Ben Kinmont

Born 1963 in Burlington, VT
Lives and Works in Sebastopol, CA

Since the late nineteenth century, avant-garde artists have largely been dedicated to breaking down the barriers between art and everyday life, and have argued that there are no limits to what can be called art. Artist Ben Kinmont disagrees with this premise, arguing that art “is not invited everywhere” and that it can be destructive or unethical to represent conversations that take place in the domestic realm. 

Kinmont’s interactive Sshhh project explores what it might mean to ethically introduce the private into the public space of the museum, and visa versa. The artist invites Biennial visitors to send him a note containing their name and the date—but not the content—of a conversation they have had at home. For the first hundred notes he receives, he will make two letterpress conversation sheets. One will go on view in the Biennial alongside materials from the archive’s first iteration, which was produced in Chatou, France. The other will be sent to Kinmont’s correspondents as an aide-mémoire for a conversation once had.


On View
Fourth Floor 

Ben Kinmont’s work is on view in the Museum’s fourth floor galleries. PDF files from the Sshhh archive (2002–present) can be downloaded below.


Sshhh
2002–Present

The following inventory list describes the objects in the Sshhh archive, a project by Ben Kinmont included in the 2014 Whitney Biennial. Over the course of the exhibition, the inventory will continue to grow in the Museum galleries as visitors take part in the project's reactivation.

Each item in Kinmont's archives is assigned a number that follows a cataloging system. For example, in the current archive there is a document numbered 22.02.14.90. This means that the object is from his 22nd art project to have an archive, that the project was begun in 2002, the item was added in 2014, and that it is the 90th object in that archive. When there is a fifth, hyphenated number, this indicates that the object is comprised of multiple parts.

All materials are free to download.

© Ben Kinmont, 2013. All rights reserved.

22.02.02.1

Recto: Kinmont’s notes on Sshhh handwritten in pencil on white paper, verso: scratch paper with Cneai header with a drawing in pencil, 8 5/8 x 8 ½ inches

22.02.02.2

Message from Kinmont to Sophie at Cneai, “Title: ssshhhh,” outlining the steps for creating the family conversations for Sshhh, printed in black ink on white paper, 11 x 8 ½ inches

22.02.02.3

Email to Kinmont from Sophie at Cneai, “Dear Ben, We know that we are working with a tight budget,” discussing budget and timeline for etchings, dated 31 October 2002,  printed in black ink on white paper with Kinmont’s handwritten notes in pencil and blue ink on bottom of page, 11 x 8 ½ inches

22.02.02.4

Sshhh project description in English, printed in black ink on white paper, dated 2002-2003, 11 x 8 ½ inches

22.02.02.5

Sshhh project description in English, printed in black ink on white paper, Kinmont’s handwritten notes in pencil on verso, dated 2002-2003, 11 x 8 ½ inches

22.02.02.6

Sshhh project description in French, printed in all italics with black ink on white paper, dated 2002-2003, 11 x 8 ½ inches

22.02.02.7

Email to Kinmont from Sophie at Cneai, “Dear Ben, As I promised you,” concerning typography, press specs, etching options, frames, invitations, and overall project budget, printed in black ink on white paper with phone number for Herman Stein, (press operator), handwritten by Kinmont in upper left corner, 11 x 8 ½ inches

22.02.03.8.1-2

Email from Kinmont to Sophie at Cneai, “Dear Sophie, the sizes for the paper and the plastic sheets are below,” includes dimensions, names of participants, color preference, and orientation for etchings, dated 17 January 2003, printed in black ink on white paper with Kinmont’s handwritten notes and sketches in pencil, verso: printout from bookselling catalogue with Kinmont’s handwritten notes on p. 2, 11 x 8 ½ inches

22.02.03.9.1-6

List of families participating in Sshhh, includes dimensions and color preference for engravings, attached to a series of emails from participating families to Kinmont, printed in black and red ink on white paper, paper-clipped in the upper left corner, 11 x 8 ½ inches

22.02.03.10

“Le Cneai est désireaux de provoquer une creation de l’artiste,” statement in French about Cneai, printed landscape in black ink on white paper, wrinkled, creased, and spotted, 8 1/8 x 11 ½ inches

