Untitled - Division Leap

Division Leap
425 SE 3rd Ave. #303
Portland, OR 97214
adam@divisionleap.com
www.divisionleap.com
917 922 0587
Adam Davis and Kate Schaefer, proprietors
Division Leap is a gallery that specializes in art, archives, artist books, zines and
ephemera relating to vanguard movements in the arts and counterculture. We also
publish artist books and zines.
Please note our new address. Since our last print catalog we’ve moved just across the
river from downtown, and are now located in the central Southeast Industrial District,
in the Oak Street Building - a grimy and infamous stack of artist lofts which has been
historically important in the development of the Portland art scene. We welcome intrepid
visitors by appointment. There are other galleries, bookstores, and good food in the
area.
We’re happy to announce that Adam will be the specialty lecturer this year at the
Colorado Antiquarian Book Seminar. CABS is a great resource for both prospective and
present booksellers, and helps to ensure the ongoing health of the book trade, which
is of vital importance in the discovery and preservation of the material that we all care
about. If you know of someone who might be interested in attending, please help us
spread the word. Scholarships are available. For more information, please visit www.
bookseminars.com or contact us.
Terms: All items subject to prior sale. We recommend reserving by email or phone.
Shipping additional. Payment due with order unless prior arrangements have been
made. Institutions billed according to their needs. Customers known to us and in good
standing will be invoiced. Payment can be made by check drawn on a US bank, major
credit card, Paypal, or wire transfer. All items are returnable within thirty days with
advance notice.
We are members of the ABAA (Antiquarian Booksellers Association of America) and ILAB
(International League of Antiquarian Booksellers).
Upcoming Fairs
The New York Art Book Fair
September 27-30
MoMA PS1, Long Island City
1. Acconci, Vito. ALS from Vito Acconci to Jackson Mac Low.
New York: 1968. Single sheet, approximately 5 1/2 x 8 /2”, written in black ink on
recto only, approximately 60 words. Housed in an envelope addressed in holograph
and postmarked. Folded several times, with some toning, but very good; envelope
opened roughly and toned and creased, with additional notations, but very good.
The letter concerns the details of an upcoming reading, to be held April 11, 1968.
Acconci requests Mac Low approach James Tenney about equipment, and indicates
that Mac Low should invite Tenney to participate and be included on the program if he
wants. The letter is written from 383 Broome Street, and addressed to Mac Low at his
address in the Bronx. We haven’t been able to determine when this reading occurred, but it would have been an important
transitional time in Acconci’s career, during the period which he was editing 0 to 9 with Bernadette Mayer. The verso of
the letter has holograph notes in Mac Low’s hand in pencil; the envelope bears notations in ink and pencil,
some of it in an unknown hand. A valuable behind the scenes look at organizing a reading in the
late sixties. Autograph material by Acconci is scarce on the market and this is a great association
between two of the most important artists active during the 1960’s. $450
2. Action Theater.
Program for Within and
Without: To Mark the
Passing of Confederate
Memorial Day.
New York: Action Theater,
1965. 4to. 10 leaves
mimeographed on rectos
only. Stab-stapled into
illustrated covers. A few
faint spots of foxing within
and a couple small stains
to the wraps; very good.
A beautifully produced program for this Fluxus
inspired production by the important avant-garde
theater group. The program lists the involvement of
Carolee Schneeman, Ben Patterson, and John Tenney
as well as an early performance by some guy named
Robert DeNiro. The program is also notable for the
last three pages, a dense list of cross-disciplinary
artists at work all over the world who inspired
the work of the Action Theater, made to “indicate
that there are now opportunities everywhere for
interested individuals, foundations, or simply those
with facilities or usuable materials to get behind
what might be considered basic research in the arts.”
It reads like a phone book for avant-garde activity in
the middle of the sixties, and makes the publication
not just a program for a single event but also a
manifesto and gathering call at a watershed moment
for the arts in the sixties. $450
3. [Berrigan, Ted]. Berrigan’s
Annotated Copy of United Artists
Twelve.
New York: United Artists, 1981. First edition.
4to. Mimeographed sheets side stapled in
wraps. Staples rusted, with creasing and
some dampstaining, thus good only.
Though there is no ownership signature,
this copy is from the library of Ted Berrigan,
and is annotated by him in three different
places in his distinctive hand. Berrigan was
a contributor to this issue, and at his own
poem “Round About Oscar” he has added
two words and made several changes to the
syntax. These changes are not incorporated
into Berrigan’s Collected Poems, making
this perhaps the best extant copy of the
poem (in the sense of being closest to the
author’s intentions). Second, Berrigan has
made a fairly lengthy annotation to Tom
Veitch’s Clear Lake Journal, with references
to Houdini and Freud. Finally, Berrigan
has made several notes adding fictional
cover artists to the list of his colleagues UA
publications at rear, a fascinating example
of his propensity to “collaborate” with his
colleagues’ in print that here veers into
meta-bookmaking territory. What does
it mean when Berrigan notes that Clark
Coolidge’s Own Face features a cover by
Andrew Wyeth? SOLD
4. Brainard, Joe. ALS from Joe Brainard to Brigid Polk [with] Two Small Works on
Paper.
New York: 1971. ALS on two 8 1/2 x 11” ruled sheets of notebook paper, and housed in an envelope
addressed in holograph and postmarked. With a 2 3/4 x 3 3/4” envelope within holding two small
works on paper – a pen and ink drawing [approximately 2 1/2 x 2 3/4”] and a pencil drawing
[approximately 2 1/4 x 2 3/4”] both on card stock, signed and dated. Drawings fine; letter folded
twice for mailing, else fine; envelope opened roughly, but very good. A remarkable association between Brainard and one of the most prominent members of Andy
Warhol’s factory. Brainard writes to Polk to thank her for a picture, and notes that he has enclosed
“YES, AN UNDER_ARM (WITH A TATTOO).” His playful and disarmingly direct use of language is in
full evidence; he says “I MISS NOT SEEING YOU” and “IF I DON”T SEE YOU BEFORE ____ HAVE A
GREAT SUMMER!*” The small envelope is addressed “FOR BRIGID” and houses the aforementioned
color pencil and ink drawing of an armpit and torso, around the nipple of which is a finely inked
drawing of a tattoo linking the names Joe and Brigid. This drawing is signed in pencil “BRAINARD
71”. In addition there is another small work on paper, an ink drawing, not mentioned in the letter
and dated a year earlier, which depicts a cock lying in repose.
SOLD
5. Byars, James Lee. This is the Ghost of James Lee Byars
Calling.
Los Angeles: Eugenia Butler Gallery, 1969. 5 1/2 x 8 1/2”, pick card
stock printed on recto only. Crease to left margin, holograph notation
in red ink to verso else very good. The exhibition announcement for Byars’ 1969 installation at the
Eugenia Butler Gallery, in which Byars turned the gallery into an
entirely red room lit only by a small hole in the ceiling, in which
participants were asked to read texts about Byars in order to audibly
conjure him in the space. The pink color of the announcement likely reflects the lighting in the gallery
during the performance. The nomadic Byars lived with the Butlers for a time. A recent 2011 exhibition
at Los Angeles Nomadic Division as part of Pacific Standard Time has brought the gallery new and
much-deserved attention. We’ve previously seen several examples of the five-sided exhibition
announcement on gold stock which was also printed for this exhibition; this is the first example we’ve
seen with this simpler design. $450
7.Chicago Surrealist
Group. A River’s Edge:
Surrealist Implications of
the Great Flood. Chicago:
Chicago Surrealist Group,
1992. 8vo. Single sheet
folded once. Fine.
6. Carroll, Jim. Jim Carroll With Special
Guest Steve Vavoni.
Sacramento:
Club Can’t
Tell, 1987. 11
x 17”, offset
printed in b/w.
Fine. Original poster
for this 1987
reading at the
Sacramento
Poetry Center
by Carroll,
featuring a
drawing of him
as the statue
of liberty, hypo
clutched in
upraised hand.
$200
A critique of the 1992
natural disaster from
an American surrealist
perspective, setting quotes
from concerned politicians
against quotes from workers happy to get the
day off. While noting that “natural calamities”
usually disproportionately victimize the poor, the
brochure also notes that the flood gave a quarter
million workers a paid day off of work, and the
homeless had a feast because in the absence of
refrigeration restaurants and stores cooked their
meat and fed it to the homeless. $75
8. [Chicano Gangs & Low Rider Culture] [Zines]
[Graffiti]. Puro Big Time Gangas #1. Np: Puro Big Time
Gangas, nd [c. 1984]. First edition. 4to. Offset printed in black
and white; saddle-stapled wraps. Fine.
First, and we believe, only issue published of this Chicano gang
and Low Rider culture magazine. There are a large number
of ads for Teen Angels, which this magazine may have been
published by or associated with. Most pages are broken down
into four panels, each of which is densely illustrated and written
in by a different group, gang or individual, with some personal
announcements as well. We guess that contributions may
have been solicited on cards, gathered, and then published, as
announcements sometimes were in Teen Angels. A fascinating
look at communal magazine authorship as communication.SOLD
9. Cohen, Ira, ed. Gnaoua No. 1 [All Published].
Tangier: Gnaoua, 1964. First edition. 8vo. 103 pp. Offset printed and
perfect bound in fuschia wraps illustrated by Rosalind. Wraps faded, heavily
at the spine, which shows some old tidemarking; corner crease to one
internal page; very good. The first and last issue of one of the most important little magazines of the
sixties, edited and published by Ira Cohen from Tangiers. In Cohen’s brief
editorial statement he notes that the magazine is named for the ecstatic
dancing and possession trances of the North African sect of the same name,
and concludes that “The object is exorcism.”
Reading Gnaoua almost fifty years later, it is striking how the work in
these pages, produced by a number of hands, forms an almost seamless
whole. Whether it be via cut-up or drugs or possession or linguistic
manipulation, the writers in Gnaoua share a preoccupation with purposeful derangement to exorcise
assumed literary forms. In his autobiography Harold Norse would say of his first cut-up piece
included here, Sniffing Keyholes, that “I felt like I had broken through semantic and psychological
barriers.” The assembled magazine becomes a talisman of literary and social exorcism, and as such
it makes a surprising appearance in one of the most iconic photographs of the sixties - the curated
cover photograph of of Bob Dylan’s Bringing it All Back Home, where it can be clearly seen on the
mantelpiece
Gnaoua inaugurated a tendency to create the printed object as a shamanistic talisman, and laid the
groundwork for the beautiful experiments with woodblocks and handmade paper which Cohen would
later undertake with Angus Maclise in Nepal under the Bardo Matrix and related imprints.
SOLD
10. [Children’s Literature] [Anarchism] Carl-Ludwig Reichert. Projekt:
Anti-Autoritare Kinderbucher.
Munich: Carl-Ludwig Reichert, nd [c. 1969]. 8 1/2 x 11 3/4”, offset printed at
recto and verso. Folded once, with toning, a 1/2” closed tear to left margin,
and splits beginning at the folds; about very good.
