The Archive

Everything currently held at The New Rare, newest first.

  • Exterior view showing heavily worked covers and spine; blue tape, polka-dot paper patches, and layered collage elements visible across front and back boards; accumulated material thickness visible at spine edge; object shows significant handling consistent with production and use Unique artist book open to interior spread; left page shows ink drawings of conjoined figures, heart motif with 'Nothing Is Nothing' text, and collaged photographs; right page shows ink-drawn figures including a woman with 'Is Fleeing' text and a turtle-like form; fan stamps throughout; layered found paper and tape

    Rafael Melendez — Nothing’s Wrong

    Rafael Melendez — Nothing’s Wrong

  • atherine Holly / The Academy of Realness, My Brother Is Not Daniel Richter / My Father Is Not Gehrhart, New York 2014 — cover; blue spray-painted ground over found book; stencilled text reading 'Daniel Richter / Ist Not / Ther Bro / My / My Fat / Her Ist / Not / Gehrhart' in black; Strand Price stickers affixed; rubber-stamped cartoon skull image; 'I Know Nothing' speech bubble at lower left Interior opening spread; left page shows black-and-white portrait of young woman with 'RICHARD' caption; right page shows photocopied architectural interior with figures and 'guide to infectious psychology' caption; page numbers 01 and 02

    Catherine Holly / The Academy of Realness — My Brother Is Not Daniel Richter / My Father Is Not Gehrhart

    Catherine Holly / The Academy of Realness — My Brother Is Not Daniel Richter / My Father Is Not Gehrhart

  • Catherine Holly / The Academy of Realness, Fuck Book, 2014 — cover; red Silvine memo book with 'MEMO BOOK' label; stencilled 'FUCK BOOK' over original cover; price stickers from Koenig Books Ltd (£35.00 / £8.99) and yellow '20p' label; 'BRITISH MADE' printed at foot Catherine Holly / The Academy of Realness, Fuck Book, 2014 — interior spread; left page shows stencilled '2014 LONDON SEPT 03' with Melendez credit and receipt reference; right page shows stencilled 'FUCK THE REBEL' on lined paper

    Catherine Holly / The Academy of Realness — Fuck Book

    Catherine Holly / The Academy of Realness — Fuck Book

  • Already applied to the listing: > Rafael Melendez, *Born to Die*, 2016 — unique artist's book open to interior spread; left page shows circular form on dark denim-textured ground with 'Rafael Melendez ©2016' credit; right page shows black-and-white portrait of Kurt Cobain with blue text 'Money Changes Everything'; dos-à-dos binding visible at spine

    Rafael Melendez — Born to Die

    Rafael Melendez — Born to Die

  • Catherine Holly, After the Pressure the Cock, The Academy of Realness, New York 2014 — zine cover; hand-lettered title over photocopied image of Piero Gherardi costume design for Giulietta degli Spiriti (Fellini, 1965); black tape collage elements on white ground Catherine Holly, After the Pressure the Cock, 2014 — interior spread; two photocopied Marilyn Monroe portraits with handwritten text: 'I'm your mommy' and 'No yo soy tu mami'; black-and-white photocopy process

    Catherine Holly / The Academy of Realness — After the Pressure the Cock

    Catherine Holly / The Academy of Realness — After the Pressure the Cock

  • Rafael Melendez, After Sturtevant, The Academy of Realness, 2022 — pamphlet cover; blue monospaced typography on white stock; black fabric sculpture centred; subtitle: Linguistics, Idealism, Repetition, Difference and Ownership Rafael Melendez, After Sturtevant, 2022 — interior spread; left page shows Elaine Sturtevant portrait photograph with introductory text; right pages show reconstructed Richard Prince and Rafael Melendez SWAB Barcelona exhibition posters with running text on repetition and appropriation

    Rafael Melendez — After Sturtevant

    Rafael Melendez — After Sturtevant

  • Paul Klee, exhibition invitation card recto. Musée National d'Art Moderne, Paris, 1969. Cream card. Black line drawing printed on cream ground: a horizontal landscape composition combining industrial, architectural, and fantastical elements. At left, a squat brick chimney stack emits three rounded tree-like forms. Centre: scattered figures, flags, a crescent moon shape, and horizontal elements suggesting a ground plane. At right, a large triangular form — part tent, part tower — rises steeply, with a spiral Paul Klee, exhibition invitation card verso. Musée National d'Art Moderne, Paris, 1969. Plain cream card, no text or image. Faint embossed or impressed text visible along the top edge, partially legible, consistent with a printed address or gallery name pressed through from the interior. Light age toning, minor surface marks, and faint handling wear.

