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  • 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

  • Front cover Regeneration: Hannah Collins, Mike and Doug Starn, The Power Plant, Toronto, 1992. Exhibition catalogue front cover: cream card with "Regeneration:" in white sans-serif type on a solid black rectangle upper right; "Hannah Collins," and "Mike and Doug Starn" in spaced black serif type in overlapping white-bordered boxes below; two black-and-white reproductions centre — upper: a pile of oysters on a dark ground; lower: a framed photographic assemblage with metal clamps and hardware. 31 × 24 cm. Back cover and interior spread Regeneration: Hannah Collins, Mike and Doug Starn, The Power Plant, Toronto, 1992. Interior spread: left, checklist listing works by Hannah Collins — Plural/West 1991 (175 × 243 cm), Eggs for Bread 1991 (158 × 135 cm), Revolving 1992 (205 × 286 cm), Stonefree 1992 (twenty-eight aluminium panels, each 2.5 × 1 m) — and Mike and Doug Starn — Fear of Influence 1990–92 (toned ortho film and steel, 4.3 m dia.), Sun 1992 (1.8 × 2.4 m), Vaporum 1992 ×4 (toned ortho film and silicon, 3

    HANNAH COLLINS / MIKE AND DOUG STARN — Regeneration. The Power Plant, Toronto, 1992

    HANNAH COLLINS / MIKE AND DOUG STARN — Regeneration. The Power Plant, Toronto, 1992

  • Original 1983 Hans Bellmer exhibition invitation, Galerie François Petit, Paris — recto reproducing a black-and-white photograph of a doll's face partially obscured by a large hand pressing across the eyes and forehead, a cross-shaped object visible at left margin; from the series of doll photographs for which Bellmer is known. Reverse of 1983 Hans Bellmer 67 photographies inédites exhibition invitation, Galerie François Petit, Paris — verso printed in elegant cursive script typography with artist name Hans Bellmer, exhibition title 67 photographies inédites, dates 20 décembre 1983 au 25 février 1984, gallery name Galerie François Petit, address 196 boulevard Saint-Germain 75007 Paris, telephone 544.64.83.

    HANS BELLMER — 67 photographies inédites, Galerie François Petit, Paris, 1983–84

    HANS BELLMER — 67 photographies inédites, Galerie François Petit, Paris, 1983–84

  • Original 1971 Hans Bellmer exhibition invitation card, Centre national d'art contemporain (CNAC), Paris — recto printed in white and black on pink-to-cream gradient card stock; CNAC in large white serif type at top; text reading le centre national d'art contemporain 11 rue berryer paris 8 / présente / du 30 novembre 1971 au 17 janvier 1972 / bellmer in large bold black type / ouvert tous les jours sauf le mardi de 12 h à 19 h entrée 3 f / vernissage le mardi 30 novembre 1971 de 18 h à 20 h. Reverse of 1971 Hans Bellmer CNAC exhibition invitation card, Centre national d'art contemporain, Paris — verso showing plain unprinted cream card stock with light age toning and minor surface marks consistent with period paper ephemera.

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

    Hans Bellmer — CNAC Exhibition Invitation, Centre national d’art contemporain, Paris, 1971–72

  • Hans Bellmer Dessins, œuvre gravée exhibition announcement Galerie 3+2 Paris 1971–72 Hans Bellmer surreal anatomical drawing inside Galerie 3+2 exhibition invitation folder Paris 1971–72 Original folded exhibition invitation / announcement folder Offset print in brown ink on graph-paper patterned stock Approx. dimensions: c. 21 × 10 cm folded (unfolds larger) Galerie 3+2, 5 rue Visconti, Paris 6e Exhibition dates: 10 December 1971 – 10 January 1972 Condition: Very good; light age toning, minor handling wear and soft edge wear consistent with period paper ephemera

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

    Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72

  • Original 1976 Hans Bellmer Die Puppe paperback, Ullstein Verlag, Frankfurt — cream textured cover with centred colour photograph of a fragmented doll torso in pink and olive tones, three titles in black serif type below: Die Puppe / Die Spiele der Puppe / Die Anatomie des Bildes Reverse of 1976 Hans Bellmer Die Puppe, Ullstein Verlag — plain cream back cover, no text or imagery, showing age toning and light wear to edges

    Hans Bellmer — Die Puppe. Die Spiele der Puppe, Frankfurt, 1976

    Hans Bellmer — Die Puppe. Die Spiele der Puppe, Frankfurt, 1976

  • Original 1976 Hans Bellmer Hommage à Hans Bellmer exhibition catalogue, Galerie François Petit, Paris. Front cover showing cream printed wrappers with ornate calligraphic title 'Hommage à Hans Bellmer' centred in italic script, framed on all four sides by a repeated border of 'Galerie François Petit Paris' in cursive lettering. Staple-bound, 25 × 20.9 cm. Interior spread. Left: stacked, doubled anatomical cavities and folded organic forms in dense pencil shading. Right: reclining biomorphic figure reduced to a continuous contour enclosing a smooth swelling torso with a small spherical element at right.

