The Archive

Everything currently held at The New Rare, newest first.

  • Marcel Duchamp, L.H.O.O.Q., 1919. MoMA postcard, 2006. Recto: colour reproduction of Duchamp’s rectified readymade — a commercially printed Mona Lisa with pencil moustache and goatee added to the figure’s upper lip and chin; warm sepia and grey tones; landscape background visible; ‘L.H.O.O.Q.’ inscribed in pencil in capitals along the lower edge of the image. Retained in a transparent protective sleeve. Marcel Duchamp, L.H.O.O.Q., 1919. MoMA postcard, 2006. Verso: white stock; MoMA address upper left; caption — ‘Rectified readymade; pencil on reproduction of da Vinci’s Mona Lisa, 19.7 × 12.4 cm. Private collection. © 2006 ARS, New York / ADAGP, Paris. 59506’; barcode lower right.

    MARCEL DUCHAMP — L.H.O.O.Q., 1919. Museum of Modern Art postcard, 2006

    MARCEL DUCHAMP — L.H.O.O.Q., 1919. Museum of Modern Art postcard, 2006

  • Recto Martin Gardiner, Norman Cook (Fatboy Slim), Los Angeles, 1999. NPG postcard, 2001. Recto: colour photograph — full-length portrait of a shaven-headed man in a dark zip-up jacket and grey trousers, standing on a Los Angeles pavement, right hand raised to mouth, cigarette between fingers; dramatic cloudy sky at dusk; street furniture and parked vehicles in background. Polaroid-style white border Verso Martin Gardiner, Norman Cook (Fatboy Slim), 1999. NPG postcard, 2001. Verso: plain white stock; National Portrait Gallery logo upper left in serif type; lower left caption — 'Norman Cook (Fatboy Slim), b.1963 / Martin Gardiner, Los Angeles, 1999. C-type print, 495 x 394mm / © Martin Gardiner 1999. By courtesy of Rebecca Valentine. National Portrait Gallery (NPG x88630) / Sold to support the National Portrait Gallery, London. www.npg.org.uk'; barcode lower right.

    MARTIN GARDINER — Norman Cook (Fatboy Slim), b. 1963. National Portrait Gallery postcard, 2001

    MARTIN GARDINER — Norman Cook (Fatboy Slim), b. 1963. National Portrait Gallery postcard, 2001

  • MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981 MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

    MARCEL DUCHAMP / RICHARD HAMILTON — The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). Tate Gallery postcard, c. 1981

  • Recto — portrait Jean Cocteau, Poésie graphique, Galerie Arcade Colette, Paris, 1996. Invitation recto: monochrome photograph of Jean Cocteau — three-quarter view, standing beside a blackboard covered in chalk handwriting, right hand raised to chin, cigarette between fingers; dark suit and tie; bookshelves at right; chalk text partially legible including 'Lundi Noir' and names. Light age toning. Verso — exhibition text Jean Cocteau, Poésie graphique, Galerie Arcade Colette, Paris, 1996. Invitation verso: white card; 'GALERIE ARCADE COLETTE / du 17 septembre au 21 octobre 1996' in small caps; 'JEAN COCTEAU,' in large bold sans-serif; 'poésie graphique.' in large bold italic; 'dessins, photographies, tapisserie, bijoux.' below; vernissage details in italic; 'JARDIN DU PALAIS-ROYAL' in bold caps; address, telephone and opening hours; 'Droits Réservés' lower right.

    JEAN COCTEAU — Poésie graphique. Galerie Arcade Colette, Paris, 1996

    JEAN COCTEAU — Poésie graphique. Galerie Arcade Colette, Paris, 1996

  • Recto Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation recto: cream card; formal text in dark green serif type — 'Monsieur Eugène CLAUDIUS PETIT, Président de l'Union Centrale des Arts Décoratifs vous prie de lui faire l'honneur d'assister à l'inauguration de l'exposition'; 'LUCIEN CLERGUE / photographies / 1954–1961' in large bold green type at centre; minister's name below; venue — 'Musée des Arts Décoratifs / Palais du Louvre, Pavillon de Marsan / 107, Rue de Ri Verso Lucien Clergue, Photographies 1954–1961, Musée des Arts Décoratifs, Paris, 1962. Invitation verso: plain cream card; blind-embossed motif at centre, visible as a faint impressed relief without ink. Light age toning, minor surface impressions.

