a secret index— division leap

no. 25 a secret index—

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no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents

a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91

Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke

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The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished. Marginal annotations appointment between us and the generations of the in pencil throughout. past. For we have been expected upon this earth. The second edition of this privately published Like the generations before us, we have been and circulated utopian proposal to create an given a weak messianic power, which the past can organized intelligentsia and foster human creativity lay claim to. This claim is not to be settled lightly. against capitalism. Published around Whitsun in The historical materialist knows why.” Prague, it includes reactions from readers who Rare. OCLC locates only two holdings, and had received the first version of the text. A third, none in North America. The preceding edition is publicly published edition would follow later this not located in OCLC. $1,000 same year [see item no. 2]. The work was written by Viktor Hueber, a 2. Viktor Hueber. Die Organisierung former Austrian captain who became a member of der Intelligenz. the circle which published the short-lived magazine Leipzig: Johann Ambrosius Barth, 1910. Der Anfang, in which Benjamin published his first The third, expanded, and first public edition. poems and essays. Hueber was later associated 8vo, vii, 234 pp. Bound in violet paper covered with Franz Pfemfert’s better known periodical boards with titles stamped in white. Foreward Die Aktion, and early issues of the magazine bore by Ernst Mach. With the ownership signature the subtitle “Publikationsorgan der Organization of Wely v. Döring to title page, and on the fep der Intelligenz”, a reference to this work, though a full page inscription to him from his uncle, subsequent efforts to create an actual organization with reference to Schopenhauer. On the title based on the book’s principles failed due to page a quote from Benjamin is written in red ink infighting [Portner, p. 140]. in a different, unknown hand. Benjamin discusses the book in a September 15, The Benjamin passage written on the title page 1913 letter to Carla Seligsohn, the first person he’d is the same excerpt on Hueber from his letter to met who had also read the book. “Those of us who Carla Seligsohn on September 15, 1913 which is understand Hueber feel our youth complete only in quoted above. the presence of his ideas- the others, who feel noth- Boards faded at extremities, with a bump to ing, are not young. They have simply never been upper tip of front board. Very good. $500 young. They took pleasure in their youth only when it was over, just a memory. They did not know the 3. Benjamin, Walter. Eine Kommunistische great joy of its presence, which we are now feeling Paedagogik—Spielzeg und Spielen—Programm and which I sense in your words … But in every eines Proletarischen Kindertheater—Baustelle + individual who is born, no matter where, and turns Diskussion + Anhang. out to be young, there is, not ‘improvement,’ but West Berlin: Zentralrat der sozialistischen perfection from the very start. This is the goal that Kinderläden, 1969. First edition thus. 8vo, 93 pp,

19 a. saddle-stapled wraps. of the Passagen-Werk in Germany, with reference A raubdruck, or unauthorized reprint issued to “die Frankfurther Monopolisten.” The pamphlet from the German student movement. Beginning in also prints letters between Benjamin and the 1960’s there was an explosion of such publica- Horkheimer, Herbert Marcuse, and Adorno tions in West Germany, filling the void left by the and Horkheimer. lack of official publications of works dealing with This essay was also published in the pirate leftist and critical thought – especially the work edition of Passagen-Werk, edited by “Detlef Holz”— of Benjamin and other members of the Frankfurt a pseudonym which Benjamin himself used to School. Often made in haste and for distribution in write Deutsche Menschen in 1936. Conrad and small numbers for discussion groups, with fictitious Stempflinger were also pseudonyms used by or facetious places of publication and pseudonyms, Benjamin himself. these publications have parallels with Samizdat References: von Olenhusen, Der Weg vom publications, and anticipate some of the same Manuscript … 11. Brodersen F30. aesthetics and strategies of the zine movement. Very good. Sold There is a complete lack of English language literature on these publications, though Olenhusen 5. Benjamin, Walter. Analytische has issued a couple excellent German language Beschreibung von Deutschlands Untergang in bibliographies on them. zwanzig Thesen und andere Text. References: Olenhusen, Der Weg … No. 1. Münster [actually Berlin]: Aurin Verlag, 1987. Handbuche der Raubdrucke No. 69. 16mo, 78 [2] pp, perfect bound in illustrated wraps. Very good. $75 Text in German. Prints the title work by Benjamin as well as 4. [Walter Benjamin] C. Conrad & K. A. his essay on Lebel, and Werner Fuld’s essay Die Stempflinger. Die Zerstückelung des Walter Aura. This little book concludes by reprinting item Benjamin oder Die Heiligsprechung des no. 4 item with a reset title page and the addition Max Horkheimer. of footnotes. Edited by “Detlef Holz” [see no. 4], Oxford, New York, San Remo: 1980 – 82. and likely connected with the raubdruck of 8vo, 16 sheets mimeographed from typescript on Passagen-Werk which was issued under the both recto and verso, with the exception of the same name. title leaf, which is printed on recto only, and the References: von Olenhusen, Der Weg … 15. final leaf, which is blank. Stapled once at the upper Not in Brodersen. left hand corner. Near fine with some light foxing to the A critique of the then recently-released edition wraps. $50

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22 b. Reproduction—Computing— Classification—Architecture

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6. Verifax Printer, Type 1 [with] Paper. A collection of songs published for employees Rochester, NY: Kodak Company, c. 1950’s – at IBM, including music composed specifically for late 1960’s. the company, including March on With the IBM Kodak’s Verifax machine was a duplicating by Vittorio Giannini, Hail to the IBM by Fred W. machine that used a wet colloidal diffusion transfer Tappe and Giannini, “Ever Onward” (aka the technique to make reproduction. The machine IBM rally song) and the “IBM School Song”, utilized special chemical paper, and was marketed and the “IBM Country Club Song.” to offices, being a cheaper technology than the The IBM songbook, and the body of songs photostat. However, the multiple step process, the which make it up, was the work of the founder, expense of the chemical paper the machine utilized Thomas Watson, Sr., who sought to inspire and and the instability of the printed images over time create a strong corporate identity against the back- meant that the technology was not widely used, and ground of the Great Depression. The first iteration became quickly obsolete, to be replaced with the of the songbook was published in 1927. We’ve not machine that the Verifax laid the technical ground- encountered this edition before, which is undated. work for, the xerox photocopier, which launched An explanatory note to “Hail to the IBM” explains the era of immediacy in print culture which the the genesis of the song in 1938, but we believe this Verifax could only suggest. printing to predate the 1941 edition, which had The Verifax was utilized by a handful of artists, more than twice the pages. including Wallace Berman, who used a Verifax Near fine with minor toning to extremities, which he had been given by Billy Jahrmarkt – and the wrap slightly pulling away from the who had already incorporated the machine into top staple. $450 his own, neglected artworks. These machines are an important part of the rapid technological 8. IBM [International Business Machines]. changes in printing processes of the Mimeograph A Souvenier of the New York World’s Fair. Revolution, and are now quite uncommon – it [New York]: IBM, 1964. 3 1/4 x 7 3/8" seems likely that few were saved due to their rapid computer punchcard, printed on orange card stock. obsolescence and bulk. A souvenir, which we presume to have been This example of the machine appears to be printed in conjunction with the IBM Pavilion at complete, though the power cord is severed and the 1964 World’s Fair in New York City. Faintly frayed and would have to be rewired for testing. printed on the top margin is the phrase “YOU DO This Verifax comes with a small sheaf of the NOT TRANSFER YOUR ANGER OR REPEAT chemical paper used in the reproductive process, FAULTS”. We have encountered only one other the only such cache we’ve encountered, and which example of this souvenir punchcard, which had a is likely even scarcer then the machines themselves. different text printed on top, leading us to believe The paper is heavily darkened, and we doubt it that this was perhaps a visitor supplied text – could still be used. However, since preservation making each punchcard interactive and unique. of Verifax is an unknown science, this paper could IBM also issued punchcard souvenirs which used be of interest to conservators or to students of OCR to process handwritten “this date in history” reproductive technology, or to determine the request slips from visitors, for which there is more chemical makeup of the paper. $750 widespread documentation and which we’ve seen before, but this example is different. 7. IBM [International Business Machines]. The 1964 IBM Pavilion, designed by Charles IBM Song Book. Eames and Eero Saarinen, was a turning point in Np [c. 1938 – 1940?]: International Business the public’s acceptance of computers. For the vast Machines, nd. 8vo, 25 pp, saddle-stapled wraps. number of the millions of visitors to the pavilion it

