{"title":"Exhibition Ephemera","description":"\u003cp\u003eOriginal exhibition invitations, cards, announcements, and related printed objects. Minor traces of the exhibition system, retained as form.\u003c\/p\u003e","products":[{"product_id":"charles-simonds-the-three-trees-1985","title":"Charles Simonds — The Three Trees, 1985","description":"\u003cp\u003eArchitekturmuseum in Basel, Basel\u003cbr\u003eOriginal mailed exhibition card \/ invitation\u003cbr\u003e15 × 10.5 cm\u003cbr\u003eOffset print on light card stock, black and white\u003cbr\u003eRecto with paired photographic images; verso with exhibition details, Basel postal stamp, and typed address label to Connaissance des Arts, Paris\u003cbr\u003eCondition: very good, with light age toning, minor wear, soft corner friction, and visible signs of postal handling\u003c\/p\u003e\u003cp\u003eIssued for Charles Simonds's \u003cem\u003eThe Three Trees\u003c\/em\u003e at the Architekturmuseum in Basel in 1985, this card now reads less as invitation than as displaced support material: an exhibition notice that completed its first function and remained behind as object. The addressed reverse matters. Sent to Connaissance des Arts in Paris, it carries with it a small but precise social geography — museum, postal system, editorial office, archive. A work about passage as much as announcement.\u003c\/p\u003e\u003cp\u003eThe front is equally exact. A modernist building and a stand of trees are placed side by side with almost schematic clarity, as though the exhibition were being reduced to two transferable images: structure and growth, façade and obstruction, institution and outside. In that sense the card behaves like a compact exhibition model. Not the exhibition itself, but one of its delegated surfaces.\u003c\/p\u003e\u003cp\u003eThat relay structure feels close to Simonds, but also to a Collin-Thiébaut-like logic: the artwork not as singular event but as something distributed through reproduction, framing, citation, and reappearance elsewhere. What remains here is not simply promotion, but a small operational fragment of the show's public life.\u003c\/p\u003e\u003cp\u003eA mailed exhibition card with the right kind of double status: image-object and administrative residue.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227350884690,"sku":"CS-3TREES-1985-EC","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Charles_Simonds_0001.jpg?v=1776420618"},{"product_id":"katharina-sieverding-portuguese-language-artist-card-c-1973","title":"Katharina Sieverding — Portuguese-Language Artist Card, c. 1973","description":"\u003cp\u003eLikely issued in connection with \u003cem\u003eFotolinguagem\u003c\/em\u003e, Museu de Arte Moderna do Rio de Janeiro \/ Museu de Arte Moderna de São Paulo, Brazil\u003cbr\u003e15.5 × 10.5 cm\u003cbr\u003eOffset-printed card on light stock; black-and-white image to recto; Portuguese biographical text and exhibition history to verso\u003cbr\u003eCondition: very good; light handling wear, faint corner softening, minor age toning consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eA small distribution object from an early international point in Katharina Sieverding’s career. Neither a standard invitation nor a later museum survey card, it operates more narrowly: image, biography, exhibition history, circulation. The Portuguese text is the key detail. Sieverding was not Portuguese but German, and the language situates the card within her Brazilian context in 1973, when she was included in \u003cem\u003eFotolinguagem\u003c\/em\u003e, organized by Iole de Freitas and shown at MAM Rio and MAM São Paulo.\u003c\/p\u003e\u003cp\u003eThe object is most compelling at that level. A Düsseldorf-based artist associated with the post-Beuys field of photography, self-staging, and identity construction enters another institutional system through translation. The card reduces that movement to its necessary parts: a portrait, a list, a place of residence, a sequence of appearances. Administrative, almost neutral, but exact. It carries the artist as information.\u003c\/p\u003e\u003cp\u003eBefore the later retrospective framing of Sieverding’s practice, there is this lighter support structure: printed matter designed for passage, classification, and local legibility. Not quite ephemera in the casual sense, more a small paper relay between artist and institution. A concise record of entry.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53227654218066,"sku":"KS-PTCARD-1973-EC","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Katharina_Sieverding_0001.jpg?v=1776426758"},{"product_id":"esther-hess-energie-et-vent-1985","title":"Esther Hess — Énergie et Vent, 1985","description":"\u003cp\u003eOriginal exhibition invitation card for Esther Hess’s \u003cem\u003eénergie et vent\u003c\/em\u003e, site-art présent, Paris\u003cbr\u003e21 × 10.5 cm\u003cbr\u003eOffset invitation card, printed recto only\u003cbr\u003eVenue: site-art présent, 10 rue Coquillière, 75001 Paris\u003cbr\u003eDate: 5 February–15 March 1985\u003cbr\u003eCondition: very good vintage condition; light age toning and minor surface wear; blank verso\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition organized around energy, wind, and invisible movement. Title, venue, date, image. The circular form functions as object, diagram, and sign at once. Not a record after the event so much as one of the forms through which the exhibition entered circulation.\u003c\/p\u003e\u003cp\u003eA small Paris document from the mid-1980s where sculpture is displaced toward field, force, and transmission.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229836599634,"sku":"EH-ENERGIE-1985-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Esther_Hess_001.jpg?v=1776446061"},{"product_id":"joel-hubaut-michel-sohier-epidemik-box-galerie-galea-caen-c-1979","title":"Joël Hubaut \/ Michel Sohier — Epidemik-Box, Galerie Galea, Caen, c. 1979","description":"\u003cp\u003eOriginal exhibition invitation card for a joint presentation by Joël Hubaut and Michel Sohier at Galerie Galea, Caen\u003cbr\u003eVenue: Galerie Galea, 19 rue des Croisiers, 14000 Caen\u003cbr\u003eExhibition: 14 November – 4 December; vernissage Monday 14 November\u003cbr\u003eFormat: recto-printed invitation card in dark brown ink on orange-brown card stock\u003cbr\u003eCondition: very good vintage condition; light general handling wear; small surface abrasion to verso; otherwise clean and well preserved\u003c\/p\u003e\u003cp\u003eA printed support in which the exhibition appears in reduced form: two names, one venue, a set of dates, and the phrase Epidemik-Box. The card operates somewhere between notice, label, and distribution point. Typography is boxed, information is staged without excess, and the object remains close to an administrative surface.\u003c\/p\u003e\u003cp\u003eIts interest lies in this economy. Hubaut and Sohier are not interpreted here so much as placed into circulation. The orange-brown stock and dark brown ink keep the card near the graphic language of filing, storage, and controlled release. What remains is a minor exhibition document in which publicity is almost withdrawn, leaving a more procedural form behind.\u003c\/p\u003e\u003cp\u003eCaen, c. 1979. Printed matter as relay, residue, and placement.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53229952205138,"sku":"JH-MS-EPIDEMIK-1979-INV","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Joel_Hubaut_Michel_Sohier_001.jpg?v=1776448987"},{"product_id":"p-s-1-museum-fall-exhibitions-preview-invitation-1989","title":"P.S.1 Museum — Fall Exhibitions Preview Invitation, 1989","description":"\u003cp\u003eCatherine Beaugrand, André Cadere (1934–78), Raymond Hains\u003cbr\u003eThe Institute for Contemporary Art \/ P.S.1 Museum, Long Island City, New York\u003cbr\u003e15 October 1989\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e21 × 10.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOffset print on light card stock; recto printed, verso blank\u003cbr\u003eCondition: very good; light handling wear, minor corner softening, light age toning, blank reverse clean overall\u003c\/p\u003e\n\u003cp\u003eA reception card in which the institution supplies the image.\u003c\/p\u003e\n\u003cp\u003eNot the work.\u003cbr\u003eNot the exhibition.\u003cbr\u003eThe building.\u003c\/p\u003e\n\u003cp\u003eA cropped view of the P.S.1 roofline is used as the stable visual support while names, dates, and programmes are passed across it. The same image appears on other P.S.1 invitations from the period, which places this card less in the register of design than in that of reuse: an administrative image kept in circulation.\u003c\/p\u003e\n\u003cp\u003eBeaugrand, Cadere, Hains. Three positions brought together under one printed roof. The card does not interpret them. It hosts them.\u003c\/p\u003e\n\u003cp\u003eAs shop\/object, it reads as a minor institutional readymade: architecture reduced to sign, invitation reduced to function, exhibition reduced to list. A small transfer object in which authorship is shared between venue, programme, typography, and repetition.\u003c\/p\u003e\n\u003cp\u003eNew York, late 1980s.\u003cbr\u003eA card for entry.\u003cbr\u003eA card in which P.S.1 pictures itself.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53231061500242,"sku":"PS1-FALL89-INV","price":110.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Alanna_Heiss_001.jpg?v=1776490560"},{"product_id":"richard-prince-new-portraits-gagosian-gallery-2014","title":"Richard Prince — New Portraits, Gagosian Gallery, 2014","description":"\u003cp data-start=\"589\" data-end=\"805\"\u003e\u003cstrong data-start=\"589\" data-end=\"607\"\u003eRichard Prince\u003c\/strong\u003e\u003cbr data-start=\"607\" data-end=\"610\"\u003e\u003cstrong data-start=\"610\" data-end=\"627\"\u003eNew Portraits\u003c\/strong\u003e\u003cbr data-start=\"627\" data-end=\"630\"\u003eGagosian Gallery, New York, 2014\u003cbr data-start=\"662\" data-end=\"665\"\u003e72-page exhibition booklet \/ catalogue\u003cbr data-start=\"703\" data-end=\"706\"\u003eEdition of 500\u003cbr data-start=\"720\" data-end=\"723\"\u003e6 × 8 inches\u003cbr data-start=\"735\" data-end=\"738\"\u003eStaple-bound booklet, offset printed\u003cbr data-start=\"774\" data-end=\"777\"\u003e\u003cstrong data-start=\"777\" data-end=\"805\"\u003e£295 — shipping included\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"807\" data-end=\"981\"\u003eOriginal booklet issued for Richard Prince’s \u003cem data-start=\"852\" data-end=\"867\"\u003eNew Portraits\u003c\/em\u003e, the 2014 exhibition of Instagram-sourced images enlarged as inkjet-on-canvas works with Prince’s added comments.