PDF - Division Leap

Transcription

PDF - Division Leap

urstS
0. 40. 42.
Leap 20
, No. 2
2015
hids
9.
20
Neon
Abandon
Feral
20. 23. 26. 27. 30.
1. – 42.
1. – 42.
Equinox
Utopia
Roar
27.
24. 25. 28. 36.
12. 15. 26.
Leather
Robots
Nails
17.
8.
5.
20
9.
17.
6.
7.
31.
3.
23.
18.
30.
2.
20.
10.
27.
14.
29.
41.
37.
32.
Welcome to Catalog 20, the second in a new series of catalogs we’ll be
issuing with greater regularity in the coming year.
Division Leap will be exhibiting at the Room & Book Fair May 22–24
at the ICA in London.
Back in the states, we’ll also be tabling at the Rare Books & Manuscripts
Conference in Oakland June 23–24 as part of the ABAA Bookseller
Showcase.
At other times we’re likely to be mounting an exhibition at a motel room
near you, as soon as we find our car, which was stolen late last night with
several hundred zines in it. So, if you see an Battered Black Honda CRV
with an “Impeach Nixon” bumper sticker that is full of zines – let us know.
For updates and new arrivals, go to divisionleap.com.
In haste, more soon.
Thanks. Adam, Kate, and Jack.
Fredrik and Jack making stacks
divisionleap.tumblr.com
17 SE Third Ave., #502
Portland, OR 97214
(503) 206-7291
[email protected]
divisionleap.com
Member ABAA, ILAB, ARLIS
instagram.com/divisionleap
All materials subject to prior sale. Please email or call to reserve. All materials considered to be in very good condition or better,
with exceptions noted; please feel free to contact us for a more detailed condition report.
Division Leap catalog 20:
1. M. C. Richards
Trial Sheets for Poems
Neon, Abandon, Feral.
2. Lisa Carver
Archive
Lisa Carver (b. 1968) was the editor of
Rollerderby, arguably the most influential
publication of the zine explosion of the
90’s. Over the course of 25 anarchic,
confessional, provocative and beautiful
issues Carver documented her own
open approach towards sexuality and
challenged any number of taboos.
(Your cataloguer remembers reading
Rollerderby is a teen and still being a
little bit afraid that God would strike
him dead from it). Through her confrontational and open-ended interviews
– themselves a documentation of a
kind of performance art – Rollerderby
introduced to a wider audience the work
of artists such as Vaginal Davis, Dame
Darcy, Cindy Dall, and many others.
Carver was also a member of the performance groups Psycodrama and Suckdog.
Diaries
Futura and letterpress
Black Mountain, NC: Black Mountain
Print Shop, 1947. Loose leaves, letterpress
printed in Futura on various types and
dimensions of paper. Provenance: from
Serendipity Books, with research notes
and correspondence by Peter Howard
laid in.
with duplicate sheets, some on different
colors of paper, and in one case typeset
differently. There is also 9 x 7" sheet
printed on onionskin paper on recto
only, perhaps in similar format to that
of the finished, bound book, which was
approximately 9" tall.
Mary Caroline Richards, a graduate
of Reed College in Portland, Oregon,
joined the Black Mountain College
Faculty in 1945, and was an important
member of the faculty during its heyday,
until she moved to Greenwich Village
in the early 1950’s with David Tudor.
She later helped form the commune
known as The Land, where she became
an innovator in ceramics – the work for
which she is best known – and developed
theories that would inform her landmark
1964 book Centering in Pottery, Poetry
and the Person.
Finally, there are also three folded sheets,
5 ½" tall, which are printed on both
recto and verso on watermarked paper
and folded once into booklet form.
This section prints six poems, only two
of which are present in Poems; of the
remaining four poems, we find two that
are included in Imagine Inventing
Yellow: New and Selected Poems (1991),
but with different line breaks. The
remaining two poems are not included
in Imagine Inventing Yellow.
We believe these to be trial sheets for
M. C. Richard’s first book, Poems, which
was handset and printed by the author
in an edition of 50 copies in 1947 at
Black Mountain – one of the earliest,
and rarest Black Mountain College Print
Shop publications. Most of the leaves
(40) are printed on different colors of colored paper stock, similar to construction
paper, all printed on the recto only,
All of the text of the finished book is
represented, but some of the sheets differ – for example, one sheet prints the
same couplet twice on the same sheet,
while another prints it once. Given the
variance of the sheets and the inclusion
of poems which aren’t present in the text
of the published book, we believe these
to be trial sheets rather than proof sheets,
perhaps made as Richards was testing
out the appearance and look of the pages,
and deciding what poems to include in
the final version.
The sheets are accompanied by faxes,
notes and correspondence between Peter
Howard of Serendipity Books and others,
collating the sheets and attempting to
find out what these sheets are. Howard
states that he believes them to be proof
sheets or a different format. Peter’s correspondence also notes also state that one
page of the finished book is not present
here, which begins with “walking over
pulverized mariners … “ (which Howard
refers to as p. 16), but the text is present –
because of the larger sheet size found
here, that section of the text is present at
the foot of the previous leaf.
The confessional style of Rollerderby
also spills into Carver’s non-zine writing, which includes the memoir Drugs
Are Nice: a Post-Punk memoir, and her
fictionalized diaries of her sex life for the
website Salon (much of which is related
to the diaries included in this archive).
Flyers and notebooks
An artifact that illuminates the artistic
process of the search for form and
exemplifies the experimental approach
of Black Mountain College at the time.
