Products

  • Catalogue spread: Picabia, Jeune fille, 1920, circular cut-out, JEUNE FILLE text arched above, spine visible left atalogue page: Picabia, Composition mécanique, Papa/Maman, 1919, ink and crayon drawing, p.12 Im

    FRANCIS PICABIA — Galerie 1900-2000 Exhibition Catalogue, 2011

    FRANCIS PICABIA — Galerie 1900-2000 Exhibition Catalogue, 2011

  • Francis Picabia, Man Ray portrait photograph, folded exhibition invitation card, Galerie Marzona, Düsseldorf, 1977 Picabia invitation interior, unfolded: blank left panel and German exhibition text right, Galerie Marzona, 1977

    FRANCIS PICABIA — Galerie Marzona Exhibition Invitation, 1977

    FRANCIS PICABIA — Galerie Marzona Exhibition Invitation, 1977

  • Francis Picabia, Tickets 1915, front cover: Mécanique / Dada 5, Galleria Schwarz Milan, 1964, signed Interior spread: Marcel Duchamp essay on Francis Picabia with Volucelle 1921, blue and black disc reproduction

    FRANCIS PICABIA, Mécanique / Dada 5, Galleria Schwarz, Milan, 1964

    FRANCIS PICABIA, Mécanique / Dada 5, Galleria Schwarz, Milan, 1964

  • Recto — Que valor! print reproduction Francisco de Goya, Les Désastres de la guerre, Centre d'Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001. Exhibition invitation recto: black-and-white reproduction of Que valor! (What Courage!), plate 7 from The Disasters of War, etching and aquatint, first edition 1863 — a woman in a white dress seen from behind, arms extended to operate a cannon on a wheeled carriage, surrounded by fallen bodies and scattered debris on a dark raked ground; plate number "7" upper le Verso — exhibition text Francisco de Goya, Les Désastres de la guerre, Centre d'Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001. Exhibition invitation verso: white textured card with "Francisco de Goya" in large terracotta serif type upper centre; "1746–1828" below in smaller terracotta type; "Les désastres de la guerre" in large terracotta serif type; "« Première édition des 80 gravures – 1863 »" in italic below; "Du 4 août au 4 novembre 2001"; "Vernissage / samedi 4 août à partir de 18 heures"; "CENTR

    FRANCISCO DE GOYA — Les Désastres de la guerre. Centre d’Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001

    FRANCISCO DE GOYA — Les Désastres de la guerre. Centre d’Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001

  • Exhibition catalogue, Frank Bowling & Dennis de Caires, Recent Paintings, The Umana Yana, Georgetown, Guyana, 1989. Softcover, stapled wrappers, 16 pp. Front cover: cream ground, bold black serif type ‘Frank Bowling & Dennis de Caires’, italic ‘recent paintings’ below. Minimal design. Age toning and light handling wear consistent with vintage condition. Exhibition catalogue interior spread, Frank Bowling & Dennis de Caires, Recent Paintings, The Umana Yana, Georgetown, 1989. Right page: black-and-white photograph of Bowling and de Caires together; bold type ‘Frank Bowling & Dennis de Caires / recent paintings’; venue and dates: ‘THE UMANA YANA GEORGETOWN / MAY 2 TO 14 1989’; ‘Organised with the assistance of the British Council and the Department of Culture in Guyana.’ Left page: Acknowledgements text.

