

    Ulrich Rückriem — Ergänzungsstücke, Kunstraum München e.V., 1974

  • Ulrich Rückriem, Erica Van Horn, Utility Building, Little Critic Pamphlet 6, Coracle 1991, corrugated metal building, curved roof, front cover Ulrich Rückriem, Erica Van Horn, Utility Building, Coracle 1991, open landscape, trees, pamphlet series list, Erica Van Horn photo cred

    ULRICH RÜCKRIEM, ERICA VAN HORN AND DAVID ROBERTSON — Utility Building, Little Critic Pamphlet 6, Coracle Press, London, 1991

    ULRICH RÜCKRIEM, ERICA VAN HORN AND DAVID ROBERTSON — Utility Building, Little Critic Pamphlet 6, Coracle Press, London, 1991

  • Unica Zürn, Sophie Taeuber-Arp, Marie-Laure de Noailles, Dessins Aquarelles Collages 1970, gold card front, cursive title Unica Zürn, Sophie Taeuber-Arp, Marie-Laure de Noailles, Dessins Aquarelles Collages 1970, interior, calligraphic name roster

    UNICA ZÜRN · MARIE-LAURE DE NOAILLES · SOPHIE TAEUBER-ARP — Dessins · Aquarelles · Collages, Galerie François Petit, Paris, 1970

    UNICA ZÜRN · MARIE-LAURE DE NOAILLES · SOPHIE TAEUBER-ARP — Dessins · Aquarelles · Collages, Galerie François Petit, Paris, 1970

  • Urs Lüthi exhibition invitation, Galerie Isy Brachot, Brussels, 1975 — interior bifold showing bibliography page with typed text listing international art publications and catalogues Urs Lüthi exhibition invitation open bifold, Galerie Isy Brachot, Brussels, 1975 — interior showing two black and white self-portrait photographs of the artist, vernissage 10 novembre 1975

    URS LÜTHI — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975

    URS LÜTHI — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975

  • Urs Lüthi, Bonner Kunstverein, Ritter Verlag 1993, front cover, grey cloth, gold lettering, blind-embossed portrait Urs Lüthi, interior spread, two colour plates: FORM with red and black graphic, REASON with photographic silhouette

    URS LÜTHI, Ritter Verlag / Bonner Kunstverein, 1993

    URS LÜTHI, Ritter Verlag / Bonner Kunstverein, 1993

  • Original 1985 Urs Lüthi exhibition invitation for Autoportraits, Galerie Stadler, Paris, front, off-white folded card with black serif text: URS LÜTHI in large centred caps, exhibition title in two series — Grands Sentiments and Croquis Téléphoniques — vernissage date 25 April 18h–20h, and exhibition dates 25 April – 25 May 1985. Interior spread of 1985 Urs Lüthi Autoportraits invitation, Galerie Stadler, Paris, showing two colour reproductions: left, Autoportrait, de la série des grands sentiments, 1985, acrylic on canvas, nude figure on yellow-ochre ground with overlaid black outline drawing; right, Autoportrait, de la série des croquis téléphoniques, 1985, acrylic on canvas, turquoise ground with loose silver-grey gestural line drawing.

    URS LÜTHI: Autoportraits, Galerie Stadler, Paris, 1985

    URS LÜTHI: Autoportraits, Galerie Stadler, Paris, 1985

  • Original 2019 VALIE EXPORT The 1980 Venice Biennale Works private view invitation card, Galerie Thaddaeus Ropac London, recto showing a reproduction of Einkreisung / Encirclement, 1976/1980: a black-and-white photograph of a female figure lying on an urban pavement beside a lamp post, surrounded by a bold painted red oval line encircling her body, set against a white card ground with a small credit line bottom right. Reverse of 2019 VALIE EXPORT Thaddaeus Ropac invitation card showing white ground with grey sans-serif type reading 'VALIE EXPORT / THE 1980 VENICE BIENNALE WORKS' in large bold type, 'PRIVATE VIEW / THURSDAY 28 NOVEMBER 2019, 6–8PM' below, followed by exhibition dates '29 NOVEMBER 2019 – 25 JANUARY 2020', gallery address '37 DOVER STREET, LONDON W1S 4NJ', and 'ROPAC.NET', with 'GALERIE THADDAEUS ROPAC / LONDON PARIS SALZBURG' in bold at foot.

