The Archive

Everything currently held at The New Rare, newest first.

  • Exhibition catalogue, Frank Bowling & Dennis de Caires, Recent Paintings, The Umana Yana, Georgetown, Guyana, 1989. Softcover, stapled wrappers, 16 pp. Front cover: cream ground, bold black serif type ‘Frank Bowling & Dennis de Caires’, italic ‘recent paintings’ below. Minimal design. Age toning and light handling wear consistent with vintage condition. Exhibition catalogue interior spread, Frank Bowling & Dennis de Caires, Recent Paintings, The Umana Yana, Georgetown, 1989. Right page: black-and-white photograph of Bowling and de Caires together; bold type ‘Frank Bowling & Dennis de Caires / recent paintings’; venue and dates: ‘THE UMANA YANA GEORGETOWN / MAY 2 TO 14 1989’; ‘Organised with the assistance of the British Council and the Department of Culture in Guyana.’ Left page: Acknowledgements text.

    Frank Bowling & Dennis de Caires — Recent Paintings, The Umana Yana, Georgetown, 1989

    Frank Bowling & Dennis de Caires — Recent Paintings, The Umana Yana, Georgetown, 1989

  • Exhibition catalogue, Louise Bourgeois, Autobiographical Prints, Hayward Publishing, London, 2016. Softcover, 96 pp., approx. 16 × 24 cm. Front cover: dark teal-grey ground; white serif type ‘LOUISE’ upper third, ‘BOURGEOIS’ lower third; central cream panel with red line etching of pregnant mosquito. ISBN 978-1-85332-343-0. Exhibition catalogue interior spread, Louise Bourgeois, Autobiographical Prints, Hayward Publishing, 2016. Page 30: left page text ‘Madeleine’ and page number; right page: drypoint print of female profile in close-up, face half in shadow, eye visible, lips parted, chain at neck. Black and white, high contrast. From the Autobiographical Series, 1994.

    Louise Bourgeois — Autobiographical Prints, Hayward Publishing, London, 2016

    Louise Bourgeois — Autobiographical Prints, Hayward Publishing, London, 2016

  • Artist book, Kathy Acker, Hello, I’m Erica Jong, Contact II Publications, New York, 1982. First edition, [20] pp., stapled black wrappers, 17.9 × 21.5 cm. Front cover: dark grey-green ground, silver-grey serif type reading ‘HELLO, / I’M ERICA JONG’ centred upper half, ‘by kathy acker’ lower right in smaller italic. Good vintage condition with surface wear. Artist book interior spread, Kathy Acker, Hello, I’m Erica Jong, 1982. Left page: pink-red crayon drawing of skull and skeletal torso on white ground. Right page: serif text reading ‘Hello, I’m Erica Jong. / All of you liked my novel / Fear of Flying because in it you met / real people… My new novel How to Die Successfully / contains those same characters. And / it contains 2 new characters. You and / me. All of us are real. Goodbye.’

    Kathy Acker — Hello, I’m Erica Jong, Contact II Publications, New York, 1982

    Kathy Acker — Hello, I’m Erica Jong, Contact II Publications, New York, 1982

  • Exhibition poster, Lee Lozano, Drawings 1959–64, Karma, New York, 2021. Offset print, 45.5 × 61 cm. White ground; large bold black sans-serif type ‘LOZANO / 1959–64’ upper half; central reproduction of pencil drawing: torso of figure wearing chain necklace with large cross pendant, breasts visible, energetic hatched shading. Footer: ‘Lee Lozano Drawings 1959–64 July 12–August 13, 2021 Karma 22 E 2nd St, New York’. Good condition with handling wear.

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

    Lee Lozano — Drawings 1959–64, Karma, New York, 2021

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

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

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

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

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

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

  • Exhibition poster, Wade Guyton, Natural Wine, Galerie Chantal Crousel, Paris, 2019. Offset print, A1, 59.4 × 84.1 cm. Grey-toned photograph of New York skyline with construction cranes and misty atmosphere; bold red sans-serif title ‘NATURAL WINE’ upper third; black text below: ‘WADE GUYTON CROUSEL PARIS 23. FÉVR. – 6. AVRIL 2019’. Very good condition with light fold lines.