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

    LUCIEN CLERGUE — Photographies 1954–1961. Musée des Arts Décoratifs, Paris, 1962

  • Cover Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation cover: cream paper; reproduced drawing in grey-green ink — swirling curvilinear forms suggesting clouds or cosmic energy; small female face with closed eyes at centre left, partially obscured by flowing forms; artist's signature lower right. Age toning, edge wear. Interior spread Maurice Chabas, Les Grandes Visions, Galerie Devambez, Paris, 1922. Invitation interior, unfolded, 31.5 × 12 cm: left panel, exhibition details in black serif — 'GALERIE DEVAMBEZ / 43, Boulevard Malesherbes', 'Exposition des Œuvres de / MAURICE CHABAS / 1° Les Grandes Visions / 2° La Poésie dans la Nature / DU 1er AU 17 FÉVRIER 1922', hours, vernissage date, 'Carte valable pour le Vernissage et la durée de l'Exposition' in italic; centre and right panels, 'LES GRANDES VISIONS' heading in lar

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

    MAURICE CHABAS — Les Grandes Visions — La Poésie dans la Nature. Galerie Devambez, Paris, 1922

  • Recto Rafael Canogar, Construcciones 1968–1975, A.R.C. 2, Musée d'Art moderne de la Ville de Paris, 1975. Invitation recto: white ground; two broad diagonal black brushstrokes crossing at centre; monochrome photograph of a sculptural construction — blindfolded male figure, head and torso, held within a rectangular frame; 'RAFAEL CANOGAR' in large black sans-serif upper right; 'CONSTRUCCIONES / 1968-1975' in bold lower right; A.R.C. 2 logo, address and dates lower left. Light age toning. Verso Rafael Canogar, Construcciones 1968–1975, A.R.C. 2, Musée d'Art moderne de la Ville de Paris, 1975. Invitation verso: plain cream-white card stock, entirely unprinted. Light age toning, minor surface marks.

    RAFAEL CANOGAR — Construcciones 1968–1975. A.R.C. 2, Musée d’Art moderne de la Ville de Paris, 1975

    RAFAEL CANOGAR — Construcciones 1968–1975. A.R.C. 2, Musée d’Art moderne de la Ville de Paris, 1975

  • Verso Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation verso: white card; pale grey text — 'Roberto et Maggy Altmann seraient heureux de vous recevoir au 55 quai de Valmy 75010 Paris les 24 et 25 Novembre 1973, de 18 à 22 heures'; exhibition title in orange sans-serif — 'Estampes et livres illustrés des Éditions Brunidor'; two-column roster in pale grey — left: 'Butor', 'Laude'; right: 'Bryen', 'Domela', 'Hélion', 'Hérold', 'Masson'; 'invitation personnelle de la part de' in small it Recto Éditions Brunidor, Estampes et livres illustrés, Paris, 1973. Invitation recto: plain white card stock, entirely unprinted. Light age toning.

    BUTOR, LAUDE, BRYEN, DOMELA, HÉLION, HÉROLD, MASSON — Estampes et livres illustrés des Éditions Brunidor. Paris, 1973

    BUTOR, LAUDE, BRYEN, DOMELA, HÉLION, HÉROLD, MASSON — Estampes et livres illustrés des Éditions Brunidor. Paris, 1973

  • Recto Günter Brus, Watteaus Rache, 1983. Invitation recto, Centre Georges Pompidou, Paris, 1987. Colour reproduction on amber-gold ground — contorted nude figure in red-orange line arches backward, body merging into a sweeping curve across the composition; cascade of white lines pours downward at centre; blue-grey cloud forms at edges; 'WATTEAUS RACHE' inscribed upper left, signature and date upper right. Verso Günter Brus, Dessins autrichiens dans les collections du Cabinet d'art graphique, Centre Georges Pompidou, Paris, 1987. Invitation verso: formal invitation text in black serif centred on cream-white card — Maheu and Ceysson credits, exhibition title in bold, date 31 March 1987, venue and hours; exhibition title repeated in large pale grey watermark type below; Centre Georges Pompidou logo lower left; image credit and 'Invitation valable pour deux personnes' lower right. Age toning, scattered spotting.

    GÜNTER BRUS — Dessins autrichiens dans les collections du Cabinet d’art graphique. Centre Georges Pompidou, Paris, 1987

    GÜNTER BRUS — Dessins autrichiens dans les collections du Cabinet d’art graphique. Centre Georges Pompidou, Paris, 1987

  • Recto Roger Brown, Galerie Darthea Speyer, Paris, 1974. Invitation recto: teal-green ground; 'Roger Brown' in white serif type above a monochrome reproduction of a patterned landscape — undulating rows of rounded forms, small isolated figure at centre right; exhibition dates, vernissage details, gallery name and address in small white sans-serif below. Diagonal creasing at upper corners. Verso Roger Brown, Galerie Darthea Speyer, Paris, 1974. Invitation verso: plain cream-white card, entirely unprinted. Diagonal creasing at upper corners, light age toning.

