Latest Catalogue

NICHOLAS
POUNDER
Rare Books
New Series
Catalogue No 6
Nicholas Pounder Rare books
Phone
61 2 9389 7710
0417 499 570
Mobile
[email protected]
www.nicholaspounder.com
PO Box 3299
Tamarama NSW 2026
AUSTRALIA
Established 1982
ABN 87 171 162 941
A CATALOGUE to BEGIN
1.
We Moderns: Gotham Book Mart 1920 - 1940. New York, NY:
Gotham Book Mart, [1941]. A landmark catalogue in the
market and argument for Modern Literature. Reproduces
letters to the bookshop by Frances Steloff, Kay Steele,
Gertrude Stein, Samuel Putnum and Dudley Fitts; but most
significantly it presents author section introductions by
William Carlos Williams, Alfred Kreymborg (on Conrad
Aiken) Kay Boyle (for Djuna Barnes), Edmund Wilson,
William Saroyan, Delmore Schwartz (for Hart Crane),
John Dos Passos (for e.e. cummings), Ezra Pound (for
T.S. Eliot), Sherwood Anderson (for William Faulkner),
James Stern (for Christopher Isherwood), Eugene Jolas
(for James Joyce), W.H. Auden (for Louis MacNeice),
James Laughlin (for Henry Miller), Ezra Pound (by e.e.
cummings), Stephen Spender (by Kenneth Patchen [!]),
Gertrude Stein (by Carl Van Vechten), Wallace Stevens
(by Conrad Aiken), Edmund Wilson (by Allen Tate), and
William Butler Yeats (by W.M. Roth). Rear section includes
a fine survey of little magazines: “Dead”, “Now & Then”
and “Current” with a forceful introduction to the form.
Demi octavo [200 x 140] 90 pages stab bound into yapp
style illustrated wrappers. Upper wrapper reproduces Ruth
Bower’s painting, “The Life of the Party at Finnegans Wake
in Our Garden on Publication Day” (from a photograph
by Carl Van Vechten). A near fine copy.
$85.00
[1]
ROBERT ADAMSON [1943 - ]
GEORGE ALEXANDER [1949 - ]
2.
The Rumour. Sydney, NSW: New Poetry/ The Poetry Society
of Australia, 1971. The third title in the Prism Poets series
and the poet’s second collection. This copy signed by
the poet in his manner of the time. Octavo [ 185 x 115] 56
pages in illustrated card wrappers giving Adamson’s year
of birth as 1944. A few flecks, else a very good copy. $65.00
3.
photographs. Four photographs of Robert Adamson
taken by fellow poet John Tranter and included in a
publicity package put together to accompany Adamson’s
collection, The Clean Dark (1989). The four images are c.
1980 (one image shows what may be an IBM Selectric
III) and are probably more appropriately aligned in
publication history with Where I Come From— though a
more accurate method of dating will no doubt come to
hand. 1. 10" x 8" black and white print with unshaven
subject next to a fat tyre, shoeless and, interestingly, with
a birdcage and improvised small mesh chicken wire box
(fish trap ?); 2. 10" x 8" black and white print, head and
shoulders, again unshaven and with piercing stare; 3.
8" x 6" black and white close portrait: unshaven, fixed
and confident gaze; 4. 8" x 10" black and white print of
the poet smoking next to an electric typewriter with a
folder of papers and what appears to be a wire basket of
manuscript. Tranter has always had declared ambitions
towards photographic art, and here we see a special
relationship between the lens and subject. All four prints
fine, and each with a typed subject note and claimed credit
to Tranter fixed on the rear.
$85.00
5.
Will Everything Possible Happen Eventually Somewhere?
Currarong, NSW: Fez Press, 2014. one of forty
signed and numbered copies. Prose with brush and
ink drawings. Four new works. “Nudges us to a dark
crossroads where lives, that may be immortal (if only for
an instant), face down the inevitability of death.” With
the usual sense of the life that language leads within itself.
Oblong octavo [210 x 147] 128 pages perfect bound into
illustrated wrappers. $40.00
PATRICK ALEXANDER [1940 -2005]
6.
Remembering Grünewald. [Melbourne,Vic: self published,
1994.] A poem in three sections inspired by Matthias
Grünewald’s paintings of the crucifixion at the Isenheim
Altarpiece. This copy inscribed by the poet to his friend,
Cornelis Vleeskens, and with a handwritten birthday card
laid in. A4 [297 x 209] [8] pages, rectos only, stapled into
plain card covers. Unrecorded. $45.00
with an early draft
ANARCHY [1994 - ]
4.
Meaning. Cambridge, UK:Peter Riley, 1998. Poetical
Histories, No 46. One of 200 copies. Nine poems. Printed
by Peter Lloyd at the Holbeche Press, Rugby, on Montgolfier
St Marcel-les-Anne Ingres laid paper. Medium octavo [235
x 150] [12] pages, in printed wrappers featuring a drawing
“A Lovely Early God” by Robert Duncan. Offered with a draft
of one of the poems, “At Berry’s Bay”, a working typescript
with corrections in the poet’s hand and watercolour
decorations filling the entire area outside the poem, this
draft is substantially different to the published version:
close to intent and meaning yet showing considerable
reworking in the diction and balance of line—a very
revealing stage of transition. The rear of this draft has the
poet’s notes for a meeting and reading with fellow poet,
Peter Minter. The pair
$120.00
7.
The Anarchist.Vol 1 No 1.Brisbane, Qld: 1994. First issue
largely devoted to Bouganville and questions raised by
the 25th South Pacific Forum. Other stories include
cannabis law reform, anarchism and social economy,
Commonwealth troops in Bosnia, Queensland police and
the Aboriginal community, the Daniel Yock case and black
deaths in custory. Contributors acknowledged: Ciaron
O’Reilly, Shannon Adams, Tony Kneipp, Darryl Eyles,
Lynda Rushton, Philip Winn, and Brendan Greenhill.
Tabloid [405 x 290] 8 pages. Fine. $35.00
[2]
DAVID ANDERSON [1946 - ]
ARTISTS BOOK [1991]
11.
Artists’ Books: A Critical Anthology & Sourcebook. Rochester,
NY: Visual Studies Workshop Press, 1991. Edited by Joan
Lyons. Thirteen essays, including “Book Art”, by Andre
Kostelanetz, “The New Art of Making Books” by Ulises
Carrion, “Contemporary Artists and Their Books” by
Clive Phillpot. Other contributors are, Lucy Lippard, Alex
Sweetman, Shelley Rice, Betsy Davids, Robert C. Morgan,
Barbara Moore, Jim Petrello, Felipe Ehrenberg, Magali
Lara and Javier Cadena. With a preface by Dick Higgins,
and an extensive bibliography. Octavo [230 x 150] 270
pages in illustrated wrappers. A little used copy. $30.0o
cover art by philip guston
8.
The Spade in the Sensorium. Bolinas, Ca: Big Sky Books,
[1974]. The story of Ernest Erk, a sad fiction set in San
Francisco. The cartoon quality of Guston’s work during
this period was well matched to the sensibility that Bill
Berkson sought to evoke at Big Sky — that of a comic book
aesthetic. Small quarto [280 x 215] [38] pages printed at
the Mesa Press and stapled into illustrated card covers
with artwork by Philip Guston. $40.00
art & a texta [1982]
ARTISTS BOOK [1991]
9.
Art & A Texta: New Australian Art, a Magazine. Prahran,Vic:
new-Australian Art a Magazine, [December, 1982]. A
controversial mischief that went towards and then away
from the Supreme Court owing to the sensitivity Art & Text
editor, Paul Taylor, to this parody of his own journal. (The
saga is wonderfully outlined in Michael Denholme’s The
Winnowing of the Grain.) Small quarto [225 x 170] 80 pages in
illustrated wrappers with the two obligatory stickers. $65.00
12.
An Exhibition of Books & Boats. Melbourne, Vic: Council of the
State Library of Victoria, 1991. Catalogue and documents
for the exhibition held at the State Library of Victoria
13th of July to the 25th August, 1991, featuring the work
of Jay Arthur, Alexander Hamilton, Petr Herel, and Paul
Uhlmann. Introductory essay by Alex Selenitsch. On five
folded sheets for the essay and one for each artist. Laid
out and designed in Canberra by Paul Uhlman (Trembling
Hands Books) and Jay Arthur. Pamphlets 5 x [450 x 210]
folded twice to make six panels of text and illustration,
with a 2 page folded A4 sheet listing the works. In printed
folding card portfolio. Fine. $45.00
ART & Text / art & a texta [1983]
ARTISTS BOOK [2005]
signed by each artist and author
13.
Paper Memory. Castlecrag, NSW: Sydney Art on Paper Fair,
2005. An artists book commissioned and published by
Akky van Ogtrop, Director of the Sydney Art on Paper Fair
to commemorate its tenth anniversary in 2005. signed
by thirteen participants: Noel McKenna (artist),
George Alexander (writer), Peter Lyssiotis (artist), Bruce
Petty (artist), Elizabeth Springer (writer), Anne Kirker
(artist), Naminapu Maymura-White (writer), Craig Carter
(writer), Jan Davis (writer), Basil Hall (artist), Ivor Indyk
(writer), Stephen Spurrier (writer), and Ron McBurnie
(artist). Designed and coordinated by Ron McBurnie of
Monsoon Publishing, James Cook University. Typeset by
Bill Day and bound by Ron McBurnie. On various papers
and surfaces, with many fold-ins involving letterpress,
photocopy, offset and other methods. Octavo [200 x 155].
A very fine copy.
$65.00
10.
John and Betty Go to Court.Prahran, Vic: New Art a Magazine,
1983. Reproducing several documents relating to the
legal action between “New-Australian Art a Magazine
Collective” and Paul Taylor, publisher and editor of Art
&​ Text magazine. Also presents affidavits and expert
testimony. Upper wrapper reproduces Paul Taylor’s letter
to the New Art a Magazine collective dated 20 January
1983 - no doubt the hissy fit that provoked the collective
to reproduce the materials presented here. Great stuff. A4
27 pages stapled with binders tape at spine, folded once
vertically in the legal fashion. One of a very few copies. $75.00
[3]
ARTISTS BOOK [2013]
assembly book [1974]
13.
The Book On Books On Artists Books, by Arnaud Desjardin.
London: The Everyday Press, 2013. Revised and expanded
edition, listing some 613 items. The Book on Books on
Artists’ Books is a bibliography of books, pamphlets and
catalogues on artists’ books. It takes stock of a wide variety
of publications on artists’ books since the early 1970s
to draw attention to the kind of documentary trace of
distribution, circulation and reception they represent.
It aims to be a source book of exhibition catalogues,
collection catalogues, monographs, dealership catalogues
and other lists published to inform, promote, describe,
show, distribute and circulate artists’ books. Octavo [220
x 150] 320 pages. New in printed wrappers. $35.00
each unique
16.
A Package Deal Assembly Book. [Sydney]: Art Workers
Collective, [1974]. An artists’ book with contributions
by fifty-eight artists. Key players in the successful
realisation of this project being, Pam Brown, Tim Burns,
Dave Morrissey, and Nigel Roberts. Contributors include:
Ranald Allen, Ken Bolton, Pam Brown, Joanne Burns, Ted
Colless, Alex Danko, John Forbes, Gaby, Ponch Hawkes,
Mitch Johnson, Rae Desmond Jones, Bruce Latimer, Colin
Little, Frank Littler, Carol Novack, Netta Perret, π.o., Nigel
Roberts, Garry Shead, Noel Sheridan, Jon Silkin (Stand
Magazine editor and poet touring Australia that year)
Richard Tipping, Ken Unsworth, Cornelis Vleeskens, and
Michael Wilding. Oblong foolscap [205 x 335] [60] sheets
of surfaces as submitted, deploying various media and
method. A fine copy. $350.00
JOHN ASHBERY [1927 - ]
JEREMY REED [1951 - ]
printer’s proof on amalfi
14.
Blue Sonata: The Poetry of John Ashbery. [Loanhead, Scotland]:
privately printed for Alan Clodd by Alan Anderson at the
Tragara Press, 1994. A printer’s proof copy on Amalfi paper
with a handwritten note to this effect at the colophon.
Crown quarto [245 x 185] 11 + [1] pages sewn into textured
heavy french-fold azure wrappers with printed label. A
wise and heartfelt essay surviving in an opulent proof
state. Fine.$75.00
JOHN ASHBERY
one of thirteen copies for australia
15.
A Voice from the Fireplace. Tamarama, NSW: Polar Bear Press,
[2012]. Broadside poem. This edition was divided equally
between the poet and Nicholas Pounder, with thirteen
copies for sale in Australia. From an edition of 26 lettered
copies, each signed by john ashbery and the artist,
michael fitzjames. Single sheet [500 x 300] printed
letterpress in two colours on 310 gsm Magnani Incisioni
Smooth Ivory paper. The block from Fitzjames’ artwork
was produced by Nicholas Summers in side-grain maple
using a computer-controlled router, finished by hand;
he set the type digitally and printed the text of the poem
from a wood-mounted magnesium photoengraving. All
other text is printed from photopolymer plates. The paper
was dampened and kept so for all four print-runs. The
typeface is Rialto, a digital font designed by Giovanni de
Faccio and Lui Karner for letterpress; all text is from the
Rialto family. An exquisite production, presenting one
of the most popular poems subsequently included in the
collection, Quick Questions. $400.00
[4]
1
9
255
10
17
52
258
82
91
264
202
310
[5]
AUSTRALIAN ART
INGEBORG BACHMANN [1926 - 1973]
signed by translator & artist
17.
Peintres Australiens à Étaples by Jean-Claude Lesage. Étaplessur-Mer: Amis du Musée de la Marine d’Étaples, [2000].
The remarkable story of the part played by no less than
twenty-five “antipodean” painters, twenty-two Australians
and three New Zealanders, in the artistic life of Étaples,
the small port town set on the River Canche near to the
fashionable coastal resort of Le Touquet Paris Plage, a
region known from its ancient name as Picardy. According
to Jean-Claude Lesage, the attraction, at least initially, was
the contrast between the perceived wholesome character
of this provincial location and the ‘mauvaise réputation’
of the Paris art world. The list of these travellers includes
some of the best-known Australian artists of the twentieth
century, including as it does Isobel Rae, Ethel Carrick Fox,
Hilda Rix and Margaret Preston. Word of mouth seems to
have been the basis for many of these visitors choosing
Étaples as a base, a point made clear by an extract the
Lesage quotes from an article Alison Rae, Isobel’s sister,
published in 1891. The sisters had come to Étaples on the
suggestion of friends in Melbourne and occupied the same
house as their friends, where they found “Australian books
and eucalyptus leaves in the drawers of a desk”. While the
association between John Peter Russell and the Brittanny
region is now well known, the link between Picardy and
artists such as those already mentioned and others such
as Arthur Streeton, Will Dyson, Rupert Bunny and Charles
Conder has received less attention, except perhaps in
relation to the work executed by Streeton and Dyson as
official war artists during the Great War. Of particular
interest is Lesage’s concern to provide a French audience
with an insight into an important period of Australia’s art
history, the final two decades of the nineteenth century
and the first two decades of the twentieth. A handsome
production, with a comprehensive checklist of painters,
valuable chronologies and detailed listings of exhibitions
as well as bibliographical citations. With a full companion
English text translated by Pauline le Borgne. Quarto [280 x
215] 136 pages; 58 colour illustrations; 30 black and white
+ maps. NEW with dust jacket featuring a detail from a
painting by Isobel Rae. $120.00
19.
Days in White.Wollongong University, NSW: Five Islands
Press, 2003. Translated by Angelika Fremd, with
transcription drawings by Ruark Lewis. one of 50
numbered copies signed by Fremd and Lewis. Facing
German /English texts. Octavo [225 x 150] 97 pages, perfect
bound into illustrated wrappers employing artwork by
Bachmann and with a jacket replicating same. Very fine.
$65.00
J.G. Ballard [1930 - 2009]
20.
autograph letter, signed, to a Mr Mellen, arranging
a meeting and suggesting a telephone call to refine the
details. “You’re welcome to come and see me here—it
sounds a most interesting project.” With his Shepperton
address, and further directions in another ink. One page,
dated May 29, 1974. Four folds and some creasing. $50.00
HELEN BANSEMER [1951 - ]
21.
Rumpledbutstillskin: Poems. North Adelaide, SA: Chaotic
Press , 1974. “A Commit Edition.” Octavo [210 x 170] [20]
pages stencilled typescript stapled into printed wrappers.
Spine sunned, else very good. Like anything by this poet,
scarce. $45.00
AUSTRALIAN WOMEN’S CALENDAR [1978]
The Greville Press is a ray of hope at a time when poetry is in
dudgeonedna o’brien
18.
The Australian Women’s Calendar, 1978. Chippendale,NSW:
Women’s Liberation Publishing Fund, 1977. The Collective
included, Barbie Bloch, Anny Bremner, Lindy Dent, Laurie
Denton, Margaret Eliot, Sarah Gibson, Helen Grace, Beth
Haynes, Kath McLean, Penny Ryan, Tina Słoń, and Victoria
Wootten. Months have unattributed photos, drawings and
texts, though there is an extract from a Liz Jacka interview
in Scarlet Woman, and a quote from Ti-Grace Atkinson.
Thirteen heavy sheets [435 x 280] spiral bound. A few
creases and stains, with some insect damage to the lower
surface of the final sheet. $60.00
GEORGE BARKER [1913 - 1991]
22.
Seven Poems. Warwick, UK: Greville Press, 1977. With
drawings by Richard Williams. one of 250 signed
and numbered copies. An early salvo for the press by
its founder and stalwart, the inspired Anthony Astbury.
Octavo [215 x 145] [16] pages in which are reproduced
seven drawings by Williams. Black cloth, stamped in gilt.
A very good copy. $40.00
[6]
James K. Baxter [1926 -1972]
barbara baynton [1857 – 1929]
the author’s own copy
his first collection
23.
Beyond the Palisade. Christchurch [NZ]: Caxton Press 1944.
The poet’s first published collection. Octavo [220 x 140]
40 pages in embossed green paper covered boards. No
jacket was issued. With the ownership signature of M.B.
Thomson. Some slight sporadic light foxing (typical) else
very good. $200.00
Barbara had been moving in high circles in England and had got a bit carried
away. When ‘Jo’ was born in 1915 he had been called: Henry Baynton St
John Mildmay Gullett. St John (‘singe jern’) and Mildmay were supposed to
have been English people Barbara was keen to impress.... Barbara had such
a wearying early life, she got Sandy Blight [trachoma] so the lorgnette are
extremely strong. Little did that poor young girl making hats in Emmaville
know that the dust that was ruining her eyesight would one day be fixed
by a gorgeous pair of glasses like that ! penne hackforth-jones
with baynton’s scissors style lorgnette
26.
The Human Toll. London: Duckworth & Co, 1907. Her only
novel. the author’s own copy, presented to her
grandson. With the armorial bookplate of Baynton’s
third husband, Lord Headley, and the author’s signature
beneath. Penne Hackforth-Jones, her biographer and
great granddaughter, provides the background above.
Crown octavo [198 x 130] 344 pages in original green
cloth stamped in gilt and blind, with inset photograph
of the author’s hands on the upper board, as issued. With
Baynton’s scissors style lorgnette. $1,500.00
24.
Lament for Barney Flanagan, Licensee of the Hesperus Hotel : a
Fine New Poem by James K. Baxter. [Wellington, 1954]. Single
sheet [205 x 255] folded once to 4 pages with title and
decorations by Brockie. A fine copy. $45.00
bruce beaver [1928 - 2004]
nigel butterley [1935 - ]
the poet’s first book
27.
Under The Bridge. Sydney: Beaujon Press, 1961. The poet’s
first book. this copy with nigel butterley’s
ownership signature and a personal inscription
from beaver at the colophon. In 1960 Nigel Butterley
was the choirmaster at St Alban’s church Epping. In that
year, the Burcham Clamp building was to get a new
spire that was to be dedicated at a service conducted by
the Archbishop. Butterley was commissioned to write a
piece of music for the occasion, and asked Bruce Beaver
to furnish the lyric. The work, entitled, “Anthem for a
Dedication”, was the result of that collaboration. This,
Butterley’s second choral work, is nowadays known simply
by the opening words “Who Build on Hope”. One of three
hundred copies printed by Graham Macdonald and John
Cummings. Octavo [220 X 140] 46 pages in printed
wrappers. With a published facsimile of Butterley’s score
and words included. $125.00
25.
Chosen Poems. Bombay: Konkan Institute of Arts &
Sciences, 1958. Published for private circulation - as a
kind of calling card - while the poet was on a six month
UNESCO Fellowship in Japan and India. Presents twelve
poems and a short biography of the poet. A perfect copy
of this booklet printed at the Saxon Press, Bombay. Crown
octavo[185 x 120] 16 pages, stapled into printed wrappers.
Mint.$150.00
[7]
BRIAN BELL [1929 - 2000]
ANSELM BERRIGAN
28. A Group of Aphorisms & Condensed Sentences. Wellington,
NZ: John Rhodes, 1952. How it was, then. A frail and
elusive pamphlet—evocative and with meanings yet to be
integrated into a working retrospect. Small octavo [180 x
120] 5 pages in printed wrappers. $35.00
probability of not landing in the predetermined spot,
the derangement of proposed memories – popped into
place after a while and eventually took over as the primary
term to work under.” anslem berrigan. Issued in the
deciBels Series edited by Pam Brown. Typography and
design by Chris Edwards. Small square octavo [135 x 135]
44 pages in illustrated wrappers. New, at the published
price.$15.00
FOREST STIRLING BELL
29.
Cirque Poems. [Mesa Verde, Co: FSB, 1976?] Artist book.
Oblong [100 x 150] c.A6 [18] leaves, rectos only, with an
overlay and original artwork/rubber stamp; comb-bound
into printed wrappers. [I can locate only one other copy,
among the papers of Kenneth Rexroth.] $45.00
TED BERRIGAN [1934 - 1983]
Sandor Petöfi Berger [1925 - ? ]
30.
Poems of Sandor Berger 1950 - 1955. Bondi Junction, NSW: S.
Berger, 1956. “First and Special Australian Edition.” The
poet’s first collection. This volume perhaps provides us
with the best account of the poet’s background: his youth
in Csenger, his arrest as a “Jew” and his incarceration
in Buchenwald, his years as a displaced person, and his
eventual journey to Australia. By the late 1960s he had
entered a state of paranoid psychosis, and while his
writings continued forth, there was little that held the
open and innocent ideals of this small volume. Octavo [210
x 135] 96 pages in printed wrappers with the poet’s portrait.
Produced by Hadliegh Duplicating Service, Marrickville.
A fine copy in illustrated wrappers. $40.00
ANSELM BERRIGAN [1972 - ]
a poem for lou reed
32.
Red Wagon. Chicago: The Yellow Press, 1976. Across a
range of forms, he struts his stuff. This collection includes
“Sunday Morning” (a poem for Lou Reed). Octavo [215 x
140] 73 pages + advts. A near fine copy in printed wrappers
with artwork by Rochelle Kraut and a portrait of the poet
by Gerard Malagna. $35.00
TED BERRIGAN
Tom Clark [1941 - ]
ron padgett [1942 - ]
31.
Pregrets. Newtown, NSW: Vagabond Press, 2014.“I get an
odd kind of pleasure from writing longhand underneath
pre-selected titles, titles that seem to imply or propose
a tonal space from which to begin generating and/or
arranging material. A small show of drawings, prints
and paintings by Jasper Johns at the Museum of Modern
Art titled ‘Regrets’ made me curious to try that word
as a title this past spring, and the term ‘Pregrets’ – the
fantasy or fact of getting ready to feel sorrow or distress,
the attendant humors such a frame might provoke, the
33.
Back in Boston Again. New York: Telegraph Books, 1972. A
small anthology, where each of the three perform superbly
in a small space, introduced by Aram Saroyan. Sub octavo
[180 x 120] 48 pages in illustrated card wrappers featuring
a photo by Rudy Burckhardt. A very good copy with an
interesting provenance. $50.00
[8]
bizarre [1964]
ken bolton [1949 – ]
36.
Four Poems. Darlington, NSW: Sea Cruise Books, 1977. A
signed copy of the poet’s first published collection. Quarto
[280 x 215] 31 pages of duplicated typescript stapled into
hand coloured card wrappers by “Raoul du Plicit. A very
good copy. $200.00
34.
Bizarre No.32-33: Littérature illettrée ou la littérature à la
lettre. Paris: Jean-Jacques Pauvert, 1964. The title of this
excellent double issue of Jean-Jacques Pauvert’s revue
Bizarre, translates to “Illiterate literature or literature of the
letter”. Its focus is on asemic writing and visual poetries
- covering calligraphy, Letterism and related concrete
poetries. The centrepiece is a heavily-illustrated 33 page
section on Letterism written by its founder, Isidore Isou
- introducing and illustrating the work of Isou, Gabriel
Pomerand, François Dufrêne, Gil J. Wolman, Jean-Louis
Brau, and Maurice Lemaître. Also included are 4 pages of
other writings/poems by François Dufrene, and articles
on the Bryen, Villegle & Hains collaboration “Hépérile
Éclaté”, Klaus-Peter Dienst, Winfred Gaul, and a full-page
of Burroughs & Gysin photographs. Quarto [270x 190]160
pages. A very good copy. $50.00
37.
Duae Sestinae: Two Sestinas. Coalcliff, NSW: Bier Rhymes
With Beer Press, 1980.Presents “Bunny Melody” and
“Funny Ideas”. Oblong post octavo [205 x 130] 15 pages
stapled into silkscreened wrappers. A fine copy of a thing
of beauty. (See Coalcliff Days, page 17). $120.00
38.
Notes for Poems. Hackney, SA: A Shocking Looking Book
[a division of Magic Sam Publications], 1982. From and
editon of 200 made at the Experimental Art Foundation
printery. Names names and gives the inside running on
the poetry scene with characteristic style and whimsy.
Square octavo [175 x 175] 36 pages stapled into printed
card wrappers with dust jacket. (See Coalcliff Days, pages
224 - 225.) A very good copy. $60.00
39.
Talking To You: Poems 1978 – 1981. Clifton Hill, Vic: Rigmarole
Books, [1983]. With the David Malouf dust jacket
endorsement. Octavo [210 x 135] 58 pages + publisher’s
adverts, stapled into plain card wrappers with dust jacket
designed by the poet. A fine copy. $50.00
BLACK DOG [1991]
40.
Blazing Shoes. Adelaide, SA: Open Dammit Books, 1984.
one of 200 copies. Mary Christie cover endorsement.
Oblong duodecimo [175 x 85] 112 pages stapled into
silkscreened card wrappers by “Drunk Persons”. (See
Coalcliff Days, page 142.) A fine copy. $85.00
41.
Three Poems for John Forbes. Adelaide, SA: Little Esther Books,
2005. “Published by Ken Bolton for Feral & Boffin of
Feral Boffin + Distingué.” The cover illustration utilises
a snapshot of a vintage Glebe party scene featuring Forbes
and Bolton. Octavo [160 x 140] 40 pages stapled into
printed wrappers. A fine copy of an elusive item. $50.00
35.
The Black Dog. Kings Cross, NSW: [James Scanlon], 1991.
Issues No 1 and No 2 of this short-lived scandal sheet.
From folded A3 [8] pages + [8] pages. Always controversial,
and - for many - too hot to handle. The pair $45.00
[9]
ken bolton
JORGE LUIS BORGES
42.
London Poem.Adelaide, SA: Open Dammit Books, 2014.
from an edition of three copies only. A travelogue
and meditation on distance, company and place. Bolton’s
eye for local form and mannerism produces a graceful
style of observation, with unselfconscious references
to painting, cinema, literature and the poetry of the
overheard and found. Moving through London, Berlin,
and Barcelona one is aware of the strange juxtaposition of
detail and often magical associations encountered by his
passage. Quarto [300 x 215] [72] pages rectos only, with
17 colour photographs and 12 black and white. Sewn into
smooth slate coloured cloth covered boards, with a heavy
paper dust jacket reproducing a pencil sketch winter scene
by the poet. $400.00
46.
The Book of Imaginary Beings. London: Jonathan Cape, 1970.
A bestiary constructed with the assistance of Margarita
Guerrero, and translated here by Norman Thomas di
Giovanni in collaboration with Borges. Advance reading
copy with typed press release fixed to the upper cover.
Octavo [215 x 135] 256 pages in the publisher’s house style
wrappers. $50.00
JOE brainard [1942 -1994]
ron padgett [1942 -]
YVES BONNEFOY [1923 - ]
PABLO PALAZUELO [1915 - 2007]
43.
Palazuelo. Derrière le miroir No 229. Paris: Maeght, Mai 1978.
Essay by Yves Bonnefoy - “Un héritier de Rimbaud”. This is
the begining of Palazuelo’s “Numero y las Aguas” sequence.
Two double page lithographs (internal and cover), three
line drawings reproduced, with seven black and white
photographs, and five colour. Folio [380 x 280] 24 pages
in printed card folder.