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

    Wade Guyton — Natural Wine, Galerie Chantal Crousel, Paris, 2019

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

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

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

  • Exhibition poster, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. Offset print, 44 × 59 cm. Black crumpled vinyl surface printed with blue text listing 1988 box office titles in two columns: BIG, CROCODILE DUNDEE II, COMING TO AMERICA, BEETLEJUICE, MOONSTRUCK, DIE HARD, COCKTAIL, WHO FRAMED ROGER RABBIT, THREE MEN AND A BABY, GOOD MORNING VIETNAM. Very good condition, folded as issued. Exhibition poster reverse, Gretchen Bender, Political Entertainment, Sprüth Magers, Berlin, 2025. White verso with red Sprüth Magers logotype and black exhibition details: ‘Gretchen Bender / Political Entertainment / November 14, 2025–April 4, 2026 / Public Reception: Thursday, November 13, 5–8 pm / Oranienburger Straße 18, 10178 Berlin’. Light fold lines visible.

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

    Gretchen Bender — Political Entertainment, Sprüth Magers, Berlin, 2025

  • Exhibition poster, Max Ernst, Sammlung de Menil, Kestner-Gesellschaft Hannover, 1970. Offset lithograph, 42 × 59 cm. White ground; header ‘Kestner-Gesellschaft Hannover’; central colour reproduction of dark forest painting with pale arc and ghostly figure; bold type ‘Max Ernst / Sammlung de Menil’; foot: ‘Warmbüchenstraße 16 · 3. Juli bis 30. August 1970’. Good vintage condition.

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

    Max Ernst — Sammlung de Menil, Kestner-Gesellschaft, Hannover, 1970

  • Exhibition poster, Mounir Fatmi, Comprendra bien qui comprendra le dernier, Le Parvis, centre d’art contemporain, Ibos/Pau, 2004. Offset lithograph, 40 × 60 cm unfolded. Recto: colour photograph of books including Quran, Georges Bataille’s L’Érotisme, and New Testament in multiple languages, connected by multicoloured electrical crocodile-clip cables. Text: ‘mounir fatmi’ upper left; ‘comprendra bien qui comprendra le dernier’ in white on black band across centre. Exhibition poster reverse, Mounir Fatmi, Comprendra bien qui comprendra le dernier, Le Parvis, Ibos/Pau, 2004. Verso: white ground, black sans-serif type. Text: Le Parvis centre d’art contemporain; exhibition dates 24 juin – 24 septembre 2004; vernissage 24 juin; video programme Survival signs, œuvres vidéo 1990–2004. Good used condition with original folds.

    Mounir Fatmi — Comprendra bien qui comprendra le dernier, 2004

    Mounir Fatmi — Comprendra bien qui comprendra le dernier, 2004

  • Exhibition catalogue, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Offset print on textured cream stock, 14.5 × 22 cm folded. Front cover: sepia photograph by Kate Simon of Burroughs seated on porch in Lawrence, Kansas, 14 September 1987, fedora, shotgun across lap. Text: ‘WILLIAM S. BURROUGHS / DECEMBER 19 THROUGH JANUARY 24, 1988 / TONY SHAFRAZI GALLERY / 163 MERCER STREET, NEW YORK, NY 10012 / 212 925-8732’. Exhibition catalogue unfolded, William S. Burroughs, Tony Shafrazi Gallery, New York, 1988. Full spread, 73.5 × 22 cm: essay text columns, sepia reproductions of shotgun paintings including ‘No Buest Be White’ and ‘Untitled’, and formal works checklist at far right. Offset printed on cream textured stock.

