Products

  • Original 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers, London. Cream textured softcover with 'DANIEL BOSSER' in small spaced serif capitals at top, 'PHILIPPE THOMAS / DECLINES HIS IDENTITY' in larger spaced serif type at centre, and a black-and-white photograph below showing Philippe Thomas seated at a table, holding up a document, wearing a black top, expression direct and slightly confrontational. 'Occasional Papers' in italic type at foot. Reverse of 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers. Plain cream textured back cover, entirely unprinted except for ISBN barcode and number 978-0-9929039-0-9 and the URL www.occasionalpapers.org at foot. Book shown in protective polypropylene sleeve.

    Daniel Bosser — Philippe Thomas Declines His Identity

    Daniel Bosser — Philippe Thomas Declines His Identity

  • David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, recto. Teal ground with central yellow rectangle. Orange-red silkscreen-style reproduction of Lying 2, 2000 — a figure reclining in a chair against a gestural painted ground. Offset print on semi-gloss card, 18 × 12.7 cm. Exhibition ephemera. David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, verso. White ground, black typography in alternating bold and reversed-out bands. Text: 'DAVID DIAO / postmasters gallery / october 14 – november 11 / reception saturday 6–8 / 212 727 3323 / POSTMASTERS / 459 w 19 street nyc 10011 / www.postmastersart.com / postmasters@thing.net'. Vertical text right edge: 'Lying 2, 2000, acrylic on canvas, 79 × 115 inches'. Lower line: 'hole in the floor: Jennifer and Kevin McCoy "PINK

    David Diao — Lying 2, Postmasters Gallery, New York, 2000

    David Diao — Lying 2, Postmasters Gallery, New York, 2000

  • David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Recto: white sans-serif text reading DAVID HAMMONS on solid black ground. David Hammons, exhibition invitation postcard, L&M Arts, New York, 2011. Verso: exhibition dates January 26 – February 26, 2011, and L&M Arts gallery address, 45 East 78 Street, New York, printed in black on white card

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

    David Hammons — Exhibition Invitation Card, L&M Arts, New York, 2011

  • David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 18 May – 11 August 2019 — original xeroxed press release featuring Hammons' hand-drawn line composition, dedicated to Ornette Coleman, distributed at the artist's first LA solo exhibition in 45 years David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019 — reverse of original xeroxed press release showing ghost impression of Hammons' hand-drawn line composition bleeding through the thin paper, creased from handling

    David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019

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    David Hammons — Harmolodic Thinker, Hauser & Wirth Los Angeles, 2019

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  • (exhibition card — front): Exhibition announcement card for "Dessins Allemands" (German Drawings) at Galerie Bama, Paris 75007, 80 rue du Bac, 19 September – 30 October 1975. Artists listed: Beuys, Buthe, Gosewitz, Hödicke, Horn, Polke, Rühm, Ruthenbeck, Schmit, Van Biel, Voss. (exhibition card/back): Handwritten address card in blue ink reading: G.J. de Rook, P.O. Box 14012, Utrecht, Pays-Bas

    Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975

    Dessins Allemands Invitation Card, Galerie Bama, Paris, 1975

  • Original 2002 Documents exhibition invitation from Galerie 1900–2000 Paris featuring a distressed archive-folder design with typewriter-style typography on textured brown paper. Interior of Documents exhibition invitation, Galerie 1900–2000 Paris, 2002, featuring a collage of Dada and Surrealist ephemera including DADAPhone, Anna Blume, Le Cœur à Barbe, Tristan Tzara references, and historical avant-garde printed material.

    Documents — Galerie 1900–2000, Paris, 2002

    Documents — Galerie 1900–2000, Paris, 2002

  • Basquiat standing next to a wall with graffiti and text Promotional flyer for Downtown 81 F.O.B. event featuring Friends of Basquiat with red and black design.

    Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)

    Downtown 81: Friends of Basquiat – Exhibition Invitation, Agnès B. Skyline, Paris (2006)

  • Original 2008 Élisabeth Lebovici The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern. Front cover on cream ground with title and author in small green serif type centre: 'ELISABETH LEBOVICI / The Name / of Philippe Thomas'. Publisher imprints 'SternbergPress' and 'KUNSTHALLE BERN' in green lower left. Sealed in original clear shrink wrap. Reverse of 2008 Élisabeth Lebovici The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern. Plain cream back cover with author and title in small green serif type centre, printed upside down: 'Philippe Thomas' Name / ELISABETH LEBOVICI'. Green barcode upper left with ISBN 978-3-956794-31-5. Sealed in original clear shrink wrap.

    Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern, 2008

    Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern, 2008

  • Ellsworth Kelly — A Salute to Ellsworth Kelly, Archives of American Art, New York, October 19, 1999. Programme publication front cover. Solid red wraps with white serif text along top edge reading: "Archives of American Art. A Salute to Ellsworth Kelly. October 19, 1999." Ellsworth Kelly — A Salute to Ellsworth Kelly, 1999 — interior plate. Black and white photograph of Ellsworth Kelly seated on the floor of his studio, working at low level. Two large canvases with biomorphic curved forms visible in background. Worktable and studio equipment in mid-ground.

    Ellsworth Kelly — A Salute to Ellsworth Kelly, Archives of American Art, 1999

    Ellsworth Kelly — A Salute to Ellsworth Kelly, Archives of American Art, 1999

  • Original 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — recto reproducing a detail from Inbox: two spectral faces rendered in Bilal's characteristic blue-grey science-fiction palette, faces upturned and partially dissolved, a thin vertical pale form dividing the composition; acrylic on canvas; figures suspended between painting, cinema still, and hallucinated image against a dark blue-grey ground Reverse of 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — verso on white card stock functioning as postal announcement; Inbox in bold black on dark rectangle at upper left; By Enki Bilal; dates 08.05–02.08.2015; Fondazione Giorgio Cini / Isola di San Giorgio Maggiore, Venezia–Italia; hours 10.00–19.00, Chiuso il mercoledì / Closed on Wednesday; Artcurial Briest·Poulain·F.Tajan and Fondazione Giorgio Cini logos at foot; vertical yellow-green stripe at centre with CartCom/NeoStop

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015

  • Esther Hess — Énergie et Vent, 1985 Esther Hess — Énergie et Vent, 1985

    Esther Hess — Énergie et Vent, 1985

    Esther Hess — Énergie et Vent, 1985

  • Original 1970 Étienne Sandorfi exhibition invitation featuring a black-and-white image of a fragmented doll-like head with wires and mechanical elements in a surreal psychological composition. Original 1970 Étienne Sandorfi exhibition invitation for Galerie 3+3 in Paris featuring exhibition dates, opening information, and French descriptive text printed in black on folded cream card stock.

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

    Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970

  • Original 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art, New York. Square softcover divided horizontally into two equal bands — upper half in warm amber-orange, lower half in deep cobalt blue — with 'EXTRAORDINARY' in white outlined rounded sans-serif type on the orange field and 'REALITIES' in the same type on the blue field. Spine wear, edge rubbing, and corner creasing consistent with period." nterior title page from 1973 Robert Doty, Extraordinary Realities, Whitney Museum of American Art. Cream page with 'EXTRAORDINARY REALITIES' in large black outlined rounded sans-serif type at top, followed by 'by Robert Doty / with a preface by Edward Gorey / Whitney Museum of American Art, New York' in smaller serif type below.

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

    Extraordinary Realities — Robert Doty, Whitney Museum of American Art, 1973

  • Fabrizio Plessi, Acquabiografia, exhibition catalogue cover, Centro / Galleria d'Arte Contemporanea, Turin, 1975. White cover with magenta water spray graphic and bilingual title text Fabrizio Plessi, Mare classico, 1974, acrylic on emulsioned canvas, 125 × 81 cm — catalogue spread from Acquabiografia, Turin 1975. Black-and-white photograph of a classical bust with turquoise colour applied to the hair, annotated with text reading "ANALOGIA MITOLOGICA", "ONDE CLASSICHE", and initials F.P.

