catalogue #10 - Brian Cassidy, Bookseller

Transcription

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[terms]:
Unless otherwise noted, items are original (meaning not facsimiles
or reproductions) first editions (i.e. first printings) and are guaranteed as described. Prices are in US dollars. All material subject
to prior sale. Returnable for any reason with notification and prompt
shipment within 30 days. Payment by check, money order (made out to
Brian Cassidy), or wire; Visa, AmEx, MasterCard, Discover, and Paypal
also accepted. Institutions may be accommodated according to their
needs. Reciprocal courtesies to the trade. Shipping will be billed. MD
sales tax added to appropriate purchases.
[about]:
Search and want services available, as well as collection development and appraisals. Offers of books for sale or consignment are
actively solicited, from single titles to entire collections. Specialties include art and artists’ book; popular culture; photography;
esoterica; modern literature; poetry; music; the avant-garde; little
magazines and small press; the Mimeo Revolution; The Beats; the New
York School; manuscripts and archives; as well as vernacular, folk,
and outsider books of all kinds. We maintain offices in downtown Silver Spring, MD and welcome visitors by appointment; see website for
details. We issue regular newsletters and catalogues, both print and
electronic. Please email to be added to our mailing list.
[offered by]:
brian cassidy, bookseller
8115 fenton st.
suite 207
silver spring md 20910
www.briancassidy.net
books@briancassidy.net
(301) 589-0789 (office)
(301) 244-8868 (mobile/sms)
copyright © 2015 Brian Cassidy
4
featured
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EDITIO PRICEPS!
2.
1.
(Alexander Pope - Translator).
THE ILIAD OF HOMER.
Chicago: Belford, Clarke & Co., 1884.
First edition thus. 8vo. Near fine in publisher’s decorated cloth. Floral patterned endpapers. All edges gilt. Mild handling wear to cloth.
Two previous ownership inscriptions to interior. Overall bright and
handsome. 500pp.
The infamous “J-Lo Edition” of Pope’s original translation made
meme-tastic by an unfortunately naive scene in the 2015 film THE BOY
NEXT DOOR starring Jennifer Lopez. Lopez’s character, a high school
classics teacher, is presented with a copy of this edition by her much
younger love interest, Noah Sandborn (played by Ryan Guzman). Lopez
responds: “This is a first edition!? I can’t accept this! It must
have cost a fortune!” Given that the term “first edition” itself is
often a source of confusion even among the bibliophilic, a Hollywood
director could be forgiven for a mistake involving nearly any other
work. But the idea of the young hunk presenting Lopez with the “first
edition” of an epic poem that predates the printing press by multiple
millennia was apparently too much for the internet to resist. Slate.
com called the moment “truly breathtaking” and the ruckus over the
scene propelled “the Iliad, first edition” to the top of the Abebooks
search results for the month of February. Despite its notoriety, a
lovely Victorian publisher’s binding, and an uncommon one as well.
As noted bibliographer Jenny F.T. Block has written: “Nothin phony,
don’t hate on me / What you get is what you see.”
-2506
[FAULKNER, William].
IN MEMORY OF WILLIAM FAULKNER THIS BUSINESS WILL BE
CLOSED [etc.] [Original Memorial Flyer].
[Oxford, MS]: [The Oxford Eagle], 1962.
A4 broadside. Black type on brown paper. Printed recto only. In original printed Oxford Eagle envelope. Trace area of creasing to right
margin. Overall clean, well preserved. Near fine.
A broadside conceived by Nina Goolsby, co-owner and editor of The Oxford Eagle, to mark the occasion of William Faulkner’s funeral and the
passing of his funeral cortège. Intended for window display during
the procession, it states: “This Business Will be Closed From 2:00
to 2:15 P.M. Today, July 7, 1962.” In a 1962 article for LIFE, William
Styron wrote of the funeral and of these handbills in particular, reproducing the text in large print in the center of the article’s layout. He interviews Goolsby as she’s just returned from distributing
them and she attempts to clarify common misconceptions about Oxford’s relationship to its native son, noting: “People say that Oxford
didn’t care anything about Bill Faulkner, and that’s just not true.”
Given its limited purpose, presumably relatively few (perhaps a few
dozen?) were printed, with even fewer surviving. We have traced only
two in trade or at auction: a copy from the Peterson collection Peter
Howard offered in 1991 at $500 (item XVI.2) and one offered as part
of a larger lot of Faulkner ephemera at Bonhams in 2006 which made
$4481, almost three times the high estimate. OCLC notes one holding
at the University of Virginia (which makes no mention of an envelope). The University of Mississippi also has a copy, in their papers
of journalist Paul Flowers.
-12507
3.
PAL, George.
[Original Photo Album from Animation Productions].
[ca. 1937].
Oblong 4to. Original screw-bound linen boards. With Pal's bookplate
to front free end-paper and his ownership stamp to inside front and
back covers. Containing 68 original B&W photos adhesive-mounted rectos only to 39 leaves plus some related scrap. Apparently complete.
Binding lacking one screw. Else fine.
Academy Award-winning animator, producer, and director George Pal
emigrated from his native Hungary in 1939 and went on to a successful and innovative Hollywood career. He is perhaps best remembered as the producer of several science fiction and fantasy films in
the 1950s, including WHEN WORLDS COLLIDE and THE WAR OF THE WORLDS
(1953). He himself directed TOM THUMB (1958), THE TIME MACHINE (1960)
and THE WONDERFUL WORLD OF THE BROTHERS GRIMM (1962). But before his
emigration, he had a varied and successful career in Europe, where
he developed the "Puppetoon" method. “Puppetoons” are a form of replacement animation in which a series of different hand-carved wooden puppets (or puppet parts) are substituted in each frame, rather
than manipulating a single puppet, as in most stop-motion animation.
It was for this technique he won an honorary Oscar in 1943 and these
intricate, time consuming techniques are on prominent display here.
The majority of the photographs appear to be production images and
action stills from MIDNIGHT (1932), an early Pal advertising effort
featuring dancing cigarettes, widely recognized as the first Puppetoon animation. A photograph titled “Heiraten und nicht verzweifeln”
(“Spouses do not despair.”) precedes 16 photos of a different (though
likely equally as early) household cleaning product film. Eight German press clippings on Pal and his methods additionally mounted to
the final 6 leaves. A rich and handsome album, documenting at least
several commercial animation projects undertaken by Pal before his
emigration to the US, and likely produced for showcasing Pal’s early
advertising shorts to perspective clients. Overall, an exceptional
record of animation history and production.
-85008
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5.
WARHOL, Andy.
[Original Poster VINYL and POOR LITTLE RICH GIRL
Premier at the Filmmakers' Cinematheque].
(New York): Andy Warhol, (1965).
Offset lithographed B&W poster. 8.5" x 11". Archivally mounted in a
black metal frame with wooden back brace. Near fine.
Vintage poster for the world premiere of Andy Warhol's seminal films,
VINYL and POOR LITTLE RICH GIRL at Jonas Mekas' Filmmakers' Cinematheque. Designed by Warhol and photo-illustrated with a repeating
image of Edie Sedgwick and Gerard Malanga, "[t]he poster's typewritten descriptions of these Warhol films as 'cinema verite,' 'pop art,'
and his 'first nonstatic film' denote an attempt to place underground
cinema in a more mainstream genre of film. Its childlike drawing of a
butterfly is reminiscent of the butterflies Warhol drew in the 1950s
when he worked as a commercial illustrator" (Maréchal p. 29).
Variously cited as either Warhol's most or least "entertaining" film,
VINYL is an experimental adaptation of Anthony Burgess' A CLOCKWORK
ORANGE (for which Warhol legitimately paid $3000 for rights), adapted
by regular Factory collaborator Ronald Tavel, and featuring songs by
The Rolling Stones, The Kinks, The Isley Brothers, and others.
4.
HELICZER, Piero.
THE FIRST BATTLE OF THE MARNE.
(New York): (Dead Language Press), [1962].
Shot by Warhol and Malanga in Edie Sedgwick’s apartment, POOR LITTLE
RICH GIRL was Sedgwick’s first speaking and starring role in a Warhol
film. Conceived as a day-in-the-life of the Factory superstar and at
least conceptually autobiographical, IMDB's description of the story
seems to sum up its intentions best: "A young, jobless woman stays in
bed, reads, talks on the phone, smokes cigarettes, makes fresh coffee, and tries on some clothes from a large wardrobe." [Maréchal 4].
-5500-
Square 12mo. Stiff pink original printed pictorial wrappers (we’ve
also seen this in orange wraps). Some minor rubbing and edge-wear.
Touch of fading to spine and a few faint creases. Very good. [28]pp.
PROVENANCE: Izzy Young’s copy, with his contemporary ownership inscription to inside rear cover: “Israel G. Young, 2-28-66, from the
author, and kissed by the author on the front cover.” And indeed:
SIGNED by Heliczer at his printed name to rear cover (Young was mistaken about this) and KISSED three times by him with red lipstick
impressions to same.
Heliczer was one of the geniuses of the Mimeo Revolution, whose Dead
Language Press produced some of the most beautiful objects of the
movement. Young was a central figure throughout the 1960s NYC music
and literary scenes. He founded the Folklore Center, produced Dylan’s
first concert in 1961 (Dylan even wrote a song for/about him, “Talking
Folklore Center”), and helped Ed Sanders to print several items from
from his Fuck You Press on the mimeo machine at the Center. A decidedly uncommon book with a unique and unusual association.
-150010
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7.
--.
THREE BOOKS: Houseboat Days,
Shadow Train, A Wave.
(New York): Penguin Books, (1993).
First edition thus. 8vo. Near fine in original wraps. Touch of sunning to spine.
Trace shelf-wear. INSCRIBED by Ashbery to
Jane Freilicher and her husband, THE DEDICATION COPY: " [Printed dedication: "For
Jane and Joe"], / YEAH! / XXX / John /
2/25/97." PROVENANCE: The estate of Jane
Freilicher via the trade.
6.
ASHBERY, John.
SELF-PORTRAIT IN A CONVEX MIRROR.
San Francisco: Arion Press, 1984.
First edition thus. Circular brushed stainless steel movie canister
with convex mirror mounted to center; 49cm. diameter. Contains: 40
letter-pressed leaves ([3 - forward], 27 [poems], [8 - plates], plus
LP) on handmade paper from the Twinrocker Mill in Indiana. Limited
edition, one of 150 copies (plus 25 hors de commerce), this #42. With
eight original signed prints by: Richard Avedon, Elaine de Kooning,
Willem de Kooning, Jim Dine, Jane Freilicher, Alex Katz, R.B. Kitaj,
and Larry Rivers - each also numbered 42/150. Includes a signed foreword to the poem written by John Ashbery for this edition. Also a 33
1/3 LP recording of a 1975 Ashbery reading of the poem, housed in
a gate-fold sleeve signed by Helen Vendler, whose essay appears as
liner notes across three sides of the sleeve. Some scratches on canister lid, a small rust-color stain to colophon, some wear and soil at
corners of LP sleeve. Near fine overall.
One of Arion Press’ finest, most technically elaborate, and most fully-realized efforts. Pairing Ashbery’s masterpiece with the work of
his artist-friends, SELF-PORTRAIT is one of the few Arion titles that
resides equally in both the livre-d’artiste and artists’ book realms.
One of the smallest limitations from the press with almost a quarter
of the run already behind institutional walls. [Arion Press Catalogue
#13].
-12500-
"Jane was [...] the first person I met in
New York," John Ashbery wrote on the occasion of his long-time friend's death in
2014. The two soon starred together in
Rudy Burckhardt's short “Mounting Tension” (1950) and thus began
a more than six-decades-long friendship between these two New York
School icons. Freilicher provided the illustrations for Ashbery's
first book (TURANDOT AND OTHER POEMS, 1953), as well as several other
Ashbery titles. Likewise, Ashbery was a frequent subject of Freilicher's portraits and studies. As a critic, Ashbery wrote regularly about her work and provided introductions or essays for several
Freilicher monographs. The two traveled together, corresponded extensively, and (as this late book shows) remained close their entire
lives - even making appearances together in support of Freilicher's
2013 retrospective PAINTER AMONG POETS, which featured the pair on
the cover of the catalogue.
But a mere recitation on their professional and creative connections
does not capture the depth of their friendship or the influence each
had on the other. "For Ashbery, Freilicher was a major inspiration"
David Leavitt wrote in THE LAST AVANT-GARDE. Even Frank O'Hara (who
dedicated more than a dozen poems to the artist, including many of
his most famous) was jealous of the intimacy between Ashbery and
Freilicher. Indeed, it is not unfair to say (and many have) that Freilicher served as muse to the entire New York School, but perhaps to
Ashbery in particular. Koch recalled in one of his poems: “it's as if
they'd both been thrown into a swimming pool / Afloat with ironies
jokes sensitivities perceptions and sweet swift sophistications"
("A Time Zone”). And Ashbery himself made the connections between
his and Freilicher's work plain in REPORTED SIGHTINGS. Describing
a painting he bought in 1954, Ashbery wrote: "Perhaps I chose the
painting-table still life because of my own fondness for a polyphony
of clashing styles, from highbred to demonic -- in a given poem, musical composition [...] or picture."
A major association of an albeit minor book, nevertheless the dedication copy of arguably the most important living American poet,
inscribed to the artist who had perhaps the greatest impact on his
work.
