Products

  • Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Front cover. Black ground, title in spaced white capitals: 'Robert Mapplethorpe fotografie'. Centre: black-and-white photograph of a male torso in a white swimsuit, cropped at shoulders and thighs, high-contrast studio lighting. Lower text: 'Intervista con R. Mapplethorpe a cura di Germano Celant'. ISBN 88-7017-032-2. Original yellow N.P.G. price sticker lower right: 19.95. Photography monograph, Italian edition. Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Back cover. Black ground with white border rule. Black-and-white photograph: a young Black woman in profile, nude to the waist, holding a white draped cloth across her body, rings on her fingers, eyes downcast. Title in white block capitals along lower edge: 'ROBERT MAPPLETHORPE'. Photography monograph, Italian edition.

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

  • Robert Rauschenberg, Ileana Sonnabend Gallery, Paris, 1963 — exhibition catalogue, front cover. Staple-bound wraps, offset print, black and white. Title in French: Première Exposition (oeuvres 1954–1961), Seconde Exposition (oeuvres 1962–63). Robert Rauschenberg, Monogram, 1955–1959 — interior plate. Black and white photograph of the Combine: a taxidermied angora goat encircled by a rubber tyre, mounted on a painted flatbed base. Caption: "Monogram" · 1955–1959, 183 × 183 × 122 cm.

    Robert Rauschenberg — Ileana Sonnabend Gallery, Paris, 1963

    Robert Rauschenberg — Ileana Sonnabend Gallery, Paris, 1963

  • East Village '85: A Guide. A Documentary, Roland Hagenberg et al., Pelham Press, New York, 1985. Front cover. Solid red ground. Cream outline illustration by Mark Kostabi: five schematic figures seated and standing around a table, two figures exchanging a rectangular object labelled '85'. Title in large cream block capitals: 'EASTVILLAGE'. Below in smaller type: 'Roland Hagenberg, Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege'. Lower centre: 'A guide. A documentary.' Publisher: Pelham Press. East Village '85: A Guide. A Documentary, Pelham Press, 1985. Interior spread: essay opening. Left: full-page black-and-white portrait photograph — Knut Swane of Eastman-Wahmendorf, mouth open wide in an expression of anguish or ecstasy, gold teeth visible, head tilted back, wearing a dark jacket. Right: essay text column beginning 'When th[e]...' discussing the East Village art scene, media attention, and the conditions of downtown New York art life. Downtown New York, 1980s art scene.

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

  • Exhibition catalogue cover, Roy Lichtenstein, Galerie Ileana Sonnabend, Paris, 1965. Full-bleed Benday-dot pattern in blue and black across cream wrappers; artist name ROY LICHTENSTEIN set diagonally in bold black serif capitals from lower-left to upper-right. Age toning and foxing visible at lower corners. Stapled binding. `Two-page colour spread, Landscape, 1965, by Roy Lichtenstein. Horizontal bands of blue Benday dots separated by white cloud and ground forms; dark black dot band across the middle ground. Title and date captioned in small type at upper left: LANDSCAPE / 1965. Vertical use fold visible through centre of spread. Catalogue open flat, printed on cream paper.`

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

  • Ryan McGinley, Vertical Color of Sound, exhibition invitation front. Galerie Perrotin, Hong Kong, 2014. Square colour photograph: a nude figure leaps from a hay bale into a pale blue dusk sky, arms outstretched, back to camera. Open field and flat horizon behind. Image: Hay Hop, 2014. Ryan McGinley, Vertical Color of Sound, exhibition invitation reverse. Galerie Perrotin, Hong Kong, 2014. Cream card with 'RYAN McGINLEY' in large serif type and '"Vertical Color of Sound"' below. Opening reception: Tuesday May 13th, 6–9pm. Exhibition dates: 13 May–21 June 2014, Tuesday–Saturday 11am–7pm. Text repeated in Chinese. Galerie Perrotin address: 50 Connaught Road Central, 17th Floor, Hong Kong. Vertical caption strip at right edge notes: Hay Hop, 2014, C-print, 51 1/8 × 72 7/16 inches / 130 × 175

    Ryan McGinley — Vertical Color of Sound

    Ryan McGinley — Vertical Color of Sound

  • Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Front cover: full-bleed newsprint cover with large bold headline reading 'I sometimes wonder how long I've got' and Guardian G2 masthead at top Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Interior spread, pages 14–15: two colour photographs — left: Old Man River, two leather straps pinned to a brick wall; right: You do it with really hairy bums, close-up of a buttock with a small cross-shaped object pinned to it

