Products

  • John Miller, Contradicting Statements, Walther König, 2026, brown front cover sealed in shrink-wrap John Miller, Contradicting Statements, 2026, brown rear cover with opening exchange, barcode, shrink-wrap

    JOHN MILLER, Contradicting Statements, Verlag der Buchhandlung Walther und Franz König, 2026

    JOHN MILLER, Contradicting Statements, Verlag der Buchhandlung Walther und Franz König, 2026

  • John Miller, The Middle of the Day, Volume 4, 2019, front cover, grey board with inset photograph and text John Miller, The Middle of the Day, Volume 4, 2019, front cover, grey board with inset photograph and text

    JOHN MILLER, The Middle of the Day, Volume 4, Museum im Bellpark / Walther König, 2018

    JOHN MILLER, The Middle of the Day, Volume 4, Museum im Bellpark / Walther König, 2018

  • John Waters, Crackpot: The Obsessions of John Waters, Vintage Books 1987, front cover: yellow, purple and blue, Waters seated at typewriter with mannequin head and bust; Village Voice blurb above John Waters, Crackpot, Vintage Books 1987, back cover: yellow, purple and blue, press quotes from Washington Post, Playboy, William Burroughs; ISBN barcode, cover credits lower left

    JOHN WATERS — Crackpot: The Obsessions of John Waters, Vintage Books, 1987

    JOHN WATERS — Crackpot: The Obsessions of John Waters, Vintage Books, 1987

  • Jonathan Monk, Selected Meetings Selected, Arnolfini, 2008, artist's book, front cover, pale uncoated wrappers Interior spread: Sunset Blvd & Vine, Hollywood, May 2016; Statue of Liberty, New York, February 2012

    JONATHAN MONK — Selected Meetings Selected, Arnolfini, Bristol, 2008

    JONATHAN MONK — Selected Meetings Selected, Arnolfini, Bristol, 2008

  • Front Panel, Le Ton Haut, Jorge Camacho, Galerie Mathias Fels, Paris, 1969. Exhibition publication back panel: cream laid paper with a single central black-and-white alchemical emblem — a winged globe surmounted by a triangle and upward arrow, with two horseshoe forms within the sphere. No text. Age toning and handling wear throughout. Unfolded exterior (full three-panel spread) Le Ton Haut, Jorge Camacho, Galerie Mathias Fels, Paris, 1969. Exhibition publication unfolded exterior, full three-panel spread: dense grid of black-and-white alchemical and hermetic engravings across the full sheet — circular medallions with inscribed Latin and French texts, emblematic figures, symbolic scenes including celestial, terrestrial and metallurgical subjects, and geometric diagrams. Short French captions and fragments of Bernard Roger's text distribu

    JORGE CAMACHO — Le Ton Haut. Galerie Mathias Fels, Paris, 1969

    JORGE CAMACHO — Le Ton Haut. Galerie Mathias Fels, Paris, 1969

  • Front — Homage to the Square reproduction Josef Albers, Sunny Side Up, David Zwirner, London, 2017. Exhibition invitation front: full-bleed colour reproduction of Homage to the Square, 1971, oil on Masonite — three nested squares in warm yellow tones; outermost field in muted gold, middle field in soft peach-orange, innermost square in saturated cadmium yellow. No text. Approx. 21 × 21 cm. Light surface handling. exhibition details Josef Albers, Sunny Side Up, David Zwirner, London, 2017. Exhibition invitation back: white card with caption upper right in small black serif type — "Homage to the Square, 1971 / Oil on Masonite / 48 × 48 inches (121.9 × 121.9 cm) / © 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York"; lower right, "Josef Albers" in large black serif type, "Sunny Side Up" in bold below, "13 January through 10 March 2017", private view "Thursday, 12 January / 6 to 8 PM",

