Products

Bethany Parkinson / Sofie Cato Maas. Good Title for a Book. 2026

Bethany Parkinson / Sofie Cato Maas. Good Title for a Book (interior). 2026

BETHANY PARKINSON / SOFIE CATO MAAS, Good Title for a Book: A Comprehensive List of Incomplete Works, Alice Smith and Friends, 2026

BFI Avant-Garde Catalogue 1994, front cover, close-up of porcelain doll face, two pink circular film stills overlaid

BFI Distribution New Releases 1994/95, front, bold typographic title, black-and-white still captioned Eyes Without a Face

BFI Avant-Garde Catalogue 1994, with Distribution Materials, British Film Institute, London, 1994

Bill Brandt / Arts Council of Great Britain, Photographs, Hayward Gallery, London, 1970, front cover, black with white sans-serif title
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Bill Brandt, Photographs, Hayward Gallery 1970, interior spread, two black-and-white plates: portrait and extreme close-up eye

BILL BRANDT, Photographs, Hayward Gallery, London, 1970

Breyer P-Orridge Transgendered Sacred Heart: Sacred Heart prayer card with Polaroid chest, signed in ballpoint at right

Genesis Breyer P-Orridge, Painful But Fabulous private view invitation, A22 Gallery London, June 2003, text side

BREYER P-ORRIDGE, Painful But Fabulous (The Lives and Art of Genesis P-Orridge), A22 Gallery, 2003

Breyer P-Orridge, eight card reverses with black prayer texts, “S/HE IS HER/E” and 2003 copyright notices.

BREYER P-ORRIDGE, Prayers for Pandrogeny & Breaking Sex, 2003

Brice Marden, Notebook Sept 1964–Sept 1967, Karma 2015, front in shrinkwrap, burgundy leatherette, handwritten title

Brice Marden, Notebook Sept 1964–Sept 1967, Karma 2015, reverse in shrinkwrap, handwritten colour notes and La Dolce Vita reference

BRICE MARDEN: Notebooks 1964–1968, Karma, New York, 2015

Monograph front cover, Bruce Nauman: Spatial Encounters, Constance M. Lewallen and Dore Bowen, University of California Press, 2019. Sealed in distributor shrinkwrap. Dark teal-green ground. Full-bleed black-and-white photograph — Bruce Nauman standing inside a narrow corridor installation, fluorescent light strip overhead, mirror surfaces on either side producing infinite reflection; figure slightly off-centre, looking toward camera. Upper left: white sans-serif — 'Constance M. Lewallen / Dore Bowen'.

BRUCE NAUMAN — Spatial Encounters, University of California Press, 2019

Placed

BRUCE NAUMAN — Spatial Encounters, University of California Press, 2019

Placed

Boyd Webb work with figure and suspended mattress, Artist and Camera, Arts Council of Great Britain, 1980, front cover

Annette Messager, Artist and Camera, Arts Council of Great Britain, 1980, interior spread, photomontages from La Femme series

BRUCE NAUMAN, SOL LEWITT, JOHN BALDESSARI, ANNETTE MESSAGER, BOYD WEBB ET AL. | Artist and Camera, Arts Council of Great Britain, 1980

Éditions Brunidor invitation, 1973, grey and red typography, Butor, Laude, Bryen, Domela, Hélion, Hérold, Masson

unprinted white card stock, light age toning, Brunidor invitation, Paris, 1973

BUTOR / LAUDE / BRYEN / DOMELA / HÉLION / HÉROLD / MASSON — Estampes et livres illustrés des Éditions Brunidor, Invitation, Paris, 1973

Verso Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation verso: white card; pale grey text — 'Roberto et Maggy Altmann seraient heureux de vous recevoir au 55 quai de Valmy 75010 Paris les 24 et 25 Novembre 1973, de 18 à 22 heures'; exhibition title in orange sans-serif — 'Estampes et livres illustrés des Éditions Brunidor'; two-column roster in pale grey — left: 'Butor', 'Laude'; right: 'Bryen', 'Domela', 'Hélion', 'Hérold', 'Masson'; 'invitation personnelle de la part de' in small it

Recto Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation recto: plain white card stock, entirely unprinted. Light age toning.

BUTOR, LAUDE, BRYEN, DOMELA, HÉLION, HÉROLD, MASSON — Estampes et livres illustrés des Éditions Brunidor. Paris, 1973

CADY NOLAND, Artforum International, January 1993, front cover, halftoned male face with three white voids and American flag button

CADY NOLAND, Artforum International, January 1993, back cover, Galerie Bruno Bischofberger advertisement, Zurich, with carnival photograph

CADY NOLAND | ARTFORUM INTERNATIONAL, Vol. 31, No. 5, Artforum International Inc., January 1993

Original 1969 Can Man Survive? exhibition catalogue, American Museum of Natural History Centennial, New York. Front cover showing bold diagonal typographic design by Edward Krent — title text in black and white against a black ground — with a black-and-white photograph of three children seated on a mound of earth with industrial chimneys in the background. Staple-bound softcover, 20 × 20 cm.

