Under £50

Works from the archive priced under £50.

  • 2003 Francis Alÿs Athens postcard. Recto: aerial photograph of dense Athens cityscape, grey residential blocks receding to horizon; below, bilingual typewritten caption in Greek and English: 'a man traces a line as he walks through the city of Athens shooting a flare every 30 steps. Reverse of 2003 Francis Alÿs Athens postcard. Cream stock with standard postcard layout; 'Francis Alÿs / Athens, oct 2003' in small serif type at upper left; dotted stamp box at upper right; five address lines; light age toning and handling marks.

    Francis Alÿs — Athens, Oct 2003 — Artist Postcard

    Placed

    Francis Alÿs — Athens, Oct 2003 — Artist Postcard

    Placed
  • Original 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Edition Julie Sylvester / Schirmer/Mosel. Front cover showing a colour photograph of a dishevelled hotel room interior: an unmade bed with a gold bedspread, a black office chair, and a portable television on a stand. Title in small serif type upper centre: 'Martin Kippenberger / 67 Improved Papertigers / Not Afraid of Repetition'. Publisher imprint 'Edition Julie Sylvester / Schirmer/Mosel' lower centre. Cream wrappers. Reverse of 2012 Martin Kippenberger 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel. Back cover showing a colour snapshot photograph of a bearded man in white underwear standing in a hotel room, looking down, with a television and wood-panelled wall behind him. ISBN barcode 9783829603508 lower right. Cream wrappers with handling wear.

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

    Placed

    Martin Kippenberger — 67 Improved Papertigers Not Afraid of Repetition, Schirmer/Mosel, 2012

    Placed
  • Original 1989 Rebecca Horn exhibition catalogue, Missing Full Moon, Artsite Gallery, Bath International Festival. Front cover showing plain olive green with title 'Rebecca Horn' in pale sage serif type, centred on an unadorned ground. Reverse of 1989 Rebecca Horn Missing Full Moon exhibition catalogue, Artsite Gallery, Bath. Back cover showing plain olive green with no text or imagery — a continuation of the front cover's minimal treatment.

    Rebecca Horn — Missing Full Moon [Artsite No. 22], Artsite Gallery, Bath, 1989

    Placed

    Rebecca Horn — Missing Full Moon [Artsite No. 22], Artsite Gallery, Bath, 1989

    Placed
  • Artist postcard reproducing Barbara Kruger’s Untitled (Love is something you fall into) (1990). A tightly cropped black-and-white profile of a woman with windswept hair fills the card while a vertical red banner runs along the right side with white text reading: “Love is something you fall into Reverse side of a Barbara Kruger exhibition postcard with small black text on white card stock identifying Untitled (Love is something you fall into) (1990), materials and dimensions, Hall Collection credit, and publication information from In the Tower: Barbara Kruger at the National Gallery of Art, Washington. Barcode at upper right with light handling wear and adhesive residue visible.

    BARBARA KRUGER — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Placed

    BARBARA KRUGER — Untitled (Love is something you fall into) — Exhibition Postcard, National Gallery of Art, Washington, 2016–2017

    Placed
  • Isa Genzken, Window, exhibition invitation front. Hauser & Wirth, London, 2020. Colour photograph of installation view: three rows of blue economy-class aircraft seats on a dark wood floor, with a row of white airplane window panels mounted on the gallery wall behind. Untitled (detail), 2018. Photo: Todd White Art Photography. Isa Genzken, Window, exhibition invitation reverse. Hauser & Wirth, London, 2020. Cream card with 'HAUSER & WIRTH' in small caps at top. Title 'ISA GENZKEN / WINDOW' in large bold sans-serif type, followed by opening reception details (Thursday 6 February 2020, 6–8 pm), exhibition dates (7 February – 2 May 2020), gallery address (23 Savile Row, London W1S 2ET), telephone, opening hours, and website. Small print credit line at foot.

    Isa Genzken — Window

    Placed

    Isa Genzken — Window

    Placed
  • Fabrizio Plessi, Acquabiografia, exhibition catalogue cover, Centro / Galleria d'Arte Contemporanea, Turin, 1975. White cover with magenta water spray graphic and bilingual title text Fabrizio Plessi, Mare classico, 1974, acrylic on emulsioned canvas, 125 × 81 cm — catalogue spread from Acquabiografia, Turin 1975. Black-and-white photograph of a classical bust with turquoise colour applied to the hair, annotated with text reading "ANALOGIA MITOLOGICA", "ONDE CLASSICHE", and initials F.P.