22.02.03.11

Orange plastic stencil ruler used to make participants’ engravings, “THIS SIDE” written in black marker on one side, 1 7/8 x 11 ½ inches

22.02.03.12

Proof for a sample participant engraving, notes written in pencil and blue ink, 7 15/16 x 4 5/16 inches

22.02.03.13

Participant engraving, “La Famille Brahmi, 22.1.02,” orange ink on Arches paper, 62 5/8 x 19 13/16 inches, plate: 53 ¼ x 10 ½ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.14

Participant engraving, “La Famille Lemière, 25.1.02,” green ink on Arches paper, 29 x 28 7/8 inches, plate: 19 3/8 x 19 ½ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.15

Participant engraving, “La Famille Giraud, 31.1.02,” yellow ink on Arches paper, 29 x 29 inches, plate: 19 ½ x 19 ½ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.16

Participant engraving, “La Famille Gilly, 22.12.02,” cerulean blue ink on Arches paper, 26 x 21 ¼ inches, plate: 16 7/16 x 11 5/8 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.17

Participant engraving, “La Famille Orion, 22.12.02,” black ink on Arches paper, plate: 37 ½ x 53 inches, signed by Kinmont on verso 2/3, 2003, framed in 2014 using Optimum Museum Acrylic glazing, custom milled ¼ sawn white oak moulding, 48 ¾ x 64 inches overall

22.02.03.18

Participant engraving, “La Famille Bissierès, 24.12.02,” green ink on Arches paper, 23 7/8 x 24 5/16 inches, plate: 14 7/8 x 14 7/8 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.19

Participant engraving, “La Famille Lynch, 24.12.02,” yellow ink on Arches paper, 22 x 26 15/16 inches, plate: 12 ½ x 16 ½ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.20

Participant engraving, “La Famille Richard, 25.12.02,” black ink on Arches paper, 31 3/8 x 38 7/8 inches, plate: 21 ½ x 29 5/16 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.21

Participant engraving, “La Famille Kechichian, 26.12.02,” orange ink on Arches paper, 14 7/8 x 14 3/16  inches, plate: 4 5/8 x 4 ¾ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.22

Participant engraving, “La Famille Richard, 31.12.02,” dark brown ink on Arches paper, 17 ¼ x 25 1/16 inches, plate: 7 ¾ x 15 11/16 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.23

Participant engraving, “La Famille Caron-Vannier, 5.1.03,” black ink on Arches paper, 19 5/16 x 19 ¼ inches, plate: 9 ¾ x 9 ¾ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.24

Participant engraving, “La Famille Fratas, 9.1.03,” cerulean blue ink on Arches paper, 62 ¾ x 47 9/16 inches, plate: 53 1/8 x 37 3/8 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.25

Participant engraving, “La Famille Crenn, 9.1.03,” black ink on Arches paper, 33 7/8 x 32 15/16 inches, plate: 23 ¼ x 23 ½ inches, signed by Kinmont on verso 2/3, 2003

22.02.03.26

Participant engraving, “La Famille Thuillier, 11.1.03,” blue ink on Arches paper, 62 5/8 x 47 5/8 inches, plate: 53 x 39 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.27

Participant engraving, “La Famille Casseville, 12.01.03,” orange ink on Arches paper, 22 x 18 ¾ inches, plate: 12 ½ x 9 5/16 inches, signed by Kinmont on verso 2/3, 2003

22.02.03.28.1-4

Shipping document regarding prints sent to New York, reports damage to shipping container and contents, dated 9 June 2003, four copies of document printed in black ink and stapled in upper left corner, with “original” stamped in black on the first page and in blue on the remaining three pages, 11 x 8 ½ inches

22.02.03.29

Manila folder with the Sshhh project description stamped in dark blue ink, 11 5/8 x 9 ¼ inches

22.02.03.30.1-5

Five protective tissues with the project description of Sshhh rubber stamped in blue ink in English and French, used during distribution of engravings to participants, dated 2002-2003, 25 ½ x 39 ½ inches

22.02.03.31

Invitation from Sylvie Boulanger, director at Cneai, “Cher Ben Kinmont, Ben Kinmont et IRN seraient ravis de vous accueillir,” inviting Kinmont to a concert and live performance celebrating the distribution of Sshhh at Cneai, includes DJ and performers’ names, printed in black and red ink on white paper, 11 ¾ x 8 ½ inches

