PDF - Division Leap

Transcription

PDF - Division Leap

19
freedom,
5.
7.
n Leap 19
1, No. 1
l, 2015
gaps,
24.
3.
fires.
1.
6.
Welcome to Catalog 19, the first in a new series of catalogs we’ll be issuing
with greater regularity in the coming year.
Since our last catalog we’ve moved to a new location on the top floor of
the Towne Storage Building, near the foot of the Burnside Bridge in the
central eastside district. We share a large loft space with our friends at
Passages Bookshop. With Octopus Books also in the building, Mother
Foucault’s shop nearby, and numerous printers and publishers in the area
the inner SE has become a good place to spend a day or a life in search
of words and books. We welcome visitors by appointment – please email
or call ahead to avoid disappointment.
Concurrent with our move into our new space we’ve withdrawn our books
from the Advanced Book Exchange and its parent company, Amazon in
protest of that company’s bad labor practices and attacks on print culture.
From now on our books will only be available in the shop, on our website,
www.divisionleap.com, and in catalogs like this.
We know that this may be inconvenience to customers that use ABE to
consolidate their book shopping and for want matches. Know that we’re
glad to help building collections both public and private in a variety of
ways, including quoting material in your interests – please get in touch.
Thanks for reading.
17 SE Third Ave., #502
Portland, OR 97214
(503) 206-7291
[email protected]
divisionleap.com
Member ABAA, ILAB, ARLIS
Division Leap catalog 19:
Freedom, gaps, fires.
1. John Wieners
Ace of Pentacles
2. John Wieners
Ace of Pentacles
The Burned Copy
The Rhine Castle Copy
The letter
The burn
The poem
New York: James A. Carr & Robert A.
Wilson, 1964. First edition. 8vo, 72
pp, printed on watermarked paper and
bound in leatherette stamped in gilt at
the spine; yellow silk bookmark sewn in.
In the original unprinted glassine wrapper. One of 12 presentation copies, with
a holograph poem bound in, signed by
Wieners and both publishers. With a tls
from Robert Wilson also laid in.
fabulous accent – perhaps as he rationalized the burn).
The manuscript page has the poem
“Two Years Later” written out in
Wiener’s hand and bound in. This
poem is the concluding poem of the
book on page 71 of the printed text,
and in this copy the lower right hand
corner of the page is burnt away.
The letter from Wilson is written “to
certify that the small cigarette burn in
the lower right corner of page 71 of Ace
of Pentacles is ‘Auhtorial’ i.e. caused by
John Wieners when signing the twelve
presentation copies.” (The spelling of
Auhtorial is likely not a misspelling,
but is probably Bob quoting Wiener’s
The inscription
The only other example of the 12
presentation copies we’ve seen didn’t
have the burn mark, which leads us
to believe that the burn is likely unique
to this copy.
“Two Years Later” begins with the lines
“The hollow eyes of shock remain /
Electric Sockets burnt out in the skull”.
I’ve always thought that these lines
might refer to electroshock therapy,
which Wieners experienced in the time
between the publication of his first book
and this, his second.
With the book in hand it is difficult not
to imagine the scene as John opened
the page to the printed poem in order
to copy it out in his hand, a cigarette
dangling from his fingers – the burn
perhaps a mark of forgetfulness as his
hands became absorbed once again in
the lines of the poem.
$2500
4
The label
New York: James A. Carr & Robert A.
Wilson, 1964. First trade edition. 8vo,
72 pp, bound in gilt-stamped blue cloth.
Lacking the unprinted glassine jacket.
With a wine label laid in.
This copy is inscribed by Wieners to
Dave Haselwood on page 23, with
the printed label from a bottle of Paul
Masson Rhine Castle wine laid in. The
inscription occurs directly below the
brief and enigmatic poem “The Pool
of Light” – “A shimmering fern leaf,
2 upraised em-/ blems of gold / lift an
instant, trem-/ blings revolved. /
O Switzerland, O Schon castle, o land
across / the Rhine.”
This printed label features a pastoral
view of a Rhine castle, bracketed above
by raised gold emblems. This short and
wistful poem is one of my favorite by
Wieners, and I always wondered what it
referred to. If the embossed gold labels
are the poet’s upraised emblems of gold,
then it seems likely that the poem was
written as a meditation on this label, or
one similar to it.
Wieners was no stranger to Rhine castle
wine. In Killian and Ellingham’s “Poet
Be Like God” there is an account of “A
Famous Evening”, as Kyger termed it,
when Wieners introduced Kyger to Tom
Field and Michael Rumaker, who taught
them how to make a proper martini of
Rhine Castle wine and gin.
Haselwood printed Wiener’s first book,
the Hotel Wentley Poems, so named
because Haselwood loaned him his room
at the Hotel Wentley where the book was
written. A beautiful association linking
Wiener’s first and second books, with
insight into the possible genesis of one
of the poems.
Near fine with a faint 2" area of staining
to the front board (from Rhine castle
wine, we hope). Lacking the unprinted
glassine jacket.
$750
5
3. Hugo Bart Huges
Suikergoed & Marsepein
4. Hugo Bart Huges
Suikergoed & Marsepein
First edition
Second edition
Amsterdam: Barbara Huges, 1968. 4to,
mimeographed and bound with cloth
tape into textured card covers with a
hand-colored pictorial pastedown and
holograph titles in marker. First edition.
As above, the second, expanded edition.
4to, 34 pp. [printed on rectos only] and
tape bound into rubberstamped textured
card wraps.
A self-published treatise on trepanation by a member of the Dutch Provo
who had experienced the act firsthand.
On January 6, 1965, Huges famously
self-trepanated himself in a square in
Amsterdam, drilling into his own head
with a Black & Decker drill. Huges had
studied as a medical student, where he
developed the belief that since mankind
began to walk upright our heads have
been starved of oxygen; he believed that
by trepanning, one could achieve a permanent high, bringing his actions into
the psychedelic trajectory and influencing a select cadre of auto-trepanationists
who have sought freedom from the
boundaries of the skull.
5. El Colectivo
El Colectivo Nos. 1–4
Nos. 1–4
Sold
Mexico: El Colectivo, 1977. 8vo, each
issue an 11 x 17" sheet offset printed
on newsprint and folded twice, with
rubberstamp elements.