25 b. was their first interaction with computing, which the help of Walter Gropius and other architects, this enigmatic souvenir is evidence of. $200 to set up a committee to conceive of designs for adaptable micro-houses to address the devasta- 9. Antin, Eleanor. Announcement for tion which the Great Depression in America had Library Science. wrought upon German building industry. Wagner, Glendale, CA: Brand Library Art Center, along with Gropius, would go on to be influential 1971. 3 x 5" library file card with single hole in American architecture in his capacity as punch (as issued), overprinted with exhibition professor at the Harvard School of Design. and opening information. Wagner has received renewed attention since last The announcement for the Glendale leg of year’s expanded republication of Das Wachsende the traveling exhibition, which displayed the Haus by Spector Books. results of Antin’s project in which she classified The catalog for the exhibition (a) includes a ‘piece of information’ submitted by a number numerous plans for small houses by a number of of different women according to the Library of architects, including Walter Gropius’ Kupferhaus Congress classification system. The exhibition and Otto Bartning’s Werfthaus (Shipyard House), displayed these submissions alongside their so named because it was meant to be assembled classification cards. from pre-fabricated materials in shipyards. There is Fine. $150 a longer text by Wagner (“Vom wachsenden Haus zur wachsenden Stadt?”) and an essay by the artist 10. OULIPO. Moebius Strip Announcement Hans Baluschek on the relationship between art for the Oulipo meeting at Europalia 75 in Brussels. and the weekend. There is also an extensive direc- Brussels: 1975. Single printed sheet, printed tory for participants, as well as numerous period on both recto and verso, folded and taped to form ads and a directory for local building supplies and a Moebius strip. furnishings. It is tempting to read this directory The announcement for a meeting of Oulipo as a retort to Germany’s prior dependence on at the “Europalia” arts festival in Brussels, on American building supplies, a leading factor in October 8th 1975. The invitation, printed in Dutch the collapse of the German building industry. and French, announces the inauguration of “l’Or- The exhibition and its catalogue provides an dinateur Poete” (the Poet-Computer) programmed essential counterpoint to Johnson and Hitchcock’s with Queneau’s “100.000 Milliardes de Poemes.” International Style exhibition at MOMA, which This was Oulipo’s first experiment with computer canonized certain architects of the new architec- poetry, and one of the first such attempts, occuring ture, including Gropius, at the expense of the social shortly before Queneau’s death. [Vuillemen, p. 177] democratic background which is evident here. Fine. $150 An essential work for any collection dealing with the small house movement or the New Objectivity, 11. [Gropius, Walter et al.] Four items related but very scarce in US institutions, with only two to the 1932 Berlin Summer Show. holdings in North America. The Berlin Sommerschau of 1932 was a large a. Amtlicher Ausstellungs-Katalog und Führer scale architectural exposition in Berlin which für die Berliner Sommerschau 1932 “Sonne, Luft sought to present designs for small, affordable, und Haus für alle!” Ausstellung für Anbauhaus, and adaptable housing units and kleingartens, Kleingarten und Wochenende. which could be extended according to the wishes Berlin: Bauwelt-Verlag, 1932. First edition. 8vo, and means of the inhabitants. VII, 149, XII – XXX pp, printed wraps illustrated The exposition grew directly out of Berlin city by Karl Charal. Profusely illustrated in b/w with planner Martin Wagner’s effort the year prior, with diagrams and drawings. Text in German.

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b. Terrassengarten Der Berliner Sommerschau Artist’s book published in conjunction with 1932. 3 9/16 x 5 1/2" postcard, illustrated in the 1980 exhibition at NBK, which documents the color with a drawing of the exhibition at recto. bricks which the artist from the ruins of buildings With the rubberstamp of the exhibition at verso. in Berlin and installed in the gallery. The initial Not mailed or postmarked. images are of the archeological sites themselves, c. Two Reklamemarke, or non-postal but soon give way to a sustained passage of full “poster stamps” made to advertise the event, bleed b/w photographs, one brick per page. The one of which reproduces Karl Charal’s design eroded shapes of the bricks, as well as the symbols, for the catalog. $450 marks, and maker’s marks on the bricks, their original significance now lost in time, become an 12. Raffael Rheinsberg. Bekannte — opaque index to the destruction of the buildings, Unbekannte. a projection of a sort of ghostly afterlife of 20th Berlin: Neuer Berliner Kunstverein, 1980. century labor. First edition. Oblong 4to, [108] pp, tapebound At the close of the exhibition, the bricks were into photographically illustrated wraps. Illustrated returned to their original sites. with b/w photographs. Text in German. With One of the great and criminally overlooked texts by Janos Frecot, Julie Schauer, Walter Aue, artists’ books dealing with architecture. and Ulrich Bischoff. Very good with some light fading to spine and a touch of rubbing to extremities. $75

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32 c. The Body—Tattooing— Incarceration—Crime— Sexuality

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The Body, Tattooing, Sexuality, of Lombroso, and his work on the tattoo focuses Incarceration, Trepanation especially on documentation of it among criminals, the insane, and prostitutes. 13. Jean Lacassagne & J. Herber. Du His invasive experiments with the female Tatouage chez Les Prostituées de France et body, which involved electric shocks on the d’Afrique du Nord. labia, often on prisoners, are a dark chapter in Lyon: Joannès Desvigne, 1935. First edition. the long history of coercive investigation of the 8vo, 96 pp, printed wraps. Illustrated with b/w female incarcerated body. photographs and drawings. Inscribed by Jean OCLC locates only two holdings of the first Lacassagne at the title page. work, and three of the latter. Fine. $750 A rare and important early illustrated work on the tattoos of prostitutes, written jointly by 15. Caterina Pigorini-Beri [1845 – 1924]. the prison doctor Jean Lacassagne – son of the Costumi e Superstizioni Dell’Appennino pioneering criminologist Alexander Lacassagne – Marchigiano. and J. Herber, who wrote extensively on tattooing Citta di Castello: S. Lapi, 1889. First edition. in Morocco and the surrounding regions. 8vo, xvi, 304 pp, + xii plates. Printed wraps. The photographs and drawings are superb, With [6] pp. publisher’s catalog bound in at rear. and some effort at classifications are made. Inscribed and signed by Pigorini-Beri at the title A trade specific publication, published as page. Text in Italian. an installment of the Bibliothèque de la Revue The first edition of this ethnographic study of Internationale de Criminalistique. OCLC locates the inhabitants of the mountainous Marche region eight holdings, only one of which is in North of Italy, notable for the 12 plates which reproduce America, but the book is scarcer in the trade 95 drawings of religious, devotational and amorous than even that number would suggest. tattoos from the region, and one drawing of a Front wrap somewhat overopened, else traditional tattoo needle. Important documentation remarkably bright. Very good. $850 of Italian folk tattooing, which remains surprisingly scarce in historical accounts. 14. Raffaele Gurrieri. Il Tatuaggio. Nella Pigorini-Beri, a former schoolteacher and Antropologia e Nella Medicina Legale [Bound auto-didact, was a pioneering early female With] L’imene in medicina legale. ethnographer, well known for her first work of Bologna: Nicola Zanichelli, 1912. First edition. which focused on Calabria and is a classic in the 8vo, 64 [3] pp + 108 [3] pp. Rebound at a later date field. She also studied and wrote on women’s in half crushed red morocco over marbled boards, education, and wrote novellas. raised in five bands at the spine, with gilt titles Spine rather creased, with a touch of darkening and florets. Both works bound together with and some light soiling to wraps, and 1/2” of loss the original wraps preserved. The first work to lower tip of front panel. Very good. $450 illustrated with 27 illustrations in the text, two from photographs, and the second work with 16. Emile Laurent. Les Habitués des 36 figures (drawings and tables). Text in Italian. Prisons de Paris. A beautifully bound example of Gurierri’s Lyon & Paris: Storck & G. Masson, 1890. scarce early study of tattoos and tattooing, bound First edition. 8vo, xi, 616 [5] pp. Illustrated with with his medical work on the hymen and virginity. two folding plates, 79 drawings in the text, and Gurrieri (1862 – 1944), a coroner and director of five plates following the text, three of which are legal medicine at the Institute of Legal Medicine photographic and feature 11 portraits of prison- at the University of Bologna, was an early disciple ers. Preface by A. M. Lacassagne. Bound in half

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37 c. crushed red morocco over marbled boards, four taken from the author’s collection, as well as raised bands at the spine, and title and two florets institutional archives. in gilt. Ex-Libris Albert Briére, governer of Annam Previous owner’s signature inside front cover, from 1891 – 1897, with his engraved bookplate some creasing and superficial surface tearing to ffep and rubberstamp to lower margin of the at head of spine, and some light foxing, but a title plate. sound and tight example, bright and clean within. First edition of this landmark work of Very good. $600 criminology focused upon those incarcerated in the prisons of Paris, by an early and prominent 18. Herber, J. Tatouage et Politique. disciple of Lacassagne. Laurent was a central figure Caluire, Strasbourg, Rhône: M. Tournus fils, in the expansion of criminology as a discipline 1944. First edition. 8vo, 24 pp, saddle-stapled with which to approach the visual art and literature wraps printed in two colors. Illustrated with two of the underworld during the fin du siecle. One full page reproductions and several small drawings of the main motivations of his work was a fear in the text. Text in French. of, and urge to understand literary and cultural A small pamphlet printing three short texts on decadence. His works are valuable for documenting tattooing, the title text as well as two other short the arts of prisoners, homosexuals, and the mad, texts, Épigraphie du tatouage – which focused on and Laurent believed that their work had growing epigraphy tattoos – and Le tatouage dans l’oeuvre affinities with contemporary literature. It is d’Anatole France, an early analysis of tattoos in perhaps irresponsible, but difficult not to a literary work. The pamphlet was published as conjecture that this may have been the result part of the Albums du Crocodile series, under the of his own failed literary aspirations. direction of L’Association Génerale de L’Internat Chapter 23 of the present work is an important des Hospices Civils de Lyon, with which Herber’s early text on the tattoos of prisoners, and includes fellow historian of tattooing, J. Lacassagne, was 15 striking drawings from the skin of inmates. associated with. Spine very slightly cocked, with a touch of The title piece is a brief, but important attempt rubbing along the hinges, a 1" split beginning at to understand the political elements of tattooing, foot of front gutter, some moderate bubbling to of which there had been at that point (and even marbled paper over rear board, and some slight since then) little scholarly attention upon. play to the front hinge. Very good. $750 The article is also notable for including a reproduction of a portion of the preserved skin of 17. Paul Cattani. Das Tatauieren. Eine Vlado Chernozemski, aka Vlado the Chauffeur, Monographische Darstellung vom psychologischen, the famous assassin who shot and killed Alexander ethnologischen, medizinischen, gerichtlich- of Yugoslavia. This tattoo, a skull and cross- medizinischen, biologischen, histologischen und bones with the initials I.M.R.O. – the Internal therapeutischen Standpunkt aus. Macedonian Revolutionary Organization – was Basel: Benno Schwabe, 1922. First edition. originally the only clue French police had to 8vo, 88 pages, printed wraps. Illustrated with determine his identity, which they were unable to 44 photographs and drawings on 16 plates. Text do, resulting in him being buried as an unknown. in German. However, this photograph of a patch of Vlado’s First edition of this important early standalone skin seems to suggest that he was not buried survey on the history of tattooing worldwide. with his tattoo. Many of the illustrations are taken from earlier This is the only reproduction we’ve ever seen of works, such as Joest, but there are also a number the tattoo, though a tantalizing note states that it of intriguing photographs early modern tattoos resides at the time of publication in the collection