Interior spread. Left page showing a black-and-white documentary photograph of overflowing refuse bins and scattered rubbish on a New York street in front of a brownstone building with iron railings.

CAN MAN SURVIVE? — American Museum of Natural History Centennial, New York, 1969

Red exhibition card, Carl Andre Whitechapel retrospective, 1978

Carl Andre exhibition letterhead with artist statement, Whitechapel Art Gallery, 1978

CARL ANDRE — Sculpture 1954–1978, Whitechapel Art Gallery, London, 1978

Carol Bove — The Plastic Unit, Exhibition Invitation, David Zwirner, London, 2015

Catherine Holly, After the Pressure the Cock, The Academy of Realness, New York 2014 — zine cover; hand-lettered title over photocopied image of Piero Gherardi costume design for Giulietta degli Spiriti (Fellini, 1965); black tape collage elements on white ground

Catherine Holly, After the Pressure the Cock, 2014 — interior spread; two photocopied Marilyn Monroe portraits with handwritten text: 'I'm your mommy' and 'No yo soy tu mami'; black-and-white photocopy process

Catherine Holly / The Academy of Realness — After the Pressure the Cock

Catherine Holly / The Academy of Realness — Fuck Book

atherine Holly / The Academy of Realness, My Brother Is Not Daniel Richter / My Father Is Not Gehrhart, New York 2014 — cover; blue spray-painted ground over found book; stencilled text reading 'Daniel Richter / Ist Not / Ther Bro / My / My Fat / Her Ist / Not / Gehrhart' in black; Strand Price stickers affixed; rubber-stamped cartoon skull image; 'I Know Nothing' speech bubble at lower left

Interior opening spread; left page shows black-and-white portrait of young woman with 'RICHARD' caption; right page shows photocopied architectural interior with figures and 'guide to infectious psychology' caption; page numbers 01 and 02

Catherine Holly / The Academy of Realness — My Brother Is Not Daniel Richter / My Father Is Not Gehrhart

CHARLES GAINES — Rétrospective, 1979–1991, Lavignes-Bastille, Paris, 1991

CHARLES RAY — Boy, Whitney Museum of American Art, New York, 1997

Original 2007 Charles Ray exhibition announcement card for Matthew Marks Gallery, New York, recto showing a solid green ground with three exhibition titles printed in large dark green sans-serif uppercase text: 'CHICKEN', 'THE NEW BEE- / TLE', and 'FATHER FIGURE', stacked vertically with generous leading.

Reverse of 2007 Charles Ray Matthew Marks Gallery exhibition card showing a near-black ground with centred silver-grey text reading 'Charles Ray / Matthew Marks Gallery / November 14, 2007 to January 19, 2008 / 522 West 22nd Street, New York / 212 243 0200 www.matthewmarks.com' in spaced small caps and serif type.

Charles Ray — Chicken, The New Beetle, Father Figure — Exhibition Postcard, Matthew Marks Gallery, New York, 2007

Verso (back):

Charles Ross, Point Source / Star Space, 1977. Verso: plain cream card with red New York meter postmark dated March 1977 upper right; typed address label to Hermann Kern, Kunstraum München, Nikolaistraße 15, München, Germany.

CHARLES ROSS — Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977

Charles Simonds, The Three Trees, 1985 — recto: offset-printed exhibition card showing two black-and-white photographs side by side, a modernist glass-façade building and a dense stand of conifers, on light card stock

Charles Simonds, The Three Trees, 1985 — verso: exhibition invitation from Architekturmuseum in Basel with Basel postal stamp dated 25 May 1985 and typed address label to Connaissance des Arts, Paris

CHARLES SIMONDS — The Three Trees, Architekturmuseum Basel, 1985

Front cover Slide Shows, Charlotte Cheetham, Fillip Editions, Vancouver, 2013. Front cover: bright yellow card with "Slide Shows" in large bold black sans-serif type upper left; subtitle and author name in smaller black type below. Staple-bound, 14 × 21 cm.

Interior — contributors list / 4478zine Slide Shows, Charlotte Cheetham, Fillip Editions, 2013. Interior spread: left, yellow ground with numbered contributors list — 34 participants including 4478zine, David Horvitz, mono.kultur, Michalis Pichler, Eva Weinmayr, Wendy Yao; right, two video stills of a German Shepherd in grass, captioned "4478zine publishes, promotes and sells all printed matter by Erik van der Weijde" and "2011 YEAR REPORT".