    HANS BELLMER — Hommage à Hans Bellmer, Galerie François Petit, Paris, 1976

    HANS BELLMER — Hommage à Hans Bellmer, Galerie François Petit, Paris, 1976

  • Hans Bellmer, La poupée 1936, Centre Georges Pompidou postcard, headless doll in white dress, gold hoop, dark leather ground Hans Bellmer, La poupée 1936, Centre Georges Pompidou postcard verso, Éditions Mille, MP 8236-1, unused postal card

    HANS BELLMER — La poupée, 1936 — Centre Georges Pompidou Postcard, c. 1983

    HANS BELLMER — La poupée, 1936 — Centre Georges Pompidou Postcard, c. 1983

  • Original 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — recto reproducing Bellmer's Les mains immobiles, 1971: dark-ground photographic image of a bronze sculpture showing a crouching figure with multiple articulated mechanical arms and hands, cast by Ateliers Godard in an edition of 21, height 28 cm. Surface rubbing and scuffing consistent with postal handling. Reverse of 1972 Hans Bellmer New Year postcard, Galerie Suzanne Visat, Paris — verso showing bilingual printed artwork caption in French and English identifying Les mains immobiles / The still hand, 1971, bronze, Ateliers Godard, éditions Georges Visat; handwritten New Year greeting in French from La Galerie Suzanne Visat addressed to Monsieur François Lullerat, 95 Bd St Michel, Paris 5e; Paris cancellation stamp dated 10 January 1972 with 0.50 franc postage; copyright notice Hans Bellmer 1971 lower left; p

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

    Hans Bellmer — Les mains immobiles / Galerie Suzanne Visat New Year Card, Paris, 1972

  • Original 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — cover reproducing a Bellmer line drawing of a female figure tightly bound and folded, contour lines describing compressed flesh and limbs in a crouching posture; HANS BELLMER in spaced serif capitals below; SVENSK-FRANSKA / KONSTGALLERIET in two lines at foot. Inside spread of 1968 Hans Bellmer exhibition catalogue, Svensk-Franska Konstgalleriet, Stockholm — left panel with Swedish biographical text on Hans Bellmer (born Katowice, Poland, 1902), noting his connections to Grosz, Heartfield, Schwitters, Éluard, Tanguy, and La Poupée, and references to Galerie Gmurzynska, Köln; right panel headed Teckningar listing 20 drawings dated 1942–1966 including Hommage à Antonine Artaud (1942), Revel II Juillet (1946), Komposition, Vorzeichnung zu Madame Ewarda, Danseurs, De

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

    Hans Bellmer — Svensk-Franska Konstgalleriet, Stockholm, 1968

  • Hans Bellmer, The Anatomy of Anxiety, Sue Taylor, MIT Press, 2002, front cover, doll limbs framed in brown, cream wrapper Hans Bellmer, The Anatomy of Anxiety, Sue Taylor, MIT Press, 2002, back cover, publisher blurb, press quotes, ISBN, doll detail lower right

    HANS BELLMER — The Anatomy of Anxiety, Sue Taylor, MIT Press, Cambridge, 2002

    HANS BELLMER — The Anatomy of Anxiety, Sue Taylor, MIT Press, Cambridge, 2002

  • Hans Bellmer, Andy Warhol, Allen Jones — Die Puppe catalogue recto, 1971, off-white boards, black cloth spine Hans Bellmer, Andy Warhol, Allen Jones — Die Puppe interior, Berges Three Beauties 1969 beside ad source and silhouettes

    HANS BELLMER, ANDY WARHOL, ALLEN JONES et al. — Die Puppe: Aspekte zum Bild der Frau, Haus am Waldsee / Schloss Morsbroich / Frankfurter Kunstverein, 1971