\u003c\/p\u003e\n\u003cp data-start=\"983\" data-end=\"1203\"\u003eThe booklet repeats the structure of the feed: handle, image, likes, caption, comment. A social image is moved into the gallery, then returned to paper as catalogue. The object records this transfer without resolving it.\u003c\/p\u003e\n\u003cp data-start=\"1205\" data-end=\"1490\"\u003eThe series remains tied to questions of authorship, permission, display, celebrity, and legal afterlife. Donald Graham’s \u003cem data-start=\"1326\" data-end=\"1355\"\u003eRastafarian Smoking a Joint\u003c\/em\u003e, reproduced through the \u003cem data-start=\"1380\" data-end=\"1395\"\u003eNew Portraits\u003c\/em\u003e project, later became part of the litigation around Prince’s use of Instagram-sourced imagery.\u003c\/p\u003e\n\u003cp data-start=\"1492\" data-end=\"1645\"\u003eCondition: very good, with a noticeable bump\/crease to the top right corner, visible on the cover and some pages. Light handling wear consistent with storage.\u003c\/p\u003e\n\u003cp data-start=\"1647\" data-end=\"1741\"\u003eImage, caption, comment, claim.\u003cbr data-start=\"1678\" data-end=\"1681\"\u003eThe feed becomes exhibition.\u003cbr data-start=\"1709\" data-end=\"1712\"\u003eThe exhibition becomes paper.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53317011636562,"sku":"RP-NP-GAG-2014","price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Prince_-Richard.-New-Portraits_-2014-1-cover.jpg?v=1777493215"},{"product_id":"tracey-emin-i-need-art-like-i-need-god-jay-jopling-1998","title":"Tracey Emin — I Need Art Like I Need God, Jay Jopling \/ London, 1998","description":"\u003cp\u003e\u003cstrong\u003eTracey Emin — I Need Art Like I Need God\u003c\/strong\u003e\u003cbr\u003eJay Jopling \/ London, 1998\u003cbr\u003ePublished for \u003cem\u003eTracey Emin: I Need Art Like I Need God\u003c\/em\u003e, South London Gallery, 16 April–18 May 1997\u003c\/p\u003e\u003cp\u003eSoftcover exhibition monograph with stiff glossy wraps\u003cbr\u003e73 pp., colour plates\u003cbr\u003e30 × 21 cm \/ large quarto\u003cbr\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e English\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. Light rubbing, handling marks, faint surface wear to glossy covers, minor edge\/corner wear, original rear price\/barcode sticker present. Interior clean and bright.\u003c\/p\u003e\u003cp\u003ePrinted support for an exhibition already moving beyond exhibition status.\u003c\/p\u003e\u003cp\u003eBefore \u003cem\u003eMy Bed\u003c\/em\u003e became the public shorthand, this book fixes an earlier arrangement: body, room, handwriting, photograph, confession, object. The cover stages the artist from behind, inside the workspace, already converted into image and signature. The back cover reduces the body further: four small vertical fragments set into a field of turquoise, with the shop label still attached.\u003c\/p\u003e\u003cp\u003eInside, the sequence continues as document and display. Clothes, blankets, studio floor, handwritten notes, framed fragments, street images, hotel paper. Nothing is outside the work once it enters the catalogue. Biography becomes layout. Intimacy becomes plate. Evidence becomes style.\u003c\/p\u003e\u003cp\u003eThe book does not explain Emin. It files her.\u003c\/p\u003e\u003cp\u003eA catalogue as exhibition residue.\u003cbr\u003eA self-portrait routed through paper.\u003cbr\u003eAn object from the construction of a public name.\u003c\/p\u003e\u003cp\u003eShipping included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53318458736978,"sku":"TE-INALIG-1998","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Emin_-Tracey.--I-Need-Art-Like-I-Need-God-cover.jpg?v=1777513928"},{"product_id":"robert-mapplethorpe-fotografie-idea-books-milan-1983","title":"Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983","description":"\u003cp\u003e\u003cstrong\u003eRobert Mapplethorpe — Fotografie\u003c\/strong\u003e\u003cbr\u003eIdea Books Edizioni, Milan, 1983\u003cbr\u003eInterview by Germano Celant\u003cbr\u003eItalian-language edition\u003c\/p\u003e\u003cp\u003eSoftcover, black-and-white illustrations\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good used copy. Rubbing and shelf wear to covers, edge and corner wear, light creasing, surface marks, and general handling. Original yellow N.P.G. price sticker to rear cover. Interior appears clean. Clippings show folds, toning, creasing, and newspaper fragility consistent with retained press material.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWith retained period newspaper and magazine clippings.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIdea Books publication on Robert Mapplethorpe, issued in Milan in 1983 with an interview by Germano Celant. Portraits, bodies, flowers, studio arrangements. The classical pose and the charged image held inside a compact Italian publication.\u003c\/p\u003e\u003cp\u003eThis copy includes a group of retained newspaper and magazine clippings relating to Mapplethorpe’s public reception after publication: reviews, censorship coverage, obituary material, television listings, and articles around obscenity, public funding, and institutional display. One clipping is annotated “Guardian 8 X 1990.”\u003c\/p\u003e\u003cp\u003eThe book enters as monograph.\u003cbr\u003eThe clippings enter as record.\u003c\/p\u003e\u003cp\u003eImage, interview, publisher, sticker, review, obituary, legal anxiety, television listing.\u003c\/p\u003e\u003cp\u003eA monograph displaced into dossier form.\u003c\/p\u003e\u003cp\u003eMapplethorpe is held here by two paper systems: the Italian art book and the English-language press file. One fixes the work in 1983. The other records its later movement through publicity, controversy, and reception.\u003c\/p\u003e\u003cp\u003eBook and afterlife, retained together.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53318910116178,"sku":"RM-FOT-IDEA-1983","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mapplethorpe_-Robert.-Fotografie-1983-back-cover_3c793ee3-8781-4c4a-a7d5-ca5406e113c4.jpg?v=1777535435"},{"product_id":"east-village-85-a-guide-a-documentary-pelham-press-1985","title":"Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985","description":"\u003cp\u003e\u003cstrong\u003eRoland Hagenberg et al.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eEast Village ’85: A Guide. A Documentary.\u003c\/strong\u003e\u003cbr\u003eNew York: Pelham Press, 1985\u003cbr\u003eSoftcover, illustrated wrappers\u003cbr\u003eApprox. 20 × 26.5 cm\u003cbr\u003e160 pp., black-and-white and colour illustrations\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall for a heavily handled period softcover. Visible rubbing, edge wear, surface creasing, corner wear, age toning, and handling marks to covers and page edges. Interior remains clean and highly usable. The wear is consistent with an object that circulated as guide, document, address book, scene report, and commercial instrument.\u003c\/p\u003e\u003cp\u003eEdited by Roland Hagenberg, with contributions by Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege and others. A dense guide\/documentary of the mid-1980s East Village art scene, combining gallery profiles, essays, maps, portraits, listings, advertisements, and social documentation. Includes references and appearances connected to Jean-Michel Basquiat, Keith Haring, Jeff Koons, Madonna, Kenny Scharf, Walter Robinson, Gracie Mansion, Piezo Electric, Limbo, Civilian Warfare, Artmart, Nolo Contendere, Wolff, and many others.\u003c\/p\u003e\u003cp\u003eA book that converts a neighbourhood into a printed system.\u003cbr\u003eMap, gallery, portrait, advertisement, essay, directory, gossip structure.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eEast Village ’85\u003c\/em\u003e does not sit outside the scene it describes. It participates in it. The book has the form of a yearbook, a sales prospectus, a local index, and a documentary device. Artists, dealers, photographers, critics, performers, and galleries are arranged as entries within a short-lived cultural economy. The East Village appears here not as myth after the fact, but as a working surface: named, mapped, promoted, monetised, and already becoming historical.\u003c\/p\u003e\u003cp\u003eThe commercial language is part of the object. Hagenberg’s project understood the East Village as a place where documentation and promotion could not be separated. The guide records the scene while helping to produce its visibility. In that sense it belongs to the same economy as the gallery card, the downtown flyer, the paid page, the art-world directory, and the social photograph.\u003c\/p\u003e\u003cp\u003eAs shop\/object, this copy functions as retained evidence from a moment when art, nightlife, real estate, youth culture, and market formation briefly occupied the same paper field. Not a neutral guide. A printed mechanism for placement.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53333045018962,"sku":"EV85-HAGENBERG-PELHAM-1985","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/East_Village_85_A_guide._A_documentary_cover.jpg?v=1777822032"},{"product_id":"david-diao-lying-2-postmasters-gallery-new-york-2000","title":"David Diao — Lying 2, Postmasters Gallery, New York, 2000","description":"\u003cp\u003e\u003cstrong\u003eDavid Diao — Lying 2\u003c\/strong\u003e\u003cbr\u003ePostmasters Gallery, New York, 2000\u003cbr\u003eExhibition announcement card\u003cbr\u003e18 × 12.7 cm\u003cbr\u003eOffset print on semi-gloss card\u003cbr\u003eColour image recto; black-and-white exhibition information verso\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good to very good. Light surface wear, faint toning, minor edge and corner handling consistent with period gallery ephemera.\u003c\/p\u003e\u003cp\u003eOriginal announcement card issued by Postmasters Gallery for David Diao’s 2000 exhibition, 14 October – 11 November. The verso identifies the reproduced painting as \u003cem\u003eLying 2\u003c\/em\u003e, 2000, acrylic on canvas, 79 × 115 inches.\u003c\/p\u003e\u003cp\u003eA small Postmasters object from Diao’s early-2000s circulation. The painting appears as reproduction, framed by a teal field and converted into gallery notice. On the reverse, image gives way to schedule, address, phone number, web address, and email. The exhibition is reduced to a card-sized administrative surface.\u003c\/p\u003e\u003cp\u003eA secondary line at the bottom records Jennifer and Kevin McCoy’s \u003cem\u003ePink Light\u003c\/em\u003e in the “hole in the floor” project space, placing the object inside the wider Postmasters programme.\u003c\/p\u003e\u003cp\u003ePainting as notice. Gallery as layout. Exhibition as mailed support.