Products

  • Isa Genzken, Urlaub, 2000 — interior spread with portrait photograph of a woman seated on a yellow sofa with flowers Isa Genzken, Urlaub, 2000 — interior spread showing two sculptural works with glass, tape, and mixed materials on white plinths

    Isa Genzken — Urlaub, Lukas & Sternberg, 2000

    Isa Genzken — Urlaub, Lukas & Sternberg, 2000

  • Isa Genzken — Verlag Silke Schreiber, 1988 — hardback monograph cover, glass door and stone pillar exterior, installation view reflected in glass interior spread: Isa Genzken — 1988 monograph interior, black and white photograph of a young Isa Genzken standing beside large concrete block sculptures outdoors, bare winter trees

    ISA GENZKEN — Verlag Silke Schreiber, Munich, 1988

    ISA GENZKEN — Verlag Silke Schreiber, Munich, 1988

  • Isa Genzken, Window, exhibition invitation front. Hauser & Wirth, London, 2020. Colour photograph of installation view: three rows of blue economy-class aircraft seats on a dark wood floor, with a row of white airplane window panels mounted on the gallery wall behind. Untitled (detail), 2018. Photo: Todd White Art Photography. Isa Genzken, Window, exhibition invitation reverse. Hauser & Wirth, London, 2020. Cream card with 'HAUSER & WIRTH' in small caps at top. Title 'ISA GENZKEN / WINDOW' in large bold sans-serif type, followed by opening reception details (Thursday 6 February 2020, 6–8 pm), exhibition dates (7 February – 2 May 2020), gallery address (23 Savile Row, London W1S 2ET), telephone, opening hours, and website. Small print credit line at foot.

    Isa Genzken — Window

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    Isa Genzken — Window

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  • Front Original 1963 Galerie Mona-Lisa press cocktail invitation for Ivan Rabuzin, Paris, textured pale yellow card with black serif typography; INVITATION in spaced italic caps; French text announcing cocktail de presse and vernissage, 14 November 1963, 19h; GALERIE MONA-LISA, 32 Rue de Varenne, PARIS-VIIᵉ; the word et and vernissage added in red manuscript at left margin. Reverse of 1963 Galerie Mona-Lisa invitation for Ivan Rabuzin, plain pale yellow textured card, unprinted, with light age toning.

    Ivan Rabuzin — Galerie Mona-Lisa, Paris, 1963

    Ivan Rabuzin — Galerie Mona-Lisa, Paris, 1963

  • Front cover: 666 Bibliotheca Crowleyana, J.F.C. Fuller, red textured card, inverted figure, Sure Fire Press, 1989 Interior: catalogue entries, Horos Case, Equinox, Tarot Cards, Holmes Publishing address, Edmonds WA

    J.F.C. FULLER — 666: Bibliotheca Crowleyana, Sure Fire Press & Holmes Publishing, Edmonds, Washington, 1989

    J.F.C. FULLER — 666: Bibliotheca Crowleyana, Sure Fire Press & Holmes Publishing, Edmonds, Washington, 1989

  • Jack Pierson, Ennui (La Vie Continue), 2013. Galerie Thaddaeus Ropac, Paris. Invitation verso: dark blue and orange film-poster composition; close-up profile of a figure's face in warm orange-red light against deep blue; 'Jack Pierson' in white script at top; 'THADDAEUS ROPAC présente' in small caps; 'Ennui' in large white italic script; '(La Vie Continue)' below; 'OFFICIAL SELECTION' laurel badge; gallery name and address; 'March 2013' in large bold sans-serif; 'Direction Artistique et Photographique: Jack Pierson, Ennui (La Vie Continue), 2013. Galerie Thaddaeus Ropac, Paris. Invitation recto: white card; centred sans-serif typography — 'JACKPIERSON' in mixed weight, 'ENNUI / (LA VIE CONTINUE)' below in light weight; vernissage Saturday 2 March 2013, 17h–19h; 'EXPOSITION DU 2 MARS AU 6 AVRIL 2013'; 'GALERIE THADDAEUS ROPAC' in bold at foot with Paris address, telephone, fax and website.