    HANS BELLMER, ANDY WARHOL, ALLEN JONES et al. — Die Puppe: Aspekte zum Bild der Frau, Haus am Waldsee / Schloss Morsbroich / Frankfurter Kunstverein, 1971

  • Exhibition poster, Hans Haacke, Van Abbemuseum Eindhoven, 1979. Offset lithograph, double-sided, 42 × 54 cm. Front side: Farsi calligraphic text within ornamental border, Philips logo, Dutch caption text below. Corporate language repurposed as institutional critique. Exhibition poster, Hans Haacke, Van Abbemuseum Eindhoven, 1979. Offset lithograph, double-sided, 42 × 54 cm. Reverse side: three black-and-white photographic reproductions with captions, Philips branding. Good vintage condition with original folds and handling marks.

    Hans Haacke — Van Abbemuseum Eindhoven, 1979

    Hans Haacke — Van Abbemuseum Eindhoven, 1979

  • Hans Richter — Galleria Schwarz, Milan, 1963 Hans Richter — Galleria Schwarz, Milan, 1963

    Hans Richter — Galleria Schwarz, Milan, 1963

    Hans Richter — Galleria Schwarz, Milan, 1963

  • Original 1967 Harry Callahan exhibition catalogue, Museum of Modern Art, New York. Cream softcover with a black-and-white photograph of a standing female figure seen from behind, torso bare, seated on a stool before a window with venetian blinds, interior domestic space visible around her. 'HARRY CALLAHAN' in sans-serif type below the image. Interior page from 1967 Harry Callahan, Museum of Modern Art. Black-and-white photograph of a single dried plant stem with a small spherical seed head at its tip, two additional bare stems beside it, all set against a plain white ground in high-contrast graphic isolation

    Harry Callahan — Museum of Modern Art, New York, 1967

    Harry Callahan — Museum of Modern Art, New York, 1967

  • Heated Words: Initial Research, House of Vans London, 2015 — recto, black-and-white street photograph of children on a New York sidewalk overprinted in red with title, dates, and contributor list Heated Words: Initial Research, House of Vans London, 2015 — verso full spread showing all four panels: network diagram, typographic enlargement, free film screenings programme, and Gary Warnett text, printed in black and red

    HEATED WORDS: INITIAL RESEARCH — House of Vans, London, 2015

    HEATED WORDS: INITIAL RESEARCH — House of Vans, London, 2015

  • Original 1994 Tate postcard reproducing Helen Chadwick's Enfleshings I, 1989, showing a photographic transparency image: a deep red-orange circular mass of organic matter — raw flesh, viscera, and biological material — arranged around a central glowing light bulb, set against a dark background with a soft blue border characteristic of Tate postcard printing of the period. Reverse of 1994 Tate Helen Chadwick Enfleshings I postcard showing plain white card with small black text block bottom left reading 'HELEN CHADWICK / Enfleshings I 1989 / Photographic transparency and lightbox / 106.6 × 91.5 × 18 cm / Tate Gallery Purchase / © Helen Chadwick Estate / photographs: Helen Chadwick and Edward Woodman / Purchased 1994' with barcode and ISBN number.

    Helen Chadwick — Enfleshings I — Tate Postcard, 1994

    Helen Chadwick — Enfleshings I — Tate Postcard, 1994

  • front cover — same textured off-white card, blind-embossed facsimile signature of Helen Frankenthaler lower centre, no other text or imagery back cover — plain textured off-white card, "Knoedler & Company / 19 East 70 Street New York Telephone (212) 794–0550" in small grey serif type lower centre

    HELEN FRANKENTHALER — New Work, Knoedler & Company, New York, 1995

    HELEN FRANKENTHALER — New Work, Knoedler & Company, New York, 1995

  • Helmut Lang, Selective Memory Series, Purple Book, Purple Institute 2007, red rabbit on grey ground, cream cover, janvier Helmut Lang, Selective Memory Series, Purple Institute HL-ART 2007, plain off-white, 82 Greene Street New York, back cover

    HELMUT LANG — Selective Memory Series: The Helmut Lang Purple Book, Purple Institute / HL-ART, 2007

    HELMUT LANG — Selective Memory Series: The Helmut Lang Purple Book, Purple Institute / HL-ART, 2007

  • Henri Michaux / Octavio Paz / Asadullah Souren Melikian-Chirvani, Art Tantrique, Le Point Cardinal 1970 Henri Michaux / Octavio Paz / Asadullah Souren Melikian-Chirvani, Art Tantrique, Le Point Cardinal 1970, interior