The first four issues, of an unknown
number published, by the group of
the same name, which included
Aaron Flores, Araceli Zuniga, and
Cesar Espinosa, and would later reform
as Colectivo 3 and create the influential
Poema Colectivo Revolución mail
art project in 1981.
illustrated with Situationist influenced
collages incorporating columns
of newspaper text with images from
war, pop culture and pornographyone of the most striking late 70’s artists’
periodicals we’ve seen.
OCLC locates no holdings.
Sold
The original Colectivo was a member
of Frente Mexicano de Grupos Trabajadores de la Cultura, which also
included Grupo Suma, TAI, and Grupo
Proceso Pentágono. These four issues are
Sold
6
7
6. Charles Henri Ford
and Parker Tyler
The Young and Evil
Paris: Olympia Press, 1960. Second
edition. 12mo, wraps, photographically
illustrated dust jacket. Inscribed by Tyler
at the first blank and dated in the year of
publication.
The second edition of the collaboratively
written gay novel, following the rare
Obelisk Press first edition of 1933. This
edition is distinguished by the strikingly
designed dust jacket, which features a
wraparound photograph by Herbert List
– one of the most beautifully designed
books of the era. This copy is inscribed
by Tyler with an enigmatic inscription:
“Dear Paul: / I never dreamt / you hadn’t
read this / -now I’m dreaming / you are
reading it / Parker 1960”.
7. Henriette Roland-Holst
[Richard Paul Lohse]
Rosa Luxemburg: Ihre
Leben und Wirken
We’ll try to refrain from guessing at
who Paul might have been, though
both Bowles and Sharits come to mind
as possibilities. Speculation aside, the
dedicatee of the inscription appears to
have been close to Tyler.
And Parker, maybe you aren’t dreaming – the book has a couple of very light
reading creases to the spine, else near
fine – in a sharp and bright near fine
example of the jacket, just rubbed a
bit at extremities.
Sold
Zurich: Jean-Christophe Verlag, 1937.
First edition. 8vo, 223 pp, bound in dove
grey cloth printed in blue; illustrated
dust jacket.
A German translation of the book
which originally appeared in Dutch two
years prior. Following the ascent of the
Nazi party, it was almost impossible to
publish books with a socialist or pacifist
attitude in Germany, and many such
German language books were published
in Switzerland, as with this title. JeanChristophe Verlag was a publishing
house closely allied with the Buchergilde
Gutenberg, famous for publishing the
works of B. Traven in exile.
This shift allowed the Swiss designer
Richard Paul Lohse to work on a variety
of socialist books, including this title. It
is a masterpiece of graphic storytelling
and one of the key examples of socialist
book design in the 1930’s. The front is
graced with a photograph of Luxemburg; the rear panel reproduces a letter
from Luxemburg to the author. The two
panels are linked by a photomontage of
young marching socialists which begins
on the back panel and marches downward to disappear into darkness on the
spine, but not before coloring the word
“Rosa” rose – a striking link between
meaning and form. The procession
ascends again at the front panel to jump
into stark relief against Luxemburg’s
blouse, the flags seeming to burst into
flames against the white.
Very good, with some light pushing to
the spine ends, in a worn dust jacket
which is chipped at margins, with loss
to text at head of spine, and heavily
chipped at front fold, but which remains
bright and good or better.
$250
Dust jacket photograph by Herbert List
The ﬂags
8
The name
The ﬂames
9
8. Clara Wichmann
De Theorie van
het Syndicalism
The sister
Amsterdam: De Nieuwe Amsterdammer, 1920. Square 8vo, 32 pp, saddlestapled wraps.
The first edition of this important theoretical work on anarcho-syndicalism,
and an early and classic example of
De Stijl book design by Theo van
Doesburg. It is part of a series of similar
designs he did during this time for the
Bond van Revolutionair-Socialistische
Intellectueelen, of which Wichmann
was a member, along with Albert de
Jong and Bart de Ligt.
As well as being a important anarchist of
the period, Wichmann was also an active feminist and campaigner against the
ills of the penal system. She was also the
sister of the Dutch Futurist and Fascist
Erich Wichmann, who didn’t care for
milk (see below).
Previous owner’s signature to cover and
rubberstamp to first page (H. Kesting),
heavy chipped to the wraps at spine,
which is detached but present, else a
good or better, pleasingly unsophisticated example of an extremely fragile book
which, when found, is usually rebound
or taped along spine.
Ref: Theo Van Doesburg Ouevre
Catalogus number 632f.
$450
Cover by Theo van Doesburg
9. Erich Wichman
Het Witte Gevaar:
Over Melk,
Melkgebruik,
Melkmisbruik &
Melkzucht
The brother
Maastricht: Leiter-Nypels, 1928. First
edition. 8vo, 33 pp, bound in printed
wraps. One of 250 numbered copies,
printed in two colors by Charles Nypels
and illustrated by Hans Jelinger.
moments in modern technology he
infamously made a drunken attack on a
radio transmitter, a dear piece of trivia
to radio fans if sadly unknown in the
annals of art.
A diatribe against milk products, written
in response to an ad campaign popularizing milk at the time in the Netherlands. The tract seems informed by the
milk writings of Chesterton, who is the
dedicatee of the work.
Illegible ink signature across Wichmann’s name on the half title page – not
that of Wichmann – and some moderate spotting to wraps and wear to spine
ends, but a solid very good copy.
The painter Wichman was one of the
more unusual bohemian figures of the
era in the Netherlands and Berlin, where
he wrote for Der Sturm and, despite his
political affiliations, collaborated with
anarchist and socialist writers and artists, including Joris Ivens – with whom
he made a famous lost film – and Theo
van Doesburg, with whom he formed
the group De Anderen – a precursor
to De Stijl. In one of the great quixotic
Sold
He didn’t like milk or radios
10
11
10. Henk J. Meier and
Sascha B., eds.
Het Plein: en Plein
publique Nos. 1–5
11. Provo
10 Maart Dag
van de Anarchie
Complete
Amsterdam: Het Plein, 1957–1958.