\u003c\/p\u003e\u003cp\u003eShipping and handling included in the listed price. Dispatched protected and tracked.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53336120754514,"sku":"DD-LYING2-POSTMASTERS-2000","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/DAvid_Diao_0001.jpg?v=1777843295"},{"product_id":"georg-baselitz-devotion-invitation-alan-cristea-gallery-2019","title":"Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019","description":"\u003cp\u003eExhibition invitation \/ announcement card\u003cbr\u003e21.0 × 14.8 cm\u003cbr\u003eOffset print on light card stock; exhibition information to verso with reproduced image (\u003cem\u003eAuerbach (yellow)\u003c\/em\u003e, 2018) to recto\u003cbr\u003ePublished by Alan Cristea Gallery, London\u003cbr\u003eCondition: very good; light handling wear and faint edge softening consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for Georg Baselitz's \u003cem\u003eDevotion\u003c\/em\u003e exhibition at \u003ca href=\"https:\/\/www.alancristea.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAlan Cristea Gallery\u003c\/a\u003e, London, presented in May–June 2019. The invitation adopts a notably restrained format: generous white space, centered serif typography, and sparse institutional information offset against a reproduction from Baselitz's print practice. Rather than functioning as a graphic statement, it remains close to a threshold object — an announcement structure carrying date, access, and placement.\u003c\/p\u003e\u003cp\u003eBy 2019 Baselitz had moved through several distinct phases of production: the fractured and raw figurative paintings of the 1960s, the inverted figures that became synonymous with his practice from 1969 onward, and increasingly direct engagement with printmaking as a space for experimentation. The title \u003cem\u003eDevotion\u003c\/em\u003e introduces a quieter register, where gesture and image begin to feel less declarative and more reflective.\u003c\/p\u003e\u003cp\u003eWithin a New Rare object logic, the invitation sits somewhere between exhibition residue and administrative support. The exhibition concludes, the object remains. A small printed document retaining the coordinates of a temporary event.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Alan Cristea Gallery","offers":[{"title":"Default Title","offer_id":53547742593362,"sku":"BASELITZ-DEVOTION-INV-2019","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Baselitz_Georg._Devotion_invitation._2019_front.jpg?v=1779596810"},{"product_id":"david-hammons-invitation-postcard-lm-arts-new-york-2011","title":"David Hammons — Exhibition Invitation Card, L\u0026M Arts, New York, 2011","description":"\u003cp\u003eExhibition invitation postcard\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; black-and-white typography to recto and verso\u003cbr\u003ePublished by L\u0026amp;M Arts, New York\u003cbr\u003eExhibition dates: January 26 – February 26, 2011\u003cbr\u003eCondition: very good; light handling wear and faint surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition by David Hammons at L\u0026amp;M Arts, New York. The invitation reduces itself almost completely to a name. White letters against black ground; date and venue on the reverse. No image, no explanatory text, no secondary information. The design follows a familiar Hammons strategy: withholding rather than announcing.\u003c\/p\u003e\u003cp\u003eThe exhibition itself marked Hammons's first presentation of new work since his earlier 2007 project at L\u0026amp;M and centred on large paintings and mixed-media works that partially concealed their own images beneath tarps, blankets, and weathered coverings. Beneath these surfaces viewers encountered fragments of abstraction — painting simultaneously revealed and denied. Critics frequently described the exhibition as operating between seduction and obstruction: beauty present but deliberately interrupted.\u003c\/p\u003e\u003cp\u003eThe works pushed forward concerns already active throughout Hammons's practice. Since the body prints of the late 1960s, snowball sales, found objects, bottle caps, hair pieces, basketball imagery, and street interventions, Hammons repeatedly positioned meaning at the edges of visibility. In these 2011 works, concealment itself became material. A painting remained present physically while refusing complete access.\u003c\/p\u003e\u003cp\u003eAs an object, the invitation behaves similarly. It withholds almost everything except a name. Read through a New Rare register, the card functions less as documentation than as a compressed proposition: the artist's name acting as image, announcement, and object simultaneously.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"L\u0026M Arts","offers":[{"title":"Default Title","offer_id":53547844141394,"sku":"HAMMONS-LM-INV-2011","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Hammons_David._L_M_Arts_invitation_postcard._2011_front.jpg?v=1779596810"},{"product_id":"martin-honert-invitation-matthew-marks-gallery-new-york-1999","title":"Martin Honert — Exhibition Invitation Card, Matthew Marks Gallery, New York, 1999","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003e21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour illustration to recto, exhibition details to verso\u003cbr\u003ePublished by Matthew Marks Gallery, New York\u003cbr\u003eExhibition dates: 12 November – 24 December 1999\u003cbr\u003eOpening: Thursday 11 November 1999, Saint Martin's Day\u003cbr\u003eCondition: very good; light handling wear, minor surface marks, and faint age-related toning\u003c\/p\u003e\u003cp\u003eProduced for Martin Honert's solo exhibition at Matthew Marks Gallery, New York, in 1999. The front reproduces an image of two children taking part in a traditional German \u003cem\u003eLaternenumzug\u003c\/em\u003e, or lantern procession. The opening date connects directly to Saint Martin's Day, when children traditionally carry lanterns in evening parades.\u003c\/p\u003e\u003cp\u003eHonert's work often draws on childhood memory, folklore, schoolroom imagery, and postwar German visual culture. These references are not simply nostalgic. They are reconstructed as staged images and sculptural forms, where memory appears enlarged, clarified, and slightly estranged.\u003c\/p\u003e\u003cp\u003eAs an invitation, the card acts as a small support for this logic. A children's ritual becomes exhibition image. A date becomes thematic structure. The printed object remains as a reduced record of an event built around memory, folklore, and reconstruction.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Matthew Marks Gallery","offers":[{"title":"Default Title","offer_id":53547970658642,"sku":"HONERT-MMG-INV-1999","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Honert_Martin._Show_invite_Matthew_Marks_Gallery._1999_front.jpg?v=1779596808"},{"product_id":"pierre-klossowski-lenonce-a-nouveau-denonce-galerie-beaubourg-vence-1999","title":"Pierre Klossowski — l’énoncé à nouveau dénoncé — Exhibition Announcement Card, Galerie Beaubourg, Vence, 1999","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour sculpture reproduction to recto, exhibition information to verso\u003cbr\u003ePublished by Galerie Beaubourg \/ Marianne \u0026amp; Pierre Nahon, Vence, France\u003cbr\u003eExhibition dates: 3 April – 12 June 1999\u003cbr\u003eCondition: very good; light handling wear and minor age-related surface marks\u003c\/p\u003e\u003cp\u003ePrinted for a solo exhibition by Pierre Klossowski titled \u003cem\u003el’énoncé à nouveau dénoncé\u003c\/em\u003e (“the statement denounced again”), held at the Château Notre-Dame des Fleurs in Vence under the direction of Marianne and Pierre Nahon. Issued late in Klossowski’s life, the exhibition gathered paintings and sculptures around a body of work that continuously moved between literature, philosophy, theatre, and image.\u003c\/p\u003e\u003cp\u003eThe front reproduces Klossowski’s \u003cem\u003eRoberte aux barres parallèles\u003c\/em\u003e (1990), a polychrome sculpture executed in painted synthetic resin, metal, and wood. The work animates characters from \u003cem\u003eThe Laws of Hospitality\u003c\/em\u003e, the avant-garde trilogy through which Klossowski developed the figure of Roberte — part fictional protagonist, part philosophical device, part recurring image-system. Across these texts and later visual works, desire becomes staged rather than narrated: roles are performed, exchanged, repeated, and observed.\u003c\/p\u003e\u003cp\u003eThe sculpture itself sits between mannequin, theatre prop, and philosophical proposition. The figures appear suspended in an ambiguous scene somewhere between choreography and ritual. As with much of Klossowski’s work, the image resists a stable reading; narrative and enactment begin to overlap.\u003c\/p\u003e\u003cp\u003eAs a printed object the card performs a similar reduction. Complex literary and philosophical structures are compressed into a portable support: title, image, date, place. The exhibition passes; the scenario remains.\u003c\/p\u003e\u003cp\u003eOriginal period item.\u003c\/p\u003e","brand":"Galerie Beaubourg","offers":[{"title":"Default Title","offer_id":53548089246034,"sku":"KLOSSOWSKI-GB-INV-1999","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Klossowski_Pierre._Sculpture_and_painting_show_announcement_Galerie_Beubourg._1999_front.jpg?v=1779599409"},{"product_id":"barbara-kruger-untitled-love-is-something-you-fall-into-national-gallery-of-art-washington-2016-2017","title":"Barbara Kruger — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017","description":"\u003cp\u003eExhibition postcard\u003cbr\u003eApprox. 20.3 × 10.2 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition and work details to verso\u003cbr\u003ePublished for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, National Gallery of Art, Washington, D.C.\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age-related wear consistent with use\u003c\/p\u003e\u003cp\u003ePostcard published for \u003cem\u003eIn the Tower: Barbara Kruger\u003c\/em\u003e, presented at the National Gallery of Art, Washington, following the reopening of the museum’s East Building Tower Gallery after a major architectural renovation. Curated by Molly Donovan, the exhibition brought together profile works spanning several decades and examined one of Kruger’s central formal structures: direct language confronting indirect or withdrawn imagery.