The Archive

Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Cover: assemblage painting with green and blue spray paint, hazard tape border, scattered coins, £20 and €50 banknotes, Scottish £20 note, toy wooden gun, and photographic fragments.

Isa Genzken, Geldbilder, Hauser & Wirth London, 2015. Interior: purple and white gestural painting with arc of gold coins, small portrait photograph with halo effect, and grey painted panel below.

Isa Genzken — Geldbilder — Folded Exhibition Invitation, Hauser & Wirth, London, 2015

Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, Paris, 1982. Monochrome field with numbered sphere clusters (4, 5, 6, 7), directional arrows, cross marks, and photographic haze.

Pierre-Marc de Biasi, Sphères Sphères, Galerie J. & J. Donguy, 57 rue de la Roquette, Paris, 1982. Black ground, white typewriter text; dot-matrix title SPHERES SPHERES; vernissage 16 juin, exhibition 17 juin–13 juillet.

Pierre-Marc de Biasi — Sphères Sphères — Exhibition Invitation Card, Galerie J. & J. Donguy, Paris, c.1982

Salvador Dalí, Centre Georges Pompidou inauguration invitation, Paris, 18 December 1979. Classical figure silhouette against tiled museum floor; black invitation text signed by Jean Millier and Pontus Hultén."

Reverse of 1979 Salvador Dalí Pompidou exhibition invitation card. Plain cream stock, blank.

Salvador Dalí — Centre Georges Pompidou — Exhibition Inauguration Invitation Card, Paris, 1979

1977 Salvador Dalí La Gare de Perpignan Galerie André François Petit Paris exhibition invitation card. Recto: dark surrealist composition on gold-toned ground — radiating beams of light from a central floating bus or vehicle at top, silhouetted figures at left and right edges, a small winged insect at the vanishing point, shadowy forms including a hat and rake in the foreground; theatrical chiaroscuro atmosphere.

1977 Salvador Dalí Galerie André François Petit Paris exhibition announcement card. Recto: cream stock with elegant italic script typography reading 'À l'occasion de l'exposition du tableau / "La Gare de Perpignan" / Salvador Dalí / de passage à Paris, en route pour les États-Unis d'Amérique / montrera un "Portrait de Gala" sur cuivre / et pour la première fois au monde / une "Peinture à l'Huile stéréoscopique" / ces deux œuvres "in process" / La spatialisation stéréoscopique naturelle est due à Robert Desc

Salvador Dalí — La Gare de Perpignan — Pair of Exhibition Invitation Cards, Galerie André François Petit, Paris, 1977

1999 Dada Surréalisme Avant-Gardes Centre Wallonie-Bruxelles Paris exhibition invitation, cover: colour reproduction of Marcel Mariën's Parler de soie (1975), showing a fragmented female face — eyes and nose within a speech-bubble cutout form, lips detached below — on cream ground; handwritten caption 'Parler de soie.' at lower left and 'Mariën 9.6.75' at lower right.

Reverse of 1999 Centre Wallonie-Bruxelles Dada Surréalisme Avant-Gardes invitation, showing plain cream card stock with light age toning and faint surface marks.

DADA | SURRÉALISME | AVANT-GARDES — Un siècle de collage en Belgique — Exhibition Invitation with Insert, Centre Wallonie-Bruxelles, Paris, 1999–2000

2024 Leidy Churchman Inner Dialogue Galerie Chantal Crousel Paris exhibition card. Recto: colour reproduction of painting showing fragmented geometric forms in green, orange, pink, blue, red, and brown; a magpie in flight at centre; scattered handwritten text fragments including 'NO', 'EYE', 'space', 'dead'; overlapping planes suggesting interior and exterior space simultaneously.

Reverse of 2024 Leidy Churchman Inner Dialogue Galerie Chantal Crousel exhibition card. White uncoated stock; 'GALERIE / CHANTAL CROUSEL' in small caps at upper left; 'Leidy Churchman / Inner Dialogue' in large elegant serif type; '7 SEPTEMBRE — 5 OCTOBRE 2024 / 10 RUE CHARLOT, PARIS / +33 1 42 77 38 87 | CROUSEL.COM' at lower left; vertical caption at right edge crediting photo to Max L Lee-Russell.

Leidy Churchman — Inner Dialogue — Exhibition Card, Galerie Chantal Crousel, Paris, 2024

2007 Richard Prince Panama Pavilion Venice postcard. Recto: reproduction of nurse painting Young Nurses — two semi-nude masked female figures in a brown interior, one standing at a table, one seated on the floor; 'YOUNG NURSES' in yellow text at upper left; below, bold display typography: 'RICHARD PRINCE' in gold, 'Panama Pavilion' in red serif, 'Venezia June – July 2007' in red; white border.