    Frank Bowling & Dennis de Caires — Recent Paintings, The Umana Yana, Georgetown, 1989

    Frank Bowling & Dennis de Caires — Recent Paintings, The Umana Yana, Georgetown, 1989

  • Stapled softcover booklet, Franz West, Museum Haus Lange, Krefelder Kunstmuseen, Krefeld, 1989. Cover: black-and-white installation photograph by Günther Förg — two wire-frame chair sculptures on white plinths, dark reflective floor, white gallery walls. Black serif text above: 'FRANZ WEST · MUSEUM HAUS LANGE'. Good vintage condition, light handling marks. Interior spread, Franz West, Museum Haus Lange, Heft 1, Krefelder Kunstmuseen, Krefeld, 1989. Left page: essay 'Fremdkörper und Eigenwerte' by Julian Heynen in small serif type, two columns; italic epigraph from Jean Paulhan: 'Was heißt Informel?'; caption lower left '17 Ohne Titel 1989'. Right page: colour photograph of Franz West, Ohne Titel, 1989 — compact cubic papier-mâché sculpture, surface painted in pale pink, blue, grey, and cream with visible brushwork; set against warm cream ground. Photograph

    FRANZ WEST — Museum Haus Lange, Heft 1 & Heft 2, Krefelder Kunstmuseen, Krefeld, 1989

    FRANZ WEST — Museum Haus Lange, Heft 1 & Heft 2, Krefelder Kunstmuseen, Krefeld, 1989

  • Franz West commemorative postage stamp, Austria 2013, recto, 70c, cancelled 14 May 2013, photograph by Elfie Semotan Franz West commemorative postage stamp, Austria 2013, verso, ungummed

    FRANZ WEST, Commemorative Postage Stamp, Österreichische Post AG, Austria, 2013

    FRANZ WEST, Commemorative Postage Stamp, Österreichische Post AG, Austria, 2013

  • Gabriele Schmidt-Heins, Totalität Fragment, Stadtgalerie Kiel 1990, front cover, blue-brown circular pattern, pale blue name panel vertical Gabriele Schmidt-Heins, Totalität Fragment, 1990, interior, steel rod and grid construction with wooden shelf and triangular form, gallery floor

    GABRIELE SCHMIDT-HEINS: Totalität / Fragment, Stadtgalerie Kiel, 1990

    GABRIELE SCHMIDT-HEINS: Totalität / Fragment, Stadtgalerie Kiel, 1990

  • Saatchi Collection postcard reproducing Gavin Turk Pop (1993). Colour photograph of wax self-portrait figure encased in brass-framed glass vitrine: figure in white blazer, dark trousers and boots, wild dark hair, holding a gun toward the viewer in a wide stance; gallery floor and white wall visible behind; photograph by Hugo Glendinning. Reverse of Gavin Turk Pop 1993 Saatchi Collection postcard. Cream stock with standard postcard dividing line; caption at lower left: 'Gavin Turk / 'Pop', 1993 / glass, brass, MDF, fibre glass, wax, clothing & gun / Saatchi Collection, London / Photograph: Hugo Glendinning.

    Gavin Turk — Pop, 1993 — Saatchi Collection Postcard

    Gavin Turk — Pop, 1993 — Saatchi Collection Postcard

  • Original 2014 GAY exhibition announcement card, Bronx Council on the Arts and Longwood Arts Project, New York, featuring a lush green woodland stream and fallen tree with large thin white lowercase typography spelling 'gay' across the full-colour landscape image. Reverse of original GAY exhibition card issued by the Bronx Council on the Arts / Longwood Arts Project, New York, 2014. Black text on white background lists exhibition dates, participating artists including Rafael Melendez, public programs, venue information, and exhibition advisory notice.**GAY: The Exhibition / The Bronx Museum, New York / 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

  • Front cover General Idea, Haute Culture: Une rétrospective, 1969–1994, Musée d'Art moderne de la Ville de Paris, 2011. Booklet front cover: colour photograph of three figures in theatrical costume — heavy dark eye makeup, textured grey headdresses, pastel suits (cream, blue, pink); pyramid composition against pale blue-grey sky; staged, deadpan. Handling creases, surface undulation. Back cover General Idea, Haute Culture: Une rétrospective, 1969–1994, Musée d'Art moderne de la Ville de Paris, 2011. Booklet back cover: colour photograph of a single figure against vivid orange-red ground — short blonde hair, white top, black diagonal strap, holding a glass of milk to lips; direct gaze. Handling creases, small mark lower cover.