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of Dr. Beroud, at the Musée de Criminalistique de 20. Another copy, rebound in brown Marseille – an institution which doesn’t seem to leatherette without preserving the original wraps, have survived, at least under that name. A research but otherwise complete, and a sturdy, very good project for some intrepid visitor to Marseille example. $450 willing to make some inquiries and find the whereabouts of this missing piece of mummified 21. Perrier, Dr. Charles. L’oreille et ses skin, perhaps. rapports avec la taille, la grande envergure, Toning to margins of wraps and pages and le buste, le pied, le crâne chez les criminels. some light handling creases, but a well-preserved, Paris: A. Maloine & Fils, 1925. First edition. near fine example. An obscure imprint for the trade 8vo, 206 pp, printed wraps. Illustrated with 50 which likely had very limited distribution; OCLC drawings, photographs, and figures, including locates only three holdings, all within France. $250 some full page plates. Text in French. The first edition of this continuation of the 19. Riecke, Erhard. Das Tatauierungswesen influential criminologists anthropometric studies 19. im Heutigen Europa. of the prisoners at La Maison Centrale de Nîmes, Jena: Gustav Fischer, 1925. First edition. one of the most sustained studies of early criminol- 4to, 40 pp. + 24 photographic plates, reproducing ogy, which remains a valuable trove of information 94 photographs. Attractively rebound, perhaps at regarding slang, sexual habits, and art of prisoners an early date in half crushed orange morocco over in the early 20th century. marbled boards, with original wrappers bound in. Tattoos were of particular interest to Perrier, and Ownership signature (of Johan Almkvist) to cover, this volume in the series is notable for including 9 some small chips to wraps professionally restored; superb full page b/w photographic plates of tattooed a couple of brief numeral notations in pencil to the inmates, all of which are present in this copy. text. Upper tips bumped, with some slight rubbing Wraps lightly creased and toned, but a very to extremities. Very good. good or better, partially uncut example. $250 An attractively bound example of one of the most important early scholarly tattoo works, 22. JAF, Dr. [Pseudonym of Jean Fauconney]. remarkable for the superb 94 photographs of Les Tatouages. Tatouages – Tatoueurs – Tatoués – tattooed subjects which make up the latter half Les tatouages chez les Prostituées et les habitués of the work. This one of the most important early des Prisons – Les Procédés – Le Détatouage. photographic records of the modern European Paris: Librairie de la Nouvelle France, [1908]. tattoo. The text is distinguished for focusing First edition. 12mo, 123 pp + publisher’s catalog. specifically on the symbolism of the modern Rebound in linen, with marbled endpapers laid European tattoo, especially those with a sexual down, preserving the tattered original orange print- or criminal context. ed wraps. Text in French. Not illustrated. Rudolf Erhard Riecke (1869 – 1939) was a A sensationalized early study of tattooing, dermatologist and the first director of the influential published as the first installment of the Doctor’s department of skin and venereal diseases at the Collection de Psychologie Populaire. The study University of Gottingen. includes a lengthy chapter on the tattoos of prosti- Due to the weight of the photographic plates tutes and criminals. and the fragile construction of the binding, JAF was a pseudonym of the versatile Jean copies of this book, when encountered, usually Fauconney, one of several which the author used have broken or heavily worn bindings. This is for a number of sensationalized studies of sex and the best-preserved example of the book that we’ve human behavior, as well as at least one por- handled. Sold nographic work. For a great appraisal and defense

43 c. on the particular strand of overlapping genres of the nuts and bolts of the work of both criminals that Fauconney worked in, see Cryle and Moore’s and the police. Drug content includes an article Frigidity: An Intellectual History. on opium in the debut number. Of special note is a Rare. OCLC locates only two holdings. 6 page article on criminal tattoos by George Patrix, Paper toned, and original wrappers chipped illustrated with drawings. No. 3 contains a two and worn. Good only. $300 page interview with Georges Simenon. With great period illustrations throughout 23. [Trepanation] Hugo Bart Huges. by Aldeberet, A. G. Badert, Barberousse, Dathie, Suikergoed & Marsepein. Jacques Faizant, GAD, C. Gaty, Novi, Pouzet, Amsterdam: Barbara Huges, 1968. 4to, Guy Valls et al. 34 pp., mimeographed on rectos only and bound OCLC locates only two holdings, at the with cloth tape into textured card covers printed Bibliotheque Nationale and as part of the Julio in color. Second, expanded edition. With folded Mario Santo Domingo Collection at Harvard. sheet laid in, entitled “het huiswerk voor iedereen”. Cheap paper toned, some scattered annotations A treatise on trepanation by a member of the in an unknown hand, mostly in pencil, moderate Provo movement who had experienced the act wear to covers including some light creasing, staples firsthand. On January 6, 1965, Huges famously rusted but all bindings sound. Very good. $450 self-trepanated himself in a square in Amsterdam, drilling into his own head with a Black & Decker 25. Sir Lady Java. Lady Java Biography. drill. As a medical studen Huges developed the Np: nd [c. 1960’s – 1970’s]. 4to, single belief that since mankind began to walk upright 11 x 17" sheet folded once to make a four page our heads have been starved of oxygen; he believed booklet. Offset printed and illustrated with that by trepanning, one could achieve a permanent photographs and press clippings. high, bringing his actions into the psychedelic A promotional booklet, perhaps produced for trajectory and influencing a small group of prospective club owners or as a nightclub giveaway. auto-trepanationists who have sought freedom The booklet prints an unsigned 1 page biography from the boundaries of the skull and the ravages of Sir Lady Java, followed by reproductions of of bipedalism. photographs of Java and, on the back cover, her This second edition has a different cover measurements. than the first, and includes ten additional pages Sir Lady Java was an African-American per- of commentary by R. A. Hubner. former who became the first transgender person to Very good with some light foxing to be defended by the ACLU, after a police crackdown covers. $450 on night clubs in Los Angeles under Rule 9, which forbade “impersonating” another sex in perfor- 24. Schalit, Raymond & Gérard Louchet, eds. mance. Protests ensued, which were documented Contre-enquête 1 – 10 [Complete]. tous les aspects in Jet Magazine at the time. The law would finally de la lutte contre le crime. be struck down two years later in a different case. Paris: Contre-enquête, 1952 – 53. First edition. The ACLU still cites their representation of Sir Each issue 12mo, offset printed in two colors Lady Java in their promotional materials as evi- on newsprint and saddle-stapled in glossy wraps dence of their committment to transgender rights. printed in color. Profusely illustrated with Rare ephemera from a pioneer and very import- photographs, drawings and diagrams. ant individual in the struggle for transgender rights. All issues published of this early postwar Fine. $75 periodical devoted to all things related to true crime, detection and vice, with an appreciation

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Unpaving the way to May of ’68. newsprint in color. With supplement to No. 5: 4to, [8] pages, folded, unbound sheets offset printed in 26. Comités Vietnam de Base [CVB]. blue on newsprint. Victoire pour le Vietnam 1 – 6 [Complete]. All issues published of one of the most Paris: Les Comités Vietnam de Base, [June, important feminist periodicals published in France 1967 – March, 1968]. Tabloid format, offset in the 1970’s, which was an early and indispensable printed on newsprint. First issue unnumbered, part of the second wave feminist movement in the but incorporated into subsequent numbering. country in the aftermath of the events of 1968. Illustrated with b/w photographs and drawings. It includes the scarce debut issue zero, which was The organ of the CVB, or Comités Vietnam published as an insert in the Libertarian newspaper de Base, a Maoist solidarity group which was one L’Idiote Liberte, and the special Mother’s Day of the two most prominent such solidarity groups supplement, which was issued with no. 5 but is prior to 1968 (the other being the Trotskyist usually lacking. CVN). The periodical reported both on the events The title of the periodical, which could be of the Vietnam war and the actions of campaigners literally translated into English as “the dishcloth in France. burns” is a French euphemism for domestic strife, It would be difficult to overstate the importance with the connotation of an ongoing or running of this periodical in laying the groundwork for the battle. Le Torchon Brule was a group project events of of May 1968. While it has been widely and radical with regards to content and format, acknowledged that these solidarity movements with each issue being created by a different group provided a model for the upcoming protests – it was of women. contested arrests at protests in the wake of the Tet From a design perspective, Le Torchon Brule Offensive which escalated the protests – the CVB is remarkable for the extent to which the lack of also more directly “provided the initial groupings a unified graphic design across the numbers for the ’Action Committees” of May [Davey p. 84]. seamlessly and successfully became the design The Comité d’Action Lycées (CAL), which itself, always provocative and involving the reader published Barricades, was also formed by a with each line and image – an achievement which combination of members of the CVB and the CVN. has few parallels in the era. No. 4 prints an interview with Nguyen Van All issues in strong very good to near fine Tien of the F.N.L.S.V. No. 5 prints an appeal for condition. Scarce complete, especially with the the upcoming February 21 protest at the Champs- Mother’s Day supplement and issue No. 0. Sold Elysées. The final number includes an interview with the Dutch filmmaker Joris Ivens. 28. Eva Besnyö. ’n Halve Eeuw Werk [with] Rare. OCLC locates only two holdings, and Fél évszázad munkája. none in the US. Amsterdam: Feministische Uitgeverij Sara, A very good to near fine set, with light toning 1982. First edition. 4to, 234 pp, photographically and a touch of foxing to no. 5. Sold illustrated wraps. Inscribed and simply signed “Eva” by Besnyö in Hungarian at the title page, 27. Mouvement de libération des femmes in Amsterdam in the 1987. With the rarely seen [MLF]. Le Torchon Brule Nos. 0 – 6 with separate companion booklet, published four years La Mere Supplement [Complete]. later, which translates the catalog text Paris: Le Torchon Brule, 1971 – 73. First into Hungarian. edition. No. 0: 4to, 24 pages [including covers], A beautifully designed monograph, the first offset printed on newsprint with two color cover. devoted to the work of the great Hungarian-Dutch Numbers 1 – 5: Tabloid format, offset printed on photographer. It includes work from all stages of