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

    Paul Klee — Musée National d’Art Moderne, Paris, 1969

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964 [II]

  • Paul Klee, Galerie Berggruen exhibition card recto. Galerie Berggruen, Paris, 1964. Vivid orange card. Black line drawing printed directly onto the orange ground: a perspective view of an interior space — a studio or exhibition room — rendered in loose, energetic ink line. The room contains suspended objects, shelving, a central table or plinth, geometric structures, and an eye motif on the right wall. Radiating lines suggest light or spatial tension from a central ceiling fixture. A curved arrow in the low Paul Klee, Galerie Berggruen exhibition card inside spread. Galerie Berggruen, Paris, 1964. Bifold card open flat. Left panel: plain vivid orange, no text. Right panel: vivid orange ground with centred text in black italic serif type in French: 'A l'occasion de la parution de l'album / Paul Klee – 12 aquarelles / la Galerie Berggruen présentera du / 5 Octobre au 30 Novembre 1964 / un choix d'œuvres de Klee / 70 Rue de l'Université – Paris VII'. Light handling wear and minor surface marks.

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

    Paul Klee — 12 Aquarelles, Galerie Berggruen, Paris, 1964

  • Andreas Gursky, Love Parade, 2001, artist postcard recto. Matthew Marks Gallery, New York, 2001. Colour reproduction of a large-format C-print: aerial view of an enormous crowd filling a clearing in a dense green forest, photographed from directly above. The mass of people — hundreds of thousands — forms an irregular oval shape, their individual figures indistinguishable at this scale, creating a dense texture of skin tones, clothing, and colour. Two long vehicles or floats are visible at the left and lower Andreas Gursky, Love Parade, 2001, artist postcard verso. Matthew Marks Gallery, New York, 2001. Cream bifold card, plain to the right panel. Left panel: small sans-serif caption text at lower left: 'ANDREAS GURSKY. German, b. 1955. / Love Parade. 2001. C-print mounted to plexiglass in artist's frame. / © 2001 Andreas Gursky. Courtesy Matthew Marks Gallery, New York.' Light handling marks and minor surface wear.

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

    Andreas Gursky — Love Parade, Matthew Marks Gallery, New York, 2001

  • Jean Clareboudt, Oblique Haute, exhibition invitation recto. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Black-and-white photograph: a large irregular dark mass — a boulder or raw stone — suspended from a crane arm against a pale overcast sky. The crane extends diagonally from the upper left; industrial steel structures, scaffolding, and a brick building are visible below and behind. Low-angle shot emphasising the weight and scale of the suspended object. 'CLAREBOUDT' in l Jean Clareboudt, Oblique Haute, exhibition invitation verso. CREDAC Centre d'Art Contemporain, Galerie Fernand Léger, Ivry-sur-Seine, 1990. Cream card. Text in French, centred, in mixed type weights. Header: 'A L'OCCASION DE L'IMPLANTATION DE L'OEUVRE MONUMENTALE / DE "L'ORME AU CHAT", 26 BD BRANDENBOURG A IVRY, / JACQUES LALOË, MAIRE D'IVRY / VOUS INVITE AU VERNISSAGE DE L'EXPOSITION DE'. Artist name in large bold caps: 'JEAN CLAREBOUDT'. Exhibition title in bold: '"OBLIQUE HAUTE"'. Photography credit in i

