The Archive

Everything currently held at The New Rare, newest first.

  • East Village '85: A Guide. A Documentary, Roland Hagenberg et al., Pelham Press, New York, 1985. Front cover. Solid red ground. Cream outline illustration by Mark Kostabi: five schematic figures seated and standing around a table, two figures exchanging a rectangular object labelled '85'. Title in large cream block capitals: 'EASTVILLAGE'. Below in smaller type: 'Roland Hagenberg, Alan Jones, Michael Kohn, Carlo McCormick, Nicolas Moufarrege'. Lower centre: 'A guide. A documentary.' Publisher: Pelham Press. East Village '85: A Guide. A Documentary, Pelham Press, 1985. Condition detail: Basquiat and Madonna. Red softcover spine intact. Very good overall condition for a heavily used 1985 softcover.

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

    Roland Hagenberg et al. — East Village ’85: A Guide. A Documentary., New York: Pelham Press, 1985

  • Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Front cover. Black ground, title in spaced white capitals: 'Robert Mapplethorpe fotografie'. Centre: black-and-white photograph of a male torso in a white swimsuit, cropped at shoulders and thighs, high-contrast studio lighting. Lower text: 'Intervista con R. Mapplethorpe a cura di Germano Celant'. ISBN 88-7017-032-2. Original yellow N.P.G. price sticker lower right: 19.95. Photography monograph, Italian edition. Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983. Back cover. Black ground with white border rule. Black-and-white photograph: a young Black woman in profile, nude to the waist, holding a white draped cloth across her body, rings on her fingers, eyes downcast. Title in white block capitals along lower edge: 'ROBERT MAPPLETHORPE'. Photography monograph, Italian edition.

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

    Robert Mapplethorpe — Fotografie, Idea Books Edizioni, Milan, 1983

  • Tracey Emin — I Need Art Like I Need God, Jay Jopling/London, 1998. Front cover. Turquoise ground, handwritten blue signature 'Tracey Emin' upper left. Centre: photograph of the artist nude from behind, crouching on a studio floor, facing a large gestural canvas. Published for her 1997 exhibition at South London Gallery. Tracey Emin — I Need Art Like I Need God, 1998. Interior page: reproduction of Love Poem, appliqué blanket. Purple upper field, blue lower field. Multicoloured cut-letter text: 'YOU PUT YOUR HAND ACROSS MY MOUTH STILL THE NOISE CONTINUES EVERY PART OF MY BODY IS SCREAMING IM LOST ABOUT TO BE SMASHED INTO A THOUSAND MILLION PIECES EACH PART FOR EVER BELONGING TO YOU'. Small Tracey Emin label lower right. YBA, textile art,

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

    Tracey Emin — I Need Art Like I Need God, Jay Jopling / London, 1998

  • Richard Prince — New Portraits, Gagosian Gallery, New York, 2014. Front cover. Black staple-bound booklet, white centred text: Richard Prince / New Portraits. Exhibition catalogue, edition of 500. Appropriation art, printed matter. Richard Prince — New Portraits, Gagosian Gallery, 2014. Interior spread: Instagram screenshot @pamelaanderson, 46 weeks. Woman in white t-shirt bathing suit reclining on sand. 480 likes. Prince's comment: 'T-Shirt bathing suit! Nice. Let's hook up next week. Lunch, Smiles. R'. Appropriation art, found image.

    Richard Prince — New Portraits, Gagosian Gallery, 2014

    Richard Prince — New Portraits, Gagosian Gallery, 2014

  • Obliques No. 14–15, La Femme Surréaliste — front cover. Éditions Borderie, Paris, 1977. Decorative gothic lettering on cream textured card. Centre image: Jane Graverol's L'Esprit saint, a bird in flight suspended within a rock formation reading as a torso. Surrealist exhibition ephemera. Obliques No. 14–15, La Femme Surréaliste — interior spread with Unica Zürn diagrammatic drawing. Watercolour and ink on grid, dated Mardi 26 Avril 77. Surrealist printed matter, Éditions Borderie.