    Fabrizio Plessi — Acquabiografia, Centro / Galleria d'Arte Contemporanea, Turin, 1975

    Fabrizio Plessi — Acquabiografia, Centro / Galleria d'Arte Contemporanea, Turin, 1975

  • Félix González-Torres exhibition catalogue with a dark green abstract cover image resembling a cosmic field or atmospheric surface. Soft-focus light effects and deep green tonal variations create a minimal, contemplative appearance. Open spread from the Félix González-Torres exhibition catalogue showing a text essay opposite a minimalist grid drawing with a diagonal line. Small black-and-white image reproduced within the essay.

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

    Félix González-Torres — Hirshhorn Museum and Sculpture Garden, Washington D.C., 1994

  • Original 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — front cover in large bold serif and light grey typography on off-white stock; Hayward Gallery in small sans-serif at upper left; FRANCIS BACON in large black serif capitals; THE HUMAN BODY in large light grey serif capitals below; no imagery; typography functions as cover image. Back panel of 1998 Francis Bacon: The Human Body exhibition guide, Hayward Gallery, London — text in small serif type on white stock; left column: exhibition title, dates 5 February–5 April 1998, curatorial credit David Sylvester, organisational credits Martin Caiger-Smith and Gilly Paget, architectural consultant Daniela Ferretti, exhibition guide designed by Peter Campbell printed by Leycol Printers Ltd, © South Bank Centre 1998, text © David Sylvester 1998; right column headed CATALOGUE describing the il

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

    Francis Bacon: The Human Body — Exhibition Guide, Hayward Gallery, London, 1998

  • Original 2014 GAY exhibition announcement card, Bronx Council on the Arts and Longwood Arts Project, New York, featuring a lush green woodland stream and fallen tree with large thin white lowercase typography spelling 'gay' across the full-colour landscape image. Reverse of original GAY exhibition card issued by the Bronx Council on the Arts / Longwood Arts Project, New York, 2014. Black text on white background lists exhibition dates, participating artists including Rafael Melendez, public programs, venue information, and exhibition advisory notice.**GAY: The Exhibition / The Bronx Museum, New York / 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

  • Georg Baselitz, Auerbach (yellow), 2018. Etching with sugar lift aquatint and relief printing on Somerset White Satin 350gsm paper. Inverted figure in dark gestural marks on ochre ground. Reproduced on interior of Devotion exhibition invitation, Alan Cristea Gallery, 2019. Georg Baselitz, Devotion, exhibition invitation card, Alan Cristea Gallery, London, 2019. Private view 15 May, exhibition 16 May–22 June 2019. Printed text on white card.

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

  • Recto (the front): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Recto: applied colour photograph of installation view showing three engineered sculptural works — two wall-mounted linear forms and a wheeled floor vehicle — mounted onto cream card stock. Verso (the back): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Verso: postmarked Milan 1980, red STAMPE stamp, Italian Republic stamps, handwritten address to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris.

    Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980

    Gianni Piacentino, Stampe — Galleria Plura, Milan, 1980

  • Original 1989 Gilles Brenta exhibition handout for F.M.R. Brussels, with black line drawing, artist name, and exhibition details. Inside spread of Gilles Brenta folded exhibition handout, showing surreal line drawings and French text for Un songe entre deux notes.

    Gilles Brenta — F.M.R., Brussels, 1989

    Gilles Brenta — F.M.R., Brussels, 1989

  • Giovanni Anselmo — Musée d'Art Contemporain, Lyon, 1989 Giovanni Anselmo, Griechische Stücke, exhibition announcement verso, Musée d'Art Contemporain, Lyon, 1989.

