Products

  • Mike Kelley Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (with Sonic Youth) / The Peristaltic Airwaves (2012) double CD in sealed jewel case. Purple-toned cover image featuring cave-like formations with white typography. Published by Compound Annex Records. Reverse of sealed Mike Kelley double CD showing track information, recording credits, performance details, and a black-and-white photograph of Kelley. Includes references to Sonic Youth, Artists Space, New York, and KPFK Radio, Los Angeles.

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

    Mike Kelley — Plato's Cave, Rothko's Chapel, Lincoln's Profile (with Sonic Youth) / The Peristaltic Airwaves, Compound Annex, 2012

  • Original 1971 launch invitation for L'air pauvre, Les Aliscans, Paris, featuring bold black offset typography on cream card stock announcing the illustrated edition by Abdallah Benanteur with texts by Monique Boucher, event date Friday 19 November 1971, 18:00–21:00, with silhouetted figure and bookshop address at 57 rue de Rennes. Reverse of 1971 L'air pauvre launch invitation, Les Aliscans, Paris, showing blank cream card stock with age toning and light handling wear consistent with period paper ephemera.

    Monique Boucher / Abdallah Benanteur — L’air pauvre — Les Aliscans, Paris, 1971

    Monique Boucher / Abdallah Benanteur — L’air pauvre — Les Aliscans, Paris, 1971

  • Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges. Original 2017 Nan Goldin, Biesenthal, Document Journal in collaboration with Saint Laurent. Cover showing a colour photograph of a partially visible female figure at right — bare torso, sequined mini skirt, holding a cigarette — against a large dark wall with warm ambient light at upper left. No title text on cover; image bleeds to edges.

    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

    Nan Goldin — Biesenthal, Document Journal / Saint Laurent, 2017

  • Original 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — recto with full-bleed photograph of arid rocky ground with tangled wire or thorn mass at centre; NE TRAVAILLEZ / JAMAIS in large hand-lettered white type across upper half; artist list in white capitals: Adel Abdessemed, Art Keller, Bruno Perramant, Conrad Bakker, Frank Perrin, Gianni Motti, Jannis Kounellis, Jimmie Durham, Julien Prévieux, Marc Boucherot, Philippe Meste, Raymond Pettibon; exhibition details: Une Exposit Reverse of 2024 Ne travaillez jamais exhibition invitation card, 22 rue Visconti, Paris — verso showing plain unprinted white card stock with visible handling marks, surface rubbing, light creasing, and pressure marks consistent with storage and circulation.

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

    Ne travaillez jamais — Exhibition Invitation, 22 rue Visconti, Paris, 2024

  • Original 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, front showing the single handwritten word Mirrors in black ink centred on metallic gold-coated card stock, surface now naturally dulled through age and handling. Reverse of 2003 Nedko Solakov Mirrors vernissage card, Galerie Georges-Philippe & Nathalie Vallois, Paris, showing dual-exhibition layout divided into Project Room presenting Gilles Barbier Les trous sont la partie manquante de l'histoire and main space presenting Nedko Solakov Mirrors, with dates 20 janvier au 1 mars 2003, vernissage samedi 18 janvier à 18h, gallery address 36 Rue de Seine 75006 Paris, and Veuve Clicquot sponsorship note.

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

    Nedko Solakov / Gilles Barbier — Mirrors / Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003

  • New Observations Nos. 50, 51, and 84 — group of three issues shown together. New York, 1987 and c. early 1990s. Offset printed magazines, approx. 27 × 21 cm each. Sold as a group. `New Observations No. 84, Alchemy — interior spread. Black and white photograph of Marcel Duchamp's Étant donnés, 1946–66: a reclining female figure amid twigs and branches, one arm raised holding a gas lamp, viewed through a torn aperture in a dark ground.

    New Observations — Nos. 50, 51 & 84

    New Observations — Nos. 50, 51 & 84

  • Obliques No. 14–15, La Femme Surréaliste — front cover. Éditions Borderie, Paris, 1977. Decorative gothic lettering on cream textured card. Centre image: Jane Graverol's L'Esprit saint, a bird in flight suspended within a rock formation reading as a torso. Surrealist exhibition ephemera. Obliques No. 14–15, La Femme Surréaliste — interior spread with Unica Zürn diagrammatic drawing. Watercolour and ink on grid, dated Mardi 26 Avril 77. Surrealist printed matter, Éditions Borderie.

