Products

  • Anselm Kiefer, Transition from Cool to Warm, Gagosian New York 2017, watercolour winter landscape, handwritten German text, cover iAnselm Kiefer, Transition from Cool to Warm, Gagosian 2017, Kiefer–Buck interview left, aller Tage Abend watercolour right

    ANSELM KIEFER — Transition from Cool to Warm, Gagosian, New York, 2017

    ANSELM KIEFER — Transition from Cool to Warm, Gagosian, New York, 2017

  • Original 1974 Anthea Alley exhibition card, Annely Juda Fine Art, London — recto showing black-and-white photographic portrait of the artist standing beside welded metal sculpture in a studio or exhibition space. Photograph by Jorge Lewinski. Reverse of 1974 Anthea Alley exhibition card, Annely Juda Fine Art, showing printed text with exhibition title, dates 25 January–16 February 1974, gallery address 11 Tottenham Mews London W1P 9PJ, opening hours, biographical note, and one-man and group exhibition history including Arnolfini, Hamilton Galleries, and Bradford City Art Gallery.

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

  • Anthony Caro — Hayward Gallery exhibition catalogue, 1969, front cover I Anthony Caro — Hayward Gallery, 1969, interior spread, Carriage and Span, 1969

    ANTHONY CARO — Hayward Gallery, Arts Council of Great Britain, London, 1969

    ANTHONY CARO — Hayward Gallery, Arts Council of Great Britain, London, 1969

  • Anthony Caro, Sculpture 1969–84, Arts Council, 1984, front cover, CARO in black letters on green ground under blue sky Anthony Caro, Sculpture 1969–84, 1984, rear cover, plain blue and green bands with small dark specks

    ANTHONY CARO — Sculpture 1969–84, Serpentine Gallery, Arts Council of Great Britain, London, 1984

    ANTHONY CARO — Sculpture 1969–84, Serpentine Gallery, Arts Council of Great Britain, London, 1984

  • Anton Corbijn, Still Lives, exhibition opening card recto. Torch Gallery, Amsterdam, 2000. Blue-toned black-and-white photograph: a woman with long dark hair stands in a white dress beside a white picket fence, bare winter trees behind her. A second figure in a matching white dress crouches at her feet, face obscured by dark hair. Atmospheric, gothic mood. Image: Anton Corbijn, Björk, Reykjavik, 1999. Anton Corbijn, Still Lives, exhibition opening card verso. Torch Gallery, Amsterdam, 2000. White card with large bold black sans-serif type: 'Anton / Corbijn / Still Lives'. Opening details below: 'opening 15 . 4 . 2000 17.00 – 19.00 hrs.' Gallery details: Torch, Lauriergracht 94, 1016 RN Amsterdam; Tel 31-20-6260284; Fax 31-20-6238892; open Thurs/Fri/Sat 13.00–18.00 hrs or by appointment. Caption at foot: 'Anton Corbijn, Björk, Reykjavik, 1999, 185 × 125 cm, Ed. 8'. Address block upper left: Nicole Tran B

    ANTON CORBIJN — Still Lives (Björk, Reykjavik, 1999), TORCH Gallery, Amsterdam, 2000

    ANTON CORBIJN — Still Lives (Björk, Reykjavik, 1999), TORCH Gallery, Amsterdam, 2000

  • Anton Henning, Michel Majerus, Viel Spaß, Daniel Templon 1999, fluorescent pink brush-lettered title, artist names, front cover Anton Henning, Michel Majerus, Viel Spaß, Daniel Templon 1999, BEAUCOUP DE PLAISIR in pink brushstroke type, Paul Ricard, back

    ANTON HENNING, ULRICH LAMSFUSS, MICHEL MAJERUS, JONATHAN MEESE, FRANK NITSCHE, ANDREAS SLOMINSKI — Viel Spaß, Espace Paul Ricard, Paris, 2001

    ANTON HENNING, ULRICH LAMSFUSS, MICHEL MAJERUS, JONATHAN MEESE, FRANK NITSCHE, ANDREAS SLOMINSKI — Viel Spaß, Espace Paul Ricard, Paris, 2001