OCLC locates three holdings, two in
8vo format, and a third, at Stanford,
printed on 8 ½ x 11" sheets such as the
majority of these sheets.
Various places and dates. One
Macintosh laptop, nine diaries, photos,
negatives, correspondence, and press
clippings, about 1 cubic foot.
A couple of years ago – in what became
a sort of performance itself, Lisa began
to auction her diaries and her laptop on
Ebay, and annotating the contents to
varying degrees on each auction – this
despite the fact that we’d previously offered to help her place it with an institution pro bono. Over the course of several
months we had no choice but to bid on
and win the items one by one.
The remaining material in the present
archive, including photographs and
correspondence, was acquired directly
from the artist following the auctions.
The correspondence includes letters
from Bill Callahan of Smog and Boyd
Rice, as well as material documenting
the workings of Rollerderby and her
previous, largely unknown fanzine Dirt.
The laptop has been dormant for many
years, but according to Carver is in
working order. In her own words,
“I believe this is from October 2006.
It is sluggish because I am a luddite and
I let my friend put all these things on it
like Toaster or Skype or Word or anything,
and then I don’t use it, I don’t do Cookies
or whatever you’re supposed to do to help
out your machines. I just use it like a
typewriter and for storing pictures and
stuff until it starts giving me a hard time
and then I buy a new one. I know. I am
the worst kind of American there is. I got
a new laptop in 2009 and just kept this
one as a backup and for storage. The
battery got too hot (I had the brightness
too high and I was leaving it on all the
time and I’m going to admit to you I was
playing stupid word games on it all night
long and I burnt it up and I didn’t
replace it, I just keep it plugged in.”
We’ve not tried to turn it on, hoping to
place it with an institution that has the
capability to transfer it and store it in a
more secure setting.
A more complete list of the materials is
available upon request, including copies
of the email correspondence between
your cataloguer and Carver.
Sold
Laptop
Sheets slightly brittle, with a couple
of wormholes to the margin of several
sheets, else very good.
$2500
Photographs and negatives
6
Drawings, etc.
7
3. Sheri Martinelli
Abandon All Love Ye
Who Enter Here
4. John Cage
Amores (To Rue Shaw)
Np: nd. Folio, 11 x 15", [14] pp, photostatically reproduced score, printed on
pages which have been glued together by
hand, and saddle-stapled in yellow card
wraps. Provenance: from the estate of
Lou Harrison via the trade.
A mysterious production of this early
prepared piano piece, from the library
of a close collaborator of Cage. The piece
was first composed in 1943, and
remained commercially unpublished
until 1960. It was one of Cage’s earliest
pieces to use his technique of rhythmic
proportion. This example is reproduced
in a large format, with pages glued
together by hand, with no publication
information or dates. Given that this
Front
Np: nd. 12 x 13" plywood square,
framed at margins with strips of wood
nailed together. With drawing and
inscription at verso.
A beautiful artifact and drawing of
Sherri Martinelli’s career as a painter.
The recto is slathered thickly with oil
paint in a variety of colors. The verso
of the plywood features a drawing of a
sorrowful figure, which is titled in ink
in Martinelli’s hand “Abandon All Love
Ye Who Enter Here.” The wood is darkened or stained at margins, but preserves
an oval halo of bright wood framing
the figure. In the darkness around the
margins Martinelli has also written
“My San Francisco Paint Tray” and
signed it with her initials; additional
phrases are carefully engraved, into the
wood, including a number of flowers, a
drawing of the Eye of Horus, the word
appears to have been reproduced by some
photostat like process, we can’t help but
think, though we cannot determine
for sure, that this may be an early copy,
perhaps unique, given to a fellow traveller. We have compared it bar by bar with
the eventually commercially published
score, and it appears to be similar in
every respect with the published version,
but nonetheless a previously unknown
version, and perhaps the first printed
appearance of a key work.
Wraps creased, age-toned and fragile,
with a ½" chip missing from lower front
tip, still very good.
$1500
Back
ISIS, and other words beneath which are
illegible to this eye. The tray is inscribed
to Doug Blazek “in trust”.
Martinelli was one of the most enigmatic artists of the 20th century, and
an often unacknowledged muse for
many of its famous works. You could
make a good case that she is the most
famous unknown roman a clef figure in
20th century literature, as Martinelli,
or characters inspired by her appear
in important roles in works as distinct
as Anais Nin’s Diaries, William Gaddis’ The Recognitions (the character
Esme), H. D.’s End of Torment, Anatole
Broyard’s Kafka was the Rage (as
Sheri Donatti), as Lady Carey in Larry
McMurtry’s Dead Man’s Walk, in Ezra
Pound’s Cantos, and we found her last
night re-reading the late pages of David
Markson’s Reader’s Block – a paragraph
that is only the unadorned statement
of her real name. She also appeared in
a Maya Deren’s Ritual in Transfigured
Time, and modeled for Vogue. One
of the most enigmatic aspects of her
fictional performances is that these
characters, in literature, have sometimes
wildly different and sometimes contradictory characteristics, in appearance
and behavior – her true character is only
mystified by these portrayals.
Front cover
Title page
Pound wrote the foreword to her first
and only monograph, and despite the
fact that her art was admired and
collected by e.e. Cummings and Rod
Steiger, her work is largely unknown
today. An enigmatic artifact.