\u003c\/p\u003e\u003cp\u003eThe postcard reproduces \u003cem\u003eUntitled (Love is something you fall into)\u003c\/em\u003e (1990), one of Kruger’s most recognisable works. A cropped black-and-white image of a woman’s profile is interrupted by a vertical red text bar carrying the phrase: \u003cem\u003eLove is something you fall into\u003c\/em\u003e. The language initially resembles advertising copy or a magazine headline, but the wording immediately destabilises itself. Rather than presenting love as aspiration or fulfilment, the phrase suggests surrender, descent, or loss of control.\u003c\/p\u003e\u003cp\u003eKruger repeatedly appropriated the visual language of consumer culture — publicity, magazines, editorial layouts — not to celebrate persuasion but to expose its mechanisms. Here romance itself becomes a manufactured proposition. Desire is packaged, delivered, and sold back to the viewer. The image remains suspended between glamour and unease, attraction and warning.\u003c\/p\u003e\u003cp\u003eThe timing of the exhibition added another register. Installed in Washington during the final months of the 2016 U.S. election cycle and presidential transition, Kruger’s long-standing concerns around authority, social conditioning, and systems of persuasion acquired renewed urgency.\u003c\/p\u003e\u003cp\u003eAs an object, the postcard functions as a compressed version of Kruger’s larger method: image, command, interruption. A museum support carrying forward the structure of the work itself.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548400312658,"sku":"KRUGER-NGA-PC-2017","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kruger_Barbara._Artist_postcard_from_the_exhibition_in_the_Tower_Barbara_Kruger_National_Gallery_of_Art_Washington._2017_front.jpg?v=1779601140"},{"product_id":"yayoi-kusama-festival-of-life-infinity-nets-david-zwirner-new-york-2017","title":"Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; colour studio portrait to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, New York\u003cbr\u003eExhibition dates: 2 November – 16 December 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for a significant concurrent two-part exhibition by Yayoi Kusama in New York in late 2017. The invitation announced two simultaneous presentations across separate David Zwirner locations: \u003cem\u003eFestival of Life\u003c\/em\u003e in Chelsea and \u003cem\u003eInfinity Nets\u003c\/em\u003e on the Upper East Side.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFestival of Life\u003c\/em\u003e brought together sixty-six paintings from Kusama’s \u003cem\u003eMy Eternal Soul\u003c\/em\u003e series alongside immersive \u003cem\u003eInfinity Mirror Rooms\u003c\/em\u003e and large-scale sculptural works. Running in parallel, \u003cem\u003eInfinity Nets\u003c\/em\u003e returned to one of the artist’s foundational bodies of work: monochromatic paintings built through repeated hand-painted gestures accumulating into dense optical fields.\u003c\/p\u003e\u003cp\u003eThe image reproduced on the front departs from a conventional artwork reproduction and instead presents Kusama inside the environment of her own production. Seated in the studio, surrounded by \u003cem\u003eMy Eternal Soul\u003c\/em\u003e paintings, the distinction between artist, setting, and work begins to collapse. The red wig, patterned dress, and surrounding surfaces seem to operate within the same visual system. Portrait becomes installation; installation becomes self-image.\u003c\/p\u003e\u003cp\u003eAcross Kusama’s practice, repetition acts simultaneously as method, psychological structure, and image-making device. Dots, nets, accumulations, and mirrored spaces continuously oscillate between personal compulsion and visual infinity. Rather than depicting a world, the work creates one.\u003c\/p\u003e\u003cp\u003eAs an object, the card retains a moment when two major trajectories of Kusama’s practice — recent maximalism and foundational repetition — were presented in parallel. A small printed support carrying the structure of a much larger environment.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53548409618770,"sku":"KUSAMA-DZ-INV-2017","price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Festival_of_Life_show_invite._2017_front.jpg?v=1779601142"},{"product_id":"yayoi-kusama-explosion-anatomique-manifestation-non-identifiee-centre-pompidou-2019","title":"Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019","description":"\u003cp\u003ePair of museum postcards\u003cbr\u003eApprox. 15 × 10.5 cm each\u003cbr\u003eOffset print on card stock; black-and-white photographic reproductions to recto, archival and publication details to verso\u003cbr\u003ePublished by Éditions Centre Pompidou, Paris, 2019\u003cbr\u003ePhotographs by Harry Shunk and János Kender\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIncludes:\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e1. \u003cem\u003eExplosion anatomique, Pont de Brooklyn, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph showing Yayoi Kusama alongside nude performers covered in polka dots beneath a large \u003cem\u003eKUSAMA SELF-OBLITERATION\u003c\/em\u003e banner on the Brooklyn Bridge.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e2. \u003cem\u003eManifestation non identifiée, New York, 1968\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003eBlack-and-white photograph depicting two embracing nude performers covered in polka dots beneath an American flag within one of Kusama’s accumulation environments.\u003c\/p\u003e\u003cp\u003eThis pair reproduces documentary photographs from Kusama’s pivotal New York period of the late 1960s, when her practice moved beyond painting and into public actions, staged demonstrations, and politically charged Happenings. Both images were captured by the important photographic partnership of Harry Shunk and János Kender, whose archive remains one of the primary visual records of postwar avant-garde activity.\u003c\/p\u003e\u003cp\u003eProduced at the height of the Vietnam War and wider countercultural unrest, Kusama’s public actions used nudity, repetition, and spectacle as forms of protest. Her recurring polka dots functioned as more than decoration; they formed part of her idea of \u003cem\u003eSelf-Obliteration\u003c\/em\u003e, a strategy intended to dissolve the boundaries of individual identity through repetition and shared surface. Bodies, objects, and environments become absorbed into a continuous field.\u003c\/p\u003e\u003cp\u003eThe Brooklyn Bridge action transforms a recognisable structure into a temporary stage. The \u003cem\u003eManifestation non identifiée\u003c\/em\u003e image moves toward something more psychologically charged — intimacy, nationalism, eroticism, and confrontation compressed into a single frame.\u003c\/p\u003e\u003cp\u003eAs objects, the postcards operate as secondary documents of ephemeral actions that originally resisted permanence. Performance disappears; the image remains. The image enters an archive; the archive returns as a printed support.\u003c\/p\u003e\u003cp\u003eOriginal period items. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53548580929874,"sku":"KUSAMA-CP-PC-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Kusama_Yayoi._Editions_Pompidou_Paris_postcard._Explosion_anatomique_Pont_de_Brooklyn_1968_._2019_front_63027cc3-fa61-4e6c-8f65-795ec564945a.jpg?v=1779602205"},{"product_id":"sherrie-levine-pie-town-david-zwirner-london-2017","title":"Sherrie Levine — Pie Town — Exhibition Announcement Card, David Zwirner, London, 2017","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 21 × 14.8 cm\u003cbr\u003eOffset print on card stock; artwork reproduction to recto, exhibition details to verso\u003cbr\u003ePublished by \u003ca href=\"https:\/\/www.davidzwirner.com\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDavid Zwirner\u003c\/a\u003e, London\u003cbr\u003eExhibition dates: 4 October – 18 November 2017\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with storage\u003c\/p\u003e\u003cp\u003eIssued for a solo exhibition by Sherrie Levine at David Zwirner, London. The card reproduces a detail from \u003cem\u003eAfter Russell Lee: 1–60\u003c\/em\u003e (2016), Levine’s reworking of historic documentary photographs originally made by Russell Lee during his work for the Farm Security Administration in the 1940s.\u003c\/p\u003e\u003cp\u003eThe image depicts Faro and Doris Caudill in Pie Town, New Mexico, photographed in October 1940. In Levine’s version, the original documentary image re-enters circulation as a new object: digitally translated, enlarged, and repositioned within the context of contemporary art. Rather than producing an image from nothing, Levine works through transfer, repetition, and displacement.\u003c\/p\u003e\u003cp\u003eSince the late 1970s Levine has repeatedly questioned the stability of authorship and originality through acts of appropriation. Existing images are not simply reused but placed under pressure. Ownership, historical authority, and artistic identity become unstable categories. The gesture is small and direct: take an image already embedded in culture and ask what changes when it appears again.\u003c\/p\u003e\u003cp\u003eWithin a New Rare register the invitation performs a similar operation. One image passes through multiple systems — documentary record, archive, artwork, exhibition support, printed card. Authorship remains active but temporarily unsettled.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"David Zwirner","offers":[{"title":"Default Title","offer_id":53549335314770,"sku":"LEVINE-DZ-INV-2017","price":60.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Pie_Town_exhibition_card._David_Zwirner_London._2017_front.jpg?v=1779601142"},{"product_id":"sherrie-levine-directions-hirshhorn-museum-washington-1988","title":"Sherrie Levine — Directions — Exhibition Brochure, Hirshhorn Museum and Sculpture Garden, Washington D.C., 1988","description":"\u003cp\u003eOriginal folded exhibition brochure \/ catalogue\u003cbr\u003eApprox. folded: 22.8 × 22.8 cm\u003cbr\u003eOffset print on cream stock with fold-out interior panels\u003cbr\u003ePublished by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution\u003cbr\u003eExhibition dates: 9 March – 30 May 1988\u003cbr\u003eCondition: good to very good; light toning, handling wear, minor corner softening and age-related surface marks\u003c\/p\u003e\u003cp\u003eIssued for Sherrie Levine’s 1988 \u003cem\u003eDirections\u003c\/em\u003e exhibition at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., later travelling to the High Museum of Art in Atlanta as part of \u003cem\u003eArt at the Edge\u003c\/em\u003e. The publication includes essays by Phyllis Rosenzweig and Susan Krane alongside a checklist, bibliography, exhibition history, and reproductions of works from Levine’s then-recent \u003cem\u003eLead Checks\u003c\/em\u003e and \u003cem\u003eGolden Knots\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe brochure marks a distinct moment in Levine’s practice. During the early 1980s her name became closely associated with re-photographed images and acts of appropriation, but by the late 1980s those strategies had migrated toward painting and material itself. The reproduced \u003cem\u003eLead Checks\u003c\/em\u003e works borrow the language of modernist geometry while removing its rhetoric of originality. The \u003cem\u003eGolden Knots\u003c\/em\u003e paintings similarly elevate accidental defects in commercially available plywood into subjects of attention.