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

    Jean Clareboudt — Oblique Haute, CREDAC, Ivry-sur-Seine, 1990

  • Louise Bourgeois, Papillons Noirs, exhibition announcement front cover. Hauser & Wirth, St. Moritz, 2018–2019. White card cover. 'HAUSER & WIRTH' in small spaced sans-serif caps at top centre. Centred below in large serif type, mixed roman and italic: 'Louise / Bourgeois / Papillons / Noirs'. Minimal, typographic design on plain white ground. Light handling marks and minor surface wear. Louise Bourgeois, Papillons Noirs, exhibition announcement inside spread. Hauser & Wirth, St. Moritz, 2018–2019. Folded card, two panels. Left panel: white ground with black sans-serif text. 'LOUISE BOURGEOIS' in large bold caps; 'PAPILLONS NOIRS' in smaller bold caps below. Opening reception details: 'FRIDAY 28 DECEMBER 2018 / 6–8 PM'. Exhibition dates: '28 DECEMBER 2018 – 10 FEBRUARY 2019'. Gallery address: 'VIA SERLAS 22, 7500 ST. MORITZ / PHONE +41 81 552 1000'. Opening hours: 'TUESDAY–SUNDAY 10 AM–7 PM

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

    Louise Bourgeois — Papillons Noirs, Hauser & Wirth St. Moritz, 2018–2019

  • Rachel Lachowicz and Yoko Ono, exhibition invitation card recto. Shoshana Wayne Gallery, Santa Monica, 1996. Cream card. Text in mixed serif and sans-serif type, centred layout. 'Main Gallery' in italic; 'RACHEL LACHOWICZ' in bold caps. 'West Gallery' in italic; 'YOKO ONO' in bold caps; 'Wishing Tree' in spaced roman type below. Exhibition dates: 'April 13 – May 18, 1996'. Reception: 'Saturday, April 13, 5 – 8 PM' in italic. Gallery details at foot in small roman type: 'Shoshana Wayne Gallery, Bergamot Stat Rachel Lachowicz and Yoko Ono, exhibition invitation card verso. Shoshana Wayne Gallery, Santa Monica, 1996. Plain cream card, no text or image. Minor age toning and faint surface marks visible.

    RACHEL LACHOWICZ / YOKO ONO — Wishing Tree, Shoshana Wayne Gallery, Santa Monica, 1996

    RACHEL LACHOWICZ / YOKO ONO — Wishing Tree, Shoshana Wayne Gallery, Santa Monica, 1996

  • Robert Kushner, 'The dance, the kiss,...', exhibition invitation recto. Galerie Daniel Templon, Paris, 1979. Black-and-white reproduction of a large-scale drawing or print: two figures in close embrace, faces almost touching in a near-kiss. The woman on the left has wavy hair and closed eyes; the man on the right wears a suit and tie, head tilted toward her. Her dress or top is rendered with dense teardrop or scale-like patterning across the bodice and shoulders. Bold, fluid black line work on white ground, Robert Kushner, 'The dance, the kiss,...', exhibition invitation verso. Galerie Daniel Templon, Paris, 1979. Cream card. Header in bold sans-serif caps: 'DANIEL TEMPLON / 30, rue Beaubourg. Paris 3. 272.14.10'. Below in bold: 'ROBERT KUSHNER'. Below in italic: '"The dance, the kiss,..."'. Exhibition dates in French: 'du 31 mars au 3 mai 1979 / vernissage le samedi 31 mars de 10 h à 19 h'. Plain typographic layout on cream stock. Light age toning and minor surface marks.

    Robert Kushner — “The dance, the kiss,…”

    Robert Kushner — “The dance, the kiss,…”

  • Richard Hamilton, exhibition invitation recto. Serpentine Gallery, London, 1975. Black-and-white photographic reproduction of an abstract work: a gestural composition of dark fluid marks, washes, and drips on a pale ground, framed by a thin ruled border. A large organic dark form dominates the upper left, with vertical streaks and pooled marks descending toward the lower centre. Scattered smaller marks and traces throughout. Cream card with age toning, surface marks, and minor corner wear visible. Richard Hamilton, exhibition invitation recto. Serpentine Gallery, London, 1975. Black-and-white photographic reproduction of an abstract work: a gestural composition of dark fluid marks, washes, and drips on a pale ground, framed by a thin ruled border. A large organic dark form dominates the upper left, with vertical streaks and pooled marks descending toward the lower centre. Scattered smaller marks and traces throughout. Cream card with age toning, surface marks, and minor corner wear visible.

    Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975

    Richard Hamilton — Private View Invitation, Serpentine Gallery, 1975

  • Richard Prince, The Masochist #7, front cover. RATSTAR / Shoot the Lobster, 2020. Staple-bound softcover, 28 × 21 cm. White card cover with a single black-and-white photocopy-style drawing: a large hand with exaggerated fingers dominates the lower half; above it a face with spiky hair, wide eyes with star-burst marks, and a grinning open mouth showing teeth. Cross or star mark between the eyes. Colophon text lower right in small type: 'The Masochist #7 – Richard Prince / Editor at Large – David Rimanelli / Richard Prince, The Masochist #7, back cover. RATSTAR / Shoot the Lobster, 2020. Plain white card, no text or image. Staple binding visible at left spine edge.

    Richard Prince — The Masochist #7

    Richard Prince — The Masochist #7

  • Tracey Emin, FLUX Magazine promotional postcard recto, c. 1999. Black-and-white close-up portrait photograph of Tracey Emin: direct gaze, dark eyes, short dark hair pulled back, wearing a fur-collared or textured jacket, small drop earrings. Red circular FLUX logo upper left with 'FLUX' in bold red sans-serif type. Red text below: 'TRACEY EMIN / THE ALL SEEING I / PAPER RECORDINGS'. Smaller red text at foot lists additional features: 'LEFTFIELD – REAL GOODFELLAS – BLAIR WITCH – LE TONE / FASHION – FLUX SPAC Tracey Emin, FLUX Magazine promotional postcard verso, c. 1999. White card with standard postcard layout: vertical dividing line separating message area (left) from address and stamp box (right). Stamp box upper right, blank. Small text block upper left reads: 'FLUX issue 15 contains some of the most beautiful images and features that have ever graced the pages of a magazine. To guarantee yourself hours of sensual pleasure just give £2.00 to a friendly newsagent, record, gallery, or book shop counter person

    Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard

    Tracey Emin — FLUX Magazine ‘The All Seeing I’ Postcard

  • Anton Corbijn, Still Lives, exhibition opening card recto. Torch Gallery, Amsterdam, 2000. Blue-toned black-and-white photograph: a woman with long dark hair stands in a white dress beside a white picket fence, bare winter trees behind her. A second figure in a matching white dress crouches at her feet, face obscured by dark hair. Atmospheric, gothic mood. Image: Anton Corbijn, Björk, Reykjavik, 1999. Anton Corbijn, Still Lives, exhibition opening card verso. Torch Gallery, Amsterdam, 2000. White card with large bold black sans-serif type: 'Anton / Corbijn / Still Lives'. Opening details below: 'opening 15 . 4 . 2000 17.00 – 19.00 hrs.' Gallery details: Torch, Lauriergracht 94, 1016 RN Amsterdam; Tel 31-20-6260284; Fax 31-20-6238892; open Thurs/Fri/Sat 13.00–18.00 hrs or by appointment. Caption at foot: 'Anton Corbijn, Björk, Reykjavik, 1999, 185 × 125 cm, Ed. 8'. Address block upper left: Nicole Tran B

    ANTON CORBIJN — Still Lives (Björk, Reykjavik, 1999), TORCH Gallery, Amsterdam, 2000

    ANTON CORBIJN — Still Lives (Björk, Reykjavik, 1999), TORCH Gallery, Amsterdam, 2000

  • Richard Prince, Spiritual America, exhibition announcement postcard recto. Guggenheim Museum, New York, 2007. Colour reproduction of a nurse painting: a female figure in a white surgical mask and cap against a dark background, eyes visible above the mask, gazing directly forward. Partial text visible at top reads 'NURSE IN HOLLYWOOD' in embossed or relief lettering. Title 'RICHARD PRINCE / SPIRITUAL AMERICA' in orange sans-serif type below the image, with 'Guggenheim' museum logo in an orange band at foot. Richard Prince, Spiritual America, exhibition announcement postcard verso. Guggenheim Museum, New York, 2007. Cream card with standard postcard layout: address lines and stamp area to right, GoCard Postcard Advertising logo upper right. Left column: 'RICHARD PRINCE / SPIRITUAL AMERICA' in bold caps; 'Through January 9' in small type. Sponsor credits: 'Made possible by Deutsche Bank' with Deutsche Bank logo; additional supporters listed including Barbara Gladstone, The Stephenson and Penn Bunn Foundation, Mi