    GENERAL IDEA — Haute Culture: Une rétrospective, 1969–1994. Musée d’Art moderne de la Ville de Paris / ARC, 2011

    GENERAL IDEA — Haute Culture: Une rétrospective, 1969–1994. Musée d’Art moderne de la Ville de Paris / ARC, 2011

  • Georg Baselitz, Auerbach (yellow), 2018. Etching with sugar lift aquatint and relief printing on Somerset White Satin 350gsm paper. Inverted figure in dark gestural marks on ochre ground. Reproduced on interior of Devotion exhibition invitation, Alan Cristea Gallery, 2019. Georg Baselitz, Devotion, exhibition invitation card, Alan Cristea Gallery, London, 2019. Private view 15 May, exhibition 16 May–22 June 2019. Printed text on white card.

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

  • Georg Baselitz, Tableaux récents, Gillespie-Laage-Salomon Paris 1983, invitation recto: brush-script signature "G Baselitz 83" on textured cream card Georg Baselitz, Tableaux récents dessins et linogravures, Gillespie-Laage-Salomon 24 rue Beaubourg Paris 1983, invitation verso: black typography on textured cream card

    GEORG BASELITZ — Tableaux récents, dessins et linogravures, Gillespie-Laage-Salomon, Paris, 1983

    GEORG BASELITZ — Tableaux récents, dessins et linogravures, Gillespie-Laage-Salomon, Paris, 1983

  • George Grosz, His Visual and Theatrical Politics 2005; red interior panel left, black-and-white Grosz caricature right, Moeller Fine Art George Grosz, His Visual and Theatrical Politics; sun-faded sage-green cover, red and white type, Moeller Fine Art 2005

    GEORGE GROSZ — His Visual and Theatrical Politics, Moeller Fine Art, New York, 2005

    GEORGE GROSZ — His Visual and Theatrical Politics, Moeller Fine Art, New York, 2005

  • Georges Bataille / Marcel Duchamp, Story of the Eye, Penguin Twentieth-Century Classics, 1989, front cover, cropped nude torso from Étant donnés, mottled grey-green ground, Penguin logo Georges Bataille, Story of the Eye, Penguin Twentieth-Century Classics, 1989, back cover, essays by Susan Sontag and Roland Barthes, Duchamp image credit ADAGP DACS 1989, ISBN 0-14-018009-5

    GEORGES BATAILLE, Story of the Eye, Penguin Twentieth-Century Classics, 1989

    GEORGES BATAILLE, Story of the Eye, Penguin Twentieth-Century Classics, 1989

  • Front cover Invitation card, Gérard Collin-Thiébaut, Les Yeux noirs, Musée Nicéphore Niépce, Chalon-sur-Saône, 2004. Front cover: deep red offset-printed card with black outlined keyboard-style keys arranged in a cross or tree formation. Text reads: Les / Yeux / Gérard Collin-Thiébaut / 23 10 04 — 30 01 05 / N / O / I / R / S. Light rubbing and surface scratches visible. Interior Invitation card, Gérard Collin-Thiébaut, Les Yeux noirs, Musée Nicéphore Niépce, Chalon-sur-Saône, 2004. Interior spread: upper half shows a colour photographic portrait of a figure in a dark veil against a pale background, only the eyes visible. Lower half contains printed invitation text in French: M. Michel Allex, Maire de Chalon-sur-Saône; Mme Karine Delorme; M. François Cheval, Directeur des Musées de Chalon-sur-Saône; seraient heureux de votre présence le vendredi 22 octobre 2004 à 18h30 à l'

    GÉRARD COLLIN-THIÉBAUT — Les Yeux noirs — Musée Nicéphore Niépce, Chalon-sur-Saône, 2004

    GÉRARD COLLIN-THIÉBAUT — Les Yeux noirs — Musée Nicéphore Niépce, Chalon-sur-Saône, 2004