    VALIE EXPORT — The 1980 Venice Biennale Works — Private View Card & Press Release, Galerie Thaddaeus Ropac, London, 2019

    VALIE EXPORT — The 1980 Venice Biennale Works — Private View Card & Press Release, Galerie Thaddaeus Ropac, London, 2019

  • Vanessa Beecroft, VBLV Alphabet Concept; nude figures arranged into LV letterform, colour photograph, Espace Louis Vuitton 2006 Vanessa Beecroft, VBLV invitation verso; avant-première Espace Louis Vuitton Paris, bold black typography on white, 2006

    VANESSA BEECROFT — VBLV / Alphabet Concept, Espace Louis Vuitton, Paris, 2006

    VANESSA BEECROFT — VBLV / Alphabet Concept, Espace Louis Vuitton, Paris, 2006

  • Surface / Infinity: Vija Celmins, Brice Marden, Agnes Martin ribbed grey textured card, white italic Surface / Infinity Surface / Infinity: Vija Celmins, Untitled (Ocean with Cross #2) 1972

    VIJA CELMINS, BRICE MARDEN & AGNES MARTIN — Surface / Infinity, Craig F. Starr Gallery, New York, 2012

    VIJA CELMINS, BRICE MARDEN & AGNES MARTIN — Surface / Infinity, Craig F. Starr Gallery, New York, 2012

  • Vivienne Westwood MAN Autumn/Winter 2000–2001 show announcement, front, white card: Vivienne Westwood orb logo and script at top; MAN in large distressed letterpress-style type; AUTUMN/WINTER 2000/2001 in spaced caps; below a collage of dictionary page spreads with entries for mammy and man, overlaid with enlarged text fragments and three engraved portrait heads labelled BOWN MAN, HEIDELBERG MAN, CRO-MAGNON, 10. CHRISTIAN SCIENCE. Vivienne Westwood MAN Autumn/Winter 2000–2001 show announcement, reverse, white card with a faint offset ink transfer of the front image visible through the paper; at upper left a typed press contact label reading FOR PRESS INQUIRIES CONTACT: / MARK PALMEN / VIVIENNE WESTWOOD USA / 71 GREENE STREET–NYC 10012 / T: 212-334-1500 X131 F: 334-1151.

    Vivienne Westwood MAN — Autumn/Winter 2000–2001 Show Announcement

    Vivienne Westwood MAN — Autumn/Winter 2000–2001 Show Announcement

  • VIVIENNE WESTWOOD, Vivienne Westwood MAN Autumn/Winter 2000–01, Press Release, London, 2000

    VIVIENNE WESTWOOD, Vivienne Westwood MAN Autumn/Winter 2000–01, Press Release, London, 2000

    VIVIENNE WESTWOOD, Vivienne Westwood MAN Autumn/Winter 2000–01, Press Release, London, 2000

  • Wade Guyton, Galerie Chantal Crousel, Paris, 2023. Full-bleed photograph of a dead deer lying on a wet pebble shoreline, sepia-toned, viewed from above; cream card border. Wade Guyton exhibition card verso, Galerie Chantal Crousel, Paris, 2023. White stock; 'GALERIE / CHANTAL CROUSEL' in small caps; 'Wade Guyton' in large serif; '3 JUIN — 22 JUILLET 2023 / 10 RUE CHARLOT, 75003 PARIS'; © Wade Guyton / Crousel 2023 credit at right edge.

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

    Wade Guyton — Exhibition Invitation Card, Galerie Chantal Crousel, Paris, 2023

  • Original exhibition poster, Wade Guyton, Matthew Marks Gallery, New York, September 14 – October 28, 2023. Offset lithograph, 46 × 61 cm. Folded as issued. Black ground. Upper left: large colour photograph inset — close-up of a metal studio rack or table leg with a coiled black-and-white striped cable or hose looping across a dark floor surface. Remainder of poster: solid black. Lower margin: red serif text 'WADE GUYTON MATTHEW MARKS 2023'. Horizontal fold lines visible across full poster surface; light h Reverse of Wade Guyton, Matthew Marks Gallery exhibition poster, 2023, showing folded administrative panel. White paper ground. Black sans-serif text: 'WADE GUYTON / OPENING THURSDAY, SEPTEMBER 14, 6–8PM / THROUGH OCTOBER 28, 2023 / MATTHEW MARKS GALLERY / 522 W 22 STREET / NEW YORK, NY 10011'. Original fold lines visible. Light handling marks consistent with gallery distribution.