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

    William S. Burroughs — Tony Shafrazi Gallery, New York, 1988

  • David Shrigley, Man in a Room, Blue Q 2007, front cover: green, hand-lettered title MAN IN A ROOM BY D. SHRIGLEY David Shrigley, Man in a Room, 2007, interior: figure in bed left; MAN LIES ON HIS BED caption and repeated figure right

    DAVID SHRIGLEY — Man in a Room, Blue Q, 2007

    DAVID SHRIGLEY — Man in a Room, Blue Q, 2007

  • Exhibition poster interior, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Interior spread printed in yellow on white: full list of works including Mondrian Chair, Einstein on the Beach Table, Kafka II, Mother: A Chair for Agnes Martin, Stalin Chairs, Madame Butterfly, Alice in Bed Chair, and others. Good vintage condition. Exhibition poster, Robert Wilson, A Move A/B / Move Able à Seat, Galerie de France, Paris, 2002. Printed paper, 29.5 × 40 cm unfolded, folded twice. Front cover: minimal white ground, grey text reading ‘A MOVE A/B / MOVE ABLE / A SEAT’ and ‘ROBERT WILSON’ in light grey. Good vintage condition with original folds and handling marks.

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002

    Robert Wilson — A Move A/B / Move Able à Seat, Galerie de France, 2002

  • Exhibition poster, Richard Prince, Third Place: Family Tweets, Desert X, Desert Hot Springs, 2017. Offset print on paper, approx. 41 × 57 cm. Enlarged Twitter interface showing @RichardPrince4 post dated 27 Feb 2014, embedded photograph of woman in sportswear, retweet and favourite counts visible. Good used condition with original folds and handling marks.

    Richard Prince — Third Place: Family Tweets, 2017

    Richard Prince — Third Place: Family Tweets, 2017

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

    Hans Haacke — Van Abbemuseum Eindhoven, 1979

    Hans Haacke — Van Abbemuseum Eindhoven, 1979

  • THE NEW RARE EDITIONS — Record: June 6, 2005. 2005 / 2008 / 2026. Unique appropriated auction catalogue, from a series of two related works. Original Phillips de Pury & Company softcover, Contemporary Art: Including Prints, Photographs & Multiples, New York, 6 June 2005; 76 pp. Front cover reproduces Richard Prince, Untitled (Kool-Aid), 1982/83 — close-up rephotograph of a Kool-Aid pitcher character against deep red ground; smiling face motif; glass pitcher with red liquid above; high-contrast saturated col THE NEW RARE EDITIONS — Record: June 6, 2005. 2005 / 2008 / 2026. Interior spread, pages 42–43, Phillips de Pury & Company, Contemporary Art: Including Prints, Photographs & Multiples, New York, 6 June 2005. Left page: Lot 732, Christopher Wool, 1987 — large black-and-white pattern print, estimate $70,000–90,000; Lot 733, Ross Bleckner, ca. 1990 — large black-and-white photograph of a chandelier, estimate $3,000–5,000. Right page: Lot 734, Richard Prince and Meyer Vaisman — colour photograph of a figure in

    THE NEW RARE EDITIONS — Record: Phillips de Pury & Company, Contemporary Art, June 6, 2005

    THE NEW RARE EDITIONS — Record: Phillips de Pury & Company, Contemporary Art, June 6, 2005

  • Photobook front cover with obi, Keisuke Nagoshi, CHICANO, Tokyo Kirara-sha / Kawade Shobo Shinsha, Japan, 2008. Sealed in original distributor shrinkwrap. Full-bleed black-and-white photograph — close-up of heavily tattooed torso and neck, head tilted back; dense religious and figurative tattoo imagery including a face, hands, and decorative motifs covering the skin. Bold black serif title 'CHICANO' and 'KEISUKE NAGOSHI' centred over image. Lower third: wraparound obi in white with cyan Japanese text — Photobook back cover with obi, Keisuke Nagoshi, CHICANO, Tokyo Kirara-sha / Kawade Shobo Shinsha, Japan, 2008. Sealed in original distributor shrinkwrap. Full-bleed black-and-white photograph — continuation of tattooed torso image from front cover. Upper right: two barcodes and publisher details — 'ISBN978-4-309-90781-9 / C0072 ¥3500E / 発行 東京キララ社 / 発売 河出書房新社'. Lower third: obi with two Japanese text quotations attributed to ALEX (tattoo artist) and SPORTY (rapper). Shrinkwrap shows light surface rubbing