A fascinating manifesto from the SDS movement in Munich which calls for
the production of anarchist and anti-authoritative literature for children,
drawing attention to the importance of cultivating a subsequent generation of
revolutionaries; “die revolution hängt nicht zuletzt davon ab, wie revolutionär
die revolutionäre die nächste generation von revolutionären machen”. $125
11. Cunningham, Merce. Changes: Notes on Choreography.
New York: Something Else Press, 1968. First edition. 8vo. [176] pp. Bound in full
white cloth. Photographically illustrated dust jacket. One of 3761 copies issued.
Signed by Merce Cunningham at verso of half-title page. With errata slip laid in.
Near fine with some toning to extremities; dust jacket price-clipped, with a bare
hint of rubbing to extremities else fine. One of the most beautiful books published by the Something Else Press. The
layout, with text running in every which direction, was organized utilizing chance
operations by Cunningham and the books editor, Frances Starr, to evoke the
experience of Cunningham’s approach to dance through the design of the book.
“Changes can be considered the earliest of the Press’ integral “artists’ books,”
where the design is more related to the artists’ style and method of composition than to book
tradition.” [Franks p. 25]. Scarce signed and in such pleasing condition.
$500
12. Danieli, Fidel, ed. L.A. Artists’ Publication Nos. 1-4 1/2 [All Issued].
Los Angeles: L.A. Artists’ Publication, 1972-3. Five numbers, each an unbound assemblage housed in
an envelope. Contents fine; envelopes addressed and mailed, and in some cases opened roughly, but
very good.
The entire run of this formally inventive artists’ periodical from Southern California. Each contributing
artist was responsible for the printing of their own piece; they submitted their work along with a list
of 25 people (later, 10 people) whom they wished to receive the magazine. Includes contributions
from the great Eleanor Antin (her piece ‘Renunciations,” in no. 1, and ‘Domestic Peace’ in no.
2), Betye Saar, Bob Haas, Jim Edson, Caroline Kent, John Beckman, and a variety of noted Mail
Artists, including The Northwest Mounted Valise, John Dowd, Lowell Darling, and Dana Atchley.
With it’s unusual form of production and distribution the magazine provided a viable model for
artists to communicate with each other outside of the mainstream art world, in line with other
“newsletter”artists’ magazines such as Floating Bear and Semina- in fact, no. 2 contains a homage to
Wallace Berman by the editor. Allen, “Magazines: An Alternative Space for Art”, p.275. ON HOLD
“Using the balloons and dancing around”
13. [Deaf Club] [Punk] [Zines] Jack Fan, ed. (20aMPC)
Nos. 1-2.
San Francisco: [Deaf Club], c. 1979. 4to [8 1/2 x 11”] xeroxed on
rectos only from typescript and cut-up. Some minor toning and
rusting to the staples. First issue also titled “Wrestle News”. Second
Issue also titled “Still Born News.” near fine.
The first two issues, which we
believe to be all published, of
this truly amazing zine issued
from and distributed at one
of the most important and
fascinating clubs of the Bay Area
punk scene. The Deaf Club was
in reality a social club for the
deaf, which Robert Hanrahan
discovered and rent to host punk
shows. The combination of punk
shows and deaf patrons was less paradoxical than it might seem.
By all accounts it was a felicitous pairing. The members of the club
enjoyed mixing with the punk patrons, and felt the music by laying
their hands on tabletops or most memorably, with balloons, as in
the following remembrance by Dennis Kernohan: “The deaf people
there with balloons, holding them up and feeling the vibrations of
the balloons to the Germs, all these fuckin’ great bands, and using the balloons and dancing around.”
[Boulware & Tudor p. 99]The zine was issued by Jack Fan, who was also manager of the Offs. The
zine is nicely laid out, and is notable for artwork by the legendary Patrick Miller (of Minimal Man) and
Jack Collage. There are also some great photographs of bands including the Clash, The Offs, The
Situations, and the Bags. Rare and really fucking important. SOLD
14. [Devo] [Mark Mothersbaugh] [Mimeograph
Revolution]. Booji Boy: My Struggle.
[Cleveland]: Neo Rubber Band Publication, 1978. First edition.
12mo. [15] 280 pp. Offset printed and bound into leatherette covers
with bee frame nails. Variant yellow wraps. Fine.
The first edition of this legendary work, perhaps the most complete
exposition of Devo’s philosophy, and long the holy grail for Devo
collectors. The book was authored by
Mothersbaugh and published by rjs – the
legendary Cleveland poet and publisher
of the Mimeograph Revolution. According
to a statement by rjs published on the
Devo-Obsesso website, 700 copies were
published, with half being bound in nails
by rjs in red or yellow leatherette covers
and the other half delivered as unbound
sheets to Mothersbaugh. The yellow variant
is rumored to be less common than the red, which is bourne out by our
experience. Later bootleg copies of the book exist in cruder formats. The
title of the book is taken from an English translation of Hitler’s Mein Kampf,
and the book is a long satire on the social sciences, illustrated with textbook
diagrams and numerous drawings and collages by Mothersbaugh which are not for the faint of heart
OCLC locates only three holdings. SOLD
15. [Diggers]. The Digger Papers.
[San Francisco]: Free City, nd. First edition. 4to. 22 pp. Saddle-stapled wraps. Some spotty foxing
and staining to wraps, but very good.
The first edition of the final Diggers publication. The entire contents also appeared as issue no.
81 of Paul Krassner’s The Realist, but this edition was printed separately for free distribution in
San Francisco. It combines new material with reprints of some Digger pieces and manifestos
which had been printed earlier. One page, entitled “Take a Cop to Dinner” is illustrated with an
uncredited collage by Wallace Berman, “Untitled (Lenny Bruce),” created in 1963. In keeping with
the Digger philosophy of anonymity, the poem that is matched with the image is also uncredited,
but is probably a reaction to a proposal by the Haight Independent Proprietors (HIP) to further
communication between the police and the Haight District by taking policemen home to dinner. See
Grogan, p. 292. The Berman collage is reproduced in Semina Culture p. 17. $300
16. Diggers. Free City Communiques.
[San Francisco]: [Diggers Communication Company], [1967]. Nine
8 1/2 x 14” sheets, printed on rectos with the exception of the
final leaf, which is printed on the verso only. Bound together with
a single metal clip to upper left hand corner. Some rusting to clip
affecting first and last leaves, light handling creases, but near fine. A collection of nine beautifully printed posters, here distributed as
a set in 1967. This set corresponds roughly to Set #1 as described
on the Diggers online archive, but consists of only nine sheets.
Seven of these sheets correspond to the sheets in set #1, but
this example contains two posters which are not found in either
Communique #1 or #2 in the Digger archive, and which we’ve
never seen before. One of these sheets is entitled “Momento –
Icons of a Dead Civilization” and reproduces the recto and verso
each of a five dollar bill and a draft card. The second poster is
entitled “Masked Lunch.”
The Diggers were one of the most influential of all radical groups in
the sixties, and their legacy continues today in a variety of spheres.
Their publications and posters, distributed for free in the streets of
San Francisco, are some of the most beautiful and radical graphic
works of the sixties. SOLD
17. [Environmentalism] [Atomic Energy].
Atomenergie ist Todlich. [Germany]: nd [c.
1982]. 11 1/4 x 16 1/2”, offset printed in black
on thin yellow paper stock. Single old fold line
and some moderate creasing, but near fine. A strikingly designed poster from the early 1980’s
made to protest the ongoing transformation
of the Salzgitter area iron ore mine, Schacht
Konrad, into a terminal storage area for nuclear
waste. The poster is undated, but came from an
archive of posters issued in 1982 in Berlin and
is most likely from that year, when the planning
procedure became public. Despite ongoing
challenges, the license for nuclear storage was
approved in 2002. The poster features a quote
from Einstein.
Long a focal point for anti-nuclear protests in
Europe, Schacht Konrad was back in the news
recently when photographs of parents and
children holding a candle-light protest at the
site became one of the defining news images
of the world’s reaction to the anniversary of the
Japanese nuclear disasters. $200
“It’s an eight-hour hard-on.” - Andy Warhol
18. [Film] Warhol, Andy. Original Publicity Flyer for the Premier Screening of
Empire Signed by the Cinematographer.
New York: [1965]. 8 1/2 x 11”, offset litho. Signed at the verso in pencil by Jonas Mekas.
Fine. Provenance: Association copy, from the archive of Jonas Mekas, with a signed
holograph letter of provenance on his personal stationary. The original flyer for Andy Warhol’s greatest film, here with an outstanding association.
The idea for the film was conceived of by John Palmer, but it was Mekas who approached
Warhol with the proposal, and Mekas acted as cinematographer for the film. It was also
due to the influence of Mekas, who had recently used an Auricon to film The Brig, that
the Warhol used an Auricon on this film for the first time. He was so taken with the
crude sound camera that he would thereafter abandon silent cameras. The end result is
a beautiful paradox - “a moving picture of a station object, a silent film shot on sound
equipment.” [Watson p. 161] More than 600 feet of film were delivered to the developer,
enough to reach halfway up the building itself. Mekas filmed for about 6 and a half hours
at 24 frames a second, but the movie was shown at an agonizingly slow 16 frames per
second, making the focus of the film not just an iconic building, but the passage of time
itself. The movie was filmed in 1964 but wouldn’t have its premier showing until the
following year at City Hall Cinema.$2500
19. [Fluxus] Brecht, George. V TRE.
Metuchen, NJ: George Brecht, [1963]. 9 3/4 x 12 3/4” sheet,
offset lithograph in black and white. Folded once, with some
toning, especially along fold line, and additional creasing, but
still very good. The antecedent issue of what would become the central
periodical of the Fluxus movement, published irregulary until
1979. This first issue was conceived of as a one off newspaper
to be published in conjunction with the Yam Festival. V TRE
was named after a faulty neon sign which Brecht saw on New
Jersey’s beautiful route 22. Brecht printed the single sheet
paper himself and sold it for fifty cents in conjunction with the
Yam Festival. After this issue Brecht turned over most of the
responsibility to Maciunas, who subsequently issued Fluxus cc
V TRE Fluxus #1, and went on to publish nine issues, all with
different titles that play with the letters V TRE. [Leiber 71.
Aarons et al pp. 188-190. Fluxus Etc. p. 227. Fluxus Codex, p.
216.]SOLD
20.[Fluxus] George Brecht. APS to David Meltzer
Soliciting Material for V TRE.
New York: 1963. 3 1/4 x 5 1/2” postcard. Addressed
in holograph and postmarked January 7, 1963.
Some creasing and minor yellowing; very good. An important postcard describing the genesis of the
most influential of all the Fluxus periodicals. The
postcard announces the publication of an as-yetunnamed “news” paper which would be published by
the Yam Festival and would come out in January or
February. Brecht goes on to say that “Any [west] coast
items, notices, ads, etc. cheerily received. Solar eclipses, clogged sewers, medicine-chest inventories.
. . “ The as-yet-unnamed newspaper is certainly V TRE [see preceding item]. The periodical became
of central importance to the Fluxus movement and was published until 1979, with later issues
being edited by Maciunas. The Yam Festival, organized by George Brecht and Robert Watts, was the
umbrella term for a variety of performances and mailings held in early 1963. Not just a watershed
moment for the Fluxus movement, the Yam Festival created a template for taking art outside of the
gallery and museum system - one of the most important tendencies in postwar art. The postcard is
illuminating of the guiding spirit behind V TRE, and is also fascinating for being a link with the Fluxus
movement and the west coast literary scene, although we are pained to note that no west coast
artists were eventually included in the first issue.