-100012
13
8.
[Design]. HOLTZMAN, Joseph (Ed.).
NEST: A Quarterly of Interiors [Complete Run].
New York: nest, 1997-2004.
4tos. Glossy full-color pictorial wraps. Generally very good with
only minor bumping and reading wear here and there. Several pages
loose from debut issue, as common. Issue 20 (Spring 2003) still in
original shrink-wrap. Includes original subscriber letter announcing
the end of the magazine. All original wraps, bands, enclosures, and
other inserts present.
Complete run of one of the most innovative magazines of the latter
half of the 20th century and perhaps the most original design periodicals ever issued. As opulent as almost anything published before or
since, nest [sic] combined intricate production (die-cuts, scratchoffs, scratch-n-sniffs, flip books, inserts, fold-outs, Colorforms,
multiple paper stocks) with a focus on vernacular and outsider interior design to create an uneasy but powerful alliance between medium
and message. The result was a slick but cult magazine that survived
for an unlikely 26 issues over almost eight years, covering such
disparate subjects as the quarters of a U.S. Navy sailor, a prison
inmate's cell, the changing room of a 40-year-old diaper fetishist,
sitcom set design, and more. Not an easy run to assemble, the early
issues are particularly uncommon.
-200014
15
9.
HIRSCHMAN, Jack.
THE VERY PRECIOUS GIFT OF
GOD [Interior Title]
np: [1972].
Folio. Beige cloth portfolio.
Holding 21 leaves of holograph
text accompanied by 12 illuminated plates. Contents loose,
as issued. Mild handling wear.
Near fine.
Hirschman’s own English translation, transcription and re-illumination of the famous 15th
Century alchemical treatise,
“Pretiosissimum Donum Dei.”
Though of cloudy origin (dozens of manuscripts on alchemy bearing similar names are
known to exist), the original
work is generally attributed to
Georges Aurach and is thought
to have been published around
1475. Hirschman’s source text here is a 1957 French translation from
the original Latin by Eugene Canseliet, thought by many to be the
true identity of Fulcanelli, a mysterious and well-known 20th century French alchemist. Hirschman
illuminates his holograph with
a series of 12 paintings, after
or apparently inspired by the
illustrations found in “Aureum
Vellus Oder Guldin Schatz...”
(1708), and Joannes Daniel Mylius’ 1628 work, “Anatomia Auri.”
Nevertheless, they are unmistakably in Hirschman’s distinctive style, in acrylic and poster
paint on paper. Hirschman also
translated the work of Abraham Abulafia into English, and
along with Jerome Rothenberg
and David Meltzer (both of whom
he worked with closely) helped
popularize Jewish mysticism in
the 1970s via several important
books and anthologies on Jewish
poetic traditions. A unique artist’s book and a compelling contribution to modern mysticism.
-2500-
BERMAN, Wallace (Editor, Photographer),
Michael McClure (Text).
SEMINA No. 3: Peyote Poem.
[San Francisco]: Wallace Berman, [1958].
10.
Original 4to. brown paper folder (11" x 9" approx.) with large photo-offset and letter-pressed title label tipped to front cover with
smaller colophon label to rear. Containing accordion-folded letter-pressed poem (22" x 6.5" approx.) mounted inside. Folder sunned
and fragile with chipping and loss, especially to lower half; separated at fold. Small damp-stain at edge of front cover. Poem faintly
toned. Complete but good only overall. One of 200 unnumbered copies.
Third issue of Berman's seminal (sorry) artist's magazine, consisting entirely of McClure's poem recounting his first experience with
peyote (two buttons of which provocatively constitute the cover photo - taken by Berman). An issue that perfectly captures the Semina
aesthetic, described by Nancy Princenthal as:
[F]ueled by and celebratory of the extremes of psychological
experience, not excepting those induced by peyote, marijuana, and heroin; SEMINA was to conventional magazines what
spiking the reservoirs would be to tap water. (IN NUMBERS
258)
[SEMINA CULTURE]. [Kugelberg 57-83].
-175016
17
11.
BERMAN, Wallace (Editor, Photographer).
SEMINA No. 4 (Art is God is Love).
San Francisco: (Wallace Berman), 1959.
Original 4to. cardboard folder (9.5" x 8" approx.) with photo mounted to front and pocket mounted inside containing 25 variously-sized
letter-pressed leaves on a variety of stocks. Lacking the Peder Carr
contribution, called for in SEMINA CULTURE but not included in the
2013 Boo-Hooray facsimile. An extra Ron Loewinsohn card is present,
probably mistakenly substituted at assembly. Else complete and as
issued. From an unspecified edition, likely 250-300 copies. Mild,
occasional wear, but easily near fine overall. A beautiful example.
Perhaps the quintessential issue of Berman's legendary artist's magazine, featuring his iconic, much-reproduced cover photo "Wife" and
containing some of the strongest and most wide-ranging material of
SEMINA's nine-issue run. Contributors include: Allen Ginsberg, John
Wieners, Judson Crews, Michael McClure, Philip Lamantia, Bob Kaufman,
Yeats, William S. Burroughs (an early excerpt from NAKED LUNCH), William Blake, Pantale Xantos (pseud. Berman), among others. Also includes photo insert featuring stills from a Berman film-in-progress.
Privately distributed and "handset on a beat 5 x 8 Excelsior handpress" by Berman, SEMINA combines the early DIY-ethos of the Mimeo
Revolution with the aesthetics of the burgeoning mail art movement.
From the beginning, the magazine was an innovation, "not a choice
of poems and art works to exercise the editor's discrimination and
aesthetic judgment, but the fashioning of a context," as Robert Duncan described it. In other words, an artwork in and of itself: "Taking
a dose of inspiration from Dadaist and Surrealist periodicals [...]
SEMINA was heterogeneous in content and physical materials. The magazine manifested in equal measure Berman's passion for the crafted
object and his love of poetry, but issues also encompassed photography, collage, and drawings [...] hand-printed on a variety of papers
[...] [m]ost issues were looseleaf and unsequenced, the order left
for the reader to determine" (Aarons & Roth 340). Given their rather
fugitive nature and with editions rarely exceeding 300 copies, all of
the issues of SEMINA are scarce, if not properly rare. We've seen only
a small handful in commerce over the last 10+ years. [Morgan C111].
[Maynard & Miles C11]. [Kugelberg 57-83]. [Clay & Phillips 78-79]. [Allen 295]. [Aarons & Roth 339-44].
-650018
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12.
MARKSON, David.
WITTGENSTEIN’S MISTRESS.
(Elmwood Park, IL): The Dalkey Archive Press, (1988).
8vo. Original black cloth with gold gilt spine titles. Near fine in like
jacket. A touch of sunning to top edge. Trace rubbing to jacket. Else
sharp, clean, and sound. INSCRIBED by Markson to noted sportswriter
Larry Ritter: “NYC 1990 / For Larry Ritter - / Once of the great good
people of this world - / with all deep affection. / (Not to mention in
honor of Margo Adams and Ruth Steinhagen) / Hey, all best wishes /
ever! - / Dave Markson.”
An extraordinary association copy of the novel David Foster Wallace
once described as “pretty much the high point of experimental fiction in this country.” Inscribed to sportswriter Lawrence Ritter,
author of what is widely acknowledged as one of the greatest books
on baseball: THE GLORY OF THEIR TIMES (1966), a collection of interviews with turn-of-the-century ballplayers. Red Barber, Stephen Jay
Gould, and others consider it the best baseball book ever written
and the L.A. Times has said “Ritter essentially invented the field of
baseball scholarship with this oral history.” In interviews Markson
called Ritter “a dear friend” and both were regulars at the famed
NYC writers bar The Lion’s Head. Likewise, Markson was a life-long
baseball fanatic and references to the game can be found in almost
every one of his novels.
WITTGENSTEIN’S MISTRESS is no exception. Narrated by Kate, an unreliable (and probably mad) protagonist, the book - among its many cultural and philosophical allusions - revolves in no small part around
baseball writer Donald Honig’s book BASEBALL WHEN THE GRASS WAS
REAL (1975). Both Markson and Ritter were close with Honig and they
are each thanked - always in tandem - in at least several of Honig’s
baseball books (“And, once more, thanks for the invaluable guidance
and counsel of David Markson and Larry Ritter” - THE OCTOBER HEROES),
including BASEBALL WHEN THE GRASS WAS REAL (“[...] the steady counsel
of David Markson and Larry Ritter”). Further, Ritter was the dedicatee of that book, which was in many ways was a sequel to his earlier
classic, undertaken with Ritter’s blessing and largely at his suggestion. This wasn’t the first time Markson’s baseball friends appeared
in one of his novels. SPRINGER’S PROGRESS (1977) slyly included reference to both men in a telephone conversation (“Larry Ritter or Don
Honig out in back?” p. 7).
With its allusion to two infamous baseball femme fetales (one Wade
Boggs’ mistress, the other the shooter who inspired THE NATURAL), a
revealing inscription. Taken together, an exceptional and important
association and one of the best copies of this landmark book we can
imagine.
-2500-
20
21
13.
JOHNSON, Ray.
THE PAPER SNAKE.
(New York): (Something Else Press), (1964).
Oblong 4to. In original illustrated dust jacket. INSCRIBED by Johnson
to friend and art critic Suzi Gablik with a small drawing of an arrow
piercing a heart that has the word “Love” written inside. Jacket
tanned with a small chip to the top of the front panel. Boards a bit
bowed. Else near fine.
Gablik, a friend of Johnson’s since their days together at Black
Mountain College, was largely responsible for first exposing Johnson’s work to a wider audience. In the autumn of 1955, she brought
Elisabeth Novick to photograph the installation of dozens of Johnson’s moticos, photographs that appeared in the inaugural issue of
THE VILLAGE VOICE that October. In Gablik’s seminal book POP ART
REDEFINED (1969), she recalled that event: “The random arrangement
[...] on a dilapidated cellar door in Lower Manhattan may even have
been the first informal Happening.” Gablik continued to champion
Johnson’s work throughout her career and they remained close until the artist’s untimely death in 1995. The only inscribed Johnson
we’ve ever seen and a major association. [Frank p. 8].
art
-500022
23
14.
DOWNEY, Juan.
DEDANS [I].
1964.
Color intaglio. 15 1/4” x 13”
3/4 plate size, 20” x 18” approx. overall. One of 40 numbered copies, this #13. SIGNED
and dated by Downey to lower
right corner. About very good
with a bit of sunning and some
foxing overall. Very faint
damping to lower edge not effecting image.
Early
etching
from
Chilean video artist Juan Downey
(1940-1993), from a group of
similarly styled and executed
multiples the artist completed before his 1965 trip to Washington DC
for his first solo U.S. show. An apparently identical print resides at
the Smithsonian, but bears the title "Dedans II."
-2500-
15.
GILL, Madge.
[Unititled]
[Original Artwork].
[London], 1950.
5 1/2” x 3 3/8”. Black ink on
blank commercial postcard, dated “6-25-50” to verso. From the
collection of the eminent art historian and author Ladislas Segy.
Faint mounting residue to verso.
Else fine.
16.
Guided by an entity she named
“Myninterest,” London housewife
and spiritualist Madge Gill (1882–
1961) began making art in 1919,
and thereafter created hundreds
of automatic, Dada-esque drawings, predominantly ink (from the
postcard size here to long rolls
of muslin). It has been suggested
that Gill used her drawing to communicate with her children, two
of which died in infancy. She was
a favorite of many outsider art
proponents, including Jean Dubuffet, and Gill was a subject in Compagnie de l’Art Brut’s classic monograph series.
-125024
[ERNST, Max]. SPIES, Werner.
THE RETURN OF LA BELLE JARDINIERE: Max Ernst 1950-1970.
New York: Abrams, (1971).
Large 4to. Yellow cloth in original illustrated dust jacket. Jacket
with trace foxing at upper edge, faint band of toning to rear. Cloth
and upper page edge with light foxing. Otherwise near fine. INSCRIBED
by Ernst to his publisher with an original drawing to half title page.
Publisher’s copy of this generously illustrated collection of Ernst’s
later works. With a small, original drawing by the artist and inscribed by Ernst to Paul Anbinder, who worked for Abrams in various
capacities, including company President, from 1969-1975. He later
went to found the art-oriented imprint Hudson Hills Press. With 88
illustrations including 38 in full color. Genuinely inscribed books
from Ernst are uncommon, and rare with such a strong association.
-250025
18.
[Andy Warhol]. BELL, Robert.
THE BUTTERFLY TREE.
Philadelphia: Lippincott, (1959).
17.
8vo. Original quarter orange cloth over
black cloth boards. Very good in like
jacket. Mild shelf-wear and sunning to
extremities. Slight lean. In very good
DJ designed by Andy Warhol. Some toning
and sunning to spine. Mild wear to edges. A faint spot or two of soil. SIGNED
by Warhol in full to front panel of the
jacket.
HORNUNG, Clarence P.
TRADE-MARKS.
New York: Caxton Press, 1930.
Small 4to. Full red cloth, with beveled boards and designer’s relief
logo medallion mounted to front. Ornate gilt decoration and lettering
to spine. With 53 trademark illustrations. One of 750 copies, this
#120, numbered and SIGNED by Hornung to colophon. Thomas Maitland
Cleland-designed bookplate of noted Chicago collector and Newberry
Library trustee Alfred E. Hamill to front paste-down. Additional ownership inscription of Chicago graphic artist Phyllis K. Unosawa to
second end-paper. Spine cloth faded. Light wear to boards and cloth,
corners slightly bumped. Top edge mildly soiled. Very good or better.