\u003c\/p\u003e\u003cp\u003eThe publication records a transition rather than a conclusion. Photography becomes painting, repetition becomes material, and citation becomes object. It also captures a moment when Neo-Geo and post-appropriation discourse were actively reorganising assumptions around authorship and artistic authority.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the brochure functions as a retained institutional support object — part checklist, part exhibition document, part evidence of a critical shift in Levine’s work becoming publicly fixed in print.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Hirshhorn Museum and Sculpture Garden","offers":[{"title":"Default Title","offer_id":53549909442898,"sku":"LEVINE-HIRSH-BROCH-1988","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Levine_Sherrie._Directions_show_invite._1988_front.jpg?v=1779601140"},{"product_id":"mark-morrisroe-1959-1989-clampart-new-york-2011","title":"Mark Morrisroe (1959–1989) — Exhibition Announcement Card, ClampArt, New York, 2011","description":"\u003cp\u003eExhibition announcement card\u003cbr\u003eApprox. 15 × 10 cm\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by ClampArt, New York\u003cbr\u003eExhibition dates: 24 March – 30 April 2011\u003cbr\u003eCondition: good vintage condition; light handling wear and minor surface marks consistent with storage and age\u003c\/p\u003e\u003cp\u003eIssued for a 2011 solo exhibition dedicated to Mark Morrisroe at ClampArt in New York, produced simultaneously with the major survey \u003cem\u003eMark Morrisroe: From This Moment On\u003c\/em\u003e at Artists Space. Together the two exhibitions contributed to a broader re-examination of Morrisroe’s short but influential career and his position within late twentieth-century photography.\u003c\/p\u003e\u003cp\u003eThe card reproduces \u003cem\u003eSelf Portrait\u003c\/em\u003e (1980 \/ photogravure edition printed 1996), an image that condenses much of Morrisroe’s practice into a single frame: intimacy, performance, vulnerability, and self-invention. Rather than presenting portraiture as stable documentation, Morrisroe treated the photograph as a mutable surface — manipulated through layered negatives, reprinting, and darkroom intervention. His images frequently move between autobiography and fiction.\u003c\/p\u003e\u003cp\u003eAssociated with the Boston School alongside figures such as Nan Goldin and David Armstrong, Morrisroe photographed friends, lovers, and underground communities with an immediacy that resisted polished documentary conventions. The work sits between diaristic record and constructed persona, preserving both closeness and instability.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory this card functions as a secondary record of a second life: a contemporary exhibition built around posthumous circulation, where the image continues to move through archive, institution, estate, and print support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"ClampArt","offers":[{"title":"Default Title","offer_id":53549988446546,"sku":"MORRISROE-CLAMP-INV-2011","price":135.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Morrisroe_Mark._Clamp_Art_opening_reception_invite._2011_front.jpg?v=1779605198"},{"product_id":"yoko-ono-dollar-piece-printed-matter-studio-one-2006","title":"Yoko Ono — Dollar Piece — Printed Matter Membership Multiple with Envelope, Studio One, New York, 2006","description":"\u003cp\u003ePrinted Matter membership multiple with original envelope\u003cbr\u003eOffset print on textured paper with companion envelope\u003cbr\u003ePublished by Printed Matter, New York\u003cbr\u003e2006\u003cbr\u003eApprox. letter sheet with mailing envelope\u003cbr\u003eCondition: good vintage condition; fold lines, light handling wear, minor creasing and age-related marks to sheet and envelope; adhesive residue and opening wear to envelope present\u003c\/p\u003e\u003cp\u003eIssued in 2006 as a benefit multiple for Printed Matter, this work reactivates Yoko Ono’s \u003cem\u003eDollar Piece\u003c\/em\u003e, an instruction score first written in spring 1963 during one of the most important periods of her early conceptual practice. The text asks the reader to choose a monetary amount, imagine everything it can purchase, then imagine everything it cannot purchase, before recording the result. Like many of Ono’s early instruction works, the piece shifts the artwork away from object and toward action, imagination, and participation.\u003c\/p\u003e\u003cp\u003eThe original score belongs to the same moment that produced works later collected in \u003cem\u003eGrapefruit\u003c\/em\u003e (1964), a publication that helped establish Ono as a central figure within early conceptual art and Fluxus. Rather than producing fixed images, these works operate as proposals — activated mentally rather than materially.\u003c\/p\u003e\u003cp\u003eThe printed sheet carries a reproduced “Yoko Ono ’06” signature and a Studio One letterhead, while an illustration of the Dakota apartment building appears at the lower edge. The accompanying envelope extends the work into a mail format, placing it within a lineage of circulation objects and artist-distributed multiples.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the object sits somewhere between correspondence, conceptual score, and fundraising support document. It proposes value while quietly undoing it.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550083309906,"sku":"ONO-PM-DOLLAR-2006","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ono_Yoko._Dollar_Piece_membership_memo_for_Printed_Matter_signed_Yoko_Ono_06._2006.jpg?v=1779605564"},{"product_id":"yvonne-rainer-john-erdman-this-is-the-story-of-a-woman-who-portland-center-visual-arts-1973","title":"Yvonne Rainer \u0026 John Erdman — “This is the story of a woman who…” — Performance Announcement Postcard, Portland Center for the Visual Arts, 1973","description":"\u003cp\u003eOriginal performance announcement postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePortland Center for the Visual Arts (PCVA), Portland, Oregon\u003cbr\u003eMay 1973\u003cbr\u003eApprox. postcard format\u003cbr\u003eCondition: good vintage condition; light age toning, minor surface wear and handling marks consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Yvonne Rainer and John Erdman’s 1973 presentation \u003cem\u003eThis is the story of a woman who…\u003c\/em\u003e, this card documents a key transitional moment in Rainer’s practice as her work moved from post-minimal choreography toward narrative, language, and film structures. Produced at the Portland Center for the Visual Arts, the announcement belongs to an early ecosystem of artist-run spaces that circulated experimental performance outside traditional theatre and museum systems.\u003c\/p\u003e\u003cp\u003eThe work itself rejected theatrical conventions in favour of fragmented narrative, task-based movement, projected text, and emotionally restrained gestures. Rainer’s choreography had already challenged spectacle through ordinary movement and procedural structures, and by the early 1970s these concerns began folding into cinematic and psychological territory. Rather than resolving narrative, the work treated it as something unstable and discontinuous.\u003c\/p\u003e\u003cp\u003eThe front reproduces a photograph of Rainer performing \u003cem\u003eTrio A\u003c\/em\u003e (1966), perhaps her most influential choreographic work. \u003cem\u003eTrio A\u003c\/em\u003e famously replaced virtuosic display with continuous unaccented movement, refusing climax, hierarchy, or direct engagement with the audience. The body operates less as performer than as carrier of actions.\u003c\/p\u003e\u003cp\u003eWithin a New Rare inventory the card functions as a residual performance object — a printed support for an event designed to disappear. What remains is a small administrative trace from a larger structure of movement, language, and temporary encounter.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Portland Center for the Visual Arts","offers":[{"title":"Default Title","offer_id":53550304559442,"sku":"RAINER-PCVA-PC-1973","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rainer_Yvonne_Erdman_John._Portland_Centre_for_Visual_Arts_postcard._1973_front.jpg?v=1779606115"},{"product_id":"thomas-rentmeister-centre-art-contemporain-vassiviere-limousin-1997","title":"Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003eOriginal period item\u003cbr\u003eCondition: light handling and storage wear consistent with age\u003c\/p\u003e\u003cp\u003eIssued for Thomas Rentmeister’s solo exhibition at the Centre d’art contemporain de Vassivière en Limousin, held from 26 April – 29 June 1997. The exhibition occupied the institution’s main nave and study spaces and reproduces \u003cem\u003eUntitled (Sans titre)\u003c\/em\u003e (1997), a polyester sculpture measuring 38 × 124 × 97 cm.\u003c\/p\u003e\u003cp\u003eProduced during Rentmeister’s early sculptural period, the reproduced work belongs to a group of highly polished synthetic forms positioned between industrial finish and organic association. The object precedes later installations employing supermarket and domestic materials, but already introduces a movement between Minimalist surface logic and softer bodily or material references.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a secondary exhibition object: notice, image support, and retained document from an early point within Rentmeister’s practice.