$300
21. [Fluxus] Hendricks, Geoffrey & Henry Martin. 100 Skies.
Worpswede: Barkenhoff-Stiftung, 1986. First edition. Square 32mo.
Wraps. Text in German and English. With folded errata slip laid in.
Association copy, inscribed by Hendricks to fellow artists Jackson Mac
Low and Anne Tardos in 1989. A couple of very faint indents to front
panel else fine. A good association between three artists associated with Fluxus.
$150
22. [Fluxus] Knowles, Alison & Bryan McHugh. Seven Indian
Moons.
New York: Emily Harvey Editions, 1990. First edition. One of a limited
editon of 400 copies. Oblong 12mo. Wraps. Association copy, inscribed
(but unsigned) by Alison Knowles to Jackson Mac Low and Anne Tardos.
Fine. A text work utilizing information on several Native American tribes and
their names for the phases of the moon. The striking cover was designed
and letterpress printed by Paul Woodbine. A great association. $50
23. [Fluxus] Ono, Yoko. Morning Piece to George
Maciunas. New York: Yoko Ono, 1965. 8 1/2 x 11”,
offet litho. 1/3” closed tear to left margin, some minor
handling creases and a slight ripple to upper left tip
causing a slight blurring to several words, else very good. $200
24. [Fluxus] Ono, Yoko. New Works of Yoko Ono/ Carnegie
Recital Hall.
New York: Norman J. Seaman, 1965. Approximately 8 1/2 x 11”,
offset printed on light paper. Folded twice, perhaps for mailing;
minuscule nick to left margin, else fine.
Announcement for this 1965 performance by Yoko Ono at Carnegie
Hall - one of a series of such performances at the venue which
took place from 1965 to 1968. A beautifully designed flyer which
features a photograph of Ono, mirrored in the background in reverse
negative. The bottom of the flyer excerpts from three newspaper
articles about Ono, including a New York Herald Tribune article which
misspells her name as Yoke Ono, here underlined on the poster.
$150
25. [Fluxus] Ono, Yoko. Ono’s Sales List.
New York: Yoko Ono, 1965. First edition. 8 1/2 x 14”, offset printed
on recto only, with two holograph corrections in blue ink as issued.
Folded three times for mailing, some offsetting, heaviest to recto;
very good.
According to a statement by Yoko Ono on her website, 200 copies
of this sales list were produced and mailed out to followers of her
artwork. It lists such conceptual projects as a crying machine,
which will cry when a coin is deposited, underwear for women that
can make you high, and some architectural projects, including Light
House.
Rare and important.$1000
26.
[Fuck You Press] Ed Sanders, ed. Bugger: An Anthology of
Anal Erotic, Pound Cake Cornhole, Arse-Freak, & Dreck Poems.
New York: Fug You Press [Fuck You Press], 1964. First edition. 4to. [11],
19, [1]. Mimeographed on rectos only and side-stapled into yellow cover
sheet illustrated after a drawing by Ed Sanders. Trade edition, limited
to 400 copies. Some minor creasing and short marginal nicks to covers;
very good.
A classic anthology from the most transgressive press of the sixties, with
contributions from Harry Fainlight, Allen Ginsberg, Ted Berrigan, John
Harriman, Al Fowler, John Keys, & Szabo. [Clay & Phillips p. 168] $150
27. [Fuck You Press] Ed Sanders. TLS from Ed
Sanders to David Schaff Concerning the Censorship
of the Fuck You Press.
New York: [1966]. 8 1/2 x 5 1/2 sheet, mimeographed
on recto only, with holograph note at left margin. In the
original addressed and postmarked mailing envelope.
Sheet creased a couple of times, but very good;
envelope good only with extensive creasing.
A form letter from Sanders to fellow poet David Schaff,
concerning a raid on the Peace Eye Bookstore, and the
ensuing court case against his Fuck You: A Magazine of
the Arts. It begins by noting “I am free on 500 dollar
bail” and solicits donations, and money to turn his phone back on in case of future raids on Peace
Eye. “If the authorities succeed in stomping out my poetry magazine, it will be one more creepy
encroachment on our right to enjoy joyful, satirical, freaky, and politically sensitive writing of the
types I have been publishing.” Ed has added a holograph note to the left margin which thanks David
for letters sent, notes that the Fugs are doing well, and that he is headed to England in the spring.
Sanders had been arrested on January 1st, 1966, after a Fugs new years show at the Bridge Theater.
Police claimed to have gone to the Peace Eye Bookshop on a burglary call, but during the visit
they conveniently turned up copies of Fuck You (along with a letter from the Library of Congress
requesting a full run). This form letter was probably composed between that date and January 17th,
the court date mentioned in the letter and the first of 17 hearings in the 18 month case. During the
case the ACLU urged Sanders to temporarily cease publishing Fuck You. Sanders eventually won the
case, but it was the end of an era. No further copies of Fuck You were issued, partly because the
Fugs became famous (the holograph note here hinting at that). An important letter with good content
regarding censorship of one of the most important little mags of the Mimeograph Revolution and its
subsequent demise. SOLD
28. [Fuck You Press] Harry Fainlight. The Fuck You / Quote of the
Week #1.
New York: Fuck You / Press, 1964. First edition. 8 1/2 x 11” sheet of
rose stock, mimeographed on recto only with holograph addition in ink
(exclamation point to first line) as usual in our experience. Toning to
margins, still near fine.
The first installment in the series. Three were eventually published. $250
“All Traffic Lights Are Yellow”
29. [Graffiti] [Movements of 1968]
[Eiffe, Peter-Ernst] [Uwe Wandrey]. Eiffe For
President.
Hamburg: Quer-Verlag, 1968. First edition. Oblong
16mo. Side-stapled in cardboard covers, with
photographic pastedown to front panel. Illustrated
with two black and white photographs. Some minimal
browning to the covers, with a light vertical crease to
both the front and back panel, still a near fine copy of
an extremely delicate book.
The first and only edition of the only book on Eiffe,
who is widely considered to be the first modern
graffiti artist in Germany. His ludic and surrealist
slogans were seen all over Hamburg during the
tumultuous year of 1968, becoming the most visible
public texts of the student uprisings. He would often
leave his business card near the site of his work; when a building issued him an invoice for damages
to their property, he famously responded by sending them an invoice to pay for his artwork. His
culminating action was when he drove his Fiat into Hamurg Central Station and began to write on
the tiles in May 1968. He was jailed and interred in a psychiatric ward; the book was produced
around this time by Uwe Wandrey in order to raise funds for his defense (for another book published
this year by the agit-prop bookmaking genius, see item 65). He was released from the ward later
in the year, but in 1970 was reinterred in Rickling Psychiatric hospital for depression; he died of
exposure during an escape from the institution in 1982. His life and works were the subject of a
1995 documentary film by Christian Bau, Eiffe for President. One of the landmark publications of the
German Student Movement, and furthermore an important and overlooked book of early political
graffiti art. Important as hell but criminally underrepresented institutionally, with OCLC locating only
the Deutsch Bibliothek copy. SOLD
30. [Graffiti] [Zines] [Hip Hop] . Clout Issues 1-11 [All
Published].
Gilroy, CA: Clout, 2002-2009. First edition. 4to. Offset printed in color
on glossy stock; saddle-stapled wraps. Some old store price stickers
and the occasional light crease but all issues very good to fine.
All issues published of this long-running West Coast glossy devoted
to graffiti, bombing, hip hop, etc. including numerous freight graffiti
pics throughout. With material on or by Veks, Begr, the Mayhem
crew (Nace, Newa, Met, Chip, Kemos, Okae, Bleek, Next, Anga, Vizie,
Nesm, Mize, Merz and Sace), Zen RTM, Awol One, Shape Shifters, The
Cuf, Dre Dog, Above, Joshua Petker, Indecline, Bumfights, 2Mex, Tie,
Desa, Distortion 2 Static, Refuse to Be Smart, Puzl KYT DTC, Pysa LTS
MSK, Esteme TGE, The Mac, Bukue One, Del the Funky Homosapien,
Hieroglyphics Crew, Just Blaze, Saigon, Copywrite, DOCTOR SEX,
HOUR JONES KCW, EWOK HM, TKO Crew, Colt .45, HAELER, KENR, TOOMER, Aerosolfiends, THE
RANJAHZ. J. GAMBIT, NAMEBRAND.,KIRO DTC, RUETS PDB, MURDER BY DESIGN, KUTMASTA KURT,
CAN CONTROL, QUALITY OF LIFE, Clyde Carson, Smif-N-Wessun, Traxamillion, Boogie, Ryan Bubnis,
Chopper Read, ALOY MSK, MUCH HM, Too $hort, Todd Bratrud, GESO, Marek Grubel, etc. SOLD
31. Guerilla Art Action Group. In Memoriam
Gregory Battcock.
New York: Guerilla Art Action Group, 1980. First edition.
8 1/2 x 11” sheet, printed on recto only from typescript.
Folded twice, with a couple faint spots of foxing; very
good.
A handout produced by the important art activist group
to commemorate the death of art critic Gregory Battcock,
who had been murdered six days prior. Battcock was
a confidante of Andy Warhol and starred in several of
Warhol’s films, perhaps most memorably in Eating Too
Fast. $125
32. Guerilla Girls. New Observations 70: Guerilla
Girls.
New York: New Observations, 1989. First edition. 4to.
Saddle-stapled wraps. Near fine with some faint toning
along spine. This issue of the long-running art journal was edited by
the Guerilla Girls, and prints numerous posters by the
important art activist group. $75
33. Hansen, Al et al. Monday, May 2, 1960: A Program of
Happenings ? Events ! & Situations.
New York: 1960. 8 1/2 x 11” sheet, mimeographed from typescript. Near
fine with a faint 1” tidemark to upper right corner of verso. The rare flyer for this landmark even presented in the spring of 1960 by
the Evening School at the Pratt Institute- one of the formative events in
the history of the happening in performance art. The performances were
curated by Al Hansen, here presented as “an eclectic”. Performers listed
include Jackson Mac Low, George Brecht, Shimone Tomari, Al Hansen,
Allan Kaprow, Elaine Booth, Audrey Braver, Robert Braver, Sydney
Butchkes, Lucas Samaras, Janet Weinberger, & Steve Wilder. The program
also notes that the event would feature the music of Morton Feldman,
Karlheinze Stockhausen, Pierre Henry, Pierre Schaeffer, John Cage, Philippe Arthuys, Gosden &
Correll, Ben Pollack, Alma Gluck, John McCormack, Chung Ahk, Chok Byuk Poo, Shinichi Yuize, and
Bunk Johnson. Coffee and “perhaps punch and snacks” would be served after the performances.
The flyer concludes by excerpting from Kaprow’s untitled manifesto from the Demiurge which begins
“We have things to do.” Rare. Previously unseen by us, and very important. $450
34. Another Copy. Some toning and staining, most visible at verso; very good. 35. Heliczer, Piero. Signed Ink Portrait of Piero Heliczer.