Both variants of no. 1, as well as nos. 2
and 5 in A4 format, mimeographed and
stab-stapled into wraps; Nos. 3-4 each a
large 8vo. Nos. 2 and 4 illustrated with
photomontage covers by C. L. van der
Groep; Nos. 3 and 5 with hand-coloring. Some tape discoloration to spine of
one of the variants of no. 1, and scattered
toning and creasing, otherwise near fine.
Amsterdam: Provo, February 10, 1966.
First edition. 8 ½ x 13 ½",
mimeographed on recto only.
One of the early and key Provo leaflets,
declaring May 10 a day of Anarchy – this
was the date of the marriage between
Princess Beatrix and Claus von Amsberg, the event which acted as a catalyst
for the formation of the movement.
The simple and bold design of the pamphlet, illustrated with a reversed image
of a lowercase letter “a”, is one of the
most striking posters of the movement.
All issues published of this important
early magazine devoted to poetry, art
and youth, which centered around the
group of poets and artists who gathered
at the Eylders bar (the collaboration of
the owner of the bar, John Eylders, is
noted on the masthead).
Four old fold lines, else a very good copy.
Sold
With contributions from the editors as
well as Jacques Commandeur, Charles
NL Grazell, Faber Heeresma, Alexis
Holst, William Oldmans (sic), Apie
Prince, Max Schreuder, Ina Schuurman,
Gerard Sluyter, and Max Vogel.
The fantastic final issue is in part an
anthology of work which had appeared
in related magazines of the Dutch Mimeograph Revolution. As well as poems
by Lorca in Dutch translation, it also reprints Lucebert’s poem in defence of the
50-ers, about which the editors noted:
“’verdediging van de 50-ers’ schrijft de
redactie: ’lucebert bleek nieuwsgierig
naar zijn ballade, die hij, naar hij verklaarde, vergeten was.” [roughly: Lucebert
appeared curious about his ballad, which
he said he had forgotten].
A key publication of the Dutch Mimeograph Revolution, linking earlier Dutch
experimental poetry with the imminent
upheavals of the 60’s; co-editor Meier
would become a founding member of
Provo. Rare. As of January 2015 OCLC
locates only two holdings of single issues, both in the Netherlands.
Helvetica reversed
Sold
Nos. 1–5
12
13
Nos. 1–16
12. Jean-Paul Sartre, ed.
Tout! Ce Que Nous
Voulons: Tout! Nos. 1–16
Complete
13. Dop Reida, ed.
Spaak: Schoolkrant
voor wie onderwijs
heeft genoten Nos. 1–4
Moordrecht: ’uitgave bobvandenberg’,
1964. Subtitle varies. 4to, each issue
mimeographed on rectos only and stabstapled into rubberstamped covers, with
additional rubberstamping of the title to
title page and various internal pages.
Complete
The first four issues, on an unknown
number published, of this beautifully
designed little magazine devoted to new
poetry. The focus is heavily on poetry
about poetry, and reviews of poetry, with
references to Gard Sivik , Campert Frenkel, Frank Hazeu, Kouwenaar, Lehmann. The design of the issues is sustained
and impeccable, with innovative typography bordering on the concrete (more
Red and black on white
Paris: Tout!, 1970–71. First edition.
Oversized tabloid format, offset printed
in color.
All issues published of the radical underground newspaper edited by Sartre and
allied with the VLR movement. It includes the banned 12th issue, which was
created with the assistance of the FHAR
(Front homosexuel d’action révolutionnaire) on the basis of the demands for
homosexual rights and sexual freedom
for minors.
Green on white
impressive still given the limitations of
the mimeograph) and the editor’s insistence on the free use of his rubberstamp
– albeit always the same rubberstamp,
looking oddly similar to an issue of 0 to
9. One of the most visually striking little
magazines of the Dutch Mimeograph
Revolution, and scarce. As of the time of
cataloguing OCLC locates no holdings.
Poststamp at verso of final leaf of no. 4,
partially effaced, with a small resulting
tear, otherwise a fine set.
$300
Red and black on yellow
A bright, very good set, lightly toned,
with the occasional minor closed tear;
one issue with some light soiling to
cover, else all generally near fine, and
better than usually found.
$1500
14
15
14. James Broughton
Small Archive of
Typescripts,
Manuscripts,
Ephemera and
Correspondence
with Ida Hodes
15. Robert Alexander
Two Letters To
David Meltzer
Ida Hodes – the first secretary for the
San Francisco Poetry Center – was a
close friend of Broughton, and collaborated with him on plays which took
place both at the Poetry Center and the
American Playwrights Theater, which
both were founding members of.
Besides manuscripts and typescripts
of work by Broughton, the collection
includes correspondence related to the
workings of both institutions and related
ephemera, making this not only an
insightful cache of material for
Broughton’s own work, but for the
institutions he was involved in – a
legacy at least as important than his
own work as an artist.
1. Typed postcard inviting Ida to
“a special secret meeting of
playwrights” to discuss the formation
of the American Playwrights Theater
2. Manuscript for a poem beginning
with the line “The Sea Turned Itself
Upside” signed and inscribed to Ida
at Stinson Beach in 1960, adorned
with a couple of small drawings.
The poem is not known by us to
have ever been published.
Los Angeles: 1962–3. Two TLS, each on
Press Baza stationary, each housed in the
original mailing envelope addressed and
postmarked to David Meltzer.
Two letters with great content, each
referencing Wallace Berman and
Collectanea, the book featuring poems
by Alexander which Wallace Berman
provided the cover for and helped with.
Postcard to Ida Hodes
San Francisco: C. 1956–62.
3. Mimeographed broadside of a poem
entitled “Three Visits to the Virgin”
which is signed by Broughton and
dated in his hand in 1957, and which
is adorned with several drawings
in fuschia ink. From the date this
appears to predate the publication
of this broadside as a Christmas
Greeting the following year, which
is recorded in the Broughton archive
at Kent State.
4. Typescript of a poem entitled
“Cradle Song”
5. Mimeographed 8.5 x 11" sheet printing the poem “Nativity 1956” which
is signed by Broughton.
6. 2 pp. typescript of a song titled
“Fallout Blues” in Broughton’s hand.
Part of the text of a performance by
the Maidens, the performance group
which included Helen Adam, Robert
Duncan, and Madeline Gleason.