    Giovanni Anselmo — Musée d'Art Contemporain, Lyon, 1989

    Giovanni Anselmo — Musée d'Art Contemporain, Lyon, 1989

  • Recto (front): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Recto: printed card with repeating soft pink floral wallpaper motif on cream ground; title Die Familie Schneider set in dark script at centre. Verso (back): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Verso: white card with exhibition details in grey sans-serif type. GREGOR SCHNEIDER / Die Familie Schneider / Eröffnung: Freitag, 14. November 2014, 18–21 Uhr / 14. November 2014 – 10. Januar 2015 / 10969 Berlin, Lindenstrasse 35 / KONRAD FISCHER GALERIE in red.

    Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014

    Gregor Schneider, Die Familie Schneider — Konrad Fischer Galerie, Berlin, 2014

  • Original 1984 Gustave Courbet exhibition invitation card featuring a black-and-white portrait of a young Courbet with printed signature beneath, issued by Musée Maison Natale in Ornans, France. Verso of original 1984 Gustave Courbet exhibition invitation showing *Visage / Visages* exhibition details, handwritten vernissage note, Paris postal stamp, and addressed recipient information.

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

  • Original 1983 Hans Bellmer exhibition invitation, Galerie François Petit, Paris — recto reproducing a black-and-white photograph of a doll's face partially obscured by a large hand pressing across the eyes and forehead, a cross-shaped object visible at left margin; from the series of doll photographs for which Bellmer is known. Reverse of 1983 Hans Bellmer 67 photographies inédites exhibition invitation, Galerie François Petit, Paris — verso printed in elegant cursive script typography with artist name Hans Bellmer, exhibition title 67 photographies inédites, dates 20 décembre 1983 au 25 février 1984, gallery name Galerie François Petit, address 196 boulevard Saint-Germain 75007 Paris, telephone 544.64.83.

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

    Hans Bellmer — 67 photographies inédites — Galerie François Petit — 1983–84

  • Original 1971 Hans Bellmer exhibition invitation card, Centre national d'art contemporain (CNAC), Paris — recto printed in white and black on pink-to-cream gradient card stock; CNAC in large white serif type at top; text reading le centre national d'art contemporain 11 rue berryer paris 8 / présente / du 30 novembre 1971 au 17 janvier 1972 / bellmer in large bold black type / ouvert tous les jours sauf le mardi de 12 h à 19 h entrée 3 f / vernissage le mardi 30 novembre 1971 de 18 h à 20 h. Reverse of 1971 Hans Bellmer CNAC exhibition invitation card, Centre national d'art contemporain, Paris — verso showing plain unprinted cream card stock with light age toning and minor surface marks consistent with period paper ephemera.

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

  • Hans Bellmer Dessins, œuvre gravée exhibition announcement Galerie 3+2 Paris 1971–72 Hans Bellmer surreal anatomical drawing inside Galerie 3+2 exhibition invitation folder Paris 1971–72 Original folded exhibition invitation / announcement folder Offset print in brown ink on graph-paper patterned stock Approx. dimensions: c. 21 × 10 cm folded (unfolds larger) Galerie 3+2, 5 rue Visconti, Paris 6e Exhibition dates: 10 December 1971 – 10 January 1972 Condition: Very good; light age toning, minor handling wear and soft edge wear consistent with period paper ephemera

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

  • Original 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — recto reproducing Bellmer's Les mains immobiles, 1971: dark-ground photographic image of a bronze sculpture showing a crouching figure with multiple articulated mechanical arms and hands, cast by Ateliers Godard in an edition of 21, height 28 cm. Surface rubbing and scuffing consistent with postal handling. Reverse of 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — verso showing bilingual printed artwork caption in French and English identifying Les mains immobiles / The still hand, 1971, bronze, Ateliers Godard, éditions Georges Visat; handwritten New Year greeting in French from La Galerie Suzanne Visat addressed to Monsieur François Lullerat, 95 Bd St Michel, Paris 5e; Paris cancellation stamp dated 10 January 1972 with 0.50 franc postage; copyright notice Hans Bellmer 1971 lower left; p

