• 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, exhibition catalogue interior spread pp. 18–19, The Arts Club of Chicago, 2003. Left: Figure in Mountain Landscape, 1997–99, oil on canvas, 110¾ × 78¼ inches, Private Collection, London. Right: Girl in White in Trees, 2001–02, oil on canvas, 117 × 78 inches, courtesy of the artist.
  • Peter Doig, exhibition catalogue back cover, The Arts Club of Chicago, 2003. Plain sage green stock with The Arts Club of Chicago imprint in small white type at lower left. Minor surface wear and edge rubbing to wrappers.
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THE NEW RARE

Peter Doig — The Arts Club of Chicago, 2003

Peter Doig — The Arts Club of Chicago, 2003

£45.00 GBP
£45.00 GBP
Sale Sold out
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Texts by Kathy S. Cottong and Jennifer Higgie
The Arts Club of Chicago, 2003
First edition
Softcover
32 pp.
Approx. 20 × 14 cm
21 illustrations, 13 in colour
Includes exhibition history and selected bibliography

Condition: Near fine internally; clean copy. Light handling, rubbing, faint surface marks, and minor edge wear to wrappers, visible on the muted green and brown cover stock.

Published on the occasion of Peter Doig at The Arts Club of Chicago, 27 January–12 April 2003. The exhibition brought together large-scale oil paintings from the previous decade with works on paper. Cabins, forests, lakes, snow, reflections, and half-remembered figures: landscape held as psychological support rather than stable view. The Arts Club described the work as moving between “fiction and truth, depiction and invention, representation and abstraction.”

The catalogue records a moment in Doig’s early-2000s circulation, before the later consolidation of his market position. By 2003 the language was already established: photographic sources, film stills, postcards, travel brochures, album sleeves. Images determining and destabilising the painted image. The painting arrives through reproduction, then departs from it.

Doig was moving between London, Canada, and Trinidad. The institution was Chicago. The object remains modest: a restrained two-colour wrapper, small typography, a muted administrative surface.

A small institutional document attached to a painter whose work would soon occupy a different scale of attention.

Shipping and handling included in the listed price. Ships protected.

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