    JACK PIERSON — Ennui (La Vie Continue). Galerie Thaddaeus Ropac, Paris, 2013

    JACK PIERSON — Ennui (La Vie Continue). Galerie Thaddaeus Ropac, Paris, 2013

  • 2015 Anthology Film Archives programme card for Jack Smith Selects (From the Grave...), front, colour film still: close-up of a heavily made-up face with blue glitter eye make-up running down the cheek, thick black moustache, dark hair, against a dark background; (FROM THE GRAVE...) / JACK SMITH SELECTS / NOVEMBER 13 – DECEMBER 1 in white type at upper left. Reverse of 2015 Anthology Film Archives programme card for Jack Smith Selects (From the Grave...), dense black sans-serif text on white: programme heading, introductory paragraph by Jerry Tartaglia, two columns listing curated film selections and Jack Smith screenings, Anthology Film Archives address and website at lower right.

    Jack Smith Selects (From the Grave...), Anthology Film Archives, New York, 2015

    Jack Smith Selects (From the Grave...), Anthology Film Archives, New York, 2015

  • Original 1975 Jack Smith Padronismo di Pastacrosta slideshow poster, Galleria L'Attico (di Fabio), via Cesare Beccaria 22, Rome. Offset lithograph on thin paper, 35 × 48.5 cm unfolded. Black on cream, hand-drawn lettering and figures, dates giugno 24–26, ore 22, L.1000. Central rectangular stamp-removal incision visible. Reverse of 1975 Jack Smith Padronismo di Pastacrosta slideshow poster showing handwritten address to Roberto Dionisio, via della Vite, Rome, Galleria L'Attico rubber stamp, Italian postal cancellation mark, and central stamp-removal incision. Fold lines and toning throughout.

    JACK SMITH — Padronismo di Pastacrosta, Galleria L’Attico, Rome, 1975

    JACK SMITH — Padronismo di Pastacrosta, Galleria L’Attico, Rome, 1975

  • Front Original 1963 Galerie Knoedler private view invitation for Jacques Prévert, Images, Paris, textured yellow card with dark brown serif and script typography: gallery name and vernissage formula in small spaced caps; Images / de / Jacques Prévert in italic script; exhibition dates 10 décembre 1963 – 10 janvier 1964 and gallery address at foot. Reverse of 1963 Galerie Knoedler private view invitation for Jacques Prévert, Images, Paris, plain yellow card with no printing, showing light age toning and a diagonal crease at lower right corner.

    Jacques Prévert — Images, Galerie Knoedler, Paris, 1963

    Jacques Prévert — Images, Galerie Knoedler, Paris, 1963

  • Original James Brown Salt exhibition invitation booklet from Galerie Lelong, Paris, 1990, featuring a reproduced painting with a bold ultramarine blue abstract totem-like figure against a pale dotted background in an ornate frame. Interior spread of original James Brown Salt – Peintures récentes exhibition booklet showing Galerie Lelong exhibition details, dates, opening reception information, and reference to Repères no. 67 with text by Jean Frémon

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

    James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990

  • Original 2011 Janette Beckman El Hoyo Maravilla photobook, Dashwood Books, New York. Front cover showing near-blank white wrapper with small inset black-and-white photograph of a young man in a white t-shirt standing before a graffiti-covered wall, hands raised. Reverse of 2011 Janette Beckman El Hoyo Maravilla, Dashwood Books. Back cover showing near-blank white wrapper with small inset black-and-white photograph of a chopper motorcycle parked on a suburban street with a Kool cigarettes billboard visible behind.

    JANETTE BECKMAN — El Hoyo Maravilla, Dashwood Books, New York, 2011

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    JANETTE BECKMAN — El Hoyo Maravilla, Dashwood Books, New York, 2011

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  • Reverse of 2006 Riflemaker becomes Indica announcement card showing a black-and-white photograph of four figures standing against a plain background, one with face obscured by a white balloon, alongside the text 'Riflemaker becomes Indica, November 20' and a list of participating artists including Takis, Conrad Shawcross, Yoko Ono, Gustav Metzger, Goldfrapp, Jesús Rafael Soto, Jaime Gill, Mark Boyle, Boyle Family, Janfamily, Liliane Lijn, Juan Fontanive, Lourdes Castro, David Medalla, and Julio le Parc. Original 2006 Janfamily / Riflemaker promotional announcement card, recto showing two colour photographs stacked vertically: upper image of figures seated at a dining table with white paper squares obscuring their faces; lower image of a group of people gathered in a domestic interior with bookshelves, several wearing green, with the text 'Janfamily' top left and 'Riflemaker' bottom right in small serif type.