    JOSEF ALBERS — Sunny Side Up. David Zwirner, London, 2017

    JOSEF ALBERS — Sunny Side Up. David Zwirner, London, 2017

  • Postcard, Joseph Beuys, Der Fett-Stuhl / Chaise de graisse / The Grease-Chair, Hessisches Landesmuseum Darmstadt. Vontobel Kunstkartendruck, Feldmeilen/Zürich, 1982. Offset colour reproduction — white-painted wooden chair with large wedge of yellow fat on seat; twig tied to chair back; grey gallery floor, glass vitrine wall behind. Good vintage condition, light age toning. Verso, Joseph Beuys, Der Fett-Stuhl / Chaise de graisse / The Grease-Chair, Hessisches Landesmuseum Darmstadt. Vontobel Kunstkartendruck, Feldmeilen/Zürich, 1982. Divided postcard back. Left: printed caption — 'JOSEF BEUYS (*1921) / Der Fett-Stuhl / Chaise de graisse / The grease-chair / Hessisches Landesmuseum Darmstadt'; publisher: 'Kunstkartendruck Vontobel, Feldmeilen/Zürich – Printed in Switzerland'; '© 1982, Copyright by Josef Beuys'; 'VD 2531'. Right: address lines and stamp area. Unposted, good vint

    JOSEPH BEUYS — Der Fett-Stuhl / The Grease-Chair, Hessisches Landesmuseum Darmstadt, Vontobel Kunstkartendruck, Zürich, 1982

    JOSEPH BEUYS — Der Fett-Stuhl / The Grease-Chair, Hessisches Landesmuseum Darmstadt, Vontobel Kunstkartendruck, Zürich, 1982

  • Original 1980 Joseph Beuys exhibition pamphlet, Anthony d'Offay Gallery, London. Front cover with 'JOSEPH BEUYS' in large bold uppercase type, followed by the Social Sculpture statement in hierarchical layout. 19.5 × 29.5 cm closed, single sheet folded once. Full opening showing Caroline Tisdall's essay in three columns across both pages — biography, Cleves, wartime mythology, shamanism, fat, felt, wounds. No illustrations.

    JOSEPH BEUYS — Exhibition Essay, Anthony d’Offay Gallery, London, 1980

    JOSEPH BEUYS — Exhibition Essay, Anthony d’Offay Gallery, London, 1980

  • Joseph Cornell box construction above, Jeux jouets et mirages publication announcement below, Galerie 1900-2000, 1989 Joseph Cornell box, newsprint-bordered frame, red sphere, wire rings, found objects on white ground, 1989

    JOSEPH CORNELL — Exhibition Invitation with Jeux, jouets et mirages Publication Announcement, Galerie 1900-2000, Paris, 1989

    JOSEPH CORNELL — Exhibition Invitation with Jeux, jouets et mirages Publication Announcement, Galerie 1900-2000, Paris, 1989

  • Joseph Cornell, exhibition invitation, Musée d'Art Moderne de la Ville de Paris 1981, MoMA, tricolour stripe, black typography Joseph Cornell, exhibition invitation, Musée d'Art Moderne de la Ville de Paris 1981, plain verso, cream card stock

    JOSEPH CORNELL — Paris Exhibition Invitation, Musée d’Art Moderne de la Ville de Paris, 1981

    JOSEPH CORNELL — Paris Exhibition Invitation, Musée d’Art Moderne de la Ville de Paris, 1981

  • Poster, Joseph Kosuth, Consciousness of Self, Imschoot Uitgevers / The Archives, Rotterdam, 1991. Screenprint, 100 × 60 cm, yellow and blue on black paper. Yellow italic script: ‘Consciousness of self is in itself and for itself… it is only by being recognized. Hegel, Phenomenology of Mind’. Blue institutional text below, nearly invisible on black ground. Lower left: ‘Poster: Joseph Kosuth’. Good vintage condition.