An impressive collection of business and corporate logos, and the
first book from the prolific American illustrator and designer Clarence P. Hornung. Hornung was one of the most important and influential designers of the 20th century; his HANDBOOK OF DESIGNS AND
DEVICES, first published in 1932, remains an important resource and
many iconic trademarks and logos of the last century were either designed by Hornung or were directly inspired by his work. His TREASURY
OF AMERICAN DESIGN (Abrams, 1972) was a landmark reference that Hilton Kramer called "a work of extraordinary beauty — Mr. Hornung also
designed it — which is a virtual encyclopedia of American folk art
[…] indispensable." TRADE-MARKS itself is an elegant production, in
keeping with the work it contains, with embossed French-fold leaves,
each bearing a single color logo. More than half of the focus is on
the bibliographic, including the logos of Encyclopedia Britannica,
Scribner's, Farrar and Rinehart (two variants), Harper, Book League
of America, Mazarin Press, Vanguard Press, Sunflower Press and Caxton Press. With a preface by Harry L. Gage. Uncommon in trade, and
from the library of two noteworthy Chicago area book collectors,
scarce indeed.
Scarce example of Warhol's early commercial book design. A poignant novel
set in Alabama and based heavily on
Bell's own experiences. Though well reviewed at the time of publication, THE BUTTERFLY TREE sold poorly.
Nevertheless, The University of Alabama republished it in 1991 and
the book is now recognized as a significant contribution to the literature of the state. Similarly, Warhol's early graphic design is increasingly seen as an important and fertile period in his career, and
examples of his dust-jacket work are becoming increasingly uncommon. And rare when signed by the artist, this being only the second
we've encountered. [READING ANDY WARHOL p. 294].
-1250-
19.
WARHOL, Andy.
THE PHILOSOPHY OF ANDY
WARHOL : From A to B
and Back Again.
New York: Harcourt
Brace Jovanovich, 1975.
8vo. Orange half-cloth. Yellow
paste-paper
boards.
In original pictorial dust
jacket. 241pp. Boldly SIGNED
by Warhol in black marker to
half title with his initials,
his custom with this title.
Some faint offsetting from
signature to title page,
as common. Else very fine
overall.
Though not uncommon signed by Warhol, this copy is exceptionally
clean and sharp. Indeed, the finest we’ve encountered.
-750-
-60026
27
22.
20.
ACCONCI, Vito Hannibal
and E. Lagomarsino.
DOUBLE BUBBLE: Poems.
(New York): (E. Lagomarsino), (1966).
MAYER, Bernadette and
Vito Hannibal Acconci
(Eds.).
0 to 9 - Number One
(April, 1967).
New York: 0 to 9, 1967.
4to. side-stapled mimeo wraps. Lacking fragile blue mimeograph stencil
cover, but second cover (stamped “0
to 9” and with blue offsetting from
stencil evident) still present. That
and blank rear cover detached. Else
very good with some toning and mild
edge-wear. Good overall.
8vo. Original orange stapled
printed wraps; 9" x 6" approx.
Interior mimeographed. Mild wear
to yapped edge of wrappers, with
minor rubbing and soil. Occasional staining to several interior
leaves, unobtrusive. Very good
overall. pp. [blank], [1-3], 4-24,
[blank]. SIGNED and dated (1987)
by Acconci to first page.
Acconci's first book, a collaborative effort from this influential performance artist and
experimental poet. From an unknown, but presumably small edition. OCLC locates 12 copies, but with several major institutions
lacking. Uncommon in the trade; we've traced only a small handful
over the last ten years, none signed. An important debut.
-5000-
21.
ACCONCI, Vito Hannibal.
FOUR BOOK.
New York: 0 to 9 Books,
1968.
4to. Side-stapled graph paper wrappers. Mimeograph
printed. Damp-staining to
edges of cover, continuing
to first few leaves. Mild
soiling, wear overall. Good
to very good. [84]pp. on 42
leaves, plus cover.
Acconci's second book and
first artist's book, produced by his and Bernadette
Mayer's press.
-900-
28
Debut issue of this important artists' magazine. "[O]ne of the most
experimental of all the early mimeo
magazines" (Clay and Phillips) that "can now be located at the beginnings of the Language and performance poetry movements" (Aarons
and Roth). Mayer's and Acconci's publication occupies a unique position in the Mimeo Revolution, straddling the worlds of experimental
poetry, conceptual art, Fluxus, and graphic design. With print runs
rarely exceeded 200, one of the scarcest of the major mimeos. The
debut issue is particularly rare. One of a reported 100 copies, many
presumably perished.
-1500--.
STREET WORKS:
0 to 9 No. 6
(Supplement).
New York: 0 to 9, 1968.
23.
4to. side-stapled wraps.
Mild rubbing, soil. Very
good plus overall. Variously printed (mimeo, offset, xerox). [64]pp. on 32
leaves.
Final issue of this essential magazine. Contributors
include John Giorno, Adrian
Piper, Anne Waldman, Lewis
Warsh, Hannah Weiner, and
others. [Clay and Phillips
207-07]. [Aarons and Roth
33-37].
-800-
29
25.
CELANT, Germano (Text).
ARTE POVERA 1967/69.
Genova: Galleria La Bertesca,
1969.
4to. side-stapled wraps. Photo-mechanically reproduced. Near fine with
just touches of wear along edges, with
faint erased pencil to front cover.
[28]pp. to as many leaves (including
covers) printed rectos only. Text in
Italian with French and German.
24.
Jan van der. Marck (Ed.).
ART BY TELEPHONE (This Is A Recording).
Chicago: Museum of Contemporary Art, 1969.
12” LP record in original black cardboard gate-fold cover, with texts
about the artists and introduction by Jan van der Marck. Cover generally near fine. Some rubbing, light soil to one edge. Surface of LP
exhibits some mild scuffing; playback unaffected. In original plain
paper sleeve. Laid in is the original 2-page press release detailing
the exhibit. An unknown contemporary hand has added notes to recto
and verso of second leaf regarding Wolf Vostell, Frank O'Hara, among
other information.
Catalogue to the Museum of Contemporary Art exhibit which was to run
Nov. 1 - Dec. 14, 1969. Recordings of artists describing projects and
installations to museum director Jan van der Marck via long-distance
phone call. These projects were then to be executed by the museum
on behalf of the artists according to their instructions. Artists
include: Siah Armajani, Richard Artschwager, John Baldessari, Iain
Baxter, Mel Bochner, George Brecht, Jack Burnham, James Lee Byars,
Robert Cumming, Francoise Dallegret, Jan Dibbets, John Giorno, Robert Grosvenor, Hans Haacke, Richard Hamilton, Dick Higgins, Davi Det
Hompson, Robert Huot, Alain Jacquet, Edward Kienholz, Joseph Kosuth,
Les Levine, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg,
Dennis Oppenheim, Richard Serra, Robert Smithson, Guenther Uecker,
Stan Van Der Beek, Bernar Venet, Frank Lincoln Viner, Wolf Vostell,
William Wegman, and William T. Wiley. Though a landmark of conceptual
art, the exhibition was never mounted due to technical difficulties.
Nevertheless, this LP remains a seminal document. Rare this complete, in this condition, and with press release. [BROKEN MUSIC p. 88].
-125030
Exhibition catalogue from a major
show in the Arte Povera movement,
mounted June 25th to 30th, 1969 at
the gallery where the first such exhibition was staged two years
previous. With text by Germano Celant, both exhibitions’ curator,
this anniversary show includes artists Anselmo, Boetti, Icaro, Merz,
Pistoletto, Prini, Zorio, and others. Rare. We find none in trade and
OCLC locates 3 only copies (MoMA, Getty, and National Gallery Canada).
An ephemeral production from an important event. [ARTE POVERA 19661980: Books and Documents p. 208-9, no. 7].
26.
-1250BOWLES, Jerry (Ed.).
ART WORK / NO COMMERCIAL VALUE.
New York: Grossman Publishers,
1972.
4to. Three-ring binder with printed cover label. One of 1000 numbered copies,
this #600. Offset in color and B&W. [141]
pp. Near fine with some rubbing, shelfwear to binder. Mildly toned internally.
Else clean and sound.
Assemblage anthology (a la Kostelanetz's contributors’ journal ASSEMBLING)
in the Fluxus/mail art traditions: “The
intent of this book is to call attention
to activities in the area of notebooks,
community art and correspondence art
and to encourage other people to launch projects of their own." Contributors include: Russel Edson, Jim Harrison (an early work), Nelson
Howe, Geoff Hendricks, Dick Higgins, Richard Kostelanetz, Richard
Meltzer, Image Bank, John Perreault, Jerome Rothenberg, Alan Sondheim, among others. Compiled by Jerry G. Bowles. Though widely held
institutionally, it is surprisingly scarce in the trade, this being
only the second example we've encountered.
-110031
28.
HOLZER, Jenny
and Peter Nadin.
LIVING-DAYTIME.
New York: np, 1980.
8vo. Original printed yellow
wraps. Limited edition, one of
30 SIGNED to inside front cover
by Holzer and Nadin, this #10.
Touches of rubbing, faint fading
at spine. Near fine.
Early artist's book (her fourth)
from Holzer. OCLC located 8 copies, but scattered and with many
major institutions lacking.
-1500-
27.
KAPROW, Allan.
ASSEMBLAGE, ENVIRONMENTS & HAPPENINGS.
New York: Abrams, (1966).
Square folio. Very good in brown burlap covered boards. Sunning to
lower edges, spine faded. Lacking original clear vinyl jacket. Else
clean and sound throughout. INSCRIBED by Kaprow to early preliminary: “For Paul on / his birthday - / A nostalgic / time in which /
you played a / part (see pl. / 164 somewhere / deep inside!) / - in
friendship / Allan K.”
A founding document of performance and environmental art, and the
first by a major publisher, Kaprow’s ASSEMBLAGE, ENVIRONMENTS & HAPPENINGS was originally planned as an official Fluxus publication (see
CODEX p. 288), but eventually evolved into this broader book. Artists
covered include Robert Rauschenberg, Claes Oldenburg, Red Grooms,
and George Segal, with contributions from Wolf Vostell, George Brecht,
Kaprow and others. The recipient is almost certainly photojournalist
Paul Berg, whose photos are included in this volume and fall roughly
where Kaprow suggests they should (though there is no plate 164).
Berg photographed and covered Kaprow’s happening “Push and Pull”
for the St. Louis Post Dispatch in 1963. The uncommon hardcover issue
of this important resource, it is scarce signed, especially with any
kind of association. [ALLAN KAPROW: A Bibliography pp. 26-9].
29.
HOLZER, Jenny.
TORTURE IS BARBARIC.
[New York]: Fotofolio / Artpost, nd.
Second edition. Postcard. Red silkscreen lettering on a thin balsa
wood panel. Standard postcard size. 3.5" x 5” approx. About fine.
An uncommon multiple from the conceptual artist. Text sourced from
her TRUISMS series.
-100032
-10033
BRAINARD, Joe (Art, Ed.).
C COMICS #2.
[NYC]: Boke Press, [1965].
30.
31.
4to. Stapled wraps. Offset printed. Minor
toning to covers. Touches of shelf-wear,
rubbing. Spot of soil to rear panel. Very
good.
Second of two issues of this short-lived
"C" Press item. Brainard illustrates in
comic form the poems of his NY School
buddies: Ashbery, Gallup, Lima, Schuyler,
Berrigan, etc.
-600-
32.
FORAKIS, Peter, Phyllis Yampolsky and Dean Fleming.
GROPE - Vol. 1 No. 1 (Jan. 1964) [and] Vol 2 No. 2
[with] THE BLOWN MIND.
(Tibor de Nagy / Sherwood Publishers / New York Express),
(1964-1966.)
4to. illustrated stapled wraps all. Mild handling wear, trace soiling.
Each sound, clean. THE BLOWN MIND numbered (this #25) and SIGNED by
both Yampolsky and Fleming to interior of front cover. Very good.
Complete run of these scarce but related publications, produced by
Forakis, Yampolsky, and / or Fleming (all artists better known for
other media) under various imprints. In the first issue of GROPE, each
contributes one work or “story” utilizing the conventions of the
comic (panels, word balloons, etc.), but all non-narrative and veering towards the completely abstract, psychedelic and/or nonsensical.
GROPE No. 2 is authored by Forakis alone, while THE BLOWN MIND is a
collaboration between Yampolsky and Fleming. The methods, however,
remain the same, and the motifs and styles of each work clearly prefigure the work of later underground comic artists. These works are
therefore among the earliest we’ve seen to exhibit a non-commercial,
“underground” aesthetic (albeit mixed with a fine art influence).
Indeed, the publication of Issue No. 1 of GROPE predates by at least
several months what is generally considered the first underground
comic: Jack Jackson’s GOD NOSE (which though printed the same year
was clearly published sometime after January). And though none of
these issues quite demonstrates the over-the-top subversive quality one typically associates with the underground, all three clearly
exhibit a prescient style that would soon come to fuller fruition in
R. Crumb and others. Rare as a set. While we’ve had a few issues of
Grope #1, this is the first time we’ve encountered either of the two
later issues.