$350
New York: 1987. Sheet size: 14 x 11”. Image size: 7 1/2 x 9”. A couple
of short marginal closed tears and a single slight 1/4” chip to upper
margin, not affecting image; very good. An ink portrait of Piero Heliczer standing in front of the 8th Avenue
subway station in Chelsea, in front of a peace flag, with flowers
growing out of his pocket, wearing a pin which reads “Piero for Prez.”
The portrait is signed by Heliczer, who has added the legend “april
fools day mcmlxxxvii”. The style of the portrait doesn’t seem to be that
of Heliczer, and we don’t believe this to be a self-portrait. There is no
artist signature, but we believe the artist to be Colleen Burke, who was
a friend of Heliczer. An unusual “Piero Approved” portrait of the great,
criminally neglected underground poet and filmmaker, who published
some of the most beautiful books of the postwar period under his
imprint The Dead Language Press. $750
36. Herko, Fred. A Ceremony for Fred Herko.
New York: 1964. 4to. Three leaves of pink and yellow stock
mimeographed on rectos only. Single vertical crease and some
toning to verso of last leaf; very good. The program for this event held to commemorate the life of
Freddy Herko at Judson Church. Fred Herko was a talented
dancer in James Waring’s company, an early Warhol film
star, and an associate of many downtown New York artists
and poets in the early sixties. He committed suicide during
an impromptu performance in 1964 by jumping out of an
apartment window. The program consisted of both readings
and dance performances; performers included Jackson Mac
Low, Frank O’Hara, Diane Di Prima, Al Carmines, James
Waring, Susan Kaufman, and Arlene Rothlein. $250
37. Herko, Fred [Angus Maclise]. The Palace of the Dragon
Prince. [New York]: [1964]. 8vo. Two mimeographed, unbound, folded
sheets. Old vertical fold line and additional creasing else very good.
The original program for the only full length choreographed work that
Herko presented in his lifetime. The performance took place on May 1st
and 2nd at Judson Memorial Church. The set was designed by George
Herms, and dancers included Herms himself as well as Herko, Carla Blank,
Abigail Ewert, Deborah Lee, Sandra Neels, Terry Foreman, Phebe Neville,
Robert Holoway, and Elsene Sorrentino. The cover features a drawing by
the great Angus Maclise. Quite scarce; this is the first copy we’ve seen or
handled. SOLD
38. [Hippies] [Wally Healey] . Original Poster for the Blue Unicorn Coffee House.
San Francisco: The Blue Unicorn Coffee House, [c. 1965]. 8 1/2 x 11”, offset printed from
typescript, holograph and drawing. Old horizontal fold line and extensive creasing, with a
couple of faint areas of discoloration; not terribly distant from the neighborhood of very good. An original flyer from what is popularly held to be the first hippie coffeeshop in San Francisco
- the term “hippie” was coined in an article about the coffeeshop by Michael Fallon in 1965,
the year the venue moved to its best known location at 1927 Hayes St, the address given on
this flyer. The flyer is illustrated after drawings credited to “W. Healey” and “A. Weber”. The
two striking drawings on the right hand side
appear to be the work of Wally Healey, the
little known homeless artist who would later
be associated with the bar Spec’s, and was
known as a character around the Art Institute
of San Francisco. His work was exhibited in a
group show at The Joker’s Flux in the sixties.
The flyer notes that there is a used bookstore
and “interesting characters.” It advertises
“NO JUKEBOX” in caps, but notes that a
house guitar and piano are available for good
players. The flyer notes that “You may receive
mail at the Blue Unicorn free of charge. Let
us Know.” The coffeeshop became well known
as a place to get mail for those with no fixed
abode, a fact that led to the proprietor, Bob
Stubbs, to become known as the “postmaster
general” by the patrons. The center became
a meeting place for various early hippie
concerns, such as the Legalize Marijuana
movement (LEMAR) and the Sexual Freedom
League; Norman Moser’s little magazine
Illuminations was also published from the
coffee shop.
The flyer is undated, but we suspect it dates
from 1965, as it advertises hot food, including
soups and spaghetti. The health department
closed the place for a couple of weeks in late
September/ early October of 1965, and Perry notes that the Health Dept. suggested that the
venue not serve hot food at that time. Important documentation of the day to day life of one of
the most important early hippie venues. $450
39. Johnson, Ray. BOO/K/OF/THE/MONTH.
[New York]: [Ray Johnson], [1956]. 4 1/4 x 7”, [8] pp. [including covers]. Saddle-stitched wraps.
Unsigned crayon drawing at colophon, partially offset upon facing leaf. Fine.
The first artist book by Johnson, and an important early conceptual bookwork. Aside from the
colophon, which lists Johnson’s 2 Dover St. address, the entire text of the book consists of the
title phrase, spaced irregularly in such a way that the phrase cannot be clearly divined from any
single page, but requires the reader’s participation to create meaning through memory and pageflipping. This emphasis on participation and the use of blank space anticipates Johnson’s later
work with his “nothings”, participatory mail art, and use of Benday dots.
The book was published around the time that Johnson had met Andy Warhol, and like him was
also working as a graphic designer. Johnson had the book offset printed at Pernet Printing,
Warhol’s printer of choice, and the book may have been inspired by some of the self-promotional
books which Warhol was creating around this time.
As Julie J. Thompson and William Wilson have pointed out, it may have been a copy of this book
that Johnson sent to George Brecht in 1959, leading to a dialogue that influenced Brecht’s later
work, especially “Three Gap Events” and “Word Event” in 1961, both of which are dedicated to
Johnson.
Little scholarship is available on the book, perhaps due to its rarity. OCLC locates only the MOMA
copy. Their catalogue entry notes the date as being in the 50’s. The website of Ray Johnson’s
estate states that the date is 1956, and that it is his first book. $4500
40. Johnson, Ray. Mailing to Ruth Ford.
Np: nd. 8 1/2 x 11” sheet, offset printed and rubberstamped. With
holographic inscription and small bunny drawing in red ink: “Dear
Ruth, Hope the play is going well. Ray J.” Folded twice, perhaps for
mailing, with the barest hint of toning, else fine. The Ruth of the inscription is the actress Ruth Ford, sister of Charles
Henri Ford and a close friend of Johnson. The offset printed sheet
features the Benday portrait of Rimbaud which Johnson used as a
base for several works of art, and also for the dust jacket of the New
Directions edition of Illuminations. $750
41. Johnson, Ray. Ray Johnson.
New York: Richard Feigen Gallery, 1968. First edition. 16 x
20”, offset lithograph; folded twice as issued; a fine, unmailed
copy.
The poster issued on the occasion of Ray Johnson’s one man
show at the Richard Feigen Gallery March 30 - April 25, 1968.
It features a beatiful b/w photographic portrait of Johnson by
Joe Filzen at recto, and and exhibition information on verso. $300
42. Johnson, Ray. Ray Johnson.
New York: Willard Gallery, 1967. 19 x 15”, offset litho. Folded twice
as issued; A touch of toning and a crease at left margin, else near
fine.
The poster issued in conjunction with Ray Johnson’s April 25-May
27 show at Willard Gallery. Leiber et al., Extra Art #231. $450
43. Johnson, Ray [Andrew Hoyem]. A Blank Sheet of Ray
Johnson’s Stationary. NY: : nd. 8 12 x 11” sheet offset printed in
pink. Some marginal toning and a short nick to lower margin; very
good.
A blank sheet of Ray Johnson’s stationary. Ray’s name is printed
in pink in large letters at the top of the sheet, surrounded by his
Locust Valley address, and phone number. A penciled bookseller
note at recto suggests that the design of the stationary is by Andrew
Hoyem. SOLD
44. Johnson, Ray et al [Audio Visual Group]. New
Music Performed by the Audio Visual Group.
New York: 1960. 8 1/2 x 11” sheet of yellow paper,
offset printed in black and red from calligraphy and
rubberstamping. Old fold line, with addtional creasing and
some considerable soiling to verso, still about very good.
Original flyer for this concert of new music performed by
the Audio Visual Group at the Living Theatre. Composers
included are Al Hansen, Dick Higgins, Jackson Mac Low,
Reginald Daniels, Lawrence Poons, La Monte Young and one
Raymond Edward Johnson - i.e. Ray Johnson. According
to Hendricks, the pieces that were performed that night
included Johnson’s “Lecture and Funeral Music” [Hendricks
p. 184]. The New York Audio Visual Group was formed
by Hansen & Higgins and was influential in the early
development of Fluxus and the Happenings. $750
45. Kommunication Liberation Front. Jamie Reid. Why
Did the K Foundation Burn a Million Quid? [with] The
Death of Money / Back to Barter. Np: [1995].
1. Poster, approximately 8 x 10”, offset lithograph. Near fine with
some faint staining to verso. 2. Artists’ Multiple, approximately
4 x 11 1/2”, printed on both recto and verso on white rag paper.
Some faint creasing else fine.
Ephemera documenting the conversation about one of the
most controversial of all late 20th century art actions, the burning of one million pounds by the K
Foundation. The K foundation had been formed by Bill Drummond and Jimmy Cauty following the
dissolution in 1992 of their incredibly successful situationist inspired pop dance act, KLF. The duo
first used the money to give Rachel Whiteread 40K pounds for the worst body of art of 1993 (The
Turner, by comparision, were cheapskates – they only gave her 20K pounds for being the best artist
of the year). The Foundation threatened to burn the money if Whiteread didn’t accept it. This wasn’t
enough, and in 1994 the duo withdrew all the K Foundation cash and burnt it on the island of Jura.
A year after the event, the group began a year long tour of the film of the event as part of a public
debate. The poster was issued by K Foundation for one of these screenings. The artists’ multiple by
Jamie Reid was created as his contribution to the discourse at the Liverpool screening of the film. SOLD
46. [levy, d. a.] Thom Szuter. Winter: 1965.
Cleveland: 7 Flowers Press, 1965. First edition. Oblong
64mo. [8] pp. Wraps. First edition, one of 78 copies.
Price of 8 cents to cover. A couple faint spots of foxing
else fine.
One of the rarest books printed and designed by d.
a. levy at his 7 Flowers Press. The short poem is
letterpress printed in red. The wraps are made from
found paper, folded over as in a full French fold but
pasted down over the staple which binds the pages. In this instance, inside the rear wrap can be
seen a school map diagram in color, perhaps given some hint as to what the source material for the
wraps was. As with many early levy productions, the layout and design of the three word poem is so
important as to make this essentially a collaborative artists’ book between levy and Szuter. Taylor &
Horvath P-73. SOLD
47. [Living Theater] Living Theater in Amerika. Paradise
Now: A Film by Marty Topp.
New York: The Living Theater, [1969]. Approximately 10 x 15”, offset
printed in b/w. Creased several times with some toning to verso, but
very good. The original poster for the 1969 film by Marty Topp which documented
the Living Theater’s most infamous production, Paradise Now – the
provocative and partly improvisational work which led to the troupe
being repeatedly thrown in jail the year prior.