    Joseph Kosuth — Consciousness of Self, Imschoot / The Archives, Rotterdam, 1991

    Joseph Kosuth — Consciousness of Self, Imschoot / The Archives, Rotterdam, 1991

  • Josephine Meckseper, The Josephine Meckseper Catalogue No. 1, Lukas & Sternberg 2004, two white rabbits, hands on bare skin, front Josephine Meckseper, Catalogue No. 1, Lukas & Sternberg 2004, geometric abstraction left, cosmetics-style portrait right

    JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 1, Lukas & Sternberg, New York, 2004

    JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 1, Lukas & Sternberg, New York, 2004

  • JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 2, Sternberg Press, New York and Berlin, 2006 JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 2, Sternberg Press, New York and Berlin, 2006

    JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 2, Sternberg Press, New York and Berlin, 2006

    JOSEPHINE MECKSEPER — The Josephine Meckseper Catalogue No. 2, Sternberg Press, New York and Berlin, 2006

  • Judy Chicago, Woman with Red Flares, 1971–72, invitation recto, Thaddaeus Ropac, 2024 Invitation interior unfolded, artist list left, exhibition title and venue details right

    JUDY CHICAGO — Expanded Horizons: American Art in the 70s, Thaddaeus Ropac, 2024

    JUDY CHICAGO — Expanded Horizons: American Art in the 70s, Thaddaeus Ropac, 2024

  • JULIA BALLERINI, ed., Sequence (con)Sequence: (sub)versions of photography in the 80s, Aperture, 1989 JULIA BALLERINI, ed., Sequence (con)Sequence: (sub)versions of photography in the 80s, Aperture, 1989

    JULIA BALLERINI, ed., Sequence (con)Sequence: (sub)versions of photography in the 80s, Aperture, 1989

    JULIA BALLERINI, ed., Sequence (con)Sequence: (sub)versions of photography in the 80s, Aperture, 1989

  • Original 1994 Jürgen Klauke Prosecuritas exhibition catalogue. Front cover showing a black-and-white scanned or photocopied image: two small dog silhouettes walk across a pale ground trailing long curved lines, while large dark shadowy forms — a vertical pole left and a crouching figure lower right — dominate the foreground. Title 'JÜRGEN KLAUKE »PROSECURITAS«' in small spaced sans-serif type upper centre. Square format, cloth-bound hardcover with clear plastic dust jacket. Interior spread from Jürgen Klauke Prosecuritas catalogue, 1994. Upper half: four-panel black-and-white photographic sequence captioned 'Abb. 9 »SCHUSSFOLGE/SCHLUSSFOLGE«, 1976, vierteilige Fotosequenz, je 80×120 cm', showing a shirtless man holding a revolver to his head in four sequential poses. Lower half: full-width black-and-white photograph captioned 'Abb. 10 aus dem Werkkomplex: »SCHATTENBILDER«, 1984, Fotoarbeit, 110×200 cm', showing two seated silhouettes facing each other across a table with a tel

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

  • Justice Howard, photographic postcard, Soho Galleries, San Francisco, 1996, black-and-white figure in horns and leather, recto Justice Howard, photographic postcard, Soho Galleries, San Francisco, 1996, printed copyright and address verso, PC380, unmailed

    JUSTICE HOWARD — Soho Galleries Postcard, San Francisco, 1996

    JUSTICE HOWARD — Soho Galleries Postcard, San Francisco, 1996

  • KAREN FINLEY — 1-900-ALL-KAREN, Creative Time, 1998 KAREN FINLEY — 1-900-ALL-KAREN, Creative Time, 1998

    KAREN FINLEY — 1-900-ALL-KAREN, Creative Time, 1998

    KAREN FINLEY — 1-900-ALL-KAREN, Creative Time, 1998

  • Kate Bush studio portrait, white shirt, Anabas AP156 postcard recto, 1986 Anabas AP156 postcard verso, publisher address, catalogue number, copyright 1986

    KATE BUSH — Anabas AP156 postcard, 1986

    KATE BUSH — Anabas AP156 postcard, 1986

  • Kate Moss, Kate, Pavilion Books Ltd, London, 1997. Softcover, 15.5 × 21 cm. Extreme close-up monochrome photograph — Kate Moss's face cropped to eye, nose and lips; freckled skin; small white serif title 'k a t e' centred. Light cover wear, good vintage condition. Kate Moss, Kate, Pavilion Books Ltd, London, 1997. Interior spread. Left: photographic collage — layered colour fragments including film strips, sky, ocean, geometric shapes, and small fashion images in a loose figurative form. Right: full-bleed colour photograph — Kate Moss waist-deep in turquoise ocean, wet dark hair, direct gaze. Good vintage condition.