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

    Obliques — La Femme Surréaliste, No. 14–15, Éditions Borderie, 1977

  • Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984. Front cover. Black ground with red border. Large red and white hand-lettered title: "BLOOD AND GUTS IN HIGH SCHOOL". Author name "KATHY ACKER" in white at top. Centre: oil painting illustration by Sue Coe — a dense, dark scene of figures, a cat-like creature in a suit, playing cards, a coffee cup, industrial machinery, and a crescent moon. Grove Press Evergreen logo upper right, price $7.95. Kathy Acker — Blood and Guts in High School, Grove Press, 1984 — interior page. Full-page line drawing of a multi-armed deity figure in the style of Indian iconography — Kali-like, with multiple heads arranged in a crown, necklace of skulls, weapons and objects in each hand, standing over a prone figure. Small figures and animals at the margins. Caption in a ruled box at base: "The Devil is an image. Imagine Hell. We grab the book, and run." Cream paper, black ink.

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

    Kathy Acker — Blood and Guts in High School, Grove Press, New York, 1984

  • KOriginal 1992 Kathy Acker hardcover, Blood and Guts in High School, Japanese edition, Hakusuisha, Tokyo. Front cover showing English title "Blood and Guts in High School" in blue capitals above Japanese title 血みどろ臓物ハイスクール, translator Sachie Watanabe, and author name Kathy Acker, with blue-toned textured photographic panels. Interior spread of 1992 Kathy Acker, Blood and Guts in High School, Japanese edition, Hakusuisha, Tokyo. Page showing Acker's multilingual vocabulary lesson with Persian script, English handwriting, and Japanese translation: "father / see / my father is dead / my father is blue / body / cunt."

    KATHY ACKER — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

    KATHY ACKER — Blood and Guts in High School, Hakusuisha, Tokyo, 1992 (Japanese edition)

  • Kathy Acker, Pussycat Fever, AK Press 1995, hot pink cover, purple DiMassa illustration, four punk figures, block title, front Kathy Acker, Pussycat Fever, AK Press 1995, Freddie Baer collage, girl surrounded by cats, decorative border, interior spread

    KATHY ACKER — Pussycat Fever, AK Press, 1995

    KATHY ACKER — Pussycat Fever, AK Press, 1995

  • William Pope.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005. Front cover. Deep red ground. Centre: close-up photograph of a small black bear-like sculptural object, heavily textured surface with white dust or residue, suspended or resting against two white diagonal rods. White serif title text lower centre: "William Pope.L / some things you can do with blackness…" William Pope.L — some things you can do with blackness…, 2005 — interior plate, p. 5. Skin Set Drawings, 2002–2004. Four colour drawings on grid paper, each filled edge to edge with large hand-lettered text: upper left, purple on white: "RED PEOPLE ARE A NOVEL SET IN THE HEAD OF A WATERMOCCASIN"; upper right, yellow-green on white: "YELLOW PEOPLE ARE A TEA OF SANITY"; lower left, black on white: "RED PEOPLE ARE A LIQUID IN A BEAKER IN A LAB IN MANCHESTER ENGLAND"; lower right, blue and green on blue: "BLACK

    WILLIAM POPE.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

    WILLIAM POPE.L — some things you can do with blackness…, Kenny Schachter Rove, London, 2005

  • Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000. Front cover. Uniform grey textured wraps. White sans-serif text centred lower half: "Wes Mills" above "Missoula Drawings". No image. Surface grain visible throughout. Wes Mills — Missoula Drawings, Joseph Helman Gallery, New York, 2000 — interior plate. Cream paper. Lower left: two faint graphite geometric forms — a large right-angled triangle and a smaller adjacent peak — rendered in pale grey pencil against an almost entirely empty field. Minimal mark, large margin. Small printed caption text upper right, illegible at reproduction scale.

    WES MILLS — Missoula Drawings, Joseph Helman Gallery, New York, 2000

    WES MILLS — Missoula Drawings, Joseph Helman Gallery, New York, 2000

  • `Kunst uit Nieuw Guinea — exhibition catalogue front cover, 1963. Cream wraps with orange letterpress title lower right: "kunst uit nieuw guinea". Left: black and white photograph of a tall carved wooden ancestor figure (bis pole or similar), with a stylised face, open-work body, and flame-like projections at the crown. Age toning and handling wear throughout. `Kunst uit Nieuw Guinea, 1963 — interior plate. Black and white photograph of catalogue no. 43: a carved wooden ancestor figure, open-work construction with a large rounded head, hollow oval torso, and elongated pendant legs. Dark patinated surface. Photographed against cream ground.