$500
48. Mac Low, Jackson. Publishing Agreement Between
Jackson Mac Low and Something Else Press for “Stanzas for Iris
Lezak”
New York: Something Else Press, 1971. 8vo. [24] pp. Typescript and
printed document saddle-stapled in flexible red cloth. Fine. The contract is altered in several places and includes several crossouts, each of which is initialed by both Mac Low and Dick Higgins,
and the contract is signed in full by both on the final page and dated
5. September 1971. A fascinating look at the business arrangements
at one of the most influential post-war vanguard publishers, and a
fascinating pre-publication insight into the publicaion of one of the
great 20th century poetry epics. [Franks p. 44]
$125
49. Magee, Ruchell. Free Ruchell! It’s Right to Rebel!
Demonstrate Feb 8. (Saturday) 1:00 San Quentin East
Gate.
Np: Feb. 8 Coalition , c. 1975. 8 1/2 x 11” flyer, offset printed
in black. Recto illustrated after a self portrait by Magee. Chip
to upper right tip and some closed tears to margins, not
affecting image, else very good.
A flyer issued by the February 8 Coalition to organize a protest
at San Quentin during Magee’s trial for his role in the 1970
events at the Marin County Courthouse Incident. A guilty plea
for aggravated kidnapping was originally entered for Magee,
who later sought to have it withdrawn for no avail. The verso
of the poster outlines his case and makes two demands - that
he be allowed to withdraw his plea, and that a committee be
allowed to inspect inmate conditions at San Quentin in order
to prevent inhumane treatment. Magee lost the trial, and
remains in prison today despite numerous appeals.
$125
50. McCaffery, Steve. Broken Mandala.
Toronto: Ganglia Press, 1974. First edition. 4to. Side-stapled in covers.
One of “not more than 100” numbered copies. Association copy,
inscribed by the author to Jackson Mac Low. Light toning to extremies
else fine. Artists’ book consisting of text manipulated by Xerox. An early
McCaffery title and one of the most beautiful books of concrete
poetry ever published, here with an excellent association linking
two great experimental poets. $125
51. McCaffery, Steve & Steven Smith. Edge.
Toronto: Anonbeyond Press, 1975. First edition. 4to. Side-stapled and
tapebound with white tape to spine. One of a limited edition of 100
copies. Association copy, inscribed by McCaffery to fellow experimental
poet Jackson Mac Low. An collaborative work of visual poetry and collage,
reproduced by xerox. The inscription reads “’Best Wishes’
(to steal a quote from Jackson Mac Low) to Jackson Mac
Low. Steve.” A very early McCaffery publication. $100
52. McCaffery, Steve & bpNicholl. In England
Now That Spring.
Toronto: Aya Press, 1979. First edition. 8vo. One of
26 lettered copies letterpress printed and bound in
quarter green crushed morocco with an original page of
the manuscript bound in. Signed by both poets at the
colophon and also at the manscript page. Housed in a
black slipcase pictorially stamped
in gilt. Fine. A beautiful production,designed
by Paul Davies and hand-bound
by Seamus McClafferty. A typically
ludic collaboration between two
pioneers of experimental poetry. $400
53. [Le Metro] Elmslie, Kenward & Dick Gallup, Jerome Rothenberg,
Kathleen Frazer. Flyer for a Series of Poetry Readings at Le Metro.
New York: [1965]. 8 1/2 x 11” sheet mimeographed on rectos only. Heavily
worn and toned, with several old folds chipping to extremities (not affecting
text). Good only.
Rare documentation of one of the most important venues for poetry
performance in downtown New York. Le Metro, in the East Village, succeeded
Les Deux Magots and from 1963 to 1965 was perhaps the most important
venue for poetry performance in the world, bringing together the New
York Schools, The Beats, and the Black Mountain Poets, and drawing the
attention of a wider section of the arts community in New York - according
to Bob Holman, members of the audience at times included Ferlinghetti, Lou Reed, Brion Gysin, Andy
Warhol, Stockhausen, and Bob Dylan [Kane p. 45]. Le Metro became the flash point for the conflicts
between the arts community and the police when the police attempted to enforce cabaret laws to
shut down poetry readings in 1963 and 64. After a long struggle, the charges against the venue were
finally thrown out. Despite having overcome these legal challenges, the end was near. This flyer dates
from the final year of the venue, and gives a clue for the true demise of the place - the all caps note
at the foot of this flyer indicating a 25 cent minimum for a cup of coffee (a steep price for a cup of Joe
in those days) which led to growing resentment among the LES poets. The proprietor, Moe Margules,
was a republican, and heated political debates led to a physical confrontation at the venue, which also
helped lead to its demise later in the year.
This is a crudely designed flyer which doesn’t exactly stretch the limits of what a Mimeograph
machine could do, but documentation from the venue is rare - this is the first flyer we’ve handled and important as hell.SOLD
54. [Mimeograph Revolution]. Pictures of Leon.
Np: Leon Press, 1968. First edition. 4to. Mimeographed leaves sidestapled into
a cover sheet illustrated after a drawing of Benito Mussolini. Association copy,
bearing the ownership inscription of Clark Coolidge to rear panel. Staples a
bit rusted, wraps rather soiled, and a bit of indenting to staples; front wrap
pulling away from staples a bit else very good.
The first edition of this collaboratively written series of poems. Authorship
was anonymous; according to contributor Bill Berkson, participants included
Larry Fagin, Ron Padgett, Michael Brownstein, Berkson and others – perhaps
Joan Ingles and Jim Carroll as well. The poems were collected in Big Sky 7
under the title The World of Leon. The initial installment of a project which ran to four titles, and is
expressive of the ludic and collaborative nature of the New York School poets.
SOLD
55. [Mimeograph Revolution] Gerrit Lansing, ed. Set #1-2
[All Published].
Gloucester, MA: Gerrit Lansing, 1961. 4to. Offset printed and
saddle-stapled in wraps illustrated in Harry Martin. Both numbers
show creasing, and the wraps of #1 are toned, still very good.
All issues published of Lansing’s short-lived magazine, which
concerned itself with “the poetic exploration of the swarming
possibilities occult or unused in American life.” Set was one of those
important magazines of the Mimeograph Revolution which dealt
with occult themes, in a similar spirit to Charles Stein’s AION. The
debut issue reprints three chapters from Aleister Crowley’s Book
of Lies (credited to Fra. Perdurabo) and constitutes an important
appearance of a Thelemic text at a time when they were scarce
stateside. Clay & Phillips, pp. 134-5. $125
56. [Mimeograph Revolution] David MELTZER, ed. Tree Numbers 1 -6 (All
Published).
Santa Barbara: Christopher Books, 1970-78. First edition. 8vo. Offset printed and
bound in printed wraps. Some faint soiling to volume 2, the occasional light crease
but all volumes still very good or better.
All numbers published of this little magazine edited by a member of Wallace Berman’s
circle, which featured across its numbers a concentration of work on occult and
Kabbalistic themes - including work from a wide variety of the best artists of the 70’s.
Includes the scarce fourth number, which contains Lenny Bruce’s Letter to Judge
Murtaugh. We can’t say enough good things about a magazine that could include work
by both Lenny Bruce and Wallace Berman. $450
57. [Mimeograph Revolution] FITS Collective. Fits / If the Shoe Fits Nos. 1-2 [All
Published].
San Francisco: The FITS Collective / 7 Freds Press, 1971. First
edition. 4to. Offset printed on newsprint and saddle-stapled in
color illustrated wraps. The cheap newsprint is somewhat browned,
with some minor creasing to the wraps, still very good. All issues published of this unusual and excellent little magazine
co-edited by Hilton Obenzinger, of Siamese Banana Press
fame. As usual considering the parties involved, nothing is too
straightforward here. The first issue is properly titled Fits, and is
published by 7 Freds Press. The second issue is entitled If the Shoe
Fits, and is published by the FITS collective. The magazine brought
together poetry, art and underground comix. With contributions
by Joe Brainard & Bill Berkson (a Nancy Comic), Allen Ginsberg,
The Cockettes (!), Audre Lorde, Ron Padgett, George Schneeman,
David Anderson, Diane DiPrima, Lewis MacAdams et al. $150
58.
[Mimeograph Revolution] Kelly, Robert. Matter 1-4
[All Published].
Annandale-on-Hudson: Matter, 1963-66. 4to. Mimeographed on
yellow, white, and orange paper. Ink correction to the first line of
Kelly’s poem “Of Purposes, In This Year” in no. 2, as with all other
copies we have handled. First two issues stapled once at the upper
left hand corner, latter issues stab-stapled. Some overall fragility and
shallow chipping, with the paper occasionally pulling away from a
staple here and there, otherwise very good examples of notoriously
fragile magazines.
All issues published of the little magazine, edited by Robert Kelly
from Annandale-on-Hudson. Matter began shortly before the end
of Trobar [see item 61]. In contrast with Trobar, Matter had a more
informal newsletter feel - perhaps a product of being produced
at geographical remove from any urban poetry center - and contained a greater latitude of work
than Trobar, though oddly it comes across as somewhat more hermetic. A note in no. 4 contains
an admonishment against unsolicited submissions - “Poets - use yr energies in the work, not in
the post office.” There is a lot of material relating to the filmmaker Stan Brakhage through the
issues, including an early draft of “A Moving Picture Giving and Taking Book” in no. 3, a long poem
by Brakhage in 4, and additional criticism of Brakhage’s films by Kelly. Other contributors include
Carolee Schneeman, Corman, Leroi Jones, Blackburn, Wakoski, Mac Low, Saroyan, Lansing, Di Prima
et al. Scarce complete. Matter was a very fragile magazine, and the first two single-stapled issues
are often found missing the final leaf. SOLD
59. [Mimeograph Revolution] Kiviat, Erik, ed. Head 1-6
(Complete Run).
Staatsburg, NY: Head, (1965). First edition. 4to. Each volume
mimeographed on various colors of paper stock, and side-stapled in
illustrated wraps. All issues near fine, showing some minor rusting to
staples and staple indents from mimeo stack.
Each volume of Head was dedicated to poetry by a single author,
accompanied by the work of a single illustrator. The initial volume
featured work by William Wantling, illustrated with drawings by Ben
Tibbs; The second, stellar number featured poems by Judson Crews,
with drawings by d. a. levy; The third number featured poems and
drawings by Kiviat; The fourth number was devoted to poems and a drawing by Madeline Landau;
the fifth number featured poems and drawings by Nancy Ellison; the final number was dedicated to
poems by Lisa Galt, with a cover by Michael Mcclanathan. Though produced from New York State, the
magazine bears more of an affinity with the Cleveland Scene, especially with the inclusion of levy in
the fantastic second issue. Not in Clay & Phillips. Uncommon, and especially so complete. $750
60. [Mimeograph Revolution] Wagner, D. R. & Ingrid
Swanberg, eds. My Landlord Must be Really Upset Nos. 12 [All Published].
Sacramento: Runcible Spoon, nd. 4to. Mimeographed and stabstapled into printed covers. Issue #2 with brown paper bag
containing a book and sticker stapled to fore edge. Some staple
indenting to cover of issue #1, else fine; Issue 2 with some
chipping to rear wrap. The brown paper bag is opened, but is
still stapled to the fore edge of the magazine, and the magazine
itself is still stapled and has not been opened. Very good.
All issues published of one of the more innovatively designed
little magazines of the Mimeograph Revolution. The second issue
features a small book by Jim Stewart entitled “Need a Dozen
Tow Boys?” housed in a brown paper bag with a corned beef
sticker. Scarce complete and with the bag still attached.
$250
61.
[Mimeograph Revolution] Economou, George & Robert & Joan Kelly, eds.