-150034
KA, John (Illustrator).
BLOOM.
Detroit: Artists' Workshop, 1967.
8vo. Stapled wraps. Mimeographed. [2], 20, [2],
plus covers. Pages toned, a little brittle. Some
rubbing and soil. Center page pulled from stapled. About very good.
Scarce book from John Sinclair's Detroit press.
Ka illustrates erotic works by Allen Ginsberg,
Whitman, William S. Burroughs, Corso, Gary Snyder, Kerouac, Tuli Kupferberg, and others. Psychedelically pornographic - R. Crumb meets Ed Sanders. From an edition of 500 copies, but still one of the more difficult (and unusual)
titles from the press to locate. OCLC locates only 5 copies, almost
all in Michigan. And seemingly unknown to relevant bibliographers;
not in Morgan, Maynard & Miles, or McNeil. [Jernigan p. 42].
-375DEVIL [Deville], Nicolas et al.
SAGA DE XAM.
Paris: Eric Losfeld, (1967).
33.
Tall 4to. Red cloth in jacket. Small scuff to DJ.
Mild edge-wear. Cloth with slight shelf wear.
Very good in like jacket.
French erotic underground sci-fi psychedelic
graphic novel that follows Saga, a girl with
blue skin from planet Xam. Though Deville provided most of the art, others contribute variously throughout: Jean Rollin, Jim Tiroff, Philippe Druillet, Barbara
Girard, Merri, Nicolas Kapnist. An elaborate production and uncommon
in this condition.
-50035
“Read More,”
a.k.a. “Read More Books,” a.k.a. “Boans,”
a.k.a. “Read,” a.k.a “Read Up,”
a.k.a . “Boanes,” a.k.a. “Bonafide” etc.
34.
[BASKIN, Leonard]. Shakespeare, William.
THE GEHENNA SHAKESPEARE: Titus Andronicus.
[Northhampton, MA]: Gehenna Press, [1973].
First thus. Folio. 20" x 13.5". Illustrated by Leonard Baskin with
wood-engravings throughout. Letterpress in red and black. Loose as
issued in original box with paper label. Box sunned, split at hinge
(repaired but ragged at joint), contents fine. Deluxe edition with
double suite of 12 signed etchings. One of 150 copies lettered I-CL,
this the first "I" copy, so designated and signed by Baskin to colophon. Printed on Gehenna-Shakespeare, a paper made for the edition at Strathmore Mills. Etchings printed by Emiliano Sorini at the
Bank Street Atelier. Wood engravings and letterpress in Centaur type
printed by Harold McGrath. Text based on the Methuen Arden edition.
First volume of the ambitious (but never completed) Gehenna Shakespeare. A lovely production with an excellent limitation. [Gehenna
Press 74].
-200036
We are pleased to offer works from one of the most elusive, prolific,
and prominent American writers, “The Reader.” Straddling genres and
defying expectations, Read’s work occupies a space somewhere between graffiti and street art, drawing inspiration as much from sign
painting and typography as from traditional urban tagging. Deftly
combining an outlaw ethos with a positive messages (“Read Books!”),
his work manages to hide in plain sight, often mistaken for authorized or commissioned pieces. Coupled with a nomadic lifestyle that
has brought his installations to cities across the country, “Read
More” has created one of the most identifiable and respected bodies
of work among U.S. street and graffiti artists. He was featured in
Rafael Schacter’s recent WORLD ATLAS OF STREET ART & GRAFFITI (Yale,
2013), which called him “[t]he most active coast-to-coast writer in
the United States.” Read is regularly ranked among the most important graffiti artists working today. Despite this acclaim, however, he
has been cautious in moving beyond the street, mounting only three
small gallery shows (two of which sold out) since coming to prominence some ten years ago. We are excited to be able to offer these
wonderfully bibliophilic works, pieces that create “a sanctification
of words, text, and the infinite possibilities of the written form”
(Schacter).
PROVENANCE: From the artist.
the reader
37
(item 35, front)
38
39
35.
["THE READER," a.k.a. "Read More" etc.].
READ: All Principal Cities [Original Artwork].
[ca. 2014].
Mixed media assemblage. Spray paint on fiberglass in welded steel
frame. Approximately 12.5” x 18.5”. Boastful (but accurate) statement done in flat black spray paint on the verso of a fiberglass "No
Trespassing" sign (above) liberated by the artist from an abandoned
building, no doubt during his illicit activities.
Reminiscent of certain Jim Crow era signs, a subtle and astute work.
-4500-
36.
--.
PAY-RAISING BOOKS
2011.
Spray paint and silkscreen over paper labels and cigarette pack foil
collage mounted to poster board. Measuring approximately 24" x 18".
SIGNED by the artist and dated to lower right. Numbered 20 from a
series of 30, but each essentially unique.
-150040
41
37.
--.
Shortcut PAYROLL.
2014.
39.
--.
[Untitled].
2014.
Spray paint and silkscreen on cigarette pack foil mounted to cardboard. 28" x 22" approx. SIGNED and dated by artist to verso.
-2000-
-2000-
38.
--.
Why Do You Read
So Slowly?
2014.
40.
--.
READ TO RUIN.
2014.
-2000-
-200042
43
41.
--.
READ MOTHER FUCKING BOOKS! ALL DAMN DAY.
2014.
Spray paint and silkscreen on collaged cigarette pack foil, mounted to
cardboard. Approximately 15.0" square. SIGNED and dated to verso. From
an unnumbered series based on the artist's well-known sticker of similar
design. Three other slight variations of example below also available.
-1000-
photography
44
45
42.
SHAW, Mark (Photographer).
[John, Jackie and Caroline Kennedy
at Their Georgetown Home, 1959].
New York: Mark Shaw, (1964).
43.
--.
[Jackie Kennedy and John Jr.
in Palm Beach, 1963].
New York: Mark Shaw, (1964).
Original vintage double-weight black and white photograph. Measuring
approximately 12.5" x 9". Mild handling, edge wear. Small red stain
and bit of attendant loss to right side of image. With photographer's
stamp, dated 1964, to verso. Very good.
Original vintage double-weight black and white photograph. Paper
size 14" x 11" with an image area of approximately 10.5" square. Mild
handling wear. Small stain to upper left of image. Layout mark to
margin. With photographer's stamp, dated 1964, to verso. Very good.
A charming image capturing John, Jackie, and a two-year old Caroline
Kennedy at breakfast on the patio in the garden of their Georgetown
home in 1959. With the studio stamp of personal Kennedy photographer, Mark Shaw to verso. Shaw's unobtrusive style endeared him to
the Kennedys, allowing him to capture the family's warmest and most
unguarded moments - including this uncommon view of their home life.
Shaw died suddenly at the age of 47 in 1969, thus Kennedy prints bearing his studio stamp are scarce.
A wonderfully candid image of Jackie Kennedy and son, John Jr., on
vacation in Palm Beach, FL -- the trip on which she announced her
pregnancy with their third child, who died just after birth. Printed
by the photographer, Mark Shaw, in 1964. Shaw extensively photographed the Kennedys and was their preferred photographer. He went
on to be a close family friend - a fact belied by this image's intimacy. This photo appeared in Shaw's book THE JOHN F. KENNEDYS, published shortly after John's death in 1963.
-2500-
-2500-
46
47
44.
[Bruce Conner]. VAN METER, Ben (Photographer).
[Photo Archive the North American
Ibis Alchemical Company Light Show].
San Francisco: Ben Van Meter/NAIACLS, [ca. 1967].
40 5" x 3.25" color photographs printed from original 35mm slides to
Kodak paper (later prints, ca. mid-late 1980s), with 1 vintage period 6.5" x 4.5" color print on Kodak A paper. Each photo identified,
stamped (with the North American Ibis Alchemical Company logo), and
signed by photographer on the verso. Mild wear, rubbing. Some logo
stamps a bit smeared. Near fine.
An apparently unpublished collection of color snapshot images printed from original 35mm slides used by the North American Ibis Alchemical Company Light Show for rock concert staged primarily during
performances at San Francisco's Avalon ballroom in 1967. The majority of images captured originally as photographs by founding Light
Show member Ben Van Meter. Scenes include several views of the 1967
"Human Be-In" concert with two views of Timothy Leary, one of Allen
Ginsberg, and one of Lenore Kandel and Lawrence Ferlinghetti; two
shots of Imogene Cunningham holding a camera; Ken Kesey at Acid
Test "Graduation" Halloween 1966; Bob Weir and Jerry Garcia at the
Trips Festival 1966; Quicksilver Messenger Service at the Fillmore
Auditorium 1966; as well as views of The Avalon Ballroom, general
Haight environs, and scenesters from 1965-67. Several notable images
also printed from handmade Bruce Conner slides. Conner was a member of the light show collective and his films and slides would often
be blended together with Van Meter's own images and projected onto
massive screens at the Avalon during their tenure there, from Fall
1966 to the end of Summer 1967. An evocative set of images, perfectly
capturing the Bay Area at the height of the psychedelic era.
-250048
49
46.
[Photography]: [Music].
[Eight Color Transparency Slides of Jim Morrison].
[New York], 1968.
Eight Kodak color transparency slides. 2" square with image areas 1
3/8" x 15/16" approx. Date stamped "MAR 68" to border of verso. Notated in ink outside of image area with names, numbers. Clean, well
preserved. Near fine. High-resolution jpgs of all images provided.
A collection of presumably unpublished images of Jim Morrison at New
York's Fillmore East, March 22, 1968. Three of Morrison on stage (two
pictured) with five intimate close-ups likely captured backstage. A
particularly poignant shot has him leaning into the microphone with
a light projection behind. This two-night, four-show, Fillmore engagement produced what are often considered some of the best shows
of the band's career. Though we've been unable to determine the photographer, they are of clear professional caliber and bear a certain
resemblance to the work of legendary rock-and-roll photographer Elliott Landy. A striking group of original vintage slides.
-2500-
45.
[Eight Color Transparency Slides of Jimi Hendrix].
[New York], 1968.
Eight Kodak color transparency slides. 2" square with image area 1
3/8" x 15/16" approx. Date-stamped "MAR 68" to border of verso. Notated in ink outside of image area with names, numbers. Clean, well
preserved. Near fine. High-resolution jpgs of all images provided.
A collection of exceptional but presumably unpublished images of
Jimi Hendrix performing at New York City's Hunter College on March
2, 1968. Seven capture the guitar hero on stage: with his signature
Stratocaster, kneeling before a giant stack of amplifiers, playing
with his teeth, etc. The eighth is a candid portrait, likely snapped
backstage. Though we've been unable to determine the photographer,
the photos are of clear professional caliber and bear a certain resemblance to the work of legendary rock-and-roll photographer Elliott Landy. An iconic selection of original vintage slides capturing
the signature style of a rock legend.
-350050
51
47.
[Yippies]. DOUGLASS, Ann (Photographer).
[Collection of Vintage Prints of Yippies].
[ca. 1968].
21 original B&W vintage double-weight photographic prints. Various
sizes, most approx. 8" x 10" +/-, with several smaller. Many with
photographer's stamps and/or penciled captions to versos, many quite
detailed. Generally very good or better, with some curling and mild
edge-wear. A handful of images have crop marks and other layout
notations, all apparently from the NY Free Press. Housed in a worn
envelope marked "Yippies" with photographer's business card taped
to front.
Largely unpublished collection of original, vintage photographs of
Jerry Rubin, Abbie Hoffman, Ed Sanders, and company ca. 1968. Includes images of protests, rallies, and marches, as well as more
intimate portraits, including one striking image of Hoffman naked
but for an American flag draped over his shoulders (above). Most importantly, includes image of Judy Collins speaking at the Americana
Hotel press conference that announced the formation of the Yippies. A
well-rounded selection, capturing both the history and spirit of this
counter-counterculture group.
-2500-
52
53
48.
[Film]: [Fandom].
[Collection of Original Color Photographs of
ROCKY HORROR PICTURE SHOW Fan Casts].
[Chicago?], [ca. 1989-1991].
205 color snapshot photographs. Most versos with some residue of
removal from commercial self-adhesive photo pages of former album
(unsalvageable), not affecting any images. Mild curling to prints.
Overall clean, very good.
The photographic archive of cast rehearsals and act-along performances of a ROCKY HORROR PICTURE SHOW fan group. Origins and internal
evidence suggest Chicago area, ca. 1989-1991 - though exact location
unknown. Chicago was an important hotbed of RHPS activity. The Biograph and Music Box Theaters were early participant locations, each
with legendary casts (though these photos don't seem to represent
either). Notation to a handful of versos date these images to 19891991, with multiple overlapping casts represented. A compelling, often lurid collection of images representing the importance of the
role of ROCKY HORROR in the evolution of both fandom and cosplay.
music
-85054
55
49.
[Living Theatre].
A CONCERT OF NEW MUSIC.
(New York): The Living
Theater, [1960].
12.5" x 8.25" approx. Offset printed B&W flyer. Mild edge-wear. A few
faint creases with some mild toning.
Very good.