Reverse of 2007 Richard Prince Panama Pavilion Venice postcard. White stock; caption at lower left: 'Richard Prince / Panama Pavilion / Venice, 2007 / © Richard Prince'; vertical printer credit along right edge: 'GEBR. KÖNIG POSTKARTEN VERLAG · BREITERSTR. 93 · D-50677 KÖLN · PRINTED IN ITALY'; postcard dividing line at centre.

Richard Prince — Panama Pavilion, Venezia, June–July 2007 — Exhibition Postcard

Saatchi Collection postcard reproducing Gavin Turk Pop (1993). Colour photograph of wax self-portrait figure encased in brass-framed glass vitrine: figure in white blazer, dark trousers and boots, wild dark hair, holding a gun toward the viewer in a wide stance; gallery floor and white wall visible behind; photograph by Hugo Glendinning.

Gavin Turk — Pop, 1993 — Saatchi Collection Postcard

Fundación Federico García Lorca postcard, c.1998. Recto: black-and-white photograph of Federico García Lorca seated on a sofa in the family home, Granada, 1925, wearing a dark suit and bow tie, hands clasped; above him on the wall, a Salvador Dalí still life painting showing bottles and objects on a ledge; small devotional image below the painting; cushions and domestic objects visible around him.

Federico García Lorca under a Painting by Salvador Dalí, Granada, 1925 — Fundación Federico García Lorca Postcard, c.1998

Exhibition postcard from TRAUMA, Dundee Contemporary Arts, 2001. Recto: installation photograph of Christopher Wool / Felix Gonzalez-Torres Untitled (1991) — a large stack of white offset-printed sheets on a wooden floor, top sheet bearing dense black compressed text reading 'THE SHOW IS OVER THE AUDIENCE GET UP TO LEAVE THEIR SEATS TIME TO COLLECT THEIR COATS AND GO HOME AND GO HOME AND GO HOME AND NO MORE.

Reverse of TRAUMA 2001 Dundee Contemporary Arts exhibition postcard. White stock with 'National Touring Exhibitions / TRAUMA / Organised by the Hayward Gallery for the Arts Council of England'; 'Christopher Wool (b.1955)'; caption: 'Christopher Wool in collaboration with Felix Gonzalez-Torres / Untitled 1991 / Offset print on paper (endless copies) / 20.3 × 94 × 141 cm (at ideal height) / Hoffmann Collection, Berlin / Courtesy the artist and Luhring Augustine, New York / Photo: Peter Muscato'; Dundee Contem

CHRISTOPHER WOOL / FELIX GONZALEZ-TORRES — Untitled, 1991 — Exhibition Postcard, TRAUMA, Dundee Contemporary Arts, 2001

Original 1962 La Monte Young Marian Zazeela Composition 1960 #13 Performance 10 20 62 offset lithograph, New York. Left half: warm cream stock with typewritten text reading 'La Monte Young / Composition 1960 #13 / Performance 10 20 62 / Marian Zazeela'; right half: dense black abstract field of swirling organic forms, high-contrast ink on cream ground.

Reverse of 1962 La Monte Young Marian Zazeela Composition 1960 #13 offset lithograph showing plain cream stock with warm age toning, light handling marks, and faint surface variation consistent with period paper.

La Monte Young / Marian Zazeela — Composition 1960 #13, Performance 10 20 62 — Offset Lithograph, New York, 1962

1990 Philippe Cazal Collection Galerie Claire Burrus Paris exhibition invitation card. Recto: repeating horizontal stripe pattern alternating dark grey and cream bands, each carrying 'PHILIPPE CAZAL' in bold white/dark sans-serif and 'COLLECTION' mirrored below in grey outline type, creating a dense optical rhythm across the full card surface.

Philippe Cazal — Collection — Exhibition Invitation Card, Galerie Claire Burrus, Paris, 1990

Front cover of c.1960s Madeleine Alain Brieux Collages Galerie du Passeur Paris exhibition invitation card showing a full-bleed colour offset lithograph reproduction of a surrealist collage: at left, a Dutch Old Master floral still life in an arched window frame overlaid with large pink-red hands reaching upward among peonies, tulips, and mixed flowers; at centre, a large flat mauve-purple silhouetted figure form; at upper right, acrobatic male figures in coloured costumes leaping across an ornate architect

nterior of c.1960s Madeleine Alain Brieux Collages Galerie du Passeur Paris exhibition invitation unfolded, showing two panels on cream-white ground in black serif type: left panel with numbered checklist of 37 works in two columns including titles such as 'Nature morte', 'Machine à vapeur', 'Orbite de révolution', 'Le Pont des Deux-Anges', 'Pyramide intérieure', 'Le Siège du dedans', 'L'Élonnurée', 'Bouquet no 1', 'Pachamamgories', 'Les séquences du Don Juan', 'L'esprit pour le meilleur et pour le père', '