    KATE MOSS — Kate, Pavilion Books Limited, London, 1997

    KATE MOSS — Kate, Pavilion Books Limited, London, 1997

  • Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017 Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

    Katerina Jebb — Deus ex Machina, Musée Réattu / Skira, 2017

  • Front of a small 1973 Katharina Sieverding artist card showing a black-and-white double portrait of the artist in a tight hood and gloves, one figure facing down and the other holding a round mirror over the face, printed within a wide cream border. Back of a 1973 Katharina Sieverding artist card printed in Portuguese, with the heading “ilustração,” the caption “katharina sieverding sem título 1973,” and a short biographical note plus exhibition history on toned cream stock with light wear and corner creasing.

    KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio / MAM São Paulo, c. 1973

    KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio / MAM São Paulo, c. 1973

  • Katharina Sieverding, Grossfotos I–X 1975–77, Museum Folkwang Essen 1977, front cover: close-up halftone of bearded male face against black, extreme grain Katharina Sieverding, Grossfotos I–X, 1977, interior: fragmented flesh-toned forms and cropped eyes, heavy halftone offset print

    KATHARINA SIEVERDING, Grossfotos I–X / 75–77, Museum Folkwang, Essen, 1977

    KATHARINA SIEVERDING, Grossfotos I–X / 75–77, Museum Folkwang, Essen, 1977

  • Kathy Acker & Paul Buck, Spread Wide, Dis Voir, 2004 — front with band, handwritten inscription above bird motif Kathy Acker & Paul BuckThe back cover of a Kathy Acker & Paul Buck book, featuring a white center with black text, flanked by a dusty purple top and bottom border with handwritten-style purple text.

    KATHY ACKER & PAUL BUCK — Spread Wide, Dis Voir, Paris, 2004

    KATHY ACKER & PAUL BUCK — Spread Wide, Dis Voir, Paris, 2004

  • A zine titled 'TALKER #5' featuring a purple and pink cover with an illustration of a soccer ball and a child, with the text 'Spalding Gray with Kathy Acker' on a plain white background. A printed zine page with two black-and-white portrait photos of a Kathy Acker wearing a dark cap and jacket, alongside columns of text on an off-white page.

    KATHY ACKER & SPALDING GRAY — TALKER #5, Giles Bailey, London, 2018

    KATHY ACKER & SPALDING GRAY — TALKER #5, Giles Bailey, London, 2018

  • Kathy Acker, The Seven Cardinal Virtues feminist book anthology with a dark blue and black cover featuring an Art Nouveau illustration of a woman's face surrounded by botanical motifs. Kathy Acker, The back cover of a book titled 'Paperbacks' by Jason Reynolds, featuring a black spine-like column with blue portrait photos of Jason Mraz, a light blue patterned background, and a barcode.

    KATHY ACKER ET AL. — The Seven Cardinal Virtues, Serpent’s Tail, London, 1990

    KATHY ACKER ET AL. — The Seven Cardinal Virtues, Serpent’s Tail, London, 1990

  • Front cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: saturated composite of fragmented urban photography, abstracted figures, and colour fields in yellow, green, orange, and blue; Kathy Acker in black diagonal type at lower left; ALGERIA in large bold black capitals; DTV logo at upper right; cover design functioning as graphic assault and media noise. Back cover of 1988 Kathy Acker Algeria French edition, Le Dernier Terrain Vague / DTV Compact Livre, Paris — full-bleed image by Kiki Picasso: dense field of small human figures rendered in warm amber, orange, and white tones against a glowing ground, figures repeated across the surface in a pattern suggesting mass, heat, and dissolution; TTC 69 F / ISBN 2-86219-035-7 printed vertically at left; compact livre logo in black square at lower right.