    HENRI MICHAUX / OCTAVIO PAZ / ASADULLAH SOUREN MELIKIAN-CHIRVANI — Art Tantrique, Le Point Cardinal, Paris, 1970

    HENRI MICHAUX / OCTAVIO PAZ / ASADULLAH SOUREN MELIKIAN-CHIRVANI — Art Tantrique, Le Point Cardinal, Paris, 1970

  • Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, recto: near-total black printed field on white card Henrik Olesen — Some Faggy Gestures, Galerie Daniel Buchholz Berlin 2008, verso: printed announcement text, restrained administrative layout, dated 11 December 2008

    HENRIK OLESEN — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

    Placed

    HENRIK OLESEN — Some Faggy Gestures, Galerie Daniel Buchholz, Berlin, 2008

    Placed
  • Film poster, Henry Darger / Jessica Yu, In the Realms of the Unreal: The Mystery of Henry Darger, Wellspring Media, 2004. Offset print, 43 × 61 cm. Full-bleed Darger watercolour: young girl in white dress standing before large winged creatures in red, yellow and blue stripes. Handwritten text visible: ‘LED BLENGINS / E BOY KING’ and ‘ONE IS A TUSKORN THE OTHER’. Title in red and black below. Theatre listings at foot. Film poster verso, Henry Darger / Jessica Yu, In the Realms of the Unreal, 2004. Full press sheet: title ‘THE MYSTERY OF HENRY DARGER’ and ‘NOBODY KNEW THE ARTIST WELL-HIDDEN IN A ROOM’; Darger watercolour reproductions; stills of the Chicago room; director’s statement by Jessica Yu; production credits; American Folk Art Museum listings; US theatre schedule including New York, San Francisco, Los Angeles, Boston, Chicago, Washington D.C., Honolulu.

    Henry Darger / Jessica Yu — In the Realms of the Unreal: The Mystery of Henry Darger, 2004

    Henry Darger / Jessica Yu — In the Realms of the Unreal: The Mystery of Henry Darger, 2004

  • High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991 The back cover of he book cover of 'High Risk: An Anthology of Forbidden book, shown against a white background. The cover features a dark, textured black and gray wolf design with a blue-gray gradient at the bottom.

    High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991

    High Risk: An Anthology of Forbidden Writings, Serpent’s Tail, London, 1991

  • Ian Whittlesea, Trataka, The Everyday Press 2020, front cover: grey ground, white sans-serif title above single white candle on shelf, sealed in clear shrinkwrap Ian Whittlesea, Trataka, The Everyday Press 2020, back cover: grey ground, white all-caps text describing the work and artist; ISBN barcode upper left; shrinkwrap visible

    IAN WHITTLESEA — Trataka, The Everyday Press, 2020

    IAN WHITTLESEA — Trataka, The Everyday Press, 2020

  • Iggy Pop, American Caesar: Letras, Celeste Ediciones, front cover with portrait photograph Iggy Pop, American Caesar: Letras, Celeste Ediciones, back cover with purple ground and Spanish text

    IGGY POP, American Caesar: Letras, Celeste Ediciones / El Sueño del Cangrejo, 1994

    IGGY POP, American Caesar: Letras, Celeste Ediciones / El Sueño del Cangrejo, 1994

  • Imitation of Christ: A Retrospective invitation recto, 2002. Cream card with heavy printed faux-water staining; stencil-style typography reading 'The Museum of Modern Art, Tirana, Albania / in association with Deitch Projects / presents / Imitation of Christ: A Retrospective / Tuesday September 17th 2002, 8:00pm / Maurice Villency, 200 East 57th Street, Corner of 3rd Avenue / RSVP Seventh House PR 212 561 5450. Original Polaroid photograph, Imitation of Christ: A Retrospective, New York, 2002. Black-and-white image of woman in black halter dress and wide-sleeved kimono jacket, arms extended, smiling; neutral background; vintage photographic quality.

    Imitation of Christ: A Retrospective — Archive Lot: Invitation, Press Release & Original Polaroids, Jeffrey Deitch / Maurice Villency, New York, 2002

    Imitation of Christ: A Retrospective — Archive Lot: Invitation, Press Release & Original Polaroids, Jeffrey Deitch / Maurice Villency, New York, 2002

  • Original 2011 In Deed: Certificates of Authenticity in Art catalogue, ed. Hapgood & Lauf. Salmon-pink cover with title in bold black serif type left, artist list right. Spine repeating 'deed' in red. Interior page from In Deed, 2011. Carey Young, Donorcard, 2005, offset on card stock, signed. Blue credit-card with red heart; reverse shows legal certificate text, signed and dated 16/11/2005.

