Products

  • Isa Genzken, Window, exhibition invitation front. Hauser & Wirth, London, 2020. Colour photograph of installation view: three rows of blue economy-class aircraft seats on a dark wood floor, with a row of white airplane window panels mounted on the gallery wall behind. Untitled (detail), 2018. Photo: Todd White Art Photography. Isa Genzken, Window, exhibition invitation reverse. Hauser & Wirth, London, 2020. Cream card with 'HAUSER & WIRTH' in small caps at top. Title 'ISA GENZKEN / WINDOW' in large bold sans-serif type, followed by opening reception details (Thursday 6 February 2020, 6–8 pm), exhibition dates (7 February – 2 May 2020), gallery address (23 Savile Row, London W1S 2ET), telephone, opening hours, and website. Small print credit line at foot.

    Isa Genzken — Window

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    Isa Genzken — Window

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  • Original James Brown Salt exhibition invitation booklet from Galerie Lelong, Paris, 1990, featuring a reproduced painting with a bold ultramarine blue abstract totem-like figure against a pale dotted background in an ornate frame. Interior spread of original James Brown Salt – Peintures récentes exhibition booklet showing Galerie Lelong exhibition details, dates, opening reception information, and reference to Repères no. 67 with text by Jean Frémon

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

  • Jean Clareboudt, Oblique Haute, exhibition invitation recto. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Black-and-white photograph: a large irregular dark mass — a boulder or raw stone — suspended from a crane arm against a pale overcast sky. The crane extends diagonally from the upper left; industrial steel structures, scaffolding, and a brick building are visible below and behind. Low-angle shot emphasising the weight and scale of the suspended object. 'CLAREBOUDT' in l Jean Clareboudt, Oblique Haute, exhibition invitation verso. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Cream card. Text in French, centred, in mixed type weights. Header: 'A L'OCCASION DE L'IMPLANTATION DE L'OEUVRE MONUMENTALE / DE "L'ORME AU CHAT", 26 BD BRANDENBOURG A IVRY, / JACQUES LALOË, MAIRE D'IVRY / VOUS INVITE AU VERNISSAGE DE L'EXPOSITION DE'. Artist name in large bold caps: 'JEAN CLAREBOUDT'. Exhibition title in bold: '"OBLIQUE HAUTE"'. Photography credit in i

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

  • Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978 Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978

    Jenny Holzer — Private Property Created Crime — 1984

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    Jenny Holzer — Private Property Created Crime — 1984

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  • Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — front cover. Black and red biomorphic form with zipper and single button on yellow-orange ground. Galerie Paul Maenz, Cologne. Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — interior plate. Red creature with multiple eyes, cigarette-like protrusions, and splayed limbs on orange ground. Ohne Titel (Bilder aus der Innenwelt), 1981, 290 × 350 cm.

    Jiří Georg Dokoupil — Exhibition Catalogue, 1987

    Jiří Georg Dokoupil — Exhibition Catalogue, 1987

  • Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation recto: black-and-white photograph of a figure lying prone on a parquet floor before a set of white double doors, dark mark running down the paintwork above. Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation verso: printed artist biography and exhibition details, handwritten address to Jacques Donguy, Ossun, France, French postage stamp and postal markings.

    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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    Jochen Gerz — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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  • Front cover: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — original exhibition invitation, deep burgundy card with white letterpress text, Galerie Baudoin Lebon, Paris Reverse: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — reverse of exhibition invitation showing vernissage details, Baudoin Lebon, 36 rue des Archives, Paris, 7 juin–7 juillet 1979

    Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979

    Jochen Gerz — Le Dépôt · Kulchur Pièce, 4 — Galerie Baudoin Lebon, Paris, 1979

  • Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — recto: exhibition invitation card printed in dark brown ink on orange-brown card stock, with boxed typography listing artist names, venue Galerie Galea Caen, and exhibition dates 14 November to 4 December Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — verso: plain orange-brown card stock with light surface abrasion, no printed text