Sold
Score
8
9
6. Ivor Darregg
Collection of Issues of
The Xenharmonic Review
and Related Publications
and Ephemera
Ivor Darreg, born in Portland under the
name Kenneth Vincent Gerard O’Hara
in 1917, is one of the most important, if
largely unknown figures in experimental
and electronic music. An innovator
and theorist in experimental intonation,
he was also an accomplished inventor of
instruments, which at one point landed
him in the pages of Life Magazine.
He was also a friend and sometimes
collaborator with musicians as diverse
as John Cage, John H. Chalmers,
Erv Wilson, and Joel Mandelbaum.
He is best known for his newsletter
the Xenharmonic Review, which
eventually became the Xenharmonic
Alliance – one of the antecedents of
the Mills College internet tuning list.
issue includes his article on New Moods,
on experimental tuning and mood,
which is perhaps his best known piece –
and fifteen other publications and posters,
including leaflets and publications, not
just about music theory, but also about
robotics, transportation, pedestrianism,
and linguistics.
The present collection includes
issue numbers 3, 4, 5 and 7 of the
Xenharmonic Review – the latter
Sold
Rare beyond dispute – this gathering
is the only appearance of most of these
publications we’ve seen or handled.
Despite Darreg’s place in the history of
experimental music, OCLC locates no
holdings of the Xenharmonic Bulletin
or any of these publications save for the
Numaudo System.
An itemized list is available by request.
Nails
5. Ezra Mark
Bruxist Temorage
Seattle: Vortext, nd [c. 1990’s?].
Artist’s cassette tape multiple, housed
in a cardboard box, with two title
labels and a booklet.
A beautiful multiple accompanied by
a booklet with quotes by Brion Gysin,
Robert Smithson, John Cage, and
Isidore Isou. Ezra Mark is the proprietor
of the Vortext Press, and is a member
of the Subtext Collective, which was
the primary experimental poetry and
performance series in Seattle during
the latter half of the 90’s.
Because of the construction, the
booklets and labels and interior of the
cardboard box are all pierced with nail
holes, as it should be; the inner label
has become detached, and there is some
glue residue to the inner flap and the
exterior of the box (perhaps indicating
that another title label is missing.)
$150
“Noose-paper”
10
“Journeys”
11
7. Johnny Morton
Untitled
[Cleveland], nd [c. 1975]. 8 ½ x 11" sheet
of notebook paper, silkscreened in blue
from a drawing. Unsigned and undated.
An original silkscreen from a drawing
by John Morton, made while he was a
member of the original American punk
band – the electric eels. These are similar
to the silkscreened swastika posters
which were made for the electric eels’
First Extermination Music Night,
and which were also silkscreened on
notebook paper.
The medium of silkscreen does great
justice to Morton’s unique drawings,
which are like no other visual work we
have ever seen. They are simple and
often of banal subjects, here including
long division, a glass of water, a stick
figure, or a field of x’s, which initially
would seem to have little to do with
the aggressive approach of the music
of the eels, but in some subtle way
Morton aptly teases out a sense of horror
and whimsy about these simple objects
which places them on a similar continuum of relentless exploration. Morton’s
early visual work has been criminally
neglected. For more on the silkscreens,
see our Art Terrorism In Ohio catalog,
no. 8 – a PDF is hosted at the Kent State
University library blog.
8. Johnny Morton
Untitled
Another one.
$750
$750
Man
Robot
12
13
10. Keith Haring
Keith Haring
Designed Poster for
the Poetry Project
New York: 1981. 11 x 17" sheet, offset
printed in b/w on white paper. Folded
twice, some minor creasing and a couple
of short nicks to extremities; very good.
Original poster designed by Keith
Haring for events held at St. Mark’s
Poetry Project in May of 1981. The
poster is illustrated after drawings of
Haring’s Radiant Baby, and the events
are reproduced from his holograph.
Rare. Not included in his Catalogue
Raisonne of poster work, and predating
all work listed there, as well as his first
one man show in the following year.
Furthermore, an important link between
Haring and the New York School. Sold
3.5 x 2"
9. Cleveland Punk
Original Business
Card for the Black
Orchid Society
Cleveland: Black Orchid Society, nd.
Artists’ multiple as business card,
3 ½ x 2" sheet of card stock printed
in raised black lettering on white card
stock. An original business card for
the enterprise run by Peter Laughner
and Charlotte Pressler, for the musical
activities of Peter Laughner and Pere
Ubu. In the upper right hand corner it
bears a symbol of a family holding hands
in a house, with rays of energy moving
outward, and the legend “live better
electrically”. This was an appropriation
of the image and slogan from a mid 50’s
campaign by the electric industry to
promote heavy demand for electricity –
a campaign that featured one Ronald
Reagan. The card also bears the legend
“Towards the 21st Century.”
The card bears the address of The Plaza,
the legendary Cleveland punk building
co-owned by Allen Ravenstine. “it was
a really nice old building in a terrible
neighborhood … we were into this urban
pioneer thing, which was a bunch of kids
born in the suburbs moving back into the
city, because they though the city should
live.” – David Thomas, quoted in SPIN
July 1999. Fascinating evidence of early
artistic incorporation and self-promotion
and the appropriation and subversion of
an advertising campaign.
$75
Haring’s Radiant Baby
14
15
11. Poetry Project
at St. Mark’s
98 Issues of the Poetry
Project Newsletter
12. Bodily Funktions
Two Flyers for Fictional
Performances
[Austin, TX]: c. [1980]. Two 8 ½ x 11"
flyers, original photocopy from cut-up
collage on rectos only.