    ROGER BROWN — Roger Brown. Galerie Darthea Speyer, Paris, 1974

    ROGER BROWN — Roger Brown. Galerie Darthea Speyer, Paris, 1974

  • . Cover Centenaire de Jean Paulhan, De la peinture et de l'écrit, Le Bateau-Lavoir, Paris, 1984–85. Invitation cover: monochrome halftone of a Cubist still life — fragmented guitar or stringed instrument, sheet music, jug and geometric planes in grey and black. No text. Light age toning Interior spread Centenaire de Jean Paulhan, De la peinture et de l'écrit, Le Bateau-Lavoir, Paris, 1984–85. Invitation interior, unfolded: left panel, artist roster in black serif capitals — Artaud, Alechinsky, Braque, Ernst, Rouault, Brauner, Chagall, Balthus, Klee, Fautrier, Michaux, Dubuffet, Chaissac, Richier, Chirico, Lhote, Masson, Hundertwasser, Fievre, Redon — distributed without hierarchy on white ground; right panel, italic heading 'Centenaire de Jean Paulhan', large serif title 'de la Peinture et

    ARTAUD, ALECHINSKY, BRAQUE, ERNST, CHAGALL, BALTHUS, KLEE, DUBUFFET, MICHAUX et al. — Centenaire de Jean Paulhan: De la peinture et de l’écrit. Le Bateau-Lavoir, Paris, 1984–85

    ARTAUD, ALECHINSKY, BRAQUE, ERNST, CHAGALL, BALTHUS, KLEE, DUBUFFET, MICHAUX et al. — Centenaire de Jean Paulhan: De la peinture et de l’écrit. Le Bateau-Lavoir, Paris, 1984–85

  • Recto — photographic strip Art & Language, Galerie nationale du Jeu de Paume, Paris, 1993–1994. Exhibition invitation recto: offset-printed card, 13 × 21 cm; upper third, strip of three repeated monochrome photographs by Charles Harrison — two figures standing in a gallery or institutional interior, partially obscured by glass reflections and architectural divisions, shelving and industrial ceiling visible behind; grey vertical text along right edge reading 'galerie nationale du' in lowercase sans-serif; lo Verso — formal invitation text Art & Language, Galerie nationale du Jeu de Paume, Paris, 1993–1994. Exhibition invitation verso: plain white card; upper left, vertical black sans-serif text 'Jeu de Paume' rotated 90° alongside a monochrome photographic strip of a figure in an interior; right side, formal invitation text in small black serif type — 'Jacques Toubon, Ministre de la Culture et de la Francophonie / Jean Peyrelvade, Président de la Galerie nationale du Jeu de Paume / Altnol Pacquement, Directeur

    ART & LANGUAGE — Art & Language. Galerie nationale du Jeu de Paume, Paris, 1993

    ART & LANGUAGE — Art & Language. Galerie nationale du Jeu de Paume, Paris, 1993

  • Front panel — folded guide cover Art & Language, Too Dark to Read: motifs rétrospectifs 2002–1965, Musée d'art moderne Lille Métropole, Villeneuve-d'Ascq, 2002. Exhibition guide front panel, 10 × 15 cm folded: upper third, dense grid of small colour and monochrome reproductions of Art & Language works — paintings, installations, text works, photographs — in muted pinks, blues, greys and whites; centre, black band with white and italic type — "exposition | exhibition | tentoonstelling / 26/01/2002 – 20/05/2 Interior spread — yellow ground, trilingual essay Art & Language, Too Dark to Read: motifs rétrospectifs 2002–1965, Musée d'art moderne Lille Métropole, Villeneuve-d'Ascq, 2002. Exhibition guide interior spread, unfolded: three panels on yellow ground — left panel in French headed "ART & LANGUAGE" with extended essay on the collective's history from 1966, small colour reproduction of Ferry Sails, 1997, upper right; centre panel in English headed "ART & LANGUAGE / Too Dark to Read" with parallel essay and sm

    ART & LANGUAGE — Too Dark to Read: motifs rétrospectifs 2002–1965. Musée d’art moderne Lille Métropole, 2002

    ART & LANGUAGE — Too Dark to Read: motifs rétrospectifs 2002–1965. Musée d’art moderne Lille Métropole, 2002

  • Recto — George Segal photograph Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation recto: colour photograph by George Segal — a figure in silhouette stands on a ladder or platform working across an illuminated theatre marquee at night, partially obscuring large black letters on a white backlit sign reading fragments "I EY POIT", "P…RUE", "PHI", "ORD E"; rows of amber and gold bulbs border the sign above and below; dark sky above. 14 × 9 cm. Verso — artist roster Photonotations, Rosa Esman Gallery, New York, 1976. Exhibition invitation verso: cream-white card; "PHOTONOTATIONS" in large bold black sans-serif type upper left; "PHOTOGRAPHS BY" in smaller bold black sans-serif type below; artist roster in regular black sans-serif type — "Arman, Bochner, Juszczyk, / LeWitt, R.Mangold, / S.Mangold, Pindell, Pozzi, / Rockburne, Sanderson, / Segal, Smithson, / Wesselmann, Zuyderland, / and others."; "MAY 4–28" in bold below; "ROSA ESMAN GALLERY / 29 WE