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

    Janfamily / Riflemaker becomes Indica — Promotional Announcement Card, London, 2006

  • JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16 JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16

    JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16

    JANINE ANTONI, CHARLES ATLAS, PIPILOTTI RIST, RACHEL WHITEREAD, CHRISTOPHER WOOL et al.: Luhring Augustine — Artist Representation Card, New York, c. 2015–16

  • Original 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records, Los Angeles — jewel case front with blue-sky photographic cover showing a large hotel-casino building on a rocky hillside beside a lake, title Suicide Moi in pink cursive script at top, artist name Jean Baudrillard The Chance Band in white serif text at foot Reverse of 2002 Jean Baudrillard & The Chance Band Suicide Moi CD, Compound Annex Records — dark back cover with colour photograph of two performers on stage, a woman in a red dress at left and an older man reading from papers at a microphone at right, Compound Annex Records copyright line and Los Angeles address at foot

    Jean Baudrillard & The Chance Band — Suicide Moi

    Jean Baudrillard & The Chance Band — Suicide Moi

  • Jean Clareboudt, Oblique Haute, exhibition invitation recto. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Black-and-white photograph: a large irregular dark mass — a boulder or raw stone — suspended from a crane arm against a pale overcast sky. The crane extends diagonally from the upper left; industrial steel structures, scaffolding, and a brick building are visible below and behind. Low-angle shot emphasising the weight and scale of the suspended object. 'CLAREBOUDT' in l Jean Clareboudt, Oblique Haute, exhibition invitation verso. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Cream card. Text in French, centred, in mixed type weights. Header: 'A L'OCCASION DE L'IMPLANTATION DE L'OEUVRE MONUMENTALE / DE "L'ORME AU CHAT", 26 BD BRANDENBOURG A IVRY, / JACQUES LALOË, MAIRE D'IVRY / VOUS INVITE AU VERNISSAGE DE L'EXPOSITION DE'. Artist name in large bold caps: 'JEAN CLAREBOUDT'. Exhibition title in bold: '"OBLIQUE HAUTE"'. Photography credit in i

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

  • Recto — portrait Jean Cocteau, Poésie graphique, Galerie Arcade Colette, Paris, 1996. Invitation recto: monochrome photograph of Jean Cocteau — three-quarter view, standing beside a blackboard covered in chalk handwriting, right hand raised to chin, cigarette between fingers; dark suit and tie; bookshelves at right; chalk text partially legible including 'Lundi Noir' and names. Light age toning. Verso — exhibition text Jean Cocteau, Poésie graphique, Galerie Arcade Colette, Paris, 1996. Invitation verso: white card; 'GALERIE ARCADE COLETTE / du 17 septembre au 21 octobre 1996' in small caps; 'JEAN COCTEAU,' in large bold sans-serif; 'poésie graphique.' in large bold italic; 'dessins, photographies, tapisserie, bijoux.' below; vernissage details in italic; 'JARDIN DU PALAIS-ROYAL' in bold caps; address, telephone and opening hours; 'Droits Réservés' lower right.

    JEAN COCTEAU — Poésie graphique. Galerie Arcade Colette, Paris, 1996

    JEAN COCTEAU — Poésie graphique. Galerie Arcade Colette, Paris, 1996

  • Jean Dubuffet, Waddington Galleries, London, 1981, front cover, Psycho-sites painting, figures in red and blue landscape, colour reproduction on white wrapper Jean Dubuffet, Waddington Galleries, London, 1981, front cover, Psycho-sites painting, figures in red and blue landscape, colour reproduction on white wrapper

    JEAN DUBUFFET — Waddington Galleries, London, 1981

    JEAN DUBUFFET — Waddington Galleries, London, 1981

  • Original exhibition poster, Jean-Luc Moulène, Modern Art Oxford, 29 September – 25 November 2012. Offset lithograph on paper, 29.5 × 42 cm. White ground. Upper left: bold black sans-serif text 'JEAN-LUC MOULÈNE' with exhibition dates '29 SEPTEMBER – / 25 NOVEMBER 2012' below. Centre: large colour photograph of Anti Paris, May 6th, 2001 — a dark opaque glass bottle with a black stopper, isolated against a pale neutral ground, casting a soft shadow. Lower left: 'MODERN ART OXFORD' in bold black sans-serif wit