Two flyers issued for the nonexistent
“poster band”, probably made by John
Slate – i. e. Control Rat X, who also edited
the great zine Xiphoid Process. Bodily
Funktions never played a show, but were
purely conceptual – though according
to an article by Nels Jacobson, some of
the flyers led confused fans to show up
at the parking lot of Raul’s. One of the
best examples of the punk flyer as an art
project beyond the function of advertising
shows, a rich and largely unexplored area
of punk visual art that also includes the
work of Winston Smith.
$450
Approx. 4" tall
Tigers
New York: Poetry Project at St. Mark’s,
1972–2011. Most issues 8 ½ x 11", earlier
issues mimeographed and stapled, later
issues offset printed and saddle-stapled.
This accumulation with issues 2–8,
13–15, 23–24, 26–30, 32–35, 36–38,
39–52, 67, 72–108, 110–112, 114, 115,
118, 121, 127, 128, 130, 132, 13, 138,
141, 143, 147, 148, 151, 153, 160, 162,
189, 227, 229. Some issues stamped and
addressed to different recipients.
A very substantial run (approximately
4") of one of the longest-running
periodicals devoted to experimental
poetry, which has been and remains a
vital means of communication for New
York poetry and an important chronicle
of some of the more ephemeral events at
the Poetry Project. The PPN expanded
the notion of what a newsletter could be,
including a large number of poems by
prominent poets, some of which remain
uncollected [a brief run through shows
pieces by Ted Berrigan, Susan Howe,
Robert Creeley, Ted Greenwald, Michael
McClure, Larry Fagin, Eileen Myles,
Yuki Hartman, David Shapiro, Paul
Violi, Michael Lally, Glen Baxter, Dick
Gallup, James Schuyler, Anne Waldman,
Dennis Cooper, Anselm Hollo, et al]
artwork, interviews, sketches, advertisements, notices, reviews of readings and
gallery shows, speculations, etc – no
other periodical of the time captures the
minutiae of the poetic life and struggle
for community in American poetry in
such detail.
Project events, becoming one of the
few publications that regularly list and
review poetry books from small- and
medium-sized presses.” – Ed Friedman,
quoted in Clay & Phillips, p. 189.
“Over the years, the newsletter expanded
to include poems, articles, columns,
reviews, comics, ads, and calendars of
Clay & Phillips p. 189.
Earlier issues, when the mailing list
remained small, are scarce, and this accumulation includes some of the toughest
issues, dating back to when it was edited
by Ron Padgett. Other editors represented
here include Ted Greenwald, Bill Mac
Kay, and Greg Masters.
Generally very good to near fine, with
the occasional checkmark or brief
ink notation. The largest accumulation
of the newsletter we’ve handled.
$2000
Pigeons
16
17
13. Frank Stanford
The Singing Knives
14. Frank Stanford
The Singing Knives
The other state
Fayetteville, AS: Lost Roads Press, 1979.
8vo. Offset printed on white pebbled
paper and perfect bound in lavender
wraps printed in silver ink, with a
drawing of a knife by C. D. Wright to
the front panel. Limited to 1000 copies.
Very good with a bump to head of spine
and some creasing.
Sold
The second, limited edition of Stanford’s
first published book, originally published by Mill Mountain Press in 1971.
This edition, published shortly after
Stanford’s death, adds two poems which
did not appear in the 1971 edition. This
is a book that has long puzzled us, as
there are two different versions of this
posthumous edition of his first book.
This copy features a striking cover by
C. D. Wright, printed in silver ink.
There is another state which has a very
different cover silkscreened by David
Hurley, and which adds an unattributed
afterword not found in this copy.
The colophon of both editions is the
same, and mentions the curious fact that
there are two runs of 500 copies each.
We wonder if the two versions of the
book were perhaps issued at the same
time, perhaps in order to have a version
with and a version without the afterword
– another wrinkle in Stanford’s strange
publishing history.
Near fine with some light, uneven fading
and a Brown Bookstore sticker to first
blank page.
Sold
A silver knife
Stars
18
19
15. Earth Life Defense &
Regeneration Committee
Holocene Gazette &
Country Traveller #1
Hanover, New Hampshire: Center for
Paleocybernetic Research, 1970. First
edition. 17 x 22" sheet offset printed in
b/w and folded three times, probably
for mailing.
The first, and to our knowledge, the
only issue published of this radical,
beautifully produced newsletter made as
the trumpet for this radical environmental group. Their manifesto states that
‘We must dismantle & dissolve, by any
means necessary, the whole of centralized government & corporate industry.”
This first issue is dedicated to the
memory of Charles Olson, who at the
time had just passed. The verso prints
poems by Grant Fisher and Diane Di
Prima. The Center for Paleocybernetic
research is the same imprint that appears
on at least one issue the Guerilla: Free
Newspaper From the Streets periodical,
perhaps indicating the involvement of
Allan Van Newkirk.
$200
A life on the margins
16. Judson Crews
Psalms for a
Late Season
New Orleans: The Iconograph Press,
1942. First edition. 8vo, 13 pp, rebound
in gray boards with a titled pastedown
to front panel.
The first edition of his first book,
published by Kenneth Beaudoin’s
Iconograph Press. This is a unique copy
that has been extensively annotated by
Judson Crews, giving background
information and the circumstances
surrounding the genesis of each poem,
and signed by him at the conclusion.
Judson’s current obscurity surprises us.
Like Pessoa, his poetic project involved
writing a great variety of work under
different identities, but in a distinctly
American way across race and sexuality,
a practice he pursued with such commit-
Wolves
ment that readers and scholars are still
trying to untangle his web of identities.