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"Centre d’art contemporain de Vassivière en Limousin","offers":[{"title":"Default Title","offer_id":53550675984722,"sku":"RENTMEISTER-VASSIVIERE-INV-1997","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Rentmeister_Thomas._Show_invite_Centre_d_art_contemporain_de_Vassivere_en_Limousin._1997_front.jpg?v=1779607177"},{"product_id":"etienne-sandorfi-galerie-3-3-paris-1970","title":"Étienne Sandorfi — Exhibition Invitation Card, Galerie 3+3, Paris, 1970","description":"\u003cp\u003eExhibition invitation card\u003cbr\u003eOffset print on folded card stock\u003cbr\u003ePublished by Galerie 3+3, Paris\u003cbr\u003eExhibition dates: 17 November – 16 December 1970\u003cbr\u003eCondition: light handling wear, fold marks, and age toning consistent with storage and use\u003c\/p\u003e\u003cp\u003eIssued for an exhibition by Étienne Sandorfi at Galerie 3+3, Paris, held from 17 November – 16 December 1970. The folded invitation reproduces a psychologically charged image characteristic of Sandorfi’s early period: a fragmented doll-like head interrupted by wires, mechanical elements, and surgical associations. The interior includes exhibition details alongside a short contemporary text describing the work through detachment, repetition, and a restrained form of violence.\u003c\/p\u003e\u003cp\u003eProduced during an early moment in Sandorfi’s practice, the invitation already suggests themes that would later remain central to his work: psychological tension, constructed bodies, precision, and the unstable boundary between figuration and disturbance. The image sits somewhere between portrait, object, and staged condition.\u003c\/p\u003e\u003cp\u003eThe invitation remains as a retained exhibition document from a particular Paris moment. Exhibition notice, image support, and secondary object.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53550913880402,"sku":"SANDORFI-G33-INV-1970","price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sandorfi_Etienne._Show_invite_Galerie_3_3._1970_front.jpg?v=1779607835"},{"product_id":"andres-serrano-piss-christ-immersions-portraits-damerique-galerie-nathalie-obadia","title":"Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels","description":"\u003cp\u003eArtist postcard\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by Galerie Nathalie Obadia, Paris \/ Brussels\u003cbr\u003eExhibition: \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e, Musée Maillol, Paris\u003cbr\u003eExhibition dates: 27 April – 20 October 2024\u003cbr\u003ePostcard published: 2024\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eOfficial exhibition postcard reproducing \u003cem\u003ePiss Christ (Immersions)\u003c\/em\u003e (1987) by Andres Serrano, issued in connection with \u003cem\u003ePortraits d’Amérique\u003c\/em\u003e at the Musée Maillol, Paris, through Galerie Nathalie Obadia, Paris \/ Brussels.\u003c\/p\u003e\u003cp\u003eThe image belongs to Serrano’s \u003cem\u003eImmersions\u003c\/em\u003e series, a body of works in which religious and symbolic objects were submerged within bodily and everyday materials. The reproduced work presents a small crucifix suspended within an illuminated field of amber-red colour. Detached from its original scale and exhibition setting, the image shifts from photographic work to portable support and circulation object.\u003c\/p\u003e\u003cp\u003eOver time \u003cem\u003ePiss Christ\u003c\/em\u003e became one of the most publicly debated artworks of the late twentieth century, moving repeatedly through disputes concerning religion, public funding, censorship, and image circulation. This postcard retains that larger history in condensed form: exhibition material functioning simultaneously as document, reproduction, and residual carrier of a widely circulated image.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551086109010,"sku":"SERRANO-GNO-PC-2024","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Serrano_Andres._Artist_Postcard._Galerie_Natalie_Obadia_Paris___Brussels._2025_front.jpg?v=1779738186"},{"product_id":"cindy-sherman-untitled-317-retrospective-museum-of-contemporary-art-chicago-1998","title":"Cindy Sherman — Untitled #317 (1995) — Exhibition Postcard, Cindy Sherman: Retrospective, Museum of Contemporary Art, Chicago, 1998","description":"\u003cp\u003eMuseum promotional postcard \/ exhibition announcement\u003cbr\u003eOffset print on card stock\u003cbr\u003ePublished by the Museum of Contemporary Art, Chicago\u003cbr\u003eExhibition dates: 21 February – 31 May 1998\u003cbr\u003eCondition: light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eCindy Sherman: Retrospective\u003c\/em\u003e, presented at the Museum of Contemporary Art, Chicago from 21 February – 31 May 1998 and jointly organised with the Museum of Contemporary Art, Los Angeles. The card reproduces \u003cem\u003eUntitled #317\u003c\/em\u003e (1995), a work from Sherman’s mid-1990s \u003cem\u003eMasks\u003c\/em\u003e series.\u003c\/p\u003e\u003cp\u003eThe reproduced image belongs to a body of work in which Sherman shifted from earlier self-performative roles toward prosthetic surfaces, mannequins, masks, and constructed identities. The tightly framed gold face produces an uncertain register somewhere between portrait, disguise, mannequin, and theatrical object. Identity appears less as revelation than as a manufactured surface.\u003c\/p\u003e\u003cp\u003eThe reverse retains traces of its original function. Alongside exhibition information, museum text, and a membership campaign offer, the object records a particular moment when institutional promotion, mass circulation, and a major retrospective converged. The postcard becomes both advertisement and residual exhibition material.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"THE NEW RARE","offers":[{"title":"Default Title","offer_id":53551096430930,"sku":"SHERMAN-MCA-PC-1998","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Sherman_Cindy._Museum_of_Contemporary_Art_exhibition_announcement._1998_front.jpg?v=1779609858"},{"product_id":"mark-bradford-los-angeles-long-museum-west-bund-2019","title":"Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019","description":"\u003cp\u003ePromotional exhibition card \/ invitation\u003cbr\u003e12.7 × 17.8 cm\u003cbr\u003eOffset print on card stock; full-colour image to recto with exhibition information to verso\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and storage\u003c\/p\u003e\u003cp\u003eIssued for \u003cem\u003eMark Bradford: Los Angeles\u003c\/em\u003e at Long Museum West Bund, Shanghai, presented from 27 July–13 October 2019. The exhibition marked Bradford's largest presentation in China at the time and brought together recent works examining the social, architectural, and psychological structures embedded in the urban landscape of Los Angeles.\u003c\/p\u003e\u003cp\u003eThe recto reproduces a photograph of Mark Bradford seated before \u003cem\u003eFloat\u003c\/em\u003e (2019), a monumental installation of layered and stripped paper surfaces. The reverse adopts a different register entirely: a flat orange field carrying title, dates, institutional identity, and compressed exhibition text. Image on one side, administration on the other.\u003c\/p\u003e\u003cp\u003eBradford's practice emerged from processes of accumulation and removal, frequently using merchant posters, billboard fragments, maps, and paper residue sourced from the city itself. By the late 2010s these materials had become less descriptive than structural — abstraction carrying social information.\u003c\/p\u003e\u003cp\u003eAs an object, the card functions as a temporary support for movement and entry. Part image carrier, part institutional announcement. A retained exhibition trace from a larger architecture of display and circulation.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53568840204626,"sku":"BRADFORD-LONGMUS-INV-2019","price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bradford_Mark._Show_invite_Los_Angeles_._2019_front.jpg?v=1779735575"},{"product_id":"documents-galerie-1900-2000-paris-2002","title":"Documents — Galerie 1900–2000, Paris, 2002","description":"\u003cp\u003eExhibition invitation \/ folded gallery announcement\u003cbr\u003eOffset print on textured paper stock\u003cbr\u003eApprox. 15 × 10 cm (folded)\u003cbr\u003eGalerie 1900–2000, 8 rue Bonaparte, 75006 Paris\u003cbr\u003eExhibition dates: 6 March–6 April 2002\u003cbr\u003eCondition: very good; light surface wear and age toning consistent with handling and storage; minor softening to edges\u003c\/p\u003e\u003cp\u003eOriginal period exhibition material issued for \u003cem\u003eDocuments\u003c\/em\u003e at Galerie 1900–2000, the Paris gallery established by Marcel and David Fleiss and closely associated with Dada, Surrealist, and historical avant-garde material. The invitation adopts the appearance of a worn paper archive or document folder: typewriter typography over a distressed field, shifting attention from exhibition announcement toward archival fiction.\u003c\/p\u003e\u003cp\u003eThe interior functions as a compressed visual anthology of twentieth-century avant-garde circulation. References to DADAPhone, Kurt Schwitters' \u003cem\u003eAnna Blume\u003c\/em\u003e, \u003cem\u003eLe Cœur à Barbe\u003c\/em\u003e, Tristan Tzara, and Surrealist printed matter appear layered as reproductions and fragments. Rather than presenting singular artworks, the exhibition is framed through the movement of documents, journals, manifestos, and minor printed supports that historically carried these ideas into circulation.\u003c\/p\u003e\u003cp\u003eRead as object, the invitation performs a small reversal. It announces an exhibition devoted to historical paper traces while becoming another trace itself. Not artwork, not catalogue, not document alone. A printed support describing documents that now enters the same chain of retention and circulation it originally presented.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53568926024018,"sku":"DOCUMENTS-GAL19002000-INV-2002","price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/1900_2000_Gallery._Show_invite_Documents_Gallerie_1900-2000._2002_front_221ed66b-db98-4794-b0c8-d33215bdada3.jpg?v=1779739467"},{"product_id":"gay-bronx-council-on-the-arts-longwood-arts-project-2014","title":"GAY — Bronx Council on the Arts \/ Longwood Arts Project, New York, 2014","description":"\u003cp\u003eExhibition announcement card \/ offset print on card stock \/ full colour \/ double-sided\u003cbr\u003eApprox. postcard dimensions\u003cbr\u003eCondition: very good; light handling wear and minor surface marks consistent with age and circulation\u003c\/p\u003e\u003cp\u003eAn original exhibition card issued for \u003cem\u003eGAY\u003c\/em\u003e, a group exhibition at Longwood Art Gallery @ Hostos, Bronx, New York, examining shifts in identity through the cultural production of gay male artists of color across the period 2003–2013. Organised by Ivan Monforte and presented by the Bronx Council on the Arts and Longwood Arts Project, the exhibition brought together an intergenerational and multidisciplinary group of artists including David Antonio Cruz, Steve Locke, Jacolby Satterwhite, Rafael Melendez, and others working across painting, performance, video, photography, and installation.