7. 5 pp. of typescript stapled together at
the upper left hand corner, entitled
“The Girl with the Beady Black Eyes”
and “Charm School” both with holograph corrections in blue ink.
8. 8 pp. of typescript on the verso of Poetry Center stationary, stapled once at
the upper left hand corner, printing
songs from an unknown dramatic
work.
9. Two variants of an 8.5 x 11" dittoed
posters for a performance of two
plays by Broughton at the Poetry
Center in 1957, in which Ida is
listed as a performer.
“wb was here yesterday with cover and
inner mystique”
The first letter mentions that “wb was
here yesterday with cover and inner
mystique”. It continues with reference to
a book Alexander was working on with
Cameron (probably her little known and
powerful work Black Pilgrimage, which
would come out in 1964). Alexander
seems jubilant in the letter, excited at
his first book coming out until breaking
out in line breaks – “this is one of those
special magik mornings, like / never
another,/ never before.”
The second letter is much denser than
the first, and begins as an extended and
beautiful prose poem before concluding
by mentioning that Alexander is working on a reissue of Collectanea, with
a new cover and internal illustrations
by Berman. Sadly the reissue was
never published.
$600
10. Manifesto of the American
Playwrights Theater entitled “A
Theater Without Fear”, housed
in a postmarked envelope dated
December 21, 1958 and addressed
to Ida in Broughton’s hand.
11. 8.5 x 11" mimeographed press
release announcing Broughton’s
participation in the Voices 1962–63
Reading Series, (which including
readings at Batman Gallery) folded,
postmarked and addressed to Ida.
12. 8.5 x 11" dittoed announcement for
readings by Broughton and Robert
Horan at the Poetry Center.
13. 4.5 x 6.125" handbill, offset printed,
advertising Broughton’s musical
The Rites of Women, with songs
composed by Ida Hodes.
14. Wedding announcement for
the wedding of Broughton and
Suzanna Hart.
15. APS to Ida in 1959, describing a
production of Rites of Women
featuring “300 girls”
One of 20 signed copies
16. Ben Talbert
Bijou Dream
16. Undated holiday card bearing
a brief initialed phrase in
Broughton’s hand.
17. Small offset printed handbill
announcing readings at the Labaudt
Gallery held at the Poetry Center,
dated in holograph 1956.
$1500
16
Pasadena: Pasadena Art Museum, 1965.
19 x 25" poster, offset printed on coated
stock. One of a limited edition of only
20 copies signed and dated by Talbert.
A striking large scale poster for this film
series at the Pasadena Art Museum. The
motifs of the drawing, including the
presence of an everbrite light bulb in the
lower left hand corner, the aggressive
sexuality of the image and the striking
anonymity and persistence of the male
gazes in the tableaux are firmly within
the trajectory of Talbert’s work. This
is the first example we’ve seen of the
poster – a scarce example of commercial
work by the most unjustly neglected of
all west coast pop artists.
Some moderate creasing, with a small
area of loss at one tip and a 1" closed
tear at upper margin, but clean and very
good.
$1000
17
17. Ben Talbert
Ubu Roi
19. Michael McClure
Muscled Apple Swift
Los Angeles: Coronet Theatre, 1964.
13 ½ x 18 ¾", offset printed on coated
stock. Signed in plate by Talbert.
Topanga: Love Press, 1968. First edition.
Oblong 8vo, saddle-stitched in pictorial
silkscreened wraps, with cover and titlepage images by George Herms. One of
63 numbered and signed copies, out of a
total edition of 150. McClure’s holograph signature and printed signature
on title page are framed together with a
beautiful, fine line drawing by McClure
in ink.
In the middle part of the century the
Coronet was one of the most important
alternative venues in Los Angeles for
experimental film and theatre. This
production of Ubu Roi was directed
by Estrin, a longtime member of the
Bread & Puppet Theater.
One of the most beautiful of many beautiful books produced by George Herms
under the Love Press imprint.
Folded twice, with a 1 ½" closed tear
to left margin and some tack holes to
upper tips.
Near fine with some toning and slight
foxing to wraps; some light offsetting to
title page due to acid bleed from cover
silkscreen ink.
Sold
1964
One of 63 numbered and signed copies
18. Michael McClure
Unto Caesar
Sold
20. Up Against the
Wall Motherfucker
We Propose a
Culture Exchange
(garbage for garbage)
[San Francisco]: [Dave Haselwood
Books], [1965]. First edition. 4 x 6 ½",
[24] pp, saddle-stapled oblong wraps.
Letterpress printed in 24 point Goudy.
New York: Up Against the Wall Motherfucker, [1968]. 8 ½ x 11", crudely printed on recto only, with a photomontage at
recto and from typescript at verso.
A beautiful book lacking any imprint
information or authorship. According
to the Auerhahn bibliography, this was
published by Haselwood (item no. 1 in
the Haselwood Books section) and was
limited to only 60 copies. A beautiful
example of Haselwood’s printing, and
one of McClure’s scarcest books.
Fine.
The flyer proposing the UAWM’s most
notorious action. During the garbage
strike of 1968 the group trucked garbage
from the lower east side and dumped it
into the fountain in front of Carnegie
Hall during the opening night of a gala.
Sold
Fine.
Sold
One of 60 copies
Garbage for garbage
18
19
21. Raymond Saunders
Paintings, Drawings,
Collages
[Nothing to Say]
Andover, MA: Addison Gallery of
American Art, 1987. 4 ¼ x 6 ½",
Oblong, 20 perforated postcards spiralbound into a plastic comb binding.
Inscribed by the artist to “Barbara K.”
and signed, thumbprint in red ink inside
the signature. The cover also bears a
numeral 4 in red ink in the artists’ hand.
This conceptual artists’ book by the
African American artist prints a series of
postcards from the influential conversation entitled “Nothing To Say” between
the artist and Christopher Cook. The
rare catalog for the exhibition was normally issued as loose postcards housed
in an envelope, and is rare enough,
with OCLC locating only 2 holdings.
A copy of that edition sold at Swann’s
in 2013 for $1000. This is the first time
we’ve seen it bound as a book, or signed.
The presence of the numeral perhaps
indicates that this is a presentation series
within the edition.