$50.00
47.
100,000 Fleeing Hilda. [New York]: Boke Press, 1967. A
memorable collaboration. one of 300 copies signed
and numbered by brainard and padgett. Octavo
[215 x 140] [28] pages, rectos only. A copy showing age
with darkening and a few spots, else little used in printed
card wrappers. $120.00
JORGE LUIS BORGES [1899 -1986]
44.
Jorge Luis Borges; des témoins, correspondance, inédits, interférences,
situations, essais, ,borges et borges. chronologie de l’ultraïsme,
biographie, glossaire Argentine, bibliographie, inconographie.
Edited by Dominique de Roux and Jean de Milleret.
Paris: L’Herne, 1964. First printing of this, the fourth
in the L’Herne publishing project, and the first major
critical anthology cum symposium on Borges in any
language. Among the contributors: Valéry Larbaud (his
1925 review of Inquisiones), Adolfo Bioy Casares, Alfonso
Reyes, Maurice Nadeau, Jean Cassou, Anthony Kerrigan,
Vitoria Ocampo, Silvina Ocampo, Ernesto Sabato, and
Jean Ricardou. Includes twenty texts by Borges, some
previously unpublished. Quarto [270 x 210] 516 + [14] page
section of photographs. Very good in original printed
wrappers with acetate jacket. $75.00
frank brennan SJ [1954 - ]
control - public order - conscience
48.
Too Much Order With Too Little Law. St Lucia, Qld: University
of Queensland Press, 1983. A groundbreaking work in the
understanding of dissent and social change in Australia—
with the blue ribbon focus provided by the state of
Queensland. an inscribed presentation copy - to
coralie cassady. From the small number issued in the
cloth state, and with a special association in this instance.
Octavo [220 x 140] 303 pages. A very good copy in like dust
jacket by Tamsin Edwards.
$50.00
DAVID BROOKS [1953 - ]
49.
Five Poems. Sydney, NSW: Flying Fox Editions, 1981. this
copy inscribed to bob brissenden, “friend and
mentor” and dated 25 November 1981 in Canberra. (Also
with Brissenden’s ownwership signature.) One of 200
copies on antique wove. Octavo [205 x 145] [12] pages in
decorated wrappers. A very good copy. Scarce.
$50.00
45.
A Personal Anthology. London: Jonathan Cape, 1968. Edited,
translated, and with a foreword by Anthony Kerrigan.
Advance reading copy with typed press release fixed to the
upper cover. Octavo [200 x 130] 210 pages in the publisher’s
house style wrappers.
$100.00
[10]
PAM BROWN [1948 -]
PAM BROWN
50.
Cocabola’s Funny Picture Book. Glebe, NSW/Sherbrooke Forest,
Vic: Pamela J.B. Brown, 1973. “Made by the Gertrude Stein
of the hippies, Pamela Cocabola.” “Words”, “Michael
Meehan”, “Diana Fuller’s Stuff ”, and “Laurie Duggan’s
Words”. With artwork by Netta Perrett. Printed at the
Tomato Press. Quarto [270 x 215] [50] pages, stapled and
fixed into printed wrappers. Rare.
$200.00
51.
Automatic Sad. North Ryde, NSW:[Pamela J.B. Brown, 1974].
The poet’s second collection, printed by Tomato Press,
with her address revised to Annandale and noted in her
hand. Demy octavo [240 x 165] [28] pages on buttercup
wove stapled into contrasting blue illustrated wrappers
with a photo by Cess Lily. $125.00
52. Café Sport. Sydney, NSW: Seacruise Books, 1979. a
signed copy. Five years writing, gathered thus, “This Old
Angel: Poems 1974 – 1976”, “Can’t Stand a Push: Poems
1977 – 1978” and “Three Summers: Prose 1978”. With
photographs by Micky Allan. Octavo [215 x 135] 54 pages
stapled into pictorial wrappers. Very good. $45.00
In 1973 I was staying for a time in Poet's Lane, Sherbrooke in the
Dandenong Mountains (in Victoria) and I decided to make a book
that included the work of some of my friends.
The book I made was a reinterpreted trace of Coles Funny Picture
Book first published in 1879 by Edward Cole, an English entrepreneur
who had migrated to Melbourne in 1852 during the gold rush and
eventually became a bookseller. His compendium, in various editions,
was a popular omnibus of weird and wonderful illustrations, puzzles,
verses and slogans on Cole's theme of the inevitability of a federated
world with one religion. It was kept in print until 1966. His large
Bourke Street bookshop - “Cole's Book Arcade” glittered with mirrors
and brass, and had two little mechanical men at the entrance turning
over a series of mechanised, cymbal-clashing advertising boards. The
staff were dressed in brilliant scarlet jackets. There was a giant rainbow
over the façade.
PAM BROWN &
JANE ZEMIRO [1939-]
signed by the poet and translator
53.
Alibis. Sydney, NSW: Société Jamais Jamais, 2014. Poems
by Pam Brown tranlated into French by Jane Zamiro. A
selection from 50-50 (1997), Text Thing (2002) Dear Deliria
(2002) and Authentic Local (2010). With an introduction
by the poet, and a fascinating essay on the process
of this translation by Zemiro. signed by poet and
translator. Parallel text. Octavo [210 x 148] [164] pages
in printed wrappers. New, at the published price. $15.00
Cole's Funny Picture Book was well-known to Australian children
of my generation as a curiously horrifying omnibus of late C19th
moralism. It was profusely illustrated with odd etchings and peculiar
punishments for misbehaviour. I hoped my own take on this book
would turn the tables and amuse the optimistic and often happily
stoned young women and men of the 'counter culture'. My superstar
name at the time was “Cocabola” - alluding to the western world's
corporate giant and pop artist's favourite brand “Coca-Cola” and to
the drug cocaine.
I did the layout for Cocabola's Funny Picture Book on a small kitchen
table. I literally cut and pasted every page and hand made the colour
separations for the cover one by one on acetate sheets using a home
made light box courtesy of the artist Bob Daly. I then took the layout
pages up to Sydney to be printed, in all their multicoloured splendour,
by Rienie Van Dinteren at Tomato Press in Glebe Point Road (which
was also where, a year or so earlier, I'd had my silkscreen shop). The
book was large format, printed on coloured paper with a rainbow in
the middle pages.
54.
West End Blues for Carl. Tamarama, NSW: Polar Bear Press,
[2014]. Single poem addressed to Carl Harrison-Ford
employing the evocation of King Oliver's "West End
Blues". Concertina [830 x 165] with four folds [165 x 165]
on Zerkall cotton fixed into printed wrappers of Ilford
Gallerie Silk, then housed in an EP paper sleeve. Twentysix copies made as a gift for the poet. Ten copies reserved
for sale. $40.00
The writing in the book was by myself and various friends - writer
Michael Meehan from Brisbane, poet Laurie Duggan & singer/actor
Barbara Daly from Melbourne and filmmakers Gillian Leahy & Diana
Fuller from Sydney. Alongside the poems I included lots of artwork
by Paul Lester, Netta Perrett, Diana Fuller, Mike Brown & myself.
The dedication list ends with [to] "... everyone who is living in the
programmed rabbit-hole". pam brown
[11]
Thomas Alexander Browne [1826 - 1915]
Rolf Boldrewood
Dirk de Bruyn [1950 -]
one of ten copies
family correspondence
56.
Notes on Filmmaking 1985-6. Highett, ACT: 1987. Being
Where Is Our Satellite ! No 3. “Where’s Our Satellite is a
collective of artists who use the banner to publish, when
the will triumphs and in various forms ...mag/book, diary.
photocopy, pamphlet - nothing is unlikely, film, words,
sound, there are no restrictions on how they will publish
this work ...” Collective members: Merissa Stirpee, Frank
Lovece, Michael Buckley, Dirk de Bruyn, Marcus Bergner,
Pete Spence, Bill Mousoulis. “This time it is knitpicking
from Diaries 85-86 X Dirk de Bruyn.” The film maker’s diary
notes reproduced in facsimile from his work in Ballarat,
Holland and the US during those two years. A4 [trimmed
295 x 210] 38 + [14]pages from stencils + colour inserts at
rear, stapled and taped at spine. Marked No 3/10 copies and
signed by de Bruyn. Obviously scarce. $85.00
55.
thirteen autograph letters, c. 1888 - 1911.
Correspondence from T.A. Browne to his daughter,
Emma, at various addresses—Albury, Camden, Richmond,
Gulgong, etc.
note: de Bruyn was a founding member and past president
of MIMA (Experimenta), and has been involved with Fringe
Network and a member of the Melbourne Super 8 Film Group.
He has written about and curated various programs of film
and video art internationally and written extensively about this
area of arts practice. He is currently teaching Animation and
Digital Culture at Deakin University in Melbourne, Victoria.
1. from Dubbo, 4 August, 1886 [4½pages]; 2. from
“Carabella” 11 January 1888 [4 pages]; 3. from Albury, 4
August 1888 [4 pages]; 4. from Albury, 17 August 1888
[6 pages]; 5. from “Carabella” Tuesday 17 [4 pages]; 6.
from “Boldrewood”, 7 February 1909 [2 pages]; 7. from
“Boldrewood” 3 April 1909 [2 pages]; 8. from “Boldrewood”
17 June 1909 [4 pages]; 9. from “Hybla” Toorak, 28
December - 1 January 1911 [4 pages]; 10. from “Hybla”
Toorak, 5 April 1911 [4 pages]; 11. from “Hybla” Toorak,
28 July 1911 [4 pages]; 12. from “Hybla” Toorak, 16 October
1911[1 page] 13. from “Hybla” Toorak, 21-26 October 1911
[2 pages].
vincent buckley [1925 - 1988]
first collection signed
57.
The World’s Flesh. Melbourne, Vic: F.W. Cheshire, 1954. The
poet’s first collection, simply signed “Vincent Buckley” on
the front free endpaper. Octavo [220 x 140] 54 pages in
decorated paper covered boards. A very good copy in dust
jacket. $100.00
A rich and affectionate exchange over many years, providing
insight into his part of society (particularly Melbourne),
literature (and his reading) and the consolidation of his
views in later life—as well as many remarks on the climate
and the state of the garden at Toorak (Margaret Maria
Browne - his wife, the gardener - was the author of The
Flower Garden in Australia, 1893).
to jim baxter from vincent buckley
58.
Poetry & Morality. London: Chatto & Windus, 1959. Studies
on the criticism of Mathew Arnold, T.S. Eliot and F.R.
Leavis, introduced by Basil Wiley. this copy inscribed
to jim baxter. Octavo [220 x 145] 240 pages in orange
cloth. Some spotting, else very good in dust jacket. A nice
association. $85.00
With a two page handwritten summary of Browne/
Boldrewood, on the letterhead of “Liverynga”, Elizabeth
Bay (home of Sir Philip Street—Emma married into the
Street family) with acknowledgement to John’s Notable
Australians, and Who’s Who in Australia.
59.
Reflections on the Future. A paper delivered at the twenty-sixth
world congress of Pax Romana, held in Lyons, France
in July 1966, where the poet was a headline participant.
Buckley’s broad theme is aggiornamento and he brings to it
a literary style addressing the spirit of change and openmindedness with a cautious eye to the avant garde, his
argument and deliberation martialling Blake, Dostoyevsky,
Arnold, Teilhard de Chardin and Mircea Eliade. F/cap
quarto [260 x 210] 28 pages of roneoed typescript, stapled
into typed plain wrappers. Almost unknown. $60.00
Each piece well preserved, and many with the original
envelope.$3250.00
[12]
65
[13]
Charles Buckmaster [1951–1972]
William Burroughs
60.
Deep Blue And Green. Heidelberg West, Vic: Michael Dugan/
Crosscurrents, 1970. Buckmaster’s first book, selected and
published by Dugan. A poet of great promise, Buckmaster
was a figure within the La Mama poetry workshop, and the
editor of The Great Auk. He published one more collection
before committing suicide at the age of 21. Post quarto
[260 x 205] [12]pages of duplicated typescript on pale
green paper, stapled into printed wrappers. A well cared
for example of a scarce and vulnerable item.
$120.00
64.
Snack. London: Aloes Books, 1975. “This book is the
transcript of two tapes. The first is of a radio broadcast
made by Eric Mottram for the BBC at the time of the
Times Literary Supplement correspondence on the banning
of William Burroughs’ books in 1964. The second was
made at the Duke Street flat of Mr Burroughs in the early
Summer of 1973.” Introduction by Jim Pennington. Octavo
[205 x 145] 34 pages stapled into printed wrappers.A very
good copy. $75.00
joanne burns [1945 – ]
She is surely plugged into the collective madness of our times
patrick white
61.
Snatch. London: The Strange Faeces Press, 1972. signed
and titled by the poet on both upper and lower
cover sheet. The poet’s first collection published by
Opal [Louis] Nations, who also did the internal and cover
graphics for this book. Produced towards the end of her
two years spent in England and Europe. “Inauguration
Of The Mouseafear Club” was included in Kate Jennings’
Mother I’m Rooted and a number of other poems were later
incorporated into Ratz. This is a pristine copy. Early A4
[298 x 210] [36] pages on 18 sheets of duplicated typescript
and drawing, stapled at the edge. On bright Gestetner
watermarked paper. Rare. $120.00
William Burroughs [1914 – 1997]
62.
So Who Owns Death TV ? (with Claude Pelieu and Carl
Weissner). San Francisco, Ca: Beach Books, 1967. This is
the much rarer edition entirely on black paper. According
to Maynard and Miles around 200 were printed. Octavo
[214 x 145] [20] pages stapled into wrappers (also black)
printed in silver and white. Fine. $185.00
65.
Ruby Editions Portfolio 1. London: Wallrich Books, 1974.
This folio designed by Henri Chopin, contains three colour
screen-printed works: one each by William Burroughs,
Cozette de Charmoy, and Henri Chopin. Each is signed
by the artist and numbered in pencil. The title/colophon
page is printed on translucent paper. From an edition one
hundred numbered copies. Burroughs contribution is the
sought-after “Un Poeme Modern”, featuring an image
of Burroughs underneath a cut-up text printed in silver.
Each print done onto 90 lb Kent stock by the Coriander
Studio. Three prints [380 x 280] in a printed card folder
[440 x 290]. All fine. $1200.00
63.
The Dead Star. San Francisco, Ca: Nova Broadcast Press,
1969. No 5 in the Broadcast series. Burroughs’ scrapbook,
collage three column newspaper-style, originally published
in England in Jeff Nuttall’s My Own Mag “Dutch Schultz”
issue in a different format. Octavo [202 x 120] printed
covers holding a stapled folding sheet [680 x 200]. A very
good copy. $60.00
[14]
William Burroughs
William Burroughs
BRADLEY MASON HAMLIN [1963 -]
At a time when the cartoonist’s genre seems to be merging into
photography and painting, S.Clay Wilson stands out as a stylist
and a craftsman as distinctive as Aubrey Beardsley. One look and
you know it is a Wilson. He is also in the tradition of George Grosz, a
savage social satirist with a flair for grotesquerie. Style is a special way
of seeing and experiencing sensory data - the artist’s special way - so
any artist, in effect, creates his own universe and outsiders may be
presumptuous when they judge this universe by their own evaluation,
not realizing that an artist’s universe operates by the artist’s rules. What
may seem grotesque, horrible, and ugly is transmuted into mythologic
figures as with the seven dwarfs. So the hideous lesbian pirate becomes
an appealing comic figure in the Wilson universe. Look at the detail
in Wilson’s work, the care disposed on every line. I don’t feel that he
hates his material, as Grosz did: they are his characters, his creations.
Wilson’s universe is a lunatic area of blood and mayhem that reassures
because it is travesty - it is not real. william s. burroughs
68.
Love Virus, by Bradley Mason Hamlin. [Los Angeles, Ca.]:
Free Thought Publications, 2000. Poem in homage to
Burroughs on a folded card. Upper centre panel is portrait
of WSB by Christine Fullwood, with Hamlin’s poem down
the side. The card is folded twice to the centre creating
three outer panels in a door-like configuration which
arranges quotes from Burroughs’ work. No 13 of 150 copies
signed by both Fullwood and Hamlin. A fine copy. $45.00
MYRA BUTTLE
[VICTOR PURCELL 1896 - 1965]
I am only a very ordinary girl, and what with my grandmother being
bedridden and my having to give a hand in the shop, I am kept pretty
busy. But I do find time to read, and poetry is about as necessary to me
as air, though, of course, I don’t need it quite so often or in such quantities.
66.
typed letter signed, a single page on Sphinx
watermarked paper, to Steve Clay Wilson, dated 17
May 1974 from his New York address at Franklin Street.
Burroughs discusses his current teaching work, and goes
on to outline his plans for a journey to the West Coast,
which Burroughs refers to as “The Western Front”…“Allen
G. is there for the Summer at a farm he has with Gary
Snyder...the last and only other time I have been to the
West Coast, I was flown and limo’ed out and taxied back
to the bus station after the producer complained there
was too much sex and violence in Naked Lunch….Well,
son cosas de la vida I always say.” Burroughs asks Wilson
if he knows anyone who would sponsor a reading in San
Francisco as he needs to recoup the expenses of the trip
“I trust you not to deliver me to Bill Graham — or why
not ? But at any rate sniff discreetly about.” Approx 185
words. Signed in full, William Burroughs, in envelope
addressed in full to S. Clay Wilson at his San Francisco
address and postmarked 17 May 1974. All fine. $375.00
However the more I read of modern poetry ....
t.s. eliot parody with autograph letter
69.
The Sweeniad, by Myra Buttle. [Herts. UK: privately printed],
1957. An accomplished parody of T.S. Eliot (some say
assisted by Robert Graves). Purcell was a Cambridge
don - a sinologist - with a distinguished career, both as a
teacher and colonial administrator. This volume is from
a small private printing preceding the regular trade edition.
Laid in is a two page autograph letter from the author on
his Cambridge letterhead, dated September 1959. The
book is also inscribed by both Purcell and “Myra Buttle”.
Printed at the Broadwater Press for the author. Octavo
[220 x 140] 66 pages in deep red cloth, titled in gilt at the
spine. Some darkening and sporadic spotting, but all in
good fun.$300.00
Robert Owen “Bob” Callahan [1942 - 2008]
one of fifty copies signed by burroughs
67.
The Hombre Invisible. San Diego, Ca: Atticus Books
[Ralph Cook], 1981. With a foreword “The Future Of The
Novel” by William Burroughs, and a detailed listing of
360 items, many of which are not cited in the standard
bibliography, Maynard & Miles. No 50 of 50 copies signed
and numbered. “This catalogue lists what is probably
the most comprehensive collection of works by and
about William Burroughs ever assembled and offered
in the United States...” Octavo [220 x 140] [56] pages
illustrated. Wrappers. Fine. $200.00
[15]
70.
Idols. [Berkeley, Ca: Turtle Island Foundation, 1970.] A
poetic rendering of reason and ritual in the native American
calendar. Callahan was co-founder of the Turtle Island
Foundation and the Before Columbus Foundation, and was
a considerable force in specialist publishing, particularly
that of minorities in North America. Exquisitely printed
letterpress on Curtis Utopian watermarked paper. Oblong
[195 x 115] [24] pages sewn into printed card covers with
handmade tissue overlay. A fine copy of an uncommon
item.$40.00
SOPHIE CALLE [1953 - ]
BLAISE CENDRARS [1887 - 1961]
71.
Sophie Calle: Association pour l’art contemporain, Nevers, 15 Juin-15
Juillet 1985. Nevers: Association pour l’art contemporain,
1985. Conception graphique et textes de l’artiste.
Exhibition catalogue designed by Yves Aupetitallot, essay
“Sophie Calle and ‘The Regard’”by Christian Besson with
English translation by Bruno Parfait. Interestingly for
the controversial events of that year, Calle has written
her address and phone number on the title page. Oblong
octavo [210 x 150] [32] pages. A very good copy. $40.00
76.
Prose of the Trans-Siberian & of the Little Jeanne de France. Sheffield,
UK: West House Books, 2001. La prose du Transsibérien et
de la Petite Jehanne de France, translated by Tony Baker and
illustrated by Alan Halsey. The West House edition has
been out of print for several years, and is such a prize that
it is rarely offered in the secondhand market. Octavo [210
x 145] [24] pages stapled into illustrated card wrappers. $40.00
RenÉ Char [1907 - 1988]
LEWIS CARROLL [1832 - 1898]
one of 15 numbered copies signed by the artist
“Ah well, they may write such things in a Book” Humpty Dumpty said
in a calmer tone.
77.
Contre une maison sèche. Wahroonga, NSW: BMH Press,
[2001]. A work first published in his collection Le Nu Perdu
(Gallimard, 1971). René Char (1907-88) is acknowledged
as one of the greatest French poets of all time. Originally
allied with the Surrealists, his poems evolved from the
“fury and mystery” of the Second World War to the later
existential and metaphysical reflections. This livre d’artiste
includes the poem in the original French printed in blue
and an English translation by Mary Ann Caws in burgundy
with twenty-one coloured aquatint etchings by Bill
Meldrum-Hanna. The aquatint etchings were printed by
the artist and the letterpress text, set in 18 point Spectrum,
by Mike Hudson and Jadwiga Jarvis at the Wayzgoose Press,
Katoomba. Printed on Magnani Incisioni 310 gsm, each
sheet 500 x 700. The book is encased in an ochre linen
covered box [510 x 720 x 20]. A fine copy. $4000.00
72.
The Lewis Carroll Handbook.Being a New Version of a Handbook of
the Literature of the Rev. C. L. Dodgson. Revised & Augmented
by Roger Lancelyn Green. Now Further Revised by Denis
Crutch.Folkestone, Kent: W. Dawson and Sons, 1979. The
standard bibliography. Octavo [230 x 145] xix + 340 pages +
[7] leaves of plates. A fine copy in dust jacket. $85.00
facsimile editions in full leather
73.
Alice’s Adventures in Wonderland, and Through the Looking Glass.
London: Macmillan, 1984. Facsimiles of the 1866 and 1872
editions with the Tenniel illustrations. Crown octavos [185
x 130] in gilt stamped leather, all edges gilt, and matching
slipcase. Each very good. The pair
$200.00
G.K. CHESTERTON [1874 - 1936]
Gary Catalano [1947 -2002]
signed by gary catalano and the artist
74.
Light & Water: Forty Prose Poems: 1980–1999. Braidwood, NSW:
Finlay Press, 2002. the first book of the press in an
edition of 150 copies only. Handset in Baskerville and
printed by Phil Day on Magnani paper. Signed by the poet
and by Chris Wallace Crabbe (who executed prints for the
illustrated deluxe issue, Nos 1-50). Octavo [195 x 130] 50
pages in double folds. Mint in printed card wrappers with
equally fine slipcase. $125.00
An important book: one of the finest volumes of detective short stories
ever written.
ellery queen
from his agency
LEE CATALDI [1942 - ]
78.
The Innocence of Father Brown. London: Cassell & Company,
1911. The first Father Brown—a collection of twelve stories
introducing this enduring favourite of detective fiction.
With eight plates by Sydney Seymour Lucas. This copy
with the file ticket of chesterton’s agent, a.p.
watt, fixed to the front free endpaper. Octavo [195 x 130]
336 pages in bright red cloth titled in gilt on spine and
upper. A bright clean, and apparently unread copy, with
only the slightest darkening to endpapers. $650.00
uncommon cloth issue
75.
Invitation to a Marxist Lesbian Party. Glebe, NSW: Wild &
Woolley, 1978. one of a few hardcover copies issued.
The poet’s first collection and the winner of the Fellowship
of Australian Writers’ Anne Elder Poetry Award. Octavo
[205 x 140] 120 pages in brown boards titled in gilt at spine.
Pristine. $65.00
[16]
DON MEE CHOI [1962 - ]
JEAN COCTEAU [1889 - 1963]
79.
Petite Manifesto. Newtown, NSW: Vagabond Press, 2014.
Poems about grammar, translation, immigration, debt,
Gulliver, and Betty, including an explanation on Betty’s
home. It also has art inspired by Melanie Klein. Don
Mee Choi was born in Seoul and grew up in Seoul and
Hong Kong. She now lives in Seattle. She is the author
of The Morning News is Exciting (Action Books, 2010) and
a recipient of a 2011 Whiting Writers Award and the
2012 Lucien Stryk Translation Prize. Her most recent
translation titles are Princess Abandoned (Tinfish, 2012),
Sorrowtoothpaste Mirrorcream(Action Books, 2014), and I’m OK,
I’m Pig! (Bloodaxe Books, 2014). She has a pamphlet of talks
forthcoming from Wave Books. Petite Manifesto is issued in
the deciBels Series edited by Pam Brown. Typography and
design by Chris Edwards. Small square octavo [135 x 135]
28 pages in illustrated wrappers. New, at the published
price.$15.00
81.
Leoun. Oxford, UK: Agenda Vol 2, Nos. 2 & 3, December January 1960-61. A double issue devoted to Alan Neame’s
translation of Cocteau’s poetic dreamscape in 120 sections.
Written in two years (1942-1944) and translated over ten
(1947-1957) by Neame. Demy octavo [240 x 165] 16 pages.
Handsomely printed at The Poets’ & Painters’ Press
on antique laid and stapled into wrappers designed by
Cocteau for this edition. A fine copy. $35.00
TONY COLEING [1942 - ]
Shayne HIGSON [1960 -]
82.
The Avago Postcard Book. Paddington, NSW: Tony
Coleing, [1982]. Artists Book. Forty eight bound postcards
documenting the exhibitions at the Avago Gallery — the
small window space [610 x 455 x 325] in Tony Coleing’s
Darlinghurst building known as The Tobacco Factory.
The images that record the 1981 sequence were curated by
Coleing; and the 1982 installations were curated by both
Coleing and Shayne Higson. Artist’s work includes: Terry
Stringer, Robert “Bob” McPherson, Jenny Christmann,
Gunter Christmann, Brad Lavido, Ian Howard, Margaret
Dodd, Helen Eager, Ian Smith, Shayne Higson, Reno
Simeoni, Letterbox Show (viewers invited to put works
through a slot), Doug Erskine, Marina Abramovic/Ulay,
Adrian Hall, Rose McGreevy, Ross Wallace, and Robin
Wallace-Crabbe. Quarto [295 x 225] [24] pages being 12
perforated card leaves presenting four postcards apiece
from black and white photographs by Shayne Higson of
each exhibition, with details printed on the reverse. A fine
copy of a scarce item. $85.00
STEPHANIE CHRISTIE
80.
The Facts of Light. Newtown, NSW: Vagabond Press, 2014.
“Everything is material. The Facts of Light. is a collection
that’s sharp and wrecklessly itself. Intelligent, playful,
singular, and often funny, these poems are sensually
abstract and obstinately figurative. Creating space for
delicate and passionate ambivalence, the work generates
its own worlds. The poems give shape to the feel of ideas,
act like digital photos of exploding cliche, and sing about
the almost unbearable tension between sound and
meaning. Most of all, this poetry is part of a desperate
and determined mission of loving harder, deeper and
more.” Issued in the deciBels Series edited by Pam Brown.
Typography and design by Chris Edwards. Small square
octavo [135 x 135] 48 pages in illustrated wrappers. New,
at the published price.
$15.00
compass magazine [1978 – 1985]
83.
poster “Pink Paper” by Susan Hampton and opposite,
“Poem in Feint Ruled Purple” by Chris Mansell. [Burwood,
NSW: Compass Poetry & Prose, 1979]. An exchange over
paper between the two poets. Printed in two colours
on heavy cream cartridge [635 x 480] folded four times.
Unused. Rarely seen. $85.00
[17]
Concrete [1996]
wendy cope [1945 - ]
88.
Being Boring. West Chester Pa: Aralia Press, 1998. One of
180 copies set in Romanée type and printed letterpress on
heavy mould made wove Rives by Michael Peich and sewn
into printed wrappers. signed and dated by the poet.
Octavo [215 x 135] [14] pages. A fine copy. $65.00
84.
Vortext. North Balwyn/St. Kilda Vic: Peter Sullivan/Irish
Rover Cafe/City Of Port Phillip, [1996]. Catalogue for
an exhibition of concrete poetry by Peter Sullivan at the
Irish Rover Cafe from 15 August to 17 September. The
show was opened with an address by π.o. Sixteen works
were shown and the catalogue lists their prices. WITH:
illustrated envelope containing a set of ten postcards
reproducing the following works in colour: “truth and
lies”, “Winter”, “Sleeper”, “DIET”, “Vortext”, “Rotation”,
“Summer”, “Racism/The Wall”, “Included”, and “History”.
Catalogue: Octavo [210 x 150] [4] pages]; envelope [160 x
112]cards [150 x 100] x 10. (Heide has a set, but I can find
no other collection that holds this.) All fine.
$65.00
PETER COWAN [1914 - 2002]
89.