    JEAN-LUC MOULÈNE — Exhibition Poster, Modern Art Oxford, 2012

    JEAN-LUC MOULÈNE — Exhibition Poster, Modern Art Oxford, 2012

  • Original 1984 Artscribe No. 47 July–August magazine cover featuring Jean-Michel Basquiat drawing, showing a large-format graphite and charcoal head with crown motif, heavily worked with layered scribbled lines, staring eyes, and open mouth, against cream ground, with masthead 'ARTSCRIBE' in large dark red block capitals at top, 'No.47' at lower left and '£1.50/$3' at lower right. Reverse of 1984 Artscribe No. 47 Jean-Michel Basquiat wraparound cover showing the back panel of the magazine with continuation of Basquiat's drawing: a fragmented figure with the word 'EYE' inscribed in an oval, a glass or vessel form, gestural marks and lines, and at lower left a pink rubber-stamp style circular logo reading 'TOBACCO / TRADE MARK' enclosing a grinning figure with ships, all on cream ground.

    Jean-Michel Basquiat — Artscribe No. 47, July–August 1984

    Jean-Michel Basquiat — Artscribe No. 47, July–August 1984

  • Promotional card recto, Jean-Michel Basquiat: Boom for Real, Barbican Art Gallery, London, 2017. Offset colour on card stock, 21 × 15 cm. Full-bleed photograph by Edo Bertoglio — Basquiat in grey American football helmet marked 'AARON' in white paint, red Adidas T-shirt, open dark plaid jacket; hand raised to helmet; graffiti-covered white wall behind. Left edge: large vertical white sans-serif 'barbican' logotype. Lower centre: bold white sans-serif — 'Basquiat / Boom / for Real / 21 Sep 2017—28 Jan 2018 / Promotional card verso, Jean-Michel Basquiat: Boom for Real, Barbican Art Gallery, London, 2017. White ground. Bold black sans-serif header — 'Basquiat: Boom for Real / 21 Sep 2017—28 Jan 2018'. Two paragraphs of exhibition text describing Basquiat as 'pioneering prodigy of the 1980s downtown New York art scene' and noting 100+ works from international collections. Bold text: 'Book now / Advance booking essential / Free for Members / #BoomForReal'. Lower section: institutional credits — curated by Barbican

    JEAN-MICHEL BASQUIAT — Boom for Real, Barbican Art Gallery, London, 2017

    JEAN-MICHEL BASQUIAT — Boom for Real, Barbican Art Gallery, London, 2017

  • Original 2006 Jean-Michel Basquiat Downtown 81: Friends of Basquiat exhibition invitation, Agnès B. Skyline, Paris — recto showing film still of Basquiat standing before graffiti-covered wall bearing the phrase Like an Ignorant, Lower East Side, from Downtown 81 dir. Edo Bertoglio. Reverse of 2006 Jean-Michel Basquiat Downtown 81: Friends of Basquiat exhibition invitation, Agnès B. Skyline, Paris — verso showing distressed stencil-style numerals in high-contrast red and black typography with Downtown 81 / F.O.B. Friends of Basquiat branding.

    JEAN-MICHEL BASQUIAT — Downtown 81: Friends of Basquiat, Agnès B. Skyline, Paris, 2006

    JEAN-MICHEL BASQUIAT — Downtown 81: Friends of Basquiat, Agnès B. Skyline, Paris, 2006

