Under £50

Works from the archive priced under £50.

  • 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

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

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  • 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

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    Isa Genzken — Window

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  • Original 2008 Élisabeth Lebovici The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern. Front cover on cream ground with title and author in small green serif type centre: 'ELISABETH LEBOVICI / The Name / of Philippe Thomas'. Publisher imprints 'SternbergPress' and 'KUNSTHALLE BERN' in green lower left. Sealed in original clear shrink wrap. Reverse of 2008 Élisabeth Lebovici The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern. Plain cream back cover with author and title in small green serif type centre, printed upside down: 'Philippe Thomas' Name / ELISABETH LEBOVICI'. Green barcode upper left with ISBN 978-3-956794-31-5. Sealed in original clear shrink wrap.

    Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern, 2008

    Élisabeth Lebovici — The Name of Philippe Thomas, Sternberg Press / Kunsthalle Bern, 2008

  • Original 1994 Jürgen Klauke Prosecuritas exhibition catalogue. Front cover showing a black-and-white scanned or photocopied image: two small dog silhouettes walk across a pale ground trailing long curved lines, while large dark shadowy forms — a vertical pole left and a crouching figure lower right — dominate the foreground. Title 'JÜRGEN KLAUKE »PROSECURITAS«' in small spaced sans-serif type upper centre. Square format, cloth-bound hardcover with clear plastic dust jacket. Interior spread from Jürgen Klauke Prosecuritas catalogue, 1994. Upper half: four-panel black-and-white photographic sequence captioned 'Abb. 9 »SCHUSSFOLGE/SCHLUSSFOLGE«, 1976, vierteilige Fotosequenz, je 80×120 cm', showing a shirtless man holding a revolver to his head in four sequential poses. Lower half: full-width black-and-white photograph captioned 'Abb. 10 aus dem Werkkomplex: »SCHATTENBILDER«, 1984, Fotoarbeit, 110×200 cm', showing two seated silhouettes facing each other across a table with a tel

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

    Jürgen Klauke — Prosecuritas, Cantz / Kunsthalle Bielefeld, 1994

  • 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

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

  • Black-and-white softcover catalogue titled André Kertész. The cover features a blurred self-portrait-like silhouette reflected against a doorway, with the photographer's name printed across the centre. Early photograph The Kiss, Budapest (1915), depicting a formally dressed couple embracing beneath foliage.

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

    André Kertész — Budapest, Paris, New York, Vintage Galéria, Budapest, 2007

  • 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

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

  • Original 2015 Mark Grotjahn K&H Liquors artist book, Karma, New York. Front cover showing two men standing in a liquor store aisle lined with bottles, with the Karma imprint visible at lower left. Open spread from Mark Grotjahn K&H Liquors, Karma, 2015. Two handmade liquor store price signs: 'Watneys $5.99 Tx' in red and blue on yellowed label, and 'Special Potters 219 Zoo' on fluorescent green Young's Market Company sticker.

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

    Mark Grotjahn — K&H Liquors, Karma, New York, 2015

  • Original 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers, London. Cream textured softcover with 'DANIEL BOSSER' in small spaced serif capitals at top, 'PHILIPPE THOMAS / DECLINES HIS IDENTITY' in larger spaced serif type at centre, and a black-and-white photograph below showing Philippe Thomas seated at a table, holding up a document, wearing a black top, expression direct and slightly confrontational. 'Occasional Papers' in italic type at foot. Reverse of 2015 Daniel Bosser, Philippe Thomas Declines His Identity, Occasional Papers. Plain cream textured back cover, entirely unprinted except for ISBN barcode and number 978-0-9929039-0-9 and the URL www.occasionalpapers.org at foot. Book shown in protective polypropylene sleeve.

    Daniel Bosser — Philippe Thomas Declines His Identity

    Daniel Bosser — Philippe Thomas Declines His Identity

  • Original 1967 Harry Callahan exhibition catalogue, Museum of Modern Art, New York. Cream softcover with a black-and-white photograph of a standing female figure seen from behind, torso bare, seated on a stool before a window with venetian blinds, interior domestic space visible around her. 'HARRY CALLAHAN' in sans-serif type below the image. Interior page from 1967 Harry Callahan, Museum of Modern Art. Black-and-white photograph of a single dried plant stem with a small spherical seed head at its tip, two additional bare stems beside it, all set against a plain white ground in high-contrast graphic isolation