    KUNST UIT NIEUW GUINEA — Museum Fodor / Stedelijk Museum, Amsterdam, 1963

    KUNST UIT NIEUW GUINEA — Museum Fodor / Stedelijk Museum, Amsterdam, 1963

  • `Keizō Kitajima — 東京 No. 2 (Tokyo No. 2), Photo Express Tokyo, February 1979. Front cover. High-contrast black and white photograph of two figures in close proximity, faces partially obscured, one in a leather jacket, set against a dark ground with diagonal structural elements. Title in teal kanji and Latin type upper centre: 東京 No 2. Date and price: 1979. FEBRUARY · 200 YEN. Green circular stamps along foot reading: 写 真 特 急 便 〒 北 島 敬 三 (Photo Express Mail, Kitajima Keizō).` `Keizō Kitajima — Photo Express Tokyo No. 2, February 1979 — interior plate. High-contrast black and white photograph of a woman seated at low angle, wearing a floral-patterned qipao dress, platform shoes, and a wide-brimmed hat. Face tilted upward, smiling, body angled toward camera. Flash-bleached highlights against deep black ground. Tokyo nightlife, 1979.`

    KEIZŌ KITAJIMA — Photo Express Tokyo No. 2, February 1979

    KEIZŌ KITAJIMA — Photo Express Tokyo No. 2, February 1979

  • `Animals in Pre-Columbian Art — André Emmerich Gallery, New York — exhibition catalogue front cover. Black and white photograph of a Pre-Columbian ceramic effigy vessel: a squat, four-legged jar with a zoomorphic face — wide-set eyes, open mouth with teeth, and stubby limbs — on a grey ground. Yellow Strand Bookstore price sticker upper right ($15.00). Title in black sans-serif at foot: "ANIMALS IN PRE-COLUMBIAN ART".` `Animals in Pre-Columbian Art — André Emmerich Gallery — interior plate. Two catalogue entries. Top: Cat. no. 6, Owl, Mochica, North Coast of Peru, ca. 300 B.C.–A.D. 100. Cream and light brown pottery stirrup-spout vessel in the form of a seated owl with incised feather detail, 7" high. Bottom: Cat. no. 7, Female seal with cub, and mate, Mochica I, North Coast of Peru, ca. 500–200 B.C. Two dark grey pottery stirrup-spout vessels modelled as seals, 6½" and 7" high.`

    ANIMALS IN PRE-COLUMBIAN ART — André Emmerich Inc., New York, 1965

    ANIMALS IN PRE-COLUMBIAN ART — André Emmerich Inc., New York, 1965

  • `Stuart Brisley — Institute of Contemporary Arts, London, 21 April – 31 May 1981. Exhibition catalogue front cover. Dark green cloth-bound hardcover with white text. Left column: dictionary definition of "Performance" (Oxford English Dictionary). Right column: artist name "Stuart Brisley" in white. ICA logotype at foot centre.` `Stuart Brisley — ICA, London, 1981 — interior plate. Black and white photograph documenting performance ZL 65 63 95 C, London, 1972. Brisley seated in a darkened room, debris and liquid covering the floor, paint-marked window behind. Caption: "ZL 65 63 95 C, London 1972 (57)."`

    STUART BRISLEY — Institute of Contemporary Arts, London, 1981

    STUART BRISLEY — Institute of Contemporary Arts, London, 1981

  • Ellsworth Kelly — A Salute to Ellsworth Kelly, Archives of American Art, New York, October 19, 1999. Programme publication front cover. Solid red wraps with white serif text along top edge reading: "Archives of American Art. A Salute to Ellsworth Kelly. October 19, 1999." Ellsworth Kelly — A Salute to Ellsworth Kelly, 1999 — interior plate. Black and white photograph of Ellsworth Kelly seated on the floor of his studio, working at low level. Two large canvases with biomorphic curved forms visible in background. Worktable and studio equipment in mid-ground.

    ELLSWORTH KELLY — A Salute to Ellsworth Kelly, Archives of American Art, 1999

    ELLSWORTH KELLY — A Salute to Ellsworth Kelly, Archives of American Art, 1999

  • Robert Rauschenberg, Ileana Sonnabend Gallery, Paris, 1963 — exhibition catalogue, front cover. Staple-bound wraps, offset print, black and white. Title in French: Première Exposition (oeuvres 1954–1961), Seconde Exposition (oeuvres 1962–63). Robert Rauschenberg, Monogram, 1955–1959 — interior plate. Black and white photograph of the Combine: a taxidermied angora goat encircled by a rubber tyre, mounted on a painted flatbed base. Caption: "Monogram" · 1955–1959, 183 × 183 × 122 cm.