  • Original 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — recto reproducing Artaud's Portrait de Jany de Ruy, 2 July 1947: portrait head in graphite and greasy coloured chalk with blue wash, surrounded by dense handwritten text in French, signed and dated antonin artaud / 2 juillet 1947 at lower centre. Reverse of 1987 Antonin Artaud Dessins exhibition invitation, Centre Georges Pompidou, Paris — verso showing formal inauguration invitation text from Jean Maheu, Président du Centre National d'Art et de Culture Georges Pompidou, and Bernard Ceysson, Directeur du Musée National d'Art Moderne; exhibition dates 30 June–11 October 1987, Salle d'Art Graphique 4e étage; large typeset ANTONIN ARTAUD / DESSINS; Centre Georges Pompidou logo lower left; invitation valable pour deux personnes.

    ANTONIN ARTAUD — Dessins, Centre Georges Pompidou, Paris, 1987

    ANTONIN ARTAUD — Dessins, Centre Georges Pompidou, Paris, 1987

  • Tony Arefin / Douglas Gordon, It Doesn't Matter Who I Am, Tramway 1993, reproduced on Arefin & Arefin cover Tony Arefin, Arefin & Arefin, Ikon Gallery, 2012, interior spread with printed ephemera on yellow ground

    AREFIN & AREFIN: THE GRAPHIC DESIGN OF TONY AREFIN, Ikon Gallery, Birmingham, 2012

    AREFIN & AREFIN: THE GRAPHIC DESIGN OF TONY AREFIN, Ikon Gallery, Birmingham, 2012

  • Ariana Reines, Tiffany's Poems, The Song Cave 2015, front cover: plain sky-blue, title and author in small serif type Ariana Reines, Tiffany's Poems, 2015, interior: poem "sic." — Roses are red / Pirates are booty / Your name is Tiffany / Malakooty, dated 31 July 2014

    ARIANA REINES — Tiffany's Poems, The Song Cave, 2015

    ARIANA REINES — Tiffany's Poems, The Song Cave, 2015

  • Recto — George Segal photograph Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation recto: colour photograph by George Segal — a figure in silhouette stands on a ladder or platform working across an illuminated theatre marquee at night, partially obscuring large black letters on a white backlit sign reading fragments "I EY POIT", "P…RUE", "PHI", "ORD E"; rows of amber and gold bulbs border the sign above and below; dark sky above. 14 × 9 cm. Verso — artist roster Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation verso: cream-white card; "PHOTONOTATIONS" in large bold black sans-serif type upper left; "PHOTOGRAPHS BY" in smaller bold black sans-serif type below; artist roster in regular black sans-serif type — "Arman, Bochner, Juszczyk, / LeWitt, R.Mangold, / S.Mangold, Pindell, Pozzi, / Rockburne, Sanderson, / Segal, Smithson, / Wesselmann, Zuyderland, / and others."; "MAY 4–28" in bold below; "ROSA ESMAN GALLERY / 29 WE

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

  • Armando et al., De Schoonheid van het Kwaad, Amersfoort, 2001, front cover, pale blue sky, white smoke plume rising, participant names listed in white De Schoonheid van het Kwaad, 2001, interior spread, Thomas Ruff Nacht 14 II 1994 and Andres Serrano Bodybuilders, bilingual text

    ARMANDO, The Beauty of Evil / De Schoonheid van het Kwaad, Armando Museum / De Zonnehof, Amersfoort, 2001

    ARMANDO, The Beauty of Evil / De Schoonheid van het Kwaad, Armando Museum / De Zonnehof, Amersfoort, 2001

  • Arnulf Rainer — Linguaggio del corpo. Exhibition pamphlet cover, Biennale di Venezia, 1978. Austrian pavilion. Blue typography on cream wove stock. Interior spread from Arnulf Rainer exhibition pamphlet, Biennale di Venezia, 1978. Black-and-white reproductions of photo-based works: Face Farces, Posizioni del corpo, Avvinghiamenti, Posizioni di joga, Estasi (linguaggi

    ARNULF RAINER — Linguaggio del corpo, Biennale di Venezia, 1978

    ARNULF RAINER — Linguaggio del corpo, Biennale di Venezia, 1978

  • Arnulf Rainer, Museum des 20. Jahrhunderts, Werner Hofmann, 1968, front cover, Rainer seated in Walter Pichler Galaxy 1 chair, face marked with paint Arnulf Rainer, Museum des 20. Jahrhunderts, Werner Hofmann, 1968, interior spread, Selbstbemalung 1968, six photographs of Rainer with face marked and painted