Original flyer promoting the 1960
"New Music" concert at Beck and Malina's The Living Theatre. The show
was produced by Nicalo Cernovich
and James Waring and featured John
Cage ("Imaginary Landscape No. 5,"
"Suite for Toy Piano"), George Brecht
("Card Piece for Radios," "Candle
Piece for Radios”), Al Hansen ("Bibbe's Tao" plus his happening “Hep
Amazon” staged in the lobby), Allan
Kaprow ("Sound Piece 1959"), Robert
Rauschenberg ("Telephone Music"), among others. Plus "a sequence of
stuttering records from the collection of Ray Johnson and Dorothy
Podber" (Hendricks p. 184). A major event and a handsome broadside
which some have attributed to Johnson, though we have our doubts.
[HAPPENING & FLUXUS #1].
-650-
50.
CAGE, John.
I-VI.
Cambridge: Harvard
University Press, 1990.
51.
[SANDERS, Ed].
[Complete Press Kit for “FUGS’ CROSS COUNTRY VIETNAM
PROTEST CARAVAN!” with Promotional Flyer for Same].
[New York]: [Fuck You Press], [1965].
4to. Grey cloth. Silver gilt to
front, spine. In original illustrated dust jacket. Unclipped.
Deluxe,
limited
edition,
SIGNED by Cage to half-title.
Housed in a matching cloth,
two-piece box which additionally holds two 60-minute audio
cassettes. Mild shelf rubbing
to lower end of box. Otherwise
contents clean, about fine
throughout. Near fine or better overall.
The complete press kit for the Fugs’ 1965 US tour: two-page, top-stapled, 8.5” x” 11” mimeographed (rectos only), Sanders-written press
release, with separate single-sheet biographies of the band members.
Plus single-leaf/sided promotional flyer. Very good overall. Release
separated at staple. Some folding, wear. PROVENANCE: Izzy Young’s
copy, with his ownership annotation to verso of two pages, noting:
“9 - 21 - 65, from Ed Sanders.” For more on Young, please see item #4.
Deluxe edition of Cage's Charles Eliot Northern Lectures, delivered
at Harvard between 1988-1989. Includes two 60-minute audio cassettes
of Cage reading and of a lively question-and-answer section from one
of the lectures. Uncommon, especially in this condition.
Printed on Sander’s notorious press, these promotional materials
describe The Fugs’ planned 1965 tour in protest of the Vietnam War:
“THE FUGS will leave New York on October 8th. They will proceed to
California via auto caravan, giving concerts and holding demonstrations.” Plans included visits to James Dean’s grave, The Kinsey Institute, William Burroughs’ birthplace, and the cottage in Berkeley
where Allen Ginsberg’s HOWL was written. A typical FU production,
with Sander’s distinctive hand evident throughout. Scarce, especially so with association and additional promotional flyer.
-750-
-125056
57
52.
THE FUGS: The freakiest
singing group in the history of Western Civilization!
[etc.]
[NYC]: [FU Press][1965].
4to. mimeo flyer for March 8th East
End Theater Concert. PROVENANCE:
Izzy Young's copy, with his holograph annotation to verso: "Israel
G. Young, 3-3-65, from Ed Sanders"
For more on Young, please see item
#4. Reproduced p. 134 FUG YOU.
55.
THURSDAY DEC 2 THE FUGS!
[etc.]
4to. mimeo flyer for December 2nd
Bridge St. Theater concert. These
ephemeral broadsides are among
the scarcest items to roll off
Sanders’ notorious press.
-250-
-400-
53.
56.
THE FUGS ARE BACK FROM THEIR
CROSS-COUNTRY TOUR! [etc.]
THE FUGS! FOLKWAYS RECORDING
STARS [etc.]
4to. mimeo flyer executed in Sanders' distinctive style, touting
a string of Saturday "dope-grope
rock 'n' roll, meat-shrieks & rice
paddy frenzy" midnight shows at
The Bridge Theater on St. Marks
following the band's return from
their 1965 Vietnam protest tour.
Elaborate flyer touting month of
Fugs’ performances July 1965 at the
Bridge Theater on St. Marks. PROVENANCE: Izzy Young's copy, with his
holograph date ("7/11/65") to verso. For more on Young, see item #4.
-450-
-325-
54.
THEY'RE HERE! BACK BY POPULAR DEMAND THE FUGS! [etc.]
New York: [FU Press], [1965].
Original mimeo flyer for a "Three
Day Fug Festival" to be held March
29th, 30th, and April 5th (1965) at
The East End Theater on East 4th.
See FUG YOU pp. 134-5.
-375-
58
57.
THE FUGS! rice paddy rock
& roll, grope shrieks &
meat-cackles.
New York: [FU Press], [1965].
Mimeo flyer for the Fugs' Dec.
10th and 11th 1965 concerts at the
Cafe Au Go Go on Bleecker.
-300-
59
58.
[Big Brother
& the Holding Co.].
[Invitation Card for a
May 1966 Marin County Concert].
Marin County, CA, [1966].
Letter-pressed brown textured card measuring approximately 4 1/2" x 2 3/4". Marked
with a date stamp and crossed-out ownership
signature to rear. Else generally near fine.
Flyer or invitation card for a show held at
Muir Beach Resort in Marin County, California on May 21, 1966. Acts on the bill were
The Quick Silver Messenger Service, The
Charlatans, Big Brother and the Holding Company (in one of their final shows before the
addition of Janis Joplin), The Wildflower, The Carpetbaggers, The Rebirth, Billy Moses and the Blues Band and The Erector Set. Stated cost
is a $1.00 donation to Ambrose Hollingsworth, the then-hospitalized
manager of the Quicksilver Messenger Service. An attractive artifact
from the 60s Bay Area rock-and-roll scene.
-175-
59.
[Johnny Cash].
[Original Flyer For
the 2nd Fret Nightclub].
Philadelphia, [1965].
Photo-mechanically duplicated flyer measuring approximately 11.0" x 8 1/2".
Two small closed tears at
left margin, one small chip
upper right. Very good.
Flyer listing show events
for September and October,
1965 at Philadelphia's The
2nd Fret folk music club
and the nearby Camden Convention Hall in Camden, NJ.
2nd Fret performers included The Trolls, Tom Richmond, Dave Van Ronk and
Phil Ochs. Camden shows featured Flat and Scruggs and Johnny Cash
in an appearance less than two weeks prior to his infamous October
4, 1965 arrest for smuggling prescription drugs across the Mexican
border. A vintage flyer of Cash in his prime.
60.
BETROCK, Alan (Ed.).
JAMZ Vol. 1, No. 5.
Flushing, NY: (1972).
4to. Original wraps. Mixed printing: offset and
mimeo. Cover by Jay Kinney. Neatly and cleanly
disbound from staples, the second (of two) issue we've handled with this fault, suggesting
poor stapling or perhaps even as issued. Threehole punched, likely to correct this problem.
Chipping to last two leaves. Else clean and
complete.
Final issue of this seminal rock zine, one of the most important of
the pre-punk era. JAMZ was characterized by editor Betrock's obsessional discographies, enthusiastic voice, and prescient taste. Articles in this issue cover The Kinks, The Who, Dada, The NY Dolls, Them,
T. Rex, zines, and more. Writers include Richard Meltzer, Greg Shaw,
and Mike Saunders. Betrock later founded THE NEW YORK ROCKER.
-250-
61.
[Reggae].
DALRYMPLE, Henderson.
BOB MARLEY: Music, Myth & The Rastas.
Sudbury: Carib-Arawak, 1976.
8vo. Illustrated stapled wraps. Rear cover depicts Marcus Garvey. 77pp. Light edge-wear. Areas
of staining to wraps. Very good.
The first biography of Bob Marley ever published,
and one we suspect Marley himself would have approved. Dalrymple writes from a black perspective and with particular sympathy for both his subject and Rastafarianism, embracing the singer's politics and philosophy. Illustrated
black and white photographs throughout. Uncommon.
-375-
62.
MEYERS, Richard [Richard Hell] (Ed.).
GENESIS : GRASP #4.
New York, (1970).
8vo. Illustrated card wraps. Trace handling wear,
toning to edges. Overall clean, near fine. 40pp.
Final issue of one of Richard Hell's early publishing efforts. With contributions by the editors,
Ernie Stomach [pseud. Hell], Clark Coolidge, Augusta Wind, Yuki Hartman, and Ernie Camus. A fabric sculpture titled "A Ground" stapled to p.18.
-125-
-20060
61
64.
[Velvet Underground].
[Original Promo Sticker].
MGM Records, [ca. 1969].
Black sticker with white lettering, measuring approximately 1 1/2” x 10.0”. With original
backing, about fine.
Original promotional sticker
produced by MGM for the Velvet
Underground’s self-titled, third
album. Accompanied by a signed
letter of authenticity from Martha Morrison, wife of the band’s
late guitarist, Sterling Morrison - his copy.
-175-
65.
[Punk]: [San Francisco].
[The Western Front
Festival Flyer].
San Francisco, 1979.
63.
[Danceteria]
[Original Poster Announcing the Reopening of Danceteria]
NYC: np [Danceteria], 1982
15” x 11” three-color double-sided poster. Light creases from folding and
mailing. Original mailing envelope present. Tiny tear to one edge. Very
good. Verso above. Recto inside front cover this catalogue.
Vintage poster announcing the February 1982 reopening of the NY club at
its second and most famous location, with the bands of Rough Trade and REM
playing. A very early gig poster for REM. Their debut CHRONIC TOWN was not
yet released and the band was in NY recording many of the songs that would
end up on that EP. Club owner Jim Fourratt had brought the band to the city
in hopes of having the band signed to a major label and to “get critics” to
the reopening of the club. Totally new wave. Totally.
-70062
Broadside flyer measuring approximately 3 1/4” x 14.5”.
Printed to verso only. Trace foxing. Otherwise well preserved.
Near fine.
Original flyer for the first Western Front Festival, produced by
the Walking Dead record label
and held in October 1979 at various venues of San Francisco’s
punk scene, primarily the Deaf
Club and Mabuhay Gardens. Over
seventy bands were featured,
including The Clash, The Dead
Kennedys, The Mutants, Black
Randy, Black Flag, The Feederz,
Nervous Gender, The Units, and
more. [FUCKED UP + PHOTOCOPIED
pp. 54-5].
-20063
67.
LYDON, John.
ROTTEN: No Irish - No Blacks - No Dogs.
NY: St. Martin's Press, (1994).
First US edition. Small 4to. Black quarter cloth. In original pictorial
dust jacket. SIGNED by Lydon to half-title page. Trace handling wear
to jacket. Though not noted, ex-libris Herbert Huncke. A sharp, bright
copy. Near fine overall. 329pp.
An unfiltered look at the life of the iconic Sex Pistols frontman. Uncommon signed, especially so with an interesting provenance.
-250-
68.
66.
[REID, Jamie].
[Sex Pistols at the 100
Club, Oxford Street,
London, May 11, 18 &
25, 1976].
(London): np, [1976].
A4 handbill. Stencil-cut mimeograph printed
recto only. Very good with some flattened creases and
a small bit of loss to upper right corner. Mild soil here and
there. Artwork by Jamie Reid, featuring an image of a kneeling
Rotten/Lydon shouting into a mic.
[Original Photograph of The Sex Pistols].
[Tulsa], [ca. 1978].
An individual color snapshot photograph on Kodak paper, measuring
approximately 4 3/4" x 3 1/2". Adhesive residue shadow to verso
from removal from perished album. Overall clean. Very good +.
Vintage, (apparently) unpublished photo of the Sex Pistols performing Jan. 12th 1978 at Cain's Ballroom in Tulsa, OK. This
is the second-to-last gig they ever played. Likely taken near
the end of the show: the band has lost the jackets they started
with (often pictured in other photos from this show). The first
non-professional, vernacular image of the band we've handled.
-375-
Beginning in 1976, The Sex Pistols took up Tuesday night residency
at the 100 Club (a venue better known until then for jazz), gigs
that would be pivotal for the band. As Jon Savage has written in
his definitive ENGLAND'S DREAMING: "In the intimate setting of the
100 Club, the group could relax enough to take risks with their
material and their performances. There they began to master their
equipment, using the acoustics of the small club to experiment
with overload, feedback and distortion. Electric amplification
had provided much of the excitement of early Rock'n'Roll: pushing
their equipment to the limit [...] the Sex Pistols twisted their
limited repertoire into a noise as futuristic as their rhetoric"
(177). It was also at these May 1976 100 Club dates that (according to SEX PISTOLS DAY BY DAY) Sid Vicious invented pogo-ing. The
Tuesday night engagements advertised here included supporting
bands Krakatoa (11th), Strange Days (18th), and Dogwatch (25th).
While Reid's more commercial work for the Pistols appears with
some regularity, early and ephemeral promotional items like this
are decidedly more scarce. See Burgess & Parker SATELLITE p. 14
and Reid & Savage, UP THEY RISE p. 49.
-75064
65
69.
VALE, V. (Ed.).
SEARCH AND DESTROY Nos. 1-11 [Complete Run]
[with]: RE/SEARCH 1-3.
San Francisco: 1977-1979 & 1980-1981.
Tabloid on newsprint. All folded once, as issued. Generally very good
or better with some toning and some splitting here and there at folds.
Occasional soil and chipping. Else a set clean and sound overall. Most
issues 16-28pp. Heavily illustrated throughout with B&W photographs.