  • Postcard recto, Jean-Michel Basquiat, Man from Naples, 1982, published by The Royal Academy, London / te Neues Verlag, 1993. Offset colour reproduction on white card, c. 10.8 × 15.2 cm. Horizontal diptych format — two-panel acrylic and collage on wood. Left panel: red cartoon dog/pig head with blue eye; dense handwritten text including 'VINI VICI VIDI', 'BIG PIG SANDWICHES', 'MERCANTIDI PROSCIUTTO', '$', crown motifs, scattered words. Right panel: red horizontal band upper edge; text including 'VINI VIDI VI Postcard verso, Jean-Michel Basquiat, Man from Naples, 1982, published by The Royal Academy, London / te Neues Verlag, 1993. White ground, undivided back with light surface marks and minor handling wear. Lower left: small black serif text — 'Jean-Michel Basquiat (American, 1960-1988). Man from Naples, 1982. Acrylic and collage on wood, 104 1/4" × 48 3/4" (265 × 124 cm). Galerie Bruno Bischofberger, Zürich. Photo: D. James Dee. © 1993 Estate of Jean-Michel Basquiat. Published by the Royal Academy, London, te

    JEAN-MICHEL BASQUIAT — Man from Naples, 1982 / Royal Academy, London / te Neues, 1993

    JEAN-MICHEL BASQUIAT — Man from Naples, 1982 / Royal Academy, London / te Neues, 1993

  • JEAN-MICHEL BASQUIAT — Untitled, 1981 / Musée d'Art Moderne de la Ville de Paris / Paris Musées, 2010 JEAN-MICHEL BASQUIAT — Untitled, 1981 / Musée d'Art Moderne de la Ville de Paris / Paris Musées, 2010

    JEAN-MICHEL BASQUIAT — Untitled, 1981 / Musée d'Art Moderne de la Ville de Paris / Paris Musées, 2010

    JEAN-MICHEL BASQUIAT — Untitled, 1981 / Musée d'Art Moderne de la Ville de Paris / Paris Musées, 2010

  • Recto — translucent sheet over barcode card Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Recto, translucent outer sheet folded over barcode card: enlarged barcode in pale grey visible beneath translucent paper; overprinted in dark grey italic serif type — upper: "Nous vous invitons à une soirée le 30 septembre 1988, / 20 heures – 13, rue Simon Dereure, Paris 18."; lower: "R.S.V.P avant le 15 septembre. tél (1) 42.55.86.30."; barcode digits "SC 17001988" upper and "A 01 131286" lower visible thro Verso — translucent sheet, edition credit Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Verso, translucent outer sheet: plain pale cream-white translucent paper, almost entirely blank; small black italic serif text lower centre — "Tirage limité d'après un original de Jean Paul ALBINET / se composant des premières données de la cause à l'effet." Light age toning and faint fold marks visible. Numbered 9/75 in pencil (not visible on this side).

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

  • Interior spread — Guillaume Paris Fiasco, 1992. Interior spread: Guillaume Paris, Sans titre, 1988. Checkerboard plexiglas grid with milk carton and bell. Interior spread — Mike Kelley Fiasco, 1992. Interior spread: Mike Kelley, Duck, Goose, 1990. Two stuffed animals arranged on floor, one bent over other.

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

    JEAN-YVES JOUANNAIS — Fiasco — Art : Concept, Nice — 1992

  • ABCs of Pop Art, Museum of Fine Arts FSU 2000, front cover: grey, Roy Lichtenstein sandwich and cola glass in red and blue, serif title below ABCs of Pop Art 2000, interior: Ian Baxter BC Landscape 1961 colour painting left; David Buchan Modern Fashions — Killing Time 1979 colour photos right

    JEFFREY SPALDING — ABCs of Pop Art: America, Britain, Canada, Museum of Fine Arts FSU, 2000

    JEFFREY SPALDING — ABCs of Pop Art: America, Britain, Canada, Museum of Fine Arts FSU, 2000

  • Jenny Holzer, Kunst Heute Nr. 9, Noemi Smolik, Wilfried Dickhoff, Kiepenheuer & Witsch, 1993, front cover Jenny Holzer, Kunst Heute Nr. 9, Kiepenheuer & Witsch, 1993, interior spread, Lady Pink wearing Truisms T-shirt, Abuse of Power, Einleitung

    JENNY HOLZER — Kunst Heute Nr. 9, Kiepenheuer & Witsch, Cologne, 1993

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    JENNY HOLZER — Kunst Heute Nr. 9, Kiepenheuer & Witsch, Cologne, 1993

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  • Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978 Jenny Holzer — Private Property Created Crime, 1984 — interior spread, Truisms poster wheatpasted on New York City street wall, Street New York City 1978

    JENNY HOLZER — Private Property Created Crime, Kunsthalle Basel / Le Nouveau Musée, 1984