    WADE GUYTON — Exhibition Poster, Matthew Marks Gallery, New York, 2023

    WADE GUYTON — Exhibition Poster, Matthew Marks Gallery, New York, 2023

  • Exhibition poster, Wade Guyton, Natural Wine, Galerie Chantal Crousel, Paris, 2019. Offset print, A1, 59.4 × 84.1 cm. Grey-toned photograph of New York skyline with construction cranes and misty atmosphere; bold red sans-serif title ‘NATURAL WINE’ upper third; black text below: ‘WADE GUYTON CROUSEL PARIS 23. FÉVR. – 6. AVRIL 2019’. Very good condition with light fold lines.

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

  • Original 2016 Wade Guyton postcard, Serpentine Galleries, London. Front showing Untitled, 2016, Epson UltraChrome HDR inkjet on linen, 213.4 × 175.3 cm (WG3949): two-panel photograph of figures standing in a warmly lit domestic interior with kitchen cabinetry and ceiling lights. Group of three original 2016 Wade Guyton postcards, Serpentine Galleries, London: left, wire sculpture on split dark/light ground; centre, iPhone screen detail; right, figures in domestic interior. All Epson UltraChrome inkjet on linen, published by König Postkartenverlag, Cologne.

    WADE GUYTON — Set of 3 Exhibition Postcards, Serpentine Galleries, London, 2017

    WADE GUYTON — Set of 3 Exhibition Postcards, Serpentine Galleries, London, 2017

  • Walasse Ting, 1988 Calendar, Art Unlimited, Amsterdam, front cover, Cats waiting for new excitement, 1987, reclining woman with fan and flowers, acrylic on rice paper Walasse Ting, 1988 Calendar, Art Unlimited, verso, With Compliments slip, handwritten French New Year inscription, la Maison des Collectionneurs, copyright 1987

    WALASSE TING, 1988 Calendar, Art Unlimited, Amsterdam, 1988

    WALASSE TING, 1988 Calendar, Art Unlimited, Amsterdam, 1988

  • Walter Dahn, 4th Time Around, Venus Over Manhattan 2013, front cover, red-orange screenprint, WALTER vertical, cartoon figure Walter Dahn, 4th Time Around, 2013, interior spread, sun drawings on yellow ground, smog text work on grey ground, p.27

    WALTER DAHN: 4th Time Around / (My Back Pages), curated by Richard Prince, Venus Over Manhattan, New York, 2013

    WALTER DAHN: 4th Time Around / (My Back Pages), curated by Richard Prince, Venus Over Manhattan, New York, 2013

  • Walter De Maria, Museum für Moderne Kunst Frankfurt 1991, dark green glossy card, silver serif title centred, front cover Walter De Maria, 4-6-8 Series, MMK Frankfurt 1991, polished steel rods receding across wooden floor, installation view

    WALTER DE MARIA — Walter De Maria, Museum für Moderne Kunst, Frankfurt am Main, 1991

    Placed

    WALTER DE MARIA — Walter De Maria, Museum für Moderne Kunst, Frankfurt am Main, 1991

    Placed
  • Recto Walter Mehring, Mais où sont les neiges Dada…, 1966. Association pour l'étude du mouvement Dada, Goethe-Institut, Paris. Invitation recto: cream card; centred typographic text in mixed serif and small-caps — 'L'ASSOCIATION POUR L'ETUDE DU MOUVEMENT DADA / VOUS PRIE DE BIEN VOULOIR ASSISTER A LA CONFÉRENCE / de WALTER MEHRING / MAIS OU SONT LES NEIGES DADA . . . . / LE MARDI 25 OCTOBRE 1966, A 21 HEURES / DANS LES SALONS DU GOETHE INSTITUT / 17, AVENUE D'INÉA, PARIS (XVIᵉ)'; light age toning. Verso Walter Mehring, Mais où sont les neiges Dada…, 1966. Invitation verso: plain cream card stock, unprinted; light age toning and faint surface marks.