  • Gerhard Richter — Panorama, Tate Modern, London, 2011 Gerhard Richter — Panorama, Tate Modern, London, 2011

    Gerhard Richter — Panorama, Tate Modern, London, 2011

    Gerhard Richter — Panorama, Tate Modern, London, 2011

  • Gert Jonkers / Jop van Bennekom, BUTT Magazine Nos. 20, 23–29, eight front covers, Amsterdam, 2007–2011 Gert Jonkers / Jop van Bennekom, BUTT Magazine Nos. 20, 23–29, back covers, American Apparel, Calvin Klein, Dior, 2007–2011

    GERT JONKERS AND JOP VAN BENNEKOM, BUTT Magazine, Nos. 20, 23–29, Amsterdam, 2007–2011

    GERT JONKERS AND JOP VAN BENNEKOM, BUTT Magazine, Nos. 20, 23–29, Amsterdam, 2007–2011

  • Ghost of Chance, William S. Burroughs / George Condo. Library Fellows of the Whitney Museum of American Art, New York, 1991. Front of folded prospectus: white card with title "GHOST OF CHANCE" in red spaced serif capitals upper centre; "WRITTEN BY / WILLIAM S. BURROUGHS" and "ILLUSTRATED BY / GEORGE CONDO" in black serif type centre; "PUBLISHED BY / THE LIBRARY FELLOWS OF THE / WHITNEY MUSEUM OF AMERICAN ART, 1991" in small black serif type lower centre. Scattered foxing and handling creases visible on whit Ghost of Chance, William S. Burroughs / George Condo. Library Fellows of the Whitney Museum of American Art, New York, 1991. Interior spread of folded prospectus: left, black-and-white reproduction of a George Condo etching — densely worked composition with grotesque hybridised figures, skeletal forms, foliage and a central figure holding a staff or instrument, rendered in fine intaglio line; right, three columns of small serif text comprising the book description (edition of 160 copies, signed by Burroughs

    GHOST OF CHANCE. William S. Burroughs / George Condo. Whitney Museum, 1991

    Placed

    GHOST OF CHANCE. William S. Burroughs / George Condo. Whitney Museum, 1991

    Placed
  • Recto (the front): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Recto: applied colour photograph of installation view showing three engineered sculptural works — two wall-mounted linear forms and a wheeled floor vehicle — mounted onto cream card stock. Verso (the back): Gianni Piacentino, Stampe, Galleria Plura, Milan, 1980. Verso: postmarked Milan 1980, red STAMPE stamp, Italian Republic stamps, handwritten address to Galerie de Varenne, 61 rue de Varenne, F-75007 Paris.

    GIANNI PIACENTINO — Stampe, Galleria Plura, Milan, 1980

    GIANNI PIACENTINO — Stampe, Galleria Plura, Milan, 1980

  • Original 1981 Gilbert & George exhibition poster, Photo-Pieces 1971–80, Whitechapel Art Gallery, London. Front showing Rose Hole, 1980, offset print in black, grey and red with institutional text. Reverse of 1981 Gilbert & George Photo-Pieces 1971–80 exhibition poster, Whitechapel Art Gallery, London. Blank white verso showing fold lines and corner pinholes.

    GILBERT & GEORGE — Photo-Pieces 1971–80, Whitechapel Art Gallery, London, 1981

    GILBERT & GEORGE — Photo-Pieces 1971–80, Whitechapel Art Gallery, London, 1981

  • Gilbert & George, Bed-Wetting 2019 and Bone 2022; invitation unfolded showing both works side by side, 2023 Gilbert & George at the gates of the Gilbert & George Centre, Heneage Street; invitation text panel, 2023

    GILBERT & GEORGE — The Paradisical Pictures / The Corpsing Pictures, Gilbert & George Centre / White Cube, London, 2023

    GILBERT & GEORGE — The Paradisical Pictures / The Corpsing Pictures, Gilbert & George Centre / White Cube, London, 2023

  • Original 1989 Gilles Brenta exhibition handout for F.M.R. Brussels, with black line drawing, artist name, and exhibition details. Inside spread of Gilles Brenta folded exhibition handout, showing surreal line drawings and French text for Un songe entre deux notes.