Trobar Nos. 1-5 [All Published].
Brooklyn, NY: Trobar, 1960-4. First edition. 8vo. Saddlestapled wraps. Marker deletion to p. 24 of no. 5, probably as
issued and as usual with all copies we have handled. No. 1
inscribed by Robert Kelly. Light tidemarking to fore edge of no.
1, affecting interior margins; some overall soiling and creasing
to all numbers; very good.
All issues published of the little magazine which became
the defining vessel of the deep image movement in modern
poetry. With contributions across the numbers from the
editors and Robert Duncan (No. 1 prints his Four Pictures
of the Real Universe),Rothenberg, Mac Low, Hitchcock,
Snyder, Lamantia, Margaret Randall, Louis Zukofsky, Lansing,
Schwerner, Wieners, Olson, Hollo, Duncan, Antin et al. Issue
no. 1 is inscribed by Kelly to Jack and Ruth (perhaps Jack and Ruth Hirschman, who were close to
Kelly). Scarce complete with the inclusion of no.1, decidedly scarcer than the other issues. Clay &
Phillips, 130-1. Anderson & Kinzie pp. 398-404. $850
The Birth of An American Prayer
62. Morrison, Jim; Michael McClure; D. R. Wagner.
Reading and Show. Sacramento: S.S.C. Gallery, 1969. 16
1/2 x 21 3/4”, offset printed. Signed by D. R. Wagner. Folded
twice, with some toning along fold lines at verso, else fine.
The original poster for this May of 1969 reading at the
Sacramento State College Gallery. This was the first public
reading of Morrison’s long poem “An American Prayer.” The
poster documents a watershed moment in Morrison’s career
as a poet and also is a important link between Morrison and
the Mimeograph Revolution. Around the time of this reading
Morrison, after being shown some of Wallace Berman’s
publications by Michael McClure (presumably Semina), was
inspired to publish his first poetry book,The Lords, in a loose
leaf folder format. [Davis pp. 330-1]
$500
63. [Movement Speakers Bureau]. Move. Speak. Catalog of the Movement Speakers
Bureau.
New York: Movement Speakers Bureau, nd. Folio. [24]pp. [including
covers] Tabloid format. offset printed with a two color cover. Some
fraying to extremities, but a bright near fine copy.
A fascinating example of an artists’ and activists’ periodical as an
index of resistance. The publications is an index offering the services
of a variety of individuals and organizations broken down into various
headings - The Underground Press, Arts, Medicine, Black & Third World
Liberation, Ecology, Law, Political Theory, Drugs, Religion, Sex, Women’s
Liberation, etc. with the intent to offer speakers for events. The catalog
is attributed to Don Lewis, Joyce Plecha, and Sharon Krebs. It features
a poem by Diane Di Prima inside cover, and is profusely illustrated
with photographs, including two by Bruce Davidson, as well as work
by Charles Harbutt, Burt Glinn, Louise Brotsky, Roger Malloch, Mehdi
Khonsari, Burk Uzzle, Constantine Manos, John Sinclair,& Hiroji Kubota.
Unusual and uncommon; OCLC locates but four holdings. $125
64. [Movements of 1968] Pacifist Anarchist Bisexual Psychedelic Conspiracy. Conspire:
Disorganizational Sit-In Tonight When the Sun Expires.
New York: 1968. 8 1/2 x 11” sheet, printed on recto only. Single
date stamp to lower margin; fine.
A fascinating artifact from the 1968 student occupation of Columbia
University. According to a 1968 article by Robert Ast in the Columbia
Spectator, the society threatened to “dump [Columbia] into the East
River” unless its demands were acceded to, as part of an “overall
program culminating with the destruction of evil.” Ast also suggests
that the group was formed to “protest protesting.” The flyer consists
of text overlayed onto a grid pattern, calling for a protest outside
ROTC office: “Hotsy, Totsy, No More ROTC.” The entry for the group
at Protest and Activism Collection at Columbia suggests that the
group was active from 1968-69. SOLD
The First Book Designed to be a Weapon
65. [Movements of 1968] Wandrey, Uwe. Kampfreime. Handliche, Mit Scharfen Kanten
Ausgestattete Kampfausgaube Fuer Die Phase Des Revolutionaueren Widerstands.
Hamburg: [Quer-Verlag], 1968. First edition. Oblong 16mo. Mimeographed on white paper, with red
card section dividers. Stapled into red wraps, which are tipped into aluminium boards with red tape.
Illustrated title pastedown to front panel. Binding slightly shaky, with some minor discoloration to
the pastedown and metal boards, still near fine.
Perhaps the first book ever to be designed as a weapon. Kampfreime is a collection of rhymed
chants meant for use during the 1968 protests of the German Student Movement. The book is
small. It can be easily slipped into a protestor’s pocket. The chants are arranged thematically. The
red card section dividers make it easy, presumably, to flip to the right chant even under the duress
of a violent protest. The book takes full advantage of secrecy and random access - perhaps the two
most historically useful aspects of the codex form.
The sharp fore edge of both of the the aluminum boards extend about a quarter of an inch past
the fore edge of the text. The book elegantly solves the structural problems inherent in a metal
binding in that the upper board is curved at a 90 degree angle at the spine, while the lower board
lies flat and is buttressed against the inward curve of the upper. Thus the book lies flat, yet is easily
opened.
What is less obvious, but perhaps even more brilliant about this design is that the curve of the
upper board rests sturdily on the palm, and the lower board - which juts further out - is buttressed
against the metal base. My theory is that this was done so that the metal boards can’t recoil
backwards and cut into one’s palm if the book is used to strike an attacker.
Kampfreime had another use as well. The business end of the book was also intended to tear away
posters, flyers, advertisements - to clear an open space in an encroaching universe of bourgeoisie
paper. After all, one of the main targets of the student protest was the Axel Springer publishing
house. It belongs in the same lineage as another brilliantly designed book which in many ways laid
a framework for the ‘68 protests - Guy Debord, Asger Jorn, and V.O. Permild’s psychogeographical
masterpiece Memoires, which featured a sandpaper dust jacket to destroy any book it was shelved
against.
As elegant as the design of Kampfreime is, it is difficult to imagine that it was ever of much
practical use against a baton, or a gun. The lasting power of Kampfreime is as a metaphor. A
talisman to protect the bearer and a text designed to destroy other texts. As such it is one of the
most provocative and overlooked artist’s books of protest in the 20th century.
$1250
66. [Movements of 1968]. B. Z. Die Olympia-Drehscheibe.
Heute Wird Sie Komplett!
Berlin: Wien Internationales Befreiungskomitee, 1968. 17 x 24”
poster, offset printed in red and black on newsprint. Folded once, with
some toning to extremities; printing a bit blurry and badly registered,
presumably as issued; a remarkably preserved, near fine copy.
A striking and ingeniously designed poster / broadside issued to
protest the 1968 Olympic Games in Mexico. The poster appropriates
the “hub” design which was a familiar symbol of the games at the
time in Berlin. Scissor symbols denote that the hub should be cut out of the paper, and outlines a
window that is to be cut out of the hub. The hub is then supposed to be placed over a corresponding
circle on the poster, when it in effect becomes a spinner. When you spin the tank on the hub text
becomes visible through the window which highlight the social inequalities in Mexico through
statistics drawn from the 1967 UN Yearbook. A fascinating example of radical paper machine
construction and Situationist-influenced detournement from the German Student Movement. $250
67. [No Wave]. An Archive of No Wave Flyers.
New York: 1977-82. 20 sheets of various colors of
paper stock, legal or standard 8 1/2 x 11” format, offset
printed or xeroxed, with a couple of half-toned mockups, and a couple featuring hand-colored elements.
Generally very good to fine condition with a couple of
exceptions.
An important accumulation of fliers documenting a
variety of No Wave performances and film screenings.
The fliers document performances by projects such as
DNA, Love of Life Orchestra, Dark Day, Information,
Kongress, James White & The Contortions, and the
Manhattan Project, and are also a record of the venues
where the performances took place – Max’s Kansas
City, Tier 3, Hurrah’s, Studio 10, Trax, U.K. Club, etc.
While most of the recent critical work on No Wave has
focused on performance and film, the visual art forms a distinctive and immediately recognizable
body of work - in equal parts cold, humorous, conceptual, abrasive, apocalyptic, or, in the case of
the Kongress posters, based on occult themes. From the collection of Charles Ball, the founder of
LUST/UNLUST records, via the trade, with one of the sheets mailed to him. Rare, especially in this
condition. In many cases, it is likely that only a handful of each poster, if that, survives. Please
inquire for a detailed list and condition report. $1250
68. [No Wave] [Mudd Club] . Press Release for Cold War Zeitgeist at the Mudd Club.
New York: Mudd Club, 1980. First edition. 4to. Two leaves printed on rectos
only, stapled into a black and white xeroxed pictorial cover sheet reproducing
a collage by Lynne Augeri. Association copy addressed to Jackson Mac Low
from the Franklin Furnace Archive and folded twice; some toning; near fine.
A combination press release and program for this two night event at the
Mudd Club, described as “ a multi-faceted installation comprised of music,
performance, video, film, live transcontinental communications, and military/
economic briefings.” Artists included Renata Petroni, Blackhawk/Fend, Paul
Alexander, The Untouchables All Girl Review, Last War III, Richard Van Buren,
Wolfgang Staehle, Guy Augeri, Kiri Teshigahara, Cambiz Amir-Khosrawi,
Lugus, Peter Pakesch, Wolfgang Bauer, Sergel Rossekousky, Stew Lane,
Mathew Geller, Carol Perkinson, and Dara Birnbaum. From 1978-83 the Mudd
Club was an essential venue in downtown New York, important to the No
Wave movement and associated artists. $100
69. [Phlegm Pets] [Hacktivism] [Mail-Art] [Xerox Art] [PostSituationist Agit-prop] Three Posters by Phlegm Pets.
Np: nd. Three b/w Xerox prints from collage, one with hand-coloring.
One sheet folded twice, presumably for mailing. Very good to near fine.
Three dense and powerful collages by the mysterious group, probably
from the early 1980’s. The individual or individuals behind the moniker
created some of the most striking collages during the eighties. The
project was published in such mail art related publications as PhotoStatic and Paper Air. One of the posters concerns computer hacking.
Rare. $75
70. [Proto-punk] [Mink de Ville] Lazy Ace. Dance Every Friday and Saturday Night. Lazy
Ace: The Smokin’ Band!
San Francisco: c. 1973. 8 1/2 x 11” sheet, photomontage printed in
b/w. A touch of toning to extremities, with a single spot of foxing to
verso; near fine. Provenance: from the archive of one time Mink de
Ville guitarist, Robert McKenzie, aka Fast Floyd, via the trade.
A rare and previously unknown to us flyer for this obscure and early
proto punk project – the antecedent to Mink De Ville. Willy De Ville
was sometimes a member of the band, which also included Manfred
Allen Jr. and Ritch Colbert. When Lazy Ace broke up the members
of Lazy Ace formed the band Billy De Sade and the Marquis, along
with Ruben Siguenza and Robert McKenzie. In ’75 the band changed
its name and moved to New York, and became one of the first
house bands at CBGB. An early and previously unknown flyer which
connects the NY punk project with its west coast roots. $150
71. [Provos] [Anarchism] Van Duyn, Roel . Miss Blanche En De
Van Moppes-Diamanten. Een Moralisties Manifest.