    Fabrizio Plessi — Acquabiografia, Centro / Galleria d'Arte Contemporanea, Turin, 1975

    Placed

    Fabrizio Plessi — Acquabiografia, Centro / Galleria d'Arte Contemporanea, Turin, 1975

    Placed
  • MOVEMENT: Vienna and New York, The City 1920s. Front cover, Rachel Adler Gallery, New York, 1987. Interior spread: Erika Giovanna Klien, Tango, 1925. Casein on canvas. Rachel Adler Gallery, 1987.

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

    MOVEMENT: Vienna and New York: The City, 1920s — Rachel Adler Gallery, New York, 1987

  • Small Sculptures in Bronze, Metropolitan Museum of Art, New York, 1950. Printed paper wrappers, front cover. Interior spread, pages 28–29. Renaissance bronzes including Venus figures by Bologna and Sansovino.

    SMALL SCULPTURES IN BRONZE — Metropolitan Museum of Art, New York, 1950

    SMALL SCULPTURES IN BRONZE — Metropolitan Museum of Art, New York, 1950

  • ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018 ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

    ZOE LEONARD — Aerials. Hauser & Wirth, London, 2018

  • Recto Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Recto: black and white photograph of a dense grid of repeated eyeball forms on sticks against a dark ground; six red rectangular text panels interrupt the image distributing the sentence — 'Tell us' upper left, 'something' upper right, 'we' centre, 'don't' lower left, 'know' lower right — each in white Futura bold italic. High contrast monochrome print Verso Barbara Kruger, Untitled (Tell us something we don't know), 1987. Fotofolio postcard, c. 2000. Verso: plain white postcard stock; upper left caption in small sans-serif — 'UNTITLED, 1987. PHOTOGRAPH BY BARBARA KRUGER'; barcode and stock number F617 upper right with ISBN; 'fotofolio' logo in small italic lower right.

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

    BARBARA KRUGER — Untitled (Tell us something we don’t know), 1987. Fotofolio postcard, c. 2000

  • 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 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

  • 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

  • Artist book, David Shrigley, Man in a Room, Blue Q, Pittsfield, Massachusetts, 2007. Miniature staple-bound booklet, 7.5 × 5.5 cm, 44 pages. Front cover: green ground, hand-lettered black text reading ‘MAN IN A ROOM’ with underline, ‘BY D. SHRIGLEY’ below. New old stock, unopened in original wrap. Artist book interior spread, David Shrigley, Man in a Room, Blue Q, 2007. Left page: hand-lettered text reading ‘CASTING IDEAS / VOICE OF MAN: SIR RICHARD ATTENBOROUGH / VOICE OF LADY: SIR LAURENCE OLIVIER / VOICE OF RAT: A CHILD / VOICE OF GOD: COMPUTER’. Right page: line drawing of figure lying in bed. Light toning visible at centre fold.

    David Shrigley — Man in a Room, Blue Q, 2007

    David Shrigley — Man in a Room, Blue Q, 2007

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

    Counterforms, A plus A Gallery, Venice, 2026

    Counterforms, A plus A Gallery, Venice, 2026

  • Postcard recto, Keith Haring, Untitled, 1985, Artpost, New York, 1987. Offset colour reproduction on cream card. Square image — red ground with continuous blue line drawing; interlocking simplified human and animal figures in dense, maze-like composition; circled numerals 1–18 distributed throughout; dashed black border; circled '85' and 'KH' monogram lower right. Acrylic on canvas, 5 × 5 ft. Light age toning, good vintage condition. Postcard verso, Keith Haring, Untitled, 1985, Artpost, New York, 1987. Cream/white ground, undivided back. Upper left: black sans-serif text — 'KEITH HARING / UNTITLED, 1985 / ACRYLIC ON CANVAS, 5′ × 5′'. Lower left: '©1987 KEITH HARING / ARTPOST / BOX 861 CANAL STA · NY, NY 10013 / AP562'. Light age toning, minor surface marks, unposted, good vintage condition.

    KEITH HARING — Untitled, 1985, Artpost, New York, 1987

    KEITH HARING — Untitled, 1985, Artpost, New York, 1987

  • Postcard recto, Charles Ray, Boy, Whitney Museum of American Art, New York, 1997. Offset colour reproduction. Full-length view of sculpture — life-size figure of a boy with short red hair, pale complexion; white short-sleeve shirt with blue buttons, blue shorts with braces/suspenders, white knee socks, black Mary Jane shoes; standing on small black metal base against neutral grey gallery wall and dark wood floor. Painted fiberglass, steel, and fabric. Light surface marks, good vintage condition. Postcard verso, Charles Ray, Boy, Whitney Museum of American Art, New York, 1997. Cream/white ground, undivided back. Lower left: black serif text — 'Charles Ray. Boy, 1992 / Painted fiberglass, steel, and fabric; 71½ × 27 × 34 in. / (181.6 × 68.6 × 86.4 cm) overall / Purchase, with funds from Jeffrey Deitch, Bernardo Nadal-Ginard, / and Penny and Mike Winton 92.131a-i / ©1997 Whitney Museum of American Art'. Light age toning and minor surface marks, unposted, good vintage condition.