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

    Kathy Acker — Algeria (French edition), Le Dernier Terrain Vague / DTV, Paris, 1988

  • KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984 Kathy Acker, Algeria, Aloes Books, London, 1984 — reverse, colophon, ISBN and £1.95 price

    KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984

    KATHY ACKER — Algeria: A Series of Invocations Because Nothing Else Works, Aloes Books, London, 1984

  • Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984. Front cover. Black ground with red border. Large red and white hand-lettered title: "BLOOD AND GUTS IN HIGH SCHOOL". Author name "KATHY ACKER" in white at top. Centre: oil painting illustration by Sue Coe — a dense, dark scene of figures, a cat-like creature in a suit, playing cards, a coffee cup, industrial machinery, and a crescent moon. Grove Press Evergreen logo upper right, price $7.95. Kathy Acker — Blood and Guts in High School, Grove Press, 1984 — interior page. Full-page line drawing of a multi-armed deity figure in the style of Indian iconography — Kali-like, with multiple heads arranged in a crown, necklace of skulls, weapons and objects in each hand, standing over a prone figure. Small figures and animals at the margins. Caption in a ruled box at base: "The Devil is an image. Imagine Hell. We grab the book, and run." Cream paper, black ink.

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

  • KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989 The back cover of a Kathy Acker book, shown flat against a white background. The cover is a muted gray-green color with black text, a small yellow accent near the top right, and a barcode at the bottom right.

    KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989

    KATHY ACKER — Blood and Guts in High School, Grove Weidenfeld, New York, 1989

  • KOriginal 1992 Kathy Acker hardcover, Blood and Guts in High School, Japanese edition, Hakusuisha, Tokyo. Front cover showing English title "Blood and Guts in High School" in blue capitals above Japanese title 血みどろ臓物ハイスクール, translator Sachie Watanabe, and author name Kathy Acker, with blue-toned textured photographic panels. Interior spread of 1992 Kathy Acker, Blood and Guts in High School, Japanese edition, Hakusuisha, Tokyo. Page showing Acker's multilingual vocabulary lesson with Persian script, English handwriting, and Japanese translation: "father / see / my father is dead / my father is blue / body / cunt."

    KATHY ACKER — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

    KATHY ACKER — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

  • KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006 The back cover of 'Bodies of Work' by Kathy Acker a book, shown against a plain white background. The cover is dark blue with white text, featuring a barcode and several review quotes.

    KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006

    KATHY ACKER — Bodies of Work, Serpent’s Tail, London and New York, 2006

  • KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997 The back cover of a Kathy Acker book, featuring a pale pink background with a black top band reading 'A PAPERBACK ORIGINAL' and a large stylized 'K' logo, photographed on a white background.

    KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997

    KATHY ACKER — Bodies of Work: Essays, Serpent’s Tail, London and New York, 1997

  • KATHY ACKER — Don Quixote: Which Was a Dream, Paladin, London, 1986 The back cover of the book 'Can a Female Knight Defeat the Evil Enchanters of Modern America' by Kathy Acker, featuring a beige background with a small illustration and text.

    KATHY ACKER — Don Quixote: Which Was a Dream, Paladin, London, 1986

    KATHY ACKER — Don Quixote: Which Was a Dream, Paladin, London, 1986

  • Book cover of 'Eurydice in the Underworld' by Kathy Acker, published by Arcadia. The cover features a sepia-toned portrait of a woman with blue hair and tattoos, with the title in red text. The back cover of the book 'Eurydice in the Underworld' by Kathy Acker by Arcadia Books, featuring a solid terracotta red background with white text, a barcode, and a white product info label.

    KATHY ACKER — Eurydice in the Underworld, Arcadia Books, London, 1997

    KATHY ACKER — Eurydice in the Underworld, Arcadia Books, London, 1997

  • Original 1982 Kathy Acker Great Expectations paperback, Open Book Publications, San Francisco. Front cover with title in bold serif type above a black-and-white woodcut illustration of a hunched long-haired figure leaning over a bed with a cane. Printed wrappers with toning and wear to spine. Interior spread of 1982 Kathy Acker Great Expectations, Open Book Publications. Left page shows black-and-white woodcut of a hunched figure at a desk. Right page opens Chapter 1 titled Plagiarism, subsection I Recall My Childhood, with Dickens-derived opening paragraph. Page 5.

    Kathy Acker — Great Expectations (1982)

    Kathy Acker — Great Expectations (1982)