CHARLOTTE CHEETHAM — Slide Shows: A Landscape of Contemporary Independent & Art Publishing. Fillip Editions, 2013

Charlotte Posenenske catalogue, MMK Frankfurt 1990, front cover: cream ground, artist name in black lower right

Charlotte Posenenske catalogue pp.30–31: Vierkantrohre Serie D, Offenbach 1967 left; Frankfurt Airport 1967 right, b&w

CHARLOTTE POSENENSKE — Museum für Moderne Kunst Frankfurt am Main, 1990

Original 2002 Christian Jankowski The Holy Artwork artist book, Revolver / Künstlerhaus Bethanien, Berlin — red softcover with white title typography on plain ground.

Original 2002 Christian Jankowski The Holy Artwork, Revolver / Künstlerhaus Bethanien — interior spread showing printed card with text "Thank you Lord for creating video" alongside film camera image.

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CHRISTIAN JANKOWSKI — The Holy Artwork, Revolver / Künstlerhaus Bethanien, 2002

Interior spread from Christian Marclay, Phaidon Contemporary Artists Series, Phaidon Press, 2005, pages 132–133, showing the Artist's Writings section with the text of Extended Play, 1988, on the left page alongside a colour photograph of three small cube sculptures assembled from compressed and folded vinyl records, and on the right page a colour photograph of a large dark cube sculpture made from compressed vinyl records with visible record labels and edges protruding from its surface.

Christian Marclay — Phaidon Contemporary Artists Series, 2005

Toutankhamon et son temps, Petit Palais, Paris, 1967, laminated cover, close crop of Tutankhamun gold funerary mask, blue kohl eyes and nemes headdress

Toutankhamon et son temps, 1967, interior p.114, Chaouabti de Toutankhamon, full scholarly entry with black-and-white photograph of gilded shabti figure

CHRISTIANE DESROCHES-NOBLECOURT — Toutankhamon et son temps, Musée du Petit Palais, Paris, 1967

Christo and Jeanne-Claude, Wrapped Kunsthalle Bern, 1968, colour photograph by Balthasar Burkhard, building wrapped in polyethylene and nylon rope, recto

Christo, Wrapped Kunsthalle Bern, Switzerland, 1968, printed verso with pink-red discolouration across lower portion, photo credit Balz Burkhard

CHRISTO AND JEANNE-CLAUDE — Wrapped Kunsthalle, Bern, Switzerland, 1968

Christopher Wool, HELTERSKLTER and HOUDINI, text works, White Walls #17, 1987 — stencilled black letters across double-page spread

Christopher Wool, cover design for White Walls: A Magazine of Writings by Artists #17, Autumn 1987, White Walls, Inc., Chicago

Christopher Wool / David Sedaris — White Walls: A Magazine of Writings by Artists #17

Exhibition postcard from TRAUMA, Dundee Contemporary Arts, 2001. Recto: installation photograph of Christopher Wool / Felix Gonzalez-Torres Untitled (1991) — a large stack of white offset-printed sheets on a wooden floor, top sheet bearing dense black compressed text reading 'THE SHOW IS OVER THE AUDIENCE GET UP TO LEAVE THEIR SEATS TIME TO COLLECT THEIR COATS AND GO HOME AND GO HOME AND GO HOME AND NO MORE.

Reverse of TRAUMA 2001 Dundee Contemporary Arts exhibition postcard. White stock with 'National Touring Exhibitions / TRAUMA / Organised by the Hayward Gallery for the Arts Council of England'; 'Christopher Wool (b.1955)'; caption: 'Christopher Wool in collaboration with Felix Gonzalez-Torres / Untitled 1991 / Offset print on paper (endless copies) / 20.3 × 94 × 141 cm (at ideal height) / Hoffmann Collection, Berlin / Courtesy the artist and Luhring Augustine, New York / Photo: Peter Muscato'; Dundee Contem

CHRISTOPHER WOOL / FELIX GONZALEZ-TORRES — Untitled, 1991 — Exhibition Postcard, TRAUMA, Dundee Contemporary Arts, 2001

$Original c. late 1980s–early 1990s Christopher Wool Prankster graphic card, offset print on white card stock, showing the word 'PRANKSTER' printed in large bold black stencil-style block capitals across three lines reading 'PRA / NKS / TER', each letter fractured by thin white gaps at intersections consistent with Wool's text-based stencil language; letters fill the full card surface edge to edge against white ground.$ Reverse of c. late 1980s–early 1990s Christopher Wool Prankster graphic card showing plain cream-white card stock, blank, with light age toning, soft surface marks, minor creasing, and faint discoloration consistent with period printed ephemera and archive storage.

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