Produced on the occasion of the exhibition Vormgevers at the Stedelijk Museum, Amsterdam from 5 April–23 June, 1968. A survey exhibition of industrial design from the time including Piet Zwart, Ettore Sottsass, Joe Colombo, Dieter Rams, AD Copier. Designed by Wim Crouwel and Alice Bailly.

Produced on the occasion of the exhibition Yayoi Kusama New York/​Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

*Please note this publication is secondhand and has some traces of previous ownership.

Comprehensive survey of early Japanese abstract painting (and photography). Including Koshiro Onchi, Iwata Nakayama, Saburo Hasegawa, Kiyoshi Koishi, Ryuichi Amano, Ei-Q and many more.

Comprehensive survey of early Japanese abstract painting (and photography). Including Koshiro Onchi, Iwata Nakayama, Saburo Hasegawa, Kiyoshi Koishi, Ryuichi Amano, Ei-Q and many more.

Produced on the occasion of the exhibition Beautiful Decadence, at Isetan Museum of Art, Tokyo (1997); Nara Sogo Museum of Art, Nara (1998) and the Museum of Fine Arts, Gifu (1998). Including the work of Aubrey Beardsley and and his contemporaries Charles Ricketts; Laurence Housman; Harry Clarke; Alastair; Sidney Sime; Willy Pogany; Arthur Rackham; Rodney Engen; Joichiro Kawamura.

*Please note this publication is secondhand and may have some traces of previous ownership.

For decades, Maurizio Nannucci has preserved exhibition invitation cards. The collection comprises both invitations and announcements from artists whose approaches to art are close to his own. Yet many also come from wider circles of artist friends, colleagues, galleries, and museums, allowing a chronology of relationships and information exchanges to emerge. The selection in this volume makes visible how this kind of communication – often conceived by the artists themselves – superimposes the purely informative value of the printed matter with the freedom of artistic expression; evidence of a holistic practice where such cards can become artworks in their own right.