Women in Art - Unoriginal Sins

LEONROR FINI. 1978.

paul robertson — Thu, 02 Oct 2025 18:27:00 +0000

Paris: La Galerie les Arts Plastiques Modernes, 1978

21 x 15cm, 4pp announcement card for a late solo show of paintings by the Argentinian surrealist. One work in colour ( La Machine a Coudre) on the front, internally gallery details. There is a hand written note in blue ink written to John Collins the photographer from Manuel Burrus else VG.

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SARAH SZE. 2018.

paul robertson — Wed, 01 Oct 2025 14:27:00 +0000

London: Victoria Miro, 2018

30 x 21cm, 4pp large format gallery handout with one spectacular colour image photographic collage by the artist on the front and back and internally a text by the artist reprinted from the New Yorker. VG+.

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NIKI DE SAINT-PHALLE AT IOLAS GALLERY 1964. LATER PRINT.

paul robertson — Wed, 01 Oct 2025 14:27:00 +0000

N.p.: n.p., n.d.

30 x 21cm, black and white silver gelatine photograph from original negative showing Niki de Saint-Phalle in the New York Iolas Gallery with one of her life size plaster sculptures.

This image was originally taken by Fred McDarrah and his estate retains copyright on the image so this is sold for personal use and not for reproduction. This is in very good condition and a crisp modern print (post 1990s we suspect) from original negative. If this was a vintage print we would charge much more.

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MES TROPHIES 1986 – 8. 1988.

paul robertson — Tue, 20 May 2025 17:11:26 +0000

Paris: Laage-Salomon Gallery,1988

15.8 x 8cm, 4pp announcement card for a solo show of Messager's manipulated photographs of female common cosmetic practices. One double b/w image internally. VG+.

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DRIVING IMAGE SHOW. 1964.

paul robertson — Tue, 21 Jan 2025 11:22:41 +0000

NYC: R. Castellane Gallery, 1964
57 x 40cm, b/w offset lithographic exhibition poster with a photomontage design by Kusama of the artist in an installation full of padded shapes and with dotted dresses and a naked mannikin. This was the American version of the installation which incorporated works from her Sex-Obsession, Food-Obsession and Compulsion Furniture (bumps and lumps and pasta). The show was also recreated slightly differently in Milan in the same year. This is a very rare vintage poster which has been folded four times for storage and unfortunately has on the reverse, in one panel, vintage ink doodles and phone numbers by an unknown hand. The poster side is near fine and there is no show through from the ink annotations. All vintage Kusama ephemera is rare.

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ZVUCNI AMBIJENT BELO. SOUND ENVIRONMENT WHITE. SIGNAL Nr 6/7

paul robertson — Mon, 16 Jan 2023 11:01:27 +0000

Belgrade, Yugoslavia: Signal, 1972

30 x 21cm, 4pp b/w single number of the influential Signal Gallery journal which displays one of the very earliest Abramovic installations created before she left her land of birth. Two b/w photographs are of a youthful Marina and her modified tape recorder in a space which was hung with white paper to create a minimalist space.

Also contains a text by Todorovic in English and Serbo-Croatian. During the show, the recorder taped the "silence" in the room and played it back amplified to the emptiness: the second of Abramovic's works concerned with "emptiness" . The reference to Cage is obvious. Soon after the artist left for Edinburgh and future fame.

Signal was one of the most significant avant-garde journals to emerge from the radical literary

and artistic movements of Eastern Europe. Edited by the influential Serbian poet and intermedia

conceptual artist Miroljub Todorovic, the magazine projected the ideas associated with

Signalizam (Signalism), the neo avant-garde creative movement started by Todorovic in 1969.

Signalism was influenced by the increasing power of technology in everyday life, particularly the

emergence of the computer, and looked to propagate artistic methods that grounded their transmedia and interdisciplinary experimentation (for 'Signalism stands for absolute experimentation in all the arts) in scientific thinking.

Some minor edge damage but else VG+ - an interesting rare document.

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WOMEN ARTIST NEWLETTER. JAN 1976 – NOV 1977. 17 DIFFERENT NUMBERS. A NEAR CONTINUOUS RUN.

paul robertson — Sun, 05 Jun 2022 19:00:58 +0000

NYC: Woman Artists Newsletter, January 1976 to November 1977.

17 different numbers - a near continuous run of journals beginning at Vol Nr 8 and ending with Vol 3 Nr 5 with only Vol 2 Nr 7 missing from the run. Uniformly 30 x 21cm, pagination varies but typically 6pp or 8pp.

A venture by published by Cynthia Navaretta (who also founded the Women's Caucus for Art, the Coalition of Women's Arts Organizations, and Women in the Arts) who appointed Judy Seigel as editor.

The Women Artist Newsletter (later Women Artists News) acted as an information exchange and communication medium for women artists and carried books reviews, articles, museum and gallery listings, event listings, interviews, how-to information, and other assorted news related to art, feminism and women's issues. It had a readership of around 6,000.

Contributors included Joyce Kozloff, Lil Picard, Miriam Schapiro, Sylvia Sleigh, Joan Snyder, Nancy Spero and May Stevens.

A couple of the numbers here sh0w some browning but it is minor - overall each is VG+. A scarce publication to find in a lengthy if incomplete run.

Price is for all 17 numbers as a group.

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TOMMA ABTS. 2017.

paul robertson — Sat, 04 Jun 2022 11:25:22 +0000

Berlin: Galerie Buchholz, 2017

18 x 13.8cm, 2pp announcement card for a show of hard edged abstract paintings, one such work reproduced on the front, verso gallery details. VG+.

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NANCY SPERO. 1992.

paul robertson — Wed, 06 Apr 2022 20:25:41 +0000

Dusseldorf: Galerie Ursula Walbrool, 1992

10.5 x 15cm, 2pp announcement card with a painting by Spero on the front, verso gallery details. VG+.

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LIMITED EDITION IDEA INSIDE. 2000. NEVER TO BE OPENED.

paul robertson — Mon, 28 Feb 2022 22:16:19 +0000

Toronto: Art Metropole, 2000
22.7 x 30.4cm sealed white envelope with blind stamp and title label. An unusual item in that the intent is that the envelope should never be opened. A number of artists were asked to supply an idea for an artwork but on the understanding that it would never be seen. This is one of the edition (size not known). Mint in (obviously) unopened envelope.

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100 BOOTS OVER THE HILL. 1972.

paul robertson — Thu, 09 Dec 2021 18:45:13 +0000

Solana Beach: s.p. (Antin), 1972
11.25 x 17.5cm, 2pp artist’s card. An example from this famous mail art project where Antin (and husband) took photographs of the 100 wellington boots in various places - here the boots are hidden behind a hill. This is a mailed and franked example. All of these cards are now very scarce. This is a very good + example although one spot on front due to the postal service) with stamps and franking and minor browning on the back edges.

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MY MOMMY IS BEAUTIFUL. (PUBIC HAIR) 2018.

paul robertson — Wed, 01 Dec 2021 13:59:13 +0000

Liverpool: Biennale, 2018 (1997)

32.48 x 32.48 cm, conservation pigment inkjet on cold press natural paper - the image is of a female breast. A natural image without sexual implications rather a celebration of motherhood. One of 101
examples signed and numbered by Ono. Fine.

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