49 27.

50 28. 51 d. her career at that point, including work shot while “out of series” – both of which were confiscated by underground during the German occupation of the authorities for their attacks on De Gaulle and the Netherlands, and her superb 1970’s work material on Czech Surrealism. documenting the Dutch feminist group Dolle The cover of the first issue, which featured a Mina, of which she was a member. photograph of that issue itself casually arrayed Extremely scarce with a contemporary among predecessor Surrealist periodicals, both inscription. served to boldly position the periodical as heir, Wraps somewhat rubbed, as often with but also acknowledged the difficulties of defining this title, with a touch of bumping to the tips. the movement in a tumultuous decade after the Very good. $450 death of Breton. A complete list of contributors is available 29. Feminist Studio Workshop. Poster on request. Brochure Manifesto. All issues near fine to fine, showing only Pacoima, California: Feminist Studio some negligible light rubbing and creasing to Workshop, [1973]. First edition. 20.5" square wraps. $750 sheet, offset printed on recto. The manifesto, designed by Sheila de 31. [Julien Blaine]. Mai 1968 manifeste sous Bretteville, for the Feminist Studio Workshop, forme d’idéogrammes. founded by her, Judy Chicago, and Arlene Raven Np: [Privately Printed], nd [1968]. 12mo, in 1973. De Bretteville’s work is receiving much- unpaginated, saddle-stapled wraps. Offset printed deserved wider attention since her inclusion in in 3 colors. last year’s book Hippie Modernism, in which this Artists’ book by the influential concrete and poster is reproduced on p. 55. visual poet – a wordless critique of the political Folded into sixths, as issued; light toning sign, the first in a series of political artists’ else fine. Sold books by Blaine which also include Je ne suis pas américain and Cuba Cola. 30. Jean Schuster, ed. L’Archibras Nos. 1 – 7 Near fine. $125 [Complete, with Stationary]. Paris: Le Terrain Vague, 1967 – 69. First 32. Raoul Vaneigem and Jan Strijbosch. edition. 4to, each issue offset printed, gathered Pas de dialogue avec les suspects. Pas de dialogue in signatures and gluebound, with the exception avec les cons. of the fugitive issues 4 and 5, which are saddle- [Antwerp]: conseil central de l’Internationale stapled, the latter with the “Tchécoslovaquie” Situationniste, 1963. Approximately 10 1/2 x 13", rubberstamp in green to cover, as issued. Text printed in two columns on buff paper. Text in in French. Profusely illustrated in b/w. With an French and Flemish. unused sheet of stationary for the periodical added. A proclamation jointly issued by Strijbosch All issues published of the important Surrealist and Vaneigem at the Antwerp conference, against periodical, which began in the year following the the Communist movement in Belgium and the death of Breton and bracketed the uprisings of “neo-Surrealists,” written at the instigation of one 1968, and worked to situate the movement within Tom Gutt, according to Vaneigem’s account in the burgeoning polititical movements of the time. Self-Portraits and Caricatures of the Situationist The memorable cover of the third issue features a International. rotary telephone with the numbers replaced by the Two old fold lines, with some additional light phrase “BLACK POWER”, and this run includes creasing, but very good. Scarce: OCLC locates no the very scarce fourth and fifth issues, produced holdings. $250

52 d.

29.

29.

53 30.

54 d.

Before Joy Division, Before the Hacienda 34. Jean-Pierre Voyer. The Use of Reich. London: BM Ducasse, [1972]. Foolscap, [8] pp 33. BM Ducasse. The Great Famine Continues. [incl. covers], mimeographed from typescript on Irish Mashed Potato 1972. blue paper, and saddle-stapled into yapped yellow London: BM Ducasse, 1972. First edition. offset printed wraps. 17 3/4 x 13 3/8" sheet, mimeographed on recto A translation into English of Jean-Pierre Voyer’s only, with a somewhat off center fold to make ’Reich/Mode d’Emploi’, here published and distrib- the post a booklet of a sort. Rubberstamped with uted by BM Ducasse. See no. 33. Ford makes refer- the BM Ducasse address. ence to the work in his entry for the the Bureau of A poster manifesto featuring an analysis of Public Secrets edition, published the following year, the killings in Derry on January 30 of that year, but doesn’t include this edition in the bibliography. concluding “Beware creeps! Situationists are now Rare. OCLC locates a single holding. everywhere!” BM Ducasse was the post-situ group Near fine with some light handling creases and which counted as a member a young Tony Wilson, a couple of short marginal closed nicks. $200 long before Factory Records fame, long before the Hacienda. Rare. OCLC locates only the British Library example. Very good with some moderate creasing. $300

55 d.

33.

56 e. Music

57 35.

58 e.

Onward with the Destruction of devoted to Fado, which followed the publication Borders & Property of Carvalho’s Historia do Fado by just one year. Pimentel draws substantially different conclusions 35. Pinto de Carvalho. Historia do Fado. than Carvalho, by characterizing Fado as being Lisboa: Livraria Guimaraes, 1903. First edition. essentially an urban product of Southern Portugal, 8vo, 270 pp, rebound at a contemporary or early and thus disregarding rural contributions to the date in marbled paper overboards backed in green form, a distinction which he furthered with the buckram titled in gilt at the spine, with the orig- publication of a sequel of sorts, As alegres canções inal pictorial wraps bound in. Previous owner’s do norte the following year. Unlike Carvalho, private, small ex libris bookplate tipped onto ffep. Pimentel includes musical transcriptions in his Illustrated with 13 photographs and drawings. work, and the extensive biographical notes, bib- Text in Portuguese. liography, and lyrics make it a landmark work of The first edition of the first published book scholarship in the field. length study of Fado, “still a valuable source for [Silva pp. 166-68. Vernon pp. 3, 7.] fado historiography, especially when addressing the Interior lightly toned, with the binding overo- relationship between popular music and national pened between pp. 8-9. Two previous owner’s character and how the vernacular was appropriat- signatures to title page, and occasional notations ed.” – [Silva, p. 166] Key to Carvalho’s project throughout in graphite and colored pencil. Cloth was an examination of the career of A Severa, rebinding faded at spine and bumped at extremi- the legendary and mythologized fadista who is ties. About very good. $450 pictured on the front wrap, and of the taverns and underworld of the Lisbon district Mouraria, 37. [African-American Composers] Ellis B. examining the social fabric and fashions surround- Kohs. The Automatic Pistol. ing the Fadistas. Np: 1943. 4to, [7] pp, diazo score printed on a The book is valuable for printing the full lyrics single sheet folded six times. Provenance: from the to a number of Fado songs, including an early library of composer Lou Harrison. example of a socialist Fado. “Um de Maio, álerta! Sheet music for this unusual composition by the álerta! / Soldados de liberdade! / Eia ávante, African-American composer, which sets a found é destruir / Fronteiras e propriedade.” There is text – in this case, the section on the care of use tantalizing footnote that follows stating that a of automatic pistols, from the army Field Manual great number of other socialist fados exist. 31 – 100, section C1, paragraph 65. The work was A very good example, showing only light page almost certainly composed in Kohs wartime service toning within. There is some fading to the spine as director of the all-African American 334th Army and a bit of erosion, perhaps from insect damage, Forces Services Band, at Fort Benning, Georgia, but the gilt remains legible and still bright. $750 and other military bands. An early and unusual example of a musical set- 36. Alberto Pimentel. A Triste Canção do Sul: ting of a found, non-literary text, and particularly subsidios para a historia do fado. interesting for its relation to an African American Lisboa: Livraria Central de Gomes de Carvalho, military band. OCLC locates three holdings of a 1904. First edition. 8vo, 302 pp, index + errata score by Kohs with this title, but recorded under bound in at rear. Illustrated in b/w. Rebound, the American Composers Alliance imprint. likely at an early date, in light blue cloth, with We suspect this to be an earlier version, perhaps the original pictorial wraps – illustrated by José for private distribution. Given the means of Leite – preserved. reproduction, likely existing in this state in only The first edition of the second full length book a handful of copies. $200

59 e.

