{"title":"Anthony d'Offay Gallery","description":"\u003cp\u003eAnthony d’Offay Gallery (London, 1969–2001) was one of the most significant commercial galleries in Britain during the late twentieth century, representing and exhibiting major figures in international contemporary art. Working with artists including Joseph Beuys, Gilbert \u0026amp; George, Andy Warhol, Louise Bourgeois, Gerhard Richter and Cindy Sherman, d’Offay positioned London within the wider field of postwar and contemporary practice at a moment when the city’s gallery infrastructure was still consolidating.\u003c\/p\u003e\u003cp\u003eThe objects gathered here are printed ephemera issued for exhibitions at Anthony d’Offay Gallery: invitation cards, announcement sheets, posters and related printed matter. Each piece records a specific exhibition, a date and a moment of institutional placement. Taken together, they form a partial archive of one gallery’s programme and the printed surfaces through which that programme entered circulation.\u003c\/p\u003e","products":[{"product_id":"andy-warhol-stitched-photographs-1976-1986-anthony-doffay-gallery-london-1998","title":"ANDY WARHOL — Stitched Photographs 1976–1986, Anthony d’Offay Gallery, London, 1998","description":"\u003cp\u003eExhibition poster. 42 × 59.4 cm unfolded (A2). Commercially printed black-and-white offset on lightweight paper; originally folded into eight panels. Design: Peter B. Willberg. Photography: Prudence Cuming Associates. Printed by Clifford Press. © The Andy Warhol Foundation for the Visual Arts, Inc., 1998.\u003c\/p\u003e\u003cp\u003eIssued for Anthony d’Offay Gallery’s posthumous exhibition \u003cem\u003eAndy Warhol: Stitched Photographs 1976–86\u003c\/em\u003e, presented from December 1997 through March 1998. The gallery had worked with Warhol during his lifetime, notably presenting his \u003cem\u003eSelf Portraits\u003c\/em\u003e in London in 1986.\u003c\/p\u003e\u003cp\u003eThe poster gathers dozens of Warhol’s photographic subjects into a single dense field: storefronts, street signs, anonymous bodies, self-portraits, chairs, cups, clothes hangers and incidental urban details. Each image is repeated in small grids, reproducing the structure of the stitched photographs themselves — the serial logic of the work carried into its own promotional support.\u003c\/p\u003e\u003cp\u003eWarhol made more than 500 stitched photographs between 1982 and his death in 1987. Identical black-and-white photographs were arranged in grids and physically joined by sewing machine, returning the snapshot to the serial language of his earlier screenprints while leaving the method of construction plainly visible. Photography was not secondary documentation within Warhol’s practice; it was one of the systems through which daily life was collected, repeated and converted into images.\u003c\/p\u003e\u003cp\u003eAs an object, the poster performs a further translation. The sewn photograph becomes a printed reproduction; the exhibition becomes a portable sheet; repetition becomes distribution. Its original fold lines cross the reproduced grids, imposing another physical structure over Warhol’s already divided images. Stored and circulated as gallery material, it now reads somewhere between exhibition document, photographic index and autonomous image field.\u003c\/p\u003e\u003cp\u003eOfficial posthumous exhibition ephemera. Not signed or numbered and not an original Warhol print.\u003c\/p\u003e\u003cp\u003eCondition: good vintage condition. Original horizontal and vertical folds, light handling creases and minor edge wear. Clean overall, with no significant tears or losses visible. Unframed.\u003c\/p\u003e","brand":"Anthony d’Offay Gallery","offers":[{"title":"Default Title","offer_id":53843670729042,"sku":"WARHOL-DOFFAY-POST-1998","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Warhol_Andy._Stitched_Photographs_1976_1986_Poster_Anthony_d_Offay_Gallery._1998.jpg?v=1782456758"},{"product_id":"joseph-beuys-exhibition-essay-anthony-doffay-gallery-london-1980","title":"JOSEPH BEUYS — Exhibition Essay, Anthony d’Offay Gallery, London, 1980","description":"\u003cp\u003eExhibition pamphlet. 19.5 × 29.5 cm closed; 39 × 29.5 cm unfolded. Four pages. Single sheet folded once. Offset printing on uncoated paper. Text by Caroline Tisdall. Printed by The Curwen Press, London, for Anthony d’Offay Gallery, August 1980.\u003c\/p\u003e\u003cp\u003eIssued on the occasion of a Joseph Beuys exhibition at Anthony d’Offay Gallery. The Guggenheim Foundation is acknowledged in the publication, reflecting Tisdall’s involvement with Beuys’s major retrospective at the Solomon R. Guggenheim Museum the previous year.