    Richard Prince — Spiritual America

    Richard Prince — Spiritual America

  • Pipilotti Rist, Heroes of Birth, exhibition announcement card recto. Luhring Augustine, New York, 2010. Colour photograph: a woman in a white hospital gown lies reclined, head tilted back, dark hair spread behind her. Her bare, heavily pregnant abdomen is visible, with three red circular monitoring devices attached to the skin. Medical equipment including tubing and IV lines visible in the background. Clinical setting, warm analogue colour palette. Image from Pipilotti Rist video work. Pipilotti Rist, Heroes of Birth, exhibition announcement card verso. Luhring Augustine, New York, 2010. Pale grey-blue card. 'Pipilotti Rist' in red serif type, 'Heroes Of Birth' in red italic serif type below. Exhibition dates: '11 Sept – 16 Oct 2010' in red. Footer in small red type: 'LUHRING AUGUSTINE 531 West 24 Street NY 10011 www.luhringaugustine.com'. Light surface marks and minor handling wear visible.

    Pipilotti Rist — Heroes of Birth

    Pipilotti Rist — Heroes of Birth

  • Isa Genzken — Filmprogramm Isa Genzken, Filmprogramm, announcement card verso. Delphi Filmpalast am Zoo, Berlin, 2013. Plain white card stock, no text or image. Minor toning and storage marks visible.

    Isa Genzken — Filmprogramm

    Isa Genzken — Filmprogramm

  • Damien Hirst, Medicine Cabinets, exhibition invitation front. L&M Arts, New York, 2010. Close-up colour photograph of a white medicine cabinet shelf holding pharmaceutical products: a large brown glass bottle of Dimotane Elixir (Brompheniramine Maleate BP, A.H. Robins); a white plastic bottle of Glucotrend Plus glucose test strips (Roche, 10 tests); a small dark glass bottle labelled Plaster Remover; and partial labels for Marcain Heavy (bupivacaine hydrochloride) and other products visible at edges. Title Damien Hirst, Medicine Cabinets, exhibition invitation verso. L&M Arts, New York, 2010. White card. 'Opening Reception October 28 6–8 pm' in small type at top. 'Damien-Hirst' in large bold sans-serif type centred; 'Medicine Cabinets' below. Footer row: L&M Arts logo (lower left); exhibition dates October 28–December 11 2010; address 45 East 78th St, New York; telephone 1.212.861.0020; website www.lmgallery.com. Note at lower right: 'The exhibition will be accompanied by a fully illustrated catalogue, with a

    Damien Hirst — Medicine Cabinets

    Damien Hirst — Medicine Cabinets

  • Ryan McGinley, Vertical Color of Sound, exhibition invitation front. Galerie Perrotin, Hong Kong, 2014. Square colour photograph: a nude figure leaps from a hay bale into a pale blue dusk sky, arms outstretched, back to camera. Open field and flat horizon behind. Image: Hay Hop, 2014. Ryan McGinley, Vertical Color of Sound, exhibition invitation reverse. Galerie Perrotin, Hong Kong, 2014. Cream card with 'RYAN McGINLEY' in large serif type and '"Vertical Color of Sound"' below. Opening reception: Tuesday May 13th, 6–9pm. Exhibition dates: 13 May–21 June 2014, Tuesday–Saturday 11am–7pm. Text repeated in Chinese. Galerie Perrotin address: 50 Connaught Road Central, 17th Floor, Hong Kong. Vertical caption strip at right edge notes: Hay Hop, 2014, C-print, 51 1/8 × 72 7/16 inches / 130 × 175