Amsterdam: “Unit”, 1967. First edition thus. 8vo. 13 pp. Offset printed
and saddle stapled in wraps. Near fine with some minor marginal toning.
The front wrap reproduces a drawing by Olaf Stoop, the rear wrap a
b/w photograph of Miss Blanche blindfolded by Koen Wessing. The first
separate edition of this Provo Manifesto, first published in Provo 15.
OCLC locates only a single copy. SOLD
72. [Punk] Crummy Fags. Johnny Phlegm [attr.] It’s The Crummy
Fags. [Akron]: c. 1981]. 8 1/2 x 11” sheet, original collage and painting on a
page roughly torn from a magazine. Heavily creased; good.
An original painting and collage attributed to band member Johnny Phlegm,
featuring the title painted in white and two lines of text clippings collaged
over a magazine advertisement that was bizarre to begin with. This doesn’t
appear to have been made for a specific show. It could be intended as a
maquette, or, more likely, it was made just for the hell of it. The Crummy
Fags were an early 80’s Northeast Ohio punk project heavily influenced by
the electric eels, from whom they took their moniker. A great example of
early 80’s punk art and magazine intervention.
$250
73. [Punk] Punk.
Washington, DC: Washington Project for the Arts, 1978. First edition. Folio
[tabloid format] 28 pp. [including covers]. Offset printed on newsprint.
Illustrated with black and white reproductions. Toning to extremities, with
some minor creasing and loss to tips, but near fine.
A rare early 1978 exhibition catalog published in conjunction with what
we believe to be the first major survey exhibition to treat punk as an
art movement, rather than as a strictly musical phenomena. A foreward
by Jerry Silk explores the historical antecedents of the punk movement,
beginning the narrative with Gustave Courbet (big points for that) and on
through Dada, conceptual and earthwork art, and ending with Andy Warhol
- an interview with Andy Warhol and Victor Hugo by Billy Kluver is included.
The catalog also includes sections on Neke Carson, Steven Kramer, Christa
Mailwald, Ruth Marten, Miller, Ringma & Hoppe, Pat Place, Punk Magazine and John Holmstrom,
Marcia Resnick, Leslie Schiff, Suicide & Ghost Films, Edit Deak, Michael Robinson, and the artists
associated with the great X Magazine and Colab - Beth & Scott B., Mitch Corber, Jimmy De Sana,
Tina Lhotsky, Alan Moore, Tom Otterness, and Amos Poe. The catalog features not only visual and
performance artists but also highlights a couple of punk clothing venues, Asphalt Jungle and Next
Empire. The exhibition subsequently traveled to Amsterdam. SOLD
74. [Punk] Slits. Archive of 8 Photographs of
the Slits in Performance.
Np: c. 1980-81. Eight vintage 3 1/2 x 5 1/4” color
prints. Some minor discoloration along edges at verso
only else fine. Provenance: from the Stelazine archive
via the trade.
Eight candid shots of the great female postpunk
project at an unknown show. The prints are undated,
but from the outfits we guess that these are from
1980-81. These photographs, are, as far as we know
unpublished. $300
75. [Punk] [The
Blackouts] [The Telepaths] [Bob Kondrak]. Small Archive of
Material Relating to Seattle Punk Bands Blackouts and the
Telepaths. [Seattle]: [c. 1980]. Includes five b/w photographs,
a ticket, and a press packet (4to. five leaves xeroxed on rectos
only). Some overall creasing and toning, but generally very good.
Provenance: from the Stelazine archive via the trade.
Scarce documentation of two important Seattle Punk projects.
The Blackouts arose out of the ashes of the early punk project
The Telepaths. The band relocated to Boston in 1982 and split up
in 1984. The band included Bill Rieflin, who would go on to be a
mainstay in a number of industrial projects, including Ministry,
KMFDM, and Angels of Light. Included are a press packet and a
ticket for a show at the Showbox with Red Dress and The Urge, but
the real highlight are the original photographs by Bob Kondrak, who
was an important photographer of the punk movement in Seattle
whose work was often featured in the zine Stelazine. It includes
a great high contrast group photograph of the Telepaths with a
holograph ink note at verso noting that it was used for an article, a photograph of Bill Rieflin dressed
in black leather, a photograph of Erich Werner (with a post-it at rear noting that this photograph
appeared in Vol. 2 No. 2 of Stelazine), a trimmed color photograph of Homer Spence, and a great
staged photograph of a man face down on the concrete (member unspecified). $450
76. [Punk] Fast Floyd. Archive of Flyers for
Performances Relating to Fast Floyd.
[San Francisco & Berkeley]: [1978-82]. 22 flyers, most 8
1/2 x 11” [two are 8 1/2 x 14”], xerox and offset printed.
Very good to near fine.
A collection of flyers documenting performances by Fast
Floyd with other bands in the Bay Area from 1978 to
1982 (most from 1978-79). Fast Floyd (real name Robert
McKenzie) was a founding member of both Mink Deville
and Billy de Sade and the Marquis, the project which
anticipated Mink DeVille. When Mink De Ville abandoned
the west coast for New York in 1975, Fast Floyd stayed in
San Francisco and formed the heavily rockabilly influenced
project Fast Floyd and the Thunderbirds, who Ira Robbins
described in a 1983 interview in Trouser Press as sounding like “Tav Falco on steroids or Lux Interior
minus the punk kitsch.” Exemplary of the fertile crossover between every shade of punk and
rockabilly in the bay area during this time, these flyers document the band playing on the same bill
as DNA, Soul Agents, Beans, MX 80 sound, Monica Dupont, and Controllers. $300
77. [Red Army Faction]. Two RAF Sticker Sheets.
[Frankfurt]: c. 1978. two sheets, approximately 6 x 8”, roughly cut. Crudely printed or xeroxed on
rectos only; versos appear to be gummed. Some faint toning and minor spots of discoloration to
versos, still easily fine.
Two original uncut sticker sheets, likely created by Red Army Faction members or sympathizers
urging solidarity with members of the RAF then on trial. Each of the sheets have scissor lines
indicating where they should be cut, and the backs of each sheet appear to be gummed, so that they
can be moistened and applied in public areas. The first sheet can be cut into six stickers, bearing
slogans, among them “Alles Klar Christian” and “God Shave the Queen.” One sticker is illustrated
with a photograph of RAF member Ingrid Schubert, who had recently been found hanged in her
cell. The second sheet bears two stickers, the first which is illustrated with photographs of members
Wener Hoppe and Karl-Heinz Dellwo, who were currently captured and in prison. The second sticker
is illustrated with photogaphs of Werner Hoppe and Karl-Heinz Dellwo, and urges solidarity for the
RAF members currently in prison. Exceedingly rare and ephemeral documentation of the group. $750
78. [Red Army Faction] [Frauenbefreiungsfront] Ulrike Meinhof. Es lebe Ulrike!
Vorkampferin fur den Aufbauder Roten Armee Verkurzt Den Langen Marsch.
[Berlin]: Frauenbefreiungsfront, [1976]. Flyer, approximately 4 1/4 x 12”, offset printed in red.
Small abrasion to left margin, and some minimal toning to margins; near fine. During the ongoing trial
against the RAF, Ulrike
Meinhof was found hanged
in her cell in 1976. At the
time most churches and
communities in Berlin
refused to allow her to be
buried in their jurisdiction,
with the exception of Trinity
Church in Berlin-Marie.
During the procession to
her grave site on May 15,
1976, copies of this leaflet
were thrown out.
Meinhof’s life has attracted more attention than any other members of the RAF, with countless
books, movies, and songs which portray or reference her. In 2002, following investigations by
Meinhof’s daughter, it was discovered that Meinhof’s brain had been removed during autopsy. The
unpublished autopsy report revealed brain injuries from a prior, unsuccessful 1962 operation on
a brain tumor, and cast doubt upon her culpability for the criminal actions she was involved in.
In 2002 her brain was finally rejoined with her body in her grave, located in area A-12-19 of the
graveyard.$500
80. Schneeman, Carolee. Meat Joy: Kinetic Theatre.
New York: 1964. 4to. Two 8 1/2 x 11” sheets of pink paper stick
mimeographed on rectos only and stapled once at the upper left
hand corner. Old fold lines and some toning; very good.
The original program for the first U.S. performance of one of the
most important works in the history of feminist art and body art.
Meat Joy was an erotic rite featuring several performers dancing
and playing with raw chicken, paint, sausage, fish, and scraps of
paper. It debuted in Paris, but this was the performance which was
filmed. This example of the program is signed by Schneeman at
the first leaf, with an additional ink inscription - perhaps in another
hand - which we can’t decipher, but appears to involve the words
“intimate” and “pornography”. $750
81. Silliman, Ron. Ketjak.
Np, 1974. 4to. 133 pp. printed on rectos only and screw bound in red
covers. Inscribed to Jackson Mac Low at the title page. Bump to upper
tip affecting text block; very good.
A early draft typescript of Silliman’s long work, sent out some three
years before it was eventually published in 1978. We’ve done a sideby side, word for word comparison of the first five pages and last
five pages of this copy with a copy of the published work, and find
no differences between the two. Still, an early stage of one of the
most influential works associated with the language tendency with an
excellent association.$250
82. [Symbionese Liberation Army] Patty Hearst.
Tania.
[Bay Area]: c. 1974. Approximate 16 x 26” poster, offset
printed in black and white. Small 1/2” closed tear to top
margin, some toning and faint staining to verso, but very
good.
An oversized poster which reproduces the most famous
publicity photograph of Tania, wielding a rifle in front of the
SLA logo. Anecdotal testimony through the trade testifies
that these posters were in evidence at the time of the
events, but we haven’t been able to determine whether
or not these were published by the SLA or by some other
organization. Tania was an oft-reproduced figure among
the counterculture at the time, and this could be the work
of another individual or organization. Either way, one of
the most visually striking examples of ephemera produced
during these events. We know of only a single instututional
holding in the SLA archive at the Oakland Museum of CA;
the catalogue entry for that copy proposes a date of c.
1974. SOLD
83.
[SLA] Patty Hearst. Tania Welcome Here. Hang in Your
Window.
[Plymouth, CT]: [Clandestine Comic Company], [1974]. 5 1/2 x 8 1/2”
poster, offset printed in b/w. Folded once as issued, some faint spots of
foxing; very good.
A pin-up poster issued during the events of 1974, reproducing a
drawing after the most notorious SLA publicity photo of Hearst [see
preceding item]. The drawing is unattributed. This pin-up was originally
issued laid into issue #2 of Tom Hosier’s rarely seen early mail art
magazine Modern Correspondence, but rarely found together and here
offered separately. $75
84. Throbbing Gristle & This Heat. Final
Solution Present Funky, Festive Frolics with
This Heat / Throbbing Gristle.
London: Final Solution, [1979]. 8 1/2 x 11” sheet,
printed in color on xerox only. Fine.
The original flyer for this series of shows by Final
Solution. The Throbbing Gristle show lists the
location as “Somewhere in Central London.” The
concert ended up taking place at Butler’s Wharf,
and attendees had to purchase tickets in order
to discover the location of the venue. See Ford
12.10. $100
86.