22.02.03.32

Invitation from Sylvie Boulanger, director at Cneai, “Cher Guy Rocca, Ben Kinmont et le collectif IRN seraient ravis de vous accueillir,” inviting Guy Rocca to a concert and live performance celebrating the distribution of Sshhh at Cneai, printed in black ink on white paper, 11 x 8 ½ inches

22.02.03.33

Invitation from Sylvie Boulanger, director at Cneai, “Cher Georges Richard, Ben Kinmont et le collectif IRN seraient ravis de vous accueillir,” inviting Georges Richard to dinner and a concert with Ben Kinmont, a private event at Cneai celebrating the distribution of Sshhh, printed in black ink on white paper, 11 x 8 ½ inches

22.02.03.34

Postcard to Kinmont from Sophie, “Dear Ben, I hope it finds you well,” recto: photograph of Chatou, verso: note handwritten in black ink, mentions inclusion of stamp, ink, and a contract with the price of a set of prints, 4 ¼ x 5 ¾ inches

22.02.03.35.1-18

Proof for the Whitney catalogue artist page, “Ben Kinmont,” with a black and white photograph of Kinmont on the night of the distribution of Sshhh at Cneai, printed in black ink on white paper, 11 x 8 ½ inches

22.02.03.36.1-18

Booklet labeled “Cneai dossier 2,” containing copies of Cneai’s file of the Sshhh exhibition at Cneai, handstitched, silver card wrappers, 18 pp., 12 x 9 ¼ inches

22.02.03.37.1-20

Booklet labeled “Cneai dossier 3,” containing copies of Cneai’s file of the Sshhh exhibition at Cneai, handstitched, silver card wrappers, 20 pp., 12 x 9 ¼ inches

22.02.05.38

Email to Kinmont from Vincent Romagny, “dear Ben, Hope you are well, The Cneai is preparing a book,” requesting participation in a publishing project with Cneai and asking Kinmont to provide a contextual reading of his art practice to represent his personal biography, in lieu of a C.V., dated 8 October 2005, printed in black ink on white paper, 11 x 8 ½ inches

22.02.09.39.1-13

Laser printout draft of “Include Me Out,” an article written in French by Sebastien Pluot, published in the Pompidou’s Voids: A Retrospective, 2009, includes discussion of work by Kinmont, Robert Barry, Michael Asher, Christopher D’Arcangelo, and Jiri Kovanda, thirteen pages, the first eight pages printed in black ink on white paper and the next five pages printed in black ink on blue paper, stapled in upper left corner, 11 x 8 ½ inches

22.02.09.40

Email to Kinmont and Florence from Sébastien Pluot, “Bonjour Florence, Je voulais te demander des nouvelles,” regarding works for an exhibition at Villa Arson, and an invitation to reactivate Sshhh in Nice, dated 14 October 2009, printed in black and color ink on white paper, 11 x 8 ½ inches

22.02.10.41.1-5

Email correspondence between Anna Hess, Jacqui Riva, Marie Gautier, and Kinmont, “Dear Ben, Yes, exactly,” regarding details of including Sshhh in the “Speech and What Archive?” at the gallery Y3K in Melbourne, 5 pages, dated 2 April 2010, 1 April 2010, and 25 March 2010, printed in black and color ink on white paper, stapled in upper left corner, 11 x 8 ½ inches

22.02.11.42.1-9

Email to Kinmont from Marie Gautier, “Dear Ben, We met us more than one year ago,” regarding inclusion of Sshhh in an exhibition in Paris called, The Missing Part, includes printout of intention statement and photos of participating artists’ work, dated 2 February 2011, printed in black and color ink on white paper, 9 pages stapled in the upper left-hand corner, 11 x 8 ½ inches

22.02.11.43.1-6

Email correspondence between Kinmont and Marie Gautier, “Dear Marie, no problem to stamp and distribute the sheets of paper for the show,” regarding further details of including Sshhh in The Missing Part, includes a color photograph of Kinmont on the night of the distribution of Sshhh at Cneai, dated 2 February 2011, printed in black and color ink on white paper, 11 x 8 ½ inches

22.02.11.44.1-2

Specially printed press folder as well as a checklist of works exhibited in Prospectus Amsterdam: A survey of the work of Ben Kinmont at Kunstverein, 12 March- 22 May 2011, 11 ¾ x 8 ¼ inches