    CHARLES RAY — Boy, Whitney Museum of American Art, New York, 1997

    CHARLES RAY — Boy, Whitney Museum of American Art, New York, 1997

  • Facsimile artist sketchbook, Rafael Melendez, Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Edition of 2. 8 × 15.5 cm, 102 pages, spiral-bound. Dark brown Crown Spiral notebook cover; 'SPIRAL | CROWN' logo with crown motif upper centre in gold. Yellow N.Y. Central price sticker centre. Silver spiral binding left edge. Scuffs and handling marks visible as reproduced from source notebook. Interior spread, Rafael Melendez, Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Lined notebook pages. Left: large hand-lettered text in blue marker — 'COMMON FINE ART'; rounded outlined letterforms. Right: ink drawing of a head in profile — elaborate radiating hair structure in dark red/mauve, looping outward from crown; face in profile, calm expression. Silver spiral binding centre.

    RAFAEL MELENDEZ — Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

    RAFAEL MELENDEZ — Keep Your Distance: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

  • Facsimile artist sketchbook, Rafael Melendez, Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Edition of 2. 8 × 15.5 cm, 102 pages, spiral-bound. Dark brown Crown Spiral notebook cover reproduced with produce stickers applied: PLU# 4048 (×2), Kiwifruit 4030 Chile, Valencia 4388 (×4), Lemon 4012 (×2), and further overlapping fruit PLU labels in blue, green, and orange. Silver spiral binding left edge. Interior spread, Rafael Melendez, Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021. Lined notebook pages. Left: handwritten text in pencil — 'TULSA / 4000 MILES / 120-DAY EXCUSE / 2 BOXES / 275,000 DREAMS / 33% ORIGINAL / 15 PROMISES / 21 PARKS'; below: 'POKER AGAINST MA[CHINE]'. Right: large graphic lettering in purple marker — 'IF I CAN FOOL MYSELF I CAN FOOL YOU'; letters drawn with balloon-like volume, lines extending downward from base.

    RAFAEL MELENDEZ — Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

    RAFAEL MELENDEZ — Peel You: A 2006 Facsimile Sketchbook, The Academy of Realness, 2021

  • Original 2004 Laylah Ali Types artist's book, Contemporary Art Museum St. Louis. Front cover showing black illustrated card wrapper with masked multi-armed figure in white line drawing and TYPES title in lower right corner. Interior spread of 2004 Laylah Ali Types showing pale blue endpaper opposite a colour drawing of a masked figure in a white suit with crossed arms and an X motif on the chest, rendered in blue and red crayon.

    LAYLAH ALI — Types, Contemporary Art Museum St. Louis, 2004

    LAYLAH ALI — Types, Contemporary Art Museum St. Louis, 2004

  • Original 2011 Matias Faldbakken Search / Suche booklet, dOCUMENTA (13) 100 Notes – 100 Thoughts No. 035, Hatje Cantz. Front cover showing pale typographic wrapper with artist name, title SEARCH / SUCHE, dOCUMENTA (13) and Hatje Cantz imprint. Reverse of 2011 Matias Faldbakken Search / Suche booklet, dOCUMENTA (13) 100 Notes No. 035, Hatje Cantz. Back cover showing Nº035 serial number and artist name in slab-serif type on pale wrapper

    MATIAS FALDBAKKEN — Search / Suche, dOCUMENTA (13): 100 Notes – 100 Thoughts, No. 035, Hatje Cantz, 2011

    MATIAS FALDBAKKEN — Search / Suche, dOCUMENTA (13): 100 Notes – 100 Thoughts, No. 035, Hatje Cantz, 2011

  • Artpost postcard reproducing Richard Prince, I Changed My Name, 1988, acrylic and silkscreen on canvas: two deep blue-grey panels divided by a thin white vertical line, with the phrase I never had a penny to my name so I changed my name. in small red lowercase type centred across both panels, one clause per panel. Reverse of Artpost postcard for Richard Prince, I Changed My Name, 1988, white card with small black sans-serif caption at upper left: RICHARD PRINCE / I CHANGED MY NAME, 1988 / ACRYLIC, SILKSCREEN ON CANVAS, 56¼ × 78¼ × 3IN / © RICHARD PRINCE / COURTESY BARBARA GLADSTONE GALLERY, NEW YORK; barcode at upper right; ARTPOST logo in small caps at lower right; blank address panel.