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

    ARMAN, MEL BOCHNER, SOL LEWITT, ROBERT MANGOLD, SYLVIA MANGOLD, HOWARDENA PINDELL, DOROTHEA ROCKBURNE, GEORGE SEGAL, ROBERT SMITHSON, TOM WESSELMANN et al. — Photonotations. Rosa Esman Gallery, New York, 1976

  • Recto — photograph Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard recto: monochrome photograph within a Polaroid-like white border — close-up of a young woman's face tilted sideways against a dark background, hair loose and wind-blown, a small clothes peg held between her lips, hoop earring visible, braided hair at left; high-contrast black-and-white printing. 10.5 × 15 cm. postcard back Nobuyoshi Araki, Untitled, 1995, Tokyo Novelle, Kunstmuseum Wolfsburg, 1995–96. Artist postcard verso: white postcard stock; upper left, small black serif text — "Nobuyoshi Araki / ohne Titel, 1995"; stamp box upper right with Kunstmuseum Wolfsburg whale emblem and exhibition dates "vom 25.11.1995 / bis 18.2.1996"; vertical black serif text along right edge — "GEBR. KÖNIG POSTKARTEN-VERLAG · BREITE STR. 93 · D-50667 KÖLN · PRINTED IN GERMANY"; lower left, "Serie 255 · Tokyo Novelle / Karte 1 v

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

    NOBUYOSHI ARAKI — Untitled, Tokyo Novelle. Kunstmuseum Wolfsburg, 1995. Card 1 of 5

  • title and author Laura Carpenter, Philippe Thomas, Insights, Galerie Claire Burrus, Paris, 1990. Exhibition invitation recto: cream card with pale warm-toned photographic ground — soft, diffuse abstract forms in ivory and sand, suggesting fabric or folded paper, more concentrated at left and right edges; "INSIGHTS" in spaced blue serif capitals centre; "LAURA CARPENTER" in smaller spaced blue serif type below. No other text. 17.5 × 13 cm. Light sun bleaching and age toning. Verso — gallery and event details Laura Carpenter, Philippe Thomas, Insights, Galerie Claire Burrus, Paris, 1990. Exhibition invitation verso: cream card with pale warm-toned photographic ground; "LA GALERIE CLAIRE BURRUS" in spaced grey serif capitals upper centre; "vous invite à la présentation du livre de Laura Carpenter" in small grey serif type below; "INSIGHTS" in large spaced blue serif capitals centre; "le 10 mars 1990 à 15 h / exposition du 10 mars au 17 mars 1990" in small grey serif type below; "

    LAURA CARPENTER / PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]

    LAURA CARPENTER / PHILIPPE THOMAS — Insights. Galerie Claire Burrus, Paris, 1990 [invitation]

  • Recto — translucent sheet over barcode card Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Recto, translucent outer sheet folded over barcode card: enlarged barcode in pale grey visible beneath translucent paper; overprinted in dark grey italic serif type — upper: "Nous vous invitons à une soirée le 30 septembre 1988, / 20 heures – 13, rue Simon Dereure, Paris 18."; lower: "R.S.V.P avant le 15 septembre. tél (1) 42.55.86.30."; barcode digits "SC 17001988" upper and "A 01 131286" lower visible thro Verso — translucent sheet, edition credit Jean-Paul Albinet, Invitation for a soirée, Paris, 1988. Verso, translucent outer sheet: plain pale cream-white translucent paper, almost entirely blank; small black italic serif text lower centre — "Tirage limité d'après un original de Jean Paul ALBINET / se composant des premières données de la cause à l'effet." Light age toning and faint fold marks visible. Numbered 9/75 in pencil (not visible on this side).