38. Almon Memela. Funky Africa. Oblong 4tos, offset printed on various sizes and [South Africa]: Atlantic, 1975. First pressing. kinds of paper stock, with various die-cut and fold- 12" vinyl LP, original picture sleeve. Catalog no. ed sheets, glassine sheets, as well tipped in items in- ATC 9583. Cover art by Ronnie Kweyi. Sleeve cluding fur. One score with bullet holes. With all 6 designed by Audio Visual Communications and of the Source Records housed in the original bound printed at the Artone Press. in sleeves, and still attached to the comb bind- Association copy, inscribed by Almon Memela ings. 11 numbers in 10 volumes, with the double on the back of the picture sleeve to singer and issue of 7/8. Collated and complete as issued, with producer Rod McKuen: “For Rod McKuen wishing all tipped in items present, as well as the tearout you all the best listening. From Almon Memela.” peforated petition regarding sound pollution and Provenance: from the archive of Rod McKuen. UNESCO in issue 9 and the Fluxus postcard in an First and only pressing of one of the holy grails envelope from no. 11. of African jazz funk, by the enigmatic compos- The greatest postwar artists’ periodical devoted er and producer Memela – whose earlier groups to avant-garde and new music. Whereas most publi- included Almon’s Jazz Eight (with future members cations regarding new music to that point had been of Drive) and the A. M. Stragglers. Biographical published as documentation, the format of Source information about Memela is slight, but anecdotal itself embodied the upheavals of new music in the evidence suggests that at an early age he taught 1960’s, and scores such as Dick Higgins’ Thousand himself music on a homemade guitar. After a stint symphonies score in number 6, riddled with actual as a mineworker in Johannesburg, he sought to bullet holes, John Cage’s complex glassine scores study at the famous Dorkay House – the center printed in color for “Not Wanting to Say Anything founded by anti-apartheid activist Father Trevor About Marcel”, and Nelson Howe’s score incorpo- Huddleston, which became the meeting place for rating tipped in fur swatches in issue 9, elevated many of the most important musicians and activists the periodical to a sacramental object not only of the time – but was instead hired as an instruc- in the music community, but also in the Fluxus tor, and became an influential producer and talent and conceptual art communities which the scout in the ensuing years. periodical included. The title track on this LP is an African Jazz A complete list of contributors is available reworking of Donna Hathaway’s The Ghetto. upon request. Rare enough on it’s own, but unheard of signed. Issues are generally very good, though with Vinyl vg++ showing some very faint surface signs of wear throughout including scattered foxing smudging, but no scratches or surface marks; label and discoloration, with some occasional missing has a couple of very faint spindle tracks but the plastic comb teeth, and rubbing, especially the first center hole remains tight. Sleeve is vg+, showing number. The first issue is good only with about four some light creases, but bright, shiny, and complete- of the plastic teeth have broken off, with creasing, ly unfaded. $500 rubbing, and some marginal tidemarking. Records all vg+ with some dustiness and sleeve scuffing, 39. Larry Austin & Stanley Lunetta, Arthur and some faint hairline scratches to record 3. Woodbury, John Cage, Ken Friefman et al, eds. Scarce complete – issues of the periodical Source: Music of the Avant-Garde 1 – 11[Complete]. sometimes found with tipped in or loose leaf scores Davis, CA and Sacramento, CA: Composer / or the records or perforated items removed. Sold Performer Edition, 1967 – 1972. First edition.

60 e.

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39.

61 e.

36.

62 f. Literature—Poetry— Periodicals

63 40.

64 f.

40. Rafael Dieste. Testamento Geometrico. title and dedication pages, and elegant annotations La Coruña: Ediciones de Castro, 1975. First throughout in ink. edition. 8vo, 145 [1] pp. [index], bound in printed An obscure and exuberant work by this insti- French wraps. Text in Spanish. gator of the Nativismo movement, which attempts The first and only edition of this obscure and to situate the author of Maldoror as a distinctly beautiful work on geometric theory, written by Uruguayan writer. Ipuche was a friend of Borges at the Galician poet Rafael Dieste. The book plays this time, during which the two collaborated on the an enigmatic but pivotal in Roberto Bolano’s novel little magazine Proa, along with Ricard Güiraldes. 2666, where the character Amalfitano discovers it Readers of Borges’ fictions may remember a charac- in his library in Mexico, despite having no memory ter named Pedro Leandro Ipuche, whose writing is of ever purchasing it. cited in the fiction “Funes el Memorioso.” Bolaño takes advantage of this absence of The present pamphlet is dedicated to the Guillot memory as to the book’s origins to include a Muñoz brothers, "y por cuyo libro fui al Libro del beautiful reminiscence of bookstores in Barcelona Furioso Desolado" – presumably a reference to where Amalfitano may have accidentally purchased their work Lautréamont et Laforgue, which had it – perhaps at Laie, or La Central, Amalfitano been published the year prior. It was through the thinks, with passing reference to the writers Pere brothers that Ipuche became one of the small hand- Gimferrer, Rodrigo Rey Rosa, and Jaun Villoro. ful of people (the others being Jules Supervielle and He becomes obsessed with the book and it’s Mendez Gabariños) to examine the daguerrotype appearance, and, in an homage to an obscure of Isidore Ducasse given to the Guillot Muñoz Latin American readymade by Marcel Duchamp, brothers by Mrs. Jean-Julien Ducasse, before it hangs the book on a clothesline in his backyard was seized by the Montevideo police during a so that the the book can be read by the wind and raid and disappeared. According to the account the strange diagrams within be exposed to the by Enrique Pichon-Rivière, Ipuche thought that elements. in the photograph Ducasse had the air of a young The strange diagrams arranging the names Montevideano, and it was perhaps out of this of philosophers, which Amalfitano inscribes into inference that the present work was conceived. the text of 2666, may have been influenced by the It was from this photograph that Gabariños diagrams in Testamento Geometrico. based his two etchings of Ducasse upon. Pichon- “And then he looked at Dieste’s book, the Rivière’s account suggests that those who were Testamento Geometrico, hanging impassively from familiar with the photograph thought that there the line, held there by two clothespins, and he felt was little similarity between the etchings and the the urge to take it down and wipe off the ocher dust portrait, and suggests that some sort of madness that had begun to clung to it here and there, but he visited Gabariños as a result. didn’t dare … ” [p. 196] The book is illustrated with a single plate bear- A near fine copy with light rubbing, which ap- ing a striking full page woodcut entitled "Poulpe pears to never have been hung from a clothesline. au regarde du soie", a reference to the passage in OCLC locates only 4 holdings in the US. $250 Maldoror in which the protagonist turns into an octopus in order to consume God. The woodcut 41. Pedro Leandro Ipuche. Isidore Ducasse, is unattributed, and we can’t determine whether it Comte de Lautréamont. Isidoro Luciano Ducasse was made specifically for this work or appropriated (Conde de Lautréamont). Poeta Uruguayo. from an existing source. Montevideo: Peña Hnos, 1926. First edition. Rare. OCLC locates only two holdings, and 12mo, 16 pp, saddle-stapled wraps. Illustrated with none in North America. Sold. a single woodcut. Previous owner’s signature to the

65 f.

42. Fritz, Marianne. Die Schwerkraft Gutenberg, 1933. First edition. 8vo, 254 pp, bound der Verhältnisse. in full slate blue cloth with red blind-stamped titles. Frankfurt am Main: S. Fischer, 1978. First Printed dust jacket. edition. 12mo, 109 [3] pp, wraps. Lacking the The first edition of the third book in the printed band announcing the Robert Walser Mahogany series, and the first book published by prize, as usual. Association copy, inscribed the Buchergilde Gutenberg following the seizure ironically and at some length by Fritz in the of the Berlin Press by the Nazis earlier in that year. year of publication to Dr. Hermann Mayer. This was the first Traven title from the press to bear The Austrian writer’s first book, the size of a dust jacket, and it was a striking one, reproducing which does little to foreshadow the length and a chalk drawing attributed to “FUCK.” This wasn’t textual intricacies of her latter, mammoth works, necessarily a middle finger extended to the Nazi’s, though the irony and horror of the effects of war but rather the name of the artist, Bruno Fuck – a which would lead to The Fortress are all clearly pseudonym of Boris Angelushev, a Bulgarian artist laid out. A long-awaited English translation was whose work is featured on a number of socialist published recently by Dorothy, A Publishing publications of the 30’s. The book didn’t appear Project, and will hopefully do something to repair in English until the 1961 British edition, under the critical neglect of her work in this county. the title March to Coabaland, reprinted in 1964 Perhaps because of her legendary reticence by Dell as March to Monteria. in later years, signed or inscribed trade works Treverton 705. by Fritz, such as this one, are rare. $850 Spine faded and just a touch cocked, with a small, faint droplet stain to top edge, very good 43. Another copy, unsigned. $150 or better, in a dust jacket that shows a few small, marginal chips and short closed tears, still easily 44. Fritz, Marianne. Was soll man da machen: near fine. $450 eine Einführung zu dem Roman Dessen Sprache du nicht verstehst. 46. Markson, David. Another Day, Another Frankfurt am Main: Suhrkamp, 1985. Dollar … From His Novel ‘Epitaph for a Deadbeat’. First edition. 12mo, 215 pp, printed wraps. London: Walter Shenson Films, nd [c. 1971]. With a publisher’s advertising pamphlet laid in. 4to, [1], 98 pp., photomechanically reproduced With a lengthy inscription from Marianne Fritz from typescript on rectos only. Bradbound into at the title page to Dr. Hermann Mayer. blue covers with a die cut window to upper wrap- Fritz’s third book, published in advance of per. With a tls from a law firm laid in, submitting her Dessen Sprache du Nicht Verstehst, and also the script to an agent for consideration by Charles includes a listing of all the characters in that novel, Bronson. In addition, “Tony Curtis” is also written as well as a critical introduction to her work by on the title page in pencil. Heinz Schafroth. An unproduced screenplay by David Markson Spine with reading creases, and some light traces of his own 1961 mystery novel, the second in the of soiling to wraps; a very good copy. The laid in Fannin series, a potent satire of Greenwich Village advertising brochure with the title underlined in red bohemian life with a mystery of authorship within ink. A copy which appears to have been well-read, the narrative which anticipates the more conceptual and perhaps scarce thus. $850 leanings of Markson’s later work. We find no refer- ence to the screenplay ever having been published. 45. B. Traven. Der Marsch ins Reich Perhaps it was written in order to capitalize upon der Caoba. the unlikely success the year prior of the film Zurich, Vienna, Prague: Buchergilde Dirty Dingus Magee, the anti-western and Frank

66 41.