    KEISUKE NAGOSHI — CHICANO, Tokyo Kirara-sha / Kawade Shobo Shinsha, Japan, 2008

    KEISUKE NAGOSHI — CHICANO, Tokyo Kirara-sha / Kawade Shobo Shinsha, Japan, 2008

  • Dust jacket front cover, Olivier Mosset, Verlag Lars Müller, Baden, 1990. Hot-pink laminated jacket, landscape format, approx. 30.5 × 22.4 cm. 'Olivier Mosset' upper left; 'OLIVIER MOSSET' spaced cyan sans-serif centre; 'Verlag Lars Müller' lower left. Light rubbing and minor corner wear, very good condition. Title page, Olivier Mosset, Verlag Lars Müller, Baden, 1990. White ground. Centre: 'OLIVIER MOSSET' in spaced black serif capitals. Upper right: institutional inventory label with handwritten reference 'SA 3553-001' and crossed-out 'Art' classification sticker. Lower centre: crossed-out rubber stamp — 'Schweizerische Bibliothek, Mythenquai 507, 8002 Zürich'. Black cloth spine visible at left edge. Deaccessioned library copy; markings present and noted in condition.

    OLIVIER MOSSET — Olivier Mosset, Verlag Lars Müller, Baden, 1990

    OLIVIER MOSSET — Olivier Mosset, Verlag Lars Müller, Baden, 1990

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

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

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

  • Exhibition catalogue cover, Impresario: Malcolm McLaren & The British New Wave, New Museum of Contemporary Art / The MIT Press, New York / Cambridge MA, 1988. Softcover with French flaps, 27 × 18 cm. Bright blue ground. Bold white and black sans-serif typography — 'IMPRESARIO:' upper left in white; 'MALCOLM / MCLAREN / & THE BRITISH / NEW / WAVE' in large black below. Inset colour photograph lower right — three figures in police uniforms, two in helmets, one in peaked cap; direct camera gaze. Rubbing and sc Exhibition catalogue back cover, Impresario: Malcolm McLaren & The British New Wave, New Museum of Contemporary Art / The MIT Press, New York / Cambridge MA, 1988. Bright blue ground. Centre: inset colour photograph within black film-strip border — blue-painted male figure holding yellow surfboard with yin-yang motif; seated male figure in black clothing on rocks; coastal landscape behind; 'KODAK EPR 6017' printed to film strip upper edge; 'EPR 11' and 'EPR 12' lower. Lower left: black sans-serif — 'THE NEW

    MALCOLM MCLAREN / PAUL TAYLOR — Impresario: Malcolm McLaren & The British New Wave, New Museum / MIT Press, 1988

    MALCOLM MCLAREN / PAUL TAYLOR — Impresario: Malcolm McLaren & The British New Wave, New Museum / MIT Press, 1988

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

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

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

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

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

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

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

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

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

  • Postcard recto, Man Ray, Tonsure (Marcel Duchamp), 1921, published by Fotofolio, New York, n.d. [c.1984]. Offset black-and-white reproduction on cream card, 15 × 10 cm. Close-up photograph of the back of Marcel Duchamp's head — dark hair with a white star-shaped tonsure shaved into the crown; small black pipe held in the left hand, visible at lower left; wooden table edge and checked tablecloth in lower half of frame; plain wall behind. Light handling wear, good vintage condition. Postcard verso, Man Ray, Tonsure (Marcel Duchamp), 1921, published by Fotofolio, New York, n.d. [c.1984]. White ground, divided postal back with vertical rule and small registration mark at centre. Upper left: small black sans-serif — 'TONSURE (MARCEL DUCHAMP), 1921 / PHOTOGRAPH BY MAN RAY'. Lower left: '© MAN RAY TRUST / © FOTOFOLIO, BOX 661 CANAL STA., NY, NY 10013 / ISBN 1-881270-62-9 / MR30'. Light age toning, small marks, good vintage condition.