    Harry Callahan — Museum of Modern Art, New York, 1967

    Harry Callahan — Museum of Modern Art, New York, 1967

  • Original 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — recto reproducing a detail from Inbox: two spectral faces rendered in Bilal's characteristic blue-grey science-fiction palette, faces upturned and partially dissolved, a thin vertical pale form dividing the composition; acrylic on canvas; figures suspended between painting, cinema still, and hallucinated image against a dark blue-grey ground Reverse of 2015 Enki Bilal Inbox exhibition postcard, Fondazione Giorgio Cini, Venice — verso on white card stock functioning as postal announcement; Inbox in bold black on dark rectangle at upper left; By Enki Bilal; dates 08.05–02.08.2015; Fondazione Giorgio Cini / Isola di San Giorgio Maggiore, Venezia–Italia; hours 10.00–19.00, Chiuso il mercoledì / Closed on Wednesday; Artcurial Briest·Poulain·F.Tajan and Fondazione Giorgio Cini logos at foot; vertical yellow-green stripe at centre with CartCom/NeoStop

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015

    Enki Bilal — Inbox, Fondazione Giorgio Cini, Venice, 2015

  • Original 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Lincoln, 2009, C-print, 50 × 68½ inches: colour photograph of the artist reclining across a seated white sculptural figure based on the Lincoln Memorial, shot on a New York street corner in winter light with bare trees, yellow taxis, and urban buildings visible in background. Reverse of 2009 Adel Abdessemed Rio exhibition invitation card, David Zwirner, New York — verso in minimal serif and sans-serif typography on cream stock; artwork caption upper left: Lincoln, 2009 (detail), C-print, 50 × 68½ inches / 127 × 174.2 cm; exhibition text lower right: Adel Abdessemed / Rio / April 3 through May 9, 2009 / Reception April 3, 2009, 6 to 8 pm / David Zwirner / 519 & 525 & 533 West 19th Street, New York, NY 10011 / 212 727 2070 telephone / 212 727 2072 fax / www.davidzwirner.com.

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

    Adel Abdessemed — Rio, David Zwirner, New York, 2009

  • Original 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — recto reproducing a detail from Untitled, 2013, coloured pencil and pencil on paper: intersecting diagonal bands in yellow, black, green, red, and blue forming a precise geometric spatial construction on white ground Reverse of 2014 Tomma Abts exhibition invitation card, David Zwirner, New York — verso in minimal sans-serif typography on white stock; artwork caption upper left: Untitled, 2013 (detail), colored pencil and pencil on paper, 33 1/4 × 23 5/8 inches / 84.1 × 59.4 cm; exhibition text lower right: Tomma Abts / September 10 through October 25, 2014 / Reception Wednesday, September 10, 6 to 8 PM / David Zwirner / 519 West 19th Street, New York, NY 10011 / 212 727 2070 / davidzwirner.com.

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

    Tomma Abts — Exhibition Invitation, David Zwirner, New York, 2014

  • Original 1971 Michel Ciry exhibition invitation for Galerie de Paris, announcing paintings, watercolors, and drawings from 26 October to 27 November 1971 on folded cream card Handwritten German archival reference card mentioning Robert Waissenberger and *Die Wiener Secession: Eine Dokumentation*, with publication details and price noted in graphite on folded paper.

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

    Michel Ciry — Peintures, Aquarelles, Dessins — Galerie de Paris, 1971

  • Front cover of the 1985 Achille Castiglioni exhibition invitation, featuring a bold blue and black graphic image with red side borders for *du design au ready-made* at Centre Georges Pompidou. Original 1985 Centre Georges Pompidou invitation for *Achille Castiglioni: du design au ready-made*, printed in red typography on off-white card with exhibition details and Pompidou logo.

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

    Achille Castiglioni — Du design au ready-made — Centre Georges Pompidou, Paris, 1985

  • Original 2014 GAY exhibition announcement card, Bronx Council on the Arts and Longwood Arts Project, New York, featuring a lush green woodland stream and fallen tree with large thin white lowercase typography spelling 'gay' across the full-colour landscape image. Reverse of original GAY exhibition card issued by the Bronx Council on the Arts / Longwood Arts Project, New York, 2014. Black text on white background lists exhibition dates, participating artists including Rafael Melendez, public programs, venue information, and exhibition advisory notice.**GAY: The Exhibition / The Bronx Museum, New York / 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

    GAY — Bronx Council on the Arts / Longwood Arts Project, New York, 2014

  • Reverse of 2019 Mark Bradford: Los Angeles exhibition card reproducing a photograph of the artist seated before Float (2019), a monumental installation of layered and stripped paper surfaces in vivid vertical bands of colour. Original 2019 Mark Bradford exhibition invitation card for Mark Bradford: Los Angeles at Long Museum West Bund, Shanghai, featuring title, exhibition dates 27 July–13 October 2019, and institutional identity printed in white on a flat orange field.

