Women Artists

Exhibition ephemera, artist cards, and printed matter relating to women artists. Original objects from The New Rare.

  • Original 2005 Louise Bourgeois Selected Prints 1989–2005 exhibition catalogue, Marlborough Graphics, London. Front cover showing a pale cream ground with a large drypoint reproduction of Bourgeois's The Angry Cat (1999): a female cat standing upright on its hind legs, arms crossed over its chest, tail curling to the right, rendered in fine hatched lines. Title 'Louise Bourgeois' in bold black serif type at upper right, subtitle 'Selected Prints 1989–2005' in smaller type below. Approx. 21 × 15 cm, illustrat Interior spread of 2005 Louise Bourgeois Selected Prints 1989–2005 catalogue, Marlborough Graphics, London. Left page showing a reproduction of Ears (2004): a grid of twelve human ears in three rows of four, each with a small circular mark at the canal, on a pale grey ground. Caption 'Ears 2004' at lower left. Right page showing Spiral Woman (2003): a female figure whose torso is replaced by four stacked pale ovoid forms, long dark hair streaming upward in multiple strands, small legs walking below. Caption

    LOUISE BOURGEOIS — Selected Prints 1989–2005, Marlborough Graphics, 2005

    LOUISE BOURGEOIS — Selected Prints 1989–2005, Marlborough Graphics, 2005

  • Original c. 2002 Mark Borthwick Xerox edition of 2000-1, Maison Martin Margiela. Front cover showing a plain unprinted tan-beige softcover with no title, text or image — only the warm, slightly uneven surface of the photocopied paper wrapper, with a faint inset rectangular panel visible at centre, and visible age toning and handling wear. 21.0 × 27.2 cm. nterior spread of c. 2002 Mark Borthwick Xerox edition of 2000-1, Maison Martin Margiela. Double-page spread showing two near-identical grayscale Xerox photographs of a woman seated in profile on a white folding chair against a plain pale ground: left image showing her in full-length dark trousers and ankle boots, right image showing the same pose with a shorter skirt and ankle boots, hands resting on knees, hair in a low ponytail. The diptych presents the same body and posture with a single change of garme

    MARK BORTHWICK — Xerox: 2000-1, Maison Martin Margiela, c. 2002

    MARK BORTHWICK — Xerox: 2000-1, Maison Martin Margiela, c. 2002

  • Original 2002 Louise Bourgeois Zeichnungen und Skulpturen exhibition programme, Kunsthaus Bregenz, KUB 02.03. Front cover showing a pale grey ground with four overlapping spiral coils in red and grey pencil — reproducing Bourgeois's drawing On the Tile (1998) — arranged diagonally from lower left to upper right. Blue sans-serif text at lower right reads 'Louise Bourgeois / Zeichnungen und Skulpturen' with exhibition dates below. KUB 02.03 identifier at lower left. Loop-stapled binding visible at left edge. Left: colour reproduction of Ohne Titel (1970), jagged black and red zigzag forms on white paper. Right: large colour photograph of Ohne Titel (1990), a mobile-like structure suspending pale fabric garments and organic forms from horizontal arms. Essay text in two columns below.

    LOUISE BOURGEOIS — Zeichnungen und Skulpturen, Kunsthaus Bregenz, 2002

    LOUISE BOURGEOIS — Zeichnungen und Skulpturen, Kunsthaus Bregenz, 2002

  • Original 2016 Spots, Dots, Pips, Tiles: An Exhibition about Dominoes exhibition catalogue, Hunter East Harlem Gallery, Hunter College, New York. Front cover showing a narrow vertical format with a split design: left half white with the exhibition title in stacked bold sans-serif type, right half a cropped colour photograph of scattered domino tiles and debris on grey pavement. 13 × 20.5 cm, staple-bound softcover. (Bento spread, pp. 10–11): Left: colour installation photograph of José Bento's Untitled (2014), modular dark wooden floor tiles in a zigzag domino configuration. Right: artist entry with work details and contextual text in two columns.

    SPOTS, DOTS, PIPS, TILES — An Exhibition about Dominoes, Hunter East Harlem Gallery, New York, 2016

    SPOTS, DOTS, PIPS, TILES — An Exhibition about Dominoes, Hunter East Harlem Gallery, New York, 2016

  • 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 1974 Anthea Alley exhibition card, Annely Juda Fine Art, London — recto showing black-and-white photographic portrait of the artist standing beside welded metal sculpture in a studio or exhibition space. Photograph by Jorge Lewinski. Reverse of 1974 Anthea Alley exhibition card, Annely Juda Fine Art, showing printed text with exhibition title, dates 25 January–16 February 1974, gallery address 11 Tottenham Mews London W1P 9PJ, opening hours, biographical note, and one-man and group exhibition history including Arnolfini, Hamilton Galleries, and Bradford City Art Gallery.

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

    Anthea Alley — Exhibition Card, Annely Juda Fine Art, London, 1974

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

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

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

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

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

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

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

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

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