Complete run of "the most ambitious publication of the entire punk
press" (Berniere & Primois 218). Founded by Vale Hamanaka while working at City Lights Bookstore and originally funded by Ferlinghetti and
Allen Ginsberg, SEARCH & DESTROY was (according to Jello Biafra) "the
greatest underground zine I've ever seen [...] where the definition of
punk rock was much wider" (quoted 219). Named for the Stooge's anthem, SEARCH AND DESTROY remains one of the most important, vibrant,
and influential periodicals to emerge from punk. Includes features,
interviews, photos, and like from all the major (and many minor)
punk figures in both the UK and US: Sex Pistols, The Ramones, Pere
Ubu, Crime, Dead Kennedys, Patti Smith, Screamers, Clash, Throbbing
Gristle, Buzzcocks, Talking Heads, Devo, Weirdos, and Suicide. SEARCH
AND DESTROY also served as a bridge between the punk scene and the
literary/visual artists who both influenced and were influenced by
punk: Ginsberg, Burroughs, Ballard, Acker, John Waters, David Lynch,
Bruce Conner, Russ Meyer, and like. All issues first printings, with
the first issue in its first state (with hand-stamped covers) and #10
and RE/SEARCH 1-3 not the later reprints. Though the zine technically
ceased publication with issue #11, it quickly morphed into RE/SEARCH,
a magazine which ran for three issues in an identical format and with
nearly identical concerns before evolving into a glossy annual. An
uncommonly complete run of this seminal punk zine. [Triggs 46].
-2000-
70.
GROENENBOOM, Roland (Ed.).
SONIC YOUTH etc.: Sensational Fix.
(Cologne): (Walther König), (2010).
Second edition. Square, fat 8vo. Pictorial boards. No jacket, as issued. 720pp. Includes 2 7” records with unreleased tracks. Near fine.
INSCRIBED to music writer and rock critic Greil Marcus by Moore and
Gordon "To Greil, Thanks for the words thru the yrs".
Second edition (stated) of this career overview (originally published
in 2008) from one of the most important and influential rock bands
of the last thirty years. Includes essays by Thurston Moore, Kim Gordon, Lee Ranaldo, Mike Kelley, Richard Hell, Lydia Lunch, Yoko Ono,
and others - plus numerous portraits, record covers, and photos.
Inscribed to that era's most important and influential rock critic;
Marcus was an early champion of Sonic Youth and wrote about them in
his classic "secret history" LIPSTICK TRACES. He also wrote the liner
notes to the reissue of Sonic Youth's album CONFUSION IS SEX.
-75066
67
71.
[Hip Hop]. FULLER, Neely Jr.
THE UNITED INDEPENDENT COMPENSATORY
CODE/SYSTEM/CONCEPT [etc.].
np [Washington D.C.]: By the Author, 1984.
"Revised Edition". 4to. Printed card wraps. Crease to front wrapper
and first few leaves of text, else very good or better. 335pp.
Highly idiosyncratic, verging on obsessional, treatise on the nature,
cause, and cures for racism (which the author calls “white supremacy,” reflecting his view that racism only exists as a dynamic between “White” and “non-White” persons). Among Neely's more eccentric proposals is that homosexuality among non-Whites is the result
of “acute insanity” brought on by the need to “compensate for fear
of the Racist Man and Racist Woman.” He also advocates assassination, which he calls “Maximum-Emergency Compensatory Justice,” as
a justifiable reaction to overt racist acts – provided it is followed
by the immediate suicide of the assassin. Fuller is said to have been
a strong influence on Public Enemy, especially their groundbreaking
1990 album FEAR OF A BLACK PLANET, where this book was officially
cited in advance press releases and in album credits as an “influential inspiration.” Notably scarce in the trade. WorldCat gives 14
locations for this edition, adding two more (probably spurious) for
a 1964 printing.
-75068
poetry
69
72.
LEVY, D.A.
MORE WITHDRAWED OR LESS.
Cleveland: Renegade Press, 1963.
Second edition. 8vo. Original stapled
printed wraps. Very good with mild
soil, rubbing, wear. One of 100 unnumbered copies. pp. [24]. PROVENANCE: Izzy
Young's copy, with his contemporary
ownership notation to verso. Please see
item #4 for more on Young.
Second printing (adding one poem "Dis") of levy's third book, printed
the same year as the original edition
and self-published by his own Renegade
Press. levy bought his first press, a
used letterhead tabletop, in February
1963 and learned to print while working
on this and two other volumes (FRAGMENTS OF A SHATTERED MIRROR and VARIATIONS ON FLIP) in the basement of his aunt and uncle's Cleveland
home. Letter-pressed and issued in matching formats, these marked
the beginning of a career that was arguably the most original to
emerge from the Mimeo Revolution and his standing as a poet, publisher, printer, free speech advocate, artist and cult figure has only
grown in the decades since his death. Scarce. OCLC locates seven
holdings of this edition (and just three of the earlier). One of the
earliest works from this seminal poet and small press publisher, with
exceptional provenance. [Kent and Horvath P-016].
-850-
73.
LEVY, D.A.
BEGINNING OF SUNNY DAWN.
Cleveland: 1968.
4to. Side stapled, illustrated wraps. One of 236 copies.
SIGNED by levy to title page in
year of publication: "d.a. levy
/ Swamp Erie / 1968." Near fine.
One of Levy's final works on Tom
Kryss' GHOSTflower imprint.
Signed just prior to his death,
in November 1968 at age 26.
With cover art by Sandy Webb.
7pp. [Horvath and Taylor B-13,
who note: "Possible that this
book was published by levy"].
74.
CARROLL, Jim.
ORGANIC TRAINS.
np: np [Penny Press?], nd [1967].
8vo. Near fine in original stiff printed stapled wraps. Offset printed.
Toning to spine, as common. Penned price (.50) to upper right corner
of front cover. Else clean, sharp, and sound. Near fine.
Carroll's first book, self-published when he was still in high school.
The beginning of a remarkably varied career. Though better known for
his cult memoir THE BASKETBALL DIARIES and eponymous punk band, poetry was Carroll's most sustained creative endeavor. And this volume
served as his introduction to many of the writers and artists of the
New York scene who would go on to be close friends and collaborators.
Kerouac famously wrote of Carroll, "At 13 years of age [he] writes
better prose than 89% of the novelists working today." A somewhat
bibliographically murky book. Several sources attribute the book to
"Penny Press," but we have been unable to trace this claim to any primary source. Such confusion may be due to the book's scarcity. One of
about 500 copies, but according to Carroll’s official website (citing
the author himself), many were lost by the printer. We've been able
to find only a few at auction or in the trade and OCLC locates just 8
copies. An important debut.
-1500-
-95070
71
77.
75.
SAROYAN, Aram.
COFFEE COFFEE.
New York: 0 to 9, (1967).
4to. Side-stapled wraps. Cover
printed offset, contents mimeographed. Mild soil, rubbing.
Some toning internally, as common. Very good overall.
Saroyan's poetic masterpiece
of minimalism and one of the
seminal works of the Mimeo
Revolution. Published by Vito
Acconci and Bernadette Mayer's press. Increasingly rare.
See: [Clay and Phillips 207-07],
[Aarons and Roth 33-37].
-1000-
76.
PELIEU, Claude.
AUTOMATIC PILOT.
New York: Fuck You Press,
1964.
4to. Side-stapled pictorial
wraps. pp. [ii], [1], 2-37, plus
covers. Cover printed offset,
the remainder mimeographed
rectos only (except rear cover printed verso). Very good
plus. Mild wear and soil. Faint
crease to last quarter or so
of leaves. PROVENANCE: Izzy
Young's copy, with his contemporary ownership inscription to last page: "Israel G.
Young, December 2, 1964, from
Ed Sanders, printed on my mimeograph." Young was close to
Sanders, helping to print several titles from his Fuck You Press, this
title included. Please see item #4 for more on Young.
An excellent association and a superior example of this uncommon
Fuck You Press title, published in association with City Light Books.
Hard to imagine a better copy. [FUG YOU pp. 12-13]. [Clay and Phillips
pp. 166-68].
BERRIGAN, Ted.
THE SONNETS.
[NYC]: Lorenz & Ellen Gude,
1964.
Side-stapled 4to. Cover by Joe
Brainard; offset duplicated. Else
mimeographed throughout. Very
good with toning, mild edge-wear.
Some scuffing to covers. Soil here
and there. Final leaf loose at
two staples, but holding. Lacking
rear cover and terminal blank (as
in many copies, and given specific provenance of this item suspect many were issued this way).
[66] leaves printed rectos only.
PROVENANCE: Izzy Young's copy,
with his contemporary ownership
inscription to last page: "Israel
G. Young, December 1964, from Ed
Sanders." See item #4 this catalogue for more on Young.
Edited by Ron Padgett (who also typed the stencils), this remains the
definitive statement of the Second Generation of the New York School
as well as Berrigan's most influential, popular, and lasting work - a
measure of which can be seen in the fact that it is the only major
American collection of the last fifty years to go through four separate editions, each at different publishers. From an edition of "300
plus an unspecified number of unnumbered copies" (Fischer p. 24),
this is from the unnumbered series, estimated (by Berrigan himself;
again see Fischer) to be about 100.
-1250-
78.
CERAVOLO, Joe.
FITS OF DAWN.
[NYC]: C Press, 1965.
4to. side-stapled wraps. Cover
offset, remainder mimeographed.
Mild soil, wear. First few pages
bound upside down. Very good. [72]
leaves (rectos only), plus covers
(rear blank).
Ceravolo's first book and one of
the more uncommon titles from Berrigan's press. An auspicious debut
from a still under-appreciated New
York School poet. With a cover by
the poet's wife, Rosemary.
-500-
-95072
73
79.
82.
HELICZER, Piero.
& I DREAMT I SHOT ARROWS
IN MY AMAZON BRA.
Brighton: Dead Language Press, (1959).
12mo. Stapled printed self-wraps. Photo-offset printed. Near fine. Minor edgewear. Faint toning. Else clean and sound.
Limited edition, one of 100 unnumbered
copies.
4to. Stapled illustrated wraps, measuring approximately 10.75” x 4.5”. Letterpress. Cover image by
Philip Mechanicus. Mild wear. Near fine.
“A poem in eleven takes,” published by Heliczer’s own
Dead Language Press. The interior notes “an earlier
edition was dittoed by Anselm Hollo.”
First edition of this uncommon early
collection from the noted Language poet.
His fourth book, it was republished in
1981, but the 1979 edition is rare. OCLC
locates just six copies.
-500-
80.
WALDMAN, Anne
and Lewis Warsh.
ON THE WING / HIGHJACKING.
np [NYC]: (Boke Press), (1968).
4to. Side-stapled wraps. Offset duplicated and printed tête-bêche with
onion-skin end-papers. One of 500 unnumbered copies. Very good overall.
INSCRIBED by both Warsh and Waldman to
Izzy Young. Also includes a TLS from
Waldman to Young, approx. 85 words dated May 29th, 1968. In part: “I’m afraid
we might be getting a shack in Maine or
something - The Berrigans have already
left & so things have quieted down a
bit, but St. Marks Place is really getting to our nerves.” See item #4 for more on Young.
Handsome collaboration from Waldman and Warsh, with covers designed
by Joe Brainard, published by Brainard’s press, and with a warm association. Warsh has written of this book: “I like this book [...]
because of Joe’s covers, and because of the format. Anne and I had
just married, and this was his gift” (Schlesinger and Birmingham 2).
[Clay and Phillips 266].
- 750-
81.
BERNSTEIN, Charles.
DISFRUTES.
np: (Peter Ganick), 1979.
BERRIGAN, Ted.
CARRYING A TORCH.
Brooklyn: Clown War, 1980.
Oblong 8vo. Beige stapled wraps. Fine.
Limited edition, one of 26 copies SIGNED
by Berrigan, this the “I” copy.
Chapbook (issued as Clown War 22) from the New York School poet, one
of his last before his untimely death.
-800-
83.
SILLIMAN, Ron.
KETJAK.
np, [ca 1975].
4to. Commercial green plastic-band-bound wrappers. Xerographically
reproduced from typescript. 133pp. Fasteners splayed and loosening
(but still largely sound), minor wear. Else very good. INSCRIBED by
Silliman to poet David Antin and dated 19-IV-75: "Dear Antin, / I just
wanted you to / see what I've been / writing of late / Ron."
Prepublication association of the first part of Silliman’s THE AGE
OF HUTS. Dated 12 June - 17 November 1974 on the final page, the
poem was not published in book form until 1978. KETJAK (named for
a Balinese dance) marked the beginning of what Silliman has called
his "life work," a still-unfinished epic poem spanning four books
and five decades. KETJAK also
marked Silliman's first experiments with "the new sentence,"
a cornerstone aesthetic idea of
the L=A=N=G=U=A=G=E movement.
And with its elaborate system
of repeating sentences and formal constraints, a proto work
of conceptual poetry as well. A
casual side-by-side comparison
notes some minor revisions, but
this version largely follows
the final published version. An
early form of an important book
inscribed to another vanguard
poet. Though Silliman likely
produced some small number of
these for private circulation,
OCLC does not find this edition.
-950-
-75074
75
87.
84.
CORSO, Gregory.
THE VESTAL LADY ON BRATTLE
AND OTHER POEMS.
Cambridge: Richard Brukenfeld, 1955.
8vo. Near fine in original stiff printed stapled
wrappers. Tiny scuff to top of spine. Faint toning
overall. Some discoloration from staples to rear
wrapper. Else uncommonly well preserved. [6]. 35,
[1].