Burn’t Almonds. [Melbourne, Vic:] Still Earth Publications,
1969. The author’s second collection of short stories, and
without question, his most sought after title. Produced at
Lithoforms Design in November of that year, this is also
the scarcest title of the publisher’s list, and unusual in
that it is not poetry. Barrett Reid’s copy with his pencilled
initials. Octavo[205 x 135] 76 pages in illustrated wrappers.
Rare$250.00
85.
Words and Things: Concrete Poetry Supersigns Multiple Language,
edited by Patrick Jones. Daylesford, Vic: Reverie Press
Publications, 2004. With contributions by Geoffrey Baxter
Aleks Danko, Patrick Jones, Peter O’Mara, Alex Selenitsch
Marie Sierra, Jeff Stewart Richard Tipping, and Peter
Tyndall. Octavo [190 x 150] [110] pages. A very fine copy.
$40.00
CUALA PRESS [1908 -1946]
90.
Florence Farr, Bernard Shaw, & W.B. Yeats. Dublin: The Cuala
Press, [1941]. Correspondence, edited by Clifford Bax.
One of 500 copies set in Caslon type and printed by Esther
Ryan and Maire Gill on paper made in Ireland. This is No
333. Octavo [200 x 135] 86 pages bound into recent quarter
morocco over smooth red cloth with spine titled in gilt. $75.00
CULTURAL STUDIES [1987]
CONCRETE [2013]
86.
Born to Concrete: Visual Poetry from the Collections of Heide
Museum of Modern Art and the University of Queensland.
Bulleen, Vic/St Lucia, Qld: Heide Museum of Modern
Art /The University of Queensland, 2013. Curated by Heide
Museum of Modern Art, Katarina Paseta, Linda Short,
The University of Queensland Art Museum, Gordon
Craig, Michele Helmrich; essays by Dr Anne Kirker, Alex
Selenitsch. Octavo [205 x 165] 32 pages (16 pages of plates).
A fine illustrated catalogue of this important exhibition. $20.00
91.
Streetwise Flash Art: Is There a Future for Cultural Studies ?
University of Sydney, NSW Power Institute of Fine Arts,
1987. Four papers, by Stephen Muecke, Susan Dermody,
Philip Brophy and visiting guest, Dick Hebdige. Introduced
by Anne-Marie Willis. Quarto [290 x 210]28 pages stapled
into printed wrappers. A fine copy of a now elusive
publication. $40.00
cooking [1906] MINIATURE
e.e.cummings [1894–1962]
87.
Handbook of Practical Cookery by Matilda Lees Dods. London:
Eyre & Spottiswoode, 1906. New and enlarged edition (first
published in 1881) with an introduction on the philosophy
of cookery. “Special prominence is given to the preparing
of new cakes, jellies, etc.; to very simple recipes for cottage
cookery; also to various modes of preparing food for the
sickroom.” An encyclopedic works illustrated with 51 plates
of diagrams, instruction or serving suggestion. Dedicated to
“the worldwide sisterhood of housewives and their husbands.”
Miniature book [54 x 44] [69] + 836 pages on fine India
paper; marbled endpapers, all edges gilt; in half calf over red
textured stiff covers; re-backed with original gilt decorations
and titling retained and laid on. $150.00
presentation copy
92.
95 Poems. New York NY: Harcourt Brace & Co., 1958. Second
printing from December 1958. This copy inscribed by
Cummings to the Indian poet, C.D.Narasimhaiah in May
of 1959. Octavo [235 x 150][106] pages. Library stamp in
blind, else very good in worn dust jacket. $125.00
[18]
ELEANOR DARK [1901 - 1985]
JACK DAVIS
96.
Our Town. Programme for the world premiere season at
the Playhouse Theatre, Perth, W.A. with the opening
performance on 22 September, 1990. Presented by the
Marli Biyo Company and the Western Australian Theatre
Company at the Aboriginal Theatre Festival. Directed by
Phil Thomson, with music by Peter Sculthorpe. “This
play is set in a country town, the story centres on the
return of an Aboriginal soldier after World War II and the
rejection he experiences by the white community.” Cast:
David Field, David Ngoombujarra, Camilla Sob, Lynette
Narkle, Kelton Pell, Maorton Hansen, Jack Charles, Eileen
Colocott and Andy King. Notes on the production by Jack
Davis. Single sheet of heavy card [295 x 415[ folded twice
to form six panels [295 x 140] with front panel artwork by
Sally Morgan. One horizontal crease, else fine.
$30.00
93.
No Barrier. Sydney, NSW: William Collins, 1953. Advance
review copy with the publisher’s slip laid in, showing
publication date as June 12. Octavo [220 x 145] 384 pages.
A fine copy in like dust jacket. $60.00
JACK DAVIS [1917–2000]
RUSSELL DEEBLE [1944 - ]
first book inscribed
97.
War Babies & Other Poems. [Melbourne, Vic:] no publisher,
1965. Deeble’s first gathering this copy with a four
line inscription opposite the title page. Printed
by McAlister Print. Octavo [200 x 140] 8 pages stapled into
glossy card wrappers featuring a full cover photographic
portrait of the poet by Roger Platten on the upper and
an enthusiastic endorsement by Bernard Hesling on the
lower. Rare. $65.00
98.
A Trip to Light Blue. Melbourne, Vic: Strines, 1968. Foreword
by Barrie Reid. The poet’s second collection. This copy
with the signature of Richard Tipping, but also with two
typed letters from Tipping as editor of Mok magazine
concerning the review of this volume for Mok 6. Tipping’s
entreaties concerning the politics of publication, the
kind and extent of review appear to be addressed to Carl
Harrison-Ford. If the notice was written, it never appeared,
as Mok ended with issue No 5. Printed at the National Press.
Octavo [210 x 140] 64 pages in illustrated wrappers with
photography and design by David I. Porter.
$85.00
Where are my first-born, said the brown land, sighing
94.
The First-Born & Other Poems. Sydney, NSW: Angus &
Robertson, 1970. review copy with publisher’s slip
laid in announcing publication date as 15 October,
1970. Includes a bibbulmum vocabulary compiled by the
author for the Western Australian Aboriginal Association.
Octavo [200 x 145] xviii + 51 pages in deep red cloth with
title in gilt to spine. A near fine copy in very good dust
jacket with one small closed tear. $125.00
95.
Barungin (Smell the Wind). Programme for the world premiere
season at the Playhouse Theatre, Perth, W.A. with the
opening performance 10 February, 1988. The season
ran till 27 February and was part of the Festival of Perth.
Presented by the Marli Biyo Company in association with
the Australian Elizabethan Theatre trust. Directed by
Andrew Ross, and starring Dorothy Collard, Lynette Narkle,
Flyn Narkle, Ted Hill, Franklyn Nannup, John Moore,
Kelton Pell, Arran Henry, Bobbi Henry, and Lois-Mary
Olney. Octavo [16] pages in stapled illustrated wrappers
with handbill and newspaper cutting laid in. Fine.
$30.00
DAVID DELLAFIORA
99.
Hermetically Sealed. Achill Island, Eire: RedFoxPress, 2010.
“This collection of works includes original layout graphics
and collages for Field Study, manifestos and visual poems”.
Issued in the “C’est mon dada” series, a collection of small
hand made artists’ books dedicated to experimental,
concrete and visual poetry, or any work combining text
and image in the spirit of dada or Fluxus. A6 [145 x 105]
[68] pages in cloth backed illustrated boards. A very fine
copy. $40.00
[19]
Jim dine [1935 -]
tom raworth [1938 -]
DODO
Dodo (Vol 2 No 1, from Wentworth Building [September,
1976]) featuring the work of Ross Bennett, Brian Musgrove,
Michael Witts, Marel Day, Robert Kenny, Lyndon Walker,
Steven Long, Vicki Viidikas, Keith Shadwick, Phillip
Edmonds, Tom Thompson, Anna Couani, Rae Desmond
Jones, Dennis Haskell, Gerard Lee, Max Williams, Dianne
Bates, Ken Hudson, Carolyn Van Langenberg, and Bruce
Beaver, with graphics by Julie Lark and titles by Sally Brereton.
The big green day today is singing to itself
A vast orange library of dreams, dreams.
ted berrigan
100.
The Big Green Day. London: Trigram Press, 1968. Poems by
Raworth and drawings by Dine. Designed and printed by
Asa Benvenist and Paul Vaughan. Small quarto [250 x 190]
48 pages. A very good copy of the cloth issue in dust jacket
with artwork by Jim Dine. $65.00
Dodo: The Belated Issue (Vol 2 Nos 2-3, Wentworth Building, July
1977) with work by Rae Desmond Jones, Michael Butterworth,
Damien White, Brian Musgrove, Sasha Soldatow, Lyndon
Walker, Terry Harrington, Gerard Lee, Vicki Viidikas, Ken
Bolton, Bryan Mathews, Gig Ryan, Bill Turner, John Scollin,
Brian Cole, Ken Linnett, Lawrence Buttrose, Eric Beach,
Philip Roberts and Keith Shadwick. Cover art by Michael
Fitzjames. Dodo South Coast Issue (Vol 2 No 4, Wentworth Building, edited
by Michael Witts, October 1977) publishes Cornelis Vleeskens,
Laurie Duggan, Max Williams, Averil Fink, Bill Beard, Michael
Witts, Steven Lang, John Blay, Denis Gallagher, Alexandra
Seddon, Anna Couani, Greg Fletcher, Dianne Bates, and
with cover art by Anna Couani.
DODO [1975 - 1979]
101.
Dodo. [Sydney, NSW, October 1975 - April 1979.] Edited by
Tom Thompson, Elizabeth Butel, Keith Shadwick, Michael
Witts, and Angela Korvisianos. The numbers:
Nude Dodo (Vol 1 No 1, from Mount Street Hunters Hill, NSW)
featuring the work of Michael Wilding, Tom Thompson, Vicki
Viidikas, Keith Shadwick, Michael Witts, Kerry Leves, Brian
Musgrove, and Howard Ino, with cover art by Elizabeth Butel.
Dodo (Vol 3 No 1, December 1977, edited by Keith Shadwick,
and announcing the departure of Tom Thompson) featuring
the work of John Jenkins, Eric Beach, Dorothy Hewett, Phillip
Edmonds, Larry Buttrose, Eduarde Batarde (interview) Kevin
Brophy, and Chris Aulich.
Dodo Two: The Questionable Quarterly (Vol 1 No 2, from
Wentworth Building, University of Sydney in January, 1976)
featuring the work of Marele Day, Ken Bolton, Michael
Witts, Averel Fink, John Jenkins, Rae Desmond Jones, Vicki
Viidikas, Keith Shadwick, Raife Jobling, Sasha Soldatow, Tom
Thompson, Michael Wilding and Denis Gallagher.
Dodo (Vol 3 No 2, Wentworth Building, no date, Korvisianos
joins as editor) with the work of Keith Shadwick, π.o.,
Kenneth Gaunt, Joseph Jarman, Bruce Hannaford (lyrics for
music by Martin Armiger), Gig Ryan, Laurie Duggan, Larry
Buttrose, Mike Cheong, Angela Korvisianos, John Forbes,
Robert Harris, Damien White, and Jeanne Eager.
ANZAC Dodo: The Questionable Quarterly (Vol 1 No 3, again, from
the Wentworth Building, and issued in April 1976 in the
aftermath of the Adelaide Festival Writers Week) featuring
the work of Rae Desmond Jones, Janet Collins, Keith
Shadwick, Denis Gallagher, Kerry Leves, Brian Musgrove,
Tom Thompson, Terry Darmody, Michael Witts, Cornelis
Vleeskens, Bill Beard, Marele Day, Keith Russell, Anna Couani,
Dorothy Porter, Terry Dowling and Janie Conway. With
graphics by Elizabeth Butel, Sally Brereton and Anna Couani.
Dodo (Vol 3 No 3, edited by Michael Witts, April, 1979)
includes, Larry Buttrose, Dane Twaites, Christopher Kelen,
Cornelis Vleeskens, Marele Day, Alexandra Seddon, Andrew
Macdonald, Gig Ryan, Geoffrey Bewley, Terry Harrington,
Kenneth Gaunt, Catherine Pitrowski, George Daniel, and
Ken Hudson.
Nine issues in all, each in illustrated wrappers, stapled.
The set. $250.00
Ovodeeododo (Vol 1 No 4, this time with an East Melbourne
editorial address as well as Wentworth Building, issued in
July 1976) featuring the work of David Miller, Lyndon Walker,
Carolyn Van Langenberg, John Jenkins, J.S. Harry, Keith
Shadwick, Vicki Viidikas, Michael Wilding, Ken Bolton, Averil
Fink, Robert Adamson, Tom Thompson, and Kris Hemensley.
This issue is also the vehicle for an issue of Your Friendly Fascist,
with work by David Wakeham, Eric Beach, John Edwards,
Peter Harney, Barry Pilcher, and Adrian Flavell. Graphics by
David Haberfield and Uschi Flett.
[20]
Dodo South Coast Issue, October, 1977: cover art by Anna Couani.
EDWARD DORN [1929 - 1999]
michael dugan
102.
Gunslinger, Book 1. Los Angeles, Ca: Black Sparrow Press,
1968. First edition. One of 600 copies printed by Graham
Mackintosh. Octavo [235 x 155] 52 pages in illustrated
wrappers. $50.00
108.
Returning from the Prophet. Armadale, Vic: Contempa
Publications, 1972. Dugan’s second collection, this copy
inscribed to the poet, Peter Bladen. Octavo [205 x 16]
[32] pages stapled into illustrated wrappers. A very good
copy.$35.00
lord alfred douglas [1870 - 1945]
Cyril Altson Pearl [1904 - 1987]
109.
Words: Six Concrete Poems. Armadale, Vic: Contempa
Publications, [1973]. inscribed by the poet. Letraset
and typewriter. Single sheet [380 x 250] of blue paper
printed one side only and folded twice to four panels.
Slight darkening to one fold, else well preserved. Rare.
$85.00
cyril pearl’s copy
103.
Selected Poems. London: Martin Secker, 1926. Issued in the
New Adelphi Library series. Including many previously
uncollected poems. Cyril Pearl’s copy, with his bookplate.
Octavo [ 195 x 120] 102 pages in smooth green buckram
with some slight fading and wear. $40.00
LAURIE DUGGAN [1949 - ]
anne elder poetry prize winner
Henrietta Drake-Brockman [1901 - 1968]
104.
The Lion-Tamer. Sydney, NSW: Angus & Robertson, 1968.
A comedy in one act. this copy inscribed to her
granddaughter. Small octavo [180 x 120] 26 pages
in printed wrappers.
$35.00
110.
East: Poems 1970-74. Clifton Hill, Vic: Rigmarole of the
Hours, 1976. signed and numbered. The poet’s first
collection, and the eighth in Kenny’s Rigmarole series.
Octavo [195 x 160] [31] pages on Abbey Mills laid paper.
A peerless copy in pictorial wrappers. Scarce. $120.00
MICHAEL DRANSFIELD [1948 - 1973]
105.
Drug Poems. Melbourne, Vic: Sun Books, 1972. The poet’s
third collection, and the last in his lifetime. Octavo [210
x 140] 70 pages in illustrated wrappers. With signs of age
rather than wear, and so much better than usual for a title
often loaned, borrowed or stolen. $50.00
And we agree that one can no longer put Mt. Purgatory forty miles high in the
midst of Australian sheep land. ezra pound
michael dugan [1947 - 2006]
first collection inscribed
106.
Missing People. Bulleen, Vic: Sweeney Reed, 1970. A
presentation copy of the poet’s first collection. Octavo
[215 x 140] [8] pages. Printed in deep brown on antique
laid, to great effect, enhanced by a glossy red dust jacket.
(In the same batch as R.J. Deeble’s You, and using the same
stock for text and wrapper.) A very fine copy.
$45.00
107.
The Drunken Tram: Six Young Melbourne Poets, edited by
Michael Dugan. Melbourne, Vic: Stockland Press, 1972.
Featuring the work of Alan Afterman, Charles Buckmaster,
Stephen Gray, Garrie Hutchinson, John Jenkins and Marc
Radzyner. This copy with an invitation to the
launch of the anthology, and an errata slip correcting
two poems by Afterman. Octavo [205 x 125] 63 pages, in
illstrated wrappers. A very good copy. $50.00
111.
Under the Weather. Glebe, NSW: Wild & Woolley, 1978. The
poet’s second collection, in the decidedly uncommon
hardcover issue. Octavo [205 x 140] 64 pages in blue
textured boards titled in silver at spine. A very fine copy. $75.00
[21]
112.
Adventures in Paradise. Adelaide, SA: Magic Sam Books at
the Experimental Art Foundation, 1982. Design and cover
art by Ken Bolton, the poet’s photo by Pam Brown, and
printing Mark Gleeson. Produced during Bolton’s first year
in Adelaide. one of 200 copies. Small square quarto [210
x 210] [40] pages in silkscreened dust jacket over stiffened
card wrappers. $85.00
Jas H. Duke [1939 - 1992]
115.
Jas Duke was a Melbourne performance poet. This book comes with
a biographical introduction by fellow poet, π.o., “Jas H. Duke, an
appreciation of Australia’s first Dadaist”. In the late 1960s, Duke went
to London and America and sought out the remaining Dadaists. He was
mainly influenced by sound poetry, and the scat vocals of Jazz. He wrote
about this part of his life in Destiny Wood, a novel published in Melbourne
in 1974. π.o. first met him at a poetry reading organised by Chris Mann at
La Mama in 1973. In a touching paragraph π.o. describes Duke’s death, on
the 19th of June 1992, aged 52, Jas H. Duke died in St. Vincent’s Hospital
from complications resulting from a broken leg. As he was being wheeled
into surgery, Thalia (a Melbourne poet) who went to visit him, told the
nurses to take care of him cos he was one of Australia’s greatest poets. They
laughed, and asked him to recite a poem. Tho in a lot of pain, he sat up
and recited “Solidarity Explained”:
Dada kampfen um leben und tod [Dada Fight for Life and Death]:
A Prose Poem. Katoomba, NSW: Wayzgoose Press, 1996. Jas
H. Duke’s irreverent homage to the Dadaists conceived
and designed by Mike Hudson and hand set in a wide
range of lead &​wood sans serif types by Jadwiga Jarvis.
Introductory essays by π.o. and Mike Hudson. Printed
in 3 primary colours and black on Magnani Incisioni 220
gsm, with the essays on Mohawk Superfine. Eight metre
concertina folded to 500 x 340 + 2 folded sheets in pocket.
In buckram folding case. Extraordinary.
$7500.00
When the axe first came into the forest
The trees said to each other
The handle is one of us.
Catalogue: Modern Australian Poetry
monash university library, 1999
113.
The Sopwith Snailshell & The Secret Life. [Brighton, UK:
Ted Kavanagh, 1970.] The earliest stand alone printed
publication of Duke’s work, executed by fellow anarchist
and Australian expatriate, Ted Kavanagh. A poem on four
pages. Single sheet [410 x 285] printed offset litho (rather
than letterpress) and folded once, stapled into printed
khaki card wrappers. A fine copy of a genuine rarity. $150.00
[See Des Cowley and Clare Williamson, The World of the Book,
and James Stuart, It Begins in the Book, Writing the Material Poem:
A Survey of Materiality in Literature.]
dedicated to the memory of jas h. duke
116.
If Blood Should Stain the Lino. Leichhardt, NSW: InVersions,
1983. His first published collection, fourteen short stories,
and a legendary success. “One of the most widely known and
most popular writers and editors of gay fiction.” michael
hurley, A Guide to Gay & Lesbian Writing in Australia. This
copy with the bookplate of Javant Biarujia and a legthy
inscription from dunne opposite—a fine association
nailed with a pithy comment. A title scarce since shortly
after the time of publication. Octavo [200 x 140] 96 pages
in illustrated wrappers by Frances Hanlon and Toni HopeCaten. $65.00
GARY DUNNE [1954 - ]
Most of this book was written between 1978 and 1982. A lot has changed
during that time, including writing style and attitude. In revising them
I’ve resisted the urge to perform major surgery to make them fit current
mythologies, aiming instead to leave them true to both the time when
they were written and the time being written about. gary dunne
114. The Chess Hornpipes, by Alan Musgrove. [Melbourne,
Vic]: Collective Effort Press, [1993]. “These hornpipes
were written/composed in a style reminiscent of Irish
traditional music dedicated to the memory of Jas H. Duke,
and first performed at the ‘Jas H. Duke Tribute’ April
2nd 3rd & 4th, 1993, at Studio A 325 Gore Street, Fitzroy.”
Single A4 sheet folded once to four panels, the internal
fold reproducing the score for four compositions: “The
Opening”, “Middle Game” and “Endgame”. Some slight
discolouration, else very good. Apparently unrecorded. $45.00
Jas H. Duke
[22]
JEAN EALES
Shelton Lea [1946 – 2005]
117.
The Exile & Other Verses. [Indooroopilly, Qld: J. Eales, 1975.]
Twenty-one poems, with a short autograph letter from
the poet laid in. Octavo [190 x 130] 20 pages stapled into
printed card wrappers. $25.00
119.
CHRIS EDWARDS [1955 - ]
118.
m[hm
.
Tamarama, NSW: Polar Bear Press, [2015]. one of
Chrysalis. Melbourne, Vic: National Press, 1970. one of 100
copies. Two poems by Lea with illustrations by Elenberg.
It is doubtful that the one hundred copies of this edition
were ever completed. Each copy has two original artworks,
and each has two pages of the first poem handwritten by
Shelton Lea (the other text and illustrations are printed
offset). Elenberg’s work is in watercolour wash over pencil
and charcoal with the addition of collage in the second
image — a very artfully cut and applied eye. Each copy is
thus unique. Wrappers printed offset on lighter laid paper
with the other reproduced text and illustrations on heavy
English wove. this copy signed by elenberg. The only
deluxe book created by Elenberg who died at 32 years of
age. Three folded sheets [345 x 250] with heavy glassine
interleaved. In clear acetate jacket, as issued.
$1750.00
sixteen copies signed and numbered by the poet.
Two metres in length, the first fully realised execution of
this visual poem, a work first commissioned by James
Stuart for his project, The Material Poem “featuring the
work of Australian poets, artists and critics, all of whom
are engaged with poetry, and more broadly language, as
a material form”. Scroll [2000 x 300]. Printed by Richard
Crampton on 250 gsm cotton rag in two colours. The work
is accompanied by A Glyph Glossary, by the poet, printed
and bound by Nicholas Pounder, using Zerkall mouldmade paper, sewn into Fabriano Roma wrappers. $300.00
Joel Elenberg [1948 – 1980]
T.S. ELIOT [1888 - 1965]
120.
Journey of the Magi. London: Faber & Gwyer, [1927]. one of
350 numbered copies. Colour lithograph frontispiece
by E. McKnight Kauffer. Printed on Zanders’ hand-made
laid paper (this copy with a splendidly visible watermark
of a tethered unicorn at the colophon page). Octavo [185
x 120][4] pages in yellow illustrated boards. A very nice
copy. $250.00
T.S. ELIOT
[23]
An Outsider’s Art
Paintings by
Kathleen Mary Fallon
twenty-three prints
an edition of twelve boxed sets
each signed by the artist
with essays by
Nicholas Pounder and George Alexander.
$950.00
Wonderful, amazing, exquisite. Some of the best work I’ve seen.
phil hammial, Curator: Australian Outsider Art
Showers of congratulations on a brave and beautiful project!
ingrid hoffmann, Director: Renegades: Outsider Art.
She is arguably the most powerful writer of eroticised sexual difference in Australia.
michael hurley, A Guide to Gay and Lesbian Writing in Australia
The images from this work jump from the page with an oddness and energy that leave me with no alternative but to take
them in on their own terms. Fallon’s schismatic tumbling figures of pure graphic energy leave me breathless and excited.
jennifer rutherford, Sydney Review of Books
Simply stupendous.
simon during
...as Fallon pronounces maledictions at the altar of sex, she gives us the candlewax theatre of visceral
need rather than the theatre of listless overfed desire. Aside from the early work of Juan Davila,
there’s nothing, to my knowledge, quite like this rocket-fuelled visual feast in Australia.
george alexander
Polar Bear Press
mmxiv
[24]
121.
Triumphal March. London: Faber & Faber, [1931]. With
illustrations by E. McKnight Kauffer. Octavo [190 x 125].
A very fine copy in illustrated wrappers. $75.00
leon gellert’s copy
122.
Four Quartets. London: Faber & Faber, [1945]. Gathering
“Burnt Norton”, “East Coker”, “The Dry Salvages”, and
“Little Gidding”. The second, and hasty second impression.
leon gellert’s copy with his ownership
signature. Octavo [225 x 145] 44 pages on the palest blue
Abbey Mills hand made laid paper, in cream cloth boards
and typographic dust jacket. Evocative.
$60.00
an edition of twelve
SUMNER LOCKE ELLIOTT [1917 – 1991]
126.
An Outsider’s Art: Paintings by Kathleen Mary Fallon. Tamarama,
NSW: Polar Bear Press, 2014. Reproducing twenty-three
works on paper—watercolour, ink, metallic paint, gouache
and collage. Essays by Nicholas Pounder and George
Alexander. These paintings range across a biographical
narrative that begins in Brisbane, travels to the UK and
returns to Sydney, along the way recording a life of emotional
and aethestic extremes and providing a theraputic exit that
leads away from the graphic and an arrival at the form
that has extablished her reputation, the word— written
and performed. Printed on 330 gsm acid free cotton rag
using archivally stable high density pigments from images
of the original works prepared by Oliver Strewe. Medium
folio [483 x 329] 26 sheets. Twelve sets of these prints each
signed by the artist. The portfolio is housed in a red cloth
Solander box made by Jean Riley of Burradoo.
$950.00
presentation copy
123.
Water Under The Bridge. South Melbourne, Vic: Macmillan,
1977. This copy inscribed to the “the Dutton Family – My
family in Adelaide, Sumner ’78”. Geoff Dutton prompted
the author's journey to Australia in 1974 to speak at the
Adelaide Festival's Writers Week. After that visit and a
sentimental roam around Sydney and the Blue Mountains,
he returned to New York inspired to commence this work.
A very fine copy in like dust jacket. $150.00
Kenward Elmslie [1929 - ]
Joe Brainard [1941 -1994]
124.
Album. New York, NY: Kulchur Press, [1969]. A
collaboration with Joe Brainard. Only the very slightest
fading to the spine, else a fine and unopened copy of the
wrappered edition. Quarto [ 250 x 190] 176 pages in stiff
red gingham styled card with lettering by Brainard.
$65.00
NOLA FARMAN [1939 - ]
127.
Microbilia. [Crawley, WA: Garden Path Press], 1999. Artists
book. Seven images and forty-one texts presenting a
powerful scale of minute observation in journal like entries
where dream and coincidence overlap; the form - with
proportion to the surface - creates a superb effect: in the
clean simplicity of its physical proposition, this book sets
a high standard in the genre. Farman’s first artist book
(and the first of her Garden Path Press series) a project
undertaken while Artist in Residence at the School of
Architecture & Design, University of Western Australia.
Foreword by Virginia Nightingale. signed by the artist
on the title page. Octavo [210 x 150] c.60 pages rectos
only on archivally stable paper, bound in deep blue library
cloth, stamped in blind on upper. An artist with a full
career, manifold professional acknowledgement, serious
public commissions, and with works in many important
international collections— but still not known nearly
enough in the local landscape. A very fine copy.
$150.00
ANNE FAIRBAIRN [1948 - ]
‫ناربج ليلخ ناربج‬
125.
Dreaming with Poets Under the Cedars of God. Woollahra, NSW:
Pontifex Publishers, 2000. The poet’s tribute to Gibran
Khalil Gibran. “A performance poem to be presented in
English and Arabic by several readers accompanied by a
flautist.” With Fairbairn’s English transcreated into Arabic
by Anis Ghanem. this copy signed by the poet and
with the programme for the launch event laid in. Octavo
[210 x 155] 40 + [58] pages in illustrated card wrappers. $50.00
KATHLEEN MARY FALLON [1951 - ]
[25]
LAWRENCE FERLINGHETTI [1919 - ]
128.
autograph letter, signed, to George Whitman, dated
22 October, 1955. Lawrence Ferlinghetti [then Ferling]
met George Whitman in Paris in 1948, brought together
by a letter of introduction from Whitman’s sister, whom
he had met while studying at Columbia. George Whitman
had arrived in France two years earlier after discharge
from the Merchant Marines. He worked in a camp for war
orphans, and studied at the Sorbonne, before founding
his shop (then called The Mistral) in 1951. Ferlinghetti
completed his doctorate at the Sorbonne and departed
Paris in January 1951. Two years after his return to the
US he opened the City Lights Bookshop on Columbus
Avenue in San Francisco. Both shops remain as landmarks
in literary culture, and exist in what both men referred to
as a “sister bookshop” relationship. This short letter was
their reconnection and marks the beginning of City Lights’
publishing venture and the attempt to gain wider distribution.