His publishing efforts and the vital place
his Motive Bookstore, in Waco, Texas
played in sheltering poets of the immediate postwar era make him one of the
great poet-publishers.
The dedicatee of the book is not named.
This copy came out of London, but
we don’t know to whom these words,
which constitute an unpublished
biography or second book within the
book, are addressed to.
It is difficult to imagine a more
significant copy.
$1250
Bisons
20
21
Division Leap
is available
for the installation
of temporary exhibits
of printed matter
in liminal spaces.
(Motel Rooms a Specialty)
18. Tom Raworth, ed.
Outburst 1–2
with Outburst:
The Minicab War
Complete
London: Matrix, 1961–63. First edition.
8vo, letterpress printed and saddlestapled into card wraps.
All issues published of one of the best
little magazines of the early 60’s, which
helped to bridge the Atlantic and was
the first to publish several prominent
American poets in England.
In a 2014 interview with Kyle Schlesinger
at the Cuneiform Press website, Raworth
outlined how the magazine came into
being. It was actually cheaper at the time
to letterpress a magazine, so Raworth,
with some of the type inherited from
Piero Heliczer, taught himself to print
letterpress. Because Raworth only had
a limited amount of type, the magazine
was printed two pages at a time, and
then the type redistributed.
One of the most strikingly beautiful
aspects of the magazine was the different
colors of ink used on the text from page
to page, but as with so many beautiful
aspects of small press printing of the
period, this is a product of necessity; the
sheets were printed at night in a North
Soho printshop, and there was so little
time to work that whatever ink remained
on the press was the ink used that night
for the pages.
This run includes the collaborative
artists’ book Outburst; The Minicab
War. The Gotla World, which is
considered the “third” issue of the little
magazine. It is a collaborative artists’
book that prints a collection of fictitious
interviews about Minicabs vs. Taxicabs,
including T. S. Eliot, John Betjeman,
prime minister Harold MacMillan,
Martin Bormann (!) and others. The
book was pseudonoymously authored
by Raworth, Gregory Corso and
Anselm Hollo. According to research
by Johnston, Raworth considered this
no. 2 ½ of Outburst, though it was
probably produced between the first
and second issues.
The Minicab War and Outburst no. 2
are quite scarce in the trade; this is the
first time we’ve handled either. A high
point for both content design.
$750
Leather, wax, poetry
17. Diane Di Prima
and George Herms
Haiku
Topanga, California: Love Press, [1966].
First edition. 4to, loose leaves, 36 color
woodblock prints and a title page housed
in a hand-stitched leather satchel, titled
in ink, with red sealing wax at enclosure.
One of 100 (of 112) copies. Inscribed
and signed by Di Prima at the title
page – “For Bob – With great glee and
many thanks – on the eve of departure.”
One of the most beautiful books of
many published under Herms’
Love Press imprint, a collaborative
artists’ book. These Haiku are some
of Di Prima’s most beautiful poems,
their toughness and beauty perfectly
matched by the woodblock prints in a
variety of bright colors which are some
of Herms’ most beautiful graphic work,
their hues still bright after all these years
of being housed within leather. A rare
perfect combination of language and
image and one of the great collaborative
beat artists’ books, now rarely seen in
the trade.
Sold
Two men
24
One man
The Minicab War
25
19. Kenneth Patchen
Wedding in the Forest
21. Christopher Perret
Untitled Drawing
Np: David Ruff, 1950. Approximately
9 x 12", soft-ground etching & engraving on copper, black intaglio with three
color offset, printed on Dutch van
Gelder rag paper. One of 50 numbered
copies signed by both Patchen and Ruff
on both the lower margin of the face,
and also on a printed title pastedown
affixed to the back of the frame.
Approximately 9 ½ x 15", ink and
watercolor on paper. Inscribed
“to A + D” at lower left hand corner
in pencil, and signed “Christopher”
in the lower right hand corner.
A striking and mysterious drawing by
Christopher Perret, who was at one time
associated with Leni Sinclair, and whose
artwork appeared in the pages of some of
the best magazines of the era, including
the Artists’ Workshop journal, Poesie
Vivante, and Botteghe Oscure. Two
volumes of his poetry were published in
fugitive editions by Outposts and Hors
Commerce Press. He was also known
as a translator.
A beautiful collaboration between
Patchen and his close friend, the master
printer David Ruff, who in this year
would begin to run The Print Shop in
San Francisco. In the following year
Ruff would print Jargon 1, and five
years later would go on to print the
first volume in the legendary City
Lights Pocket Poets series, Ferlinghetti’s
Pictures of a Gone World.
The drawing is a striking one, featuring a
woman with a cup reversed, spilling a red
liquid, possibly blood that rises to frame
her. Because of the upended cup we
wonder if this is a reference to the tarot.
Given that the signed title pastedown
is affixed to the back of the frame, we
wonder if the frame is original, or at least
contemporary to the sale of the print.
Perret died of a heart attack in 1965,
the year in which this drawing is dated.
He seems to have left behind many
mysteries – David just handed me a
copy of El Corno Emplumado 18,
with a biographical note that states
“we know little about the 5 Algerian poets
translated here by Christopher Perret, and
Perret’s death leaves us without possibility
of further knowledge concerning them …”
Sold
Signed, numbered, and dated, one of fifty copies
20. Kenneth Patchen
Kenneth Patchen
Memorial
$750
Woman with cup reversed
San Francisco: [1972]. 8 ½ x 14", printed
in red on pink paper.