\u003c\/p\u003e\u003cp\u003eThe recto reproduces a lush wooded stream landscape interrupted by the word \u003cem\u003egay\u003c\/em\u003e rendered in thin lowercase white typography — image and text held in quiet tension. The reverse shifts from image to administration: exhibition dates (5 February–7 May 2014), public programming, panel discussions, screenings, community events, and an advisory notice regarding mature content. Infrastructure becomes part of the printed surface.\u003c\/p\u003e\u003cp\u003eWithin a The New Rare reading, the object functions as retained institutional material rather than simple promotion. It compresses a larger cultural moment into portable form. The exhibition survives here not as installation but as a circulation object: image on one side, infrastructure on the other.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53568994115922,"sku":"GAY-LONGWOOD-INV-2014","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Antoini_Cruz_David._Henry_Imani._Locke_Steven._Show_invite_Gay_._2014_front.jpg?v=1779740245"},{"product_id":"hans-bellmer-dessins-oeuvre-gravee-galerie-3-plus-2-paris-1971-72","title":"Hans Bellmer — Dessins, œuvre gravée — Galerie 3+2, Paris, 1971–72","description":"\u003cp\u003eOriginal folded exhibition invitation \/ announcement folder\u003cbr\u003eOffset print in brown ink on graph-paper patterned stock\u003cbr\u003eApprox. dimensions: c. 21 × 10 cm folded (unfolds larger)\u003cbr\u003eGalerie 3+2, 5 rue Visconti, Paris 6e\u003cbr\u003eExhibition dates: 10 December 1971 – 10 January 1972\u003cbr\u003eCondition: very good; light age toning, minor handling wear and soft edge wear consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eLate-career exhibition material issued for Hans Bellmer at the Paris gallery Galerie 3+2. Printed on graph-paper stock, the object introduces a curious tension between measured structure and Bellmer's unstable anatomy. The cover uses restrained script typography while the interior unfolds into a characteristic line drawing: fragmented bodily forms drifting between figure, mechanism, and dream image.\u003c\/p\u003e\u003cp\u003eBy the early 1970s Bellmer had already established himself as one of Surrealism's more psychologically charged figures through his dolls, drawings, and engravings. His work repeatedly disrupted fixed ideas of the body through rearrangement, repetition, and distortion. Issued only a few years before his death in 1975, this invitation sits close to the final phase of that trajectory.\u003c\/p\u003e\u003cp\u003eA folded support for the circulation of an exhibition. Image to the interior, announcement to the exterior. The graph paper performs a secondary function: measurement applied to a body that continually resists measurement. Not simply a document of an exhibition but a small printed threshold object — retained paper moving from gallery function toward object status.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53569065156946,"sku":"BELLMER-GAL3PLUS2-INV-1972","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Bellmer._Show_invite_dessins_oeuvre_gravee_translation_drawings_engraved_work_._1972_front_fdb091ec-e72c-44ab-bbbe-60b770efb742.jpg?v=1779742089"},{"product_id":"boucher-benanteur-lair-pauvre-les-aliscans-paris-1971","title":"Monique Boucher \/ Abdallah Benanteur — L’air pauvre — Les Aliscans, Paris, 1971","description":"\u003cp\u003eLaunch invitation for \u003cem\u003eL’air pauvre\u003c\/em\u003e\u003cbr\u003eOffset print on card stock\u003cbr\u003eLes Aliscans, 57 rue de Rennes, Paris\u003cbr\u003eEvent date: Friday 19 November 1971, 18:00–21:00\u003cbr\u003eCondition: good vintage condition; visible age toning, handling wear, light creasing and lower corner stress\/wrinkling consistent with period paper history\u003c\/p\u003e\u003cp\u003eOriginal invitation issued for the presentation of \u003cem\u003eL’air pauvre\u003c\/em\u003e, a collaborative publication bringing together texts by Monique Boucher with illustrations by Abdallah Benanteur. Held at Les Aliscans, a Paris bookshop at 57 rue de Rennes, the event announced the deluxe illustrated edition (\u003cem\u003el’exemplaire de tête\u003c\/em\u003e) alongside recorded material by Edwine Moatti.\u003c\/p\u003e\u003cp\u003eAbdallah Benanteur (1931–2017) occupied a compelling position between painting, poetry and artist-book culture. Born in Algeria and later based in France, his work moved between abstraction and calligraphic structures, often maintaining a close relationship with writers and publishers. By the early 1970s artist books and literary collaborations increasingly operated as parallel exhibition spaces rather than supplementary material.\u003c\/p\u003e\u003cp\u003eThe object sits somewhere between bookstore notice, literary announcement and exhibition residue. It compresses several systems into a small support: author, illustrator, voice recording, place, date, circulation. Rather than documenting an artwork, it formats an encounter around one. Printed matter acting as a temporary structure.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53571492741458,"sku":"BOUCHER-ALISCANS-INV-1971","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Boucher_Monique._Show_invite_texts_of_Monique_Boucher._1971_front.jpg?v=1779774331"},{"product_id":"gilles-brenta-fmr-brussels-1989","title":"Gilles Brenta — F.M.R., Brussels, 1989","description":"\u003cp\u003eExhibition opening handout \/ folded exhibition brochure\u003cbr\u003eOffset print on cream paper stock with stapled fold construction\u003cbr\u003eApprox. A4 folded format\u003cbr\u003eLanguage: French\u003cbr\u003eF.M.R., Rue des Tanneurs 108c, 1000 Bruxelles\u003cbr\u003eExhibition dates: 20–21 May 1989; opening reception 19 May 1989, 19:00\u003cbr\u003eCondition: good vintage condition; visible fold lines, light age toning, handling wear and soft creasing consistent with period exhibition material\u003c\/p\u003e\u003cp\u003eIssued for a presentation of drawings by Belgian artist Gilles Brenta at F.M.R., Brussels. The handout combines exhibition information with original line illustrations and an accompanying text, \u003cem\u003eUn songe entre deux notes\u003c\/em\u003e (“A Dream Between Two Notes”), with a text by Jean Wallenborn. The reverse notes an edition of thirty copies on laid paper signed by the authors.\u003c\/p\u003e\u003cp\u003eGilles Brenta (1943–2017) occupied a somewhat peripheral but interesting position within Belgian postwar painting and drawing. His work frequently moved between caricature, dream logic, and psychologically charged figuration. Surreal distortions and slightly unstable bodies appear repeatedly throughout his work, producing images that sit somewhere between illustration, private mythology, and symbolic narrative.\u003c\/p\u003e\u003cp\u003eAs an object, the handout behaves somewhere between invitation, pamphlet, and autonomous printed work. The drawings exceed simple documentation. Exhibition information occupies the same surface as image and text without hierarchy. The artist enters circulation in compressed form: title, address, dates, figure, gesture.\u003c\/p\u003e\u003cp\u003eA small support from a local Brussels exhibition structure. Not quite catalogue and not exactly invitation. Printed residue retained after the event itself disappeared.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53571517448530,"sku":"BRENTA-FMR-INV-1989","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Brenta_Gilles._Show_opening_handout_F.M.R_Bruxelles._1989_front.jpg?v=1779775106"},{"product_id":"james-brown-salt-galerie-lelong-paris-1990","title":"James Brown — Salt, Peintures récentes — Galerie Lelong, Paris, 1990","description":"\u003cp\u003eOriginal exhibition invitation booklet \/ folded announcement\u003cbr\u003eOffset print on coated paper stock\u003cbr\u003eGalerie Lelong, 13 \u0026amp; 14 rue de Téhéran, Paris 8e\u003cbr\u003eExhibition dates: 31 May – 23 June 1990; vernissage 31 May 1990, 18:00\u003cbr\u003eCondition: very good; light handling wear, minor age toning and soft surface marks consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eOriginal period invitation issued for James Brown’s \u003cem\u003eSalt – Peintures récentes\u003c\/em\u003e at Galerie Lelong, Paris. The folded booklet includes a reproduced painting to the cover and interior exhibition details. The interior also notes that the accompanying publication \u003cem\u003eRepères no. 67\u003c\/em\u003e contained a preface by Jean Frémon.\u003c\/p\u003e\u003cp\u003eBy 1990, James Brown had established an international position, moving between New York, Paris, and later Mexico while developing a language that sat between abstraction, figuration, and archaic symbolism. His paintings often combined gestural marks with bodily fragments, masks, signs, and totemic forms that appeared both ancient and contemporary. The ultramarine blue figure reproduced on the cover is characteristic of this period: an unstable form somewhere between silhouette, icon, and sign.\u003c\/p\u003e\u003cp\u003eThe reverse of the booklet also functions as a document of the Paris gallery network in 1990, listing concurrent exhibitions at Galerie Pierre Birtschansky, Galerie Louis Carré \u0026amp; Cie, Galerie Mathias Fels, Galerie Éric Galfard, Galerie Fanny Guillon-Laffaille, Galerie Lahumière, and Galerie Lelong — with artists including François Dufrêne, André Lanskoy, Tal-Coat, and Alan Reynolds.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53571562307922,"sku":"BROWN-LELONG-INV-1990","price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Brown_James._Show_invite_Salt_._1990_front.jpg?v=1779776092"},{"product_id":"achille-castiglioni-du-design-au-ready-made-pompidou-paris-1985","title":"Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985","description":"\u003cp\u003eExhibition invitation \/ brochure\u003cbr\u003eOffset print on folded card stock with colour photographic cover and red typographic interior\u003cbr\u003eCentre Georges Pompidou, Galerie du CCI, Paris\u003cbr\u003eExhibition dates: 27 November 1985 – 3 February 1986; vernissage 26 November 1985, 18:00\u003cbr\u003eCondition: very good; light handling wear, minor surface marks and age toning consistent with period paper ephemera\u003c\/p\u003e\u003cp\u003eAn original invitation brochure issued for \u003cem\u003eAchille Castiglioni: du design au ready-made\u003c\/em\u003e, presented at the Centre Georges Pompidou in Paris in late 1985. The exhibition was organized through the Centre de Création Industrielle and formed part of a broader travelling project realized by the \u003cem\u003eConsorzio Mostra Itinerante Castiglioni\u003c\/em\u003e, with participation from Galerie Néotu for the Paris presentation.