    Ryan McGinley — Vertical Color of Sound

    Ryan McGinley — Vertical Color of Sound

  • Richard Prince, Early Photographs 1977–1979, front cover. Skarstedt Fine Art, New York, 2001. Grey hardcover boards with title 'Richard Prince / Early Photographs / 1977–1979' in pale blue-grey serif type, upper left. No image. Restrained, object-like design. Richard Prince, Early Photographs 1977–1979, interior page. Untitled (couple), 1977. Ektacolor print, 20 × 24 inches, 50.8 × 61 cm, edition of 10. Colour photograph of a man and woman in formal dress, rephotographed from a film still or television source. The man wears a dark suit and tie; the woman wears a black dress with a red flower. Both face slightly left, expressions neutral. Skarstedt Fine Art, New York, 2001.

    Richard Prince — Early Photographs 1977–1979

    Richard Prince — Early Photographs 1977–1979

  • Richard Prince, New Portraits, front cover. Blum & Poe, 2016. Screw-bound acrylic hardcover with large white embossed title 'Richard Prince New Portraits' over a transparent cover revealing the colophon page beneath. 'BLUM & POE' in large white type at foot. Six chrome screw-post bindings visible at right edge. Edition of 1,000. Richard Prince, New Portraits, back cover and interior page visible through acrylic. Blum & Poe, 2016. Transparent acrylic back cover with 'BLUM & POE' in white type lower right and ISBN barcode label affixed centre-right. Interior page visible through cover shows a rephotographed Instagram post by @prettypukedood: colour photograph of three figures at a party, 2,980 likes, with comments from @monsterpartyshop, @richardprince4, and others. Komiyama Tokyo bookseller sticker affixed to upper right of cover.

    Richard Prince — New Portraits

    Richard Prince — New Portraits

  • Terence Koh, The Whole Family, front cover. Peres Projects, Los Angeles, 2008. Plain cream-white softcover with no image. Title 'THE WHOLE FAMILY / TERENCE KOH' in small serif capitals at centre, with exhibition dates and venue 'May 10–June 21, 2008 Peres Projects, Los Angeles' below. Terence Koh, The Whole Family, interior full-bleed spread. Colour video-still photograph of a young boy in a denim and grey varsity jacket, smiling, hands raised and crossed at wrist, against a pale blue-grey background. Low-resolution, VHS-quality image. Peres Projects, Los Angeles, 2008.

    Terence Koh — The Whole Family

    Terence Koh — The Whole Family

  • Richard Tuttle — Grey Walls Work Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

  • Richard Prince, Menthol Wars, front cover. Printed Matter, New York, 2009. Facsimile reprint of 1980 artist's book. Black cover with halftone photograph of a woman in profile, pearl earring visible. Title 'MENTHOL WARS' and 'Richard Prince' in white type. Richard Prince, Menthol Wars, plain black inside back cover. Printed Matter, New York, 2009. Solid black page, no text or image.

    Richard Prince — Menthol Wars

    Richard Prince — Menthol Wars

  • Peter Doig, exhibition catalogue cover, The Arts Club of Chicago, 2003. Muted sage green and terracotta two-colour softcover with artist name in terracotta lowercase type at foot. Restrained institutional design. Peter Doig, exhibition catalogue interior spread pp. 6–7, The Arts Club of Chicago, 2003. Left: Organic Cabin, 1996, oil on canvas, 79 × 108 inches, The Bailey Collection, Toronto. Right: Pink Birch, 1997, oil on canvas, 72¾ × 83¾ inches, The Bailey Collection, Toronto.

    Peter Doig — The Arts Club of Chicago, 2003

    Peter Doig — The Arts Club of Chicago, 2003

  • Richard Prince — Purple 20 Years: The Richard Prince Purple Book, special edition for Purple Fashion no. 18, Purple Institute, Paris, 2012. White softcover with purple halftone "20 Years" typography overlaid on a collage of black-and-white celebrity photographs with handwritten captions and DVD barcodes. Richard Prince — Purple 20 Years: The Richard Prince Purple Book, interior spread. Left: photograph of Lynda Carter as Wonder Woman with handwritten caption: "Linda Carter went onto star in the TV show The L Word. True or False?" Right: photograph of male figure with handwritten caption referencing Dale Stone and mainstream film career. Purple Institute, Paris, 2012.

