American poet Norman H. Pritchard’s second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard’s writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings—documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)—make themselves heard on the page.

2 cards of 10 from the series Serie 67 Daniel Spoerri 1961–1982. Featured are the works Rosinenkuchenschuhe, 1969 and Aus der Serie: Die Heilsarmee, 1982

*Please note these items are secondhand and have some traces of previous ownership.

Gerard Stigter (6 November 1936–12 August 2021), known by the pseudonym K. Schippers, was a Dutch poet, prose writer and art critic. Credited with having introduced the readymade as a poetic form, his work is dedicated to looking at everyday objects and events in a new way.

Domenico Gnoli is known for his analytical paintings, which exist at the intersection of minimalism, hyperrealism and pop art.

Produced on the occasion of Domenico Gnoli’s exhibition at the Museum Boijmans Van Beuningen, Rotterdam, 14 September–4 November, 1973.

With texts from Guy Joufroy and Alain Dumur.

Exhibition invitation produced on the occasion of Domenico Gnoli’s exhibition at Galerie Schmela, Düsseldorf, 14 February–9 March, 1970.

They will flee like chaff scattered by the wind or like dust whirling before a storm was produced as a commission by British artists Hannah Quinlan & Rosie Hastings for 1856, with proceeds going towards future programming.

This edition of two prints brings together the Michelangelo sketch, Archers Shooting at a Herm, with a scene of modern revolt against a hostile white police force, depicting the tense relationship between states of power and the LGBTQ+ community. Quinlan & Hastings’ diptych represents an unruly clash of registers such as the disciplining power of the state, here depicted in a moment of crisis, and the rebellious energy of the people who protest and occupy public spaces.

A special edition signed and numbered by the artists can be purchased directly from 1856, details can be found here.