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

  • Sakris Exhibition Invitation Neon sign with green glow on a black background Sakris Exhibition Invitation card with text on a white background

    Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990

    Sarkis — Ma Chambre de la Rue Krutenau à l'Île San Lazzaro, Venice 1990

  • Sarkis Red Exhibition invite card with black text on a white background Sarkis Exhibition invite Map design with 'capo' branding on a white background

    Sarkis, "réserves sans retour" — CAPC Bordeaux invitation card, 1980

    Sarkis, "réserves sans retour" — CAPC Bordeaux invitation card, 1980

  • `Exhibition catalogue cover, Seul, et le corps…, Galerie du Dragon, Paris, 1966. Cream matte wrappers with title in large serif type, artist names in italic below: Balthus, Bellmer, César, Cremonini, Dalí, Giacometti, Hélion, Hiquily, Ipoustéguy, Magritte, Matta, Petlin, Rosofsky. Publisher name at foot: Galerie du Dragon.` `Interior spread, Seul, et le corps…, Galerie du Dragon, Paris, 1966. Black-and-white photograph of a sculpture by Philippe Hiquily: bulbous, biomorphic forms contained within an ornate cast-iron grate or fire basket, pierced by thin metal rods. Printed on cream paper, catalogue open flat.`

    Seul, et le corps… — Galerie du Dragon, Paris, 1966

    Seul, et le corps… — Galerie du Dragon, Paris, 1966

  • Cover of Sherrie Levine *Directions* exhibition brochure from the Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988. The cover reproduces *Untitled (Lead Checks: 6)* (1987), a turquoise and black checkerboard composition painted on lead beneath the exhibition title and dates. Interior fold-out essay spread from the Sherrie Levine *Directions* brochure with curatorial texts by Phyllis Rosenzweig and Susan Krane, reproductions of Levine works, and multiple columns of exhibition writing printed on cream paper.

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

    Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988

  • Exhibition invitation for Sherrie Levine’s *Pie Town* featuring a color reproduction from *After Russell Lee: 1–60* (2016). Two figures, Faro and Doris Caudill, stand outdoors beneath a dramatic cloud-filled sky; the man wears a worn hat and work shirt while the woman stands with folded arms in a patterned dress and apron. Reverse side of Sherrie Levine’s *Pie Town* exhibition card from David Zwirner, London, printed with exhibition details in black text on white card stock. Includes title, dates, gallery address, and information identifying the reproduced work *After Russell Lee: 1–60* (2016).

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

    Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017

  • Stack of art theory books spine-out including Roland Barthes Camera Lucida, Mythologies, Image Music Text, Walter Benjamin Illuminations, Jean Baudrillard America, Douglas Crimp On the Museum's Ruins, and Mark Dion Natural History and Other Fictions. Second stack including Art After Modernism, Harrison & Wood Art in Theory 1900–1990, Lucy Lippard Six Years The Dematerialization of the Art Object, Beyond Recognition by Owens, and Modernism in Dispute.

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

    Simon Morris & Helen Sacoor — Bibliomania 1998–1999, 1999

  • `Stuart Brisley — Institute of Contemporary Arts, London, 21 April – 31 May 1981. Exhibition catalogue front cover. Dark green cloth-bound hardcover with white text. Left column: dictionary definition of "Performance" (Oxford English Dictionary). Right column: artist name "Stuart Brisley" in white. ICA logotype at foot centre.` `Stuart Brisley — ICA, London, 1981 — interior plate. Black and white photograph documenting performance ZL 65 63 95 C, London, 1972. Brisley seated in a darkened room, debris and liquid covering the floor, paint-marked window behind. Caption: "ZL 65 63 95 C, London 1972 (57)."`

    Stuart Brisley — Institute of Contemporary Arts, London, 1981

    Stuart Brisley — Institute of Contemporary Arts, London, 1981

  • Terence Koh, The Whole Family, front cover. Peres Projects, Los Angeles, 2008. Plain cream-white softcover with no image. Title 'THE WHOLE FAMILY / TERENCE KOH' in small serif capitals at centre, with exhibition dates and venue 'May 10–June 21, 2008 Peres Projects, Los Angeles' below. Terence Koh, The Whole Family, interior full-bleed spread. Colour video-still photograph of a young boy in a denim and grey varsity jacket, smiling, hands raised and crossed at wrist, against a pale blue-grey background. Low-resolution, VHS-quality image. Peres Projects, Los Angeles, 2008.

    Terence Koh — The Whole Family

    Terence Koh — The Whole Family

  • Front of original 1997 Thomas Rentmeister exhibition invitation card for Centre d’art contemporain de Vassivière in France, featuring a glossy pale pink biomorphic polyester sculpture against a neutral background. Reverse of original 1997 Thomas Rentmeister exhibition invitation card with exhibition information, opening details, venue text, and institutional credits printed in black on white stock.