    Richard Prince — Purple 20 Years: The Richard Prince Purple Book

    Richard Prince — Purple 20 Years: The Richard Prince Purple Book

  • Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), exhibition catalogue cover, Edward Cella Art & Architecture, Los Angeles, June 11–July 30 2016. Cover features a black leather motorcycle jacket gifted by Richard Prince to Douglas Blair Turnbaugh, c. 1979. Richard Prince: The Douglas Blair Turnbaugh Collection (1977–1988), interior spread pp. 4–5. Left: acknowledgements text signed by Edward Cella. Right: leather jacket given to Douglas Turnbaugh by Richard Prince, c. 1979. Edward Cella Art & Architecture, Los Angeles, 2016.

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

    Richard Prince — The Douglas Blair Turnbaugh Collection (1977–1988)

  • Front cover of Richard Prince’s The Girl Next Door, still sealed in original shrinkwrap, showing a rural overgrown landscape with a basketball hoop and blue and pink title typography. Rear cover of Richard Prince’s The Girl Next Door, sealed in original shrinkwrap, showing a suburban house, deck, lawn, and road photographed in muted daylight.

    Richard Prince — The Girl Next Door

    Richard Prince — The Girl Next Door

  • Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Front cover: full-bleed newsprint cover with large bold headline reading 'I sometimes wonder how long I've got' and Guardian G2 masthead at top Sarah Lucas, GOD IS DAD, The Guardian G2, 17 October 2005. Interior spread, pages 14–15: two colour photographs — left: Old Man River, two leather straps pinned to a brick wall; right: You do it with really hairy bums, close-up of a buttock with a small cross-shaped object pinned to it

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

    Sarah Lucas — GOD IS DAD, The Guardian / G2, 17 October 2005

  • Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Front cover: solid blue flexible wrappers with large black text reading "NOTA" at lower edge, vertical red rule at left, small stacked text at upper right corner Peter Downsbrough, Take Note, Villa Arson, Nice, 1988. Interior spread: blank white pages with small black-and-white photograph of a man (Ronald Reagan) in a suit raising his hand, cropped at the gutter, lower left page blank

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

    Peter Downsbrough — Take Note, Villa Arson, Nice, 1988

  • Exhibition catalogue cover, Roy Lichtenstein, Galerie Ileana Sonnabend, Paris, 1965. Full-bleed Benday-dot pattern in blue and black across cream wrappers; artist name ROY LICHTENSTEIN set diagonally in bold black serif capitals from lower-left to upper-right. Age toning and foxing visible at lower corners. Stapled binding. `Two-page colour spread, Landscape, 1965, by Roy Lichtenstein. Horizontal bands of blue Benday dots separated by white cloud and ground forms; dark black dot band across the middle ground. Title and date captioned in small type at upper left: LANDSCAPE / 1965. Vertical use fold visible through centre of spread. Catalogue open flat, printed on cream paper.`

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

    Roy Lichtenstein — Galerie Ileana Sonnabend, Paris, 1965

  • David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, recto. Teal ground with central yellow rectangle. Orange-red silkscreen-style reproduction of Lying 2, 2000 — a figure reclining in a chair against a gestural painted ground. Offset print on semi-gloss card, 18 × 12.7 cm. Exhibition ephemera. David Diao — Lying 2, Postmasters Gallery, New York, 2000. Exhibition announcement card, verso. White ground, black typography in alternating bold and reversed-out bands. Text: 'DAVID DIAO / postmasters gallery / october 14 – november 11 / reception saturday 6–8 / 212 727 3323 / POSTMASTERS / 459 w 19 street nyc 10011 / www.postmastersart.com / postmasters@thing.net'. Vertical text right edge: 'Lying 2, 2000, acrylic on canvas, 79 × 115 inches'. Lower line: 'hole in the floor: Jennifer and Kevin McCoy "PINK

    David Diao — Lying 2, Postmasters Gallery, New York, 2000

    David Diao — Lying 2, Postmasters Gallery, New York, 2000