Madeleine Alain Brieux — Collages — Exhibition Invitation, Galerie du Passeur, Paris, c.1960s

Original 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card, offset print in black ink on cream card stock, showing bold graphic layout: upper half with mixed-size italic and roman typography reading 'le vendredi 19 novembre / de 18 à 21 heures / NOVEMBRE/DÉCEMBRE 1971 / la librairie les "ALISCANS" présente / l'exemplaire de tête illustré par / abdallah BENANTEUR de :'; large bold italic display type reading 'l'air pauvre' across centre with 'textes de monique BOUCHER' in smaller

Reverse of 1971 Monique Boucher L'air pauvre Les Aliscans librairie Paris invitation card showing plain cream-white thin card stock with warm age toning, light surface marks, and visible creasing and handling wear to lower corners consistent with fragile early-1970s paper ephemera.

Monique Boucher — L’air pauvre — Exhibition / Literary Event Invitation, Les Aliscans Librairie, Paris, 1971

Reverse of 2009 Michaël Borremans Taking Turns David Zwirner New York exhibition invitation card showing pale cream-white ground with small caption at upper right in light grey serif type reading 'Taking Turns, 2009 (film still) / 35mm film transferred to DVD'; centred lower half with 'Michaël Borremans' in large light serif type, 'Taking Turns' in smaller italic below, exhibition dates 'February 24 through / March 25, 2009', reception 'February 24, 2009, 6 to 8 pm', and 'David Zwirner' in bold serif with a

Front of 2009 Michaël Borremans Taking Turns David Zwirner exhibition invitation card showing a near-square colour film still from Taking Turns (2009), 35mm film transferred to DVD: two figures seen from behind in close proximity, both with short blonde hair, wearing dark clothing, their heads slightly turned toward each other against a very dark, almost black background; the image is soft-focus and atmospherically lit, creating a sense of psychological tension, doubling, and uneasy intimacy.

Michaël Borremans — Taking Turns — Exhibition Invitation Card, David Zwirner, New York, 2009

Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior red-orange panel showing full-bleed flat red-orange card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 541 WEST 24 STREET NEW YORK'; light surface marks consistent with period gallery ephemera.

Original 2007 Pierre Bismuth One Size Fits All Mary Boone Gallery exhibition invitation, exterior green panel showing full-bleed flat mid-green card stock with small white spaced-capital sans-serif text at lower left reading 'PIERRE BISMUTH MARY BOONE GALLERY 745 FIFTH AVENUE NEW YORK'; light surface marks and faint handling wear consistent with period gallery ephemera.

Pierre Bismuth — One Size Fits All — Exhibition Invitation, Team Gallery / Mary Boone Gallery, New York, 2007

Original 2024 Michele Ciacciofera / Han Bing / Amélie Caritey exhibition guide, Passerelle Centre d'art contemporain, Brest, folded exterior front panel showing white ground with fluorescent orange typography: 'Centre d'art contemporain / PASSERELLE' in large bold serif and sans-serif type at centre left with horizontal orange rule below, 'Brest — FR' in smaller type beneath; at right, artist names in large stacked display type: 'MICHELE / CIACCIOFERA / HAN BING / AMÉLIE / CARITEY' in mixed serif and pixela

Interior of 2024 Michele Ciacciofera / Han Bing / Amélie Caritey exhibition guide unfolded to full sheet, showing three-panel layout in fluorescent orange on white: left panel headed 'MICHELE CIACCIOFERA / Condenser l'Infini' with colour photograph of ceramic vessel forms and dense two-column exhibition text; centre panel headed 'HAN BING / 7:77' with black-and-white performance photograph and exhibition text; right panel headed 'AMÉLIE CARITEY / Bonne arrivée chérie enen' with geometric orange tile pattern

Michele Ciacciofera / Han Bing / Amélie Caritey — Exhibition Guide, Passerelle Centre d’art contemporain, Brest, 2024

$Original c. late 1980s–early 1990s Christopher Wool Prankster graphic card, offset print on white card stock, showing the word 'PRANKSTER' printed in large bold black stencil-style block capitals across three lines reading 'PRA / NKS / TER', each letter fractured by thin white gaps at intersections consistent with Wool's text-based stencil language; letters fill the full card surface edge to edge against white ground.$ Reverse of c. late 1980s–early 1990s Christopher Wool Prankster graphic card showing plain cream-white card stock, blank, with light age toning, soft surface marks, minor creasing, and faint discoloration consistent with period printed ephemera and archive storage.