67 f.

Sinatra vessel based on Markson’s book The Ballad trilogy appears to our eye to be a major install- of Dingus Magee. Though the present script ment in his oeuvre, the individual poems here was never filmed, Markson did go on to write more discreet and standalone than Ranger, but the script for the cult pessimist 1972 anti-western in their cumulative sweep and focus worthy of a ‘Cry for Me, Billy.’ place alongside that long poem as one of his major The strangest facet of the screenplay is that works. Ready for, and in need of, publication. in the script Markson has transposed all of the Very good with some toning and foxing action to London – a strange decision given that and creasing throughout, save for the title so much of the effectiveness of the Fannin novels and acknowledgement pages, which are soiled is their strong sense of place in New York. Perhaps and more heavily foxed. $1,250 the reason was financial, or was requested by Walter Shenson. “I have the impression Very good. $750 That a large dog is Following me. 47. Theodore Enslin. Typescripts for a Trilogy What do you want of Three Unpublished Books. Jack Spicer– Np: nd [c. 1975 – 76]. 239 pages, typewritten A poem that reads on rectos only, and stapled into gatherings, with Backwards as well typewritten title page, acknowledgement page, and as forwards. and dedication page, the first of the three books It is bitter cold. with extensive printing directions and corrections I can see my in red ink throughout. Housed in a manila card breath before folder with string ties and typewritten title label. me “DISTRICTS is the first of three collections, And the poem is old.” in which I hope to make my own definitions – John Allen Ryan. of the words: Districts, Environs, Areas. Districts as a pure whole, without extraneous elements. 48. John Allen Ryan. Diaries and Notebooks. Environs: adjacent to. Areas: containing Approximately 1300 sheets of notebook paper, disparate elements, but holding together.” – most approximately 6 3/4 x 4", densely covered From the foreward. with handwriting in pencil on both recto and verso, The typescripts for a trilogy of three books with 14 small notebooks and address books, all of poetry by Enslin based on geographic themes, housed in a cardboard “Perishable Live Plants” which, with the presence of the prefatory pag- box addressed to Ryan. es and printing instructions, seem to have been An extensive collection of diaries and note- a submission for publication, perhaps to Black books from the gay poet and artist who was one of Sparrow Press which published a number of other the instigators of the San Francisco Renaissance, books by Enslin in the mid 70’s. According to the and an intimate of both Allen Ginsberg and Jack acknowledgement page, some of the poems had ap- Spicer. Ryan was one of the six founding members, peared before in Damascus Road, Granite, Poetry along with Spicer, Wally Hedrick, Hayward Ellis Review and the Festschrift for Basil Bunting’s 75th King, Deborah Remington, and David W. Simpson, birthday, and a couple we recognize having been of the Six Gallery, where Howl was first publicly published as broadsides, but the bulk of the mate- performed – an event that is often cited as the wa- rial here appears to be unpublished, and definitely tershed public inauguration of the Beat movement. never appeared in book form. In the 1940’s Ryan had been part of an art Enslin’s published output is large, but this group at Pasadena Junior College called the

68 48.

69 f.

“Progressive Art Workers”. Ryan moved to San 8vo, 340 pp, bound in full green cloth titled in gilt Francisco with other members of the group in order at the spine; illustrated dust jacket. to study at CSFA, where he took classes with a First and only edition of this novel of bohemi- young Jess Collins. Ryan lived above Ark Press on an life in postwar Paris, by Hungarian Emigré de Broadway, and met Robert Duncan in 1951, begin- Thassy. The book is in a couple of significant ways ning a long friendship. At CSFA Ryan took classes a secret book by the poet Jack Spicer, as in 1955 with Jack Spicer, and became close to him, even Spicer significantly ghostwrote the thinly disguised living for a month on his office couch. Spicer, Ryan memoir to make ends meet after being fired from and the rest of the group would eventually open Six CSFA, and, perhaps more importantly, the poems Gallery in the space vacated by Duncan and Jess’ included in the book by the poet character are also King Ubu Gallery. the work of Spicer. See the chronology in Poet: Be Ryan and Spicer were lovers for a time and had a Like God. close and influential relationship. They were the only A very good copy, with fading to the cloth two members of a secret society, “The Interplanetary and foxing to the endpapers, in a good dust jacket Services of the Martian Anarchy”, and even invented which is browned and chipped at extremities, a Martian language which they used with each other. with several marginal tears. $200 This appears to be the beginning of the figure of the Martian in Spicer’s work, which was closely related 50. Spicer, Jack. Book of Magazine Verse. to his concept of the poet as radio receiver – a guiding San Francisco: White Rabbit Press, 1970. metaphor in Spicer’s poetics. First edition. 8vo, letterpress printed and perfect Spicer’s unpublished poem “Midnight at Bareass bound in wraps. First edition, one of 1,500 copies. Beach” was written for Ryan. For more on the rela- A collection of poems submitted to magazines, tionship between Spicer and Ryan, see Kevin Killian here organized according to which magazine and Lewis Ellingham’s Poet, Be Like God. rejected them. The most brilliant aspect of the The diary sheets included here are all from later book design is that each of these sections is printed in Ryan’s life, from the 1970’s until shortly before on paper made to mimic the paper stock on which his death in 1994. each of the target publications was printed, so that The notebooks, however, date mostly from the here the Tish section is printed in blue. The cover 1950’s. They contain notes, addresses and men- is a parody of Poetry (Chicago) masthead, one of tions of fellow poets and artists, including Robert the magazines whose blinders are here displayed. Duncan, Jess, Allen Ginsberg, Robin Blaser, Tram Spicer had to know that many of these poems Combs, and Guy Wernham, which provide a had no chance of being published in their intended fragmentary and sometimes cryptic but fascinating publications, and the book design completes this look into the earliest days of the Beat Generation brilliant spirit of detournee. Unfortunately, the and the San Francisco Renaissance, especially the second edition, which followed later that year, gay poets and artists which were such an important didn’t preserve the various paper stock colors. part of it. White Rabbit Press Bibliography A33. Included among the poems are one which Near fine with some light rubbing to mentions a “Jack”, perhaps a reference to Spicer, extremities. $75 and also the beautiful poem printed above which mentions Jack Spicer specifically. Sold 51. Edward Marshall & William Heine. Transit Glory. 49. [Jack Spicer] Eugene de Thassy. Twelve New York: Carp & Whitefish, 1967. First Dead Geese. edition. Small printed folder portfolio with string New York: David McKay, 1961. First edition. enclosure, containing 15 illustrated cards.