22.02.11.45

Email to Kinmont from Audrey Gonzalez at Centre national des arts plastiques (CNAP), “Dear Ben Kinmont, In February 2010, the purchase proposal,” requesting address confirmation to send a purchase contract regarding their acquisition of Cneai’s set of the participants’ engravings from Sshhh and the book, Prospectus, for CNAP’s collection, dated 8 November 2011, printed in black and color ink on white paper, 11 x 8 ½ inches

22.02.11.46

Prospectus. 1988-2010. Forty-two works by Ben Kinmont, ix, [ 3 ], 93, [ 4 ] pp., [Sebastopol: Antinomian Press, 2011], sixteen plates printed in red ink, perfect bound, blue wrappers printed with wooden type, text pages printed with lead type in an edition of 1200 copies, 8 ½  x 5 ½ inches

22.02.11.47

Ben Kinmont Prospectus 1988-2010 quarante-deux pieces [Paris: Ѐditions Mix, 2011], French edition of Prospectus. 1988-2010. Forty-two works by Ben Kinmont. Black and white photographs throughout text, 79, [ 7 ] pp., 6 7/8 x 4 ½ inches

22.02.13.48.1-257

Chronologically arranged correspondence related to the 2014 Whitney Biennial, includes emails between Kinmont and Michelle Grabner (Curator), Elisabeth Sherman (Senior Curatorial Assistant), Mamie Tinkler (Biennial Coordinator), Florence Bonnefous (gallery Air de Paris), and others, dates range from 7 May 2013 to 14 January 2014, printed in color and black ink on white paper, some pages stapled in upper left corner, 11 x 8 ½ inches

22.02.13.49.1-2

Cream-colored archival box with an 11 x 8 ½ inch printout of the initial email from Michelle Grabner to Kinmont glued to the upper lid, 12 ¾ x 9 ¼ x 3 inches

22.02.13.50.1-9

Rough drafts of Kinmont’s project proposal for the 2014 Whitney Biennial, with a black and white photograph from the Cneai distribution of Sshhh in 2003, Kinmont’s notes and edits handwritten in black and magenta ink and pencil, printed in black ink on white paper, nine pages, stapled in upper left corner, 11 x 8 ½ inches

22.02.13.51.1-7

Project proposal sent by Kinmont to Michelle Grabner, Elisabeth Sherman, and Mamie Tinkler, “Dear Michelle, Elisabeth, and Mamie,” describing three potential pieces to show in the 2014 Whitney Biennial as well as printing costs, with a black and white photograph from the Cneai distribution of Sshhh in 2003 on the first page, seven pages, printed in black and color ink on white paper, stapled in upper left corner, 11 x 8 ½ inches

22.02.13.52.1-4

Quote from Smallworks Wood Design to frame the engravings, dated 6 September 2013, with “too expensive for W budget,” handwritten in pencil, printed in black ink on white paper, stapled in the upper left corner, 11 x 8 ½ inches

22.02.13.53

Photograph of Kinmont on the night of the distribution of Sshhh at Cneai, taken by Philippe Bissières in 2003, printed in 2013, 4 x 6 inches, printed in color with an HP Officejet printer on white 11 x 8 ½ inch paper

22.02.13.54.1-9

Eight photographs of the night of the distribution of Sshhh at Cneai, taken by Philippe Bissières in 2003, printed in 2013 on a laserjet printer on glossy cardstock, bundled with a paper band and a sticker from Sprint Copy Center in Sebastopol, CA, 4 x 6 inches

22.02.13.55.1-7

Seven color enlargements of photographs of the night of the distribution of Sshhh at Cneai, taken by Philippe Bissières in 2003, printed in 2013 on Fujicolor Crystal Archive Paper, 12 x 18 inches

22.02.13.56

Receipt from Shutterbug Camera Shops for eight 12 x 18 inch color enlargements of photographs, dated 23 October 2013, 5 ¼ x 3 1/8 inches

22.02.13.57

Kinmont’s sketch of a participant engraving for his own family, “26.10.2012 Kinmont Hupert Family,” in pencil on graph paper, rectangle painted on verso in burgundy watercolor, 11 x 8 ½ inches