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

    JEAN-PAUL ALBINET — Invitation for a soirée. Paris, 30 September 1988

  • Recto — Clownpout (4) reproduction Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition invitation recto: full-bleed colour reproduction of Clownpout (4), 2002 — two photographic heads cut apart and interlocked, face appearing simultaneously doubled, blurred and partially erased; pale pink and white tones, open mouth visible at centre, features dissolved into abstraction; lower edge, horizontal strip with institutional logos and text in small bl Verso — exhibition details Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition invitation verso: white card, almost entirely unprinted; upper left, small black sans-serif text — "Fondazione Bevilacqua La Masa / Comune di Venezia / La S.V. è invitata / all'inaugurazione della mostra / Roni Horn / Dessins/ Drawings/ Disegni / a cura di Jonas Storsve / Sabato 31 gennaio 2004 / ore 18.30 / Galleria Bevilacqua La Masa / Piazza San Marco, 71/c / Vene

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004 [invitation]

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004 [invitation]

  • Front cover — black-and-white portrait with overwrap Roni Horn aka Roni Horn, Whitney Museum of American Art, New York, 2009. Exhibition guide front cover: pale blue printed overwrap overlaid on self-wrapper; overwrap carries "November 6, 2009–January 24, 2010" in small dark grey sans-serif type upper left; "Roni Horn / aka / Roni Horn" in large dark grey sans-serif type centre left; "Whitney Museum of American Art, New York" in small dark grey sans-serif type lower left; behind overwrap, black-and-white cl Back cover — colour portrait with overwrap Roni Horn aka Roni Horn, Whitney Museum of American Art, New York, 2009. Exhibition guide back cover: pale blue printed overwrap overlaid on self-wrapper; overwrap carries "November 6, 2009–January 24, 2010" in small dark grey sans-serif type upper left; "Roni Horn / aka / Roni Horn" in large dark grey sans-serif type centre left; "Whitney Museum of American Art, New York" in small dark grey sans-serif type lower left; behind overwrap, colour close-up photograph o

    RONI HORN — Roni Horn aka Roni Horn. Whitney Museum of American Art, New York, 2009

    RONI HORN — Roni Horn aka Roni Horn. Whitney Museum of American Art, New York, 2009

  • Front cover Roni Horn, Catalogs, Artist's Books and Monographs, Edizioni Periferia / a+mbookstore Edizioni, 2004. Front cover: metallic gold reflective wrappers with rippled, cloud-like surface texture in warm gold and pale yellow tones; "RONI HORN" in small spaced blue serif capitals centre; "CATALOGS, ARTIST'S BOOKS / AND MONOGRAPHS" in smaller spaced blue serif type below. Softcover, staple-bound, 10.5 × 15 cm. Rubbing, surface marks and light scratching visible across wrappers. Back cover Roni Horn, Catalogs, Artist's Books and Monographs, Edizioni Periferia / a+mbookstore Edizioni, 2004. Back cover: metallic gold reflective wrappers with rippled surface texture, lighter and more diffuse than front; "EDIZIONI PERIFERIA · A+MBOOKSTORE EDIZIONI · CHRISTOPHE DAVIET-THÉRY" in small spaced blue serif type lower centre. Edge wear and small area of loss along lower edge visible.

    RONI HORN — Catalogs, Artist’s Books and Monographs. Edizioni Periferia / a+mbookstore, 2004

    RONI HORN — Catalogs, Artist’s Books and Monographs. Edizioni Periferia / a+mbookstore, 2004

  • Front cover — institutional title strip Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition booklet front cover: fluorescent yellow-green wrappers; narrow vertical grey institutional title strip along left edge — double-B logo of Fondazione Bevilacqua La Masa in black above, then "FONDAZIONE / BEVILACQUA / LA MASA" in small black type, then "Centre / Pompidou" in black, then "Galleria di Piazza San Marco, / Venezia", then "Roni Horn / Dessins/Dr Interior spread — pages 8–9 Roni Horn, Dessins / Drawings / Disegni, Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004. Exhibition booklet interior spread, pages 8–9: left page, bibliography column upper left listing Horn publications — Pooling Waters (1999), Bluff Life (2000s), Lava (2001–02), Another Water (2002), Cão Comum (2006) — followed by essay "Roni Horn a Venezia" by Angela Vettese in two columns of small Italian serif type, discussing Horn's relationship to water, Iceland, photography

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004

    RONI HORN — Dessins / Drawings / Disegni. Fondazione Bevilacqua La Masa / Centre Pompidou, Venice, 2004

  • Recto — Que valor! print reproduction Francisco de Goya, Les Désastres de la guerre, Centre d'Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001. Exhibition invitation recto: black-and-white reproduction of Que valor! (What Courage!), plate 7 from The Disasters of War, etching and aquatint, first edition 1863 — a woman in a white dress seen from behind, arms extended to operate a cannon on a wheeled carriage, surrounded by fallen bodies and scattered debris on a dark raked ground; plate number "7" upper le Verso — exhibition text Francisco de Goya, Les Désastres de la guerre, Centre d'Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001. Exhibition invitation verso: white textured card with "Francisco de Goya" in large terracotta serif type upper centre; "1746–1828" below in smaller terracotta type; "Les désastres de la guerre" in large terracotta serif type; "« Première édition des 80 gravures – 1863 »" in italic below; "Du 4 août au 4 novembre 2001"; "Vernissage / samedi 4 août à partir de 18 heures"; "CENTR