    ARNULF RAINER — Museum des 20. Jahrhunderts, Vienna, 1968

    ARNULF RAINER — Museum des 20. Jahrhunderts, Vienna, 1968

  • Recto — photographic strip Art & Language, Galerie nationale du Jeu de Paume, Paris, 1993–1994. Exhibition invitation recto: offset-printed card, 13 × 21 cm; upper third, strip of three repeated monochrome photographs by Charles Harrison — two figures standing in a gallery or institutional interior, partially obscured by glass reflections and architectural divisions, shelving and industrial ceiling visible behind; grey vertical text along right edge reading 'galerie nationale du' in lowercase sans-serif; lo Verso — formal invitation text Art & Language, Galerie nationale du Jeu de Paume, Paris, 1993–1994. Exhibition invitation verso: plain white card; upper left, vertical black sans-serif text 'Jeu de Paume' rotated 90° alongside a monochrome photographic strip of a figure in an interior; right side, formal invitation text in small black serif type — 'Jacques Toubon, Ministre de la Culture et de la Francophonie / Jean Peyrelvade, Président de la Galerie nationale du Jeu de Paume / Altnol Pacquement, Directeur

    ART & LANGUAGE — Art & Language. Galerie nationale du Jeu de Paume, Paris, 1993

    ART & LANGUAGE — Art & Language. Galerie nationale du Jeu de Paume, Paris, 1993

  • Front panel — folded guide cover Art & Language, Too Dark to Read: motifs rétrospectifs 2002–1965, Musée d'art moderne Lille Métropole, Villeneuve-d'Ascq, 2002. Exhibition guide front panel, 10 × 15 cm folded: upper third, dense grid of small colour and monochrome reproductions of Art & Language works — paintings, installations, text works, photographs — in muted pinks, blues, greys and whites; centre, black band with white and italic type — "exposition | exhibition | tentoonstelling / 26/01/2002 – 20/05/2 Interior spread — yellow ground, trilingual essay Art & Language, Too Dark to Read: motifs rétrospectifs 2002–1965, Musée d'art moderne Lille Métropole, Villeneuve-d'Ascq, 2002. Exhibition guide interior spread, unfolded: three panels on yellow ground — left panel in French headed "ART & LANGUAGE" with extended essay on the collective's history from 1966, small colour reproduction of Ferry Sails, 1997, upper right; centre panel in English headed "ART & LANGUAGE / Too Dark to Read" with parallel essay and sm

    ART & LANGUAGE — Too Dark to Read: motifs rétrospectifs 2002–1965. Musée d’art moderne Lille Métropole, 2002

    ART & LANGUAGE — Too Dark to Read: motifs rétrospectifs 2002–1965. Musée d’art moderne Lille Métropole, 2002

  • Original 1985 Art Scribe No. 51 magazine, Artscribe Ltd, London — cover featuring Bruce McLean work on green ground with black figure and red circle, price £1.50 printed, March–April 1985. Original 1985 Art Scribe No. 51, Artscribe Ltd, London — open spread showing full Bruce McLean cover image: black figure with outstretched hand and red circle on green background.

    ART SCRIBE No. 51 — Basquiat, Kathy Acker, Lynne Cooke, Artscribe Ltd, London, 1985

    ART SCRIBE No. 51 — Basquiat, Kathy Acker, Lynne Cooke, Artscribe Ltd, London, 1985

  • . Cover Centenaire de Jean Paulhan, De la peinture et de l'écrit, Le Bateau-Lavoir, Paris, 1984–85. Invitation cover: monochrome halftone of a Cubist still life — fragmented guitar or stringed instrument, sheet music, jug and geometric planes in grey and black. No text. Light age toning Interior spread Centenaire de Jean Paulhan, De la peinture et de l'écrit, Le Bateau-Lavoir, Paris, 1984–85. Invitation interior, unfolded: left panel, artist roster in black serif capitals — Artaud, Alechinsky, Braque, Ernst, Rouault, Brauner, Chagall, Balthus, Klee, Fautrier, Michaux, Dubuffet, Chaissac, Richier, Chirico, Lhote, Masson, Hundertwasser, Fievre, Redon — distributed without hierarchy on white ground; right panel, italic heading 'Centenaire de Jean Paulhan', large serif title 'de la Peinture et