    MAN RAY — Tonsure (Marcel Duchamp), 1921 / Fotofolio, New York, 1984

    MAN RAY — Tonsure (Marcel Duchamp), 1921 / Fotofolio, New York, 1984

  • Postcard recto, Lawrence Weiner, (&) so weiter, 1991, Altonaer Museum, Hamburg / Norddeutsches Landesmuseum. Die-cut offset-printed card, 10.5 × 14.8 cm, cream/off-white ground, clipped corners. Lower left in small black sans-serif: '(&) SO WEITER'. Three punched circular holes to right of text, graduating in size left to right. Minimal composition — text and absence as primary elements. Light age toning, very good vintage condition. Postcard verso, Lawrence Weiner, (&) so weiter, 1991, Altonaer Museum, Hamburg / Norddeutsches Landesmuseum. White/cream ground, undivided back. Vertical text along right edge — 'GEBR. KÖNIG POSTKARTENVERLAGE · BREITESTR. 93 · D-50667 KÖLN · PRINTED IN GERMANY'. Lower left: 'Lawrence Weiner / (&) so weiter, 1991 / Hrsg.: Altonaer Museum in Hamburg, / Norddeutsches Landesmuseum'. Below: 'Best.-Nr.: 193/08'. Barcode lower right: '4260183290014'. Three punched holes visible lower centre. Light age toning, very

    LAWRENCE WEINER — (&) so weiter, Altonaer Museum, Hamburg, 1991

    LAWRENCE WEINER — (&) so weiter, Altonaer Museum, Hamburg, 1991

  • Magazine cover, ZG Magazine No. 13: Political Fictions, edited by Rosetta Brooks, Spring 1985. Offset-printed, staple-bound periodical, 41.9 × 27.9 cm. Bold yellow and black diagonal hazard-stripe ground. Upper left: grey sans-serif 'ZG' logotype. Upper right: grey sans-serif 'POLITICAL FICTIONS' in two lines. Centre: white line-drawn face — open mouth, heavy-lidded eyes, long hair, distressed expression — by Nancy Dwyer. Upper right corner: 'NO. 13 SPRING 85 / £1.30 $3.00'. Handling wear, rubbing, creasing Interior spread, ZG Magazine No. 13: Political Fictions, edited by Rosetta Brooks, Spring 1985. Pages 4–5. 'Image Dislocation' — essay by Krystina Kitsis. Left page: large black-and-white press photograph of Margaret Thatcher; caption 'HEADS OF STATE: Mrs Thatcher takes a critical look at "herself" today'; below: black-and-white photograph of a woman in a '58% DON'T WANT PERSHING' protest T-shirt at a formal event; dense two-column text. Right page: grid of black-and-white press photographs — women in domes

    ROSETTA BROOKS (ed.) — ZG Magazine No. 13: Political Fictions, Spring 1985

    ROSETTA BROOKS (ed.) — ZG Magazine No. 13: Political Fictions, Spring 1985

  • Magazine cover, ZG Magazine No. 12: Religion, edited by Rosetta Brooks, New York, Fall 1984. Offset-printed, staple-bound periodical, 41.9 × 27.9 cm. Red ground. Upper left: bold black 'ZG' logotype. Upper right: black diagonal band — white bold sans-serif 'RELIGION'. Centre: black-and-white photograph of a television set showing a smiling male figure in white jacket raising one arm — televangelist or political figure; below the TV screen: small silhouetted figure with arms raised before a podium, flanked b Interior page, ZG Magazine No. 12: Religion, edited by Rosetta Brooks, New York, Fall 1984. Page 17. Black ground. Three overlapping black-and-white photographic reproductions of Hollywood studio portraits — upper left: blonde female figure in white fur, reclining, smiling; centre: dark-haired female figure in white gown, direct gaze, strong makeup; lower right: dark-haired female figure in profile, white ruffled neckline, upward gaze. White borders to each photograph, arranged diagonally overlapping. Lower