    FRANCISCO DE GOYA — Les Désastres de la guerre. Centre d’Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001

    FRANCISCO DE GOYA — Les Désastres de la guerre. Centre d’Art Présence Van Gogh, Saint-Rémy-de-Provence, 2001

  • Invitation front — gymnast backbend Rineke Dijkstra, The Gymschool, St Petersburg / Marianna (The Fairy Doll), Galerie Marian Goodman, Paris, 2015. Exhibition invitation front: colour photograph of a young gymnast in a black leotard performing a backbend on a bare cream floor, legs raised and crossed at the ankle in ballet slippers, face visible between her arms looking directly at the camera. White border. Approx. A5. Invitation back — text only Rineke Dijkstra, The Gymschool, St Petersburg / Marianna (The Fairy Doll), Galerie Marian Goodman, Paris, 2015. Exhibition invitation back: white card with "13 janvier — 21 février 2015" upper left; "Vernissage le mardi 13 janvier de 18h à 20h" upper right; "RINEKE DIJKSTRA" in spaced black serif capitals centre; "The Gymschool, St Petersburg, 2014 — Marianna (The Fairy Doll), 2014" in italic below; "GALERIE MARIAN GOODMAN / 79, rue du Temple 75003 PARIS / T. +33 1 48 04 70 52 /

    RINEKE DIJKSTRA — The Gymschool, St Petersburg, 2014 / Marianna (The Fairy Doll), 2014. Galerie Marian Goodman, Paris, 2015

    RINEKE DIJKSTRA — The Gymschool, St Petersburg, 2014 / Marianna (The Fairy Doll), 2014. Galerie Marian Goodman, Paris, 2015

  • Front — Homage to the Square reproduction Josef Albers, Sunny Side Up, David Zwirner, London, 2017. Exhibition invitation front: full-bleed colour reproduction of Homage to the Square, 1971, oil on Masonite — three nested squares in warm yellow tones; outermost field in muted gold, middle field in soft peach-orange, innermost square in saturated cadmium yellow. No text. Approx. 21 × 21 cm. Light surface handling. exhibition details Josef Albers, Sunny Side Up, David Zwirner, London, 2017. Exhibition invitation back: white card with caption upper right in small black serif type — "Homage to the Square, 1971 / Oil on Masonite / 48 × 48 inches (121.9 × 121.9 cm) / © 2016 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York"; lower right, "Josef Albers" in large black serif type, "Sunny Side Up" in bold below, "13 January through 10 March 2017", private view "Thursday, 12 January / 6 to 8 PM",

    JOSEF ALBERS — Sunny Side Up. David Zwirner, London, 2017

    JOSEF ALBERS — Sunny Side Up. David Zwirner, London, 2017

  • Front (artist list / Fine Rats logo) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation front, in clear plastic pouch: upper third, yellow ground with "fine rats / INTERNATIONAL / presents" in black italic and sans-serif type; lower two-thirds, white ground with artist list — "Bram Åångström, Francis Gomila / Zbigniew Karkowski, Colin Pearce / Mark Renn, Roman Signer / Ivan Smith, Barbara Van Loon / Maria Vedder" — and "UNDER SPAGHETTI JUNCTION" in spaced black capita Back (event details / aerial view) Under Spaghetti Junction, Fine Rats International, Birmingham, 1993. Exhibition invitation back, in clear plastic pouch: upper third, yellow ground with event details in black type — "UNDER SPAGHETTI JUNCTION / An international exposition of innovative visual art under the M6 motorway intersection in Birmingham, UK. / 3rd & 4th September 1993 / 9 pm to 12 midnight / ADMISSION FREE / Entrance at Electric Avenue / Follow AA signs / A-Z ref 4C 60 / TEL + 44(0) 21 565 0597"; l

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

    FINE RATS INTERNATIONAL — Under Spaghetti Junction [Roman Signer et al.]. Birmingham, 1993

  • Front — envelope with Crumb drawing Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Front of illustrated paper envelope inside clear protective sleeve: white paper with "ROBERT CRUMB POSTCARDS / A Set of 10 Different Cards by R. Crumb ($4.95 / $5.95 in Canada) / Published by FANTAGRAPHICS BOOKS 7563 Lake City Way NE Seattle, WA 98115 / Phone (206) 524-1967 Fax (206) 524-2104" in black type upper centre; large black-and-white Crumb drawing below — a squat, scowling male figure seated on a bench, Back — clear protective sleeve Robert Crumb Postcards, Fantagraphics Books, Seattle, 1990. Reverse of clear protective sleeve enclosing the original envelope: translucent plastic with tape strips at corners and edges; blank white stock labels; handwritten "1990" notation on a small label lower right. Creasing and surface marks throughout.

