Produced on the occasion of three exhibitions by Michael Krebber Respekt Frischlinge at Galerie Daniel Buchholz, Je suis la chaise at Galerie Chantal Crousel & London Condom at Maureen Paley.

Designed by Michael Krebber and Yvonne Quirmbach.

Leonor Fini was an Argentine-Italian painter who spent much of her artistic career in France. Associated with the Surrealist movement, Fini’s self-portraits and mythological paintings focused on eroticism and dreams.

*Please note this publication is secondhand and has some traces of previous ownership. (Damage to the dust jacket)

Produced on the occasion of the exhibition at the Bunkamura Museum of Art, Tokyo, 18 June – 31 July, 2005, that toured to Daimaru Museum, Umeda; The Museum of Modern Art, Gunma & Nagoya City Art Museum.

Leonor Fini was an Argentine-Italian painter who spent much of her artistic career in France. Associated with the Surrealist movement, Fini’s self-portraits and mythological paintings focused on eroticism and dreams.

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

Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d’Or.

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

This book by Lucy McKenzie presents her work from a three year period in text and image. Her huge paintings illustrate interiors and reference interior design drafts from the 19th century. In these paintings, which are up to eight metres tall, in this book she explains the motivation behind her complex approach. This is complimented by two more written pieces: a fictional account of her time studying Trompeloeil painting at the Ecole van der Kelen (a traditional painting school in Brussels) and a homage to the fashion designer Beca Lipscombe, one of her collaborators in Atelier EB.

Designed by HIT Studio. Cover design by Torsten Slama.

Produced on the occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa at Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome in 2015 and 2016.

In 1968, Giorgio Griffa abandoned figurative painting in favour of a format of abstract painting that still characterises his work to this day. Painting with acrylic on raw un-stretched canvas, burlap and linen, Griffa’s works are nailed directly to the wall along their top edge. When not exhibited, the works are folded and stacked, resulting creases that create an underlying grid for his compositions. In keeping with his idea that painting is “constant and never finished”, many of his works display a deliberate end-point that has been described as “stopping a thought mid-sentence.”

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