    ROSETTA BROOKS (ed.) — ZG Magazine No. 12: Religion, New York, Fall 1984

    ROSETTA BROOKS (ed.) — ZG Magazine No. 12: Religion, New York, Fall 1984

  • Magazine cover, ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984. Edited by Rosetta Brooks. Large-format staple-bound periodical, 28 × 42 cm. Yellow horizontal band upper third — bold black 'ZG' logotype left; white sans-serif 'DOUBLE TROUBLE' right; below band: 'with ART&TEXT'. Full-bleed black-and-white photograph — two female figures in hazy backlit environment; foreground figure in short slip dress, short dark hair; background figure in dark structured outf Interior spread, ZG No. 11 / Art & Text 15: Double Trouble, 1984. Pages 6–7. Left: 'DYSTOPIA REVISITED' — essay by Peter Halley with black-and-white film stills including motorcycles, futuristic vehicles, and armoured figure. Right: 'ROSETTA BROOKS' header; black-and-white photograph of figures in white robes before pyramids and sphinx; below: 'GUYS AND DOLLS' essay with black-and-white performance photograph. Dense two-column text throughout.

    ROSETTA BROOKS (ed.) — ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984

    ROSETTA BROOKS (ed.) — ZG No. 11 / Art & Text 15: Double Trouble, ZG Magazine / Art & Text, New York / Melbourne, 1984

  • Exhibition card recto, Counterforms, A plus A Gallery, Venice, 2026. Organised by Neue Alte Brücke + Matt Williams. Black offset on white paper, 15.2 × 10.8 cm. Designed as a UPS shipping label — upper section: '1 KG / 1 OF 1 / COUNTERFORMS / SHPM: 2X12 ASTJ 7PF / SHP WT: 0.5 KG / DATE: 04 MAY 2026 / TIME: 11:30–20:00'; SHIP TO: 'A PLUS A GALLERY / ORGANISED BY NEUE ALTE BRÜCKE + MATT WILLIAMS / 05 MAY 26–26 JULY 26 / CALLE MALIPIERO, 3073 / 30124 VENEZIA / ITALY'; QR code and barcode; 'UPS STANDARD / TRACK Exhibition card verso, Counterforms, A plus A Gallery, Venice, 2026. White ground. Black sans-serif text right-aligned, lower centre: 'COUNTERFORMS' / [blank line] / 'HANNAH BLACK / YVO CHO / ANNA CLEGG / RACHEAL CROWTHER / UFUOMA ESSI / NAT FAULKNER / AMELIA GILL / JASON HIRATA / ANNA HOWARD / VINZENZO OTTINO / NINA PORTER'. Light handling marks, very good condition.

    Counterforms, A plus A Gallery, Venice, 2026

    Counterforms, A plus A Gallery, Venice, 2026

  • Postcard recto, Richard Prince, Dude Ranch Nurse, 2002, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Vertical image — masked female nurse figure in white uniform, cap, and surgical mask; holding a small object to chest; standing against deep green atmospheric ground with yellow-green luminous halo effect; cursive gold text 'Dude Ranch Nurse' upper centre; acrylic and inkjet on canvas, 80 × 52 inches. Collection of Julie and Edward J. Minskoff. Light handling wear, Postcard verso, Richard Prince, Dude Ranch Nurse, 2002, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Dude Ranch Nurse, 2002 / Acrylic and inkjet on canvas, 80 × 52 inches / Collection of Julie and Edward J. Minskoff, Courtesy Gagosian Gallery / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001547'; 'Printed in USA'. Lower left: 'Guggen

    RICHARD PRINCE — Dude Ranch Nurse, 2002 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Dude Ranch Nurse, 2002 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Man-Crazy Nurse, 2002–03, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Vertical image — faceless female nurse figure in white uniform and cap against deep red ground; text 'MAN-CRAZY NURSE' embedded in upper background in darker red relief; exposed chest with circular forms; paint drips running vertically throughout; acrylic and inkjet on canvas, 80 × 52 inches. Private collection, New York. Light handling wear, very good condition. Postcard verso, Richard Prince, Man-Crazy Nurse, 2002–03, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Man-Crazy Nurse, 2002–03 / Acrylic and inkjet on canvas, 80 × 52 inches / Private collection, New York / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001550'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Clean verso,