    ARTAUD, ALECHINSKY, BRAQUE, ERNST, CHAGALL, BALTHUS, KLEE, DUBUFFET, MICHAUX et al. — Centenaire de Jean Paulhan: De la peinture et de l’écrit. Le Bateau-Lavoir, Paris, 1984–85

    ARTAUD, ALECHINSKY, BRAQUE, ERNST, CHAGALL, BALTHUS, KLEE, DUBUFFET, MICHAUX et al. — Centenaire de Jean Paulhan: De la peinture et de l’écrit. Le Bateau-Lavoir, Paris, 1984–85

  • Arthur Jafa and Richard Prince, Helter Skelter, Fondazione Prada 2026, front in shrinkwrap, black packaging, serif title Arthur Jafa and Richard Prince, Helter Skelter, Fondazione Prada 2026, back in shrinkwrap, artist names and Fondazione Prada imprint

    ARTHUR JAFA AND RICHARD PRINCE: Helter Skelter, Fondazione Prada, Milan, 2026

    Placed

    ARTHUR JAFA AND RICHARD PRINCE: Helter Skelter, Fondazione Prada, Milan, 2026

    Placed
  • Asger Jorn exhibition invitation verso, Lens Fine Art, Antwerpen, 1972. Orange stock with black serif text in Dutch and French announcing vernissage 7 December 1972, 18h; exhibition through 27 January 1973; Lens Fine Art, Mechelsesteenweg 146, 2000 Antwerpen. Asger Jorn, Lens Fine Art, Antwerpen, 1972. Recto: solid flat orange card stock, no image or text; full-bleed colour field.

    Asger Jorn — Exhibition Invitation Card, Lens Fine Art, Antwerpen, 1972

    Asger Jorn — Exhibition Invitation Card, Lens Fine Art, Antwerpen, 1972

  • folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Bernard Aubertin and Hans Bischoffshausen in lowercase type, brown-mauve accent on the letter n in each surname. Folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Karl Prantl and J. J. Schoonhoven in lowercase type, brown-mauve accent on the letter n, gallery details in small print at lower edge.

    AUBERTIN / BISCHOFFSHAUSEN / PRANTL / SCHOONHOVEN — Galerie Heide Hildebrand, Klagenfurt, 1967

    AUBERTIN / BISCHOFFSHAUSEN / PRANTL / SCHOONHOVEN — Galerie Heide Hildebrand, Klagenfurt, 1967

  • Cover of B. Wurtz, Daily Life, 1970–1993, Feature, New York, 1993. 14 × 21.5 cm, staple-bound softcover, 36 pp. Pale cream stock with black typography. Upper: 'B. Wurtz' in small serif type; large italic title 'daily life' below; '1970–1993' in serif below. Left: large black brushstroke hand-print with fragments of text 'I know nothing' repeated in pencil script, descending diagonally. Partial cropped text 'OW' and 'HING' visible at left edge. Light handling wear to covers. Interior spread of B. Wurtz, Daily Life, 1970–1993, Feature, New York, 1993. Left page: full-bleed black brushstroke drawing — large gestural ink form with the word 'life' written in small script within a circular mark at lower centre. Right page: title page — 'B. Wurtz / daily life / 1970–1993 / text by B. Wurtz and E.C.' Published on the occasion of the exhibition B. Wurtz: Daily Life, 1970–1993, 14 April through 15 May 1993. Reception for the artist Wednesday 14 April 1993, 6–8 pm. Feature, 484 Broome St

    B. WURTZ — Daily Life, 1970–1993, Feature, New York, 1993

    B. WURTZ — Daily Life, 1970–1993, Feature, New York, 1993

  • BALD EGO NO. 2, Glenn O’Brien and Max Blagg, eds., 2002 BALD EGO NO. 2, Glenn O’Brien and Max Blagg, eds., 2002