    Gilles Brenta — F.M.R., Brussels, 1989

    Gilles Brenta — F.M.R., Brussels, 1989

  • Gina Pane, Travail d'action invitation, Galerie Guy Brachot, Paris, 1980 — folded cover GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

    GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

    GINA PANE — Travail d'action — Exhibition Invitation, Galerie Guy Brachot, Paris, 1980

  • Gina Pane, John Hansard Gallery / Arnolfini 2002, front cover, grey-mauve cloth boards, silver-stamped lowercase gina pane Gina Pane, 2002, interior spread, grid of colour and b&w photographs and handwritten documents, Actions and studio works

    GINA PANE, John Hansard Gallery / Arnolfini, Southampton / Bristol, 2002

    GINA PANE, John Hansard Gallery / Arnolfini, Southampton / Bristol, 2002

  • Giorgio Sadotti, 100 Balls (For Sale), 1992/2025, exhibition announcement card, reverse, uncoated white card with red offset text: 100 BALLS (FOR SALE) 1992/2025 in small red caps at upper left; below a paragraph in red italic and roman type describing the original 1992 proposition at Gió Marconi Gallery — ten people invited to buy ten balls each, priced at ten times original cost, price marked directly onto each ball in permanent marker; Giorgio Sadotti in red italic at lower left. Front Giorgio Sadotti, 100 Balls (For Sale), 1992/2025, exhibition announcement card, front, plain uncoated white card with no printing, showing faint age toning and light surface marks consistent with handling.

    Giorgio Sadotti — 100 Balls (For Sale), 1992/2025

    Giorgio Sadotti — 100 Balls (For Sale), 1992/2025

  • GIORGIO SADOTTI — Play, The New Rare Editions, London, 2026 GIORGIO SADOTTI — Play, The New Rare Editions, London, 2026

    GIORGIO SADOTTI — Play, The New Rare Editions, London, 2026

    GIORGIO SADOTTI — Play, The New Rare Editions, London, 2026

  • Original 1989 Giovanni Anselmo exhibition announcement, Musée d'Art Contemporain, Lyon. Recto showing colour installation view: leaning triangular stone form against white wall and granite block with fresh leaves inserted, strong diagonal light across grey floor. Reverse of 1989 Giovanni Anselmo exhibition announcement, Musée d'Art Contemporain, Lyon, showing full French text with interview by Walter Guadagnini, reference images including Particolore (Détails) 1975, and ART CONTEMPORAIN LYON footer.

    GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989

    GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989

  • Gordon House, African Tribal Sculpture, The Arcade Gallery, London, 1976, front cover with carved figure on pale grey ground Gordon House, African Tribal Sculpture, The Arcade Gallery, 1976, interior spread with four sculptures, black-and-white

    GORDON HOUSE, African Tribal Sculpture, The Arcade Gallery, London, 1976

    GORDON HOUSE, African Tribal Sculpture, The Arcade Gallery, London, 1976

  • Recto (front): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Recto: printed card with repeating soft pink floral wallpaper motif on cream ground; title Die Familie Schneider set in dark script at centre. Verso (back): Gregor Schneider, Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014. Verso: white card with exhibition details in grey sans-serif type. GREGOR SCHNEIDER / Die Familie Schneider / Eröffnung: Freitag, 14. November 2014, 18–21 Uhr / 14. November 2014 – 10. Januar 2015 / 10969 Berlin, Lindenstrasse 35 / KONRAD FISCHER GALERIE in red.