The letter would have originally been accompanied by a copy
of Ferlinghetti’s Pictures of the Gone World, the first book in
the City Lights Pocket Poets, issued in August 1955. Two
folds and a little soiling, with Mimi Arsham’s address in
pencil on rear (Hotel Unic 56, rue du Montparnasse). An
item of magical significance. $350.00
John White, and Normana Wight. A benchmark was set
in catalogue production standards with the best methods
of processes and materials being employed. Quarto[300
x 225] 96 pages in colour and black and white. Some
marginal notes to essays and a smudge or two on the
vulnerable die cut white card covers. Scarce.$75.00
FIELDWORK [1996 - ]
130.
The Field Report.London/Geelong, Vic: Field Study
International, 1996 - 2010. Compiled annually by David
Dellafiora, this assembly of mail art involves contributions
from participants in the international mail art network. It
is the longest running substantial project of its kind—it
also features the greatest component of Australian content.
Each volume is comprised of work deploying a wide range
of media and technique, with many individual pieces
being original within the edition, and frequently stamped,
numbered or signed by the artist. Most volumes contain
unique collage, onlay, original drawing and hand colouring.
Each volume here is complete, with supplements, foldouts, posters, wraparound bands, inserts and loose media
(including Dellafiora’s signature spine stuffings). These
gatherings are rare and generally do not circulate outside
of their creative community. Fifteen numbers, each A5
landscape [150 x 210] and comb-bound, and each with
one hundred plus leaves frequently with supplementary
surfaces and attachments.
$1500.00
THE FIELD [1968]
In 1968 provocation, not even-handedness, was the intention of
curators Brian Finemore and John Stringer when they confined their
exhibition The Field to American-style hard-edge and colourfield
abstraction at the opening of a new building in Melbourne for the
National Gallery of Victoria (NGV). Abstract expressionists tinged
with Australian landscape, the previous mainstream, were suddenly
supplanted in a high-visibility splash of the new. daniel thomas
fin [1975]
131.
129.
The Field.Melbourne, Vic: National Gallery of Victoria,
1968. Exhibition catalogue. Introduced by Brian Finemore
(then Curator of Australian Art at NGV) with essays by
Elwyn Lynn, Patrick McCaughey, Clement Greenberg, and
Royston Harpur. A landmark catalogue that documents
the assembly of the exhibition held from 21 August to 28
September that year. The Field was the inaugural exhibition
for the triumphant reopening of the National Gallery of
Victoria in Melbourne in 1968, featuring a selection of
seventy-four works by artists working in Australia who
were influenced by the wave of non-figurative art that swept
the world during the 1960s. It presented the work of David
Aspden, Sydney Ball, Tony Bishop, Peter Booth, Ian Burn,
Gunter Christmann, Tony Coleing, Janet Dawson, James
Doolin, Noel Dunn, Garrey Foulkes, Dale Hickey, Robert
Hunter, Robert Jacks, Michael Johnson, Col Jordan, Mike
Kitching, Alun Leach Jones, Nigel Lendon, Tony McGillick,
Clement Meadmore, Michael Nicholson, Harald Noritis,
Alan Oldfield, Wendy Paramor, Paul Partos, John Peart,
Emanuel Raft, Melvyn Ramsden, Ron Robertson Swann,
Robert Rooney, Rollin Schlicht, Udo Sellbach, Joesph
Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins,
THE FIELD
Fin. Kew, Vic: Fin, May, 1975. Issue No 2. The fugitive
number of the four issues. With artwork and poetry by
Judith Rodriguez, Ailsa O’Connor on “The Feminist
Movement and Erotic Art”, poetry by Barbara Giles, Kathy
Letch and others. Post quarto [255 x 205] 52 pages roneo
stapled into illustrated wrappers by Judith Rodriguez. A
fine copy with subscription form laid in. $35.00
TOBY FITCH
[26]
132.
134.
An Anthology of Chance Operations. New York, NY: Heiner
Friedrich, 1970. Edited by La Monte Young and Jackson
MacLow. “An Anthology of chance operations concept
art anti-art indeterminacy improvisation meaningless
work natural disasters plans of action stories diagrams
music poetry essays dance constructions mathematics
compositions.” Second Edition, with all inserts present.
A faithful reproduction of the seminal Fluxus manifesto,
originally published in 1963. With contributions by:
George Brecht, Claus Bremer, Earle Brown, Joseph Bryd,
John Cage, David Degener, Walter De Maria, Henry
Flynt, Yoko Ono, Dick Higgins, Toshi Ichiyanagi, Terry
Jennings Dennis, Ding Dong, Ray Johnson, Jackson
Mac Low, Richard Maxfield, Malka Safro, Simone Forti,
Nam June Paik, Terry Riley, Dieter Rot [Dieter Roth],
James Waring, Emmett Williams, and Christian Wolff.
Small square quarto [230 x 210] [116] pages in printed
wrappers. Minimal wear and with little sign of use. $500.00
lionel fogarty [1958 -]
Jereilderies. Newtown, NSW: Vagabond Press, 2014. When
Ned Kelly dictated his “Jerilderie Letter” in 1879, he
created a legacy ripe for plunder. Cut, pasted and peppered
with redactions in Toby Fitch’s Jerilderies, the tangled
syntax and rich vocabulary of Kelly’s letter become “the
spewy ground” of a bushy unconscious where phantom
characters materialise, morph and dissolve — into riddles
of economy and sexuality, class and cant. Brindling against
law and order — “the man that blowed my brains out” —
Jerilderies hits on the myth of discovering a found “native
land”. Issued in the deciBels Series edited by Pam Brown.
Typography and design by Chris Edwards. Small square
octavo [135 x 135] 44 pages in illustrated wrappers. New,
at the published price.
$15.00
signed
135.
Yoogum Yoogum. Ringwood, Vic: Penguin Books, 1982. The
poet’s second collection, introduced by Gary Foley. this
copy signed by fogarty. A glossary of Aboriginal words
is included at the rear. Octavo [195 x 130] 132 pages. Near
fine in illustrated wrappers. Scarce.
$40.00
ian fleming [1908 - 1964]
133.
Ian Fleming: A Catalogue of a Collection, by Iain Campbell.
Liverpool, UK: Privately printed by the author, [1978]. “A
preliminary to a bibliography.” Idiosyncractic but thorough
and with a dedicated dimension of personal observation
in the area of source and reference. Interesting also for
records of items in various dealers’ catalogues. This copy
inscribed to a noted collector. Octavo [2 10 x 145] 72 pages
in illustrated wrappers. Very good. $85.00
JOHN FORBES [1950 - 1998]
..the one who has set among the landmarks of our verse a half-dozen.
poems that already seem entirely at home there, as if the landscape
had been waiting to receive them. david malouf
signed
136.
Tropical Skiing. Sydney, NSW: Angus & Robertson, 1976. The
poet’s first collection, issued in Poets of the Month: Series
1. With illustrations by Ken Searle. this copy signed by
forbes. Small octavo [180 x 110] pages 74-96. Stapled into
the uniform series wrappers. A very fine copy.
$65.00
FLUXUS [1970]
The project became the manifestation of the original impetus for
establishing Fluxus.
FLUXUS [1970]
137.
[27]
Stalin’s Holidays. Glebe, NSW: Transit Poetry, 1980. His third
(and first subtantial) collection. this copy inscribed
to Cornelis Vleeskens (...this is no Hong Kong garden...) and
with the poet’s small pawprint stamp. Octavo[205 x 140]
52 pages. A very good copy.
$120.00
JOHN FORBES
She grew more and more silent about what really mattered.
She curled inside herself like one of those black chimney
brushes, the little shellfish you see on the beach, and you
touch them, and then go inside and don’t come out.
138.
The Stunned Mullet & Other Poems. Sydney, NSW: Hale &
Iremonger, 1988. With six line drawings by Frank Littler.
The paperbound issue. Octavo [215 x 135] 52 pages in
illustrated wrappers employing “Words Cling to Head”
a painting by Frank Littler. A near fine copy. $50.00
141.
Owls Do Cry. London: W.H. Allen, 1961. first uk edition
of her first full length work of ficton—an early and
cornerstone contibution to the genre of fiction deriving
from the experience of a mental institution. Crown octavo
[200 x 1235] 243 pages in glossy red boards. A very good
copy in a very good price clipped dust jacket with one
closed tear. $250.00
one of twenty-six copies
DENIS FRENEY [1936 - 1995]
optimism of the will
142.
A Map of Days: Life on the Left. Port Melbourne, Vic: William
Heinemann Australia, 1991. An essential document for
any understanding of transition and retrospect from
orthodox communism to a New Left and beyond. this
copy warmly inscribed to radical filmaker and
comrade, martha ansara. Octavo [215 x 114] 403 pages
perfect bound into illustrated wrappers. $45.00
FEDERIC GARCIa LORCA [1898 - 1936]
143.
Lorca: Illustrations from an Unmarked Grave. A Collage in Dance,
Drama, Film & Song on the Life & Works of Federico Garcia Lorca,
a Poet from Granada. An illustrated anthology of works by
Lorca as a programme for the flamenco dance-drama
created by Gabriel Heredia and Jose Fariñas and performed
by Laberinto and La Trupe at the Tom Mann Theatre,
Sydney in 1983. A substantial production with poems and
dramatic dialogue in English and Spanish, drawings by
the poet and documentary photographs. Small landscape
quarto [200 x 240][28] pages stapled into illustrated
wrappers. A wine stain, some creases and marks, but
otherwise a good copy of an almost unknown item.
$45.00
139.
Thin Ice. [Melbourne, Vic:] Surfers Paradise Press, 1989.
one of twenty-six lettered copies (“s”) signed by
the poet. Twelve poems. A4: 14 pages rectos only, stapled
into card covers reproducing artwork by Ken Bolton. A
fine copy. $150.00
140.
Humidity. Cambridge, UK: Equipage, 1998. A posthumous
collection introduced by Gig Ryan. Octavo [210 x 145] [24]
pages stapled into illustrated wrappers by Brigid McLeer.
A fine copy. $45.00
JANET FRAME [1924 - 2004]
[28]
Ilse van Garderen [1953 - ]
148.
Agomgome: Poema Schoenberg. Parma, Italia: Tam Tam, 1981.
Introduzione di Adrano Spatola. Concrete poetry. Octavo
[210 x 155] [32] pages stapled into printed wrappers. Some
foxing and a crease to the wrappers, else an acceptable
copy of a scarce item.
$30.00
144.
Careless Water. Emerald, Vic: Maalstroom Ink, 2010. A
response to Gertrude Stein’s prose poem published in 1914
and as such first created as a unique one-off artist book
in 2000. This subsequent edition with design by Peter
Lyssiotis and typesetting by Andrew Cunningham. signed
and numbered. Square octavo [175 x 155] [56] pages die
cut and with spectacular reproductions from the original
hand-coloured linocuts stitched into black cloth with inset
print and title blocked in gilt. A pristine copy.
$75.00
Elizabeth Gertsakis [1954 -]
Βεψονδ Μισσολογι
149.
Beyond Missolonghi. Parkville, Vic: University of Melbourne
Museum of Art, 1994. Exhibition catalogue, this copy
inscribed by the artist. Elizabeth Gertsakis may be
counted amongst the most rigorously and overtly scholarly
of practising artists in Australia and is equally renowned
as a curator. This exhibition was a dramatic juxtaposition
of her own work and works borrowed from NGVA and
AGNSW. Essays by the Gertsakis and Nikos Papastergiadis.
Small oblong quarto [240 x 210] 24 pages stapled into
illustrated wrappers. $25.00
ANGELA GARDENER [1957 - ]
145.
Ghalib (Mirza Asadullah Beg Khan:
‫[ )ناخ گیب ہللا دسا ازرم‬1797 - 1869]
Thing & Unthing. In a world constructed from both physical
and mental objects, poetry is a perfect vehicle to explore
our experience. The existence of things posits tantalising
ideas of the existence of unthings, the seemingly
impossible. Negative mathematical objects such as untigers, built on Charles Dodson’s alter-ego Lewis Carroll
work, or surreal objects such as Meret Oppenheim’s Un
Objet encourage us to be both serious and playful in our
puzzles over existence. Thing & Unthing records part of the
thinking about, and playfulness possible in a complicated
world. Issued in the deciBels Series edited by Pam Brown.
Typography and design by Chris Edwards. Small square
octavo [135 x 135] 44 pages in illustrated wrappers. New,
at the published price.
$15.00
signed by adrienne rich
150.
Poems by Ghalib. New York, NY: Hudson Review, [1969].
Twenty selections translated by Aijaz Ahmad with William
Stafford and Adrienne Rich (this copy signed by Rich
on the title page, beneath her name). Aijaz Ahmad
provides a fine introduction, both to the evolution of
the Urdu language and its poetic conventions, and to the
biographical background of the poet. Mirza Ghalib was
a classical Urdu and Persian poet from Mughal Empire
during British colonial rule. This publication was used
widely for the promotion of the Asian Literature Program
of The Asia Society, and this copy has a label presenting
it with their compliments. From the collection of poet,
and influential teacher, David Steingass. Octavo [230 x
160] 16 pages. Slight creasing to edges, else very good in
calligraphic wrappers. $50.00
david gascoyne [1916 - 2001]
for f.t. prince in homage
146.
An Imitation of Leopardi’s Imitation of Canto, XXXV. Portland,
Or: Charles Seluzicki, 1983. one of 200 copies. this
copy inscribed - for f.t. prince in homage - signed
and dated June 1984. Single sheet [405 x 305] printed
one side only and folded twice to [205 x 150] giving three
printed panels. A very good copy, and a superb association.
$75.00
147.
Five Early Uncollected Poems. Leamington Spa, UK: The
Other Branch Readings, 1984. no 26 of only 200 copies,
this copy signed by the poet. Octavo [210 x 145]. Fine
in printed wrappers. Scarce. $50.00
MASSIMO GAULTIERI [1951 - ]
ROWAN GIBBS [1947 - ]
[29]
151.
When Harry Met Marion: Harry W. Emmet and Marion Melrose.
Wellington, NZ: Smith’s Bookshop, 2014. A biography on
Harry W. Emmet, an English-born actor, writer, songwriter,
and stage and business manager and his Australian actress
wife, Marion Melrose. Emmet worked in the Australasian
region between 1876 and 1886. In two volumes (Text +
Notes & Bibliography). Crown quarto [250 x 180] 1-81 +
82-162 pages, stapled into printed wrappers. Very fine. At
the published price $35.00
ALLEN GINSBERG [1926 – 1997]
152.
154.
Songs of a Sailor. Sydney, NSW: L.C. Publishing Company,
[194?]. Love poems written, it would seem, during
separation while on active service. A handmade book
that achieves such formal qualities in its invention
that it surely must count as an example of “book arts”
from a period generally not known for that form. The
construction exceeds utility in design and exists as a
work beside the writing itself. I can find two other titles
by this author, (and an essay on the art of body-surfing).
Only one copy of this work is held in a public collection.
This copy signed and inscribed, dated 15 March 1950
at HMAS Lonsdale. “L.C.” could well be a play on his
rank, Lieutenant Commander. Text is original top
copy carbon typescript over a gathering of twelve folds
of bond paper, secured with three short cords tied
to feature the knots above and below, through hand
coloured canvas covered card wrappers. The cloth has
been tinted with blue watercolour and hand lettered in
red ink. Also fixed with the ties is a glassine wrapper
with a porthole cut-out. The individual construction
is enhanced by the maker’s just visible guidelines and
marks. F/cap quarto [220 x 180] [26] pages, tied as
described. Early foxing, else well preserved.
$85.00
“The Fall of America” Wins a Prize. New York, NY: Gotham
Book Mart & Gallery, 1974. one of a hundred
numbered and signed copies. A fine printing of
Ginsberg’s acceptance speech at the National Book Award
for Poetry, delivered by Peter Orlovsky in New York City on
April 18, 1974. On a single sheet of Beckett antique laid [455
x 290] french folded to 4 pages. Designed and presented
with classic elegance. Fine.
$125.00
Baron Wilhelm von Gloeden [1856 - 1931]
153.
JAIMIE GUSMAN
Gusman’s charm-filled paraphernalia are apolitical enchantments:
amid the fizzing frisson of mundane interconnection, here is a poet
celebrating their sensorily overloaded mind amid the patterns, textures,
and shapes of sundry objects. dan disney
Baron Wilhelm von Gloeden. Sydney, NSW: Martin Browne
Fine Art, 1999. Exhibition catalogue with a long essay
by the curator, Jonathan Turner which considers von
155.
Gloeden’s settlement in Taormina and his beginnings
Gertrude’s Attic. Newtown, NSW: Vagabond Press, 2014.
as a photographer under the tutelage of his cousin,
“As
a container, the attic is a refuge for secret objects
Guglielmo von Puschow. With a detailed biographical
and
a repository for ordinary objects. As anatomy, the
outline and an overview of his style and aesthetic with
attic
is a space just above the ear drum, responsible
illustrations demonstrating homage and influence during
for
transmitting
external sound to the fluid labyrinth
later periods in the photographic genre of male nude.
of
the
ear.
These
poems are experiments in the shape
Thirty-four images by Von Gloeden, two images by Robert
and
sound
of
memories,
inspired by Gertrude Stein’s
Mapplethorpe, two images by Herb Ritts, four images by
‘portraits,’
particularly
those
written during World War
Nino Longobardi, and a single image each for Guglielmo
II.”
Issued
in
the
deciBels
Series
edited by Pam Brown.
von Puschow and Vincenzo Galdi. Superbly printed by
Typography
and
design
by
Chris
Edwards.
Small square
Websdale Printing on quality heavy stock. Quarto [297 x
octavo
[135
x
135]
52
pages
in
illustrated
wrappers.
New,
210] [32] pages in photographic wrappers. As new. at
the
published
price.
$15.00
$50.00
owen evans griffiths [1904 - ?]
PATRICIA hackett [1908 - 1963]
[30]
Robert Harris [1951 - 1993]
...an aristocrat...actress, director, designer, costumier... feminist,
socialite, hostess, art collector, eccentric, manic depressive, poet
and author of belles lettres...
the poet’s first collection
159.
Localities. Greensborough, Vic: Seahorse Publications, 1973.
Printed in the grand tradition at the National Press. Octavo
[215 x 140] 56 pages on superior paper in card wrappers. A
very fine copy with a very good dust jacket. $50.00
in lemon polka dot
156.
These Little Things. Adelaide, SA: Hunkin, Ellis & King Ltd,
1938. Poetry, with five drawings by Rex Wood. Laid in is a
copy of a typed transcript of a talk given by Hedley Cullen,
“Remembering Patricia Hackett” broadcast on Adelaide’s
5CL in April 1971. This has been sent on by Earle Hackett to
his daughter, Sue, with a covering letter, included here in
photocopy. Earle Hackett, writing from Adelaide, notes the
passing of Patricia Hackett’s long term companion Mildred
Mocatta. He is frank on the nature of their relationship
and comments on the moral climate and respectability
supervised by the Adelaide establishment. “If Patricia’s
poems are read again now with this private knowledge,
some of them become stronger. ...I like to think of her
belonging to a strong Hackett - Irish line of non-conformists
with English convention.” No 177 of 200 numbered copies
on antique mould made paper, bound into lemon polka
dotted cloth with the poet’s monogram on the upper. Small
quarto [235 x 175] [126] pages. A fine copy. $75.00
160.
Translations from the Albatross. Melbourne, Vic: Outback
Press, 1976. With drawings by Garry Shead. The cloth
bound edition one of 100 copies each signed and
numbered by the poet. Octavo [p215 x 145] 80 pages.
A fine copy in grey cloth with gilt stamped leather label
at the spine. This copy comes with the dust jacket of the
trade edition. $250.00
161.
The Abandoned. Broadway, NSW: Seňor Press, 1979. His
third collection, and a very small edition (150 copies?)
produced by Chris Woods with the services of Colprint,
Sydney. Cornelis Vleeskens’ copy with his small pawprint
stamp. Octavo [215 x 140] [38] pages glued into plain card
wrappers with dust jacket. $45.00
RODNEY HALL [1935 -]
the dedication copy - for robert graves
162.
Jane Interlinear & Other Poems. Paper Bark Press, 1992. this
copy presented to john forbes. The poet’s last
collection, and winner of the 1992 Victorian Premier’s
Literary Award. “[Harris] wrote distinguished work and, at
the end of his life, a masterpiece —Jane, Interlinear & Other
Poems.” Oxford Guide to Contemporary World Literature. Octavo
[220 x 145] 136 pages in printed wrappers. Lower wrapper
with crease, else very good.
$120.00
157.
The Law of Karma: A Progression of Poems. Canberra, ACT:
Australian National University Press, 1968. this copy
with a lengthy inscription to the poet, robert
graves, to whom the book is dedicated. Ordinary
copies abound, signed copies are not uncommon—surely
this is the one to have ? Designed by Robin Wallace-Crabbe.
Octavo [215 x 155] 91 pages. A fine copy in dust jacket.
$150.00
ELIZABETH HARROWER [1928 -]
The Long Prospect has no equal in our writing. christina stead
LIZ HALL [- DOWNS] [1961 -]
158.
Conscious Razing - Combustible Poems.[St. Kilda, Vic.]:
L. Hall, 1986. Poems and prose with line drawings
by Michael Wedd. signed by the author. Octavo
[70] pages stapled into illustrated wrappers featuring
a photographic portrait of the author by Sol Wiener.
From a small printing. A very good copy. $40.00
163.
The Long Prospect. London: Cassell, 1958. Her second novel,
once described as “second only to Voss as a post-war work
of Australian literature”. Octavo [200 x 140]208 pages in
red boards. A near fine copy in only very slightly worn
dust jacket with one short closed tear. Scarce. $200.00
[31]
J.S. HARRY [1939 - 2015]
Rolf Hennequel [1895 - 1971]
rigby graham [1931 - 2015]
wattle grove press [1958 - 1968]
164.
Sun Shadow, Moon Shadow. Sydney, NSW: Vagabond Press,
2000. First edition. no 29 of 100 copies signed and
numbered by the poet. Short-listed for the NSW
Premier’s C.J.Dennis Award for Poetry 2000. The third
title in Vagabond’s Stray Dog Series. Octavo [190 x 140]
[24] pages in plain card wrappers with printed dust
jacket. A fine copy.
$65.00
unique state
169.
Petra. Rigby Graham in Leicester. [Newnham, Tas.]: Wattle
Grove Press, [1966]. An essay by Rolf Hennequel providing
an historical survey and contemporary account of Petra,
with illustrations by Rigby Graham. The work (and the
ambitions of the press) are introduced by the colourful
Maurice Willoughby. this is copy no 1/100 of the
edition in a unique binding. Ten tipped prints, and
five prints from blocks in the body. Text set in Coronet,
Garamond and Ludlow Samson and printed by Hennequel
on a Wayne platen. Small quarto [265 x 195] 20 folds for
text and prints + 5 folds and a single leaf for mounted
prints; silkscreened endpapers. Cancels at xv and xvi. All
tied with yellow silk cords into a single fold of solid red
calf, with a hand lettered title label (in Greek) on green
solid calf on the upper. Other copies in this edition were
issued in plain paper wrappers with a printed paper label in
English. The first copy of the edition, and obvioulsy special.
$350.00
William Hart-Smith [1911 - 1990]
inscribed in timaru
165.
The Unceasing Ground. Sydney, NSW: Angus & Robertson,
1946. Poetry. presentation copy. Octavo [215 x 145] [v]
+ 54 pages in printed orange paper covered boards with
cloth at spine. $30.00
Kris Hemensley [1946 - ]
See: The Art of Rigby Graham
a meeting in melbourne
166.
Mimi. Cleavehurst, Devon: The Sweet Dawn Publishing
Company, 1973. Prose with the suggestion that his ear
has now become familiar with Australian idioms. This
copy inscribed to Nigel Roberts “For Nigel/Melbourne
visit/April 9 ‘74/with bon voyage/for New Zealand/ Kris”.
One of the scarcer early items of Hemensley, and on this
occasion a superb association. Small quarto [230 x 175]
22 pages in illustrated wrappers with a lithoprint by Jane
Wellington from an image by Sue Selby. Faded wine spray
on upper wrapper, evidence of travel within the creases,
but in all a desirable copy. $50.00
NEIL M. HENNESSY
170.
The Mirror Stage of the Alphabet: A Lettriste Lacan. Brampton,
Ontario, Canada: Poetic Immolation Press, no date. no
seven of thirty signed and numbered copies.
Prismatic typography. A response to Derek Beaulieu’s A
Book of Vowels [House Press, 1998]. Single sheet [215 x 140]
folded once. Exquisite ephemera.
$20.00
Dorothy Hewett [1923–2002]
suppressed
171.
Chapel Perilous. Sydney, NSW: Currency Press, 1972. one
of 100 cloth bound copies signed by hewett. This
copy with the ownership signature of then actor, and
nowadays theatre supremo, Pamela Foulkes, dated in
Canberra that year. 1972 saw Hewett’s play with a Sydney
Opera House production— it was also the inaugural year
of the National Playwright’s Conference, held in Canberra.
Octavo [210 x 130] 95 pages in gilt decorated cloth.
$60.00
presented to bill berkson
167.
Sulking In The Seventies. Melbourne, Vic: Ragman
Productions, 1975. one of 250 numbered copies.
No 4 in the Rigmarole Of The Hours series and one of
Robert Kenny’s many triumphs in book design. This copy
inscribed to Big Sky supremo, Bill Berkson – a wonderful
association. Octavo [230 x 160] [20] pages stapled into
black card wrappers with printed rose coloured card jacket.
A fine copy. $50.00
172.
Rapunzel in Suburbia. Sydney, NSW: Prism, 1975. Designed
by Robert Adamson and published by New Poetry for the
Poetry Society of Australia. This edition suppressed and
withdrawn. one of a 100 deluxe bound autographed
copies. Octavo [225 x 145] 91 + pages on Glastonbury paper
bound into smooth mace coloured cloth with leather
labels to spine and upper, titled in gilt. Spine label slightly
light affected, but otherwise very fine. $325.00
168.
Montale’s Typos. Alverstoke [Gosport, Hampshire, England]:
Stingy Artist [Bernard Hemensley], 1978. one of 250
copies. Correspondence from the imagination. The first
publication in the Stingy Artist list. Published by the poet’s
brother using a Varityper. Quarto [250 x 190] [20] pages
stapled into printed blue card wrappers. $65.00
[32]
Dorothy Hewett
173.
Alice in Wormland. Paddington, NSW: Paperbark Press,
1987. no 2 of 100 signed and numbered hardcover
copies. A novella in verse. This copy with the publisher’s
press release laid in, and with an invitation to the Sydney
launch by Geoffrey Dutton at Ariel bookshop in July 1987.
Octavo [220 x 145]146 pages in blue boards titled in silver.
Very good in like dust jacket. $175.00
MartIAN [MARTY] Hiatt [1983 - ]
174.
Portfolio of Nothing/File of Cream/Proeses. [Melbourne, Vic]:
Baulking Ewes Press, [2013].”This work is entirely composed
of conscious and unconscious citation.” Appears a “cut in”
technique but with more than Gyson’s method apparent—
so both aware and aleatoric? A4 [8] sheets, rectos only,
printed portrait, folded and stapled at the half then loosely
within a manila card wrapper rubber stamped “VOID”. $20.00
PHILIP HODGINS [1959 - 1995]
175.
The End of the Season – Pastoral Poems. Canberra, ACT:
Brindabella Press, 1993. Poetry with wood engravings by
Victoria Clutterbuck. No 144 of 230 copies signed by the
poet. Hand printed by Alec Bolton, and bound by Robin
Tait. Tall slim octavo [250 x 145] 48 pages in cloth backed
heavy cream card wrappers. Laid in is a lengthy note from
Bolton about Hodgins, enthusing about the poet’s talent,
and conveying the news that he has just been published
in the New Yorker. A very fine copy. $65.00
ANSELM HOLLO [1934 - 2013]
176.
Isadora & Other Poems.[London]: Writers Forum,[1967]. MiniBook No 2, printed at the Wooden Shoe in Brighton by
the expatriate Austalian anarchist printer, Ted Kavanagh.
Reproduced offset on heavy wove from the poet’s holograph.
16mo [150 x 115] [24] pages stapled into printed wrappers.
Tan lines on lower wrapper, else very good. $50.00
A.D. HOPE
marked up page proofs
178.
Native Companions: Essays & Comments on Australian Literature
1936-1966. Sydney: Angus & Robertson, 1974. Page proofs
marked up throughout in margins. Nineteen signatures
for 287 pages. Fine. $75.00
179.
For A.D. Hope: Poems and a Building. Canberra, ACT: printed
for W. S. Ramson, Dean of the Faculty of Arts, at the Open
Door Press, [1977]. Poetry by David Campbell, Philip Martin,
Rosemary Dobson, Evan Jones, R.F. Brissenden, Judith
Wright, and Satendra Nanden. With an illustration by
Jahna Knyvett. Quarto [330 x 255] [10] pages in illustrated
wrappers. A very good copy. Uncommon. $125.00
Michael Horowitz [1935 - ]
one of only 25 copies
180.