    BALD EGO NO. 2, Glenn O’Brien and Max Blagg, eds., 2002

    BALD EGO NO. 2, Glenn O’Brien and Max Blagg, eds., 2002

  • Jack Spade, Bald Ego sells out!, no. 3, 2004, front cover, dark green ground, orange bold title, synthetic hair toupee specimen inset Bald Ego no. 3, 2004, interior spread pp. 156–157, paintings by Elizabeth Peyton, Heroes, two watercolour portrait heads, young male and female figures

    BALD EGO NO. 3 / JACK SPADE, Glenn O’Brien and Max Blagg, eds., 2004

    BALD EGO NO. 3 / JACK SPADE, Glenn O’Brien and Max Blagg, eds., 2004

  • Balthus, Aquarelles et Dessins, Galerie Janine Hao Paris 1966, invitation recto: black typography on cream card, 16–28 mai 1966, 60 rue Monsieur-le-Prince Balthus, Aquarelles et Dessins, Galerie Janine Hao 1966, invitation verso: blank cream card stock, light age toning visible

    BALTHUS — Aquarelles et Dessins, Galerie Janine Hao, Paris, 1966

    BALTHUS — Aquarelles et Dessins, Galerie Janine Hao, Paris, 1966

  • Balthus, Balthus / Cantini, Musée Cantini Marseille 1973, square catalogue, washed blue illustrated wrappers Balthus catalogue interior, cat. 29 colour plate of reclining figure with standing child, Musée Cantini 1973

    BALTHUS — Balthus / Cantini, Musée Cantini, Marseille, 1973

    BALTHUS — Balthus / Cantini, Musée Cantini, Marseille, 1973

  • Balthus, Paysages et natures mortes, Galerie Henriette Gomès Paris 1977, invitation recto: red italic typography on cream card, vernissage 2 juin Balthus, Paysages et natures mortes, Galerie Henriette Gomès 1977, invitation verso: blank cream card stock, light age toning visible

    BALTHUS — Paysages et natures mortes, Galerie Henriette Gomès, Paris, 1977

    BALTHUS — Paysages et natures mortes, Galerie Henriette Gomès, Paris, 1977

  • Artist postcard reproducing Barbara Kruger’s Untitled (Love is something you fall into) (1990). A tightly cropped black-and-white profile of a woman with windswept hair fills the card while a vertical red banner runs along the right side with white text reading: “Love is something you fall into Reverse side of a Barbara Kruger exhibition postcard with small black text on white card stock identifying Untitled (Love is something you fall into) (1990), materials and dimensions, Hall Collection credit, and publication information from In the Tower: Barbara Kruger at the National Gallery of Art, Washington. Barcode at upper right with light handling wear and adhesive residue visible.

    BARBARA KRUGER — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Placed

    BARBARA KRUGER — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Placed
  • Recto Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Recto: black and white photograph of a dense grid of repeated eyeball forms on sticks against a dark ground; six red rectangular text panels interrupt the image distributing the sentence — 'Tell us' upper left, 'something' upper right, 'we' centre, 'don't' lower left, 'know' lower right — each in white Futura bold italic. High contrast monochrome print Verso Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Verso: plain white postcard stock; upper left caption in small sans-serif — 'UNTITLED, 1987. PHOTOGRAPH BY BARBARA KRUGER'; barcode and stock number F617 upper right with ISBN; 'fotofolio' logo in small italic lower right.

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

  • Barry Flanagan: Sculptures 1966–1976, exhibition catalogue cover — Van Abbemuseum, Arnolfini, Serpentine Gallery, 1977–1979 — grey card cover with colour photograph of outdoor stone and resin sculpture on cobbled courtyard Barry Flanagan: Sculptures 1966–1976 — typewritten catalogue list, Van Abbemuseum Eindhoven, 10 juni–10 juli 1977 — Dutch-language working document listing all exhibited works with materials and dimensions, including Sand Muslin (Victoria and Albert Museum), Four Casb / Ring L / Rope (Tate Gallery)

    BARRY FLANAGAN, Sculptures 1966–1976, Van Abbemuseum, 1977

    Placed

    BARRY FLANAGAN, Sculptures 1966–1976, Van Abbemuseum, 1977

    Placed
  • Front cover showing black card wrappers with gold script lettering listing six artists: Hans Bellmer, Salvador Dali, Max Ernst, René Magritte, Francis Picabia, Yves Tanguy. Saddle-stapled, 17 × 21 cm. Two b&w Bellmer drawings (1963, 1961) left; colour Bellmer watercolour (1963), pale torso against red and yellow ground, right.