    Joël Hubaut / Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979

    Joël Hubaut / Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979

  • Original 1994 Jürgen Klauke Prosecuritas exhibition catalogue. Front cover showing a black-and-white scanned or photocopied image: two small dog silhouettes walk across a pale ground trailing long curved lines, while large dark shadowy forms — a vertical pole left and a crouching figure lower right — dominate the foreground. Title 'JÜRGEN KLAUKE »PROSECURITAS«' in small spaced sans-serif type upper centre. Square format, cloth-bound hardcover with clear plastic dust jacket. Interior spread from Jürgen Klauke Prosecuritas catalogue, 1994. Upper half: four-panel black-and-white photographic sequence captioned 'Abb. 9 »SCHUSSFOLGE/SCHLUSSFOLGE«, 1976, vierteilige Fotosequenz, je 80×120 cm', showing a shirtless man holding a revolver to his head in four sequential poses. Lower half: full-width black-and-white photograph captioned 'Abb. 10 aus dem Werkkomplex: »SCHATTENBILDER«, 1984, Fotoarbeit, 110×200 cm', showing two seated silhouettes facing each other across a table with a tel

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

  • Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017 Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

  • Front of a small 1973 Katharina Sieverding artist card showing a black-and-white double portrait of the artist in a tight hood and gloves, one figure facing down and the other holding a round mirror over the face, printed within a wide cream border. Back of a 1973 Katharina Sieverding artist card printed in Portuguese, with the heading “ilustração,” the caption “katharina sieverding sem título 1973,” and a short biographical note plus exhibition history on toned cream stock with light wear and corner creasing.

    Katharina Sieverding — Portuguese-Language Artist Card, c. 1973

    Katharina Sieverding — Portuguese-Language Artist Card, c. 1973

  • Front cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: saturated composite of fragmented urban photography, abstracted figures, and colour fields in yellow, green, orange, and blue; Kathy Acker in black diagonal type at lower left; ALGERIA in large bold black capitals; DTV logo at upper right; cover design functioning as graphic assault and media noise. Back cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: dense field of small human figures rendered in warm amber, orange, and white tones against a glowing ground, figures repeated across the surface in a pattern suggesting mass, heat, and dissolution; TTC 69 F / ISBN 2-86219-035-7 printed vertically at left; compact livre logo in black square at lower right.

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

  • Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984. Front cover. Black ground with red border. Large red and white hand-lettered title: "BLOOD AND GUTS IN HIGH SCHOOL". Author name "KATHY ACKER" in white at top. Centre: oil painting illustration by Sue Coe — a dense, dark scene of figures, a cat-like creature in a suit, playing cards, a coffee cup, industrial machinery, and a crescent moon. Grove Press Evergreen logo upper right, price $7.95. Kathy Acker — Blood and Guts in High School, Grove Press, 1984 — interior page. Full-page line drawing of a multi-armed deity figure in the style of Indian iconography — Kali-like, with multiple heads arranged in a crown, necklace of skulls, weapons and objects in each hand, standing over a prone figure. Small figures and animals at the margins. Caption in a ruled box at base: "The Devil is an image. Imagine Hell. We grab the book, and run." Cream paper, black ink.

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

  • Kathy Acker — Blood and Guts in High School, Hakusuisha, Tokyo, 1992. Japanese edition. Front cover with dust jacket. Cream ground. Upper band: blue speckled paint surface. Lower band: blue-grey layered paint surface, stepped at right edge. Centre white band: Japanese title 血みどろ臓物ハイスクール in large black brushstroke type. English title "BLOOD AND GUTS IN HIGH SCHOOL" in spaced blue capitals at top. "KATHY ACKER" in spaced blue capitals at base. Kathy Acker — Blood and Guts in High School, Hakusuisha, 1992 — interior page. Three-language vocabulary lesson. Left column: Persian/Farsi script. Centre: English handwritten phrases — "father", "see my father!", "my father is dead.", "my father is blue.", "body", "my body is life.", "my body is hot.", "cunt". Right column: Japanese translations in small printed type. White space dominant.

    Kathy Acker — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

    Kathy Acker — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

  • Original 1982 Kathy Acker Great Expectations paperback, Open Book Publications, San Francisco. Front cover with title in bold serif type above a black-and-white woodcut illustration of a hunched long-haired figure leaning over a bed with a cane. Printed wrappers with toning and wear to spine. Interior spread of 1982 Kathy Acker Great Expectations, Open Book Publications. Left page shows black-and-white woodcut of a hunched figure at a desk. Right page opens Chapter 1 titled Plagiarism, subsection I Recall My Childhood, with Dickens-derived opening paragraph. Page 5.

    Kathy Acker — Great Expectations (1982)

    Kathy Acker — Great Expectations (1982)

  • Original 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series, New York. Front cover in vivid pink with repeating text pattern in lighter pink forming the background, overlaid with bold black title lettering and author name. Printed wrappers in good condition with minor shelf wear. Reverse of 1991 Kathy Acker Hannibal Lecter, My Father paperback, Semiotext(e) Native Agents Series. Back cover in magenta-pink showing a halftone portrait photograph of Acker and the text: This writing is all fake (copied from other writing) so you should go away and not read any of it. ISBN and series imprint at foot.