    ROBERT RAUSCHENBERG — Ileana Sonnabend Gallery, Paris, 1963

    ROBERT RAUSCHENBERG — Ileana Sonnabend Gallery, Paris, 1963

  • New Observations Nos. 50, 51, and 84 — group of three issues shown together. New York, 1987 and c. early 1990s. Offset printed magazines, approx. 27 × 21 cm each. Sold as a group. `New Observations No. 84, Alchemy — interior spread. Black and white photograph of Marcel Duchamp's Étant donnés, 1946–66: a reclining female figure amid twigs and branches, one arm raised holding a gas lamp, viewed through a torn aperture in a dark ground.

    RICHARD PRINCE / JOHN DOGG — New Observations Nos. 50, 51 & 84, New York, 1987–c.1991

    RICHARD PRINCE / JOHN DOGG — New Observations Nos. 50, 51 & 84, New York, 1987–c.1991

  • Laylah Ali, Projects 75, MoMA, 2002 — cover. Two Greenhead figures on a blue ground; one tall with a polka-dot shirt, one small with a spiked head. Offset-printed artist's book. Laylah Ali, Projects 75, MoMA, 2002 — interior spread. Left: five dark spherical heads with elongated shadows. Right: three tall Greenhead figures with spiked crowns and a small figure clinging to one.

    LAYLAH ALI — Projects 75, MoMA, New York, 2002

    LAYLAH ALI — Projects 75, MoMA, New York, 2002

  • Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — front cover. Black and red biomorphic form with zipper and single button on yellow-orange ground. Galerie Paul Maenz, Cologne. Jiří Georg Dokoupil, Exhibition Catalogue, 1987 — interior plate. Red creature with multiple eyes, cigarette-like protrusions, and splayed limbs on orange ground. Ohne Titel (Bilder aus der Innenwelt), 1981, 290 × 350 cm.

    JIřÍ GEORG DOKOUPIL — Exhibition Catalogue, Paul Maenz, Berlin / Cologne, 1987

    JIřÍ GEORG DOKOUPIL — Exhibition Catalogue, Paul Maenz, Berlin / Cologne, 1987

  • Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, front: high-contrast black and white photographic image of reclining female figure Rancillac — Pornographie, exhibition invitation card, Galerie Daniel Templon Paris 1969, verso: gallery name, address, exhibition title, dates 22 April–3 May 1969, strictement sur invitation

    BERNARD RANCILLAC — Pornographie, Galerie Daniel Templon, Paris, 1969

    BERNARD RANCILLAC — Pornographie, Galerie Daniel Templon, Paris, 1969

  • Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — recto: offset-printed reception invitation on white card stock, text over halftone photograph of two Gothic-style pointed rooftops, issued by Alanna Heiss for the Fall Exhibitions preview, Sunday 15 October 1989, The Institute for Contemporary Art, Long Island City, New York Catherine Beaugrand / André Cadere / Raymond Hains, ICA P.S.1, 1989 — verso: plain off-white card stock, no printed text, light age toning

    P.S.1 MUSEUM — Fall Exhibitions Preview Invitation, 1989

    P.S.1 MUSEUM — Fall Exhibitions Preview Invitation, 1989

  • Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — recto: exhibition invitation card printed in dark brown ink on orange-brown card stock, with boxed typography listing artist names, venue Galerie Galea Caen, and exhibition dates 14 November to 4 December Joël Hubaut and Michel Sohier, Epidemik-Box, c. 1979 — verso: plain orange-brown card stock with light surface abrasion, no printed text

    JOËL HUBAUT / MICHEL SOHIER — Epidemik-Box, Galerie Galea, Caen, c. 1979

    JOËL HUBAUT / MICHEL SOHIER — Epidemik-Box, Galerie Galea, Caen, c. 1979

  • Original 1985 Esther Hess Énergie et Vent exhibition invitation card, site-art présent, 10 rue Coquillière, Paris. Recto showing circular disc sculpture in landscape, with artist name, exhibition title, vernissage date Tuesday 5 February 1985, 18h–22h, exhibition 5 February–15 March 1985, and gallery address. Reverse of 1985 Esther Hess Énergie et Vent exhibition invitation card, site-art présent, Paris, showing plain cream card stock, blank verso.