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

  • Olivier Mosset Red exhibition invitation with black text on a white background Olivier Mosset white background from a 1969 exhibition invitation

    Olivier Mosset — Galerie Rive Droite, Paris, 1969

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    Olivier Mosset — Galerie Rive Droite, Paris, 1969

    Sold out
  • Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — recto: offset-printed reception invitation on white card stock, text over halftone photograph of two Gothic-style pointed rooftops, issued by Alanna Heiss for the Fall Exhibitions preview, Sunday 15 October 1989, The Institute for Contemporary Art, Long Island City, New York Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — verso: plain off-white card stock, no printed text, light age toning

    P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989

    P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

  • Paul Klee, exhibition invitation card recto. Musée National d'Art Moderne, Paris, 1969. Cream card. Black line drawing printed on cream ground: a horizontal landscape composition combining industrial, architectural, and fantastical elements. At left, a squat brick chimney stack emits three rounded tree-like forms. Centre: scattered figures, flags, a crescent moon shape, and horizontal elements suggesting a ground plane. At right, a large triangular form — part tent, part tower — rises steeply, with a spiral Paul Klee, exhibition invitation card verso. Musée National d'Art Moderne, Paris, 1969. Plain cream card, no text or image. Faint embossed or impressed text visible along the top edge, partially legible, consistent with a printed address or gallery name pressed through from the interior. Light age toning, minor surface marks, and faint handling wear.

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

  • Peter Doig, exhibition catalogue cover, The Arts Club of Chicago, 2003. Muted sage green and terracotta two-colour softcover with artist name in terracotta lowercase type at foot. Restrained institutional design. Peter Doig, exhibition catalogue interior spread pp. 6–7, The Arts Club of Chicago, 2003. Left: Organic Cabin, 1996, oil on canvas, 79 × 108 inches, The Bailey Collection, Toronto. Right: Pink Birch, 1997, oil on canvas, 72¾ × 83¾ inches, The Bailey Collection, Toronto.

    Peter Doig — The Arts Club of Chicago, 2003

    Peter Doig — The Arts Club of Chicago, 2003

  • Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Front cover: solid blue flexible wrappers with large black text reading "NOTA" at lower edge, vertical red rule at left, small stacked text at upper right corner Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Interior spread: blank white pages with small black-and-white photograph of a man (Ronald Reagan) in a suit raising his hand, cropped at the gutter, lower left page blank

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

  • 1999 Pierre Klossowski exhibition invitation featuring a color reproduction of *Roberte aux barres parallèles* (1990). Three stylized human figures are arranged around parallel bars on a circular base: a central female figure in pink clothing raises one leg while two surrounding figures engage with the structure. The sculpture is rendered in painted flesh, mauve, and brown tones against a neutral background, with “Pierre Klossowski” printed beneath. Reverse side of a 1999 Pierre Klossowski exhibition invitation card printed in French for *l'énoncé à nouveau dénoncé: Sculptures et tableaux*. Black typography on white card stock lists exhibition dates (3 April–12 June 1999), opening details, and Galerie Beaubourg at Château Notre-Dame des Fleurs in Vence, France. PIERRE KLOSSOWSKI / l'énoncé à nouveau dénoncé / Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

    Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999

  • Pipilotti Rist, Heroes of Birth, exhibition announcement card recto. Luhring Augustine, New York, 2010. Colour photograph: a woman in a white hospital gown lies reclined, head tilted back, dark hair spread behind her. Her bare, heavily pregnant abdomen is visible, with three red circular monitoring devices attached to the skin. Medical equipment including tubing and IV lines visible in the background. Clinical setting, warm analogue colour palette. Image from Pipilotti Rist video work. Pipilotti Rist, Heroes of Birth, exhibition announcement card verso. Luhring Augustine, New York, 2010. Pale grey-blue card. 'Pipilotti Rist' in red serif type, 'Heroes Of Birth' in red italic serif type below. Exhibition dates: '11 Sept – 16 Oct 2010' in red. Footer in small red type: 'LUHRING AUGUSTINE 531 West 24 Street NY 10011 www.luhringaugustine.com'. Light surface marks and minor handling wear visible.