    Kathy Acker — Hannibal Lecter, My Father (1991)

    Kathy Acker — Hannibal Lecter, My Father (1991)

  • Kathy Acker — Pussycat Fever, AK Press, 1995. Front cover. Hot pink ground. Centre: illustration by Diane DiMassa of four figures — a punk girl in the foreground, two women behind, a figure in a pointed hat at rear. Purple ink throughout. Title "Pussycat Fever" in large purple block letters upper left. Author and illustrator credits right: "Kathy Acker / illustrated by / Diane DiMassa / and / Freddie Baer". Kathy Acker — Pussycat Fever, AK Press, 1995 — interior spread. Left page: full-page black-and-white illustration by Freddie Baer. A young girl in a dress surrounded by cats and large feline faces — leopard, tiger, domestic cats — rendered in dense Victorian collage style within an ornate floral border. Right page: text beginning "Before I—" in serif type with decorative border.

    Kathy Acker — Pussycat Fever, AK Press, 1995

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    Kathy Acker — Pussycat Fever, AK Press, 1995

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  • Original 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec paperback, TVRT Press and Printed Matter, New York. Front cover with black-and-white photographic image of two pairs of legs, one in stockings raised in the air, the other bare and low. Title in lowercase serif type: all she wants is love... Publisher imprints PM and TVRT Press at foot with ISBN 0-931106-21-4. Original price $4.50 at top left. Covers with age toning and surface wear. Reverse of 1978 Kathy Acker The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec, TVRT Press and Printed Matter. Back cover with black-and-white photographic image of intertwined bare limbs and hands. Title and author credit in white serif type at lower centre: The Adult Life of Toulouse Lautrec / By Henri Toulouse Lautrec. Age toning and surface scuffing to covers.

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

    Kathy Acker — The Adult Life of Toulouse Lautrec by Henri Toulouse Lautrec (1978)

  • `Keizō Kitajima — 東京 No. 2 (Tokyo No. 2), Photo Express Tokyo, February 1979. Front cover. High-contrast black and white photograph of two figures in close proximity, faces partially obscured, one in a leather jacket, set against a dark ground with diagonal structural elements. Title in teal kanji and Latin type upper centre: 東京 No 2. Date and price: 1979. FEBRUARY · 200 YEN. Green circular stamps along foot reading: 写 真 特 急 便 〒 北 島 敬 三 (Photo Express Mail, Kitajima Keizō).` `Keizō Kitajima — Photo Express Tokyo No. 2, February 1979 — interior plate. High-contrast black and white photograph of a woman seated at low angle, wearing a floral-patterned qipao dress, platform shoes, and a wide-brimmed hat. Face tilted upward, smiling, body angled toward camera. Flash-bleached highlights against deep black ground. Tokyo nightlife, 1979.`

    Keizō Kitajima — Photo Express Tokyo No. 2, February 1979

    Keizō Kitajima — Photo Express Tokyo No. 2, February 1979

  • `Kunst uit Nieuw Guinea — exhibition catalogue front cover, 1963. Cream wraps with orange letterpress title lower right: "kunst uit nieuw guinea". Left: black and white photograph of a tall carved wooden ancestor figure (bis pole or similar), with a stylised face, open-work body, and flame-like projections at the crown. Age toning and handling wear throughout. `Kunst uit Nieuw Guinea, 1963 — interior plate. Black and white photograph of catalogue no. 43: a carved wooden ancestor figure, open-work construction with a large rounded head, hollow oval torso, and elongated pendant legs. Dark patinated surface. Photographed against cream ground.

    Kunst uit Nieuw Guinea — Museum Fodor / Stedelijk Museum, Amsterdam, 1963

    Kunst uit Nieuw Guinea — Museum Fodor / Stedelijk Museum, Amsterdam, 1963

  • Original 1970 Larry Bell, Robert Irwin, Doug Wheeler exhibition catalogue, Tate Gallery, London, 5–31 May 1970. Plain pale yellow square-format cover, unprinted, with visible age toning and light surface wear consistent with period exhibition material. Interior spread from 1970 Larry Bell, Robert Irwin, Doug Wheeler, Tate Gallery. Four black-and-white film stills showing blurred motion of a vehicle or object in a darkened space, printed across a double-page spread.