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

    Mark Bradford: Los Angeles — Long Museum West Bund, Shanghai, 2019

  • Official Andres Serrano exhibition postcard reproducing *Piss Christ (Immersions)* (1987), showing a glowing crucifix suspended within an amber-red field of light. Reverse of Andres Serrano exhibition postcard issued for *Portraits d’Amérique*, Galerie Nathalie Obadia Paris–Brussels, with exhibition and copyright details printed on white card stock.

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

    Andres Serrano — Piss Christ (Immersions), 1987 — Exhibition Postcard, Portraits d’Amérique, Galerie Nathalie Obadia, Paris–Brussels

  • Front of original 1997 Thomas Rentmeister exhibition invitation card for Centre d’art contemporain de Vassivière in France, featuring a glossy pale pink biomorphic polyester sculpture against a neutral background. Reverse of original 1997 Thomas Rentmeister exhibition invitation card with exhibition information, opening details, venue text, and institutional credits printed in black on white stock.

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

    Thomas Rentmeister — Exhibition Invitation Card, Centre d’art contemporain de Vassivière en Limousin, France, 1997

  • 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.” Centre Pompidou postcard reproducing a 1968 black-and-white photograph of two nude performers covered in Yayoi Kusama polka dots embracing beneath an American flag, with a toy gun visible at right and soft-sculpture forms in the background.

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

    Yayoi Kusama — Explosion anatomique + Manifestation non identifiée — Pair of Museum Postcards, Éditions Centre Pompidou, Paris, 2019

  • 2017 Yayoi Kusama exhibition invitation card featuring a studio portrait of the artist seated at a table surrounded by vividly colored *My Eternal Soul* paintings. Kusama wears her signature bright red wig and an orange dress with black polka dots, visually blending into the dense field of reds, blues, dots, and biomorphic patterns surrounding her. Reverse side of a 2017 Yayoi Kusama exhibition invitation card from David Zwirner listing details for the concurrent exhibitions *Festival of Life* and *Infinity Nets* in New York. Black text on white card stock includes dates, gallery addresses, reception information, and exhibition titles.

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

    Yayoi Kusama — Festival of Life + Infinity Nets — Exhibition Announcement Card, David Zwirner, New York, 2017

  • Georg Baselitz, Auerbach (yellow), 2018. Etching with sugar lift aquatint and relief printing on Somerset White Satin 350gsm paper. Inverted figure in dark gestural marks on ochre ground. Reproduced on interior of Devotion exhibition invitation, Alan Cristea Gallery, 2019. Georg Baselitz, Devotion, exhibition invitation card, Alan Cristea Gallery, London, 2019. Private view 15 May, exhibition 16 May–22 June 2019. Printed text on white card.

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

    Georg Baselitz — Devotion — Exhibition Invitation, Alan Cristea Gallery, London, 2019

  • Rafael Melendez, The Naked Lunch, The Academy of Realness, 2023 — front cover; black ground; AI-generated chrome female android figure in three-quarter profile, head lowered, mechanical neck and shoulder detail visible; 'RAFAEL MELENDEZ' in white graffiti-style lettering along left spine; 'The Naked Lunch' in teal type at upper right; Academy of Realness circular logo at top centre Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

    Rafael Melendez — The Naked Lunch

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

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

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

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

    Catherine Holly / The Academy of Realness — Fuck Book

    Catherine Holly / The Academy of Realness — Fuck Book

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

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

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

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

    Rafael Melendez — After Sturtevant

    Rafael Melendez — After Sturtevant

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

    Richard Prince — Spiritual America

    Richard Prince — Spiritual America

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

    Isa Genzken — Filmprogramm

    Isa Genzken — Filmprogramm

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

    Richard Tuttle — Grey Walls Work

    Richard Tuttle — Grey Walls Work

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

    Peter Doig — The Arts Club of Chicago, 2003

    Peter Doig — The Arts Club of Chicago, 2003

  • 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

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

  • 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

  • `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

  • 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