Original flier for Patchen’s Memorial,
held in a small theater in the Native Sons
Building – now the Cable Car Theatre.
$125
A sad day in San Francisco
26
27
22. Robert Branaman.
Folding Exhibition
Announcement for a
Show at Batman Gallery
23. Robert Branaman
Robert Ronnie Branaman
[Once There Was a Man
Named Poolock]
24. Robert Branaman
Untitled Poster
25. Robert Branaman
Untitled Poster
Los Angeles: Batman Gallery, 1963.
First edition. 4 ½ x 12 ¾", offset printed
and folded once. Addressed to Philip
Whalen c/o Auerhahn Press, and
postmarked March 8, 1963.
[San Francisco]: Charles Plymell, 1963.
First edition. 8vo, [8] pp [incl. covers],
folded, unbound sheets. Printed in black
and white with a neon red outer sheet.
Np: nd. 11 ½ x 17", printed in silver ink
on white paper.
As left, a copy with silver ink on
black paper.
We know of at least three states of this
poster – silver ink on white paper, as
with this copy, silver/purple ink on white
paper, and silver ink on lightweight
black paper. In a 2009 email from
Branaman posted on the Beats in Kansas
page, Branaman states that Charles
Plymell made a poster of the image in
several colors and that Branaman gave
a copy of the black paper copy to Henry
Miller, who hung it on his wall.
$450
Exhibition announcement for this show
at Billy Jahrmarkt’s Batman Gallery.
The announcement is illustrated with
a great profile portrait photograph of
Branaman which is uncredited. The
announcement also notes (Costume
Optional). Though not noted on the
piece, the printing was done by the
Grabhorn Press, according to the
OCLC record for the BYU copy.
Rare ephemera from the best gallery
of the 60’s.
$200
The first and only edition of Branaman’s
first book, an artists’ book considered to
be one of the earliest underground comix. The book was printed by Plymell,
who had published S. Clay Wilson in
Kansas, and would soon publish the first
printing of Robert Crumb’s Zap Comix.
Rare. Despite the book’s significance
to the history of both the underground
comix scene and the beat scene, OCLC
locates only two holdings, under the
title Once There Was a Man Named
Poolock, the first line of the story.
The book is more widely known to
underground comix historians under
the title Robert Ronnie Branaman.
$350
$750
Best gallery of the 60’s
Early underground comix
Silver on white
28
Silver on black
29
26. Michael McClure
Grahhr April Grharrr April
28. Unohoo, Coyote,
Rich and the
Mighty Avengers
The Morningstar
Scrapbook. In the
Pursuit of Happiness
Buffalo: Gallery Upstairs Press, [1968].
First edition. 21 ¼ x 28 ½", offset
lithograph on thick cardboard stock.
With blindstamped gallery sticker at
verso, and a rubberstamped facsimile
of McClure’s signature.
Visual reproduced from McClure’s
distinctive holograph in red, overlayed
onto a found image of two lions roaring
at the sea – a legend reading “Security
and Trust” can be read at the foot of the
image, perhaps indicating that this was
appropriated from an old advertisement
or bond. We wish we knew more about
this gallery, located at 3400 Main St.
in Buffalo, which also published John
Wieners’ Pressed Wafers, as well as a
work by Cornelius Cardew. One of the
most beautiful broadsides of the era.
The first edition of this book documenting the rise and fall of the Morningstar
Ranch commune, the community founded by Lou Gottlieb of the Limelighters
and others. It includes numerous photographs of life in the community, as well
as press clippings from the underground
and mainstream press documenting their
many run-ins with the authorities. The
community had close ties to the Diggers
(it was also known as the Digger Ranch)
and was used to grow vegetables to feed
people at gatherings in San Francisco.
After many run-ins with the law,
Gottlieb famously attempted to deed
his land to God. A court decided that
property couldn’t be owned by God in
California, as there would be no recourse
for property taxes.
April lions
“God can’t own land in California.”
Newsprint rather toned, with creasing,
rubbing and softening to the wraps,
still about very good.
$300
$75
29. Longo Mai
Chansons Antifascistes
Allemandes /
Antifaschistische Lieder
27. Free Print Shop
break/fast
vernal equinox
[San Francisco]: [Free Print Shop],
[1969?]. 4 ¼ x 8 ½", printed in two
colors, photographically illustrated.
This small leaflet was published by
the Free Print Shop at the Sutter
Street Commune. It is included in the
California Historical Society’s Free
Print Shop collection as item no. 19.
The FPS and the Sutter Street
Commune carried on the work of the
Diggers, by publishing Kaliflower and
carrying on the Free City Activities –
this leaflet perhaps advertising for one
of their free food events. A striking
example from a larger body of work
that deserves wider documentation.
Occidental: Morning Star Ranch, nd.
4to, 187 [1] pp, offset printed on newsprint and perfect bound in photographically illustrated wraps. Illustrated in b/w.
And other animals
Np: Longo Mai. Gatefold double vinyl
audio record [with] a book of lyrics, originally issued separately, but included here.
A superb recording, including performances of songs by Muhsamm,
Wedekind, Brecht, Eisler, Dessau,
Busch et al. The Longo Mai cooperative network of anarchist and agrarian
communities began a group of students
and activists – including Roland Perrot
– banded together to purchase land in
the wake of the events of 1968 in France.