    Richard Prince — I Changed My Name, 1988, Artpost Postcard

    Richard Prince — I Changed My Name, 1988, Artpost Postcard

  • Front 2023 Galleria Continua invitation for Michelangelo Pistoletto, Segno Arte, Paris, front, colour photograph of Pistoletto in black outfit and purple hat, arms raised, legs spread, standing inside a large magenta-pink frame structure whose diagonal struts form an X around his body, in a gallery or fair space. Reverse of 2023 Galleria Continua invitation for Michelangelo Pistoletto, Segno Arte, Paris, white card with purple and black text: artist name, exhibition title, dates 23.06–21.09.2023, vernissage details, bilingual 90th birthday text, full 8-venue itinerary from San Gimignano to Dubaï, gallery address, and Galleria Continua logo at foot.

    Michelangelo Pistoletto — Segno Arte, Galleria Continua, Paris, 2023

    Michelangelo Pistoletto — Segno Arte, Galleria Continua, Paris, 2023

  • Reverse Reverse of 2016 Simon Lee Gallery exhibition invitation for Mai-Thu Perret, Zone, London, deep blue-grey card printed with a large circle in fluorescent magenta outline containing a regular rectangular grid of fine magenta lines, the grid slightly denser vertically than horizontally, centred on the card with the circle touching near the top and bottom edges, no text. ront Original 2016 Simon Lee Gallery exhibition invitation for Mai-Thu Perret, Zone, London, front, deep blue-grey card with all text in fluorescent magenta capitals: MAI-THU PERRET / ZONE in large bold type at centre; below 23 NOVEMBER 2016 – 4 FEBRUARY 2017; then PRIVATE VIEW: TUESDAY, 22 NOVEMBER 6 – 9 PM; then SIMON LEE GALLERY LONDON / 12 BERKELEY STREET W1J 8DT / TEL +44 (0) 207 491 0100 / SIMONLEEGALLERY.COM in smaller type.

    Mai-Thu Perret — Zone, Simon Lee Gallery, London, 2016

    Mai-Thu Perret — Zone, Simon Lee Gallery, London, 2016

  • Centre Pompidou postcard reproducing a 1968 black-and-white photograph by Harry Shunk and János Kender of Yayoi Kusama on the Brooklyn Bridge with nude performers covered in polka dots holding a banner reading “KUSAMA SELF-OBLITERATION.” Reverse of Centre Pompidou postcard with French caption details for Yayoi Kusama’s *Explosion anatomique, Pont de Brooklyn, New York, 1968*, crediting Harry Shunk and János Kender, the Bibliothèque Kandinsky archive, and Éditions du Centre Pompidou.

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Explosion anatomique, Pont de Brooklyn, New York, 1968, Centre Pompidou Postcard, 2019

  • 2019 Centre Pompidou exhibition postcard reproducing Harry Shunk and János Kender's black-and-white photograph of Yayoi Kusama's happening Manifestation non identifiée, New York, 1968, showing two nude figures standing and embracing in a dense installation environment of polka-dotted soft sculptures and pumpkin-like forms, one figure's head and upper body draped in an American flag printed with white stars on a dark ground, the other figure's body painted with large dark polka dots, the background filled wi Reverse of 2019 Centre Pompidou exhibition postcard for Yayoi Kusama, Manifestation non identifiée, New York, 1968, showing at upper left the credit Harry Shunk et János Kender in bold, below which the caption Yayoi Kusama, manifestation non identifiée, New York, 1968. / Paris, Centre Pompidou-MNAM/CCI-Bibliothèque Kandinsky. / Gift of the Roy Lichtenstein Foundation in memory of Harry Shunk and Janos Kender; below a blank address panel; at lower left the Centre Pompidou logo and copyright credits including

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

    Yayoi Kusama — Manifestation non identifiée, New York, 1968, Centre Pompidou Postcard, 2019