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The first book published under the C & W Bob quoting Wiener’s fabulous accent – perhaps imprint, which was created by Irving Rosenthal as he rationalized the burn). in his New York days, and anticipating his later The only other example of the 12 presentation work in San Francisco with the Free Print Shop – copies we’ve seen didn’t have the burn mark, heir to the utopian projects of the Diggers and the which leads us to believe that the burn is likely Communication Company. Rosenthal planned to unique to this copy. distribute the book to poetry bookshops in town, “Two Years Later” begins with the lines “The but, daunted by the lack of interest, got a peddlar’s hollow eyes of shock remain / Electric Sockets license and resolved to sell the book on the street. burnt out in the skull”. I’ve always thought that However, the second book published under the im- these lines might refer to electroshock therapy, print, Whalen’s Invention of the Letter, consumed which Wieners experienced in the time between the Rosenthal’s remaining time in New York, and this publication of his first book and this, his second. beautifully conceived book largely disappeared. With the book in hand it is difficult not to Marshall was one of the most enigmatic poets imagine the scene as John opened the page to of the time. His work was admired by Olson the printed poem in order to copy it out in his and Ginsberg, who used it in his Naropa classes, hand, a cigarette dangling from his fingers – the and was influential at Black Mountain College. burn perhaps a mark of forgetfulness as his hands His legacy was obscured by a beautiful yet erratic became absorbed once again in the lines of the publishing history, such as with this book, and, poem. $1,500 perhaps, his enigmatic, parallel and subsequent career as an itinerant street preacher and pamphle- 53. John Wieners. Ace of Pentacles. teer. Recent attention to his work, especially New York: James A. Carr & Robert A. Wilson, the research of David Abel, will hopefully do 1964. First trade edition. 8vo, 72 pp, bound in something to correct this. $250 gilt-stamped blue cloth. Lacking the unprinted glassine jacket. With a wine label laid in. 52. John Wieners. Ace of Pentacles. This copy is inscribed by Wieners to Dave New York: James A. Carr & Robert A. Wilson, Haselwood on page 23, with the printed label 1964. First edition. 8vo, 72pp, printed on water- from a bottle of Paul Masson Rhine Castle wine marked paper and bound in leatherette stamped carefully removed and laid in. The inscription in gilt at the spine; yellow silk bookmark sewn in. occurs directly below the brief and enigmatic In the original unprinted glassine wrapper. One of poem “The Pool of Light” – 12 presentation copies, with a holograph poem “A shimmering fern leaf, 2 upraised em-/ blems bound in, signed by Wieners and both publishers. of gold / lift an instant, trem-/ blings revolved. / With a tls from Robert Wilson also laid in. O Switzerland, O Schon castle, o land across / the The manuscript page has the poem “Two Years Rhine.” Later” written out in Wiener’s hand and bound in. The label is bracked by embossed gold emblems This poem is the concluding poem of the book on above a pastoral view of the castle. We’d always page 71 of the printed text, and in this copy the been puzzled by this wistful but beautiful poem, lower right hand corner of the page is burnt away. but the presence of the label makes us think that The letter from Wilson is written “to certify the poem is a meditation on this label or one like it. that the small cigarette burn in the lower right Wieners wasn’t a stranger to Rhine castle wine. corner of page 71 of Ace of Pentacles is ‘Auhtorial’ In “Poet Be Like God,” by Kevin Killian and i.e. caused by John Wieners when signing the Lewis Ellingham, there is an account of “A Famous twelve presentation copies.” (The spelling of Evening”, as Kyger termed it, when Wieners Auhtorial is likely not a misspelling, but is probably introduced Kyger to Tom Field and Michael

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Rumaker, who taught them how to make a proper wraps; the wraps of no. 3 are silkscreened in color. martini of Rhine Castle wine and gin. All issues published of this early postwar little Haselwood printed Wiener’s first book, magazine devoted to poetry, prose, and art, and the Hotel Wentley Poems, so named because edited by Maclaine – who would go on to become Haselwood had loaned him his room at the Hotel one of the most important, if least acclaimed exper- Wentley where the book was written. A beauti- imental filmmakers of his time. ful association linking Wiener’s first and second With art and writing from fellow-filmmaker books, and one which illuminates one of the best Jordan Belson, Bern Porter, Jack Spicer, Robert poems in the book. Duncan, Philip Lamantia, Kenneth Rexroth, Near fine with a faint 2" area of staining to Kenneth Patchen, Denise Levertov, Charles Brittin, the front board (from Rhine castle wine, we hope). Cid Corman et al. A complete list of contributors Lacking the unprinted glassine jacket. $750 is available upon request. Very good to near fine, with previous owner’s 54. d. a. levy. ukanhavyrfuckincitibak bookmark inside front cover of no. 3, and some [wrapper title] D. A. LEVY: A TRIBUTE TO THE creasing to the yapped wraps of the final number. MAN AN ANTHOLOGY OF HIS POETRY. $750 Cleveland: Ghost Press, 1968. First edition. Thick 4to., stab-stapled and tape bound into wraps 56. Gerrit Lansing, ed. Set Nos. 1 – 2 (cover illustrated with a photograph of levy by rjs). [All Published]. Mimeographed, with six silkscreens by rjs Gloucester, MA: Gerrit Lansing, 1961 – 63. tipped-in. One of 1,000 copies. With a postcard First edition. 4to. Photo-offset printed and ALS concerning levy’s suicide laid in. saddle-stapled in wraps illustrated in color A mammoth collection of levy’s work, here by Harry Martin. collected and edited by rjs and published to raise In the first issue of Set the editor was clear money for levy’s legal defense fund during his about the lofty aims of the magazine, as he laid ongoing battle with the censors; levy would commit out in the poem manifesto in the first issue; suicide later in the year of publication.This copy “This magazine is about the poetic exploration significant for the inclusion of a mimeographed of the swarming possibilities (some occult, unused) postcard laid in, illustrated with a drawing of three in American life, urban & local (the rural is pigs entitled “We Like It Here!” signed “in plate” no longer available to poetry; to life?) here & by Ferguson – likely Steve Ferguson. The verso con- especially now.” tains a brief handwritten note addressed to “Steve” The particular genius of Set was the way in which states “d. a. shot himself with a 22 caliber which it sounds a resonance between disparate rifle thru the forehead. Suicide. Continuation lat- writers, just as the color red aligns and raises the er.” the note is signed “rj”, likely by rjs. rjs was the three letters of the title out from the jostling mass editor of this fundraiser for levy, and, along with of black lettering on the Harry Martin cover for Steve Ferguson, discovered levy’s body after his issue no. 1. Set included poets associated with the suicide. We don’t know who the “Steve” of the Bay Area Renaissance, the Boston Scene, the inscription is, but this copy came to light in New York School, and even one Fra Perdurabo – Canada. Very good. $500 aka Aleister Crowley. The first issue prints three excerpts from The Book of Lies. 55. Christopher Maclaine, d. Contour Copies of Set, when found, are usually battered Nos. 1 – 4 [Complete]. and heavily toned – we suspect it to have been one Berkeley: Contour, 1947 – 1949. 8vo, printed of those magazines that was actually heavily read by offset lithograph; each issue saddle-stapled in and passed from reader to reader. While we aren’t

74 f. usually ones to stress the condition of a magazine, was anecdotally printed on cast-off military target this set is remarkably sharp and bright. The finest paper. Though it had a preference for surrealist copies we expect to see. and political work, the magazine published a wide [Clay & Phillips, pp. 134 – 5]. $300 range of poets, including Raymond Carver, Anne Sexton, and Charles Simic. The variety of work 57. George Hitchcock, ed. Kayak and the incredible number of issues were united Nos. 1 – 64 [Complete]. by a unified graphic approach; each issue included Santa Cruz: Kayak, 1964 – 84. First edition. visual work, often in a surrealist vein, interspersed 8vo, saddle-stapled wraps. Illustrated. with found imagery by Hitchcock. “A kayak is not a galleon, ark, coracle or The magazine was as defiantly political as speedboat. It is a small watertight vessel operated its editor. Hitchcock attained notoriety for his by a single oarsman. It is submersible, has inspired performance given after being summoned sharply pointed ends, and is constructed of light to San Francisco for a hearing before the House poles and the skins of furry animals. It has never Un-American Activities Committee; when asked yet been successfully employed as a means of to state his profession, he stated “I am a gardener. mass transport.” I do underground work on plants.” A complete run of one of the most enduring and Most issues near fine to fine, with occasional idiosyncratic little magazines of the Mimeograph rusting to staples as often found, and a single page Revolution. Kayak was printed using a small print- ink notation to the cover of one issue. ing press which, in its previous life had been used to Scarce complete. $1,500 print menus on a cruise ship, and one of the issues

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76 g. Film—Chris Marker

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58. Jean Epstein. Bonjour Cinema. 60. Rayns, Tony, ed. Cinema Rising Paris: Editions de la Sirene, 1921. First edition. Nos. 1 – 3 [Complete]. 12mo, unpaginated. Printed wraps. London: Cinema Rising, 1972. First edition. The first edition of this work of film criticism Tabloid format, each issue offset printed on by the filmmaker and critic best remembered today newsprint with two color covers. Profusely for his film The Fall of the House of Usher. While illustrated in b/w. the importance of the text is widely acknowledged All issues published of this short-lived, excellent in the history of film criticism, the graphic design periodical devoted to underground film – the name of the book by Claude Delbanne – an art deco inspired by Kenneth Anger’s film Lucifer Rising, fantasia on film themes which occasionally verges which sets the tone for the superb content in all into concrete poetry – makes it one of the most issues, beginning with photographs of Kenneth visually striking film books ever published. Anger at work in the debut issue. The same issue Very good or better with a 1/2" closed tear to also includes an extensive interview with Antony paper covering the head of spine, which doesn’t Balch including numerous stills of William S. affect the soundness of the binding. $500 Burroughs in Towers Open Fire, and other collaborations between Balch, Burroughs and 59. Maya Deren. Divine Horsemen: Gysin, as well as material on his upcoming film The Living Gods of Haiti. Naked Lunch. There is lots of material related London: Thames & Hudson, 1953. First to Andy Warhol and the Factory throughout, edition. 8vo, 350 pp, bound in blue cloth stamped including news snippets, reviews of Warhol films in gilt. Illustrated with photographs, printed by at Cannes, and a cover of Joe Dellassandro, an photogravure, by the author and reproductions interview with Donald Cammell, illustrated with of vever drawings within the text. With a foreward stills from Performance, with fascinating material by Joseph Campbell, and published under his on the influence of Jorge Luis Borges on the editorship in the Myth and Man series. director’s work. Subsequent issues include The first edition of the filmmaker’s first full interviews with Jean-Luc Godard, François length book, a study of Voodoo in Haiti which Truffaut, and Mike Hodges, material on Hitchcock grew out of several visits, including a 9 month stay and Fellini, and many other news and articles. on a Guggenheim grant which she undertook in Fine. $300 1947 shortly after divorcing her second husband. Deren’s interest in Haiti link directly to her interest 61. Chris Marker. Commentaires. in the importance of ritual and depersonalization Paris: Editions du Seuil, 1961. First edition. she expressed in her first book, An Anagram of 8vo, unpaginated. Illustrated with b/w photo- Ideas on Film, and were certainly informed in graphs. With the original printed wraparound her capacity as Katherine Dunham’s personal band flattened and laid in. Briefly inscribed and secretary. Deren edited Dunham’s master thesis signed by Chris Marker at the title page. work on Haitian dance. In Haiti Deren not only The scarce first edition of this artists’ book recorded ceremonies, but also participated them, printed from maquettes designed by Marker and found a mirror which would influence her himself, which combines the spoken portion of subsequent films. several of his early films, matched with stills and Near fine, with a short nick to cloth at crown found images, and predates the release of La Jetée and some light rubbing to extremities, in a very the following year. The present work is one of good jacket unclipped dust jacket which is toned, the most brilliantly designed books of the early chipped shallowly at upper margins, and creased 1960’s, and would directly inspire Richard Hollis’ with a small abrasure at the spine. $300 design for John Berger’s Ways of Seeing a decade