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

  • Original 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — cover reproducing a Bellmer line drawing of a female figure tightly bound and folded, contour lines describing compressed flesh and limbs in a crouching posture; HANS BELLMER in spaced serif capitals below; SVENSK-FRANSKA / KONSTGALLERIET in two lines at foot. Inside spread of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — left panel with Swedish biographical text on Hans Bellmer (born Katowice, Poland, 1902), noting his connections to Grosz, Heartfield, Schwitters, Éluard, Tanguy, and La Poupée, and references to Galerie Gmurzynska, Köln; right panel headed Teckningar listing 20 drawings dated 1942–1966 including Hommage à Antonine Artaud (1942), Revel II Juillet (1946), Komposition, Vorzeichnung zu Madame Ewarda, Danseurs, De

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

  • Original 1967 Harry Callahan exhibition catalogue, Museum of Modern Art, New York. Cream softcover with a black-and-white photograph of a standing female figure seen from behind, torso bare, seated on a stool before a window with venetian blinds, interior domestic space visible around her. 'HARRY CALLAHAN' in sans-serif type below the image. Interior page from 1967 Harry Callahan, Museum of Modern Art. Black-and-white photograph of a single dried plant stem with a small spherical seed head at its tip, two additional bare stems beside it, all set against a plain white ground in high-contrast graphic isolation

    Harry Callahan — Museum of Modern Art, New York, 1967

    Harry Callahan — Museum of Modern Art, New York, 1967

  • Heated Words: Initial Research, House of Vans London, 2015 — recto, black-and-white street photograph of children on a New York sidewalk overprinted in red with title, dates, and contributor list Heated Words: Initial Research, House of Vans London, 2015 — verso full spread showing all four panels: network diagram, typographic enlargement, free film screenings programme, and Gary Warnett text, printed in black and red

    Heated Words: Initial Research — House of Vans, London, 2015

    Heated Words: Initial Research — House of Vans, London, 2015

  • Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, recto: near-total black printed field on white card Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, verso: printed announcement text, restrained administrative layout, dated 11 December 2008

    Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

    Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

  • Original 2011 In Deed: Certificates of Authenticity in Art catalogue, ed. Hapgood & Lauf. Salmon-pink cover with title in bold black serif type left, artist list right. Spine repeating 'deed' in red. Interior page from In Deed, 2011. Carey Young, Donorcard, 2005, offset on card stock, signed. Blue credit-card with red heart; reverse shows legal certificate text, signed and dated 16/11/2005.

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

  • Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

  • Isa Genzken — Filmprogramm Isa Genzken, Filmprogramm, announcement card verso. Delphi Filmpalast am Zoo, Berlin, 2013. Plain white card stock, no text or image. Minor toning and storage marks visible.

    Isa Genzken — Filmprogramm

    Isa Genzken — Filmprogramm

  • Original 2006 Isa Genzken monograph, Phaidon Contemporary Artists Series. Front cover showing Rose II, a tall slender steel rose sculpture with a single bud, photographed against a pale sky in front of a modernist glass-and-steel institutional building. Title 'ISA GENZKEN' in black sans-serif type upper right, with author names Alex Farquharson, Diedrich Diederichsen, Sabine Breitwieser. Phaidon imprint lower left. Laminated ex-library copy. Two full-page close-up photographs of human ears against dark backgrounds, one plain, one with a small circular stud earring.

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

  • Cover: Isa Genzken — Verlag Silke Schreiber, 1988 — hardback monograph cover, glass door and stone pillar exterior, installation view reflected in glass nterior spread: Isa Genzken — 1988 monograph interior, black and white photograph of a young Isa Genzken standing beside large concrete block sculptures outdoors, bare winter trees

    Isa Genzken — Verlag Silke Schreiber — 1988

    Isa Genzken — Verlag Silke Schreiber — 1988