Saunder’s conceptual work is not as
well known as his paintings, but it will
surprise nobody who is familiar with his
theoretical writings – especially his provocative late 60’s critique of the uses of
the color black by the Panthers and other
radical groups and in conceptual art.
$750
22. Russell Atkins
Spyrytual
Cleveland: 7 Flowers Press, 1966.
First edition. 8vo, [4] pp. stapled in
brown wraps speckled with silver.
One of a limited edition of 200 copies.
An early work of concrete poetry by
the talented African American poet,
composer, and theorist, published by
d. a. levy at his 7 Flowers Press. The
brief poem is largely organized around
punctuation marks and is one of the
most beautiful if restrained works of
the early concrete scene in Cleveland.
Taylor & Horvath P-112.
Some very slight creasing to wraps,
still easily fine.
$450
Printed and published by d. a. levy
“Nothing To Say”
20
21
For a good book,
call (503) 206-7291
23. d. a. levy and
James R. Lowell
Distribute This
Letter to Your Friends
& Associates …
24. Nick Kimberley.
Big Venus Nos. 1–4
Cleveland: James R. Lowell Legal
Defense Fund, [c. 1966]. First edition.
Five 8 ½ x 11" leaves, mimeographed
from typescript on rectos only.
London: Big Venus, 1969–70. First issue
a 4to, mimeographed and stab-stapled
into printed wraps; subsequent issues are
each an 8vo, mimeographed or dittoed
and saddle-stapled into pictorial wraps.
Complete
A statement printed by the committee which reprints several news articles
about the case, and details the circumstances of the raid by police on the first
location of the Asphodel Bookshop.
The last two pages are taken up with an
account of levy’s imprisonment, as well
as the related censorship cases of Stanley
Heilbrun, Robert Sigmund and the
closure of the coffeeshop at East 115th
st, concluding with an account of the
conspiracy by the Masons and the local
press against the famous levy benefit
which Ginsberg and the Fugs appeared
at, concluding with the line “It is your
freedom of speech that is being lost.”
Nick Kimberley worked at the famous
Compendium Bookstore in London,
which worked to fill the gap left by the
closure of Better Books and Indica.
He would later open a bookstore of his
own, Duck Soup, and is now a music
critic. Big Venus drew from both the
British and US avant-garde poetry
scenes, and is one of those key magazines
of the time which helped act as a bridge
between the two countries.
Issue no. 2 prints ’a cunt not fit for
the queen’ by Paul Buck, which, when
reprinted by Corridors in 1971 caused
the printers to refuse to print it.
$200
With contributions throughout the
issues from John Ashbery, Clayton
Eshleman, Andrew Crozier, Bob
Cobbing, Stuard Montgomery, Peter
Riley, Bill Butler, George Dowden,
Allen Fisher, Tom Raworth, Gerard
Malanga, Anselm Hollo, Barry
MacSweeney, John James, Fred Buck,
DAvid Chaloner, Daphne Marlatt,
Kris Hemensley, Larry Eigner et al.
Cleveland, 1966
Miller & Price D69.
Sold
Nos. 1–4
24
25
25. Surrealist Tracts
Demasquez Les
Physiciens
Videz Les Laboratoires
[with Papillon]
27. Paul Eluard et al.
Au Tour des Livrees
Sanglantes!
Paris: Comite de Lutte Anti-Nucleaire,
1958. A leaflet penned by Breton and
signed by him and a number of fellow
surrealists, including Jean-Jacques Lebel,
Joyce Mansour, Sophie Markowitz,
E.L.T. Mesens, Benjamin Peret,
and Toyen.
Paris: Editions Polyglottes, 1956. First
edition. 8vo, [4] pp, single sheet printed
in two colors and folded once. Illustrated
with a reproduction of portrait of Trotsky
by Annenkoff.
Surrealist broadside issued to denounce
the Stalinist betrayal of Trotsky and
the French communists. The recto is
beautifully designed with a text border
printed in red surround the text,
which prints the entirety of Eluard’s
poem “Joseph Staline” at the center.
The tract attacks technocracy as the
new opium of the masses and denounces
the use of nuclear weapons and research.
This copy with the papillon, previously
unknown to us. OCLC locates only
three holdings, none of which mention
the papillon.
With text border
The manifesto bears the printed signatures of Andre Breton, Benjamin Peret
and Jean Schuster.
Biro & Passeron p. 409 [again, not mentioning the papillon]. Breton Ad603.
Toned at margins, with creasing and
short closed tears along upper margins,
none affecting text or image. Very good.
$450
$150
“Unmask the physicians, empty
the laboratories”
26. Surrealist Tracts
Cote d’Alerte
28. J. Millet, ed.
Sens Commun Nos. 1–2
Paris: Le Mouvement Surrealiste, 1956.
First edition. 8 ½ x 11", printed on
recto only on handmade, speckled
brown paper.
Complete
Surrealist tract protesting the recent
election of 52 members of the Poujadiste
movement, accusing them of fascism, and
drawing attention to the war in Algeria.
Signed in plate by 19 members of the party,
including Nora Mitrani and Benjamin
Peret, with a note stating that Charles
Estienne was in support of the text.
One of the most important political
tracts of the party during the decade.
Duruzoi p. 579.
Biro & Passeron p. 407 (pictured).
Fine.
Capentras: J. Millet, 1965. First edition.
Each issue a single folded sheet,
11.375 x 18", offset printed on recto
and folded twice.
Both issues published of this Surrealist
periodical, a “contact sheet” or forum for
sharing short statements and prose pieces
edited by Millet with editorial assistance
and statements from Evelyn and Claude
Chatoux, Robert Duparcq, Therese and
Albert Fanjeaud, and Gilbert Saccani.
Some of the pieces are concerned with
the political climate of the time; with
references to Vietnam, Goldwater etc.
The second number prints a short text
by Benjamin Peret.
The contact sheet
A scarce and ephemeral surrealist periodical; OCLC locates holdings only at the
Bibliotheque Nationale, with a note that
publication ceased with the second issue.
Against the Poujadistes
$75
Horizontal crease to each number, with
some light toning to extremities; near fine.