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    JENNY HOLZER — Private Property Created Crime, Kunsthalle Basel / Le Nouveau Musée, 1984

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  • Jenny Holzer, The Venice Installation, 1990 — charcoal-grey textured cover with deep red lettering nterior spread: dark grey left page, pink and grey diamond-patterned right page with title in black

    Jenny Holzer — The Venice Installation, Albright-Knox Art Gallery, 1990

    Jenny Holzer — The Venice Installation, Albright-Knox Art Gallery, 1990

  • Jenny Holzer, For Frankfurt, Kerber 2011, front cover, text projection on Frankfurt church, night photograph Jenny Holzer, For Frankfurt, 2011, interior spread, Römer town hall with projected Adorno text, night view

    JENNY HOLZER, For Frankfurt, Kerber, Bielefeld, 2011

    JENNY HOLZER, For Frankfurt, Kerber, Bielefeld, 2011

  • Jeremy Deller presents 2K — ***K The Millennium, Blast First 1997, cassette in clear case, black J-card, Justified Ancients of Mu Mu Jeremy Deller / 2K — ***K The Millennium, Blast First 1997, J-card unfolded reverse, track listing, Acid Brass credit, BFFP 146 K

    JEREMY DELLER / THE KLF (2K) — ***K The Millennium, Blast First / Mute Records, 1997

    JEREMY DELLER / THE KLF (2K) — ***K The Millennium, Blast First / Mute Records, 1997

  • Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — front cover. Black and red biomorphic form with zipper and single button on yellow-orange ground. Galerie Paul Maenz, Cologne. Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — interior plate. Red creature with multiple eyes, cigarette-like protrusions, and splayed limbs on orange ground. Ohne Titel (Bilder aus der Innenwelt), 1981, 290 × 350 cm.

    JIřÍ GEORG DOKOUPIL — Exhibition Catalogue, Paul Maenz, Berlin / Cologne, 1987

    JIřÍ GEORG DOKOUPIL — Exhibition Catalogue, Paul Maenz, Berlin / Cologne, 1987

  • Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation recto: black-and-white photograph of a figure lying prone on a parquet floor before a set of white double doors, dark mark running down the paintwork above. Jochen Gerz, Griechische Stücke, Bündner Kunstmuseum Chur, 1978. Exhibition invitation verso: printed artist biography and exhibition details, handwritten address to Jacques Donguy, Ossun, France, French postage stamp and postal markings.

    JOCHEN GERZ — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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    JOCHEN GERZ — Griechische Stücke, Bündner Kunstmuseum Chur, 1978

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  • Front cover: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — original exhibition invitation, deep burgundy card with white letterpress text, Galerie Baudoin Lebon, Paris Reverse: Jochen Gerz — Le Dépôt · Kulchur Pièce 4, 1979 — reverse of exhibition invitation showing vernissage details, Baudoin Lebon, 36 rue des Archives, Paris, 7 juin–7 juillet 1979

    JOCHEN GERZ — Le Dépôt · Kulchur Pièce, 4, Galerie Baudoin Lebon, Paris, 1979

    JOCHEN GERZ — Le Dépôt · Kulchur Pièce, 4, Galerie Baudoin Lebon, Paris, 1979

  • Joe Tilson, Gerd Winner, Siebdruck + Workshop, Haus am Waldsee Berlin, catalogue cover, 1970 Joe Tilson, Gerd Winner, interior spread, Rolls-Royce contact sheet and refuse truck rear, Abb. 14–15

    JOE TILSON / GERD WINNER — Siebdruck + Workshop, Haus am Waldsee, Berlin, 1970

    JOE TILSON / GERD WINNER — Siebdruck + Workshop, Haus am Waldsee, Berlin, 1970

  • Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — recto: exhibition invitation card printed in dark brown ink on orange-brown card stock, with boxed typography listing artist names, venue Galerie Galea Caen, and exhibition dates 14 November to 4 December Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — verso: plain orange-brown card stock with light surface abrasion, no printed text

    JOËL HUBAUT / MICHEL SOHIER — Epidemik-Box, Galerie Galea, Caen, c. 1979

    JOËL HUBAUT / MICHEL SOHIER — Epidemik-Box, Galerie Galea, Caen, c. 1979