Poetry for the People. Hampstead: Latimer Press, 1966. The
first book of the press. A visionary rant with overtones
of Joyce and Ginsberg. One of 25 copies only, signed
and numbered by the poet. Horowitz was a key figure at
International Poetry Incarnation at the Royal Albert Hall in
1965 (along with Adrian Mitchell, Alexander Trocchi, Allen
Ginsberg, Christopher Logue, George Macbeth, Gregory
Corso, Lawrence Ferlinghetti, and William Burroughs). In
1969 he edited Children of Albion: Poetry of the Underground in
Britain - an influential anthology in the international wave
of “new poetry” that was underway at that time. Crown
octavo [185 x 120] 20 pages, stapled into printed wrappers.
With Horovitz’s correction to the text at page 3. A fine
copy of an elusive item. $75.00
JANETTE TURNER HOSPITAL [1942- ]
A.D. HOPE [1907 - 2000]
177.
The Damnation of Byron. Stratford, Ontario: Pasdeloup Press,
1973. A long erotic poem by Hope illustrated and published
by Virgil Burnett. Burnett (1928–2012) worked in Paris and
first book signed
was a disciple of Maurice Darantière, the printer of the
winner of the canadian seal award
first edition of James Joyce’s Ulysses. As Burnett’s mentor
margaret atwood’s copy
through his early years of illustrating and publishing, it
181.
was under his influence that he returned to North America
The Ivory Swing. London: Hodder & Stoughton, 1983. Her
to set up his Pasdeloup Press, first in Chicago and then
first novel, and the winner of the Canadian Seal Award.
in Stratford Ontario. Designed by Robert Williams, set
this copy signed by the author. Margaret Atwood’s
in Deepdene type, and printed on Strathmore laid at the
copy with her bookplate. Octavo [ 220 x 140] 252 pages. A
Coach House, Toronto. Tall narrow quarto [310 x 185] 21 [33]
few flecks to front endpaper, else a very good copy in like
pages smooth brown cloth stamped in blind on upper
dust jacket. $120.00
and in gilt at spine. $150.00
BARRY HUMPHRIES [1934 - ]
LOUIS JOHNSON [1924 - 1988]
185.
Onion. Dunedin, NZ: Caveman Press, [1972]. A long poem
dealing graphically with a gang rape—hence the title of
the piece. Written while Johnson lived in Melbourne and
first performed there. Printed and published by Trevor
Reeves’ Caveman Press, with cover art by fellow NZ poet,
Peter Olds. this copy inscribed to the Hunter Valley
poet, Trevor Blood, whom Judith Wright referred to
as “my jailbird friend”(see footnote Selected Letters, page
260). Stated to be one of 300 copies, though only 150 were
printed. Squat octavo [190 x 150] [12] pages stapled into
plain card with printed dust jacket. Jacket a little darkened,
else very good. $45.00
from the dada days
182.
Paston’s Melbourne Quarterly: A Journal of Literary Pleasantry for
the Entertainment of the Public and the Edification of the Young.
Melbourne, Vic: Paston, Spring, 1958. Frontispiece by Ray
Wilson. With contributions from Philip Martin, James
Murray, Bruce Dawe, Graeme Kemelfield, Colin Munro,
and Barry Humphries. Humphries’ provides six short
chapters and three drawings (“pictures to colour”)for
his “A Novel Called Tid” which introduces Edna, Bruce,
Kenny and Valmai, and is “to be continued”. The only
issue. A single sheet [1132 x 535] printed in two colours
both sides and folded to twenty-four panels, each 280 x
130. Beautifully printed by the National Press, Melbourne,
on good cream wove. The slightest weakness at one or two
folds, else a remarkably well preserved item. Rare. $175.00
MARTIN JOHNSTON [1947 - 1990]
186.
Shadowmass. Sydney, NSW: Sydney University Arts Society
Publications, [1970]. The poet’s first collection, published
in June of 1970 (Arts Society Publications announce
Shadowmass (with Terry Larsen’s Tar Flowers and Andrew
Huntley’s Lyrical Ballads). In less than a month his father
would die, and it was not yet 12 months since his mother’s
suicide. This is a year that Johnston lost to grief, not
announcing or promoting the book till a year later when
it was said to be “forthcoming”. But for one occasion
he thereafter listed the year of publication as 1971; in
Surfer’s Paradise No 1 he assigned it to 1969, thus once more
avoiding the dark year. Small quarto [250 x 205] 55 pages
stapled into printed wrappers with cloth tape at the spine.
Very good. $85.00
187.
very privately printed
34°n 118°w
mcmxcii
183.
A Chorale for Coral. [Los Angeles: V. & W. Dailey], 1992. A
five stanza work of delicate rhyme in affectionate memory
of Coral Browne. Five leaves printed on Arches with a
frontispiece portrait by Don Bachardy. One of 75 copies
printed and signed by the poet. Octavo [235 x 155]. Sewn
into printed orange wrappers. A very fine copy. Necessarily
scarce. $250.00
ISIDORE ISOU [1925 - 2007]
184.
Introduction à un Nouvelle Poésie et à une Nouvelle Musique. Paris:
Gallimard, 1947. First and only edition. Isidore Isou was
the founder of Letterism and this, his first book, initially
rejected by Gallimard, is the foundation document of the
movement. It contains his famous “Manifesto of Letterist
Poetry” along with a selection of twenty letterist poems
and “La Guerre” (the first Letterist symphony). Octavo
[185 x 118] 416 pages. A far better than usual copy with a
scuff to the upper panel that minimally affects the title
line. $200.00
Ithaka: Modern Greek Poetry In Translation. Sydney: Island
Press, 1973. one of 200 signed and numbered copies
set in Garamond and hand printed by Philip Roberts on
Glastonbury Antique laid at Bundeena. Octavo [210 x 135]
62 pages with illustrations by Johnston and Neville Drury.
In heavy saffron card wrappers. A fine copy. Prospectus
with Roberts’ amendments laid in— Modern Greek Poets
[Ithaka] originally announced in 1971 for June 1972, but
issued in April 1973. $150.00
See Michael Denholm, (Small Press Publishing in Australia) page 30;
and Geoffrey Farmer, (Private Presses & Australia) page 58.
[34]
RAE DESMOND JONES [1941 - ]
ALISTER KERSHAW [1921 - 1995]
188.
Mudra of the Rose. Sydney, NSW: Fragment Press, 1976.
Three poems. “This dipliant first published January, 1976
in an edition of two hundred and ten copies.” Folded sheet
of heavy antique laid, printed both sides [215 x 400] folded
twice to six panels. This copy with the small pawprint
stamp of the poet, Cornelis Vleeskens. A very nice copy
of a genuinely rare item. $75.00
one of thirty copies
193.
Opéra Comique. Montpellier: La Muréne, 1979. Seventeen
poems. one of thirty copies only printed on
Guérimand Voiron paper by Rouvière Frères under the
direction of F.J. Temple. Octavo [210 x 140] in printed
textured card wrappers. This copy uncut and with the
poet’s bookplate. Cited by Arnold & Hay but hardly known
otherwise. Exquisite. $150.00
for kate [llewellyn]
from one faded lesbian to another
189.
The Palace Of Art. St. Lucia, Qld: Makar Press, 1981. This
copy inscribed “To Kate / whose heckling is beautiful /
from one faded lesbian to another”. Signed in full. Original
printed wrappers somewhat rubbed, else a clean tight
copy. $50.00
ALISTER KERSHAW
RICHARD ALDINGTON [1892 - 1962]
194.
Poems of Love & Loss. Paris/London: Alyscamps Press, 1995.
Thirteen poems by Kershaw and two by Aldington. The
Australian poet, Kershaw, began his life in France as
secretary to Aldington, and the story of their relationship
is memorably recalled in Kershaw’s The Pleasure of Their
Company (UQP, 1986). this collection put together
in an edition of 200 copies by Karl Orend as a tribute
to Kershaw, who died in February that year at his home in
Sury-en-Vaux. Octavo [210 x 150] [28]pages perfect bound
into illustrated wrappers. A fine copy. $50.00
Thomas Henry Jones / T. Harri Jones [1921 - 1965]
190.
Cotton Mather Remembers The Trial of Elizabeth How: Salem,
Massachusetts, June 30, 1692. [Maitland, NSW]: Nimrod
Pamphlet No 1, 1964. “A Poem by T.H. Jones.” The poet
died shortly after this publication, drowned at the Bogey
Hole, Newcastle in January of 1965. this copy from the
library of christina stead . Single sheet [440 x 280]
heavy Abbey Mills Greenfield laid, printed both sides and
folded twice to 8 panels. With The Seafolding of Harri Jones,
a poem by Norman Talbot. [Maitland, NSW]: Nimrod
Pamphlets No 2, 1965. Same stock, same inking and
format, produced for the publisher [Talbot] by Mercury
Print of High Street Maitland. Single sheet [440 x 280]
heavy Abbey Mills Greenfield laid printed both sides and
folded twice to 8 panels. Each very good. The pair
$60.00
PETER KINGSTON [1943 - ]
195.
A Bed of Oysters at D.S. Murray. [Lavender Bay, NSW]:
Snail on the Whale Press, 1999. one of eleven
copies. A gathering of illustrated collective nouns, with
contributions by Kingston, Martin Sharp, Luke Sciberras,
Reg Lynch, and Stephen Little. Hand coloured book with a
binding made by Daphne Lera of the D.S. Murray bindery.
Miniature [50 x 35][14] pages sewn with gold thread into
flexible gilt stamped full calf with marbled endpapers.
Hard to find.
$75.00
ANNA KAVAN [1901 - 1968]
I relied on what I wrote to build a bridge which could not be cut
down. It was my own self in which I trusted, not seeing self as that
last cell from which escape can only come too late. anna kavan
191.
A Bright Green Field & Other Stories. London: Peter Owen,
1958. Anaïs Nin compares Kavan to Kafka as a writer of
night terrors, non-reason, and the divided self (The Novel
of the Future, 1968). Crown octavo [190 x 125] 192 pages. A
peerless copy in dust jacket by Eric Patton. $375.00
196.
Mackerel Beach - A Winter’s Tale. Sydney, NSW: Pelicano Press,
2014. one of twenty-six copies lettered A-Z. A visual
memoir and store of anecdote derived from the artist’s
sketchbooks and journals kept during a season spent
at the Pittwater enclave. On folios with eighteen hand
finished linocout prints using Sakura oils on Japanese
Iwaki Mulberry paper, each under glassine shield, with
text, line drawings and vignettes on other surfaces. There
are two triple fold prints as wrappers, with a further
print on the box lid. Designed, printed and assembled
by Nicholas Pounder, at the sign of the Polar Bear. Twenty
folios of Rising Stonehenge [700 x 350] folded to 350 x 350
within wrapper supports of Svecia Antiqua Chamois. In
a handmade timber box [400 x 400 x 40]. $7500.00
PATRICK KAVANAGH [1904 - 1967 ]
192.
Self Portrait. Dublin: The Dolmen Press, 1964. First edition.
Transcript of an interview originally broadcast by Telefis
Eireann in October 1962, where the poet discusses his life’s
work. With photographs by Liam Miller. Crown octavo
[190 x 115] 31 pages in green paper covered boards with
orange cloth backstrip stamped in gilt. In a price clipped
dust jacket with two short closed tears. $75.00
[35]
PETER KINGSTON
FAIRLIE KINGSTON [1954 - ]
RUDI KRAUSMANN [1933 - ]
197.
Missing Dot & Other Stories.Tamarama, NSW: Polar Bear Press,
2014. A collection of short stories by Fairlie Kingston, with
eight hand-printed linocuts on Iwaki Japanese Mulbery by
Peter Kingston, and line drawings in the text. from an
edition of twenty-six copies lettered a-z, each
signed by author and artist. Set in Bembo and printed on
Magnani papers. The linocuts are individualy finished with
no two prints the same. Crown quarto [250 x 190] [224]
pages sewn in card wrappers with illustrated dust jacket.
In a custom clam shell box by Dietmar Lederwasch. $1650.00
201.
“Ants” from Beasts and Man, Union Recorder, Vol 50, No 16,
July 30, 1970. Sydney University, NSW: 1970. Short story
by Carmel Kelly, Buckminster Fuller interview, Denise
Hare reviews Fred Cress at the Bonython Gallery, notice
for a rally in Defiance of the National Service Act, and
Carl Harrison-Ford reviews John Tranter’s first collection,
Parallax. Tabloid [300 x 245] 12 pages, stapled. Ner fine. $25.00
Fran Landesman [1927 - 2011]
JOHN KINSELLA [1963 -]
TRACY RYAN [1964 -]
198.
John Kinsella & Tracy Ryan: Varuna New Poetry. Vol 2 No
1, Autumn 1996. This number given to the two poets,
presenting Kinsella’s “Ecologue of the Eclipses”, “Lunar
Eclipse, and “Mesmerised”; and Ryan’s “Union”, “Eclipse,
Kenwick, 1974” and “Black Sun”. Two A3 sheets heavy card
folded once to 8 pages A4. Fine. $20.00
ten copies only
202.
More Truth than Poetry. London: College of Printing, 1984.
Designed and illustrated by Avril Broadley. The jazz world’s
answer to Dorothy Parker, the poet laureate of lovers and
losers, her songs are the secret diaries of the desperate
and the decadent. A Beat living in London since the early
60s, wife of Jay Landesman, and a working lyricist and
performing poet at the age of 82. (In 1996 the BBC received
a number of complaints when Landesman appeared on
Desert Island Discs and requested a supply of marijuana
seeds as her luxury item.) Set in Gill Sans serif and printed
letterpress and lino on 250 gsm Somerset paper. Small
quarto [280 x 195] in grey cloth with heavy card dust jacket
printed in three colours from a block. A very fine copy of
a work calculated to be rare. Totally stunning. $200.00
one hundred copies
199.
Lines of Sight. Cambridge, UK: Folio (Salt) 1997. A chapbook
produced while both were working at Cambridge. Octavo
[210 x 150] [16] pages stapled into illustrated wrappers. A
fine copy. From a very small printing. $45.00
PETER KOCAN [1947 - ]
his editor’s copy
200.
The Other Side of the Fence. St Lucia, Qld: University of
Queensland Press, 1975. The poet’s second collection,
written while held at Ward 6 for the Criminally Insane
in Morisset. roger mcdonald’s copy with his
signature. McDonald was a key figure at UQP and
was poetry editor of the influential Paperback Poets
Series— a post he held until 1976. Laid into this copy is
the publisher’s review slip showing the date of publication
as 15 December 1975. Crown octavo [180 x 115] 65 pages.
A very good copy in printed wrappers. $60.00
MARY LAnG [1914 - 1996]
advance proofs
203.
Tom Groggin. London: J.M. Dent, 1936. Poems inspired by
the Snowy Mountains. “Advance Proofs Only”. Prepared
at the Temple Press, Letchworth for the publisher. Crown
octavo [180 x 125] 54 pages in printed grey wrappers. A
few creases, else very good. $40.00
[36]
212
211
213
209
362
210
I’d rather give you a migraine than nothing at all.
isidore isou
207
Lettrism (or Lettrisme or Letterism) is a French film and visual poetry movement that
enjoyed a brief heyday as the avant-garde du jour in 1950s Paris, and is often associated
with the French Revolutionary Student Movement of 1968. Founded by Elvis lookalike
Isidore Isou (born Ioan-Isidor Goldstein, 1925-2007), Lettrism influenced other forms of
art and poetry in Europe and Latin America up to the present and likely into the future,
even as most Viners and Snapchatters remain unaware of this strange fold in the spacetime continuum of art.
In French, the movement is called Lettrisme, from the French word for letter, arising
from the fact that many of their early works centred around letters and other visual
or spoken symbols. The Lettristes themselves prefer the spelling “Letterism” for the
Anglicised term, and this is the form that is used on those rare occasions when they
produce or supervise English translations of their writings: however, “Lettrism” is at
least as common in English usage. The term, having been the original name that was
first given to the group, has lingered as a blanket term to cover all of their activities,
even as many of these have moved away from any connection to letters. But other names
have also been introduced, either for the group as a whole or for its activities in specific
domains, such as “the Isouian movement”, “youth uprising”, “hypergraphics”, “creatics”,
‘infinitesimal art’ and “excoördism”.
The ranks grew with Gabriel Pomerand, Gil Wolman, Marc O, Maurice Lemaitre and
Guy Debord joining the cause, drinking at every opportunity in dive bars around SaintGermain-des-Pres, talking loudly of revolutionary art, philosophy, and politics, composing
polemical tracts amid metaphorical and literal violence. The Lettrists were the youngest
agitators of the Parisian avant-garde - “the milieu of demolition experts” - disenfranchised
young radicals with plenty to say and hate, who took on Andre Breton and other respected
figures. They were conducting an offensive against an obsolete, derelict state and a cultural
establishment which propagated boredom and refused to relinquish power. They placed
poetry over politics, and above all, they believed that art should never be separated from life.
[37]
184
208
TERRY LARSEN [1949 - ]
JOHN DELACOUR [1948 - ]
MAURICE LEMAÎTRE [1926 –]
204.
Tar Flowers. [Sydney, NSW: Sydney University Arts Society
Publications, [1970]. Poetry with an equal amount of
photography from John Delacour. Published in June of
1970 simultaneously with Martin Johnston’s Shadowmass.
(Larsen was the publisher of the only three titles under this
imprint.) Tar Flowers is not to be confused with Larsen’s
later title, Tarflowers, a juvenile title issued by McPhee
Gribble in 1985. Small quarto [250 x 205] 28 pages stapled
into printed wrappers with cloth tape at the spine. $45.00
207.
Le Film est deja commence? Seance de Cinema. Paris: Editions
André Bonne, 1952. Encyclopédie du Cinéma. First and
only edition. Lemaître wrote this book as a companion
to his film of the same name (produced the year before).
In addition to the full film script (alongside twelve pages
of stills from it) the book contains a lengthy preface by
Isidore Isou (twenty-eight pages) and Lemaître’s theoretic
essay “Fondu enchaîné sur un cinema ailleurs” (“Fade-in
to another cinema” - fifty-seven pages). Crown octavo [185
x 184] 182 pages. Uncut with original paper wraparound
band. Nice.$75.00
Richard LARTER [1929 – 2014]
208.
Qu’est-ce que le lettrisme? Paris: Editions Fischbacher, 1954.
Édition originale. L’un des 770 exemplaires (a)numérotés,
après 30 tête signés et 150 Alfa. This book (alongside Isou’s
Introduction à un Nouvelle Poésie et à une Nouvelle Musique) is
one of the most important early books originating from
Letterism. Lemaître systematically explains the basis of
the Letterist movement, then (in turn) how it relates to
poetry, music, writing (Hypergraphy), cinema, theatre,
and economics. 16mo [160 x 125] 160 pages in illustrated
wrappers. A very good copy. $125.00
209.
La Danse et le Mime Ciselants. Paris: Jean Grassin, 1960. This text
by Lemaître examines the Letterist approach to dance and
mime. The title refers to Letterist theory which specifies two
periods in the development of each artform - the “amplique”
(where the focus of the artform is on it’s application to
different subject matter) and the “ciselant’”(where the focus
is on the materials and techniques of the artform itself ).
Octavo [190 x 140] 64 pages, with 4 pages of photographs
tipped-in. An unopened copy of the first and only edition.
Particularly fine. $75.00
205.
cover: The Union Recorder. Vol 50, No 16, July 15, 1970. Dated
in the image, Richard Larter, 1969. Also in this issue, Bob
Connell sends an illustrated report on the march on the
Pentagon, John Maddocks considers peyote and jimson
weed in Carlos Casteneda’s Teachings of Don Juan: A Yaqui
Way of Knowledge, Carl Harrison-Ford reviews poetry, a
production of Jarry’s Ubu Roi is assessed by Jan Chapman,
and John Tranter publishes a “Poem for Walter De La
Mare”. Small tabloid [310 x 240] 16 pages, stapled. Fine.
$30.00
210.
Note Sur Votre Bonheur. (Lettrisme nouvelle série No. 27). Paris,
France: Centre de Creativite, 1971. Set of three documents
(“Carnets d’un Fanatique” IV, V, VI) inside french-fold
loose cover. Uncut pages. The texts are “Le Dernier et le
Premier texte d’un Prophète” (“The Last and First text of a
Prophet” - 24 pages heavily illustrated in black and white),
“Poisson d’Avril 71” (“April Fool 71” - 4 pages, two colour
print on heavy card, letterist poem with facing full-page
hypergraphic design), “Note Sur Votre Bonheur” (“Note
On Your Happiness”). Quarto: chemise[280 x 220] with 4
internal folds [560 x 440] + colour printed card fold. Very
good. $50.00
Richard Le Gallienne [1866 – 1947]
cloth issue
206.
If I Were God: A Conversation. London: James Bowden, 1897.
A handsome thing printed in deep blue on heavy cream
antique laid. Foolscap octavo [190 x 100] 64 + [8] pages
of advertisements, in grey green vertical ribbed cloth,
blocked in gilt. Corners, bumped and with some shelf
wear; internally bright. $45.00
[38]
RACHEL LODEN [1948 - ]
MAURICE LEMAÎTRE
bande dessinée
211.
Les Aventures d’el Momo. Paris: Centre de Creativite, 1992.
Documents Lettriste No 115. As for every example of this
second edition, the contents are bound into an original cover
—a colour offset print. Lemaître presumably had ordered a
print run in the hundreds for the first edition, of which only
20 were used. This artist’s book is presented in the form of
a bande dessinée (comic strip, or graphic novel) based around
the events of May 1968 in France. The contents are an eclectic
mix of hypergraphics and “traditional” comic-strip tropes.
It is also an example of a “supertemporelle” artwork, which
the artist encourages the reader to engage with by physically
adding to it. Second edition (of 368 numbered copies - this
is #185) - after the first edition of 1968 (consisting of only
20 copies). Oblong quarto [298 x 208] 18 + [8] pages pages
printed rectos only in plain green card wrappers with dust
jacket having two repairs on upper panel. $50.00
214.
Kulchur Girl: Notes from Berkeley 1965. Newtown, NSW:
Vagabond Press, 2014. “A girl just seventeen, high school
dropout, travels to the July 1965 Berkeley Poetry Conference
to encounter some of the giants of The New American
Poetry 1945-1960 and after (Creeley, Olson, Duncan, Blaser,
Ginsberg, Dorn, Sanders, Berrigan, &c.). These notes
from her surviving diary show her longing to be taught,
but also fiercely teenage, perversely independent and
contradictory.” Issued in the deciBels Series edited by Pam
Brown. Typography and design by Chris Edwards. Small
square octavo [135 x 135] 88 pages in illustrated wrappers.
New, at the published price.
$15.00
LETTRISME [1953]
212.
Internationale Lettriste No. 3. Paris, France: Internationale
Lettriste, 1953. The third issue - of only four - of this iconic
and short-lived bulletin of the Internationale Lettriste
(the breakaway Letterist group founded by Guy Debord
and Gil Wolman in 1952). In 1954 it was replaced by the
roneoed journal Potlatch, which was published until the
movement was superseded by the Situationist International
in 1957. Contributors to this issue include Guy Debord (also
acting as editor), P.J. Berle, Bull D. Brau, Hadj Mohamed
Dahou, Gaetan M. Langlais, Jean-Michel Mension and Gil
J. Wolman. Sheet [430 x 270]. Rare
$500.00
James McAuley [1917 - 1976]
david campbell’s copy
215.
A Vision of Ceremony. Sydney: Angus & Robertson, 1956.
David Campbell’s copy with his ownership signature. The
contents page is marked up in two inks, with certain
poems indicated and the absence of “Mating Swans” [page
7] noted. Campbell has continued his notes on the rear
pastedown in a fine and certain hand. A very good copy
in dust jacket. $85.00
LETTRISME [1971]
HUGH MCCRAE [1876 - 1958]
presentation copy
216.
My Father, and My Father’s Friends. Sydney, NSW: Angus
& Robertson, 1935. presentation copy from the
author to julia drake-brockman. “Adam Lindsay
Gordon, Henry Kendall, Marcus Clarke, John Shillinglaw,
‘Orion’ Horne - for us they are figures bathed in the lustre
of literary fame, but here they talk and drink once again
in the flesh, a gallant company of personalities. They
lived in Melbourne in the olden days, before the wireless,
newspapers, films, and motor cars, like the four wheels
of the juggernaut, had flattened us out to a mechanical
level. It was the pre-bowser age: men walked, drawing,
like Antaeus, strength from the earth they touched. They
rollicked in taverns, singing songs.” From the forward by
T. Inglis Moore. Octavo [220 x 140]86 pages. Half morocco
over paper covered boards stamped in gilt. Also with Drake
Brockman’s fine ownership signature.
$65.00
213.
La musique lettriste, hypergraphique, infinitesimal, and aphoniste
supertemporelle. Revue Musicale No. 282-283. Paris, Editions
Richard Masse, [1971]. Texts by Gérard-Philippe Broutin,
Jean-Paul Curtay, Isidore Isou, Maurice Lemaître, François
Poyet, Patrick Poulain. Followed by an 50 page anthology of
often graphic works by amongst others François Dufrene,
Isou, Lemaitre, Roland Sabatier, Alain Satie, Jacques
Spacagna, Gil Wolman on card stock of two colours.
Quarto [260 x 200] 120 pages on various art papers with
a separate fold-out booklet of 8 pages containing the score
for “Polyépophonie infinitesimal amplique” by Jean-Paul
Curtay. An unopened (uncut) copy in original wrappers.
$65.00
[39]
grant alexander mccracken [1961 -]
LOUIS MACNEICE [1907 - 1963]
217.
The Sham Cabaret. Daylesford, Vic: Sham an D Productions,
[1991]. Poems 1987 - 1991. This copy with a small poster
for a reading by the poet. A4 [28] pages, rectos only in
illustrated wrappers. $30.00
222.
Collected Poems. London: Faber & Faber, [1966]. Edited by
E.R. Dodds. Octavo [220 x 140] xviii + 575 pages in brick
red cloth. A near fine copy in very good dust jacket. With
Bob Brissenden’s SMH review laid in.
$120.00
Jim MCNEIL [1935 - 1982]
ALINA MCDONALD [1988 -]
the cloth issue - signed
218.
A Story to Tell .... [Melbourne, Vic: Alina McDonald], 1988.
Short stories, amounting to a bitter family memoir of WW
2, addressing a parent’s place in action, later injustice and
maladjustment. Ingenious cut and paste layout technique.
Laid in is an invitation to the author’s exhibition of
paintings parallel to this publication at Girgis & Klym
Gallery, Fitzroy during July and August of 1988. Octavo
[220 x 160] [16] pages stapled into plain blue wrappers.
$35.00
223.
The Chocolate Frog/The Old Familiar Juice. Sydney, NSW:
Currency Press, 1973. The hardcover issue, signed and
dated by the playwright. This copy with the ownership
signature of then actor, and nowadays theatre supremo,
Pamela Foulkes. Octavo [210 x 130] 120 pages in black
cloth. No dust jacket, as issued. $60.00
ARTHUR MACHEN [1863 - 1947 ]
ROGER MCGOUGH [1937 - ]
signed
219.
Holiday on Death Row. London: Jonathan Cape, 1979. Poems.
Paperback original. this copy signed, dated and
fingerprinted on a luggage label stamp. Octavo
[215 x 135] 56 pages in illustrated card wrappers.
$45.00
signed
224.
Strange Roads [and] With The Gods in Spring. London:
The Classic Press, 1923. Two essays, each in turn with
illustrations by Joseph Simpson and H.R. Millar—nine
vignettes in all. russell A25a. Small octavo [160 x 110] 54
pages on antique laid, untrimmed, in green cloth blocked
in gilt; top edge gilt and marbled lavender endpapers. An
apparently unread copy with what may be the original
glassine. $75.00
220.
Gig. London: Jonathan Cape, 1979. Poems. Paperback
reprint, signed by the poet and dated Sydney, March, 1981.
Octavo [215 x 135] 60 pages in illustrated card wrappers.
A very good copy.
$45.00
ROGER MCGOUGH
Brian Patten [1946 - ]
ARTHUR MACHEN
221.
document: Notes for a reading in Sydney, 1989. On
the reverse of a large handbill for McGough’s reading at
Kakadu in Darlinghurst. Nigel Roberts has annotated
the notes with a heading in his hand: “Roger McGough’s
instructions for Brian Patten/ Reading at Evening Star,
14 March ‘89”. Follows an extended arrangement for a
joint reading, giving certain line and stanzas to BP, and
concluding, “I do next stanza, we both do last line”. Below
this is Nigel Roberts’ signature, endorsed by that of π.o.
A4 photocopy handbill advertising the Kakadu reading
with pin holes and marginal tears. In an envelope with
Robert’s description of contents, “Found by NR/witnessed
π.o.”. $75.00
signed by barry humphries
225.