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

    ROBERT CRUMB — Robert Crumb Postcards. Fantagraphics Books, Seattle, 1990

  • Front cover Tony Cragg, Moderna Galerija / Mala Galerija, Ljubljana, 1992–93. Exhibition catalogue front cover: textured white card with "Tony Cragg" in large black serif type within a ruled black border upper centre; "Mala Galerija / Moderna Galerija / Ljubljana" in spaced black serif capitals lower centre. Plain white ground. 29 × 21 cm. Light surface marking and edge wear. Back cover Tony Cragg, Moderna Galerija, Ljubljana, 1992–93. Exhibition catalogue back cover: plain textured white card with sponsor credit upper centre — "Sponzor informacijskega centra Moderne galerije" in small black serif type; IPdL Sistemi logo in black above a solid blue rectangle with "SISTEMI" in white type and caption "Liroštva investicijskih objektov, d.d. Ljubljana" in small type below. Otherwise blank. Age toning throughout.

    TONY CRAGG — Tony Cragg. Moderna Galerija / Mala Galerija, Ljubljana, 1992–93

    TONY CRAGG — Tony Cragg. Moderna Galerija / Mala Galerija, Ljubljana, 1992–93

  • Front cover Regeneration: Hannah Collins, Mike and Doug Starn, The Power Plant, Toronto, 1992. Exhibition catalogue front cover: cream card with "Regeneration:" in white sans-serif type on a solid black rectangle upper right; "Hannah Collins," and "Mike and Doug Starn" in spaced black serif type in overlapping white-bordered boxes below; two black-and-white reproductions centre — upper: a pile of oysters on a dark ground; lower: a framed photographic assemblage with metal clamps and hardware. 31 × 24 cm. Back cover and interior spread Regeneration: Hannah Collins, Mike and Doug Starn, The Power Plant, Toronto, 1992. Interior spread: left, checklist listing works by Hannah Collins — Plural/West 1991 (175 × 243 cm), Eggs for Bread 1991 (158 × 135 cm), Revolving 1992 (205 × 286 cm), Stonefree 1992 (twenty-eight aluminium panels, each 2.5 × 1 m) — and Mike and Doug Starn — Fear of Influence 1990–92 (toned ortho film and steel, 4.3 m dia.), Sun 1992 (1.8 × 2.4 m), Vaporum 1992 ×4 (toned ortho film and silicon, 3

    HANNAH COLLINS / MIKE AND DOUG STARN — Regeneration. The Power Plant, Toronto, 1992

    HANNAH COLLINS / MIKE AND DOUG STARN — Regeneration. The Power Plant, Toronto, 1992

  • Front cover Slide Shows, Charlotte Cheetham, Fillip Editions, Vancouver, 2013. Front cover: bright yellow card with "Slide Shows" in large bold black sans-serif type upper left; subtitle and author name in smaller black type below. Staple-bound, 14 × 21 cm. Interior — contributors list / 4478zine Slide Shows, Charlotte Cheetham, Fillip Editions, 2013. Interior spread: left, yellow ground with numbered contributors list — 34 participants including 4478zine, David Horvitz, mono.kultur, Michalis Pichler, Eva Weinmayr, Wendy Yao; right, two video stills of a German Shepherd in grass, captioned "4478zine publishes, promotes and sells all printed matter by Erik van der Weijde" and "2011 YEAR REPORT".

    CHARLOTTE CHEETHAM — Slide Shows: A Landscape of Contemporary Independent & Art Publishing. Fillip Editions, 2013

    CHARLOTTE CHEETHAM — Slide Shows: A Landscape of Contemporary Independent & Art Publishing. Fillip Editions, 2013

  • Front Panel, Le Ton Haut, Jorge Camacho, Galerie Mathias Fels, Paris, 1969. Exhibition publication back panel: cream laid paper with a single central black-and-white alchemical emblem — a winged globe surmounted by a triangle and upward arrow, with two horseshoe forms within the sphere. No text. Age toning and handling wear throughout. Unfolded exterior (full three-panel spread) Le Ton Haut, Jorge Camacho, Galerie Mathias Fels, Paris, 1969. Exhibition publication unfolded exterior, full three-panel spread: dense grid of black-and-white alchemical and hermetic engravings across the full sheet — circular medallions with inscribed Latin and French texts, emblematic figures, symbolic scenes including celestial, terrestrial and metallurgical subjects, and geometric diagrams. Short French captions and fragments of Bernard Roger's text distribu