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

    Larry Bell / Robert Irwin / Doug Wheeler — Tate Gallery, London, 1970

  • Original 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover with a close-up black-and-white photograph of a curved shadow cast across a pale textured surface, suggesting a body or sculptural form. 'INSIGHTS' in spaced white serif capitals at upper centre, 'LAURA CARPENTER' in smaller spaced white serif type at lower centre. Light surface wear and minor corner softening consistent with period. Reverse of 1990 Laura Carpenter / Philippe Thomas, Insights, Galerie Claire Burrus, Paris. Softcover back showing a close-up colour photograph of two adjacent fabric surfaces — a warm yellow draped textile on the left and a cool grey-blue fabric on the right — meeting at a diagonal fold, no text, no imprint. Light surface wear and age toning consistent with period.

    Laura Carpenter / Philippe Thomas — Insights

    Laura Carpenter / Philippe Thomas — Insights

  • Laylah Ali, Projects 75, MoMA, 2002 — cover. Two Greenhead figures on a blue ground; one tall with a polka-dot shirt, one small with a spiked head. Offset-printed artist's book. Laylah Ali, Projects 75, MoMA, 2002 — interior spread. Left: five dark spherical heads with elongated shadows. Right: three tall Greenhead figures with spiked crowns and a small figure clinging to one.

    Laylah Ali — Projects 75, MoMA, 2002

    Laylah Ali — Projects 75, MoMA, 2002

  • Leopoldo Maler — Mortal Issues: A Sanctuary with Flames & Figures. Exhibition publication cover, Whitechapel Art Gallery, London, 1976. Black-and-white photograph of Maler standing before a monumental archway, arms crossed. Bold typographic title below. Interior spread from Leopoldo Maler exhibition publication, 1976. Black-and-white photograph of a typewriter with sheet of flames, captioned Hommage, 1974, Art Systems in Latin America, ICA London. Valerie Beston Library provenance stamp visible at top left.

    Leopoldo Maler — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, 1976

    Leopoldo Maler — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, 1976

  • Louise Bourgeois, Papillons Noirs, exhibition announcement front cover. Hauser & Wirth, St. Moritz, 2018–2019. White card cover. 'HAUSER & WIRTH' in small spaced sans-serif caps at top centre. Centred below in large serif type, mixed roman and italic: 'Louise / Bourgeois / Papillons / Noirs'. Minimal, typographic design on plain white ground. Light handling marks and minor surface wear. Louise Bourgeois, Papillons Noirs, exhibition announcement inside spread. Hauser & Wirth, St. Moritz, 2018–2019. Folded card, two panels. Left panel: white ground with black sans-serif text. 'LOUISE BOURGEOIS' in large bold caps; 'PAPILLONS NOIRS' in smaller bold caps below. Opening reception details: 'FRIDAY 28 DECEMBER 2018 / 6–8 PM'. Exhibition dates: '28 DECEMBER 2018 – 10 FEBRUARY 2019'. Gallery address: 'VIA SERLAS 22, 7500 ST. MORITZ / PHONE +41 81 552 1000'. Opening hours: 'TUESDAY–SUNDAY 10 AM–7 PM

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

  • Second cover variant of 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue. Large black-and-white halftone portrait of Andy Warhol with yellow hair and red lips, overlaid with dark green graffiti-style 'lovecat' lettering and Mr. Brainwash signature at lower right. Caption reads 'ANDY WARHOL BY MR. BRAINWASH / THE ART ISSUE / DON'T PAY ANY ATTENTION TO WHAT THEY WRITE ABOUT YOU. JUST MEASURE IT IN INCHES.' Contributors listed: Raphael Mazzucco, Anja Konstantinova, Chuck Close, Raica Oliveira. Original 2012 Lovecat: The Model Fanzine, Issue 3, The Art Issue, New York. Cover showing a large black-and-white halftone portrait of Cindy Crawford overlaid with pink graffiti-style 'lovecat' lettering, pink heart, and handwritten text reading 'Love is the Answer'. Caption reads 'CINDY CRAWFORD BY MR. BRAINWASH / THE ART ISSUE'. General handling wear and edge wear consistent with period fanzine.

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

    Lovecat: The Model Fanzine, Issue 3 — The Art Issue

  • Recto (front): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Recto: book cover reproduction showing Maciunas' handwritten charts and flow diagrams on curling paper sheets; title in black and red type, author Astrit Schmidt-Burkhardt above, publisher and collection credit below. Verso (back): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Verso: plain cream card with publisher details — Vice Versa Verlag, Leuschnerdamm 5, 10999 Berlin, Germany; info@vice-versa-vertrieb.de — and ISBN 3-932809-39-4 at lower left.