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

    WALTER MEHRING — Mais où sont les neiges Dada… Lecture invitation, Goethe-Institut, Paris, 1966

  • Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000. Front cover. Uniform grey textured wraps. White sans-serif text centred lower half: "Wes Mills" above "Missoula Drawings". No image. Surface grain visible throughout. Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000 — interior plate. Cream paper. Lower left: two faint graphite geometric forms — a large right-angled triangle and a smaller adjacent peak — rendered in pale grey pencil against an almost entirely empty field. Minimal mark, large margin. Small printed caption text upper right, illegible at reproduction scale.

    WES MILLS — Missoula Drawings, Joseph Helman Gallery, New York, 2000

    WES MILLS — Missoula Drawings, Joseph Helman Gallery, New York, 2000

  • Front cover Original 2000 Joseph Helman Gallery exhibition invitation for Wes Mills, Missoula Drawings, New York, front cover, reproducing Duchamp, 1999, graphite on paper, 7⅞ × 7⅞ inches: a near-empty cream field with a single diagonal passage of dense graphite hatching entering from the lower right corner, no text visible on the front. Interior spread of 2000 Joseph Helman Gallery exhibition invitation for Wes Mills, Missoula Drawings, New York, fully opened, showing at left a blank cream panel and at right the announcement text in black sans-serif type on cream: Wes Mills / Missoula Drawings / 26 January to 26 February 2000 / Opening reception / Wednesday 26 January, 6 to 8 pm / CATALOGUE AVAILABLE / JOSEPH HELMAN / 20 West 57th Street New York 10019 Tel (212) 245-2888, with a bold black rule beneath the gallery name.

    Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000

    Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000

  • Willard Boepple, New Sculpture, Broadbent Gallery, London, 2008. Front cover: plain white card with "WILLARD BOEPPLE" centred in small black serif type. Staple-bound catalogue, 25 × 20 cm. Light surface marking and faint pressure marks visible on wrapper. Willard Boepple, New Sculpture, Broadbent Gallery, London, 2008. Interior spread: left, white page blank; right, black-and-white photograph of Irish Corners (2007), aluminium, 25 × 29 × 19 in — open shelf framework with angled plates, irregular blocks and geometric forms suspended at varying heights. Caption lower left, photo credit Arnold Helbling.

    WILLARD BOEPPLE — New Sculpture. Broadbent Gallery, London, 2008

    WILLARD BOEPPLE — New Sculpture. Broadbent Gallery, London, 2008

  • Original 1972 Rolling Stone Issue No. 108 cover, May 11, 1972, Straight Arrow Publishers, San Francisco — David Cassidy photographed by Annie Leibovitz on the cover with cover lines including Rolling Stone Interview: William Burroughs, Naked Lunch Box: The Business of David Cassidy, Tammy Wynette, and True Dope Tales: The Promoter was a Narc nterior spread of Rolling Stone Issue No. 108, May 11, 1972, pages 48–49, showing the William S. Burroughs interview by Robert Palmer with black-and-white portrait photographs of Burroughs seated in an armchair and reflected in a framed mirror"

    William Burroughs — Rolling Stone Issue No. 108, May 1972

    William Burroughs — Rolling Stone Issue No. 108, May 1972

  • William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005. Front cover. Deep red ground. Centre: close-up photograph of a small black bear-like sculptural object, heavily textured surface with white dust or residue, suspended or resting against two white diagonal rods. White serif title text lower centre: "William Pope.L / some things you can do with blackness…" William Pope.L — some things you can do with blackness…, 2005 — interior plate, p. 5. Skin Set Drawings, 2002–2004. Four colour drawings on grid paper, each filled edge to edge with large hand-lettered text: upper left, purple on white: "RED PEOPLE ARE A NOVEL SET IN THE HEAD OF A WATERMOCCASIN"; upper right, yellow-green on white: "YELLOW PEOPLE ARE A TEA OF SANITY"; lower left, black on white: "RED PEOPLE ARE A LIQUID IN A BEAKER IN A LAB IN MANCHESTER ENGLAND"; lower right, blue and green on blue: "BLACK