    Pipilotti Rist — Heroes of Birth

    Pipilotti Rist — Heroes of Birth

  • Rachel Lachowicz and Yoko Ono, exhibition invitation card recto. Shoshana Wayne Gallery, Santa Monica, 1996. Cream card. Text in mixed serif and sans-serif type, centred layout. 'Main Gallery' in italic; 'RACHEL LACHOWICZ' in bold caps. 'West Gallery' in italic; 'YOKO ONO' in bold caps; 'Wishing Tree' in spaced roman type below. Exhibition dates: 'April 13 – May 18, 1996'. Reception: 'Saturday, April 13, 5 – 8 PM' in italic. Gallery details at foot in small roman type: 'Shoshana Wayne Gallery, Bergamot Stat Rachel Lachowicz and Yoko Ono, exhibition invitation card verso. Shoshana Wayne Gallery, Santa Monica, 1996. Plain cream card, no text or image. Minor age toning and faint surface marks visible.

    Rachel Lachowicz / Yoko Ono — Shoshana Wayne Gallery, 1996

    Rachel Lachowicz / Yoko Ono — Shoshana Wayne Gallery, 1996

  • Rafael Melendez, After Sturtevant, The Academy of Realness, 2022 — pamphlet cover; blue monospaced typography on white stock; black fabric sculpture centred; subtitle: Linguistics, Idealism, Repetition, Difference and Ownership Rafael Melendez, After Sturtevant, 2022 — interior spread; left page shows Elaine Sturtevant portrait photograph with introductory text; right pages show reconstructed Richard Prince and Rafael Melendez SWAB Barcelona exhibition posters with running text on repetition and appropriation

    Rafael Melendez — After Sturtevant

    Rafael Melendez — After Sturtevant

  • Already applied to the listing: > Rafael Melendez, *Born to Die*, 2016 — unique artist's book open to interior spread; left page shows circular form on dark denim-textured ground with 'Rafael Melendez ©2016' credit; right page shows black-and-white portrait of Kurt Cobain with blue text 'Money Changes Everything'; dos-à-dos binding visible at spine

    Rafael Melendez — Born to Die

    Rafael Melendez — Born to Die

  • Exterior view showing heavily worked covers and spine; blue tape, polka-dot paper patches, and layered collage elements visible across front and back boards; accumulated material thickness visible at spine edge; object shows significant handling consistent with production and use Unique artist book open to interior spread; left page shows ink drawings of conjoined figures, heart motif with 'Nothing Is Nothing' text, and collaged photographs; right page shows ink-drawn figures including a woman with 'Is Fleeing' text and a turtle-like form; fan stamps throughout; layered found paper and tape

    Rafael Melendez — Nothing’s Wrong

    Rafael Melendez — Nothing’s Wrong

  • Rafael Melendez, The Naked Lunch, The Academy of Realness, 2023 — front cover; black ground; AI-generated chrome female android figure in three-quarter profile, head lowered, mechanical neck and shoulder detail visible; 'RAFAEL MELENDEZ' in white graffiti-style lettering along left spine; 'The Naked Lunch' in teal type at upper right; Academy of Realness circular logo at top centre Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

  • 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

    Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969

    Rancillac — Pornographie, Galerie Daniel Templon, Paris, 1969

  • Original 1989 Rebecca Horn exhibition catalogue, Missing Full Moon, Artsite Gallery, Bath International Festival. Front cover showing plain olive green with title 'Rebecca Horn' in pale sage serif type, centred on an unadorned ground. Reverse of 1989 Rebecca Horn Missing Full Moon exhibition catalogue, Artsite Gallery, Bath. Back cover showing plain olive green with no text or imagery — a continuation of the front cover's minimal treatment.

    Rebecca Horn — Missing Full Moon [Artsite No. 22], Artsite Gallery, Bath, 1989

    Rebecca Horn — Missing Full Moon [Artsite No. 22], Artsite Gallery, Bath, 1989

  • Richard Hamilton, exhibition invitation recto. Serpentine Gallery, London, 1975. Black-and-white photographic reproduction of an abstract work: a gestural composition of dark fluid marks, washes, and drips on a pale ground, framed by a thin ruled border. A large organic dark form dominates the upper left, with vertical streaks and pooled marks descending toward the lower centre. Scattered smaller marks and traces throughout. Cream card with age toning, surface marks, and minor corner wear visible. Richard Hamilton, exhibition invitation recto. Serpentine Gallery, London, 1975. Black-and-white photographic reproduction of an abstract work: a gestural composition of dark fluid marks, washes, and drips on a pale ground, framed by a thin ruled border. A large organic dark form dominates the upper left, with vertical streaks and pooled marks descending toward the lower centre. Scattered smaller marks and traces throughout. Cream card with age toning, surface marks, and minor corner wear visible.

    Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975

    Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975

  • Richard Prince, de Kooning, exhibition invitation front cover, Gagosian Gallery Paris, 2011 — cropped reproduction against warm peach ground with artist name and exhibition details Richard Prince, de Kooning, exhibition invitation interior spread unfolded, Gagosian Gallery Paris, 2011 — near full-bleed reproduction of Untitled (de Kooning), 2009

    Richard Prince — de Kooning, Gagosian Gallery, Paris, 2011

    Richard Prince — de Kooning, Gagosian Gallery, Paris, 2011

  • Richard Prince, Early Photographs 1977–1979, front cover. Skarstedt Fine Art, New York, 2001. Grey hardcover boards with title 'Richard Prince / Early Photographs / 1977–1979' in pale blue-grey serif type, upper left. No image. Restrained, object-like design. Richard Prince, Early Photographs 1977–1979, interior page. Untitled (couple), 1977. Ektacolor print, 20 × 24 inches, 50.8 × 61 cm, edition of 10. Colour photograph of a man and woman in formal dress, rephotographed from a film still or television source. The man wears a dark suit and tie; the woman wears a black dress with a red flower. Both face slightly left, expressions neutral. Skarstedt Fine Art, New York, 2001.

    Richard Prince — Early Photographs 1977–1979

    Richard Prince — Early Photographs 1977–1979

  • Richard Prince, Menthol Wars, front cover. Printed Matter, New York, 2009. Facsimile reprint of 1980 artist's book. Black cover with halftone photograph of a woman in profile, pearl earring visible. Title 'MENTHOL WARS' and 'Richard Prince' in white type. Richard Prince, Menthol Wars, plain black inside back cover. Printed Matter, New York, 2009. Solid black page, no text or image.

    Richard Prince — Menthol Wars

    Richard Prince — Menthol Wars

  • Richard Prince, New Portraits, front cover. Blum & Poe, 2016. Screw-bound acrylic hardcover with large white embossed title 'Richard Prince New Portraits' over a transparent cover revealing the colophon page beneath. 'BLUM & POE' in large white type at foot. Six chrome screw-post bindings visible at right edge. Edition of 1,000. Richard Prince, New Portraits, back cover and interior page visible through acrylic. Blum & Poe, 2016. Transparent acrylic back cover with 'BLUM & POE' in white type lower right and ISBN barcode label affixed centre-right. Interior page visible through cover shows a rephotographed Instagram post by @prettypukedood: colour photograph of three figures at a party, 2,980 likes, with comments from @monsterpartyshop, @richardprince4, and others. Komiyama Tokyo bookseller sticker affixed to upper right of cover.

    Richard Prince — New Portraits

    Richard Prince — New Portraits

  • Richard Prince — New Portraits, Gagosian Gallery, New York, 2014. Front cover. Black staple-bound booklet, white centred text: Richard Prince / New Portraits. Exhibition catalogue, edition of 500. Appropriation art, printed matter. Richard Prince — New Portraits, Gagosian Gallery, 2014. Interior spread: Instagram screenshot @pamelaanderson, 46 weeks. Woman in white t-shirt bathing suit reclining on sand. 480 likes. Prince's comment: 'T-Shirt bathing suit! Nice. Let's hook up next week. Lunch, Smiles. R'. Appropriation art, found image.

    Richard Prince — New Portraits, Gagosian Gallery, 2014

    Richard Prince — New Portraits, Gagosian Gallery, 2014

  • Richard Prince — Purple 20 Years: The Richard Prince Purple Book, special edition for Purple Fashion no. 18, Purple Institute, Paris, 2012. White softcover with purple halftone "20 Years" typography overlaid on a collage of black-and-white celebrity photographs with handwritten captions and DVD barcodes. Richard Prince — Purple 20 Years: The Richard Prince Purple Book, interior spread. Left: photograph of Lynda Carter as Wonder Woman with handwritten caption: "Linda Carter went onto star in the TV show The L Word. True or False?" Right: photograph of male figure with handwritten caption referencing Dale Stone and mainstream film career. Purple Institute, Paris, 2012.