$300
26
27
29. Zephyrus Image
Liberate Berkeley
31. Zephyrus Image
Alcatraz is Not An Island
San Francisco: Zephyrus Image, nd.
6.625 x 8.75", linocut print on
white paper.
One of the very earliest broadsides of
the press, with the spelling “Zephyrous”
at foot of image. Illustrated with a
potent montage of a fist among guns,
molotov cocktails, and dynamite. This
is the fourth issue of the broadside, a
reissue of the first state in a smaller
format, corresponding with Johnston’s
entry iv on p. 184 of the Zephyrus
Image bibliography.
Np: [Zephyrus Image], nd. 4 ½ x 8 ½"
broadside, letterpress printed with
Cheltenham type. Fine.
Of three known paper variants, this
example is on light green paper. Among
the earliest ephemera from the press,
dating from the Collins St. days. The
simple design gives the text, a powerful
manifesto issued by Native Americans
during the occupation of Alcatraz,
maximal impact. The early ephemera
from the Collins Street days sometimes
had color variants; Johnston theorizes
that in these cases, broadsides were likely
printed utilizing paper end runs
from Cranium Press productions.
Johnston p. 180.
Fine.
$75
Sold
Fists and guns
Printed with Cheltenham type
30. Zephyrus Image
[LNS] Representatives
of the Red Rockets …
[Liberate Berkeley]
32. Zephyrus Image
The Menu Appendix
Taken From Wm Caxton’s
Original Cookbook
San Francisco: Zephyrus Image, 1970.
6 ½ x 10 ¼" block print in orange,
with text set in 14 pt. linotype Caslon.
The scarce third state of the Liberate
Berkeley broadside [Johnston p. 184].
Psychedelics for Weapons!
Np: Zephyrus Image, 1978. First
edition. 7 x 11", four unbound leaves.
Linotype in black on cream card
stock. This copy missing the clear
laminated plastic sleeve, as it usually
seems to be. Fine.
This last book from the press is a spoof
on fine printing. The title refers to the
first English language cookbook and
acts as a menu for fine printing. Offering
different breakfast, lunch, and dinner
menus with options such as Kerned Beef
Nash, Bold Face Potatoes, Frozen Uncials, and Printer’s Thumb Pate. OCLC
locates only three holdings.
A couple of very faint handling creases
and a couple of very faint smudges to
verso, else near fine.
$150
One of the great satirical works of the
press. To drink: Zapfindel. Johnston
pp. 155–56.
$75
Psychedelics for Weapons!
To drink: Zapfindel.
28
29
33. Zephyrus Image
Help Your Local
Junkie Kick
35. Xerographic Art
Generative Systems:
An Exhibit of
Xerographic Art
[San Francisco]: Zephyrus Image,
[1970]. First edition. 6 ½ x 12 ½",
linocut in green on newsprint. The
rare first state of the broadside, originally
distributed by posting them on telephone poles around Berkeley. One of
the greatest posters of the 70’s (if not
all time), deriving a strange power from
Myer’s masterful linocut that joins
somewhat anachronistic, Beardsley-like
figures with mechanical imagery and
very modern slogan. One of several
broadsides the press produced at this
time in a similar vein, including Liberate
Berkeley and Ford. Johnston p. 185.
Some expected toning and a bit of
creasing to lower extremities, else fine.
Berkeley: Heller Gallery, 1979. 8vo,
[16] pp, xeroxed and saddle-stapled
in wraps. With a 7 ¼ x 12" poster for
the exhibition laid in.
The catalog for this important early
xerox show. It includes descriptions of
works by Anna Banana, E. F. Higgins
III, Ed Rachles, Robert Rockola, Jayed J.
Scotti, Winston Smith, Scott Williams,
Marcia Willman, Paula Winfry,
You Yajima, and Fast, Cheap & Easy
Graphics et al.
The catalog is signed by the curator at
her afterword, and bears a couple ink
holographic notes, and a rubberstamped
fingerprint within. Rare. The first time
we’ve seen the catalog or poster for this
important xerographic art show.
$450
Catalog near fine with a short nick to
upper margin of cover; poster folded
twice, with a number of tack holes
from being posted; very good.
Sold
1979
On telephone poles around Berkeley
34. Ted Joans, ed.
Dies und Das: Ein
Magazin von Aktuellem
Surrealistischem
Interesse No. 1
Complete
36. Marquis de Sade
Brigade / PSF Cell /
Gen. Copulation
Give This Man a Second
Chance. Free Benjamin
Mendoza y Amor. Free
Religion’s Prisoners
West Berlin: Ted Joans, 1984. First
edition. 8vo, perfect bound in wraps.
Text in English, German and French.
Illustrated in b/w.
First and only issue of this periodical
published in West Berlin by Ted Joans.
The first half is a special issue dedicated
to Wilfredo Lam and includes much
material on him, including poems and
prose by Joans and Benjamin Peret, Jean
Schuster, Alain Joubert, Pierre Mabille,
Andre and Elisa Breton, Jean-Louis
Bedouin et al.
The second half of the magazine is
devoted to some great writing about the
intersections of jazz and surrealism, including responses to a jazz questionnaire
by Jorge Camacho, John W. Welson,
Maurice Henry, Louis Lehman, Georges
Gronier, Chris Starr, Roberto Matta
Echaurren, and an article on Jazz by
Robert Goffin.
Np: Marquis De Sade Brigade, nd.
8 ½ x 11" sheet, offset printed at recto
and verso. Folded twice, perhaps for
mailing, with two small holes from
old staples; very good.
A manifesto calling for the freedom
of Benjamin Mendoza y Amor, the
Bolivian surrealist who attempted to
assassinate Pope Paul VI in Manila in
1970. On the verso, the squad notes
that they’ve also captured God, and will
kill him unless their demands are met.
Besides the elimination of organized
religion, the group also demands that
Cardinal Deardan and Anita Bryant
perform certain acts together – the flyer
goes into more detail than I will here.
Sold
The man who tried to kill the Pope
Jazz + Surrealism
Sold
30
31
37. Xerographic Art
Archive of Material
Relating to the San
Francisco Color Xerox
Comes to New York
Exhibition at
Jamie Canvas
New York: 1979. Fifty-three 3.5 x 4.375"
color snapshots (some duplicates) housed
in a rubberstamped envelope, with the
painting maquette for the poster for
the show (14.5 x 15", paint and ink on
board) and the corresponding color
xerox poster from the maquette.
