Products

  • 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

  • Dorothée Selz, Les Mondes sucrés, Centre Culturel Jacques Prévert 1980, front cover: colour photo of large sugar tower, crowd below Dorothée Selz 1980, interior: Les Mondes sucrés — four b&w sugar landscape details left; colour photo of sugar table sculpture on balcony, canal below right

    DOROTHÉE SELZ — Les Mondes sucrés, Centre Culturel Jacques Prévert, Villeparisis, 1980

    DOROTHÉE SELZ — Les Mondes sucrés, Centre Culturel Jacques Prévert, Villeparisis, 1980

  • Douglas Gordon, 24 Hour Psycho, 1993, installation view, Spellbound: Art and Film, Hayward Gallery, London, 1996, blue-toned projection photograph, postcard recto Spellbound: Art and Film, Hayward Gallery / British Film Institute, London, 1996, exhibition postcard verso with dates, institution logos and artist names, unmailed

    DOUGLAS GORDON — 24 Hour Psycho, Spellbound: Art and Film, Hayward Gallery / BFI, London, 1996

    DOUGLAS GORDON — 24 Hour Psycho, Spellbound: Art and Film, Hayward Gallery / BFI, London, 1996

  • Douglas Gordon, It Doesn't Matter Who I Am, Generisch / Tramway Glasgow, 1993, front cover, turquoise, Tony Arefin design Douglas Gordon, It Doesn't Matter Who I Am, Generisch / Tramway Glasgow, 1993, interior spread, We Are Evil installation, telephone call transcript, Liam Gillick

    DOUGLAS GORDON — It Doesn’t Matter Who I Am. I Just Want to Talk to You: The Sociable Art of Douglas Gordon, Generisch / Tramway, Glasgow, 1993

    DOUGLAS GORDON — It Doesn’t Matter Who I Am. I Just Want to Talk to You: The Sociable Art of Douglas Gordon, Generisch / Tramway, Glasgow, 1993

  • Cover of Drop Magazine, Fall/Winter 1997, New York, showing Amanda Lepore in a black bra holding a mobile phone against a red brick wall, with the text "tune in turn on" and a contents list including Amanda Lepore, Ned Ambler, Larry Tee, Sears and Robot, Wm. Van Meter, Nice Collective, and the Drop Magazine logo in yellow and blue at right. nterior spread of Drop Magazine, Fall/Winter 1997, featuring an Amanda Lepore feature with photography by David LaChapelle, showing two photographs of Amanda Lepore on a red brick background with accompanying interview text.

    Drop Magazine — Fall/Winter 1997, New York

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    Drop Magazine — Fall/Winter 1997, New York

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  • Duane Hanson, Housewife, Reihe Cantz, 2000, front cover, sculpture of woman under hairdryer, title on pink bars Duane Hanson, Housewife, 2000, pages 6–7, Jogger, 1983/84, seated figure beside German text

    DUANE HANSON, Housewife, Christine Breyhan, Reihe Cantz 001, Cantz, 2000

    DUANE HANSON, Housewife, Christine Breyhan, Reihe Cantz 001, Cantz, 2000

  • Duane Michals, A Visit with Magritte, Matrix Publications 1981, Magritte in bowler hat before canvas, studio window, front cove Duane Michals, A Visit with Magritte, Matrix Publications 1981, blue plaster head left, Magritte asleep on sofa right, interior

    DUANE MICHALS — A Visit with Magritte, Matrix Publications, Providence, Rhode Island, 1981

    DUANE MICHALS — A Visit with Magritte, Matrix Publications, Providence, Rhode Island, 1981

  • Duane Michals, Portrait of Richard Gere Awake & Asleep, 1979, Fotofolio postcard recto: tripled mirror reflection above painted sleeping face Duane Michals, Portrait of Richard Gere Awake & Asleep, 1979, Fotofolio postcard verso, ref. Z288, Sidney Janis Gallery credit, unused

    DUANE MICHALS, Portrait of Richard Gere Awake & Asleep, Fotofolio, New York, 1979

    DUANE MICHALS, Portrait of Richard Gere Awake & Asleep, Fotofolio, New York, 1979

  • Édouard Boubat, Boubat par Boubat, ARC Musée d'Art moderne Paris 1980, figure turned away before floral folding screen Édouard Boubat, Boubat par Boubat, ARC Musée d'Art moderne Paris 1980, invitation verso, typewriter typography, cream card

    ÉDOUARD BOUBAT — Boubat par Boubat, ARC, Musée d’Art moderne de la Ville de Paris, 1980

    ÉDOUARD BOUBAT — Boubat par Boubat, ARC, Musée d’Art moderne de la Ville de Paris, 1980