    BELLMER / DALÍ / ERNST / MAGRITTE / PICABIA / TANGUY — Galerie André-François Petit, Paris, 1963

    BELLMER / DALÍ / ERNST / MAGRITTE / PICABIA / TANGUY — Galerie André-François Petit, Paris, 1963

  • BERNARD AUBERTIN et. al., SURPRISE, SURPRISE — Galerie Jean Greset, Besançon, 2013 BERNARD AUBERTIN et. al., SURPRISE, SURPRISE — Galerie Jean Greset, Besançon, 2013

    BERNARD AUBERTIN et. al., SURPRISE, SURPRISE — Galerie Jean Greset, Besançon, 2013

    BERNARD AUBERTIN et. al., SURPRISE, SURPRISE — Galerie Jean Greset, Besançon, 2013

  • Reverse of 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Mouans-Sartoux — verso printed entirely in red on cream stock with the name Bernard Aubertin repeated in dense rows across the full surface of the card, functioning as typographic monochrome; name becomes pattern, artist becomes surface. Original 1994 Bernard Aubertin Le feu de la couleur exhibition invitation card, Espace de l'Art Concret, Château de Mouans, Mouans-Sartoux — recto printed entirely in red on cream card stock; vertical format; header: Espace de l'Art Concret Château de Mouans; title le feu de la couleur in bold red; hommage à Bernard Aubertin / accompagné / de ses amis du mouvement Zéro; formal invitation text from André Aschièri, Maire de Mouans-Sartoux, Odile Biec, Directrice, and Sybil Albers-Barrier for vernissage

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

    Bernard Aubertin — Le feu de la couleur, Espace de l’Art Concret, Château de Mouans, 1994

  • Original 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — recto printed entirely in red on textured cream handmade-style paper; horizontal format; REBUS galleria d'arte contemporanea in mixed serif and sans-serif type at top; VENERDÌ 16 DICEMBRE 1977 – ORE 21,30; Mostra personale di in italic; BERNARD AUBERTIN in large spaced capitals; SARÀ PRESENTE L'ARTISTA · CATALOGO IN GALLERIA; address 50129 FIRENZE – Via della Fortezza, 9/r – Telef. 496.701 at foot. Reverse of 1977 Bernard Aubertin exhibition invitation card, Rebus Galleria d'Arte Contemporanea, Florence — verso showing plain unprinted textured cream paper stock with light age toning, minor corner wear, and handling marks consistent with period circulation and storage.

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

    Bernard Aubertin — Rebus Galleria d’Arte Contemporanea, Florence, 1977

  • Bernard Aubertin, vernissage invitation, Galerie J & J Donguy Paris 1983, Lotta Poetica, italic French typography on ivory card Bernard Aubertin, vernissage invitation, Galerie J & J Donguy Paris 1983, plain ivory verso, light age toning

    BERNARD AUBERTIN — Vernissage Invitation, Galerie J & J Donguy / Lotta Poetica, Paris, 1983

    BERNARD AUBERTIN — Vernissage Invitation, Galerie J & J Donguy / Lotta Poetica, Paris, 1983

  • BERNARD RANCILLAC — Les Américains, Annotated Exhibition Handout, Galerie Mommaton, Paris, 1968 BERNARD RANCILLAC — Les Américains, Annotated Exhibition Handout, Galerie Mommaton, Paris, 1968

    BERNARD RANCILLAC — Les Américains, Annotated Exhibition Handout, Galerie Mommaton, Paris, 1968

    Placed

    BERNARD RANCILLAC — Les Américains, Annotated Exhibition Handout, Galerie Mommaton, Paris, 1968

    Placed
  • Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, front: high-contrast black and white photographic image of reclining female figure Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, verso: gallery name, address, exhibition title, dates 22 April–3 May 1969, strictement sur invitation

    BERNARD RANCILLAC — Pornographie, Galerie Daniel Templon, Paris, 1969

    BERNARD RANCILLAC — Pornographie, Galerie Daniel Templon, Paris, 1969