    RICHARD PRINCE — Man-Crazy Nurse, 2002–03 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Man-Crazy Nurse, 2002–03 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Untitled (cowboy), 2003, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Full-bleed vertical image — cowboy in dark navy shirt, tan chaps, and wide-brimmed hat mid-stride across arid flat desert plain; lasso coiled on dusty ground around feet; vast ochre landscape, pale blue sky and distant mesa behind. Ektacolor photograph, edition of 2, 40 × 30 inches. Light handling only, very good condition. Postcard verso, Richard Prince, Untitled (cowboy), 2003, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Untitled (cowboy), 2003 / Ektacolor photograph, edition of 2, 40 × 30 inches / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001552'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Light handling only, very good condition.

    RICHARD PRINCE — Untitled (cowboy), 2003 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Untitled (cowboy), 2003 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Untitled (cowboy), 1997–98, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction on cream card. Full-bleed vertical image — cowboy in denim jacket, white hat, leather chaps and boots wrestling a rearing dark horse by the reins; lasso trailing; arid desert landscape and deep blue sky behind. Ektacolor photograph, edition of 2, 60 × 40 inches. Light handling only, very good condition. ostcard verso, Richard Prince, Untitled (cowboy), 1997–98, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Untitled (cowboy), 1997–98 / Ektacolor photograph, edition of 2, 60 × 40 inches / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001546'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Light handling only, very good condit

    RICHARD PRINCE — Untitled (cowboy), 1997–98 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Untitled (cowboy), 1997–98 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Tell Me Everything, 1987, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction. Flat ochre/gold monochrome ground — acrylic and silkscreen on canvas, 56 × 48 inches; lower-centre text in small pink/red serif type: 'I went to see a psychiatrist. He said, "Tell me everything." I did, and now he's doing my act.' Skarstedt Collection, New York. Light handling wear, good/very good condition. Postcard verso, Richard Prince, Tell Me Everything, 1987, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Tell Me Everything, 1987 / Acrylic and silkscreen on canvas, 56 × 48 inches / Skarstedt Collection, New York / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001548'; 'Printed in USA'. Lower left: 'GuggenheimMUSEUM' logotype. Small age

    RICHARD PRINCE — Tell Me Everything, 1987 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Tell Me Everything, 1987 / Spiritual America, Solomon R. Guggenheim Museum, New York, 2007

  • Postcard recto, Richard Prince, Spiritual America / Continuation, Solomon R. Guggenheim Museum, New York, 2007. Offset colour reproduction. Three-quarter view of sculpture — large low-profile form resembling a car hood or bonnet; fiberglass, polyester resin, acrylic and wood; surface painted in mottled grey-blue and ochre/terracotta tones with visible brushwork; resting on a plain rectangular plinth of similar patchy colouring; dark reflective gallery floor, white wall behind. Light handling wear, very good Postcard verso, Richard Prince, Spiritual America / Continuation, Solomon R. Guggenheim Museum, New York, 2007. White ground, divided postal back. Upper left: bold black sans-serif — 'RICHARD PRINCE: SPIRITUAL AMERICA'; below: 'Richard Prince, Continuation, 2004–05 / Fiberglass, polyester resin, acrylic, and wood, 44 × 69 ⁵⁄₈ × 82 ½ inches / Collection of the artist / © 2007 Richard Prince, Courtesy Gladstone Gallery, New York'. Upper right: barcode — '10001549'; 'Printed in USA'. Lower left: 'GuggenheimMUS

    RICHARD PRINCE — Spiritual America / Continuation, Solomon R. Guggenheim Museum, New York, 2007

    RICHARD PRINCE — Spiritual America / Continuation, Solomon R. Guggenheim Museum, New York, 2007