    ESTHER HESS — Énergie et Vent, site-art présent, Paris, 1985

    ESTHER HESS — Énergie et Vent, site-art présent, Paris, 1985

  • Front of a small 1973 Katharina Sieverding artist card showing a black-and-white double portrait of the artist in a tight hood and gloves, one figure facing down and the other holding a round mirror over the face, printed within a wide cream border. Back of a 1973 Katharina Sieverding artist card printed in Portuguese, with the heading “ilustração,” the caption “katharina sieverding sem título 1973,” and a short biographical note plus exhibition history on toned cream stock with light wear and corner creasing.

    KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio / MAM São Paulo, c. 1973

    KATHARINA SIEVERDING — Portuguese-Language Artist Card, Fotolinguagem, MAM Rio / MAM São Paulo, c. 1973

  • Charles Simonds, The Three Trees, 1985 — recto: offset-printed exhibition card showing two black-and-white photographs side by side, a modernist glass-façade building and a dense stand of conifers, on light card stock Charles Simonds, The Three Trees, 1985 — verso: exhibition invitation from Architekturmuseum in Basel with Basel postal stamp dated 25 May 1985 and typed address label to Connaissance des Arts, Paris

    CHARLES SIMONDS — The Three Trees, Architekturmuseum Basel, 1985

    CHARLES SIMONDS — The Three Trees, Architekturmuseum Basel, 1985

  • Arnulf Rainer — Linguaggio del corpo. Exhibition pamphlet cover, Biennale di Venezia, 1978. Austrian pavilion. Blue typography on cream wove stock. Interior spread from Arnulf Rainer exhibition pamphlet, Biennale di Venezia, 1978. Black-and-white reproductions of photo-based works: Face Farces, Posizioni del corpo, Avvinghiamenti, Posizioni di joga, Estasi (linguaggi

    ARNULF RAINER — Linguaggio del corpo, Biennale di Venezia, 1978

    ARNULF RAINER — Linguaggio del corpo, Biennale di Venezia, 1978

  • Leopoldo Maler — Mortal Issues: A Sanctuary with Flames & Figures. Exhibition publication cover, Whitechapel Art Gallery, London, 1976. Black-and-white photograph of Maler standing before a monumental archway, arms crossed. Bold typographic title below. Interior spread from Leopoldo Maler exhibition publication, 1976. Black-and-white photograph of a typewriter with sheet of flames, captioned Hommage, 1974, Art Systems in Latin America, ICA London. Valerie Beston Library provenance stamp visible at top left.

    LEOPOLDO MALER — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, London, 1976

    LEOPOLDO MALER — Mortal Issues: A Sanctuary with Flames & Figures, Whitechapel Art Gallery, London, 1976

  • Heated Words: Initial Research, House of Vans London, 2015 — recto, black-and-white street photograph of children on a New York sidewalk overprinted in red with title, dates, and contributor list Heated Words: Initial Research, House of Vans London, 2015 — verso full spread showing all four panels: network diagram, typographic enlargement, free film screenings programme, and Gary Warnett text, printed in black and red

    HEATED WORDS: INITIAL RESEARCH — House of Vans, London, 2015

    HEATED WORDS: INITIAL RESEARCH — House of Vans, London, 2015

  • Richard Prince, de Kooning, exhibition invitation front cover, Gagosian Gallery Paris, 2011 — cropped reproduction against warm peach ground with artist name and exhibition details Richard Prince, de Kooning, exhibition invitation interior spread unfolded, Gagosian Gallery Paris, 2011 — near full-bleed reproduction of Untitled (de Kooning), 2009

    RICHARD PRINCE — de Kooning, Gagosian Gallery, Paris, 2011

    RICHARD PRINCE — de Kooning, Gagosian Gallery, Paris, 2011

  • Danh Vō, Homosapiens, exhibition invitation recto, Marian Goodman Gallery, London, 2015. Cream multi-ply card with artist name and exhibition dates in serif type. Danh Vō, Homosapiens, exhibition invitation verso, Marian Goodman Gallery, London, 2015. Printed world migration map titled Homo Sapiens, routes of human dispersal annotated with dates in thousands of years, origin marked in sub-Saharan Africa.