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

  • Original 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Untitled, 2013, coloured pencil and pencil on paper: intersecting diagonal bands in yellow, black, green, red, and blue forming a precise geometric spatial construction on white ground Reverse of 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — verso in minimal sans-serif typography on white stock; artwork caption upper left: Untitled, 2013 (detail), colored pencil and pencil on paper, 33 1/4 × 23 5/8 inches / 84.1 × 59.4 cm; exhibition text lower right: Tomma Abts / September 10 through October 25, 2014 / Reception Wednesday, September 10, 6 to 8 PM / David Zwirner / 519 West 19th Street, New York, NY 10011 / 212 727 2070 / davidzwirner.com.

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

  • Tracey Emin, FLUX Magazine promotional postcard recto, c. 1999. Black-and-white close-up portrait photograph of Tracey Emin: direct gaze, dark eyes, short dark hair pulled back, wearing a fur-collared or textured jacket, small drop earrings. Red circular FLUX logo upper left with 'FLUX' in bold red sans-serif type. Red text below: 'TRACEY EMIN / THE ALL SEEING I / PAPER RECORDINGS'. Smaller red text at foot lists additional features: 'LEFTFIELD – REAL GOODFELLAS – BLAIR WITCH – LE TONE / FASHION – FLUX SPAC Tracey Emin, FLUX Magazine promotional postcard verso, c. 1999. White card with standard postcard layout: vertical dividing line separating message area (left) from address and stamp box (right). Stamp box upper right, blank. Small text block upper left reads: 'FLUX issue 15 contains some of the most beautiful images and features that have ever graced the pages of a magazine. To guarantee yourself hours of sensual pleasure just give £2.00 to a friendly newsagent, record, gallery, or book shop counter person

    Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard

    Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard

  • Tracey Emin — I Need Art Like I Need God, Jay Jopling/London, 1998. Front cover. Turquoise ground, handwritten blue signature 'Tracey Emin' upper left. Centre: photograph of the artist nude from behind, crouching on a studio floor, facing a large gestural canvas. Published for her 1997 exhibition at South London Gallery. Tracey Emin — I Need Art Like I Need God, 1998. Interior page: reproduction of Love Poem, appliqué blanket. Purple upper field, blue lower field. Multicoloured cut-letter text: 'YOU PUT YOUR HAND ACROSS MY MOUTH STILL THE NOISE CONTINUES EVERY PART OF MY BODY IS SCREAMING IM LOST ABOUT TO BE SMASHED INTO A THOUSAND MILLION PIECES EACH PART FOR EVER BELONGING TO YOU'. Small Tracey Emin label lower right. YBA, textile art,

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

  • Urs Lüthi exhibition invitation, Galerie Isy Brachot, Brussels, 1975 — interior bifold showing bibliography page with typed text listing international art publications and catalogues Urs Lüthi exhibition invitation open bifold, Galerie Isy Brachot, Brussels, 1975 — interior showing two black and white self-portrait photographs of the artist, vernissage 10 novembre 1975

    Urs Lüthi — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975

    Urs Lüthi — Exhibition Invitation, Galerie Isy Brachot, Brussels, 1975

  • Wade Guyton Postcard of a smartphone with text on a black background 3 Wade Guyton postcards of his black and white paintings from his Serpentine Gallery Exhibition 2017

    Wade Guyton – Set of 3 Exhibition Postcards, Serpentine Galleries, 2017

    Wade Guyton – Set of 3 Exhibition Postcards, Serpentine Galleries, 2017

  • Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000. Front cover. Uniform grey textured wraps. White sans-serif text centred lower half: "Wes Mills" above "Missoula Drawings". No image. Surface grain visible throughout. Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000 — interior plate. Cream paper. Lower left: two faint graphite geometric forms — a large right-angled triangle and a smaller adjacent peak — rendered in pale grey pencil against an almost entirely empty field. Minimal mark, large margin. Small printed caption text upper right, illegible at reproduction scale.

    Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000

    Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000

  • William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005. Front cover. Deep red ground. Centre: close-up photograph of a small black bear-like sculptural object, heavily textured surface with white dust or residue, suspended or resting against two white diagonal rods. White serif title text lower centre: "William Pope.L / some things you can do with blackness…" William Pope.L — some things you can do with blackness…, 2005 — interior plate, p. 5. Skin Set Drawings, 2002–2004. Four colour drawings on grid paper, each filled edge to edge with large hand-lettered text: upper left, purple on white: "RED PEOPLE ARE A NOVEL SET IN THE HEAD OF A WATERMOCCASIN"; upper right, yellow-green on white: "YELLOW PEOPLE ARE A TEA OF SANITY"; lower left, black on white: "RED PEOPLE ARE A LIQUID IN A BEAKER IN A LAB IN MANCHESTER ENGLAND"; lower right, blue and green on blue: "BLACK

    William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

    William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

  • Original 1973 William S. Burroughs White Subway, Aloes Books, London, first edition. Photo-illustrated softcover showing a collaged black-and-white street photograph: a building facade with a partially visible sign reading 'ATORS' at upper left, a bare winter tree at centre, and a figure walking on the pavement below, with 'WHITE SUBWAY' and 'william burroughs' in white type overlaid on the image. Reverse of 1973 William S. Burroughs White Subway, Aloes Books. Plain unprinted card back cover showing age toning, foxing, and handling marks consistent with a small-press publication of the period.

    William S. Burroughs — White Subway — Aloes Books, London, 1973

    William S. Burroughs — White Subway — Aloes Books, London, 1973

  • Original 1964 Arcade No. 1, William Burroughs Special, Dodo/Arcade, London. Cover showing large bold '5d' numeral in black on cream ground with 'arcade' in script below, a blue starburst label reading 'William Burroughs Special' across the centre, and a red price roundel showing '2/6'. Age toning and light soiling consistent with period. Interior spread from 1964 Arcade No. 1, William Burroughs Special. Page by Jane Beckett showing a grid of twelve black-and-white Victorian-era boxing and wrestling instruction photographs, with a column of technical move names in small type at lower right.

    William S. Burroughs — Arcade No. 1: William Burroughs Special

    William S. Burroughs — Arcade No. 1: William Burroughs Special

  • Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.” Centre Pompidou postcard reproducing a 1968 black-and-white photograph of two nude performers covered in Yayoi Kusama polka dots embracing beneath an American flag, with a toy gun visible at right and soft-sculpture forms in the background.

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

  • 2017 Yayoi Kusama exhibition invitation card featuring a studio portrait of the artist seated at a table surrounded by vividly colored *My Eternal Soul* paintings. Kusama wears her signature bright red wig and an orange dress with black polka dots, visually blending into the dense field of reds, blues, dots, and biomorphic patterns surrounding her. Reverse side of a 2017 Yayoi Kusama exhibition invitation card from David Zwirner listing details for the concurrent exhibitions *Festival of Life* and *Infinity Nets* in New York. Black text on white card stock includes dates, gallery addresses, reception information, and exhibition titles.

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

  • Yoko Ono *Dollar Piece* Printed Matter membership sheet from 2006 featuring a conceptual instruction text, reproduced signature, Studio One letterhead, and an illustration of the Dakota building at the bottom. Front of original Yoko Ono Studio One envelope distributed with the *Dollar Piece* Printed Matter membership multiple, showing return address information and light handling wear.

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

    Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006

  • Original 2005 Yves Klein auction catalogue, Pierre Bergé & Associés, Drouot Richelieu, Paris. Front cover showing a colour photograph of La Vénus d'Alexandrie, a headless female torso sculpture coated in International Klein Blue (IKB), against a white ground. Title text in red and black: 'Vente Art Moderne / Art Contemporain / Quelques Klein... / de la collection Jean-Paul Ledeur / Le gardien du bleu'. Pierre Bergé & Associés imprint upper centre with associate names. Drouot Richelieu, Paris. Vendredi 25 no Open spread from 2005 Yves Klein / Jean-Paul Ledeur collection auction catalogue, Pierre Bergé & Associés. Left page: full-page black-and-white photograph of Yves Klein seated on the floor in a dark suit, holding a monochrome painting above his head and gazing up at it. Page number 4 lower left, with handwritten inscription 'W. Maywald' lower right. Right page: colour photograph of Jean-Paul Ledeur at work in a studio or laboratory, with blue pigment visible in the background, alongside the essay heading 'Y

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

    Yves Klein — Quelques Klein… de la collection Jean-Paul Ledeur, Pierre Bergé & Associés, 2005

  • Original 1973 Yvonne Rainer and John Erdman performance postcard showing a black-and-white photograph of Yvonne Rainer performing *Trio A*, balancing with one leg raised on a stage. Reverse of original 1973 Portland Center for the Visual Arts announcement card with exhibition text for Yvonne Rainer and John Erdman’s *This is the story of a woman who . . .* and Portland venue details.

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973

    Yvonne Rainer & John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973