    WILLIAM POPE.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

    WILLIAM POPE.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

  • Original 1973 William S. Burroughs White Subway, Aloes Books, London, first edition. Photo-illustrated softcover showing a collaged black-and-white street photograph: a building facade with a partially visible sign reading 'ATORS' at upper left, a bare winter tree at centre, and a figure walking on the pavement below, with 'WHITE SUBWAY' and 'william burroughs' in white type overlaid on the image. Reverse of 1973 William S. Burroughs White Subway, Aloes Books. Plain unprinted card back cover showing age toning, foxing, and handling marks consistent with a small-press publication of the period.

    William S. Burroughs — White Subway — Aloes Books, London, 1973

    William S. Burroughs — White Subway — Aloes Books, London, 1973

  • Original 1964 Arcade No. 1, William Burroughs Special, Dodo/Arcade, London. Cover showing large bold '5d' numeral in black on cream ground with 'arcade' in script below, a blue starburst label reading 'William Burroughs Special' across the centre, and a red price roundel showing '2/6'. Age toning and light soiling consistent with period. Interior spread from 1964 Arcade No. 1, William Burroughs Special. Page by Jane Beckett showing a grid of twelve black-and-white Victorian-era boxing and wrestling instruction photographs, with a column of technical move names in small type at lower right.

    William S. Burroughs — Arcade No. 1: William Burroughs Special

    William S. Burroughs — Arcade No. 1: William Burroughs Special

  • William S. Burroughs: Painting, The October Gallery, London, 1992. Exhibition invitation front cover: solid black card with colour reproduction of Burroughs painting — red-orange totemic figure with rounded head, hollow eyes, wide ears and a circular void in the torso, standing on short forked legs against a black ground. Produced by Lococo · Mulder · New York City. Time Out London "Supported by" sticker lower left. Portrait format. William S. Burroughs, The Seven Deadly Sins, October Gallery / Lococo Mulder, 1991. Promotional handbill front: bright red card, landscape format, with "William S. Burroughs" in large black blackletter type upper centre and "The Seven Deadly Sins" in smaller black blackletter type lower centre. No other text. Deckled left edge visible.

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

  • William S. Burroughs, black-and-white press portrait, hat and coat, cigarette, Penguin Modern Classics postcard William S. Burroughs, postcard format, credit, Evening Standard / Getty Images, Penguin Modern Classics mark

    William S. Burroughs — Penguin Modern Classics Postcard, Penguin Books, London, c. 2014

    William S. Burroughs — Penguin Modern Classics Postcard, Penguin Books, London, c. 2014

  • Exhibition catalogue, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Offset print on textured cream stock, 14.5 × 22 cm folded. Front cover: sepia photograph by Kate Simon of Burroughs seated on porch in Lawrence, Kansas, 14 September 1987, fedora, shotgun across lap. Text: ‘WILLIAM S. BURROUGHS / DECEMBER 19 THROUGH JANUARY 24, 1988 / TONY SHAFRAZI GALLERY / 163 MERCER STREET, NEW YORK, NY 10012 / 212 925-8732’. Exhibition catalogue unfolded, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Full spread, 73.5 × 22 cm: essay text columns, sepia reproductions of shotgun paintings including ‘No Buest Be White’ and ‘Untitled’, and formal works checklist at far right. Offset printed on cream textured stock.