  • 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

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

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  • Elisabetta Benassi: folded Arctic Ocean map, offset-printed invitation card, Benassi, Peter Freeman Paris, 2026 Elisabetta Benassi, The Wind from Nowhere, Peter Freeman Inc. Paris, 5 June–25 July 2026

    Elisabetta Benassi — The Wind from Nowhere, Exhibition Invitation, Peter Freeman Inc., Paris, 2026

    Elisabetta Benassi — The Wind from Nowhere, Exhibition Invitation, Peter Freeman Inc., Paris, 2026

  • Elizabeth Peyton, Live Forever, New Museum, 2008, members' invitation card, front, dark portrait with ringed hands Elizabeth Peyton, Live Forever, New Museum, 2008, handout unfolded, exhibition text and membership tiers, Peyton drawing

    ELIZABETH PEYTON — Live Forever: Elizabeth Peyton, New Museum, New York, 2008

    ELIZABETH PEYTON — Live Forever: Elizabeth Peyton, New Museum, New York, 2008

  • Elizabeth Wright, Space Travel, Locus+ / Nexus, Newcastle upon Tyne, 2005. Artist publication with CD, softcover, 25 × 18 cm, 32 pages, edition of 1,500. White ground. Horizontal black barcode-like band of varying-width vertical bars spanning full width across upper third of cover. Lower right: italic sans-serif title 'space travel' and below, 'Elizabeth Wright' in smaller roman type. Light surface soiling and handling marks consistent with used condition. Interior spread, Elizabeth Wright, Space Travel, 2005, showing three-panel layout. Left panel: colophon and publication details in small sans-serif type — title, artist, publisher Locus+, Nexus, Newcastle upon Tyne; essay credit 'Park and Ride' by Dave Beech; edition information; ISBN; website. Centre panel: white card pocket containing original CD with circular black-and-white 'space travel' graphic label. Right panel: blank white page. Staple binding visible at left edge.

    ELIZABETH WRIGHT — Space Travel, Locus+, Newcastle upon Tyne, 2005

    ELIZABETH WRIGHT — Space Travel, Locus+, Newcastle upon Tyne, 2005

  • 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

  • Original 1986 Eric Bainbridge Viewpoints Walker Art Center Minneapolis exhibition brochure cover showing white ground with 'Viewpoints' in small light serif type at upper left, 'Eric Bainbridge' in bold black serif type below a thin green rule, and a colour photograph of Bainbridge's sculpture Handle (1986): a large seated rabbit-like form covered in beige fur fabric with dark brown oval spots, mounted on two black rounded leg forms on a grey speckled oval base, photographed from behind against a white gall nterior and back panel of 1986 Eric Bainbridge Viewpoints Walker Art Center exhibition brochure showing two-column black serif text on white ground: left column with artist biography (born Consett, England, 1955; Newcastle Polytechnic B.A. 1977; Royal College of Art M.A. 1981), a black-and-white photograph of Handle (rear view), and a numbered checklist of five works (Dark Style Swan 1985, Statue of Tommy Ferzackely 1985, Disguise Style Swan 1985, Din-O-Saur New York New York 1985, Handle 1986), all fur fab

    Eric Bainbridge — Viewpoints — Exhibition Brochure, Walker Art Center, Minneapolis, 1986

    Eric Bainbridge — Viewpoints — Exhibition Brochure, Walker Art Center, Minneapolis, 1986

  • Cover of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, Nice, 1993, showing a plain dark grey-green softcover with ERWIN WURM in small debossed type at centre and KUNSTVEREIN IN HAMBURG / VILLA ARSON NICE in small debossed type at lower left. Interior spread of Erwin Wurm, Kunstverein in Hamburg / Villa Arson, 1993, showing four black-and-white photographs arranged in a two-by-two grid on a black ground, each depicting a figure whose head and upper body are entirely concealed within an oversized knitted sweater, the body contorted into abstract sculptural forms.

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

    Erwin Wurm — Kunstverein in Hamburg / Villa Arson, Nice, 1993

  • Original 1985 Esther Hess Énergie et Vent exhibition invitation card, site-art présent, 10 rue Coquillière, Paris. Recto showing circular disc sculpture in landscape, with artist name, exhibition title, vernissage date Tuesday 5 February 1985, 18h–22h, exhibition 5 February–15 March 1985, and gallery address. Reverse of 1985 Esther Hess Énergie et Vent exhibition invitation card, site-art présent, Paris, showing plain cream card stock, blank verso.