    GREGOR SCHNEIDER — Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014

    GREGOR SCHNEIDER — Die Familie Schneider, Konrad Fischer Galerie, Berlin, 2014

  • Gregor Schneider, Double, MMK Frankfurt 2011, front dust jacket, empty white gallery interior, large yellow DOUBLE title Gregor Schneider, Double, 2011, interior, gallery through dark frame, scattered dark wooden furniture pieces on white floor

    GREGOR SCHNEIDER: Double, 40 Jahre Kabinett für aktuelle Kunst, Bremerhaven, Walther König, Cologne, 2011

    Placed

    GREGOR SCHNEIDER: Double, 40 Jahre Kabinett für aktuelle Kunst, Bremerhaven, Walther König, Cologne, 2011

    Placed
  • Exhibition poster, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. Offset print, 44 × 59 cm. Black crumpled vinyl surface printed with blue text listing 1988 box office titles in two columns: BIG, CROCODILE DUNDEE II, COMING TO AMERICA, BEETLEJUICE, MOONSTRUCK, DIE HARD, COCKTAIL, WHO FRAMED ROGER RABBIT, THREE MEN AND A BABY, GOOD MORNING VIETNAM. Very good condition, folded as issued. Exhibition poster reverse, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. White verso with red Sprüth Magers logotype and black exhibition details: ‘Gretchen Bender / Political Entertainment / November 14, 2025–April 4, 2026 / Public Reception: Thursday, November 13, 5–8 pm / Oranienburger Straße 18, 10178 Berlin’. Light fold lines visible.

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

  • Guadalupe Ruiz, Ausgestopfte Tiere, Turbo Magazine No. 47, 2013, front cover: purple, b&w ruff bird specimen, bold title Guadalupe Ruiz, Ausgestopfte Tiere, 2013, interior: four small birds and kiwi left; full-page tawny owl specimen right

    GUADALUPE RUIZ — Ausgestopfte Tiere, Turbo Magazine No. 47, 2013

    GUADALUPE RUIZ — Ausgestopfte Tiere, Turbo Magazine No. 47, 2013

  • Recto Günter Brus, Watteaus Rache, 1983. Invitation recto, Centre Georges Pompidou, Paris, 1987. Colour reproduction on amber-gold ground — contorted nude figure in red-orange line arches backward, body merging into a sweeping curve across the composition; cascade of white lines pours downward at centre; blue-grey cloud forms at edges; 'WATTEAUS RACHE' inscribed upper left, signature and date upper right. Verso Günter Brus, Dessins autrichiens dans les collections du Cabinet d'art graphique, Centre Georges Pompidou, Paris, 1987. Invitation verso: formal invitation text in black serif centred on cream-white card — Maheu and Ceysson credits, exhibition title in bold, date 31 March 1987, venue and hours; exhibition title repeated in large pale grey watermark type below; Centre Georges Pompidou logo lower left; image credit and 'Invitation valable pour deux personnes' lower right. Age toning, scattered spotting.

    GÜNTER BRUS — Dessins autrichiens dans les collections du Cabinet d’art graphique. Centre Georges Pompidou, Paris, 1987

    GÜNTER BRUS — Dessins autrichiens dans les collections du Cabinet d’art graphique. Centre Georges Pompidou, Paris, 1987

  • Original 1984 Gustave Courbet exhibition invitation card featuring a black-and-white portrait of a young Courbet with printed signature beneath, issued by Musée Maison Natale in Ornans, France. Verso of original 1984 Gustave Courbet exhibition invitation showing *Visage / Visages* exhibition details, handwritten vernissage note, Paris postal stamp, and addressed recipient information.

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

    Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984

  • Guy Debord and the Situationist International, ed. Tom McDonough, MIT Press 2002, front cover: degraded photographic portrait overprinted with pink and white title type Guy Debord and the Situationist International, MIT Press 2002, interior spread pp. 62–63: Independence of Algeria photograph with Éluard caption and essay text, Arkades and Its Customers

    GUY DEBORD, Guy Debord and the Situationist International: Texts and Documents, MIT Press, 2002

    GUY DEBORD, Guy Debord and the Situationist International: Texts and Documents, MIT Press, 2002