\u003c\/p\u003e\u003cp\u003eThe front cover uses a reduced graphic language of deep blue forms bounded by red bars, associated with the visual identity system developed by Swiss graphic designer Jean Widmer, whose work helped define the institutional language of the Pompidou during this period. The interior carries dense red typography with opening details and exhibition information in a sharply administrative register.\u003c\/p\u003e\u003cp\u003eBy 1985, Achille Castiglioni had already become one of the most influential figures in postwar industrial design. Rather than treating objects as isolated formal problems, Castiglioni frequently worked through adaptation, displacement, and everyday observation. The exhibition title — \u003cem\u003efrom design to readymade\u003c\/em\u003e — quietly places his practice near Duchampian territory, where existing forms, found functions, and acts of selection become part of the design process.\u003c\/p\u003e\u003cp\u003eInvitation, institutional graphic system, and object proposition collapse into a portable printed support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53571582263634,"sku":"CASTIGLIONI-POMPIDOU-INV-1985","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Castiglioni_Achille._Show_invite_Achille_Castiglioni_du_design_au_ready-made_._1985_front.jpg?v=1779776680"},{"product_id":"michel-ciry-galerie-de-paris-1971","title":"Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971","description":"\u003cp\u003eExhibition invitation with accompanying handwritten archival reference note\u003cbr\u003eOffset print on folded card stock with handwritten graphite research slip\u003cbr\u003eGalerie de Paris, 14 Place François-1er, Paris\u003cbr\u003eExhibition dates: 26 October – 27 November 1971; vernissage 26 October, 17:00–20:00\u003cbr\u003eApprox. 21 × 15 cm (invitation, unfolded, estimated)\u003cbr\u003eCondition: good to very good; central fold as issued, light age toning, minor handling wear and softening to edges; accompanying note with fold and handling marks consistent with archival use\u003c\/p\u003e\u003cp\u003eAn original 1971 exhibition invitation issued for Michel Ciry at Galerie de Paris, accompanied by a handwritten German research card retained alongside it. The invitation announces an exhibition of paintings, watercolours, and drawings and follows a restrained typographic format characteristic of Paris gallery material from the period: sparse hierarchy, wide spacing, and little emphasis beyond the artist’s name itself.\u003c\/p\u003e\u003cp\u003eMichel Ciry (1919–2018) occupied a curious position within postwar French culture. Painter, engraver, writer, and composer, his work frequently moved around spiritual themes, religious imagery, portraiture, and contemplative realism at a moment when abstraction and conceptual practices increasingly dominated institutional discourse.\u003c\/p\u003e\u003cp\u003eThe accompanying handwritten note introduces an unexpected secondary layer. Written in German, it records bibliographic information for \u003cem\u003eDie Wiener Secession: Eine Dokumentation\u003c\/em\u003e by Robert Waissenberger, published by Verlag Jugend und Volk in Vienna and Munich in 1971 (300 pages; 120 Deutsche Marks). Whether originally inserted by a collector, bookseller, researcher, or archivist, the note shifts the object slightly away from a single exhibition announcement and toward a small working archive.\u003c\/p\u003e\u003cp\u003eThe invitation and note function as paired supports rather than independent objects. One announces an exhibition; the other indexes another history entirely. Artist, book, movement, price, place. Two administrative fragments temporarily held together.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53571706945874,"sku":"CIRY-GALERIEPARIS-INV-1971","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Ciry_Michael._Show_invite_Galerie_de_Paris._1971_front.jpg?v=1779777868"},{"product_id":"gustave-courbet-visage-visages-musee-maison-natale-ornans-1984","title":"Gustave Courbet — Visage–Visages — Musée Maison Natale, Ornans, 1984","description":"\u003cp\u003eOriginal mailed exhibition invitation \/ vernissage card\u003cbr\u003eOffset print on card stock with mailed verso, postage meter mark and Paris postal stamp\u003cbr\u003eMusée Départemental Maison Natale Gustave Courbet, Ornans 25 France\u003cbr\u003eExhibition opening: 16 June 1984, 11:30\u003cbr\u003eApprox. 16 × 10 cm \u003cbr\u003eCondition: very good; light age toning, handling wear and soft corner wear consistent with mailed period material\u003c\/p\u003e\n\u003cp\u003eIssued by the Musée Départemental Maison Natale Gustave Courbet in Ornans, Courbet’s birthplace and now a museum dedicated to his life and work. The invitation announces \u003cem\u003eVisage \/ Visages\u003c\/em\u003e (Face \/ Faces), with an opening on 16 June 1984 at 11:30, addressed and mailed to a Paris recipient at 29 Bd. Edgar Quinet, 75014 Paris, preserving both the institutional function and postal history of the object.\u003c\/p\u003e\n\u003cp\u003eThe recto reproduces an early portrait of Courbet from around 1850, presenting the artist in the period when his reputation as a disruptive Realist painter was beginning to form. During the mid-19th century Courbet rejected idealized academic painting in favour of ordinary subjects and direct observation, helping reshape modern painting and opening a path later taken up by artists from Manet through the avant-gardes.\u003c\/p\u003e\n\u003cp\u003eThe card functions as a small circulation device rather than simply documentary support. Museum, artist, portrait, recipient, date, and postal system collapse into a single printed unit. The address becomes part of the object. The stamp becomes part of the image. A portrait of Courbet passes through the French postal network and returns as retained exhibition material.\u003c\/p\u003e\n\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53572221141330,"sku":"COURBET-MAISONNATALE-PC-1984","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Courbet_G._Show_invite_la_musee_departemental_maison_natale._1984_front.jpg?v=1779778941"},{"product_id":"andre-stas-galerie-la-maree-ixelles-1975","title":"André Stas — Exhibition Brochure — Galerie La Marée, Brussels, 1975","description":"\u003cp\u003eOriginal folded exhibition catalogue \/ brochure\u003cbr\u003eOffset printed in black on cream laid paper\u003cbr\u003eGalerie La Marée, 18 rue Emile Bouilliot, Ixelles, Brussels\u003cbr\u003eExhibition dates: 19 April – 8 May 1975; vernissage 18 April 1975, 18h30\u003cbr\u003eCondition: very good vintage condition; light toning, minor handling wear, soft edge and corner wear, faint fold impressions\u003c\/p\u003e\u003cp\u003ePublished for André Stas’s solo exhibition at Galerie La Marée, Ixelles. The folded multi-page brochure includes collage reproductions, exhibition details, a biographical chronology by Michel Thyrion, and a text by Tom Gutt, \u003cem\u003eOrage Forêt ou Le jeune Laboureur\u003c\/em\u003e. Accompanied by a separate full-page collage image. Edition note: twenty copies on laid paper with a supplementary image, signed by André Stas, Tom Gutt, and Michel Thyrion.\u003c\/p\u003e\u003cp\u003eStas was a Belgian collagist, writer, and ‘pataphysical figure working within the later Belgian Surrealist field. His images reuse nineteenth-century engravings, portraits, landscapes, and printed fragments, turning inherited visual material into absurd, unstable scenes. The presence of Tom Gutt and Michel Thyrion places this brochure directly inside the post-Magritte Belgian Surrealist network.\u003c\/p\u003e\u003cp\u003eThyrion’s mock-biographical timeline turns the artist’s life into administrative comedy: glue, regulations, elections, posters, and clandestinity replace the usual career chronology. Gutt’s text frames collage as a way of interrupting the ordinary world through cutting, displacement, and black humour.\u003c\/p\u003e\u003cp\u003eA small but exact document: exhibition announcement, artist brochure, and ‘pataphysical printed object in one folded support.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in the listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53579093442898,"sku":"STAS-LAMAREE-CAT-1975","price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Stas_Andre._Show_invite_Galerie_La_Maree._1975_front.jpg?v=1779845567"},{"product_id":"solakov-barbier-mirrors-galerie-vallois-paris-2003","title":"Nedko Solakov \/ Gilles Barbier — Mirrors \/ Les trous sont la partie manquante de l’histoire — Galerie Vallois, Paris, 2003","description":"\u003cp\u003eOriginal dual-exhibition vernissage card\u003cbr\u003eOffset print on metallic gold-coated card stock\u003cbr\u003e16 × 8 cm\u003cbr\u003eGalerie Georges-Philippe \u0026amp; Nathalie Vallois, 36 Rue de Seine, Paris\u003cbr\u003eExhibitions: 20 January – 1 March 2003; vernissage Saturday 18 January 2003, 18:00\u003cbr\u003eCondition: very good; metallic surface now naturally dulled with light handling wear and minor age softening consistent with period exhibition material\u003c\/p\u003e\u003cp\u003eOriginal period invitation issued for two simultaneous exhibitions at Galerie Vallois: Nedko Solakov’s \u003cem\u003eMirrors\u003c\/em\u003e and Gilles Barbier’s \u003cem\u003eLes trous sont la partie manquante de l’histoire\u003c\/em\u003e, held January–March 2003.\u003c\/p\u003e\u003cp\u003eThe front reduces itself almost completely to a single handwritten word — \u003cem\u003eMirrors\u003c\/em\u003e — positioned on metallic gold stock. Time has flattened the original sheen so that the support now reads less as luxury finish than as aged reflective surface. The title appears to have slowly migrated into its own material condition.\u003c\/p\u003e\u003cp\u003eThe reverse divides the gallery into two territories: Project Room and main space. Information, sponsorship, dates, and institutional structure are compressed into a portable printed unit.\u003c\/p\u003e\u003cp\u003eA retained exhibition support from a moment when gallery communication still moved materially through the post.\u003c\/p\u003e\u003cp\u003eOriginal period item. Shipping and handling included in listed price.\u003c\/p\u003e","brand":"The New Rare","offers":[{"title":"Default Title","offer_id":53579219665234,"sku":"SOLAKOV-VALLOIS-INV-2003","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Solakov_Nedko._Show_invite_mirrors_Galerie_Georges-Philiooe_Nathalie_Vallois._2003_front_18151bd9-188c-4361-9e7f-b2b8cd713f44.jpg?v=1779849496"}],"url":"https:\/\/thenewrare.com\/collections\/exhibition-ephemera.oembed","provider":"The New Rare","version":"1.0","type":"link"}