    DANH VŌ — Homosapiens, Marian Goodman Gallery, London, 2015

    DANH VŌ — Homosapiens, Marian Goodman Gallery, London, 2015

  • folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Bernard Aubertin and Hans Bischoffshausen in lowercase type, brown-mauve accent on the letter n in each surname. Folded exhibition announcement, Galerie Heide Hildebrand, Klagenfurt, 1967. Exterior face with names Karl Prantl and J. J. Schoonhoven in lowercase type, brown-mauve accent on the letter n, gallery details in small print at lower edge.

    AUBERTIN / BISCHOFFSHAUSEN / PRANTL / SCHOONHOVEN — Galerie Heide Hildebrand, Klagenfurt, 1967

    AUBERTIN / BISCHOFFSHAUSEN / PRANTL / SCHOONHOVEN — Galerie Heide Hildebrand, Klagenfurt, 1967

  • Original 1989 Giovanni Anselmo exhibition announcement, Musée d'Art Contemporain, Lyon. Recto showing colour installation view: leaning triangular stone form against white wall and granite block with fresh leaves inserted, strong diagonal light across grey floor. Reverse of 1989 Giovanni Anselmo exhibition announcement, Musée d'Art Contemporain, Lyon, showing full French text with interview by Walter Guadagnini, reference images including Particolore (Détails) 1975, and ART CONTEMPORAIN LYON footer.

    GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989

    GIOVANNI ANSELMO — Musée d’Art Contemporain, Lyon, 1989

  • Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Recto: collaged card with torn paper fragments, handwritten annotation reading "And then as we were leaving I found this steel right at the gate to his new house," exhibition dates 5–29 juin 1985. Alison Knowles, Culture des Haricots, exhibition invitation, Galerie Art Contemporain J. et J. Donguy, Paris, 1985. Verso: plain cream card, blank.

    ALISON KNOWLES — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

    ALISON KNOWLES — Culture des Haricots, Galerie Art Contemporain J. et J. Donguy, Paris, 1985

  • Recto (front): Charles Ross, Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977. Recto: speckled cream card with bold yellow diagonal band crossing the field; small white circle at centre representing a point source; artist name and exhibition title in black uppercase type upper right; gallery names and addresses lower left; opening reception details at foot. Verso (back): Charles Ross, Point Source / Star Space, 1977. Verso: plain cream card with red New York meter postmark dated March 1977 upper right; typed address label to Hermann Kern, Kunstraum München, Nikolaistraße 15, München, Germany.

    CHARLES ROSS — Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977

    CHARLES ROSS — Point Source / Star Space, John Weber Gallery & Susan Caldwell Gallery, New York, 1977

  • Recto (front): Man Ray, Kunsthalle Basel, 1980. Recto: black-and-white reproduction of Violon d'Ingres (1924) — female nude seen from behind, wearing a turban, with f-holes drawn onto the lower back. Man Ray monogram visible at lower right. Verso (back): Man Ray, Kunsthalle Basel, 1980. Verso: printed exhibition announcement in German. Kunsthalle Basel, Steinenberg 7; opening Saturday 19 January 1980, 18 Uhr; through 24 February. Catalogue details: 210 pages, 162 b/w illustrations, 15 colour plates; texts by R. Penrose, G. Metken, Man Ray, G. Bussmann, J.-Ch. Ammann, H. Molderings. Film programme: Retour à la raison (1923), Emak Bakia (1926), L'Étoile de mer (1927), Mystère du château de dé (1928). Caption at foot: Man Ray: Violon d'Ingres,

    MAN RAY — Kunsthalle Basel, 1980

    MAN RAY — Kunsthalle Basel, 1980

  • Recto (front): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Recto: book cover reproduction showing Maciunas' handwritten charts and flow diagrams on curling paper sheets; title in black and red type, author Astrit Schmidt-Burkhardt above, publisher and collection credit below. Verso (back): Maciunas' Learning Machines, Vice Versa Verlag, Berlin, c. 2003. Verso: plain cream card with publisher details — Vice Versa Verlag, Leuschnerdamm 5, 10999 Berlin, Germany; info@vice-versa-vertrieb.de — and ISBN 3-932809-39-4 at lower left.

    MACIUNAS’ LEARNING MACHINES — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003

    MACIUNAS’ LEARNING MACHINES — Vice Versa Verlag / Silverman Fluxus Collection, Berlin, c. 2003