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a colour photorealist painting of a suited man reclining on a dark upholstered sofa abandoned on a city pavement at a wide intersection, a lamp post rising behind him, a US postal mailbox at left, and an Exxon petrol station sign visible across the street in the background, the scene rendered with the flat commercial precision characteristic of the series. Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2040 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 200 × 150 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Original 2006 Edition5 artist postcard reproducing Martin Kippenberger's painting Ohne Titel, 1981, from the Lieber Maler, male mir series, showing a large-format close-up of a fluffy white dog painted in acrylic on canvas, the animal's face filling the composition with wide dark eyes and a black nose, the fur rendered in loose gestural strokes of white and grey against a pale grey background, the image combining sentimental subject matter with the deliberate commercial execution characteristic of the serie Reverse of 2006 Edition5 artist postcard for Martin Kippenberger, Ohne Titel, 1981 (Lieber Maler, male mir), showing a plain white reverse with a horizontal rule and the Edition5 website address and order number 2039 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Ohne Titel, 1981 (Lieber Maler, male mir) Acryl on canvas, 240 × 300 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

    Martin Kippenberger — Ohne Titel (Lieber Maler, male mir), 1981, Artist Postcard, Edition5, 2006

  • Original 2006 Edition 5 artist postcard reproducing Martin Kippenberger's sculpture Martin, ab in die Ecke und schäm dich, 1989, showing a life-size resin figure of a man in a checked shirt, braces, grey trousers, and black shoes, standing with his back to the viewer, face pressed into the corner of two white gallery walls, arms clasped behind his back, the figure photographed in a clean white gallery space with a grey floor. Reverse of 2006 Edition 5 artist postcard for Martin Kippenberger, Martin, ab in die Ecke und schäm dich, 1989, showing a plain white reverse with a horizontal rule and the Edition 5 website address and order number 2042 MK at centre right, and at lower left the caption: MARTIN KIPPENBERGER, Martin, ab in die Ecke und scham dich, 1989 Cast resin and clothes, 180 × 76 × 30 cm / © 2006 Estate Martin Kippenberger, Galerie Gisela Capitain, Cologne.

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

    Martin Kippenberger — Martin, ab in die Ecke und schäm dich, Artist Postcard, Edition 5, 2006

  • Cover of Mladen Stilinović, The Praise of Laziness, Gato Negro, Mexico City, 2015, showing the title in large pale pink rounded serif type on a vivid magenta risograph-printed wrapper, with the author name mladen stilinovic below in smaller type. Reverse of Mladen Stilinović, The Praise of Laziness, Gato Negro, Mexico City, 2015, showing a risograph-printed pale pink seated cat with hollow circular eyes on a magenta ground.

    Mladen Stilinović — The Praise of Laziness, Gato Negro, Mexico City, 2015

    Placed

    Mladen Stilinović — The Praise of Laziness, Gato Negro, Mexico City, 2015

    Placed
  • Cover of Zoe Leonard, I Want a President, Gato Negro, Mexico City, 2017, showing the title in large dark brown sans-serif type over a risograph-printed heart on a vivid orange wrapper, with the author name Zoe Leonard below and C¿MI colophon at lower left. Interior spread of Zoe Leonard, I Want a President, Gato Negro, 2017, showing white sans-serif text on black pages reading "someone who cross dresses and has done drugs and been in therapy." on the left and "I want someone who has committed civil disobedience." on the right, with visible hand-sewn binding at centre.

    Zoe Leonard — I Want a President, Gato Negro, Mexico City, 2017

    Placed

    Zoe Leonard — I Want a President, Gato Negro, Mexico City, 2017

    Placed
  • Cover of Martin Kippenberger, Picture a Moon, Shining in the Sky: Conversation with Martin Kippenberger, Starship Verlag, Berlin, 2007, showing a handwritten columnar note with figures headed Venezia, Martin, and M.K. on grey card with a green and white title label below and Starship logo upper left. nterior spread of Martin Kippenberger, Picture a Moon, Shining in the Sky, Starship Verlag, 2007, left page showing a black-and-white photograph of a group of figures at a party captioned "Cover chosen by Martin Kippenberger for ARTFAN," right page showing the title and an italicised epigraph signed M.K.

    Martin Kippenberger — Picture a Moon, Shining in the Sky, Starship Verlag, Berlin, 2007

    Placed

    Martin Kippenberger — Picture a Moon, Shining in the Sky, Starship Verlag, Berlin, 2007

    Placed
  • Original 2004 Devendra Banhart Rejoicing in the Hands CD, Young God Records / XL Recordings — jewel case front showing cream-toned illustrated cover with hand-drawn figures including a winged bear, owl, rabbit, and orb amid decorative foliage, all in brown ink on aged paper ground Reverse of 2004 Devendra Banhart Rejoicing in the Hands CD — cream back cover with hand-lettered track listing in cursive script, central oval illustration of a coiled figure with inset text, XL catalogue number XLCD180 and barcode at foot

    Devendra Banhart — Rejoicing in the Hands

    Devendra Banhart — Rejoicing in the Hands