[Wanderers] Old Leather Man. Early Real Photo Postcard of the Old Leather Man,
With an Unsigned Holograph Reminiscence of Him.
Westbrook, CT: W. J. Neidlinger, nd [c. 1901-07]. Approximately 5 1/2
x 3 1/4” [image size 4 1/4 x 3 1/4”], approximately 65 words at verso.
1” crease to lower tip, not affecting image, and a touch of soiling; very
good.
Fascinating documentation of an enigmatic and prodigous wanderer.
The Old Leather Man was well-known in Connecticutt and Westchester,
where he regularly walked a strict 365 mile route. His outfit was made
by hand, entirely of leather, and was rumored to weigh 60 pounds.
Little was known about his background. The printed legend at the recto
of this card outlines the story most often told about his background,
involving a French background, a ruinous speculation in leather, and
ensuing heartbreak. He died in 1889 and was buried under a tombstone
which named him as Jules Bourglay, but subsequent research has cast
doubt upon that attribution. A controversial decision to exhume and test
his remains in 2011 was thwarted when only a handful of nails were
discovered in his grave. He was well-liked by the communities he passed
through. Several towns enacted legislature to exempt him from laws aimed at itinerants. To frame
his outfit and relentless walking as an early form of outsider or performance art is tempting, but in
the end perhaps as misguided as any other theory. He remains to this day an enigma.
$400
87. Wantling, William [d.a.levy]. Down, Off & Out.
Bensenville: Mimeo Press, 1965. First edition. 8vo. Mimeographed
on green, yellow and blue paper, and saddle-stapled into card wraps
illustrated by d. a. levy. With mimeographed errata slip laid in. Some
faint toning to extremities else fine.
An early collection by Wantling with a great levy cover, published by
Douglas Blazek at his Mimeo Press.
$125
87. [Youth Liberation] [Co-Operative High School Independent
Press Service]. The Beverly Stash Vol. 0 No. 0.
[Beverly Hills, California]: The Beverly Stash, 1970. 4to [8 1/2 x 11”]
Single leaf mimeographed on recto and verso. Some minor creasing and
toning, short 1/4” nick to left margin; near fine.
Debut, and perhaps only issue of this youth activist paper out of Beverly
Hills High School. The paper was part of the Co-Operative High School
Independent Press Service, an umbrella youth liberation group based in
Houston, Texas, which later merged with Ann Arbor Youth Liberation and
FPS. The newsletter characterizes itself as an “overground” paper, meant
to “open the closed eyes of many Beverly students.” It makes mention of
the official school magazine “Highlights”, and also prints an article urging
that the senior trip not take place at Disneyland this year because of
the institution’s discrimination against long-haired people following the
occupation of Disneyland by the Yippies. A very uncommon youth activist
paper. OCLC locates two holdings. $125
88. [Zines] Cook, Quentin [Fatboy Slim] & Andrew
Thomas, Ian McKay [Ian Laidlaw] eds. Peroxide 1-2 [All
Published].
Surrey: Peroxide, 1980. First edition. 4to. Offset printed and
side-stapled, with cover sheets printed in two colors. A touch of
rusting to staples and a hint of marginal toning, still fine.
Both issues, all that were published, of this UK postpunk zine,
which featured as one of its editors Norman Cook, who would go
on to achieve greater reknown under the performance moniker
Fatboy Slim. Ian McKay {aka Ian Laidlaw) was also an editor, but
only for the first issue. Peroxide distinguished itself by its striking
layout, especially with respect to the great covers. Most of the
content was taken up with reviews and interviews, but issue
one also included an article on how to shop a demo around, and
number 2, a useful zine review page acknowledging the help the
fanzine received from fellow zines. Scarce complete. $300
89. [Zines] [Industrial] Davenport, William S. Unsound
Vol. 1 No. 1 – Vol. 3 No. 2 [All Published].
San Francisco: Unsound, 4to. Offset printed, the first four issues
on newsprint. Most issues side-stapled with the exception of Vol.
2 No. 3/4, which is perfect bound. Vol. 3, No. 2 limited to 1000
numbered copies, with cassette tape and inserts; this copy still
sealed. With two promotional flyers laid in. Early issues toned,
with some occasional rusting to staples, but generally very good
to fine. A complete run of one of the greatest of all west coast zines.
Each hefty issue of Unsound brought together elements of
industrial culture, mail art, cassette culture, radical movements,
and fringe arts of all kinds. Includes features on Whitehouse,
Esplendor Geometrico, Einsturzende Neubauten, Robert Ashley,
Minimal Man, Non, Sonic Youth, Joseph Beuys, Coil, Swans, Psychic TV, Christian Marclay, Nurse With
Wound, Ellen Zweig, Karen Finlay, Die todliche Doris, Joseph Nechvatal, Vittore Baroni, and much
more. $850
90. [Zines] Logue, Kathei & Carmen Wiseman, eds.
Killer Children 1-2.
Newtonville, MA: Killer Children, 1979. First edition.
Small 4to. Saddle-stapled wraps. With an ALS from
co-editor Wiseman to BBC man Larry Ottaway on
the verso of a flyer for the zine. Issues and ALS all
housed in the original mailing envelope, which has
been addressed and postmarked to Ottaway. Zines
fine; envelope creased and torn a bit but very good.
We believe this to be all issues published of this
Boston Punk zine, notable for the large number of
live photographs of many of the most important
bands of the time. Includes coverage of Hoods,
Mission of Burma, Maps, Shovels, The Girls,
La Peste, Phobia, Humans, Fashion, The Clash,
Plasmatics, an article on Philip K. Dick, etc. $200
91.
[Zines] [Processed World]. Processed World Nos. 1-32 [with] Bizarro Processed
World [with] Fake Program Cover for the 1982 Office Automation Conference.
San Francisco: Processed World, 1981-1994.
All issues offset printed. Nos. 1-3 8vos.
Nos. 14-32 4tos. Nos. 1-25 saddle-stapled;
subsequent issues perfect bound. [with]
Bizarro Processed World. 8vo. Saddle-stapled.
(Good only with staining to covers). Some
minor wear and creasing to early issues, but
generally very good to near fine.
All print issues of the paradigmatic zine of
80’s officeplace dissatisfaction. Processed
World arose out of the ashes of the Union
of Concerned Commies, the umbrella
organization for a number of Bay Area
anarchist, post-marxist, and post-situationist
groups such as World to Win, Red-Eye,
Abalone Alliance, Community Memory Project,
etc. The zine focused on the absurdities of
the new milieu of the white-collar office and
temp environment. The zine became widely
read by office workers in the Bay Area, and
became one of the most visible zines of the
eighties and early nineties, though not without
controversy. Included with this run is a copy of Bizarro Processed World, a critique of the collective
from an early member.
In 1982 members of Processed World costumed themselves and formed a picket line outside of
the 1982 Office Automation Conference at the Moscone Center in San Francisco. As part of the
protest, they printed up fake covers, and used these covers to doctor the official program for the
event, renaming it the “International Conference for the Perpetuation of a Vacuous Existence.” The
text satiricizes the motives behind increased automation in the workforce. Also included is a scarce
example of one of these booklet covers.
Later issues of Processed World are not uncommon, but runs such as this, with associated
ephemeral, are highly uncommon - especially with the very scarce first issue. $1,500
92. 1-3.
[Zines] Surrey Vomet. Surrey Vomet Nos.
[Worcester Park?]: Surrey Vomet, [1978]. Folio [8 1/2
x 13”]. B/w Xerox, rectos only, each stapled once at the
upper left hand corner with a copper staple. Some toning
and creasing, stapled rustled, cover sheet of no. 2 torn
at staple, but still holding; Some ink notations to no. 2
(a filled in form). Moderate smell of cigarette smoke. A
worn set, still about very good.
All issues published of this Southend UK punk fanzine.
Though it did print some music coverage, the bulk of
SV was notably and unusually taken up with comics,
including some situationist inspired detourneed
mainstream comics, and comics incorporating collage
elements. Rare complete. OCLC locates holdings only
at the British Library – their set is missing no. 1. Their
catalog entry attributes the zine to Roger Allen. $600
Addendum
93.
[People’s Park] [Berkeley Defense Committee] [Urban Planning] . Small Archive
of Material Relating to the Formation of People’s Park.
Berkeley: 1969. Nine leaflets, most either 8 1/2 x 11” or 8 1/2 x 14”, some mimeographed and
some offset printed. Some fold lines and toning, with an abrasion to one poster leading to very
slight loss, still very good to near fine.
A collection of eight handouts and posters created during the events surrounding the creation of
the People’s Park - the area, previously purchased by the University of California through eminent
domain, which was reappropriated and developed into a park in 1969. Most of the material
here dates from the second half of the month, following Bloody Thursday - the day on which the
police used shotguns to shoot scores of protestors, leading to the death of one student and the
blinding of another. Includes a poster for the May 29th benefit concert, with performances by
COuntry Joe McDonald, Little John, Lamb, Mother Bear, and a light show by Gary Fisher, a handout
from the ACLU of Northern California giving advice to photographers, a mimeographed welcome
to Berkeley leaflet giving advice on various matters to out of town protestors, a leaflet for a
meeting on Thursday the 29th to plan for a peaceful protest on Memorial Day, a leaflet from the
Berkeley Society of Friends announcing a silent vigil to protest the violence, a handout devoted to
information surrounding the Berkeley Three, a leaflet announcing the formation of tenant’s unions
in coordination with the protests, and an unfolded example of the Instant News Service Issue No.
1, devoted mostly towards education about the various types of chemical gases being used by the
police.
People’s park remains a contested area, and was in the news again this last December when
university officials had the community garden at the west end of the park bulldozed, a couple of
months after the dispersal of Occupy Cal. $750
Some works cited
Aarons, Philip E. & Andrew Roth. In Numbers: Serial Publications by Artists Since
1955. Zurich: JRP /Ringier, 2010.
Allen, Gwen. Artists’ Magazines: An Alternative Space for Art. Boston: MIT Press,
2011.
Boulware, Jack & Silke Tudor. Gimme Something Better: The Profound,
Progressive, and Occasionally Pointless History of Bay Area Punk From Dead
Kennedy’s to Green Day. New York: Penguin, 2009.
Davis, Stephen. Jim Morrison: Life, Death, Legend. New York: Gotham, 2005.
Duncan, Michael & Kristine McKenna. Semina Culture: Wallacer Berman & His
Circle. New York: DAP, 12005.
Ford, Simon. Wreckers of Civilisation. London: Black Dog Publishing, 1999.
Friedman, Ken. The Fluxus Reader. West Sussex: Academy Editions, 1998.
Hendricks, Geoffrey. Critical Mass: Happenings, Fluxus, Performance, Intermedia
and Rutgers University 1958-1972. New Brunswick: Rutgers University Press,
2003.
Kane, Daniel. All Poets Welcome: The Lower East Side Poetry Scene in the 1960’s.
Berkeley: University of California Press, 2003.
Leiber, Steven et al. Extra Art: A Survey of Artists’ Ephemera 1960-1999. Smart
Art Press, 1999.
Perry, Charles. The Haight-Ashbury: A History. New York: Random House, 1984.