Debut book from the noted Beat poet. From an edition of 500 copies, of which allegedly more than
half were damaged. Usually found in lesser condition. [Wilson A1].
-500DORN, Ed.
THE NEWLY FALLEN.
New York: Totem Press, (1961).
85.
8vo. Very good or better overall in stapled pictorial wraps designed by Fielding Dawson. Touches sunning to edges. Faint rubbing. Else clean and sound.
INSCRIBED by Dorn to Ted Wilentz: "For Ted Wilentz
/ Edward Dorn / New York City / 22/64.”
A close and important association of this early
Dorn title. Wilentz was the owner of the 8th Street
Bookshop and founder of Corinth Books, which in
association with Leroi Jones' Totem Press (the
publisher of this present volume) published Dorn's 1969 collection
HANDS UP! Corinth and Totem's collaboration was long and fruitful,
publishing "many of the era's defining poetry collections" (Diggory
148), such as Ginsberg's EMPTY MIRROR and Kerouac's THE SCRIPTURE OF
THE GOLDEN ETERNITY. Wilentz would later title a biographical essay
“In My Youth I Was a Tireless Reader" after Dorn's poem "In My Youth
I Was a Tireless Dancer.” [Streeter A3].
PINSKY, Robert.
THE SITUATION OF POETRY:
Contemporary Poetry
and Its Traditions.
Princeton University Press,
(1976).
8vo. Maroon cloth. Very good or better in
like jacket. INSCRIBED to half-title page:
"April 15, 1977 / To J.V. Cunningham, with
great / admiration and warm regards. /
Robert Pinksy." With a TLS from the author
laid-in. Jacket, top and outer page edges
lightly foxed. Else sound, clean. 188pp.
Association copy belonging to J.V. Cunningham with an April 15, 1977 TLS from Pinsky discussing his recent
Academy of American Poets award and the appearance of Cunningham's
work in this volume: "I'd like you to have a copy of my recent critical
book. The section on your poem you will recognize from the Chicago
Review. And while the rest of it contains plenty which you will neither admire nor agree with, I have in my twisted way relied implicitly on your definition of form . . . and, on the definition of poetry
as what people mean by poetry, what a man means when he goes to a
bookstore to buy a book of poems as a graduation gift."
-250-
88.
WRIGHT, Charles.
CHINA TRACE.
Middletown, CT: Wesleyan
University Press, (1977).
8vo. Perfect bound pictorial wraps. Some wear, rubbing, soil. Very good overall. INSCRIBED in year of
publication to a fellow poet: “dear ____/ for you /
love from / Lyn / March 1980.”
8vo. Full gray cloth in original illustrated jacket. 65pp.
INSCRIBED on first endpaper by
Wright to Charles Simic: "For
Charlie, / Who continues / to
show me the / way - / from /
Charles / April 1978." SIGNED
again to title page. Trace jacket wear near spine tips, tiny
bit of foxing to outer page edge
and a few interior leaves, else
about fine throughout.
First edition of one of the defining books of the
L=A=N=G=U=A=G=E movement, and one that promises
to be one of the most enduring as well. Uncommon signed.
Warm association of this early
Wright book, inscribed to fellow Pulitzer winner Charles Simic. With
three instances of marginalia in an unknown hand, likely Simic's.
-250-
86.
HEJINIAN, Lyn.
MY LIFE.
Providence, RI: Burning Deck, 1980.
-750-
-35076
77
89.
FAAS, Ekbert.
YOUNG ROBERT DUNCAN:
Portrait of the Poet
As Homosexual in Society.
Santa Barbara: Black Sparrow, 1983.
8vo. Fine with only barest traces of shelfwear. Clean, bright, sharp overall. Limited edition, this number 122 of 125 copies
signed by author and Duncan. Additionally
inscribed by Duncan to poet Carl Rakosi
and his wife: "For Carl and Leah / This
lame-brained German / prosaic account of
my adventures / in Bohemia [slash] and
some country clubs / with love / Robert."
An honest and revealing inscription by the
subject of Faas’ biography and a significant association. Rakosi and Duncan were long-time friends, reading
together and once even embarking on a brief joint tour of sorts in the
late 1970s. A strong association between these two poetic peers, with
an important inscription.
-400-
90.
SUN RA.
SUN RA [Poems].
(Millbrae, CA): (Omni Press), (1989).
8vo. Stapled pictorial wraps. [32pp.]. Fine.
Verse collection from the jazz great, issued by
Peter Hinds’ press, which during the 80s released
a number of similar Ra chapbooks, typically in editions of 2-300 (IMMEASURABLE EQUATION p. 1). Hinds
also published the zine SUN RA RESEARCH. This pamphlet gathers 21 poems (plus a prefatory statement) illustrated with various multi-colored photo
portraits of Ra. OCLC located just one copy of this title (Brown).
-300-
91.
SPAHR, Juliana.
NUCLEAR.
Buffalo: Leave Books, [1992].
8vo. Illustrated, sewn card wraps. [15]pp. Fine.
The first published collection of poetry from the
poet, critic, editor, and Mills College English
professor. Spahr was awarded the prestigious O.B.
Hardison Jr. Prize by The Folger Library. Uncommon. OCLC locates eight copies.
Mags
-20078
79
92.
MYERS, John Bernard (Ed.).
SEMI-COLON Vol. 2 No. 1.
New York: Tibor De Nagy, nd [ca.
1954].
4to. Single sheet folded once to make four
pages. Near fine.
Fifth issue of this “poets’ newsletter”
edited by Myers and published by his gallery, Tibor De Nagy. Tibor De Nagy was in
many ways ground zero not just for the
abstract expressionist movement but for
the first generation New York School as well. The gallery published
early books from O’Hara, Ashbery, Koch, Schuyler, and Guest and encouraged collaborations between them and the painters the gallery
represented. SEMI-COLON, which ran ten issues, served as something
of a semi-private mode of communication between these New York
writers, not unlike the way FLOATING BEAR would a decade later. The
dates of these newsletters are somewhat in dispute. Clay and Phillips date the first issue to 1950, but Tibor De Nagy was not founded
until the following year. O’Hara’s and Ashbery’s bibliographers both
suggest “[1955?]” for Vol. 1, No. 1. Most likely correct, however, are
the dates 1953-ca. 1956 provided by the inventory and catalogue of
the Myers’ archive (on deposit at the Smithsonian Museum of American
Art) and our date follows their lead. Issues are scarce, and this is
a particularly strong issue, featuring poems and collaborations from
Kenneth Koch and Frank O’Hara. [Smith C57-61].
-400-
93.
PADGETT, Ron, Joe Brainard (Eds.).
WHITE DOVE REVIEW - Vol. 1 No. 3.
Tulsa: White Dove Press, 1959.
8vo. Stapled pictorial wraps. Very good or better with some rubbing to wrappers. Mild toning,
soil. Previous owner's signature crossed out
to inside of front cover. Else clean and sound.
SIGNED by editor Ron Padgett to first page.
The third issue of one of the more remarkable
little magazines of the period. THE WHITE DOVE
REVIEW was published while the editors were
still in high school, yet this issue bears out
the publishers' precociousness: Ginsberg, Orlovsky, Kerouac, and
Judson Crews all contribute poems to this issue. Arguably the strongest issue of the run. "Editorially the predecessor to all the second-generation New York School little magazines" (Clay and Phillips
159). [Morgan C113]. [Charters C60].
94.
RAWORTH, Tom (Ed.).
OUTBURST 1 & 2 [Complete Run]
[with]: OUTBURST: The Minicab War.
London: Matrix, (1961-63).
8vo. stapled pictorial wraps all. Mild soil
to edges issues one and two. Else near fine
overall. First issue includes the rare errata, as well as a small promotional flyer
for the Loujon Press loosely laid in.
Complete run of this short-lived but important little mag edited and printed by
Raworth with type inherited from Piero
Heliczer’s Dead Language Press. Exhibiting much of the Dead Language aesthetic,
OUTBURST’s quirky layout and multi-color
approach was born of necessity: both limited time and type meant printing was done
just a couple of pages at a time, and with
whatever ink might be leftover on a press.
The result is one of the more charming
productions of the Mimeo Revolution and
the contributor list is stronger than the
magazine’s modest profile might suggest:
Heliczer, Robert Creeley, Denise Levertov,
Edward Dorn, Paul Klee, Paul Blackburn, Edward Steichen, Phillip Whalen, LeRoi Jones,
Fielding Dawson, Allen Ginsberg, Edward
Dorn, Larry Eigner, and Gregory Corso all
appear throughout OUTBURST’s brief run.
And it was Corso (along with Raworth and
Hollo) who was responsible for MINICAB WAR,
produced between issues one and two as a
kind of supplement to the regular issues.
A pseudonymous collection of fictitious
interviews “with” T. S. Eliot, John Betjeman, U.K. Prime Minister Harold MacMillan, and others on the subject of Minicabs
vs. Taxicabs, it prefigures later hoaxes
such as Berrigan’s John Cage “interview.”
Individual issues are uncommon. Scarce as
a run, especially this complete.
-750-
-45080
81
95.
98.
SANDERS, Ed (Ed.).
FUCK YOU/ A Magazine of the
Arts Number 3.
(NYC): (Fuck You Press),
(1962).
4to. Side-stapled
Near fine. [20]pp.
mimeo
--.
Number 5, Volume 3
4to. Side-stapled mimeo wraps.
Minor edge-wear. Faint crease to
front cover. Else near fine.
wraps.
May 1963 of Sander's notorious little mag printed "At a Secret Location on the Lower East Side." Contributors include Peter Orlovsky,
Carol Berge, Ray Bremser, Joel Oppenheimer, Jackson Mac Low, etc.
Third issue (June 1962) of Sanders’ legendary journal of the Mimeo Revolution. Early issues are
scarce. [Clay and Phillips pp. 16668]. [Sanders FUG YOU p. 17].
-600-
-900-
96.
—.
Number 5, Volume 4.
nd [ca. late 1963].
4to. side-stapled mimeo wraps.
Mild wear, toning. Near fine.
"We must fuck one another or die!"
"Grope for Peace!" Contributors
include: Carol Berge, Michael McClure, Joel Oppenheimer, Philip
Whalen, et al.
-500-
97.
--.
Number 5, Volume 6.
(Apr. 1964).
99.
—.
Number 5, Volume 5
(Dec. 1963).
Trace wear else uncommonly bright,
sharp. A fine copy. [45]pp. printed recto only, except final leaf
printed recto only.
Contributors include:
Kupferberg,
Orlovsky,
Huncke, etc.
Ginsberg,
Wakoski,
-750-
100.
—.
Number 5, Volume 7
(1964).
Very good with mild edge-wear and
some moderate rubbing, soil.
Mild soil, edge-wear. Very good +.
SIGNED by Sanders to front cover.
Strong issue of Sanders' infamous
and essential mimeo. Contributors include Ginsberg, O'Hara, Orlovsky, Di Prima, and others.
Cover by Robert LaVigne. Mailer
contributes “The Executioner’s
Song,” Olson from the Maximus Letters.
-500-
-500-
82
83
101.
--.
ED SANDERS’ CATALOGUE #2
New York: Ed Sanders [Fuck You
Press], 1964.
4to. Mimeo wraps. Near fine with mild
wear and penned note to one blank verso.
[19]pp. on as many leaves, printed verso
only. PROVENANCE: Izzy Young’s copy, with
his contemporary ownership inscriptions
to last page: “Israel G. Young, 11/14/64
at poetry reading benefit for YOWL & INTREPID, from Ed Sanders.” Please see
item #4 this catalogue for more on Young.
Issued by Sanders, who as an extension of his editing duties and running of his Peace Eye bookshop also dealt in “books, rare magazines,
poetry, manuscripts, broadsides, relics, instruments, tapes, and other literary ejaculata.” Essentially, a mimeo rare book catalog with
signed items, letters, and a number of unique items (including the archives for THE WHITE DOVE REVIEW), all pitched with the usual Sanders’
aplomb. Given the particularly ephemeral nature of these catalogues,
they are quite scarce, especially with so close an association. [FUG
YOU 86-7]. [Clay and Phillips pp. 166-68].
-650-
102.
SANDERS, Ed,
Peter Orlovsky,
et al. (Eds.).
MARIJUANA NEWSLETTER,
Nos. 1 & 2.
(New York): LEMAR
[Fuck You Press], 1965.
4tos.
Side-stapled
mimeo
wraps. Issue one near fine
with small stain to fore-edge,
mild wear. Issue two good, with some damping and staining. Front
wrapper nearly detached. PROVENANCE: Izzy Young's copy, with his contemporary ownership inscriptions to last page of first issue: "Israel
G. Young, 2/4/65, from Ed Sanders, printed on my mimeograph." See
item #4 this catalogue for more on Young.
30 Jan. and 15 March 1965 issues (all published) of this early organization for the reform of marijuana laws. Printed by Sander's FU
Press, THE MARIJUANA NEWSLETTER promised to "print position papers,
medical testimonies & general information about the campaign to
legalize marijuana [...] We shall print the data. We have the facts
about marijuana, the gentle benevolent herb.” A rare publication with
exceptional provenance and association. [FUG YOU pp. 121-5].
-175084
103.
[GINSBERG, Allen].
COLUMBIA REVIEW May-June 1948 (Vol. 28, No. 4).