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

    In Deed: Certificates of Authenticity in Art, ed. Hapgood & Lauf, ROMA Publications, 2011

  • Indigo Lewin, FANZINE 01, Saint Laurent Rive Droite, Anthony Vaccarello, 2021, abstract Polaroid botanical forms, front cover Indigo Lewin, FANZINE 01, Saint Laurent Rive Droite, Anthony Vaccarello, 2021, CRISIS cutout left, open mouth close-up right

    INDIGO LEWIN — FANZINE 01, Saint Laurent Rive Droite, 2021

    Placed

    INDIGO LEWIN — FANZINE 01, Saint Laurent Rive Droite, 2021

    Placed
  • Instructions, Gio' Marconi, Milan, 1992, front cover: landscape with orange balloon and cloud, blackletter title Gillian Wearing, Signs that say what you want them to say, 1992–93, and Candy Jernigan Holiday News spread, Instructions

    INSTRUCTIONS, Gio' Marconi, Milan, 1992

    INSTRUCTIONS, Gio' Marconi, Milan, 1992

  • Exhibition poster, International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall), A che punto sei? / Where Are You Standing?, Venice, 2026. Offset print on white paper. Header in blue: ‘A CHE PUNTO SEI?’. Italian text body describing three social paths through the Venice Biennale. Centre: labyrinthine map with letters A–Q and numbers 1–3 marking positions. Columns of Italian text below. Footer: ‘INTERNATIONAL LOCAL’ in bold. Good condition with handling wear.

    International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall) — A che punto sei? / Where Are You Standing?, Venice, 2026

    International Local (Sarah Charlesworth, Joseph Kosuth, Anthony McCall) — A che punto sei? / Where Are You Standing?, Venice, 2026

  • Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

    Inverted Odysseys — Claude Cahun / Maya Deren / Cindy Sherman

  • Irène Jacob, Exposition Galerie Furstenberg 1959; folded invitation cover, black spaced typography on cream card Irène Jacob, Exposition Galerie Furstenberg 1959; interior checklist of 21 works with poetic titles in French, cream paper

    IRÈNE JACOB — Exposition, Galerie Furstenberg, Paris, 1959

    IRÈNE JACOB — Exposition, Galerie Furstenberg, Paris, 1959

  • Irving Penn, Photographs in Platinum Metals, Marlborough Fine Art, London, 1981, front cover, ceremonial figure kneeling Irving Penn, Chanel Sequined Suit, New York 1974, figure from rear in sequined dress, pearl necklace

    IRVING PENN — Photographs in Platinum Metals: Images 1947–1975, Marlborough Fine Art, London, 1981

    IRVING PENN — Photographs in Platinum Metals: Images 1947–1975, Marlborough Fine Art, London, 1981

  • Isa Genzken — Filmprogramm Isa Genzken, Filmprogramm, announcement card verso. Delphi Filmpalast am Zoo, Berlin, 2013. Plain white card stock, no text or image. Minor toning and storage marks visible.

    Isa Genzken — Filmprogramm

    Isa Genzken — Filmprogramm

  • Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Cover: assemblage painting with green and blue spray paint, hazard tape border, scattered coins, £20 and €50 banknotes, Scottish £20 note, toy wooden gun, and photographic fragments. Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Interior: purple and white gestural painting with arc of gold coins, small portrait photograph with halo effect, and grey painted panel below.

    Isa Genzken — Geldbilder — Folded Exhibition Invitation, Hauser & Wirth, London, 2015

    Isa Genzken — Geldbilder — Folded Exhibition Invitation, Hauser & Wirth, London, 2015

  • Original 2006 Isa Genzken monograph, Phaidon Contemporary Artists Series. Front cover showing Rose II, a tall slender steel rose sculpture with a single bud, photographed against a pale sky in front of a modernist glass-and-steel institutional building. Title 'ISA GENZKEN' in black sans-serif type upper right, with author names Alex Farquharson, Diedrich Diederichsen, Sabine Breitwieser. Phaidon imprint lower left. Laminated ex-library copy. Two full-page close-up photographs of human ears against dark backgrounds, one plain, one with a small circular stud earring.

    Isa Genzken — Phaidon Contemporary Artists Series, 2006

    Isa Genzken — Phaidon Contemporary Artists Series, 2006