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

  • Front wrapper: So Who Owns Death TV?, Burroughs Pélieu Weissner, red title on white, Beach Books, 1967 Interior: An Initial Death Copper Version cut-up text above, Liam O'Gallagher TV set with red figures below, 1967

    WILLIAM S. BURROUGHS, CLAUDE PÉLIEU & CARL WEISSNER — So Who Owns Death TV?, Beach Books, Texts & Documents, San Francisco, 1967

    WILLIAM S. BURROUGHS, CLAUDE PÉLIEU & CARL WEISSNER — So Who Owns Death TV?, Beach Books, Texts & Documents, San Francisco, 1967

  • Softcover catalogue, William Wegman, New Paintings, Polaroids and Drawings / Early Black and White Photographs, Holly Solomon Gallery & Pace/MacGill Gallery, New York, 1991. 15 × 15 cm, approx. 23 pages, stapled binding. Tan paper wrappers; artist name 'WILLIAM WEGMAN' blind-debossed at centre — text visible through pressure only, no ink. Light toning and handling marks consistent with good vintage condition. Interior spread, William Wegman, New Paintings, Polaroids and Drawings, Holly Solomon Gallery & Pace/MacGill Gallery, New York, 1991. Left page: blank white with caption lower left — 'THREE LEGGED DOG, 1974 / 11 × 14 Inches'. Right page: black-and-white photograph — Weimaraner dog standing in profile against dark studio background; three legs visible, fourth absent; studio props visible behind.

    WILLIAM WEGMAN — New Paintings, Polaroids and Drawings / Early Black and White Photographs, Holly Solomon Gallery & Pace/MacGill Gallery, New York, 1991

    WILLIAM WEGMAN — New Paintings, Polaroids and Drawings / Early Black and White Photographs, Holly Solomon Gallery & Pace/MacGill Gallery, New York, 1991

  • Wolf Kahlen, Selbstversuch II, 1969, artist postcard recto, inverted self-portrait with positive print overlay, ink signature Wolf Kahlen, Bilder (k)einer Ausstellung, Ruine der Künste, Berlin, 2000, invitation verso, German text, exhibition and web details

    WOLF KAHLEN, Bilder (k)einer Ausstellung, Ruine der Künste, Berlin, 2000

    WOLF KAHLEN, Bilder (k)einer Ausstellung, Ruine der Künste, Berlin, 2000

  • Original 1960 Wolfgang Paalen exhibition insert 'En Hommage', Librairie Loliée, Paris, recto showing the title in quotation marks, artist name PAALEN Wolfgang with dates 1905–1958, a list of three loaned works — Personnages dans une grotte 1933, Selam Trilogy 1947, Sans titre 1954 — lender credit to Mme Géo Dupin, and a note identifying the sheet as an extract from a contemporary article on the retrospective. Reverse of 1960 Wolfgang Paalen 'En Hommage' insert showing an elegiac French text by Octavio Paz, dated Paris, 5 novembre 1960, describing Paalen's practice as suspended between extremes, moving between poetry, science, pre-Columbian culture, and abstraction, closing with the phrase 'Espace sans rivages'.

    Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

    Wolfgang Paalen — “En Hommage” / Octavio Paz Text Insert, Librairie Loliée, Paris, 1960

  • Wolfgang Tillmans, Soldiers: The Nineties, Walther König, 1999, front cover, yellow with duotone soldier photograph Wolfgang Tillmans, Soldiers: The Nineties, 1999, rear cover, plain yellow with four punctures at corners, Walther König

    WOLFGANG TILLMANS, Soldiers: The Nineties (Four-Hole Copy), Walther König, Cologne, 1999

    WOLFGANG TILLMANS, Soldiers: The Nineties (Four-Hole Copy), Walther König, Cologne, 1999

  • Magazine, Women's Art Magazine, No. 61, Women's Art Library, London, November/December 1994. Staple-bound magazine with dark green cover featuring a close-up blurred photograph of a woman's face, mouth open. Text reads: Women's Art Magazine, A Women's Art Library Publication, No61 November/December 1994, £2.50/$10. Cover line: Linda Nochlin: Confessions of a Feminist Thinker. Magazine, Women's Art Magazine, No. 59, Women's Art Library, London, 1994. Special Photography Issue. Staple-bound magazine with gold-toned cover featuring a photograph of a woman in costume reclining — Cindy Sherman. Text reads: Women's Art Magazine, A Women's Art Library Publication, No59 1994, £3.00/£15. Banner top and bottom: Photography Issue Special Photography Issue Special Photography. Cover text: Cindy Raids the Wardrobe.

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994

    WOMEN'S ART MAGAZINE — Nos. 57–61 — Women's Art Library, London, 1994