Jamie Canvas was a legendary Soho art
supply store which acted as a creative
hub for artists of that era. It was the first
shop in the area to get a Xerox 6500
color copier, and a great deal of xerox art
was made there (and, rumor has it, at
least one of the great punk zines of the
era at night).
Barbara Cushman, proprietor of the
San Francisco gallery A Fine Hand,
was a curator and gallerist active in mail
and xerox art circles. The photographs
document the exhibition during
installation, with one of the photographs
also showing copies of the poster
included here decorating a garbage bin
in the store.
38. Rosco Louie Gallery
An Armory Show
Seattle: Rosco Louie Gallery, 1979. 8vo,
two unbound, folded sheets, xeroxed in
b/w. With rubberstamped guns to back
cover, along with a perforated stamp
made for the show tipped onto back
cover. Signed by R. E. Beans within.
Exhibition catalogue for this early show
at Larry Reid’s Rosco Louie gallery – the
legendary punk gallery infamous for its
unfriendliness to art collectors, and for
acting as a vital early space for artists
such as Peter Bagge, Charles Burns, Art
Spiegelman, Matt Groening etc. and
as a performance venue that helped to
incubate the punk scene on the west
coast. The space was succeeded by the
Graven Image, an important venue for
the nascent grunge scene.
Valuable documentation of both the
exhibition, about which little seems
to have been written about, and for
an important venue of the era.
Sold
Larry Reid’s Rosco Louie Gallery
Rare ephemera from an essential venue;
OCLC locates no holdings.
Near fine with light toning.
$75
39. Michael Pinney
and John Miles
Night Flight
Dorset: Bettiscombe Press, 1969. First
edition. Square 16mo, [53] pp, single
sheet of thick card stock offset printed
in black and white with hand-coloring
to one page, concertina folded and taped
into card wraps.
A collaborative artists’ book featuring
voluptiously printed with altered b/w
photographic images – a dark and
delirious book, one of several beautiful
artists’ books from the press.
Very good with some light foxing and
some light, innocuous staining to a
couple of pages.
$75
Fifty-three photographs and the original poster maquette
Dark and delirious
32
33
40. Chris Marker
Le Coeur Net
42. Alfred Starr Hamilton
The Poems of Alfred
Starr Hamilton
Paris: Éditions du Seuil, 1949. First edition. 12mo, 185 pp, printed wraps. With
red printed belly band printed a quote
regarding the book by Andre Malraux,
as issued. Small “S.P.” (Service de Press)
rubberstamp to rear wrap and upper
margin of a couple of internal pages.
Penland, NC: The Jargon Society, 1970.
First edition. 8vo, [108] pp, printed
on alternating signatures of blue and
white paper stock and bound in lavender boards, with printed title label;
photographically illustrated dust jacket.
Published as Jargon 49.
The first edition of the artist’s first and
only novel, a beautiful and unsettling account narrated by the ghost of an airman
whose narrative structure foreshadows
Le Jetee. The book was published in
English under the title The Forthright
Spirit in 1951 by Allan Wingate, an
edition that is also uncommon. Exceedingly scarce in this condition and with
the printed belly band.
Paper toned, as usual, but completely
uncut – belly band detached at rear fold,
with inner fold laid in. An otherwise fine
and square copy, in much better condition than usually found.
First and only novel by the filmmaker
Jargon 49
The first and only collection of Hamilton’s poems to appear in his lifetime,
and one of the most elegantly designed
Jargon titles, especially in this hardcover
edition (it was also issued simultaneously in paperback). The book was the
product of many hands, and the finished
product includes a typically inimitable
Fine in a near fine jacket lightly and
evenly darkened at the spine – a
handsome copy.
$200
$750
43. Alfred Starr Hamilton
A Dark Dreambox of
Another Kind: The Poems
of Alfred Starr Hamilton
41. Ian Tyson
The Instructions for Solo
Voice and Percussion
London: Tetrad Press, 1972. First
edition. 2.875 x 2.875", 30 scores
printed on card stock with printed
title wrapper, housed in a plastic
clamshell box. One of 50 copies
signed and numbered by Tyson,
the entire edition.
Contents fine; one hinge of the
clamshell box partially broken, but
still closable, else very good.
front flap dust jacket blurb by Jonathan
Williams, a foreward by Geof Hewitt,
and is illustrated with drawings by
Philip Van Aver and photographs by
Simpson Kalisher. Hamilton’s work finally received some of the acclaim which
has eluded him with the 2013 publication of A Dark Dreambox of Another
Kind from Song Cave (see below), and it
is a pleasant surprise to see that collection floating around the coffeeshops,
something which seemed unthinkable
just a few years ago.
Np: The Song Cave, 2013. Second
Printing. Trade paperback, 195 pages.
New from the publisher.
A worthy collection that collects poems
from Hamilton’s previous collections
as well as poems from posthumously
found notebooks.
$18.95
One of 50 copies
Sold
New from the publisher
34
35
44. Wong May
A Bad Girl’s Book
of Animals
46. Mason Williams
Cancer Society Script
New York: Harcourt Brace & World,
1969. First edition. The first and only
edition of the poet’s first book, one of
the great debuts of the sixties. Wong
May’s work has been thankfully brought
to a new generation of readers following
an article by Zachary Schomburg, and
with the release of Picasso’s Tears from
Portland’s Octopus Books – one of the
necessary books of 2014 – see item 43.
A hefty artists’ book by Williams, what
he terms in the foreward a “pre-script
for no script at all” for an uncompleted
television film about cigarette smoking
which Williams attempted to make in
conjunction with the American Cancer
Society. The book documents the failed
project in all of its glory, and includes reproductions of correspondence regarding
the failed project. Published in the year
following Crackers, it is one of his scarcest books, with OCLC locating only the
MOMA and USC copies.
Foxed and toned a bit at the edges, else
very good in a heavily foxed and toned
dust jacket with a small droplet stain
near head of spine and some slight loss at
the spine ends, else very good. Scarce.
$100
Very good with a 5" crease to cover and
a very light touch of soiling to the wraps,
and a touch of marginal page toning.