    ESTHER HESS — Énergie et Vent, site-art présent, Paris, 1985

    ESTHER HESS — Énergie et Vent, site-art présent, Paris, 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

  • EVA & ADELE, Wherever We Are Is Museum, Cantz 1999, front cover, four portrait photographs with red circular text EVA & ADELE, Wherever We Are Is Museum, 1999, interior spread, black-and-white contact sheet grid, street scenes

    EVA & ADELE: Wherever We Are Is Museum, Cantz / Neuer Berliner Kunstverein, Berlin, 1999

    EVA & ADELE: Wherever We Are Is Museum, Cantz / Neuer Berliner Kunstverein, Berlin, 1999

  • 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

  • F. Jay Haynes / Frank Jay Haynes, Curley, Crow Indian scout, bust portrait, 1883 F. Jay Haynes / Frank Jay Haynes, Curley artist card, reverse unfolded with text and photograph, 1883

    F. JAY HAYNES, Curley, General Custer's Scout, Crow Indian, 1883 (published c. 1990s)

    F. JAY HAYNES, Curley, General Custer's Scout, Crow Indian, 1883 (published c. 1990s)

  • 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

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

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  • Fundación Federico García Lorca postcard, c.1998. Recto: black-and-white photograph of Federico García Lorca seated on a sofa in the family home, Granada, 1925, wearing a dark suit and bow tie, hands clasped; above him on the wall, a Salvador Dalí still life painting showing bottles and objects on a ledge; small devotional image below the painting; cushions and domestic objects visible around him. Reverse of Fundación Federico García Lorca postcard c.1998. Cream stock; vertical caption at left edge reading 'Federico García Lorca en su casa de Granada bajo el Óleo Naturaleza Muerta regalo de Salvador Dalí, 1925. GRANADA/NEW ART'; Fundación Federico García Lorca logo and name at centre; '© VEGAP / Depósito Legal M-20708/1998' at lower left.

    Federico García Lorca under a Painting by Salvador Dalí, Granada, 1925 — Fundación Federico García Lorca Postcard, c.1998

    Federico García Lorca under a Painting by Salvador Dalí, Granada, 1925 — Fundación Federico García Lorca Postcard, c.1998

  • 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 2000 Felix Gonzalez-Torres Serpentine Gallery exhibition postcard, London. Recto showing installation photograph of "Untitled", 1988, framed photostat — a young man in profile reading white text on a black surface reading Center for Disease Control 1981 Streakers 1974 Go-Go Boots 1965 Barbie Doll 1960 Hula hoopla 1958 Disneyland 1955 3-D Movies 1952 Boo-Boo, his faint reflection visible in the dark surface. Reverse of 2000 Felix Gonzalez-Torres Serpentine Gallery exhibition postcard. Verso showing pale blue typography: Serpentine Gallery / Felix Gonzalez-Torres / 1 June – 16 July 2000 / Sponsored by Bloomberg, with full work credit for "Untitled" (1988), photostat, 26 × 33 cm, edition of 1 with 1 AP, courtesy Andrea Rosen Gallery, New York, and the Estate of Felix Gonzalez-Torres, photo by Orcutt & Van der Putten.

    FELIX GONZALEZ-TORRES — Serpentine Gallery, London, 2000

    FELIX GONZALEZ-TORRES — Serpentine Gallery, London, 2000

  • Installation view of Untitled (Chemo), 1991 — strands of beads suspended floor-to-ceiling in a white gallery space, Galerie Jennifer Flay, Paris, 1992. ("Untitled" (Lover's Letter), 1991): Untitled (Lover's Letter), 1991 — C-print jigsaw puzzle in plastic bag showing typewritten text on brown paper.

    FELIX GONZALEZ-TORRES — Three-Part Exhibition, Andrea Rosen Gallery / Massimo De Carlo / Hauser & Wirth, 2016

    FELIX GONZALEZ-TORRES — Three-Part Exhibition, Andrea Rosen Gallery / Massimo De Carlo / Hauser & Wirth, 2016

  • Felix Gonzalez-Torres, A.R.T. Press, 1993, front cover, garden photograph with red roses and dianthus, shrink-wrapped Felix Gonzalez-Torres, A.R.T. Press, 1993, rear cover, garden photograph with purple flowers and bare soil, shrink-wrapped

    FELIX GONZALEZ-TORRES, Felix Gonzalez-Torres, A.R.T. Press, New York, 1993

    FELIX GONZALEZ-TORRES, Felix Gonzalez-Torres, A.R.T. Press, New York, 1993

  • Fernando Botero, Gemälde Aquarelle Pastelle, Diogenes Verlag, 1983, front cover, Botero Infanta after Velázquez, colour Fernando Botero, Diogenes, 1983, interior spread, reclining nude in red, colour; portrait after Rubens, black-and-white