22.02.13.58

Contract granting the Whitney license to reproduce images from Sshhh in the 2014 Biennial catalogue and other publicity purposes, signed by Kinmont and dated 15 November 2013, printed in black ink on white paper, 11 x 8 ½ inches

22.02.13.59.1-3

Rough draft of an interview between Kinmont and Thom Donovan for the 2014 Whitney Biennial catalogue, printed in black ink on white paper, with Kinmont’s notes and edits handwritten in pencil, three pages, stapled in upper left corner, 11 x 8 ½ inches

22.02.13.60.1-2

Final draft of an interview between Kinmont and Thom Donovan for the 2014 Whitney Biennial catalogue, “GRABNER edited final final final,” printed in black ink on white paper, with Kinmont’s notes handwritten in pencil and blue ink, stapled in lower left corner, 8 ½ x 11 inches

22.02.13.61

Proof for the Whitney catalogue artist page, “Ben Kinmont,” with a color photograph of Kinmont on the night of the distribution of Sshhh at Cneai, printed in color and black ink on white paper, 11 x 8 ½ inches

22.02.13.62

Booklet labeled “Cneai dossier 1,” containing photocopies of Cneai’s file of the Sshhh exhibition at Cneai, hand stitched, silver card wrappers, 18 pp., 12 x 9 ¼ inches

22.02.13.63

Kinmont’s notes, “My back pages,” handwritten in pencil and black ink on graph paper, 11 x 8 ½ inches

22.02.13.64

Kinmont’s notes, “I must remember that some things are simply impossible,” regarding problems and complications of inviting participants to be involved in the Sshhh project through the Whitney, handwritten in pencil on graph paper, 11 x 8 ½ inches

22.02.13.65

Kinmont’s notes, “MoMA- wants to preserve the archive,” written and sketched in pencil on graph paper, 11 x 8 ½ inches

22.02.13.66

Kinmont’s notes, “unzeige deine wunde,” written and sketched in pencil on a used manila folder, 11 5/8 x 9 inches

22.02.13.67.1-20

Kinmont’s diagrams for the installation at Whitney with various notes, written and sketched in pencil on graph paper and in pencil and ink on white paper, some sheets recto/verso, some recto only, paper clipped in upper left corner, 11 x 8 ½ inches

22.02.13.68.1-19

Drafts of the invitation to participate in Sshhh, “An aide- memoire for a conversation once had,” some drafts printed in black and red ink on white paper, some written and sketched in pencil on graph paper, some recto/verso, others recto only, sizes range from 8 ½ x 5 ½ inches to 11 x 8 ½ inches, in a manila folder, 11 5/8 x 9 inches

22.02.13.69

Printout of scanned copy of a manila folder with the Sshhh description in blue ink with Kinmont’s notes handwritten in pencil, “Stamp this on the wall @ Whitney,” numbers written in black ink on verso, printed on white paper, 11 x 8 ½ inches

22.02.13.70

Kinmont’s notes, “Budget: Time and Money,” regarding costs of archiving Sshhh and preparing for the Whitney exhibition, handwritten in pencil on graph paper, 11 x 8 ½ inches

22.02.13.71

Kinmont’s notes, “Whitney Sshhh,” in black ink on white paper, 11 x 8 ½ inches

22.02.13.72

Half of a manila folder with Kinmont’s notes, “mtnD 2002,” handwritten in magenta ink, 11 5/8 x 9 inches

22.02.13.73

Kinmont’s notes, “Canvas: She didn’t,” regarding the vitrine for the Whitney exhibition, handwritten in blue ink on white scratch paper, verso: article printed from “Science and Technology,” 11 x 8 ½ inches

22.02.13.74

Kinmont’s notes, “The only problem…- hung on wall,” regarding the exhibition at the Whitney, handwritten in magenta ink and pencil on white scratch paper, verso: printed article, “How Knowledge About the Natural and Physical World Develops,” 11 x 8 ½ inches

22.02.13.75

Photograph taken at Grand Palais, Paris, of contemporary bouquiniste display cases, printed in 2013, 3 ¼ x 4 13/16 inches, printed in color with an HP Officejet printer on white 11 x 8 ½ inch paper

22.02.13.76

Handmade silver folder labeled “Misc. correspondence,” tied with linen ribbon, 12 ¼ x 9 inches