Ornaments in Jade. Horum, East Sussex/Oxford: Tartarus
Press/Caermaen Books, 1997. Ten exquisite pieces
introduced by Barry Humphries. Humphries, at the
time, President of the Arthur Machen Society, loaned
the author’s working typescript for the publication of
this edition. this copy signed by barry humphries
at the close of his introduction. A handsome
demi octavo[215 x 135] 54 + pages on cream wove by
Antony Rowe bound into black boards elaborately
stamped in gilt. A fine copy in printed dust jacket. $165.00
[40]
Stéphane Mallarmé [1842 - 1898]
CHRIS MANN [1949 - ]
226.
Hommage A Stéphane Mallarmé. La Nouvelle Revue Française,
No 158, November 1st, 1926. With contributions by
Genevieve Bonniot-Mallarmé, T.S. Eliot, Giuseppe
Ungaretti, and Paul Claudel. Other material includes Gide
on the Congo, and reviews of Rilke and an essay on the
theatre of Alfred Jarry (not to mention the ample fore and
after matter that is the advertising of literary publishing
and bookselling at the time—a vital symbiosis). Octavo
[230 x 140] [22] + [130] + [34] pages + publisher’s insert.
All fine. $50.00
An Australian composer working in Compositional Linguistics, Chris Mann
worked with Machine for Making Sense until moving to New York in the
mid nineties. Born in 1949, his German Jewish parents were pioneers in the
fields of ethnomusicology and oral literature and these childhood influences,
combined with undergraduate studies in Chinese and linguistics at the
University of Melbourne have strongly influenced his compositional style.
Later interests in the philosophy of language and systems theory also reveal
themselves in his music. He graduated from the University of Melbourne
in 1969 with the degree of Bachelor of Music, later completing a Bachelor
of Education at La Trobe University. australian music centre
229b.
The Rationales. [Elwood, Vic.]:NMA Publications/ Post
Neo, 1986. Pocket size [150 x 110] [16] pages, perfect
bound on the top edge, notebook style. A very fine
copy. $25.00
230.
Of Course.[Melbourne, Vic: Chris Mann, 1988]. Prose
poem. Single sheet newsprint[425 x 525] folded three
times to [11] pages. Near fine. $25.00
231.
Tuesday. [Melbourne, Vic: Collective Effort Press, 1989.]
Prose argument. Octavo [185 x 125] [30] pages stapled
into printed wrappers. $25.00
I am inventing a language which must necessarily burst forth from a very
new poetics, that could be defined in a couple of words: Paint, not the
thing, but the effect it produces
232. The Essential Mann. Melbourne, Vic: Collective Effort
Press, [1993?] Compiled and introduced by π.o. No 7 in
the A6 Series. Pocket sized [150 x 105] [38] pages stapled
into illustrated wrappers. A very fine copy. $25.00
227.
Poésies. Edinburgh: Tragara Press, 1986. Mallarme’s verse
translated by Arthur Symons. one of 150 numbered
copies. “The flesh is sad, alas! and all the books are read.”
Symons renders here “Apparition”, “Angoisse”, “Las De
L’Amer Repos Où Ma Paresse Offense...”, “Tristesesse
D’été”, “Brise Marine”, “Soupir”, “Hérodiade”[most
significantly] “Sainte”, and “Prose” (“pour des Esseintes”).
With a bibliography and notes on the translations. A
critical moment in burgeoning modernism. Large octavo
[270 x 180] 49 + pages set in Bembo and printed on antique
laid, in folded heavy blue Canson card wrappers with
printed label. A very fine copy.
$60.00
compositional linguistics
233.
Working Hypothesis. Barrytown, NY: Station Hill Arts,
1998. “Deconstruction/Poetry/Music”. A selection
of texts from one of Australia’s better known
experimentalists, prepared while Mann was Fellow
at Bard College, New York. Crown octavo [185 x 125]
[105] pages perfect bound into printed wrappers. A
fine copy. $25.00
CHRIS MANSELL [1953 - ]
DAVID MALOUF [1934 - ]
first book inscribed
228. Bicycle and Other Poems. St. Lucia, Qld: University of
Queensland Press, 1970. inscribed by the author.
Crown octavo [184 x 112] 60 pages First issue wrappers.
Minimal wear. $200.00
229.
Neighbours in a Thicket. St. Lucia, Qld: University of
Queensland Press, 1974. this copy inscribed to
geoff and nin dutton “with happy memories of
a fine day at anlaby last march – david 31 x 74”.
This would have been a reference to hospitality during
Adelaide Festival’s Writers’ Week, held biannually in March.
Octavo [214 x 131] 65 pages in illustrated wrappers. A mere
crease to lower right, else near fine. $125.00
234. Taking Heart: Some Poetry & Prose. Burwood, NSW:
Compass Poetry & Prose, 1987. A rarity of the pretech poetry world: I have seen three copies only while
watching very closely all these years. Oblong A4 [297
x 210] 28 pages duplicated typescript, stapled at the
narrow end into acetate covers with artwork based in
photography by Steven Sturgess. $60.00
[41]
Katherine Mansfield [1888 - 1923]
david miller [1950 - ]
235.
The Critical Bibliography of Katherine Mansfield, by Ruth
Elvish Mantz. London: Constable & Co Ltd, 1931. With
an Introductory Note by John Middleton Murry and
two pieces by KM- “Perambulations” and “About Pat”.
Large octavo [260 x 170] xx + 204 pages + publisher’s
advertisements. Largely unopened in smooth grey
buckram and typographical dust jacket. $85.00
240.
All My Life. London: John Robinson at the Joe DiMaggio
Press, [1975]. “Poems 1973-1974”. presentation copy.
The Australian’s second published work, with two other
titles boldly announced at the colophon: Malcolm Lowry &
The Voyage That Never Ends, (Enitharmon - “forthcoming”)
and South London Mix (Gaberbocchus - “forthcoming”) but
recording also The Caryatids: Poems 1971-73, Enitharmon
Press. Mimeograph. A4. [25] sheets, printed rectos only,
stapled into illustrated wrappers. Age toning to wrappers.
Scarce.$50.00
catherine martin [1848–1937]
bertram stevens’ copy
236.
The Explorers & Other Poems. Melbourne: George Robertson,
1874. Bertram Stevens’ copy with his D.H. Souter bookplate,
and his copious notes. “The Explorers” a major poem about
Burke and Wills’ ill-fated expedition of exploration. Small
octavo[175 x 115] viii + 270 pages in polished deep green cloth
decorated in blind and gilt titling to spine. With a George
Robertson binder’s ticket at the rear. Corners bumped with
cloth scuffed and marked on upper. $150.00
David Mitchell [1940 –2011 ]
a lasting masterpiece of 70s poetry
one of a 100 signed and numbered copies
241.
Pipe Dreams in Ponsonby. Auckland, NZ: Stephen Chan for
the Association of Orientally Flavoured Syndics, 1972. one
of a 100 signed and numbered copies. A singular
high point in 20th century New Zealand poetry. Designed
by Richard King, with graphics by Pat Hanly. Pipe Dreams
was runner up to Chinua Achebe’s work in the inaugural
Commonwealth Poetry Prize. From a phenomenon to a
cult, few copies of the first edition have survived in any sort
of collectible condition. A second edition was issued by
Caveman Press (Dunedin) in 1975. David Mitchell divided
most of his writing life between Australia and his native
New Zealand. He died in Bondi in 2011. Steal Away Boy:
Selected Poems Of David Mitchell edited by Nigel Roberts and
Murray Edmund was published by UAP in 2010. Super royal
octavo [270 x 170] [87] pages in black cloth stamped in
silver. Edges darkened, yet well preserved and internally
bright in lightly worn and rubbed dust jacket. $350.00
charlotte Mew [ 1869–1928 ]
“Far and away the best living woman poet—who will be read when others
are forgotten.” —thomas hardy
237.
The Rambling Sailor. London: The Poetry Bookshop, 1929.
Posthumously collected, edited, and with a discreet
introduction by Alida Klementaski. Mew’s only other
collection (The Farmer’s Bride, 1916) was also published
by the Poetry Bookshop. “The greatest living poetess.”
virginia woolf. Small quarto [205 x 165] author portrait
frontispiece + 45 pages on cream antique laid printed by
Butler & Tanner and bound into purple boards stamped
with black titling that is mirrored on the dust jacket. Both
book and jacket fine —untouched, and perhaps the best
copy to be had.
$120.00
Denis Mizzi [1949 -]
Henri Michaux [1899 – 1984]
242.
X,Y,Z For Stefan Themerson. [No place: the artist], 1997. Artists
book. 1/20 copies. Text and photomontage exploring a
visual poetic dedicated to the founder of Gaberbocchus
Press. “From the start, Gaberbocchus was ‘a vehicle for
introducing new ideas’, and specialised in intellectual
avant-garde texts. These ranged from poetry and
philosophical novels to unclassifiable combinations of
text and pictures.” victoria & albert museum. This
copy inscribed to a fellow practitioner. A4 [295 x 210] [46]
pages wire bound into illustrated card wrappers. Fine.
$75.00
243.
Opaque. [No place: the artist], 1997. Artists book. 1/14
copies. Patterns, symmetry and optical illusion with
textual reference. Printed in monochrome digitally onto
heavy stock. Pocket size [130 x 80] [16]pages sewn into
illustrated wrappers with handwritten signed statement
of limitation. $75.00
238.
L’Infini Turbulent. Paris: Mercure De France [1957]. A
Journal and drawings kept during medically supervised
use of hallucinogens. “Le effets de la mescaline.” Also
has extensive notes of LSD. A numbered copy from the
first edition. Small quarto [235 x 185]152 + pages. Slight
creasing to lower outer edge, else very good.
$150.00
239.
Paix Dans Les Brisements. Paris: Editions Flinker, [1959].
Poème et dessins. A numbered copy from the first edition.
Writings and drawings inspired by or executed with the
influence of mescaline. Small quarto [270 x 195] 47 + pages,
sewn into tall oblong printed wrappers hinged at the
upper edge. Very good with the original glassine present.
$200.00
[42]
amedeo modigliani [1884 - 1920]
JEANNE MODIGLIANI [1918 - 1984]
Les A. Murray
with every player’s mark
signed
249.
The Peasant Mandarin. St. Lucia, Qld: University of
Queensland Press, 1978. Prose pieces. This copy signed
by the Publisher, Frank Thompson, Poetry Editor, Roger
McDonald, Editorial Director, Merril Yule, and by Les
Murray himself. Octavo [215 x 145] 269 pages in textured
boards in a dust jacket utilizing Max Watters’ “Blue
House”. $125.00
244.
Modigliani: Man and Myth. London: Andre Deutsch, 1959.
Translated into English from the Italian (Modigliani senza
leggenda, 1958) by Esther Rowland Clifford. this copy
signed by the author. Demy octavo [245 x 170] 104
pages followed by 100 plates in colour and black and white.
Some darkening to text block; chipped dust jacket. $125.00
PHILIPPE MORA [1949 - ]
250.
A Selection of Poems by Les Murray, Chosen for His Visit to India.
[Canberra, ACT] DFAT/Australia-India Council, 2006.
A chapbook prepared for readings in Pune, New Delhi,
Cochin and Chennai during January 2006. Octavo [210 x
135][16] pages presented generously on quality antique
laid. Very fine in printed card wrappers. $35.00
245.
More Really Good Taste Art. Goulburn, NSW: South Hill
Gallery, 2013. Exhibition catalogue, the title of which harks
back to Mora’s show at Clytie Jessop’s London gallery in
1971, “Really Good Taste Art”. Some twenty-five works
reproduced in colour with extended captions as memoir
and commentary. Octavo [210 x 150] [28] pages stapled
into printed wrappers. As new. $15.00
Neil Murray [1956 -]
251.
Starting Procedure: Poems and Prose (To Read Aloud). Alice
Springs, NT. [1980]. His first book. “Neil Murray, a singer
and songwriter, is well known for his association with the
Warumpi Band, which was known for their exciting and
powerful live performances, and for being among the
first to use indigenous language in rock music. One of the
founding members of the band in the early 1980s, Murray
continued to perform with Warumpi until October 1999.
In addition to songs, Murray’s writing has taken the form
of poetry, novel and play.” austlit. Printed at Papunya
Literature Production Centre. Octavo [ 210 x 145] 28 pages.
A very good copy of a breakthrough publication.
$40.00
CARL MYDANS [1907 - 2004 ]
TOM CLARK [1941 - ]
eric mottram [1924 - 1995]
allen ginsberg [1926 - 1997]
246.
Allen Ginsberg in the Sixties. Brighton/Seattle: Unicorn
Bookshop, 1972. Bill Butler’s press. Mottram spoke as a
character and expert witness at Butler’s obscenity trial
in 1968, and their relationship was a close one— though
Butler’s defence was not equal to the Crown’s determination.
Mottram led the fund-raising efforts for two years after
Butler’s conviction in an attempt to meet his legal costs.
This work was welcomed by Ginsberg as “one of the few
serious textual examinations of what I have written”. Demy
octavo[205 x 148] 26 pages printed sepia on heavy wove. A
very good copy in illustrated wrappers with artwork derived
from a photo of the poet by Graham Keen. $35.00
That ominous roominghouse-stairway interior, when I found it, became
the signal that keyed this image search ( for America, was it?). Having
discovered that shot, and reflecting then upon the dark inner-sanctum
descent it suggested, I went through the original Mydans “Lots” (the
image groups — over a thousand images have survived in these scattered
sets of “Lots”, preserved in the archive in random fashion, so that the
ordering as we now have it represents my own editing selection and
sequencing plan); one thing led to another, and…
Les A. Murray [1938 - ]
& Geoffrey Lehmann[1940 - ]
247.
The Ilex Tree. Canberra: Australian National University,
1965. Printed by Edwards & Shaw (dust jacket designed
by Roderick Shaw). Murray’s first collection of verse. This
copy with the signature of the poet and ABC Radio poetry
producer, John Croytson. Octavo [225 x 145] 72 pages. A
very good copy in dust jacket. $250.00
252.
In the Shadow of the Capitol. Melbourne, Vic: Pataphysics, 2012.
Photographs of the suburbs of Washington by Carl Mydans
taken for the U.S. Resettlement Administration in 1935. In
this year, Mydans travelled widely documenting the end of
a rural-based economy for Farm Security Administration.
It was the Great Depression, and the poorest of America’s
poor were devastated by the economic downturn. Edited
and with an essay by Tom Clark. Thirty-three black and
white photographs printed in tritone on uncoated paper.
Another design triumph for Yanni Florence. Small quarto
[245 x 210] 38 pages in illustrated boards. New, at the
published price.$30.00
Les A. Murray
248.
The Weatherboard Cathedral. Sydney: Angus & Robertson,
1969. Murray’s first solo gathering. As noted elsewhere,
less than half of the poems from this volume make it into
the New Collected Poems. Since The Ilex Tree (1965) Murray
had travelled overseas, stayed away and reflected, and this
collection shows the distance at work in that reflection.
Octavo [220 x 140] 76 pages. A very good copy in like dust
jacket. $200.00
[43]
PABLO NERUDA [1904 - 1973]
NEW POETRY [1974]
Cry the dying sun the air
Leaps the heart to meet it.
From darkness God is born the Word
And as the Word I greet it
257.
Pie Anthology, edited by Paul Smith, Mal Morgan. Melbourne,
Vic: Whole Australian Catalogue Publications, 1974. An
edifice to hope and excited inspiration, this volume was
a composite of idealism in the time. Includes the work
of Eric Beach, Francis Brabazon, Michael Dugan, Jas H.
Duke (extract from Destiny Wood as well as visual poems)
translations of Hafiz, Gundel [Marie Gunhilde BuerlerIsenberg] Ian Hill, Billy Jones, Mirka Mora (drawings) Mal
Morgan, Ian Mudie, Gary Oliver, Philip Motherwell, David
Pepperell, Alex Selenitsch and John Tranter. Within the Pie
Anthology is Parachute Poems (4) [pages 374 - 433] that features
the work of Geoffrey Eggleson, Shelton Lea, Mal Morgan,
π.o., Richard Coady (of Timestream fame) John Jenkins,
Peter Murphy, Frank Kellaway, Rae Desmond Jones, Simon
Macdonald, Oswald Hall, and Poor Tom. Quarto [265 x 210]
629 pages in illustrated wrappers by Dale Hickey and John
Adams. A very good copy.
$30.00
253.
handbill. A flyer for Neruda’s last reading in London, in
June 1972 at the Queen Elizabeth Hall. He shared the bill
with Maria Farantouri, Adrian Mitchell, Dannie Abse and
David Vorhaus. a5 [215 x 140] Printed offset one side only.
Fine. $35.00
254.
Hommage Au Peuple Chilien.[Paris]: Le Nouveau Clarté [Mensuel
Union Des Étudiants Communistes DeFrance, 1973]. Folded
card in six panels, opening with an editorial declaration of
solidarity with the Chilean people in the wake of the murder
of Salvador Allende, the death of Pablo Neruda, and the brutal
suppression, slaughter and torture of workers and students.
“No one shall confuse the youth, the people of France with
Messmer and Pompidou”. Follows French translations of
“España En El Corazon” and “Oda Solar Al Ejercito Del Pueblo”
from Neruda’s Residencia en la Tierra, and selections from his
Canto General. The fourth and sixth panels are a statement by
fellow poet, communist, and close friend of many decades,
Louis Aragon, concluding with a poem of solidarity “Parlez Par
Mes Mots, Parlez Par Mon Sang”/”Speak Through My Words,
Speak For My Blood”. Folded red card [350 x 240] printed in
black. Near fine. Rare. $150.00
NEW POETRY [1970]
255.
Pyromaniac: Song & Dance. [Kent Town, SA: Raga, 1970.]
Edited by Rob Tillet and featuring the first anthologised
work of Peter Hicks, Rob Tillet and Simon Bronsky. This
copy inscribed by Tillet (“Wolfgang”) to Martin [Fabyni].
Pocket size [163 x 109] [c. 100] pages perfect bound in
photographic card wrappers employing staggered film
frame images of each contributor with shudder effect by
“Cane”. Rare. $60.00
NEW POETRY [1974 - 1975]
a complete set
258.
Beyond Poetry. Brooklyn, NSW: Adamson, 1974-1975. Edited
by Chris Edwards and Cheryl Adamson, with layout and
production by Robert Adamson. All eight issues of this
poetry foldout. [No 1.] Robert Duncan’s “Museum”; [No 2.]
Poetry by Cheryl Adamson, Mark McGuire, John Millett and
Max Williams; [No 3.] Visual poetry by π.o., other work by
John Millett, Paul Desney, K.L. Macrae and Larraine Roche;
[No 4.] Translations of Paul Eluard and Joyce Mansour by
Henri Quin and Sylvia Kantarizis; [No 5] Visual poetry by
π.o., other work by Chris Edwards, Sylvia Kantarizis, K.L.
Macrae and Larraine Roche; [No 6.] Visual poetry by π.o.,
other work from Robert Adamson, Leith Morton, Kris
Hemensley, and Sylvia Kantarizis; [No 7.] Translations
of Osip Mandelstam by David Campbell and Rosemary
Dobson worked up from preliminary translations by Robert
Dessaix; [No 8.] Poems by Bruce Beaver, David Campbell
and John Millett. Each sheet 405 x 255 folded twice to form
a six panel leaflet. Each fine. A set is rare. $350.00
NEW POETRY [1970]
256.
The Union Recorder. Vol 50, No 23, October 1, 1970. Judge’s
Report for the Union Recorder Poetry Competition 1970,
with the laurel going to Martin Johnston. “The gaps between
the winner’s poems and the second group, and between
them and the rest were truly enormous.” The also rans
include John Tranter, Rudi Krausmann and John Forbes,
each of whom receive quick assessment. Follows a centre
spread presenting Johnston’s winning poem, John Forbes’
“Spy”, John Tranter’s “The Raft” and two poems by Kate
Jennings. Over the page is Johnston’s “The Sea Cucumber”
and “He and She 2000” by Krausmann. Tabloid [305 x 245]
16 pages stapled. Age toned, else a fine copy. $25.00
[44]
NEW POETRY [1975]
CATHERINE O’BRIEN
259.
Foundation and Reality. Footscray, Vic: Foundation, [1975].
Edited by John Braybrook, Phillip Edmonds and Robert
Hughes. The third and final number of a projected series
of five. The best and most handsome with contributions
by π.o., Barry Dickins, Mal Morgan, Rae Desmond Jones,
Jennifer Maiden, Eric Beach, Ken Bolton, Michael Dugan,
Rosemary Nissen, John Jenkins, Larry Buttrose, Michael
Witts, and others. Includes essays in survey of recent
Australian poetry as well as original work. Small quarto
[270 x 190] 116 pages processed typescript and line art
on cartridge paper, stab bound into plain card boards with
library cloth to spine. Some early foxing, else a very good
copy in dust jacket. $75.00
262.
Word Sculptures. No place: no publisher, no date. Paper
sculpture/wordwork. Three dimensional poem card with
various folds and cuts, to be viewed from four perspectives.
Designed by Oudomphone Bounyavong. O’Brien is an
Australian poet who lives and works in Vientiane, Laos.
Tall and narrow fold [290 x 105] in custom tissue sleeve.
Ingenious. $50.00
PETER OLDS [1944 - ]
263.
‘Oh, Baxter is Everywhere’ - Some Dunedin Poems. Dunedin, NZ:
Square One Press, c. 2003. one of fifty copies signed
and numbered by the poet. Thirteen poems. A book
designed by the original Caveman, Trevor Reeves, and
using artwork by Olds (“Mental Hospital Arriving Above
St. Clair”) for the dust jacket. The rear of this volume has
the poet’s footnotes to most of the poems. Octavo [212 x
150] 28 pages stapled into blue card wrappers with
illustrated dust jacket fixed at inner folds. $50.00
NEWSLETTER [1992]
260.
Newsletter of the Modern Image Makers Association. St. Kilda,
Vic: MIMA, June-July [1992]. Video festival news and
events, visual poetry, reviews and discussion, with
contributions from Barry Lanfranchi, Jane Kent, Berni
Janssen, Nick Vardaxis, Pete Spence (layout and other
incidentals), Steven Ball, Sylvia Mackie, and Craig E.
Tonkin. Includes a discussion of Leonie Knight’s film,
“The Father is Nothing”. Nine A3 folds to [18] pages loosely
gathered, with the upper given to J. Viera’s concrete poem,
“Rapture”.$25.00
PIOTR Olszański [1954 - 1987]
264.
8,92 Metres Long Line With Interfering Brown Line, and 9,744
Square Metres Surface. [Warsaw, Poland: the artist]1974 - 1976.
Artist’s books. Olzański, a Polish artist, lived and worked in
Australia between 1982 and his death by suicide, at Bondi,
in 1987. He is the subject of George Alexander’s book,
Sparagmos (EAF, 1989). Octavos, each [210 x 145] and each
[32] pages, stapled into printed wrappers. The first volume
has a hand written erratum on the rear inside wrapper,
correcting the title. It is then signed in full by Olzański
and designated copy 3 of 30. Laid into the second volume
is a handbill for the artist’s performance at the Adelaide
Contemporary Art Society in April, 1983. Also present is
a handwritten postcard from Anne Edgar at the Franklin
Furnace Archive (Brooklyn) thanking the artist for the loan
of these two books. Each fine, necessarily scarce, and a
haunting reminder of the artist’s presence here.
$150.00
B.P. Nichol [1944 - 1988]
PIOTR Olszański &
RUARK LEWIS [1960 - ]
265.
Images of the Immaterial: Visual - Piotr Olshanski; Text - Ruark
Lewis. Exhibition catalogue produced by the artists for
work presented as part of the Australian Perspecta 1985
in the Contemporary Recording and Reading Series at
the Art Gallery of NSW. This was the third Perspecta, and
was held during October and November that year. Oblong
octavo [165 x 207][16] pages of plates and text in pictorial
wrappers with printed label affixed. With a handbill for
the artist’s installation performances at the AGNSW.
$35.00
261.
Calendar, by B.P Nichol. [Toronto, Canada: Michael
Ondaatje, 1970].Concrete poetry. Small poster poem,
issued as Rhinoceros No 3. In 1970 Nichol won the
Governor General’s Award for Poetry— his work was
also documented in Michael Ondaatje’s film, Sons of Captain
Poetry in the same year. Offset on heavy stock [355 x 280].
Fine. $45.00
[45]
BLAS DE OTERO [1916 - 1979]
Robert Owen [1937 - ] &
Mike Parr [1945 - ]
signed by robert bly
269.
Plain Images. Paddington, NSW: Plain Image, 1981. One
of 500 numbered copies, this being No 10. Exhibition
catalogue for the joint show held at Ivan Dougherty Gallery
(Alexander Mackie College, Sydney) 16 November - 4
December 1981. Includes Parr’s aesthetic statement on
paraphrastic influence, and the red cellophane insert
“the bare space read as transparent completes the spiral
for interaction”. Quarto [210 x 270] [20] pages in colour
and black and white, stapled into plain glossy blue card
wrappers. $50.00
266.
Twenty Poems of Blas de Otero, chosen and translated by
Hardie St. Martin. Madison, Minnesota: The Sixties, 1964.
This copy signed by the proprietor of the press, the poet,
Robert Bly. With a compliments slip from the press laid
in. English facing original Spanish. Frontispiece portrait
by Zamorano. Octavo [210 x 140] 64 pages. A fine copy in
like dust jacket.$85.00
π.ο. [ 1951 - ]
ROBERT OWEN
267.
π.o. Revisited. Glebe, NSW: Wild & Woolley, 1976. The
poet’s first substatial selection, derived from reworkings
of Fitzroy Brothel, Street Singe, and πpoems, with a final
section of previously unpublished work. Dedicated to
Joan and ACR, with photographs by Terry Bennett. This
is the almost unknown hardcover issue in blue textured
boards stamped in silver. Octavo [220 x 140] 94 pages +
adverts. Very fine.
$65.00
270.
Easy Science. Melbourne, Vic: United Artists Gallery, 1987.
Catalogue, room notes, visual keys and arguments for
this exhibition held in December that year at the gallery
of Anna Weis and Luba Bilu. Quarto [295 x 210] [8] pages
comb bound into printed card wrappers. Some creasing.
$30.00
271.
Phase Zone Three (Into the Light).Melbourne, Vic: Victorian
College of the Arts, and Robert Owen, 1988. Notes and
commentary on influences, sources and inspiration for
the installation/exhibition held from the 1st to 14th March,
1988. Authors and citations included Luke Irigaray, Naomi
Cass, Robyn McKenzie, Margaret Plant, James Joyce, and
William Irwin Thompson. Superbly produced in a small
edition. Crown octavo [185 x 125] [16] pages stapled into
patterned card. $30.00
OTIS RUSH [ 1987 - 1996]
DAVID N. PEPPERELL [1945]
268.
Otish Rush: New Writing, New Art &​Reviews. No. 1 (Oct.
1987)-No. 12/​13 (Dec. 1996). North Adelaide, SA: South
Australian Publishing Ventures and Futures; Michael
Zerman and Friends; Experimental Art Foundation,
1987-1996. Edited by Ken Bolton. All published. The
creative continuation of Magic Sam. Bolton’s talent as an
editor and stylist has always been of the first order, and
this publication demonstrates that fact once again. As
much for the way they are made as the contents and their
arrangement in each number—Otis Rush was one of a kind,
and a genuine alternative in the world of Australian literary
magazines. Eleven volumes, each roughly demy octavo
in illustrated wrappers, and each very good to fine. With
related ephemera.$150.00
272.
All the Blues that’s Fit t’ Sing: An Elegy for Phil Ochs. Melbourne,
Vic: Electric Press, 1976. A long poem addressing Ochs
on the effect of the singer’s suicide. Photographic portrait
of Phil Ochs by Dave Gahr. Octavo [8] pages stapled into
illustrated wrappers. Rare. $60.00
[46]
Benjamin PÉret [1899 - 1959]
harold pinter [1930 - 2008]
production file copy
276.
Landscape. Ipswich,Suffolk:Emanuel Wax for Pendragon
Press, 1968. This copy from the offices of W.S. Cowell, who
typeset, designed, printed and bound this limited edition.
With the in house “file copy” label on front pastedown,
showing various departments ticked off—design, text
and binding ... Inserted is an envelope with a plain card
signed by pinter. Also laid in is a newspaper cutting of
a review of Landscape, as produced at the National Theatre,
London. Octavo [215 x 140] 46 pages. Quarter bright pink
silk titled in gilt, over beige linen cloth. All fine.
$250.00
grahame pitt [1952 - ]
273.
More Do’s Than Don’ts. Paris: Kickshaws, 2003. “Imerératif”(from
A tâtons, 1946) translated with typographical innovations, and
printed by John Crombie on the Kickshaws Golding press.
Hand set on Chagall paper in an edition 120 numbered
copies. Octavo [160 x 150] [12] pages in six loose folios with
two card wrappers. A very fine copy. $60.00
with a tls to bruce dawe
277.