In 1973 the group purchased land
near Limans, and created an agrarian
community. In the years since the loose
network has grown to include locations
in Costa Rica, Germany, and elsewhere,
making it one of the most successful and
enduring network of such communities
in our time. The cooperative also
publishes books, and this excellent
record, in constant rotation at DL.
In constant rotation at DL
$75
$200
30
31
30. Up Against the
Wall Motherfucker
Fuck the Bourgeois
Left!!!
31. Rote Hilfe
[Dieter Kunzelmann]
Sofortige Freilassung
von Dieter Kunzelmann :
Freiheit für alle polit.
Gefangenen schafft Rote
Hilfe : Dokumentation II
[New York]: [Up Against the Wall
Motherfucker], nd. 8 ½ x 11", mimeographed from typescript and drawing on
recto only. With a small ink notation,
“BC-UAW / MF” at lower margin in ink.
Np: Rote Hilfe / Komitee Freiheit für
Dieter Kunzelmann, [1974]. 4to, [16]
pp, offset printed in two colors on
unbound, folded sheets.
An attack on the left, with specific
reference to Camejo and Bloom.
Prescription for change is given on
the flyer as a recipe for a Molotov
Cocktail and an injunction to send
a “white radical” home to watch
television. The flyer ends with the
following injunction: “After you
read this leaflet use it to start a fire!”
Joint publication calling for the release
of Dieter Kunzelmann, then in prison
serving a five year term. The cover
features a striking image of a red fist
bending the bars of a prison cell, with
text printed on the now liberated area
of the page – a classic image of German
political art in the 70’s
The instructions and also the reference
to send white radicals home also appear
on the UATWM Chapter Report on
the SDS flyer (reproduced on p. 141
of Black Mask & Up Against the Wall
Motherfucker: The Incomplete Works
of Ron Hahne, Ben Morea, and the
Black Mask Group). However, this
flyer is not documented in that book.
Whether or not the injunction to use the
flyer as tinder was heeded, it is rare, this
copy being the only one we’ve seen.
Kunzelmann was a member of Gruppe
SPUR, as well as Tupamaros West
Berlin and was a founding member
of Kommune 1.
Fine.
$450
Folded twice, with some moderate
staining else very good.
$450
“… better than the neon light.”
Red fist, black bars
32
33
32. Christopher Logue
September Song
33. Christopher Logue
I Shall Vote Conservative
Np: Vandal Publications, 1966. 18 x 23"
poster poem, offset printed on recto only.
London: Turret Books, 1970. First
edition. 19 ¾ x 31" broadside, printed
in blue. One of only 75 copies signed
by the poet – this being copy no. 1.
One of the most famous poster poems of
the sixties. Logue’s elegiac poem is here
matched to a photograph of the corpse
of Rube Burroughs, an American outlaw
gunman killed in Souix City in 1879.
The poem became a chant of the 60’s
after being set to music by Donovan,
a recording that also featured in Ken
Loach’s film Poor Cow.
One of the most famous political poems
of the 70’s. Rare.
Very good with a short nick at upper
margin some moderate creasing.
$500
The lower margin of the poster bears
the phrase “iron if creased.”
$450
“Iron if creased”
One of the most famous political poems of the 70’s – copy no. 1
34
35
34. John Sappington
Photograph of
William S. Burroughs
35. Michael Parker
Jail Bait
Np: nd. Approximately 10 x 13" b/w
vintage print, matted and framed in
wood. Provenance: Serendipity Books.
Np: Privately Printed, n.d. First edition.
4to, saddle-stapled in pictorial wraps.
Photocopied from typescripts, found
photos and drawings. Printed on
rectos only.
A note in Peter Howard’s hand in pencil
at verso states that the print is vintage
and is the only copy, and that it is signed
at verso, though it doesn’t state whether
it is signed by Burroughs or Sappington.
Not examined out of frame.
Poems of life as a teenage street hustler,
illustrated with drawings, photographs
of William Burroughs and Iggy Pop,
a redacted FBI memo labeled “X-Rated
Poetry”, a photocopied ID badge for
a Police Magistrate named Michael C.
Parker, etc. Dedication page bears a
lengthy inscription to “Brian” from
the author.
The photograph of an elderly Burroughs
standing in profile in the darkness is a
striking image.
$500
We suspect the author of this collection
of street hustler poems to be Michael
Parker, who inspired the Mike Waters
character in Gus Van Sant’s My Own
Private Idaho, and who almost played
the character in the movie before the
role was given to River Phoenix. Parker
appeared in a smaller role in the film,
as well as Drugstore Cowboy. The final
poem is illustrated with a photograph of
William S. Burroughs, and includes the
lines “he never knew / i stole one silver
hair / & tied it around my cock / &
took it to my bed of words”.
Is that you, Mike Waters?
OCLC locates no holdings.
$250
36. Bowart, Walter H.
Omen Vol. 1, Nos. 1–2
Burroughs peers into the shadows
Complete
Tucson, AZ: Omen Press, 1970–71. First
edition. folio, each issue offset printed in
color, the second issue in metallic wraps.
Both issues published of this periodical
published by one of the founders and
the first publisher of the East Village
Other. The Omen Press continued
the counterculture themes present in
Bowart’s previous publishing career
with the EVO and Gothic Blimp, but
with more of a millennial, metaphysical
and conspiratorial approach.
With contributions from Gary Snyder,
Paul Reps, Lew Welch et al.
No. 1
No. 2
Very good with minor creasing and wear.