New York: Columbia University,
1948.
First edition. 8vo. Original stapled wraps.
Very good with rubbing, toning to covers.
Edge-wear and some creasing. Small tear to
cover edge. This copy also contains several
small corrections in Ginsberg’s hand to his
contribution. PROVENANCE: Estate of noted
Shakespeare scholar Paul Bertram, who was
a life-long friend of Ginsberg.
Includes Allen Ginsberg’s early poem “Darkar Duldrums,” a love poem to Neal Cassady
that grew out of Ginsberg’s 1947 voyage aboard the SS John Blair,
where the poet worked as the ship’s utility man. This poem shared the
Boar’s Head First Poetry Prize (with John Hollander) and was in many
ways Ginsberg’s most accomplished poem to date. It was eventually
included in Ginsberg’s COLLECTED POEMS (p. 760) and the corrections
herein largely follow that version. Ginsberg’s name also appears on
the masthead of this issue (“Allen Ginsburg”). An early and uncommon
appearance from Ginsberg’s Columbia days, from the library of a close
friend, with corrections in the poet’s hand. [Morgan C27].
-250-
104.
SPICER, Jack (Ed.).
J [MAGAZINE] No. 5.
[San Francisco]:
[December, 1959].
4to. Top corner-stapled wraps with
hand-painted gilt-gold border. Mimeographed throughout. Cover design
Fran Herndon. [17]pp. (including
cover) printed rectos only. Near
fine with only faint staining to
lower corner, not effecting any text
and very unobtrusive. Else bright,
clear, and sound.
"In many ways, the most beautiful
of mimeo magazines" (Clay and Phillips 59) and the last issue edited
by Spicer (though it hobbled on for
three more issues). This issue includes: Richard Brautigan ("1942"),
Larry Eigner ("Front"), Robert Duncan ("The Song of the River to Its
Shores"), and Spicer - both under his own name ("Fifth Elegy") and
under pseudonym. One of the more elusive of the major mimeos, Spicer
was reluctant to circulate copies outside of the Bay area.
-50085
106.
GREEN, Jack.
newspaper #9, #15, #16, and #17.
New York: Jack Green, nd [ca. 1960].
105.
SAXON, Dan
(Editor).
POETS AT LE METRO
- Volume XV
July 1964.
New York: 1964.
Tall 4tos. Top-stapled legal-sized mimeo. Toning. Issue #9 brittle.
Folded in half with some splitting at the fold. First page separated
from staple. Bit of chipping at edges here and there. About good. Remainder very good or better.
One of the more idiosyncratic and unusual journals of the Mimeo Revolution, NEWSPAPER published roughly 20 issues (including supplements)
from 1957-65. Remembered today for almost single-handedly establishing the reputation of William Gaddis' THE RECOGNITIONS through Green's
devastating deconstruction of the novel's negative reviews (originally published in Newspaper 12-14, reprinted as FIRE THE BASTARDS in
1992), as well as (most infamously) his 1962 full-page ad in the VILLAGE VOICE extolling the work's virtues. "[P]art conceptual art, part
political
tract,
and part 'zine
[...] 'Green' [a
pseudonym] used
his
underground
tabloid for cultural commentary
and
deliciously satirical [...]
assaults" (Clay &
Phillips p. 77).
A fragile production of which not
many
survived.
Individual issues
are scarce, runs
of any kind rare.
-1500-
4to. Side-stapled stiff blue wraps. Spirit duplicated wraps and interior. [24]pp. to 12 leaves printed recto and verso (plus front and rear
covers). Light wear to edges, touches rubbing. Damp-stain to outer
edge of front cover only, not effecting interior. Good only, but despite flaws complete and sound. SIGNED by contributor Szabo (Bill) to
upper corner of front cover. PROVENANCE: Izzy Young’s copy, with his
contemporary notation to verso: “Israel G. Young, Nov, 22, 1965, from
Ed Sanders.” See item #4 this catalogue for more on Young.
One of the more important and unusual publications to emerge from
the Mimeo Revolution, POETS AT LE METRO (and its early predecessor
POEMS COLLECTED AT LE DEUX MEGOTS) is almost singular in its innovative use of duplicating technology. Editor Dan Saxon distributed
Ditto (spirit) masters at the Cafe Le Metro’s regular poetry readings
on NYC’s Lower East Side. Saxon then ran the issues off from the masters, which reproduced the holograph of each of the poets themselves.
These were compiled and handed out at the subsequent reading. Though
a handful were sent for deposit at a few select libraries, and another
small handful reserved for bookstore sales (most prominently at Robert Wilson’s Phoenix Book Shop), most copies were privately distributed among the contributors and participants. And with runs typically
75 copies or fewer, copies are now quite rare, especially with such
exceptional provenance and association. Contributors to this issue
include: Allen Ginsberg, George Montgomery, Tuli Kupferberg, Jackson
Mac Low, Nancy Ellison, Allen DeLoach, Ed Sanders, Paul Blackburn,
and others.
-40086
87
107.
BAUM, Timothy (ed.).
NADADA Nos. 1-2.
New York: (1964-1965).
4tos. Illustrated stapled
wraps. Mild handling wear
to each. Small area of
staining to front of first
issue. Very good.
The complete two-issue
run of this neo-Dada literary magazine of which Gerard Malanga was an associate editor. Issue one devoted to contemporary American poets with
a frontispiece by Andy Warhol and contributions from Allen Ginsberg,
Malanga, Frank O'Hara, Ted Berrigan, and more. Issue two features
Tristan Tzara's complete three-act Dadaist play, "The Gas Heart,"
along with contributions from Aram Saroyan, Ron Padgett, and a frontispiece illustration by Jean (Hans) Arp. Uncommon complete. [Allen
ARTISTS' MAGAZINES 278].
-500-
108.
[COOPER, Dennis].
MALANGA, Gerard (Ed.).
LITTLE CAESAR #9.
(Los Angeles):
(Little Caesar Press), 1979.
8vo. Perfect bound shiny pictorial wraps.
Very good with slight lean, some creasing to
spine, and tiny chip at head. Else clean and
sound throughout. Very good.
Monumental (400+ pp.) issue of Dennis Cooper’s late-70s punk-inspired lit mag. Of this
issue, Cooper himself has written: “It took
me a year and a half to put it together and
the high costs involved ultimately caused
the magazine’s demise a couple of years later. Essentially, Malanga had taken a shine to Little Caesar and was
passing along a lot of cool stuff for me to publish, so when he asked
if he could guest-edit an issue, I said sure [...] and even though
it bankrupted the magazine, it was a pretty amazing issue.” With
perhaps the strongest contributions in the run (Creeley, Burroughs,
Gysin, MacLise, Sterling Morrison, Ginsberg, Mekas, La Monte Young),
it more importantly (and unfortunately) remains the best bibliographic resource available on Piero Heliczer.
109.
COOLIDGE, Clark and
George [Michael] PALMER (Eds.).
JOGLARS Nos. 1-3 [Complete Run].
Cambridge / Providence: Joglars, (1964-1966).
Pictorial stapled wraps, 8vos. and 4to. Each INSCRIBED by editor
Palmer to interior of front wrap of Nos. 1-2 and to contents page of
No. 3. No. 1: “This is the only signed / copy of Joglars that exists /
or almost exists. / Michael Palmer.” No. 2: “You would show up with
/ this - / Michael Palmer.” No. 3: “This is all Clark’s - I left the
country. / Michael Palmer.” Toning, handling wear. Very good.
A complete run of Coolidge and Palmer’s influential poetry journal,
Each issue inscribed by Palmer. With appearances by Piero Heliczer,
Jackson Mac Low, John Cage, Robert Kelly, Aram Saroyan, and others. “The first push toward ‘Joglars’ came in the Summer of 1963
at Vancouver in Warren Tallman’s kitchen. Of the journal’s founding,
Coolidge writes: ‘Charles Olson was telling a bunch of young poets
how we ought to start a magazine to publish poets’ correspondence,
specifically that between Charles and Bob Creeley. [...] And now it
strikes me as odd that we didn’t publish Olson in the magazine. Or
Creeley. A life of its own.’” An uncommon run; the last issue is especially elusive, as perhaps the inscription in our copy suggests. [Clay
and Phillips pp. 237].
-500-
-50088
89
AARONS, Phil and Andrew Roth.
IN NUMBERS.
PPP Editions, 2009.
ALLEN, Gwen. ARTISTS’ MAGAZINES.
M.I.T. Press, 2011.
BERNIERE, Vincent & Mariel Primois. PUNK PRESS. Abrams, 2013.
BLOCK, Ursula & Michael Glasmeier.
BROKEN MUSIC: Artists’ Recordings.
Berliner Kunstlerprogramm, 1989.
BURGESS, Paul and Alan Parker.
SATELLITE SEX PISTOLS: A Book
of Memorabilia [etc.]. Abstract
Sounds Publishing, 1999.
CLAY, Steven & Rodney Phillips. A
SECRET LOCATION ON THE LOWER EAST
SIDE. Granary, 1998.
DUNCAN, Michael & Kristine
McKenna. SEMINA CULTURE.
DAP, 2015.
110.
ANDREWS, Bruce and Charles Bernstein (Editors).
L=A=N=G=U=A=G=E [Complete With Supplements].
New York, (1978-1981).
Large 8vos. Printed stapled self-wrappers. Offset printed. Generally
very good overall. Toning to spine. Some occasional contemporary
notes throughout, all related to contents of the various issues. Issue
six with stain to front cover. Else clean and sound throughout.
Arguably the most important document to emerge from the
L=A=N=G=U=A=G=E movement, Andrews and Bernstein's journal published some 16 issues (13 issues proper, plus various supplements)
from 1978 through 1981. With its austere production and design (by
Bernstein's wife Susan Laufer/Bee), in many ways the clearest expression of the aesthetic, embodying the moment the movement fully
matured. Contributors include: Lyn Hejinian, Ray DiPalma, Larry Eigner, Bob Perelman, Ron Silliman, Kathy Acker, Rae Armantrout, Jackson
Mac Low, Bernadette Mayer, Rosemary Waldrop, Douglas Messerli, Dick
Higgins, Clark Coolidge, Jerome Rothenberg, Barrett Watten, Susan
Howe, among many others. With fewer than 200 copies printed for each
of the earliest issues, complete runs are quite uncommon, this being
only the second we've encountered.
-157590
MAFFEI, Giorgio. ARTE POVERA 19661980. Edizio Corraini, 2007.
--. ALLAN KAPROW: A Bibliography.
Bookspace, 2011.
MARÉCHAL, Paul. ANDY WARHOL: The
Commissioned Posters.
Prestel, 2014
MAYNARD, Joe & Barry Miles. WILLIAM S. BURROUGHS: A Bibliography
1953-73. Univ. Press of Virginia,
1978.
MORGAN, Bill. THE WORKS OF ALLEN
GINSBERG. Greenwood, 1995.
SANDERS, Ed. FUG YOU: An Informal
History of the Peace Eye
Bookstore [etc.]. De Capo, 2011.
SCHLESINGER, Kyle & Jed Birmingham. “LEWIS WARSH: An Anecodtal
Bibliography” in MIMEO MIMEO #7.
Cuneiform, 2012.
FISHER, Aaron. TED BERRIGAN: An Annotated Checklist. Granary, 1998.
SCHRENK, Klaus & Armin Zweite
(Eds.). READING ANDY WARHOL.
Hatje Cantz, 2013.
FRANK, Peter. SOMETHING ELSE
PRESS: An Annotated Bibliography.
McPherson & Company, 1983.
SCHACTER, Rafael. WORLD ATLAS OF
STREET ART & GRAFFITI.
Yale, 2013.
HENDRICKS, Geoffrey. CRITICAL
MASS: Happenings, Fluxus, Performance [etc.]. Rutgers, 2003.
SMITH, Alexander Jr.
FRANK O’HARA: A Comprehensive Bibliography. Garland, 1979.
HENDRICKS, Jon. FLUXUS CODEX.
Abrams, 1988.
SOHM, H. (Ed.). HAPPENING & FLUXUS.
Kunstverin, 1970.
HORVATH, Alan and Kent Taylor.
LOOKING FOR d.a. levy (Random
Sightings). Kirpan Press, 2008.
Streeter, David. A BIBLIOGRAPHY OF
ED DORN. Phoenix, 1973.
[HOWARD, Peter]. WILLIAM FAULKNER:
The Carl Petersen Collection.
Serendipity, 1991.
JERNIGAN, Michael. DETROIT ARTISTS WORKSHOP PRESS. np, 2009.
KUGELBERG, Johan (Ed.). SEMINA:
1955-1964. Boo-Hooray, 2013.
91
TURCOTTE, Bryan R. & Christoper T.
Miller. FUCKED UP + PHOTOCOPIED.
Gingko, 2015
TRIGGS, Teal. FANZINES: The DIY
Revolution. Chronicle, 2010.
WOLF, James L. & Hartmut Geerken.
SUN RA: THE IMMEASURABLE EQUATION.
Waitawhile, 2005.
[works consulted]:
DIGGORY, Terence. ENCYCLOPEDIA OF
THE NEW YORK SCHOOL POETS. Facts
on File, 2009
LEHMAN, David. THE LAST AVANT GARDE. Doubleday, 1998.
92

catalogue #10 - Brian Cassidy, Bookseller

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