Poems 1972 - 1975. Kedron, Qld: North Brisbane College of
Advanced Education, 1975. His first solo collection. this
copy signed and with a typed letter signed to
bruce dawe discussing the manuscript for this book and
Dawe’s own Condolences of the Season. Small quarto [255 x
205] [40] pages processed typescript, stapled into printed
wrappers. Some insect nibbles to top right corner of upper,
else very good. $45.00
Géza Perneczky [1936 - ]
EZRA POUND [1885 - 1972]
Henri Gaudier-Brzeska[1891 - 1915]
274.
The Poetry of Recursive Fractuls. Köln, DE: Soft Geometry,
1995. A folio of ten signed prints revealing composition,
code, description and graphic result for fractal art. Each
sheet signed in pencil by the artist. Painter, performer,
mail artist, author of objects, assemblies and artist’s books,
Perneczky has been a stayer across the forms, both as
practitioner and commentator*. Ten A4 sheets rendered
with a Hewlett Packard Laserjet 4V in rubber stamped
folded card sleeve. Fine. $45.00
278.
Gaudier-Brzeska: A Memoir Including the Published Writings of
the Sculptor, and a Selection from His Letters. London: John
Lane, The Bodley Head, [1916]. gallup A10a. With
thirty-eight illustrations, consisting of photographs of
his sculpture, four portraits by Walter Benington, with
numerous reproductions of drawings. Quarto[261 x 197]
x +168 pages + xxxviii numbered plates, in jade green
cloth lettered in gilt and boards deeply embossed in blind,
reproducing a stone charm by Gaudier-Brzeska. A far
better copy than usual, with many pages unopened. $850.00
275.
The Generated Mandala. Köln, DE: Soft Geometry, 1995.
A folio of seventeen recursive fractals and fractal like
generated computer graphics, each sheet with code,
description and graphic, and each signed in pencil by the
artists. A4 sheets rendered with a Hewlett Packard Laserjet
4V in rubber stamped folded card sleeve. Fine. $45.00
*Perneczky is the author and editor of The Magazine Network: The
Trends of Alternative Art in the Light of Their Periodicals 1968-1988 (1993),
and Assembling Magazines 1969-2000 (2007).
[47]
EZRA POUND - Henri Gaudier-Brzeska
david rattray [1936 - 1993]
only ten copies ?
279.
Henri Gaudier & Ezra Pound: A Friendship – An Essay, by Richard
Cork. London: Anthony d’Offay, 1982. Widely regarded
as Gaudier [-Brzeska’s] greatest work (and the largest)
the marble Hieratic Head of Ezra Pound, carved in 1914,
was exhibited at Anthony d’Offay’s London gallery during
October and November of 1982. This tiny book provides a
splendid survey of both context and documentation for the
friendship and the evolution of the sculpture. With eight
illustrations from photographs, including an “unpublished
vortograph” of Pound by Alvin Langdon Coburn. Suitably
designed and printed at the Curwen Press - employing
good antique laid paper, and a different and very effective
stock for the reproductions. Octavo [190 x 135] [24] pages +
8 plates stapled into printed blue wrappers. A fine copy $35.00
282.
A Red-Framed Print of the Summer Palace. New York: Vincent
Fitzgerald & Co, 1983. Poems by David Rattray with drawings
by Peter Thomson. The colophon states that the edition is
limited to 150 copies but this one is marked 3/10 and signed
by both Rattray and Thomson. Set in Palatino and printed
on Hosho paper at Wild Carrot Letterpress, with title page
calligraphy by Jerry Kelly. Thomson’s drawings are printed
on Moriki paper by Meriden Gravure Company. Bound in
red linen by Gerard Charrière and Carol Joyce.
$150.00
Note: Rattray was fluent in Greek, Latin, French and German,
among other languages, and is best known for his translations of
work by Antonin Artaud, René Crevel and Roger Gilbert-Lecomte.
His book of collected stories and essays, How I Became One of the
Invisible (Semiotexte, 1992), which is largely autobiographical,
spanned both the scholarly classics and the contemporary
avant-garde.
T.F. powys [1875-1953]
ADRIAN RAWLINS [1939 - 2001]
283.
Lament for the Makers. Surrey Hills, Vic: Soup Publications,
1998. Apparently the “third edition” dated in September
that year, and a reprint of the sixth in a series by the
publisher. With art and design by Steve Danzig and “Spook”
(Gary James). Octavo [ 210 x 147] 10 pages laser printed
and stapled into printed wrappers.
$20.00
signed by powys
280.
Uncle Dottery: A Christmas Story. Bristol, UK: Douglas
Cleverdon, 1930. With two vignettes engraved by Eric
Gill. One of 350 copies signed by Powys. Printed on
handmade Charles 1st paper by Henry Hill and bound
into green patterned paper covered boards with smooth
black buckram spine lettered in gilt. A very good copy
of an exquisite production with the publisher’s flyer,
“Second Thoughts” laid in. $135.00
f.t. prince [1912 - 2003]
from duggan to forbes
281.
Memoirs in Oxford. London: Fulcrum Press, 1970. this
copy with the ownership signature of both
laurie duggan and john forbes. In the archaeology
of secondhand poetry books in Australia this is a familiar
but nonetheless significant alignment. They borrowed
and lent, but more often it was Forbes who passed the
text along in the cash flow system—but hardly ever before
vigorous workshops of assessment for usefulness or
bearing. Octavo [48] pages in illustrated laminated card
wrappers. A very nice copy with a special association. $35.00
284.
Mr. Fogg’s Music Hall Proudly Presents, Adrian, the Cabaret.
[Bellevue Hill/Paddington, NSW: Roger Foley, 2002.]
Poster/very large handbill by Martin Sharp, announcing
a variety evening in memory of Rawlins. Artists and
performers at the event include, Edwina Blush, Jeannie
Lewis and Steve Blau, Austen Tayshus, Ellis D. Fogg,
Jim Anderson (of Oz fame), Kavisha Mazzella, Nicolas
Lyon, and Alistair Jones. Sheet [295 x 210] on heavy stock.
Fine. $35.00
[48]
[Pauline Réage - ANNE CéCILE DESCLOS]
[1907 - 1998]
LESLIE REES [1905 - 2000]
285.
Songes, poèms par Dominique Aury. Mazamet: Babel Editeur
- Èditions Perpétuelles, 1991. Six poems. Gaspard Olgiati’s
printing of Desclos’ verse that first appeared in La Nouvelle
Revue Française in 1960. As Aury she was a senior executive
at NRF for forty-five years. Most of Desclos’ writing was
pseudonymous, either as Aury, or most notably, as Pauline
Réage. Keepsake [145 x 110] [12] pages tied with silk cord,
and a matching lined envelope. A mint copy. $40.00
288.
Hold Fast To Dreams. Sydney, NSW: Alternative Publishing
Co-operative, 1982. “Fifty years in theatre, radio,
television and books.” This copy with a lengthy and
affectionate inscription to the playwright, Betty
Roland —who among her many claims to fame in
Australian life and letters, deserves credit for writing
the script to Australian cinema’s first talkie. Octavo [220
x 145] 272 pages. A fine copy in like dust jacket.
$50.00
for betty roland
SWEENEY REED [1945 - 1979]
286.
The Savage Urge. [Melbourne, Vic: 1962.] The poet’s
first collection, at the age of seventeen. Twelve poems:
“Women”, “Loneliness”, “Le Panier”, “The Littlest Angel”,
“The Little Yellow Bird”, “Hilltop”, “For Mirka”, “Little
Women”, “The Gates of Hell”, “Bad Boy”, “The Telling
of the Yellow Moon”, and, “I Know They’re Wrong”.
With drawings by Mirka Mora. Set up and printed by the
National Press 34 Lonsdale Street, Melbourne. Crown
octavo [215 x 135] 16 pages stapled into folded card.
Sporadic foxing, else very good. Rare. $85.00
JOHN RILEY [1937 - 1978]
289.
A Legend of St. Anthony. Lincoln, UK: Grosseteste, 1967. A
collaboration with Tim Longville. Oblong octavo [145 x
225] [14] pages in printed wrappers. A fine copy. Scarce.
$50.00
290.
Prose Pieces. Pensnett, UK: Grosseteste Review Books,
1974. One of 300 copies printed on Glastonbury Laid by
Keyworth & Fry. Octavo [44] pages in card wrappers with
illustustrated dust jacket. $35.00
SWEENEY REED &
ALUN LEACH JONES [1937 - ]
NIGEL ROBERTS [1941 - ]
signed cloth issue
291.
In Casablanca for the Waters. Glebe, NSW: Wild & Woolley,
1977. The poet’s first collection. signed. With photos
by Rick Harris and Angela Korvisianos. Introduction by
Robert Duncan. Hardcover issue in blue textured boards
lettered in silver. Octavo [220 x 145] 94 pages + adverts. A
very fine copy. $75.00
287.
Sightings: Poems by Sweeney Reed; Collages by Alun Leach Jones.
North Ryde, NSW: Macquarie University, 1977. This project
was a collaboration between friends at the suggestion of
Macquarie University architect Wally Abraham. The artist
and the poet had been collaborators since the 1960s when
they created poster poems together. Leach-Jones was
artist in residence at the time, and Abraham was keen to
promote the program and felt that a publication should
be part of the result. To this end he had the university
press produce 200 booklets as a memento to accompany
the resulting exhibition. Quarto [202 x 198] [14] pages, (5
full-page illustrations by Leach-Jones) stapled into pink
wrappers. Wrappers with discolouration and flecking;
internally very good. This copy with a card bearing the
handwritten compliments of the artist. $120.00
rolAND ROBINSON [1912 - 1992]
to trafford whitlock
292.
Language of the Sand. Sydney, NSW: Lyrebird Writers,
1949. The poet’s second collection, this copy inscribed
affectionately to his balletomane pal, Trafford Whitelock.
Printed by Edwards & Shaw. Octavo [220 x 140] 18 pages.
Some offsetting and fading, but still a good clean copy in
card wrappers and dust jacket. $40.00
Note: Alun Leach-Jones has since presented as a gift to the Heide
Museum of Modern Art, Sweeney’s letters and poems over the
years of their friendship.
[49]
Mary W. L. Roper [1851 - 1929]
ED SANDERS [1939 - ]
uncorrected proofs
293.
Agnes Goldthwaite & Other Poems. Sydney, NSW: Gibbs,
Shallard & Co., 1883. Octavo [170 x 130] 72 pages in green
cloth stamped in gilt and blind. With the binder’s label
on front free endpaper. $40.00
Ed Sanders’s mock-heroic (and heroic) odyssey follows poet, filmmaker,
and activist Sam Thomas, editor of Dope, Fucking & Social Change,
and a variegated cast of castoffs, dropouts, peaceniks, freakniks, and
mendicant filthniks, from Kansas through the beatnik and hippie
countercultures of New York City’s Lower East Side and Greenwich
Village. From the Freedom Rides and confrontations with the Alabama
Klan to the ‘hate-dappled’ Summer of Love, Tales of Beatnik Glory
is the epic of America in the sixties, in a language of droll invention
and stoned mythopoesis, from a man who once dared to exorcise the
Pentagon.
KEITH RUSSELL [1948 - ]
294. The Tree of Flowers. Cooks Hill, NSW: Moon Ark Books,
[1978]. one of 100 numbered copies. Poetry, typeset,
designed, illustrated and printed by the author. “This book
is offered to the world with much sadness in the authors
heart. It forms one eighth part of ‘The Australian Idiot’,
the other seven books remain in silence....” 101 pieces with
intricate borderwork and decoration. Quarto [290 x 205]
[44] pages in illustrated cloth backed boards. $35.00
298.
Tales of Beatnik Glory. New York: Stonehill, 1975. Advance
uncorrected proofs. An account of some authority. Octavo
[230 x 150] 274 pages in publisher’s in-house printed
wrappers. A fine copy. $65.00
295.
Birds Around the Sun. Cooks Hill, NSW: Moon Ark Books,
[1979]. With abstract colour pattern prints by Wendy
Bunyan [Keith Russell]. Cornelis Vleeskens’ copy with
his pawprint stamp. Octavo [195 x 165] [44] pages, stapled
into illustrated wrappers. A little darkening and wear to
fore edge, else a good copy. $25.00
jurate sasnaitis [1958 - ]
Françoise Sagan [1935 - 2004]
inscribed by the author
296.
Aimez-vouz Brahms. Paris: René Julliard, 1959. this copy
inscribed by sagan to an australian poet of
note. Filmed as Goodbye Again in 1961 and starring
Ingrid Bergman and Anthony Perkins. First trade edition
in printed wrappers with publisher’s wraparound band.
Crown octavo [187 x 120]188 pages. A fine copy. $150.00
one of twenty-six copies only
299.
Gravelly Views. Melbourne, Vic: Ratas Editions, 2010. One
of 26 signed and numbered copies. Six poems reinventing
the confessional mode and with distinctive force. Inkjet
images facing each text. A doozie. Pocket size [160 x 110]
[16] pages within handmade endpapers, sewn into stamp
printed wrappers. $35.00
SALVIO’S [1880 - ]
297.
Salvio’s: A Photographic Folio by Oliver Strewe. Sydney: Wave
Productions, 2010. Enrico Salvio arrived in Australia in 1881
having trained in his native Isla di Capri as a shoemaker,
and a specialist in footwear for dance. The enterprise
he established within weeks of his arrival in Melbourne
continues to this day as a family business. This folio
captures in image and commentary the methods and
equipment employed within the traditional techniques of
its founder. An edition of five deluxe folios of photographic
prints by Oliver Strewe. Printed by Richard Crampton
at the College of Fine Arts on 285 gsm Hahnemühle
Fine Art Pearl with title, introduction and notes on 250
gsm Stonehenge cotton. Fifteen prints 297 × 420 plus
commentary, background and captions on other pages.
In a custom folding case by Newbold & Collins.
$3250.00
jurate sasnaitis
ALEX R. CHAPMAN [1959 - ]
300.
Consruct a World. Melbourne, Vic: Ratas Editions, [2104].
Graphics and collaborative poetry. Octavo [210 x 150] 14
pages sewn into illustrated wrappers. Fine. $15.00
Christopher Sawyer-Lauçanno [1951 - ]
301.
A World’s Words: A Semiotic Reading of James Joyce’s Finnegans
Wake and Rabelais’ Gargantua et Pantagruel. Paris & London:
Karl Orend’s Alyscamps Press, 1993. Colour frontispiece
portrait of Joyce. Demy octavo [240 x 165] 42 pages in blue
card wrappers with printed label. A fine copy.
$35.00
[50]
SUSAN M. SCHULTZ
THOMAS W. SHAPCOTT [1935 - ]
his first collection presented to john manifold
304.
Time On Fire. Brisbane, Qld: Jacaranda Press, 1961. This
copy inscribed for John Manifold and signed by the poet.
An important association. Grace Leven Poetry Prize, 1961.
A very good copy in the Richard Ressom dust jacket. $120.00
KARL SHAPIRO [1913 - 2000]
302.
Memory Cards: Dogen Series. Newtown, NSW: Vagabond
Press, 2014.” I started writing memory cards in the late
1990s, and have done so in fits and starts since. Originally,
the prose poems were extracted from a manuscript that
didn’t work. Then, once the operating premise (writing
poems incorporating memory that fit an index card or
time card) was discovered, I wrote new ones. The first
set was Memory Cards & Adoption Papers from Potes & Poets
Press, 2001. I have always been obsessed with memory—
my own, others’, and public history—so these cards
provide a kinetic container for memory work of various
kinds. They complement my other work, which concerns
forgetting (Alzheimer’s/dementia). Issued in the deciBels
Series edited by Pam Brown. Typography and design by
Chris Edwards.Small square octavo [135 x 135] 36 pages
in illustrated wrappers. New, at the published price.
$15.00
bonamy quorn
...the poet and Bonamy had fallen in love, in a Little Magazine kind
of way, in an avant-garde kind of way, via the upper reaches of the
Word, provincial they were both aware, but highly satisfactory under
the circumstances, ablaze and no holds barred.
305.
The Place of Love. Melbourne, Vic: A Comment Publications,
1942. “This book is the bastard of pure passion and absolute
attraction, wearing our blood forever.” Cecily Crozier
published this work at the time of her affair with Shapiro
while he was stationed with the US army in Australia.
Only a few of the poems from this book have ever been
published in the United States. The connecting passages
are extracts from their love letters. Demy octavo [230 x
145] 78 pages in printed wrappers. A very good copy.
$250.00
Kurt Schwitters [1887 - 1948]
MARTIN SHARP [1942 - 2013]
The art book is a cliché among books: large, scholarly, full of images
and with high production values, it is a common sign of culture and
education. For Martin Sharp, satirist and journeyman through popular
culture, it is a ready target.....At the heart of this book is the fact that
all artists learn from other artists’ works; and that for any practising
artist, their influential precursors may well be a contradictory and
strange group when brought together.
alex selenitsch Australian Artists Books
303.
Between Us Colleagues. Paris: Kickshaws Press, 2003. English
version and typography by John Crombie. A typographic
treatment of a solipstic stichomythicduologue adapted
from Schwitters’ Unter uns Kollegen (1927). from an
edition of 85 numbered copies only, set in Chambord
and printed in black with the title in purple on Countryside
Mistral. Done on the Kickshaws Golding treadle press.
Square octavo [175 x 165] [16] pages sewn into titled
wrappers then loosely inserted within a printed inner
wrapper held within a folder of printed card. Very fine. $125.00
306.
Art Book. London: Matthews Miller Dunbar, 1972. Dedicated
to Justin O’Brien. Wit and surreal juxtaposition in a
collage/marriage of some familiar canvasses. Matthews
Miller Dunbar were perfect for this project in the early days
of their London venture—the cool specialists, publishing
Allen Jones, Mel Ramos, Andy Warhol/DavidBailey, Barry
Kay, Udo Kultermann...and Martin Sharp. Small landscape
octavo[133 x 160][36] pages for 35 images. A very good copy
in illustrated paper covered boards. Scarce $175.00
[51]
SHAN SHUI (山水) [1946]
EDITH SITWELL [1887 - 1964]
306 b.
Shan Shui: Translations of Chinese Landscape Poems, by Richard
Ormsby Martin (Bo Yün-tien). Melbourne, Vic: The
Meanjin Press, 1946. Renders, Fu HsÜan, Tao Chien, Meng
Hao-Jan, Weng GÜan, Wei Yin-Wu, Liu Deh-Jen, Prince
LiYÜ, Wen Ting-YÜn, Su Shï (Su Dung-Po), Hsin Chi-Gi,
Wu Ming and some anonymous and attributed. this
copy inscribed by the translator.Octavo [215 x
140] [16] pages in printed wrappers. $35.00
308.
The Outcasts. London: Macmillan, 1962. Poems.
Uncorrected proof. Octavo [215 x 140 ] [30] pages in orange
house-style wrappers. $35.00
SITWELL, EDITH, OSBERT & SACHEVERELL
[1887 - 1988]
Situationist International [1958-1969]
sent by order of sir osbert sitwell
309.
A Bibliography of Edith, Osbert & Sacheverell Sitwell, by Richard
Fifoot. London: Rupert Hart-Davis, 1971. Second edition,
revised. This copy sent by order of Sir Osbert Sitwell, and
with a handwritten card from Heywood Hill to that effect.
Octavo [220 x 145] 432 pages in scarlet cloth. A fine copy
in like dust jacket. $60.00
307.
Internationale Situationniste, Nos 1, 3 - 9, 11, 12. Paris:
Situationist International, 1958-1969. Directed by Guy
Debord, edited by Guy Debord, Raoul Vaneigem, Asger Jorn,
Constant, Maurice Wyckaert, Jorgen Nash et al. An almost
complete set of the Situationist International’s famous
journal (missing only two issues: #2 - December 1958, and
#10 - March 1966). The iconic metallic covers are featured
on all but IS#1 - which the previous owner states was torn
off by Debord himself (apocryphal or not - a good story...).
The journal itself needs little introduction, featuring as it
does the development of the Situationist critique of modern
life and society from the year following the SI’s constitution
(IS #1 - June 1958) up to the just after the watershed events
of May 1968 (covered in detail in IS #12 - September 1969).
While Guy Debord is listed on each issue as “directeur” the
editorial committee changed from issue to issue, reflecting
the continually changing composition of the group. A 13th
issue was planned but never appeared, as a consequence of
the internal problems that led to the official dissolution of
the group in 1972. Texts by Guy Debord, Mohamed Dahou,
Giuseppe Pinot - Gallizio, Maurice Wyckaert, Constant,
Asger Jorn, Helmut Sturm, Attila Kotanyi, Jørgen Nash,
Uwe Lausen , Raoul Vaneigem, Michèle Bernstein, Jeppesen
Victor Martin, Jan Stijbosch, Alexander Trocchi, Theo Frey,
Mustapha Khayati, Donald Nicholson -Smith, René Riesel,
René Viénet and others. Copious illustrations throughout.
Octavos [235 x 160] No 1, 30 pages; No 3, 40 pages; No 4, 38
pages; No 5, 52 pages; No 6, 42 pages; No 7, 56 pages; No 8,
68 pages; No 9, 48 pages; No 11, 70 pages; No 12, 116 + [4]
pages. Nos 2 and 10 not present; No 7 is cockled with some
water damage and the wrappers are somewhat scratched
and rumpled; No 12, has a bruise and chip to top left of
upper wrapper.$1750.00
SLUG No 2 [c.1978/9]
By nature furtive and clandestine, this is surely the most elusive of periodicals.
Slug reveals a local response and qualified absorption of the new French
philosophies (Punk Rhizomatics). It can as much be read as a spoof out of the
editorial pool of Your Friendly Fascist, as it can a neo dadaist concoction of
the Bolton/Oliver kind. “Slug is low/no budget, non copyright, anonymous...”
310.
Slug. No 2. No place: no publisher [Terry Blake ?, 1979.] An
incendery issue fizzing with brio after the first number.
Great silkscreened wrappers and stenciled copy as was the
day. A dos-à-dos assembly of spoof and ridicule bringing
parody and cynicism to a contemporary height. “To call
Slug a discourse echoes the ancient discourse of something
said that perishes...The academic journals print articles
that would sink without a trace if they wern’t relevant to
some course or thesis, even if only to refute. Slug removes
this last constraint—the ultimate in willed obsolescence.”
Follows paraphrase and interpretation of Lyotard, “Pausing
with Intent to Loiter - Continued from Slug No. 1”, [then
various short fictions on inner city lifestyle and theory].
“A letter to Slug”, a “Manifesto:”(various acrostics and
concrete compositions reproduced from handwitten
originals) then a spoof Julia Kristeva interview (allegedly
transcribed and interpreted from Espresso on 10 April 1977)
then Graham Alter’s “The Case of the Burnt-Out Bo-Tree”
being a treatment of Samuel R. Deleuze & Roger Guattari’s
“A Synthetic Disjunction” Quarto [300 x 220] [44] pages
stenciled typescript and line drawing, in silkscreened
wrappers. Rare. $120.00
[52]
SLUG No 2
SOUND [1951 - 1952]
312.
Journal of the Sound Recording Institute of Australia. Melbourne, Vic:
1952. A fascinating publication that gives a sense of emerging
technology and aesthetic concern, with essays on recording
standards for classical music, acoustics, film and sound
(with a sample of sprocket fed magnetic tape fixed to page)
technical standards for broadcast as applied to shellac [78
rpm]longplaying [LP] and magnetic tape (and the ongoing
debate as to whether ferrous tape would overtake disc in the
quest for audio fidelity) and chemistry in television. Stencilled
typescript and diagrams: foolscap quarto [275 x 215] 22 pages
stapled into printed heavy red card wrappers. With a summary
on five foolscap pages of the Institute’s seventeen discussion
nights for 1951 also laid in. Wrapper worn and chipped. $50.00
PETE SPENCE [1946 - ]
313.
Sonnets. Kyneton, Vic/Itzehoe, Germany: New South Press/
Footura Black, 2009-2010. one of 50 handmade copies.
A collaboration with his old friend, the German artist, KarlFriedrich Hacker who printed this letterpress. Rich in allusion
and verbal dexterity, graceful and clever, but never taking
himself too seriously—an absolute delight. With a closing
note of endorsement from Dan Penschuck. Wonderful
design. Square octavo [145 x 145] 20 pages sewn into printed
boards. Surely one of the best made books from the margins
of Australian poetry. $85.00
SLUG FUCKERS SONGBOOK [1979]
DOUGLAS STEWART [1913 - 1985]
314.
The White Cry. London: J.M. Dent, 1939. this copy
presented to ronald mccuaig and dated 26 February
1939. Octavo [185 x 140] 64 pages in brick red cloth titled in
gilt and black at spine. $60.00
315.
Sonnets to the Unkown Soldier. Sydney, NSW: Angus & Robertson,
1941. this copy inbscibed to ronald mccuaig. Norman
Lindsey frontispiece. Two tone paper covered boards, with
title stamped in gilt on upper. Text block darkened as usual,
and few minor chips to spine. $50.00
311.
Slug Fuckers Songbook. No place: Slug Press, 1979. Post punk
mahem. “Red Cordial Caucus Collective presents....A
Limax Limited Production.” Contains “Conceptual Opacity
– An Aberrant Music ? The Slug Fuckers’ Test Of Musical
(Dis) Taste”, then the words to twenty songs, followed by
an appendix: “Anarchy Was Yesterday”. Foolscap [340 x
210] 6 sheets duplicated typescript each side, with hand
lettering on the stencil. Stapled at the top narrow edge. A
few creases and one closed tear. The second copy I have
tracked down in more that twenty years of looking. Fragile
and rare. $85.00
316.
A Girl With Red Hair. Sydney, NSW: Angus & Robertson,
1944. Short stories, his first collection of prose. this copy
inscribed to beryl mccuaig. Crown octavo [185 x 135]
158 pages in smooth red cloth, lettered in black. A very good
copy. $50.00
Karlheinz Stockhausen [1928 - 2007]
[53]
317.
Towards a Cosmic Music: Texts by Karlheinz Stockhausen. Longmead,
Dorset, UK: Element Books, 1989. Conversations and interview
selected and translated by Tim Nevill. Appendices, sources,
selected discography, and selected bibliography. A six page
interview between Stockhausen and Australian, Andrew Ford,
is laid in. Octavo [214 x 140] 146 pages in illustrated wrappers.
A fine copy. $45.00
Leigh Stokes [1953 – ]
David Strachan & Alister Kershaw
318.
Twenty Performance Poems & How to Use Them. East Wollongong,
NSW: Rathole Press, 1981. The poet’s first collection. Cover
artwork and printing by Ken Bolton and Sal Brereton and
executed at their Coalcliff studio. Cornelis Vleeskens’copy,
with his small pawprint library mark. Oblong quarto [295
x 207] 58 pages duplicated typescript in vivid silkscreened
wrappers. $75.00
KEN TAYLOR [1930 - 2014]
David Strachan (1919 – 1970)
& Alister Kershaw (1921 – 1995)
320.
At Valentines: Poems 1966-1969 Armadale, Vic: Contempa
Publications, 1975. one of seventy-five copies
signed and numbered by the poet. In every respect,
a stand-out book from the period and one for which he
will be remembered.Designed by Robert Kenny. Octavo
[215 x 145] 104 pages. A very good copy in printed
wrappers. $50.00
CHARLES TOMLINSON [1927 -]
319.
Accent & Hazard. Paris: Stramur-Presse, 1951. one of 50
copies offered for sale from an edition of 65
copies only. Alister Kershaw’s verse reproduced in facsimile
accompanied with twenty-two etchings and coloured
aquatints by Strachan printed by Jacques Murray in his
workshop in the Île-de-France. Strachan settled in Paris in
1948. His paintings, included by Peter Bellew in an exhibition
at the MuséeNational d’Art Moderne, had been well-received
by French critics two years earlier. In 1950 he began tentative
experiments in etching which led to the formation of the
Stramur-Presse, a business venture which published etchings
and lithographs of leading French and English artists. This
presentwork is regarded as his greatest achievement in this
enterprise.With eight double page etchings, fourteen etched
vignettesand title page. Signed on colophon page lower
centre in pencil, “Alister Kershaw / David Strachan / J Murray.”
Etched half title and title page on two folded sheets, theneight
gatherings of three folds each with two titles, two vignettes,
the holograph poem, and central full sheetcoloured etching:
“The Dead Man”, “The Poet”, “TheLover”, “The Blind Man”,
“The Idiot”, “The Criminal”,and “The Drunkard”. The eighth
though untitled is known as “The Muse”* and has an etching
on a tri-folded sheet [508 x 273] followed by the colophon
sheet. All within a large printed sheet as a wrapper [590 x
425] folded to [425 x 295]. In Japon slipcase. [300 x 200 x 27]
as issued. A truly beautiful Australian livre d’artiste.
$4500.00
321.
To Be Engraved on the Skull of a Cormorant & Other Poems.
London: The Unaccompanied Serpent, 1968. Sixteen
poems. The Serpent Papers Number 1. From an edition
of 101 signed copies printed on Ingres Cover Fabriano
laid paper by Gabare of Winchester. Title page and other
art designed and cut by Hellmuth Weissenborn. Bound
by Adrian Pasotti. Seven folded sheets in portfolio. Six
sheets [65 x 33] folded twice to three panels printed recos
only + one sheet [44 x 33] folded once to four panels printed
recto and verso. A little dusty, and few slight creases, yet
a very good copy of a rare item. $125.00
*See Klepac, David Strachan (pages 112-125).