    Maciunas' Learning Machines — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

    Maciunas' Learning Machines — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

  • Recto (front): Man Ray, Kunsthalle Basel, 1980. Recto: black-and-white reproduction of Violon d'Ingres (1924) — female nude seen from behind, wearing a turban, with f-holes drawn onto the lower back. Man Ray monogram visible at lower right. Verso (back): Man Ray, Kunsthalle Basel, 1980. Verso: printed exhibition announcement in German. Kunsthalle Basel, Steinenberg 7; opening Saturday 19 January 1980, 18 Uhr; through 24 February. Catalogue details: 210 pages, 162 b/w illustrations, 15 colour plates; texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, H. Molderings. Film programme: Retour à la raison (1923), Emak Bakia (1926), L'Étoile de mer (1927), Mystère du château de dé (1928). Caption at foot: Man Ray: Violon d'Ingres,

    Man Ray — Kunsthalle Basel, 1980

    Man Ray — Kunsthalle Basel, 1980

  • Reverse of 2019 Mark Bradford: Los Angeles exhibition card reproducing a photograph of the artist seated before Float (2019), a monumental installation of layered and stripped paper surfaces in vivid vertical bands of colour. Original 2019 Mark Bradford exhibition invitation card for Mark Bradford: Los Angeles at Long Museum West Bund, Shanghai, featuring title, exhibition dates 27 July–13 October 2019, and institutional identity printed in white on a flat orange field.

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

  • Original 2015 Mark Grotjahn K&H Liquors artist book, Karma, New York. Front cover showing two men standing in a liquor store aisle lined with bottles, with the Karma imprint visible at lower left. Open spread from Mark Grotjahn K&H Liquors, Karma, 2015. Two handmade liquor store price signs: 'Watneys $5.99 Tx' in red and blue on yellowed label, and 'Special Potters 219 Zoo' on fluorescent green Young's Market Company sticker.

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

  • Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011 Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

    Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011

  • Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Recto: colour illustration of two children holding a star lantern on a pole against a night sky, within an arched frame; artist name below in bold serif type. Martin Honert, exhibition invitation card, Matthew Marks Gallery, New York, 1999. Verso: exhibition dates 12 November – 24 December 1999, opening Thursday 11 November (Saint Martin's Day) 6–8pm, Matthew Marks Gallery address 523 West 24th Street, New York, printed in black on white card.

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

    Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999

  • Original 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Edition Julie Sylvester / Schirmer/Mosel. Front cover showing a colour photograph of a dishevelled hotel room interior: an unmade bed with a gold bedspread, a black office chair, and a portable television on a stand. Title in small serif type upper centre: 'Martin Kippenberger / 67 Improved Papertigers / Not Afraid of Repetition'. Publisher imprint 'Edition Julie Sylvester / Schirmer/Mosel' lower centre. Cream wrappers. Reverse of 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel. Back cover showing a colour snapshot photograph of a bearded man in white underwear standing in a hotel room, looking down, with a television and wood-panelled wall behind him. ISBN barcode 9783829603508 lower right. Cream wrappers with handling wear.

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

  • Original 2007 Matthew Barney Supercontemporary exhibition publication, Electa, Milan. Cover showing Barney in prosthetic makeup with pointed ears and pale skin, wearing a white suit jacket, set against a blue tartan background, with the title in magenta type and series name in a red vertical band. Interior page from 2007 Matthew Barney Supercontemporary, Electa. Showing a production photograph of multiple figures with elaborate floral and bubble headdresses submerged in a field of white pearled material, Barney at centre.

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

    Matthew Barney — Supercontemporary, Electa, Milan, 2007

  • Matthew Peers – Wishing Wells, open spread showing blank left page with timestamp "16.08.2024 16:23" and full-bleed photograph of sculptural installation in studio interior on right page Matthew Peers – Wishing Wells publication , showing front cover and open clamshell box, title "2023.2025" printed in pixelated handheld-printer type

    Matthew Peers — Wishing Wells, 2023–2025

    Matthew Peers — Wishing Wells, 2023–2025

  • Original 1971 Michel Ciry exhibition invitation for Galerie de Paris, announcing paintings, watercolors, and drawings from 26 October to 27 November 1971 on folded cream card Handwritten German archival reference card mentioning Robert Waissenberger and *Die Wiener Secession: Eine Dokumentation*, with publication details and price noted in graphite on folded paper.

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971