22.02.13.77.1-2

Archival box, cream-colored, with 11 x 8 ½ inch white paper pasted to the lid with “Towards a definition of project art,” description printed in red ink and stamped with Antinomian Press stamp, ¾ x 2 5/8 inch newspaper cutout pasted on the inside of the lid reading, “They were tiny islands of culture…”, box: 12 ¾ x 9 ¼ x 3 inches

22.02.13.78

Watercolor and pencil study towards type design for new conversation sheet, on brown packing paper, 7 5/8 x 7 ¾ inches

22.02.13.79.1-2

Lead type used for letterpress printing of family conversation, “Kinmont Hupert Family 15 December 2013,” 1 x 4 1/8  x ¾ inches; a blue and white used dishcloth wrapped around the lead type to protect it and tied with two linen ribbons

22.02.13.80

Photocopy of the half-title page of Mary Kettilby’s A Collection of above three hundred receipts in cookery, physick and surgery. London: 1714, with border painted in burgundy watercolor, paper folded in half, 11 x 8 ½ inches

22.02.13.81

Collage of three pieces of paper held together with clear tape: one white piece of paper with a printed sample of the lead border (in black ink) and an ink smudge of a deep-red ink (“PMS 226”); taped to a sketch of the Kinmont Hupert Family conversation sheet, “Perhaps in sm caps,” written in pencil on lavender paper with “Kinmont Hupert Family 23.12.13” written in pencil on verso and scribbled out; taped to blank graph paper, overall dimensions: 12 x 8 15/16 inches

22.02.13.82

Proof for letterpress of Kinmont Hupert Family conversation, “Kinmont Hupert Family 15 December 2013,” blind-stamped multiple times, border printed with lead rule, burgundy ink on white coated paper, 12 ¼ x 8 ½ inches

22.02.13.83

Proof for letterpress sheet of Kinmont Hupert Family conversation, border printed with lead rule, burgundy ink on blue-green laid paper, 12 ¼ x 8 ½ inches

22.02.13.84

Proof for letterpress sheet of Kinmont Hupert Family conversation, “Kinmont Hupert Family 15 December 2013,” text and border printed in lead with burgundy ink on blue-green laid paper, printed 17 December 2013, 12 ¼ x 8 ½ inches

22.02.13.85

Proof for letter press sheet of Kinmont Hupert Family conversation, “Kinmont Hupert Family 15 December 2013,” text printed with lead type, burgundy ink on white coated paper, ink is smeared, border nearly blind stamped (faint residue of old ink) with lead rule, this copy was pulled from the garbage and is creased down the center, 11 7/16 x 8 ½ inches

22.02.13.86

Proof for letter press sheet of Kinmont Hupert Family conversation, “Kinmont Hupert Family 15 December 2013,” text printed with lead type, burgundy ink, border nearly blind stamped (faint residue of old ink) with lead rule, on white coated paper, 11 3/8 x 8 ½ inches

22.02.13.87

Archive table made of plywood with Douglas fir trim, aluminum frame underneath, and ¼ inch glass mirror top, 71 x 56 x 2 7/8 inches

22.02.13.88.1-2

Two collapsible and adjustable orange steel sawhorses used as table legs, open: 28 x 38 ½ x 17 ¼ inches, closed: 2 ½ x 38 ½ x 4 inches

22.02.14.89

Cardboard study for family conversation, with “Family Family date,” printed on white ½ x 1 inch paper and glued to the cardboard, 7 ¼ x 4 3/8 inches overall

22.02.14.90

Study for family conversation, border made from wood pieces with silver metal tape around them and glued onto silver metallic paper, 6 3/8 x 4 ½ inches

22.02.14.91

Invoice from Rubber Stamps Unlimited for two wooden rubber stamps reading, “Sshhh archive,” printed in black ink on white paper and stamped with, “Priority Mail,” in blue ink, 11 x 8 ½ inches

22.02.14.92

Framed letter press sheet of Kinmont Hupert Family conversation, “Kinmont Hupert Family 15 December 2013,” text printed with lead type, burgundy ink on white coated paper, border nearly blind stamped (faint residue of old ink) with lead rule, framed using Optimum Museum Acrylic glazing, custom milled ¼ sawn white oak moulding, 17 ¼  x 14 3/8 inches overall


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