$200
36
37
37. George Andrews
This cycle of poems
traces my trajectory
through different phases
of the psychedelic
drug experience …
Cover title
39. Nam June Paik
Please, return the fish
(inside) to water
Np: c. 1964–65. 4to, 8 pp., mimeographed from typescript on rectos only;
stab-stapled in card wraps. Title from
cover. Signed by Andrews on cover.
An early collection of psychedelic poems
by the Andrews, who was an important
part of the expat scene in Tangiers also
lived for a time at Syd Barrett’s legendary
101 Cromwell Road flat. No publication
information is included, but the first
poem, “Annihilating Illumination,”
was also published in 1963 by the
Psychedelic Review. Another poem,
“Live Rock”, is dated “Tangier Jail,
Decembre 1964”. Some of these poems
would also appear in Andrews’ 1966
Trigram Press collection.
Rare. OCLC locates no holdings.
$450
Np: [1969]. Black lithograph print
on paper, affixed to white envelope
containing a small dried fish.
There are at least two states for this
multiple, one bearing the title
“Liberation Sonata for Fish” in
addition to instructions, which appears
to be the more common state. This
example, which we haven’t seen before,
is similar to the Walker Art Center
copy from Paik’s archive.
Acid
According to the Walker Art Center’s
catalog entry, these envelopes were
handed out at the 7th Annual NY
Festival of the Avant-Garde in Wards
Island, New York. A brilliant and
strange multiple, existing in this state
as a disregard or suspension of the
instructed action.
Some discoloration caused by aged glue;
envelope is torn, but fish is intact inside. Envelope with a small dried fish
$850
38. George Andrews
Burning Joy
London: Trigram Press, 1966. First
edition. Small 4to, 37 pp, bound in full
white cloth with gilt titles. Housed in
a dust jacket illustrated in color with a
photograph by Hans Bruggeman of a
painting by Barry Hall. One of only fifty
copies in cloth, which are also numbered
and signed by the author; the trade
edition consisted of 550 copies in wraps.
Fine in a very good dust jacket which is
lightly scuffed, with a few small closed
tears to margins.
$200
One of only fifty copies in cloth
38
39
40. Buster Cleveland
Untitled Collage
42. K Foundation
Attendee Handbook
for Money: A Major
Body of Cash
Untitled Collage. Np: Buster Cleveland,
[1985]. 8 ½ x 14" collage on chipboard.
Unsigned, but inscribed by Cleveland
on verso with the phrase “I Love You”
within his drawn palm tree symbol.
From the collection of Barbara Cushman.
Np: K Foundation, 1994. 28 loose
leaves, offset printed, photocopied or
laserprinted, some on embossed
K Foundation stationary. Housed in
a printed folder.
A beautiful collage featuring 7 matchbooks, one for each day of the week,
pasted down onto the board and then
lighted on fire. It is clear that the matchbooks were lit after being affixed to the
board, as the burn shadows have also
affected the board they are mounted on.
A striking, conceptually complex collage
that was likely made for one of the mail
art calendars which Barbara Cushman
made in the mid 80’s.
In 1994, Bill Drummond and Jim Cauty
of the musical project KLF, or Kommunication Liberation Front, set up the
post-situ group K Foundation in order to
rid themselves of the money accumulated
from their bestselling singles and albums.
Burning each day of the week
Their first project was the creation of the
K Foundation Award, a prize of 40,000
pounds to be awarded to the worst body
of work produced in the previous 12
months. The price was twice the amount
of the Turner Prize, which it clearly was
commenting upon; the list of finalists
for each award was the same.
$750
Running up to the prize, K Foundation
ran advertisements on Channel 4, which
are reproduced here, as well as invoices
for the cost of the ads, correspondence
with lawyers, and correspondence with a
representative of Rachel Whiteread, who
at first sends along Whiteread’s banking
info to receive the prize; also included is
another reproduction of a letter in which
the representative conveys Whiteread’s
outrage at the nature of the prize, and
asks the K Foundation lawyers not to use
this information.
Shortly after Whiteread won the Turner,
she was also announced as the winner
of the K Foundation prize. Whiteread
initially refused to accept the 40K, at
which point K Foundation decided
to burn the money at an undisclosed
location in front of 40 attendees,
who would be part of a motorcade
to this undisclosed location. We
suspect that this is a handbook made
up for attendees.
When Whiteread heard of the plan
to destroy the money she at the last
moment changed her mind and accepted
it on condition that the money would be
donated to artists in need and a housing
charity, and the event didn’t happen.
Rare documentation of the proposed
event; if this was produced as an
attendee handbook, then it is doubtful
that more than 40 copies were produced.
Though no money was burnt on this
night, the idea would culminate the
following year in their most infamous
action, The K Foundation Burn a
Million Quid, in which the duo did
exactly that on the island of Jura.
OCLC locates no holdings.
$750
41. Buster Cleveland
Buster Post Stampsheet
Np: Mail Art International , 1982.
8 ½ x 11", artists’ perforated stampsheet,
color xerox on recto only. Inscribed
to Barbara (Cushman) and signed in
pencil in 1982.
Fine.
$125
Perforations
As seen on Channel 4
40
A motorcade to amend art history
41
Legal
tinder.
The view from here
20
Acid
Negatives
Community
37.
2.
1. – 42.
Stars
CASSETTES
LaptopS
14.
5.
2.
Diaries
Hope
WOLVES
2.
1. – 42.
15.
Outbu
5. 12. 30
Division
Vol. 1,
May,
Orch
9

PDF - Division Leap

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