    JORGE CAMACHO — Le Ton Haut. Galerie Mathias Fels, Paris, 1969

    JORGE CAMACHO — Le Ton Haut. Galerie Mathias Fels, Paris, 1969

  • William S. Burroughs: Painting, The October Gallery, London, 1992. Exhibition invitation front cover: solid black card with colour reproduction of Burroughs painting — red-orange totemic figure with rounded head, hollow eyes, wide ears and a circular void in the torso, standing on short forked legs against a black ground. Produced by Lococo · Mulder · New York City. Time Out London "Supported by" sticker lower left. Portrait format. William S. Burroughs, The Seven Deadly Sins, October Gallery / Lococo Mulder, 1991. Promotional handbill front: bright red card, landscape format, with "William S. Burroughs" in large black blackletter type upper centre and "The Seven Deadly Sins" in smaller black blackletter type lower centre. No other text. Deckled left edge visible.

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

    WILLIAM S. BURROUGHS — October Gallery Exhibition Archive, 1988–1992

  • Package Holiday: New British Art in the Ophiuchus Collection, The Hydra Workshop, Hydra, 1997. Front cover: solid bright blue card with "PACKAGE HOLIDAY" in large black bold type lower left; 15 artist names in three rows of small white text below — Don Brown, Peter Doig, Tracey Emin, Angus Fairhurst, Damien Hirst, Gary Hume, Sarah Lucas, Paul Noble, Chris Ofili, Richard Patterson, Simon Patterson, Georgina Starr, Sam Taylor-Wood, Nicola Tyson, Gillian Wearing. Landscape format, 21 × 15 cm. Light handling cr Package Holiday, Hydra Workshop, 1997. Interior spread: left, full-bleed colour photograph of Hydra harbour and hillside town — whitewashed cubic buildings descending to the water, blue sky and sea; right, white page with "PACKAGE HOLIDAY" heading in bold blue type, two paragraphs of exhibition text, and black silhouette of three stacked suitcases lower centre.

    PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

    PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

  • Willard Boepple, New Sculpture, Broadbent Gallery, London, 2008. Front cover: plain white card with "WILLARD BOEPPLE" centred in small black serif type. Staple-bound catalogue, 25 × 20 cm. Light surface marking and faint pressure marks visible on wrapper. Willard Boepple, New Sculpture, Broadbent Gallery, London, 2008. Interior spread: left, white page blank; right, black-and-white photograph of Irish Corners (2007), aluminium, 25 × 29 × 19 in — open shelf framework with angled plates, irregular blocks and geometric forms suspended at varying heights. Caption lower left, photo credit Arnold Helbling.

    WILLARD BOEPPLE — New Sculpture. Broadbent Gallery, London, 2008

    WILLARD BOEPPLE — New Sculpture. Broadbent Gallery, London, 2008

  • Linus Bill + Adrien Horni, Gemälde, Nathalie Karg Gallery, New York, 2014. Exhibition invitation, recto: blue ground with text "Dec. 11th, 6–8 pm" top and "41 Great Jones Street" bottom; centre, yellow publication cover showing "Linus Bill + Adrien Horni" with colour collage of red, yellow, blue and grey abstract forms, "Nathalie Karg Gallery / New York" below. Linus Bill + Adrien Horni, Gemälde, Nathalie Karg Gallery, New York, 2014. Exhibition invitation, verso: plain cream card, blank, light toning consistent with age.

    LINUS BILL + ADRIEN HORNI — Gemälde. Nathalie Karg Gallery, New York, 2014

    LINUS BILL + ADRIEN HORNI — Gemälde. Nathalie Karg Gallery, New York, 2014

  • Linus Bill + Adrien Horni, Gemälde, M J, Geneva, 2014. Front cover: cream card with two black geometric shapes — a notched vertical rectangle upper left and a horizontal square lower right — title 'Gemälde' upper right, publisher mark 'M J' lower left. Saddle-stitched catalogue, edition of 200. Linus Bill + Adrien Horni, Gemälde, M J, Geneva, 2014. Interior spread: left, grey ground with abstract collage of dark notched rectangle, black horizontal bar, white diagonal forms and pixelated fragments; right, white ground with collage of vertical grey bar, dark semicircle, circular disc, and black smudged form with grid texture upper right.

    LINUS BILL + ADRIEN HORNI — Gemälde. M J, Geneva, 2014

    LINUS BILL + ADRIEN HORNI — Gemälde. M J, Geneva, 2014

  • TOM BIANCHI — Living with Dickens. St. Martin’s Press, 1994 Tom Bianchi, Living with Dickens, 1994. Interior spread showing black-and-white photograph of cat named Ingrid seated among bare branches, facing right, opposite Foreword text. Softcover artist book, square format, cream pages.

    TOM BIANCHI — Living with Dickens. St. Martin’s Press, 1994

    TOM BIANCHI — Living with Dickens. St. Martin’s Press, 1994