“pre-script for no script at all”
Sold
Her first book
45. Wong May
Picasso’s Tears
Np: Mason Williams, 1970. First edition. 4to, offset printed from holograph
and perfect bound in printed wraps.
47. Pandit Pran Nath
and La Monte Young,
Marian Zazeela
[Jackson Mac Low]
Flyer for a 1970’s
Performance, Annotated
by Jackson Mac Low
New from the publisher. They’re
downstairs from us.
$24
Np: nd. 8 ½ x 11", offset printed on
recto only and illustrated with a
photograph of Nath in performance
with La Monte Young and Marian
Zazeela (who designed the poster).
A flyer for a 1970’s performance by
Pandit Pran Nath designed by Marian
Zazeela. The verso has a musical staff
and notes written out in holograph, as
well as a series of doodles or notes in
Jackson Mac Low’s hand which appears
to be notes to self as he tries to get a
balky pen to work.
Folded twice with some light creasing;
very good.
Sold
Publisher downstairs
Annotated by Jackson Mac Low
36
37
49. Karen Mac Cormack
and Fredrik Averin
Words Pronounced
Exactly Alike
Portland, Ore.: Fredrik Averin, 2014.
First edition. 20 x 20" broadside on card
stock silkscreened in two colors. One of
a limited edition of 42 copies. New from
the Publisher.
Eleven books in four months, complete with scissors and Magic Rub® eraser
48. Fredrik Averin
080614—120614
Portland, Ore.: Fredrik Averin, 2014.
First edition. 10 x 7 x 3.125" printed
wooden box with plexiglass lid. One of
a limited edition of 15 numbered copies.
New from the publisher.
Here it is – a complete set of all 11 books
which the artist published in 2014, plus
the new work an illustrated field guide
to uncertainty, along with related items.
Includes:
1.
ar ra ngem en ts no. 1– 1 5,
first edition
2.
in conversation with j. –,
first edition
3.
if hope was _ _ _ _ ., first edition
4.
the everything i owe
bern porter 2014 tribute,
first edition
5.
men vs. women, first edition
6.
mon. aug. 18, 2014, 09:47:32 p.m.,
first edition
7.
today i’ d rather be a circle than
a line, first edition
8.
day in, out, first edition
9.
wanna feel my throat?, first edition
A collaborative broadside featuring
Karen Mac Cormack’s original poem
in English spatially and geographically
arranged alongside the Swedish
translation. The three words which are
pronounced the same in either language
are overprinted, resulting in a third
color. The typography and Swedish
translation is by Fredrik Averin. Our
favorite broadside of the year.
$50
10. 0°, first edition
50. Ted Berrigan,
Joe Brainard,
Kenward Elmslie,
Tom Clark,
James Schuyler
Wild Oats
[Calais, VT]: [1966]. First edition.
14 x 22", 19 sheets printed on rectos
only and an additional printed cover
sheet printed on card stock.
One of the most striking collaborative
New York School books, Wild Oats is
gloriously impractical as a book. It has
the sense of a book that could have been
very small but instead chooses to be very,
very large. It has the feeling of an oddly
intimate shout.
This is a remarkable well-preserved,
bright near fine copy of a book which
almost invariably is found worn or with
leaves detached.
Sold
11. two? too? 2?, first edition
12. an illustrated field guide to
uncertainty, first edition
13. stress game, first edition
14. no smoking, first edition
15. stainless steel scissors
16. magic rub® eraser
17. strip of round red
sticker dots
18. portrait of the artist author editor
designer printer publisher without a
beard, first edition
20. certificate of authenticity
It’s very large
21. bill of transfer/sale
$200
Two colors creating a third
38
39
52. Division Leap
Archive & Survive T-Shirt
Portland, Ore.: Division Leap, 2015.
First edition. Cotton t-shirts silkscreened
in two colors by a reclusive surfer genius
hiding out on the Oregon coast. We’ve
sworn not to divulge his identity or location. Available in Small, Medium, Large
and XL – please specify when ordering.
$20
Front
Back
51. Travis Low and Adam
Davis, Kate Davis, Greg
Bennick, Laura Hamblin,
editors and contributors
The Fifth Goal 1998–
2003: Transcendental
Graffiti Zine
Portland, Ore. and Salt Lake City:
Division Leap and Hierophant, 2015.
8vo, 436 pp, trade paperback. Second
printing, One of 250 copies. New from
the publisher.
Division Leap, Hierophant and Greg
Bennick are glad to announce the joint
publication The Fifth Goal, which collects all 8 issues of Blake Donner’s zine
devoted to freight train graffiti, reprinting every page and cover in its entirety,
along with texts by each of the contributors about freight train graffiti and Donner’s life and work.
The Fifth Goal began as a zine devoted to spiritual questions within
the framework of Krishna, with some
graffiti shots, but by the time of the
fourth issue the editor had abandoned
the Krishna movement, and the zine
became a spiritual exploration of freight
train graffiti – especially the older traditions of hobo chalk drawing graffiti, a
history which stretches back to the civil
war. The final five issues, with their
heightened cut-and-paste aesthetic, high
contrast xeroxed photographs of boxcar
walls and interviews with the artists of
previous generations, juxtaposed with
photographs of work by more recent
artists working in the tradition such as
Margaret Kilgallen and Barry McGee,
make it one of the most beautiful zines
of its era and an essential American graffiti document.
Blake died in 2005, and original copies
of the zine are rare. This book was a
communal effort put together by friends
of Blake and by enthusiasts of the zine,
who over the course of two years found
each other in remarkable ways and slowly
tracked down each of the original issues.
All profits from the book will be contributed to a scholarship in Blake’s name.
The book was first released at Printed
Matter’s 2015 LA Art Book Fair, January
29-February 2 at the Geffen Contemporary at MOCA and is now sold out.
Copies of the second printing are back
from the printers and shipping now, and
will be part of our exhibition at Book
& Room at the ICA in London May
22–24.
Kate
$25
40
41
chase
that
paper.
The view from here
19
freedom,
41.
39.
50.
gaps,
Division
Vol. 1
April
22.
9.
fires.
2.
8.
13.

PDF - Division Leap

Transcription

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