\u003c\/p\u003e\u003cp\u003eThe cover reproduces Beuys’s own description of sculpture as an open and transformative process — extending beyond physical objects into thought, language and collective social activity. The text is set in a spare, hierarchical layout: \u003cem\u003eThinking Forms\u003c\/em\u003e, \u003cem\u003eSpoken Forms\u003c\/em\u003e, \u003cem\u003eSocial Sculpture\u003c\/em\u003e. Inside, Tisdall’s densely printed essay connects his biography, childhood memories in Cleves, wartime mythology, shamanism, healing and political ideas. The pamphlet offers a compact introduction to the system of materials and symbols — fat, felt, animals, wounds and transformation — that shaped his work across performance, installation and teaching.\u003c\/p\u003e\u003cp\u003eBy 1980, Beuys had become one of the central figures of postwar European art. His expanded definition of artistic production proposed that society itself could be shaped through creative action. This modest publication carries those ideas in a deliberately economical form: one sheet, one fold, four pages.\u003c\/p\u003e\u003cp\u003eCondition: good vintage condition. Light age toning, minor handling wear and slight softening to the edges and corners. Complete as issued.\u003c\/p\u003e","brand":"Anthony d’Offay Gallery","offers":[{"title":"Default Title","offer_id":53848648614226,"sku":"BEUYS-DOFFAY-INV-1980","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Beuys_Joseph._Exhibition_essay_August_1980.jpg?v=1782491580"},{"product_id":"weiner-lawrence-twenty-works-doffay-1980","title":"LAWRENCE WEINER — Twenty Works — Anthony d'Offay, London, 1980","description":"\u003cp\u003eExhibition poster produced for Lawrence Weiner's show \u003cem\u003eTwenty Works\u003c\/em\u003e at Anthony d'Offay, 23 Dering Street, London, 22 October–19 November 1980. Offset lithograph in black and blue on white paper, 49 × 64 cm.\u003c\/p\u003e\u003cp\u003eThe poster is structured as a two-column register ruled in blue, each cell containing one of twenty language works in bold uppercase type. Gallery address, exhibition dates and private view details occupy a ruled footer box in the same typographic register as the works themselves — institutional information and artistic statement held within an identical frame, neither subordinate to the other. E-artexte catalogues the sheet as both exhibition ephemera and a work of art. An example is held by Cooper Hewitt, Smithsonian Design Museum.\u003c\/p\u003e\u003cp\u003eBy 1980 Weiner had been working with language as sculptural material for over a decade. His statements — describing materials, actions, movement, spatial relations — do not require physical realisation. They can remain as words. They circulate through walls, books, posters, sound. MoMA describes these works as sculptures made from language; Tate emphasises the active relationship between the statement and whoever receives it. The exhibition also entered recorded speech: William Furlong's conversation with Weiner about the twenty London works was issued by Audio Arts in 1980, the same year.\u003c\/p\u003e\u003cp\u003eThe poster performs a related operation in print. Twenty works are compressed into one portable sheet — folded, circulated, opened, retained. Presented during the opening year of d'Offay's contemporary programme at 23 Dering Street, the sheet does not simply document the exhibition. It carries it forward.\u003c\/p\u003e\u003cp\u003eThe twenty works: An Object Tossed from One Country to Another · The Arctic Circle Shattered · A Turbulence Induced Within a Body of Water · Folded · To the Sea · Slowly Raised Water · Done Without · Over the Hill · As If It Could · To Show and to Tell · Made Quietly · (Turned) Red as Well as Black · Taken to a Point of Tolerance · Often Replayed (Played Again) · With Relation to Reason (Often) Moved About · (Often) Moved About Within the Context of (A) Reason · Some Things (Packed Up) Some Things (Laid Down) All Overdue · Having Been Brought Back at a Point of Passage · Blown Away Under Certain Circumstances · Many Objects Put Upon Many Other Objects in Place of Some Other Objects No Longer Used to Form a Pile.\u003c\/p\u003e\u003cp\u003eCondition: good; previously folded into sections, with pronounced fold lines, handling creases, light surface marking, minor edge wear and age toning.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Anthony d'Offay","offers":[{"title":"Default Title","offer_id":54052962632018,"sku":"WEINER-DOFFAY-POST-1980","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Weiner_Lawrence._Exhibition_Poster_Twenty_works._1980.jpg?v=1784615196"}],"url":"https:\/\/thenewrare.com\/collections\/anthony-doffay-gallery.oembed","provider":"The New Rare","version":"1.0","type":"link"}