    Richard Prince — Purple 20 Years: The Richard Prince Purple Book

    Richard Prince — Purple 20 Years: The Richard Prince Purple Book

  • Richard Prince, Spiritual America, exhibition announcement postcard recto. Guggenheim Museum, New York, 2007. Colour reproduction of a nurse painting: a female figure in a white surgical mask and cap against a dark background, eyes visible above the mask, gazing directly forward. Partial text visible at top reads 'NURSE IN HOLLYWOOD' in embossed or relief lettering. Title 'RICHARD PRINCE / SPIRITUAL AMERICA' in orange sans-serif type below the image, with 'Guggenheim' museum logo in an orange band at foot. Richard Prince, Spiritual America, exhibition announcement postcard verso. Guggenheim Museum, New York, 2007. Cream card with standard postcard layout: address lines and stamp area to right, GoCard Postcard Advertising logo upper right. Left column: 'RICHARD PRINCE / SPIRITUAL AMERICA' in bold caps; 'Through January 9' in small type. Sponsor credits: 'Made possible by Deutsche Bank' with Deutsche Bank logo; additional supporters listed including Barbara Gladstone, The Stephenson and Penn Bunn Foundation, Mi

    Richard Prince — Spiritual America

    Richard Prince — Spiritual America

  • Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), exhibition catalogue cover, Edward Cella Art & Architecture, Los Angeles, June 11–July 30 2016. Cover features a black leather motorcycle jacket gifted by Richard Prince to Douglas Blair Turnbaugh, c. 1979. Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), interior spread pp. 4–5. Left: acknowledgements text signed by Edward Cella. Right: leather jacket given to Douglas Turnbaugh by Richard Prince, c. 1979. Edward Cella Art & Architecture, Los Angeles, 2016.

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

  • Front cover of Richard Prince’s The Girl Next Door, still sealed in original shrinkwrap, showing a rural overgrown landscape with a basketball hoop and blue and pink title typography. Rear cover of Richard Prince’s The Girl Next Door, sealed in original shrinkwrap, showing a suburban house, deck, lawn, and road photographed in muted daylight.

    Richard Prince — The Girl Next Door

    Richard Prince — The Girl Next Door

  • Richard Prince, The Masochist #7, front cover. RATSTAR / Shoot the Lobster, 2020. Staple-bound softcover, 28 × 21 cm. White card cover with a single black-and-white photocopy-style drawing: a large hand with exaggerated fingers dominates the lower half; above it a face with spiky hair, wide eyes with star-burst marks, and a grinning open mouth showing teeth. Cross or star mark between the eyes. Colophon text lower right in small type: 'The Masochist #7 – Richard Prince / Editor at Large – David Rimanelli / Richard Prince, The Masochist #7, back cover. RATSTAR / Shoot the Lobster, 2020. Plain white card, no text or image. Staple binding visible at left spine edge.

    Richard Prince — The Masochist #7

    Richard Prince — The Masochist #7

  • Richard Tuttle — Grey Walls Work Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

  • Robert Kushner, 'The dance, the kiss,...', exhibition invitation recto. Galerie Daniel Templon, Paris, 1979. Black-and-white reproduction of a large-scale drawing or print: two figures in close embrace, faces almost touching in a near-kiss. The woman on the left has wavy hair and closed eyes; the man on the right wears a suit and tie, head tilted toward her. Her dress or top is rendered with dense teardrop or scale-like patterning across the bodice and shoulders. Bold, fluid black line work on white ground, Robert Kushner, 'The dance, the kiss,...', exhibition invitation verso. Galerie Daniel Templon, Paris, 1979. Cream card. Header in bold sans-serif caps: 'DANIEL TEMPLON / 30, rue Beaubourg. Paris 3. 272.14.10'. Below in bold: 'ROBERT KUSHNER'. Below in italic: '"The dance, the kiss,..."'. Exhibition dates in French: 'du 31 mars au 3 mai 1979 / vernissage le samedi 31 mars de 10 h à 19 h'. Plain typographic layout on cream stock. Light age toning and minor surface marks.

    Robert Kushner — “The dance, the kiss,…”

    Robert Kushner — “The dance, the kiss,…”