    FERNANDO BOTERO, Gemälde, Aquarelle, Pastelle, Diogenes Verlag, 1983

    FERNANDO BOTERO, Gemälde, Aquarelle, Pastelle, Diogenes Verlag, 1983

  • Front (artist list / Fine Rats logo) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation front, in clear plastic pouch: upper third, yellow ground with "fine rats / INTERNATIONAL / presents" in black italic and sans-serif type; lower two-thirds, white ground with artist list — "Bram Åångström, Francis Gomila / Zbigniew Karkowski, Colin Pearce / Mark Renn, Roman Signer / Ivan Smith, Barbara Van Loon / Maria Vedder" — and "UNDER SPAGHETTI JUNCTION" in spaced black capita Back (event details / aerial view) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation back, in clear plastic pouch: upper third, yellow ground with event details in black type — "UNDER SPAGHETTI JUNCTION / An international exposition of innovative visual art under the M6 motorway intersection in Birmingham, UK. / 3rd & 4th September 1993 / 9 pm to 12 midnight / ADMISSION FREE / Entrance at Electric Avenue / Follow AA signs / A-Z ref 4C 60 / TEL + 44(0) 21 565 0597"; l

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

  • yperrealist painted relief of a male head in right profile, warm flesh tones, bird form at shoulder. Title 'fractured figure' in plain black lowercase type across lower half. 29.21 × 37.46 cm oversized paperback. Black-and-white photographic collage of two hands holding a small landscape reproduction, layered over torn paper and circular stain. ISBN 9780981577128 at lower right.

    FRACTURED FIGURE: Vol. II — Works from the Dakis Joannou Collection, Deitch Projects / DESTE Foundation, 2008

    FRACTURED FIGURE: Vol. II — Works from the Dakis Joannou Collection, Deitch Projects / DESTE Foundation, 2008

  • Francesco Clemente, Portraits, Mary Boone Gallery 2007, front cover, grid of twenty painted eyes, dark red ground Francesco Clemente, Portraits, Mary Boone Gallery 2007, Back cover in publisher's shrinkwrap, grid of painted eyes

    Francesco Clemente: Portraits, Mary Boone Gallery / Walther König, New York / Cologne, 2007

    Francesco Clemente: Portraits, Mary Boone Gallery / Walther König, New York / Cologne, 2007

  • 2003 Francis Alÿs Athens postcard. Recto: aerial photograph of dense Athens cityscape, grey residential blocks receding to horizon; below, bilingual typewritten caption in Greek and English: 'a man traces a line as he walks through the city of Athens shooting a flare every 30 steps. Reverse of 2003 Francis Alÿs Athens postcard. Cream stock with standard postcard layout; 'Francis Alÿs / Athens, oct 2003' in small serif type at upper left; dotted stamp box at upper right; five address lines; light age toning and handling marks.

    Francis Alÿs — Athens, Oct 2003 — Artist Postcard

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    Francis Alÿs — Athens, Oct 2003 — Artist Postcard

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  • 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 1973 Galerie Stadler exhibition invitation for Francis Naves, À propos des piscines…, Paris, front, sepia-toned photograph of a solitary figure in a dark jacket seated on the edge of an empty tiled swimming pool, legs dangling over the side, looking to the right; a metal ladder descends into the empty pool at left; fallen leaves visible on the pool floor; trees and a fence in the background. Reverse of 1973 Galerie Stadler exhibition invitation for Francis Naves, À propos des piscines…, Paris, circulated example, showing at upper left the exhibition dates 14 juin – 11 juillet 1973 / le jeudi 14 juin / vernissage 18–21 h. in black type; at centre left naves / à propos des piscines… in bold black type; at lower left rodolphe stadler / 51 rue de seine / paris 75006 / tél. 326 91-10; at upper centre galerie stadler / 51, rue de Seine / 75006 PARIS★ in red with a red French postal meter frank dated

    Francis Naves — À propos des piscines…, Galerie Stadler, Paris, 1973

    Francis Naves — À propos des piscines…, Galerie Stadler, Paris, 1973

  • Francis Picabia, Dits, Éric Losfeld, Paris, 1960, front cover, mechanomorphic drawing Marie, propeller and belt drive Interior spread: Marcel Duchamp, Francis Picabia and Béatrice Wood, New York 1917, black-and-white photograph

    FRANCIS PICABIA — Dits, Éric Losfeld / Le Terrain Vague, Paris, 1960

    FRANCIS PICABIA — Dits, Éric Losfeld / Le Terrain Vague, Paris, 1960