[54]
LEON TRAINOR [1945 -]
CHERYL ADAMSON (CREATRIX) [1948 - 2014]
TYPEWRITER ART
for cheryl adamson
322.
Benediction: Poems 1975 - 1978. Perth, WA: Creative Research,
1979. His second collection (after Memory’s Apprentice, 1977)
with illustrations by Maria Trainor. this copy boldly
inscribed to “Dear Cheryl [Adamson] Here is the
promised opus. All the best to you and New Poetry, may
you ever fructify. Leon 3.11.1979”
$40.00
A casual glance at Karl Kempton’s typoglifs reveals several important
characteristics. They are carefully designed and impeccably rendered.
They suggest virtuoso command of a typewriter. They tend to be elegant,
graceful, and symmetrical. Nonetheless, they sometimes produce kinetic
effects such as figure/ground reversal or changes in perspective or other
suggestions of depth that give them a lively, vibrant quality. They
are sometimes based in visual pun, paradox, and example. Some are
humorous or satirical. Some use words; many do not. Many could be
understood by people who don’t read English, or could be understood
by them with the gloss of a word or two. Many suggest archetypes,
but, at the same time, most call forth all sorts of associations from the
viewer’s subconscious that are highly individualized. karl young
Parker Tyler [1904-1974]
Charles Henri Ford [1913- 2002]
the birth of a genre
Modernist and uncensorious, impressionistic and joyous,The Young
& Evil can lay reasonable claim to be the first “out” gay work of
mainstream literature, and the beginning of the Gay Lit genre.
neil pearson
324.
4 + 3, by Karl Kempton. Elwood, Vic: Post-Neo, [1987?]. An
Australian selection produced by Pete Spence, anticipating
the transition phase from typewriter to ascii forms in
pattern work by this most accomplished pratitioner.
Quarto [280 x 210] [36] pages. From a small edition, and
scarce. A fine copy with Melbourne exhibition ephemera
lain in.$50.00
[Link] Visual Poetry: A Brief History of Ancestral Roots and Modern
Traditions by Karl Kempton
ABDULLAH al-Udhari [1941 -]
325.
Fireflies in the Dark: Classical Arab Poetry. London: Menard
Press, 1974. Translations by the now prominent London
based Yemeni poet and scholar. this copy inscribed by
the translator. Oblong octavo [210 x 150] [16] pages
stapled into printed wrappers. A fine copy. one of 50 copies only on pure linen lafuma
signed by the authors
A Mirror for Autumn: Modern Arabic Poetry. London:
Menard Press, 1974. A selection of translations from
Adunis, Shauqi Abu Shaqra, Samnih al-Qasim, Mu'in
Bsesu, Unsi al-Haj, Muhammad al-Maghut, Abdul
Wahab al-Bayati, Buland al-Haidari, Nizar Qabbani, and
Rashid Husain. this copy inscribed by the poet.
Oblong octavo [210 x 150] [22]pages stapled into printed
wrappers. A fine copy. 323.
The Young & Evil, by Charles [Henri] Ford and Parker
Tyler. Paris: Obelisk Press, 1933. Though obviously
anachronistic, there is a popular belief that Gertrude
Stein said of this work that it was “the novel that beat the
Beat Generation by a generation”. What we do know she
said was “The Young and Evil creates this generation as
This Side of Paradise by Fitzgerald created his generation”.
one of 50 copies only on pure linen lafuma, each
signed by the authors. Octavo [190 x 150] 215 pages,
top edge gilt. A superb copy in contemporary half blue
morocco over blue cloth, with five raised bands, gilt rules
and dentelles, and title in gilt. pearson A-26 a. sold
Voice Without Passport. London: Menard Press, 1974. A
selection of his own poetry.this copy inscribed by
the poet. Oblong octavo [24] pages, stapled into printed
wrappers. A fine copy. [55]
The three $75.00
ANN VICKERY
vietnam war [1971 -]
326.
The Complete Pocketbook of Swoon. Newtown, NSW: Vagabond
Press, [2014]. Issued in the deciBels Series edited by Pam
Brown. “A convenient portable companion for the use and
amusement of today’s Youth. Considering the relationship
between individual desire and public convenience, it offers
a small compass on the cultural navigation of feelings.
Learn about the fabrication of attraction, the lesser or secret
theatres of life inside life, and how to read Love variously
and proportionately. Kept handy, this volume provides
a ready source of occasional pleasure and instruction.”
Typography and design by Chris Edwards. Small square
octavo [137 x 137] 48 pages. Very fine in printed wrappers.
New. At the published price. $15.00
a ure smith paperback original
329.
We Took Their Orders and are Dead, edited by Shirley Cass, Ros
Cheney, David Malouf and Michael Wilding. Sydney, NSW:
Ure Smith, 1971. First edition. Includes, Robert Adamson,
Bruce Beaver, David Campbell, Shirley Cass, Alexander
Craig, Bruce Dawe, Rosemary Dobson, Len Fox, Robert
Gray, J.S. Harry. Dorothy Hewett, A.D. Hope, Evan Jones,
Kris Hemensley, David Malouf, John Manifold, Frank
Moorhouse, Peter Porter, Tom Shapcott, Nigel Roberts,
Vivian Smith, Randolph Stow, Christina Stead, Vicki
Viidikas, Patrick White and Judith Wright, among others.
Crown octavo [195 x 130] 256 pages. A fine copy in original
printed wrappers. Rare, intact and in fact, untouched. $85.00
VICKI VIIDIKAS [1948 - 1998]
signed
327.
Condition Red. St Lucia, Qld: University of Queensland Press,
1973. this copy signed by the poet. One small scuff
on upper, else an intact, and only slightly darkend copy
of her first collection. $65.00
VISUAL POETICS [1998]
author in distress
328.
Wrappings. Sydney: Wild & Woolley, 1974. Dick Hall’s copy
with his signature. Laid in is a letter from Deidre Hill on
Australian Society of Authors letterhead, dated 11th April,
1975. The letter brings Hall up to date on the balance of a
trust account set up for Viidikas by the Society, and conveys
thanks to Hall for his contribution. Deidre Hall quotes
two paragraphs from a recent letter in which Viidikas
recounts her slow recovery [she is ill in India] and her
plans to return to Australia once her health permits. Cloth
issue. Very good in like dust jacket.
$50.00
330.
Exp 1. Natal, Brazil:1998. Edited and designed by Avelino
De Araujo. An international publication featuring the
work of Australians, Anthony Figallo, Pete Spence and
Richard Tipping. Octavo [210 x 150] [34] pages in fold-over
printed wrappers utilising Tipping’s “Hear the Earth”. A
fine copy. $40.00
[56]
Visual Poetics [1999]
Bertha “BUBBLES” Walker [1912–1975]
presented to guido baracci
331.
Boats On The Fountain: Vessels to be Floated in Public Spaces.
[Geelong, Vic]:Open Hand Press, 1999. “This is an
interactive bookwork of folding vessels that have been
designed to be floated in public places, such as lakes and
fountains. These have been inspired by Shelley’s obsession
to make paper boats each time he chanced upon a body
of water…” Boatmakers are: Mark Cuthbertson, David
Dellafiora, Lisa La Fornara, Hilary Green, Adam Harding,
Mardi Janetzki, and Pete Spence. Seven A4 sheets with
both sides printed with visual poetry, and each folded
in a uniform fashion into a paper boat. Loose in printed
wrapper with explanatory cover sheet. Printed by Pete
Spence and David Delafiora. All fine. $45.00
334.
Solidarity Forever. Melbourne, Vic: The National Press,
1972.“A part story of the life and times of Percy Laidler—
the first quarter of a century” which has much to do
with the recipient of this copy. Baracci, with Laidler was
a co-founder of the Communist party of Australia, and
together they edited Proletarian Review. Walker’s work
provides a detailed character sketch and many references to
Baracci’s life and work. this copy inscribed “to guido
remembering those days you worked with perc in
great enthusiasm for the cause. bubbles” A very
good copy in lightly used dust jacket. A great association.
$65.00
Visual Poetics [2001]
kath walker - oodgeroo noonuccal
[1920 - 1993]
332.
The Visualised Page: A Codex Of Visual Poetry, Rebuses &
Interactive Script. [Geelong, Vic]: Field Study Production
[2001]. one of 70 copies only. “The Visualised Page
offered the opportunity for Boundless Books students
to contribute to the visual poetry debate. Developed as
an assembling project, participants in the visual poetry
community were invited to ‘visualise’ a page. The resulting
pages,alongside the student contributions, have gone to
form this book which transcends nationality and meaning
through the international language of poetry.” david
dellafiora, from his introduction. Other than the
students, established artists include, ACR, Denis Mizzi,
Pete Spence, Cornelis Vleeskens, and David Dellafiora. The
international cast is impressive: Clemente Padin, Keiichi
Nakamura, Pascal Lenoir, and Guido Vermueulen. Octavo
[210 x 150] [32] sheets, comb bound on various papers,
often with stamps, stickers, onlays or original markings,
and most signed and numbered. A fine copy. $85.00
presentation copy
335.
We Are Going. New York, NY: Citadel Press, 1965. First US
edition of the poet’s first collection. An inscribed presentation
copy, with a brown paper bag on which the poet has written
the details of her other publications. Issued in the US after
extraordinary Australian sales and reprints, and in the
domestic context, at a time of rising consciousness of race
and civil rights (Australian Aboriginals won the right to vote
in 1965, and citizenship, two years later). Walker assumed her
tribal name, Oodgeroo Noonuccal in 1988 as a protest against
continuing Aboriginal disadvantage during the Bicentennial
Celebration of White Australia. Octavo [200 x 135] 43 pages
in illustrated wrappers designed by the doyenne of US cover
artists, Muriel Nasser and the poet’s explanatory notes on the
poems at the inside rear. $120.00
WEST AUSTRALIAN POETRY
336.
A West Australian Chapbook/ Beloit Poetry Journal. NJ, USA: Vol 25
No 3, Spring 1975. This issue a chapbook anthology of West
Australian poetry introduced by Brian Dibble. Includes the
work of Lee Knowles, William Hart-Smith, Andrew Burke,
Hal Colbatch, Glen Phillips, and Phil Collier. With a signed
note from Dibble to Bruce [Bennett] on Beloit Poetry Journal
letterhead, dated 13 May 1975. Octavo [210 x 140] 36 pages
in illustrated card wrappers. Fine.
$25.00
CORNELIS VLEESKENS [1948 - 2012]
...verkrijgbaar in het engels zowel als het nederlands
Patrick White [1912 - 1990]
337.
Riders in the Chariot. London: Eyre & Spottiswode, 1961.
this copy signed by the author. Classic title page
typography, and the printing undertaken by the Shenvall
Press. Octavo 552 pages. Fore edges darkened and a
little mottled, else a nice copy in a very good dust jacket
based upon a painting by Sidney Nolan. With the label of
Sheppard’s Book Shop on the front paste down.
$1200.00
333.
10/40 Five Texts with 10/40 Vijf Teksten. Clifton Hill, Vic: Fling
Poetry, 1989. Dutch-Australian Broadsheets No # 4(E) and
No # 4 (N). Lengthy impressionistic autobiographical prose,
in Dutch and in English. Two items: single sheets [420 x
290] folded twice to six panels each. Very fine. $50.00
[57]
Patrick White
Emmett Williams [1925 - 2007]
This is a draft screenplay. Revisions may occur between this version
and the final shooting script. None of these alterations would affect
consideration of the script in its current form.
341.
Sweethearts. New York, NY: Something Else Press, 1967. A
book length anagrammatic concrete sequence. A founding
member of Fluxus and the concrete poetry movement,
Williams made several performances and poems that
endure as defining compositions of those genres. Among
them is the book-length concrete poem “Sweethearts”.
This copy is the wrappered state (simultaneous with the
cloth) of the first edition from Something Else Press
(where Williams was editor in chief ). Sweethearts is an
erotic dalliance between a he and a she, whose entire
vocabulary is derived from the word “sweethearts”. The
letters maintain the same spacing in every word on
each page, lending the volume a flipbook dimension
that Williams enhances by organizing the text to read
backwards, so that the reader can flip the book with her
or his left hand (thus the front cover is on the back, and
vice versa). Octavo [220 x 145] [144] leaves rectos only, in
illustrated wrappers with cover art “Coeurs Volants” by
Marcel Duchamp. A very good copy. $200.00
338.
“The Monkey Puzzle: A Comedy For The Screen.” Sydney
[1977]. Circulating typescript, listing Anthony Buckley
as Producer and Jim Sharman as Director. Two other
copies of this piece are known to exist: an earlier state,
in the author’s typescript, held at the State Library of
NSW [mlmss 7008/1/1]; and another state with the
papers of David Marr at the National Library of Australia
[ms9356]. A4, 87 pages photocopy typescript clipbound
and held in green foolscap spingback binder. Title sheet
with creases, tear and holes; some darkening with age,
and rust stains at fastening clip. $450.00
Patrick White
jonathan williams [1928 - 2008]
344.
The Loco Logodaedalist In Situ: Selected Poems 1968-70. London:
Cape Goliard Press, 1971. With embellishments by Joe
Tilson and notes by the poet. Small quarto [245 x 185]
[142] pages. The poet, Philip Hammial’s copy. Very good
in illustrated wrappers. $40.00
339.
The Twyborn Affair. London: Jonathan Cape, 1979. A fine
copy of the first edition in dust jacket, signed boldly and
simply across the title page.Cutting of the TLS review
(30.11.79) laid in $650.00
NANCY WILLS [1920 - 2005]
Brisbane playwright Nance Macmillan (later Nancy Wills) acted with a
little theatre in 1939. In Melbourne she joined a Realist Writers’ Group
and in 1944 joined the Communist Party of Australia. She attended the
World Peace Conference in Paris in 1949 and met Paul Robeson, the
famous black singer, who was an ardent campaigner for workers’ rights,
peace and equality. This meeting provided the inspiration for her play
Land of Morning Calm written in the following year and presented in
1952 by Brisbane New Theatre.... Nance Macmillan’s 1961 play The
Painter, based on the life of Aboriginal artist Albert Namatjira, raised
the issue of civil rights for Aborigines. It played to packed houses for
four nights in Brisbane’s All Saints Hall.
connie healy Women in Radical Theatre in Brisbane
this copy signed by the author
and by patrick white – who presented the
author with the national book council award
for australian literature 1980
340.
Whirlwinds In The Plain: Ludwig Leichhardt, Friends, Foes &
History, by Elsie May Webster. Carlton, Vic: Melbourne
University Press, 1980. This copy signed and inscribed
by the author and by Patrick White – who presented
the author with the National Book Council Award for
Australian Literature, 1980. An exceptional moment in
White’s public life, closely guarded from spin, hype and
promotion, one can only imagine the significance of
this endorsement — rare if not unique in any part of
White’s private or public life. Especially resonant given
the subject matter: Ludwig Leichhardt. With the menu
and order of ceremony for the occasion. Cloth a little
worn and marked in a few places, but not noticeable
beneath a well preserved dust jacket. $500.00
345.
Robeson. Lota, Qld: GEM Publications, [1987]. A passionate
scrapbook anthology with commentary and much local
insight, with an afterthought on Robeson in Australia.
The volume also reproduces a “production draft” script
“Deep Bells Ring” by Nancy Wills with a credit to radical
Queensland theatre director, Errol O’Neill. The play
was performed later that year in Brisbane with Margaret
Roadknight and Jeannie Lewis under the direction of
O’Neill, and, in the spirit of Robeson, there were four
performances at construction sites in Melbourne. this
copy warmly inscribed by the author to radical
filmmaker and comrade, martha ansara. Small
square quarto [200 x 215] 56 pages stapled into printed
wrappers. $45.00
[58]
Born Gil Joseph in Paris in 1929, Wolman was an active agent
provocateur from an early age. At 24 he published a brief summary
of his activities: member of the Young Communists, journalist
for the magazine Combat, drug trafficker in the Algiers Casbah,
long-distance lorry driver from Greenland to Pompeii, merchant
marine captain, published poet and accomplished knitter. But
Wolman’s anti-career really commenced after meeting Isidor Isou
in 1950, when together they developed the principles of Lettrisme, a
radioactively nihilistic form of late Dada in opposition to everything
that might be termed Culture (capital C representing Class interests)
and status quo.
Obituary the independant
351
Wolman wanted to make “a picture that would look like a newspaper,
a picture you could read in the subway, or the plane, even at your
psychoanalyst’s”. To achieve this modern work, he used modern technics:
printing paper and inks and a rotary printing press. The machines are
so conceived that you set them going, and there you have thousands
of copies (4,990 to be exact) ready. We either had to destroy the extra
copies to increase the value of the picture, or on the contrary let other
art lovers know about [it]... We chose the last option, this dynamic
conception of the art allows a well-spread disribution of Wolman’s
work... as the artist wishes “you will read it in your arm-chair; or
you will show it on your gallery’s walls.”
page 191, Wolman Résumé des chapitres précédents (editions
speiss, 1981).
[59]
ROBERT A. WILSON 1922 - ]
P.G. WODEHOUSE [1881 - 1975]
346.
Ten Tintypes and a Tiger. New York: Phoenix Bookshop,
Christmas 1983. Keepsake comprised of photos taken by
Wilson between 1959 and 1978. Subjects include: James
Purdy, Gregory Corso, Taylor Meade, John Weiners,
Marianne Moore, Alice B. Toklas, Nell Blaine, Robert
Duncan, Michael McClure ...and the tiger. Signed by
Wilson. 16mo [180 x 130]24 pages stapled into printed
wrappers. $25.00
349.
P.G. Wodehouse: A Comprehensive Bibliography and Checklist,
by Eileen McIlvaine, Louise Sherby, James Heineman,
with illustrations by Peter Van Stratten. New York/
Detroit: James H. Heineman/Omnigraphics, 199o. An
introductory essay by Anthony Quinton, a preface by
Philip M. Thody and a forward by Richard Usborne. The
bible. this copy signed by both mcilvaine and
heineman. Quarto [285 x 225] 489 + pages in grey
cloth stamped in purple. Very good in slightly tired dust
jacket. $275.00
The window [1950 - 1956]
thomas wolfe [1900 - 1938]
proof copy
350.
Mannerhouse—A Play In A Prologue & Three Acts. London:
William Heinemann, 1950. Prefaced with a facsimile (and
transcription) of Wolfe’s letter to Irene Lewisohn at the
Neighborhood Playhouse. Crown octavo [180 x 125] 86
pages in printed house paper wrappers improvised from
printer’s offcuts. Some signs of use and age, but none of
neglect. $120.00
gil joseph wolman [1925 - 1995]
351.
During, During.[Paris: The Artist, 1980]. An artists’ book in
the format of a tabloid newspaper, being an appropriation
of Engels’ Anti-Dühring text, from which he selected a few
choice words—nouns, isolated in transparency mounts
and placed at regular intervals on the individual images
of the heads of various characters. These included Isidore
Isou, mixed with Brezhnev and other faces drawn by
Wolman, each defined by the noun associated with them.
Once again, Wolman produced this as a large coloured
wall fresco and also a black and white version on cheap
paper. Eager for the book to be widely distributed, he
printed an edition of 5,000. Almost all of these were
destroyed in an act of arson in November 1980 at the
Galerie Speiss warehouse (where L’arbre séparé was also
in storage). Paradoxically the work that had been promised
a wide distribution would once again become fugitive and
scarce. This copy is much less than perfectly printed, with
pages both under- and over-inked, and still others with
no visable image on them at all. It had been assumed to
be a printer’s proof, until the following information was
included in a recent Wolman catalogue: “After printing
Wolman retained forty-three defective copies and decided
to make a tirage de tête. A single one of these copies was
signed and numbered in his lifetime.” didier lecointre
and dominique drouet, Paris. This then would appear
to be one of the defective copies that were initially retained
by Wolman. Tabloid [420 x 290] [60] pages with the merest
age toning. $950.00
347.
The Window. No 7. Holloway, London: Villiers Publications,
February, 1954. The French Issue edited by Philip Inman.
Extraordinary and prescient in taste, this number includes:
Pierre Reverdy translated by David Gascoyne, René Char
translated by Michael Hamburger, Jean Genet translated
by James Kirkup, Jules Supervielle translated by David
Gascoyne, Robert Desnos translated by Philip Inman, and
much more (enjoy the display advertisement for Francis
Scarfe’s Paul Valéry). Crown octavo [187 x 127] 48 pages in
printed yapp wrappers. A very good copy. $45.00
AMY WITTING [1918 - 2001]
signed by the poet
348.
Travel Diary. Lane Cove, NSW: Woodbine Press, 1985. Poems.
Her first, and certainly one of her strongest collections. It
was her second book and marked the promise of her long
delayed commitment to full time writing. This copy signed
by the poet. Designed by Edwards & Shaw. Octavo[210 x
140] 68 pages in printed card wrappers.
$50.00
[60]
WOMEN [1971]
WILLIAM BUTLER YEATS
356.
A Packet for Ezra Pound. [Sydney, NSW]: Xpmr. (Amanuensis)
Editions, 1973. An early printing by James Taylor screened
from the 1929 Cuala Press edition. Octavo [220 x 145] 38
pages in illustrated wrappers. $40.00
WILLIAM BUTLER YEATS
A.Norman Jeffares, [1920 - 2005]
presentation copy
357.
W.B. Yeats: Man & Poet, by A. Norman Jeffares. London
and Henley: Routledge & Kegan Paul, 1978. Still an
indispensible work, this copy inscribed by the author.
Reprint. Octavo[220 x 140]365 pages. A fine copy in like
dust jacket.$50.00
352.
What Every Woman Should Know. Chifley, NSW: Women’s
Liberation Working Women’s Group, November, 1971.
A plain spoken illustrated handbook dealing with
contraception and sexually transmitted diseases. Small
quarto [290 x 210] 28 pages in illustrated wrappers. A very
good copy. $25.00
Yevgeny Yevtushenko [1932 - ]
from poet and translator
358.
Bratsk Station; The City of Yes & the City of No and Other New
Poems. Melbourne: Sun Books, 1970. Translated by Tina
Tupikina-Glaessner, Geoffrey Dutton and Igor MezhakoffKoriakin; with an introduction by Rosh Ireland. This copy
inscribed by both Yevtushenko and Geoffrey Dutton
(publisher and poetic translator) to the influential and
longtime USSR based foreign correspondent, Australian,
John Shaw. “With my best memories about 1973, and
our illegal conversation.” Shaw worked for the New York
Times, was a friend of Russian literature, knew Nadezhda
Mandelstam, and was the most sympathetic conduit to the
outside world during the period before glasnost. Illustrated
wrappers. A very good copy of a book that too often shows
the wear and tear of enthusiasm. $150.00
RICHARD WOODWARD [1929 - ]
353.
The Invisible World of the Visible World of the Invisible World.
University of Newcastle, NSW: Nimrod Publications, 1993.
Poem. Single card sheet [44o x 290] folded [220 x 150]. Set
up and designed by Norman Talbot, printed on both sides
in two colours. Fine. $25.00
TIM WRIGHT
354.
Weekend’s End. [Melbourne, Vic]: Baulking Ewes Press,
[2013]. His first gathering ? Fourteen poems in a stylishly
plain chapbook, with the single embellishment of a gilt
stripe on its plain wrappers. Octavo [210 x 145] [20] pages
stapled. $20.00
JOHN YOUNG 楊子榮 [1956 - ]
359.
Objective Gesture: John Young—Selected Works 1986-87. Sydney,
NSW: John Young, 1987. Essays by Rex Butler and Keith
Broadfoot. John Alexander Young Zerunge is a Hong
Kong-born Australian artist. During the time of The
Great Proletarian Cultural Revolution in China, he was
sent to Australia to complete his education. In the 1970s,
he read philosophy at The University of Sydney, later
attending and lecturing at Sydney College of the Arts.
He maintains strong links to Australia and was a notable
contributor to “Antipodean Currents”, at the Solomon R.
Guggenheim Museum, New York (1995). His major survey
exhibition, “Orient/Occident: A Survey of Works by John
Young, 1978–2005”, was held at the TarraWarra Museum
of Art, Melbourne, in 2005–06. This book provides an
excellent background to the artist’s work. Tall octavo [245
x 150] [32] pages + 14 plates in printed wrappers. $45.00
WILLIAM BUTLER YEATS [1865 - 1939]
355.
On the Boiler. Dublin: Cuala Press, [1939]. A late
philosophical gathering written in a pessimistic and
disappointed tone. The ideas here derive from a blend
of Yeats’ romantic notion of essential Irish qualities and
his gleanings of the theories of eugenics (Yeats had joined
the Eugenics Society in London in 1936). This was planned
as the first of a series of tracts that Yeats was to write on
themes of his own choosing, designed to generate revenue
for the press. This is the second edition of the first such
polemic, the first edition having been destroyed due to
Yeats’ dissatisfaction with the layout and design. Small
quarto [240 x 190] 46+ pages in wrappers with cover design
by Jack Yeats. Yapp edges creased with short tears, and
some discolouration. A good copy nonetheless. $150.00
[61]
MAGED ZAHER [1967 - ]
NICHOLAS ZURBRUGG [1947 - 2001]
361.
Soundworks. [Redfern, NSW]: Performance Space, 1986.
Catalogue/programme for the sound events curated by
Zurbrugg and Nicholas Tsoutas during the 1986 Biennale
of Sydney. Introduction by Zurbrugg with artist statements
and performance notes by, Charles Amirkhanian and Carol
Law, Larry Wendt, Ellen Zweig, Ernie Althoff, Ros Bandt,
Jas Duke, Leigh Hobba, Sara Hopkins, Derek Kreckler,
Mike Ladd and the Drum Poets, Chris Mann, Mind/Body/
Split, Collette Snowden, Amanda Stewart, Told by an Idiot,
Allan Vizents, and Ania Walwicz. Octavo [210 x 145] [16]
pages stapled into illustrated card wrappers. A few spots
here and there, and some use. $30.00
360.
Love Breathes Hard. Newtown, NSW: Vagabond Press, 2014.
“[This] book is probably about love or its impossibility.
About assimilation, and trauma, both personal and
historical. It is also an attempt to get rid of irony.” Maged
Zaher was born and raised in Cairo, and currently lives
in Seattle. He is the author of If Reality Doesn’t Work Out
(SplitLevel Text Press, 2014), Thank You for the Window Office
(Ugly Duckling Presse, 2012) The Revolution Happened and You
Didn’t Call Me (Tinfish Press, 2012), and Portrait of the Poet as
an Engineer (Pressed Wafer, 2009). His collaborative work
with the Australian poet Pam Brown, farout_library_software,
was published by Tinfish Press in 2007. His translations
of contemporary Egyptian poetry have appeared in Jacket
Magazine, Banipal, and Denver Quarterly, and forthcoming
as a book: The Tahrir of Poems, from Alice Blue Review in
2014. Issued in the deciBels Series edited by Pam Brown.
Typography and design by Chris Edwards. Small square
octavo [135 x 135] 52 pages in illustrated wrappers. New,
at the published price.
$15.00
addendum
362.
Poésie en Question. Opus International 40/41. Paris, France:
Editions Georges Fall, 1973. A special double issue of
Opus, the major French art journal, focusing on concrete
and sound poetry. Three sections cover Poésie Visuelle
(concrete poetry), Poésie Phonétique (sound poetry), and
Typoésie (typographic concrete poetry). Contributors
include Jean-François Bory, François Dufrene (with
a major 22 page overview of sound poetry), Henri
Chopin, and Octavio Paz. Subjects include the Italian
Poesia Visevia movement (4 pages), Letterism (4 pages),
Bernard Heidseick (3 pages), Paul van Ostaijen (2 pages),
Hansjorg Mayer (3 pages), Jorgen Gerz (4 pages). There is
also a 20 page section on the work of the French “Electric
Generation” poets. Demy octavo [270 x 180] 128 pages in
printed wrappers. Spine rubbed, else very good.
$45.00
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addendum
RUARK LEWIS [1960 - ]
Paul carter [1951 - ]
363.
Raft. Hanover, DE: Sprengal Museum, 2001. Catalogue. Raft, a modular work
of 396 beams inscribed with 24,696 characters in 6 languages, was conceived
as a metaphor for the politics and poetics of cultural and personal exchange
under colonial states. “The idea of a raft is of something lashed together, an
inventive solution to a problem, of making do from available materials, of
creating something which may be lifesaving. A raft also suggests travelling,
and specifically travelling over water. This particular raft however is associated
with the desert through the text laboriously stenciled onto its surface. It is a raft
therefore which could never have the opportunity to float.” Artists’ statement.
Essay text in English and German. Octavo [230 x 160] 16 pages stapled into
printed wrappers. In printed envelope with bookmark, and four prints [each
230 x 160] on card from the “Raft” project. All fine.
$40.00
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