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81 g. later, as Hollis described in a 2006 interview in painting Adam and Eve, nestled onto the glass The Eye: “The influence was Chris Marker’s book visor of a USIS photograph of an astronaut made Commentaires, which has stills set within the during the first moon landing. Marker also seems text. I was a fan of Marker’s films … you read you to have been responsible for creating an apocalyptic knew exactly what was being talked about. It was a standalone sequence of 24 appropriated or found substitute for description: instead of talking about images, divided into four sections – Violences, Qui something, you show the objective visual evidence.” Vivra, Pollution, and Mythologies, with some of Later reissued in 1967 with a companion the images credited to Archives Marker – a beau- volume in an altered design, and with Marker’s tiful montage which reads as a film, and which is design credit removed, both editions are very strongly reminiscent of his use of found imagery in scarce in the trade. This is the first example we’ve La Jetée. seen with the wraparound band intact, and the Near Fine. $45 first example of this book or any other that we’ve seen signed or inscribed by Marker, whose 63. [Chris Marker] Joseph Rovan. Germany. remarkable reticence from the public eye was a London: Edward Hulton, 1959. First perhaps essential part of his oeuvre. edition thus. 12mo, 192 pp, photographically A worn, good only example, heavily creased illustrated wraps. Translated into English by and toned at the spine, with some grubbiness to the Margaret Crosland. wraps and overopening between the inside of the The first English language edition of the book, front wrap and the text block, leading to an atten- which was originally published by Editions Seuil as uated hold of the front wrap to the text block, as the 7th book in the Petite Planète series, and is one well as a short tear at foot of spine, and some small of the volumes which was under the editorship of pinholes to upper margin of rear wrap and last few Chris Marker, who founded and directed the series leaves, but complete, and clean within. $1,000 for the first 19 titles. Marker also contributes 11 photographs to the book. 62. [Chris Marker] André Decouflé. L’an 2000: This was likely an important volume for Une Anti-Histoire de la fin du Monde. Marker in the series, as it was written by his close Paris: Gallimard, 1975. 12mo, 226 pp, trade friend Joseph Rovan, who was Marker’s employer paperback. at the Centre national de documentation de la A strange and beautiful work of time travel, culture populaire, and was also involved with written by the noted sociologist, historian of the Travail et Culture and Esprit, the magazine in Paris Commune, and “prospectiviste” Decouflé. which Marker published his first stories, poems Written in 1975, the book envisages what the year and travelogues. 2000 would be like. The vision of 2000 in the book Rovan spent his youth in Germany, and was turned out to be an alternate history, at least in this imprisoned at Dachua by the Nazis for his activities branch of history, and Decouflé’s disappointment in the Resistance. After the war he spent time in with how the year 2000 would deviate from his vi- French-occupied Germany engaged in educational sion lead to his gradual withdrawal from the public activities, part of an effort at postwar reconcilia- sphere and career as a “prospectiviste”. tion between the two nations. Marker sometimes This book is notable for in that there is another accompanied him on these trips, which he recount- book nestled within the asserted book, and that ed in an essay in Esprit. Rovan’s autobiography, book was written by Chris Marker, who at the Mémoires d’un Français qui se souvient d’avoir été colophon is credited with the photomontage on Allemand, contains some beautiful reminscences the cover – a striking image of a photograph by of Marker playing piano one of these German trips, Marker of a detail from Lucas Cranach the Elder’s and also sleeping on the table at the DOC offices

82 g. in the 50’s when he was young and had no place The first and only edition of this marvelous to sleep. Rovan’s book is an amazing work in its and humorous photobook by Varda, which, own right, and deserves a translation into English. with its mixture of found imagery, photographs, For more on the relationship between Rovan inventive layouts and humorous but affectionate and Marker, see Catherine Lupton’s Memories commentary has an affinity tone to her friend of the Future. Chris Marker’s Petite Plànete series, to which Very good. $75 Varda also occasionally contributed images. We also maintain an inventory of other books Most copies of this book had a very fragile in the series. binding, and are usually found with detached pages. This is a complete and intact copy, and 64. Agnes Varda. La Côte d’Azur. is scarce thus. Paris: Editions du Tempes, 1961. First edition. Near fine. $200 Oblong 8vo, unpaginated, bound in photograph- ically illustrated, lamined boards. Text in French. No dust jacket as issued.

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84 h. Art

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65. Ben Vautier, ed. Participations to the food for attendees. Each course has a different fel- Festival of Non Art – Anti Art – Truth Art – How low artist, poet or art critic listed as server, includ- to Change Art and Mankind – That took Place ing John Ashbery, Pierre Restany, Michel Ragon, from the 1st to the 15th of June 1969, in the World. Jean-Clarence Lambert, Alain Jouffroy, and Tony Np: 1969. 76 sheets, including the title page, Spiteris. In addition, there is a lengthy section of colophon, table of contents, and calendar of events, the menu that is a hommage to Raymond Hains call for submission sheets, and submissions to the with a Potage Lettriste on the menu, of course. project, offset printed, mostly on recto only with Rare, especially with the additional ephemera one exception. which we’ve not previously seen. The catalog documenting Vautier’s 1969 festi- Menu with an additional fold, else near fine. val, which attempts to make “a complete inventory Reservation card and beer ticket fine. Sold of all the actions, gestures, ideas, which will have taken place in the whole world from the 1st to the 67. Mass Moving. Traité de méthodologie 15th of May as part of the festival.” [from culturella à l’usage de la jeune génération : projet the prospectus]. Vautier invited artists and groups no. 60. who, “in their artistic activities seem to have Bruxelles: Mass Moving , 1972. First edition. always valued ideas and attitudes more than 4to, [116] pp,, perfect bound in wraps. Illustrated physical or commercial esthetical objetcs (sic).” with b/w reproductions. Text in French. With contributions from George Maciunas, First and only edition of this compendium of Ray Johnson, Olivier Mosset, Daniel Buren, actions and happenings by the Belgian art group, George Brecht, Pierre Restany, Walter Marchetti, whose public, ludic happenings and installations Juan Hidalgo, Henry Flynt, Lourdes Castro, drew attention to environmental themes. Includes Robert Filliou, and many others. A complete list numerous photographs and texts describing such of contributors is available by request. installations as the Hiroshima shadow projects, Contents fine. Folder near fine with light toning Ludic City, Ludus Pro Patria, etc. There is virtually and soiling, and some short tears at crown. no documentation in English on this group, which Despite a relatively large stated edition, quite is a shame, as they are one of the most sustained rare in both the trade and institutionally. OCLC and provocative art groups of the time. locates three holdings worldwide. This copy is Very good with some minor traces of soiling collated and complete against the table of contents, to wraps, and a light crease to the spine. $150 but has more sheets than reported in the MOMA copy, which notes 68 sheets. Sold 68. Mass Moving. Human Incubation. Brussels: Mass Moving, 1972. 25 x 33 1/4" 66. Daniel Spoerri. Restaurant de la Galerie poster, photographically illustrated on coated J. Menu [with] Reservation Card and Beer Ticket. stock, with titles and text silkscreened onto the Paris: Galerie J., 1963. First edition. 4to, single coated paper in two colors. sheet folded once, to 10 5/8 x 8 1/4", offset printed An oversized, and beautifully printed poster in blue. With a reservation card [5 1/4 x 8 1/4"], published as an announcement for an action on the and a Schwabenbräu promotional beer ticket 15th of December, 1972, at the Palais des Beaux [2 3/4 x 5 5/8", offset printed in two colors, with Arts in Brussels. The action was a natural progres- Restaurant Spoerri address rubberstamped in blue.] sion on their large scale butterfly project in Venice The menu as exhibition invitation created by earlier in 1972, but this time featured cocooned Daniel Spoerri for his 1963 happening at Galerie J., humans – a provocative action suggestive not only in which he created a restaurant on the occasion of of immobility, but potentiality. his exhibition of 732 cooking utensils and cooked Documentation issued by the group is

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88 h. exceedingly scarce, as the group famously burnt and Matricon’s “pour une mort synthétique”, much of their output upon their dissolution. and a text on Lettriste painting, etc. Reference: Leclercq and Devillez, pp. 119 – 120. Lightly bumped at the spines, with light page Some very light handling creases, but a bright, toning, though the pages remain supple, and remarkably well-preserved example. $450 a touch of rubbing to the extremities, otherwise a remarkably unfaded near fine example. 69. Isidore Isou et al. Ur. Cahiers pour un $500 dictat Culturel No. 1. Paris: Ur, 1950. First edition. 8vo, 181 pp, 70. Roth, Dieter and Arnulf Rainer. illustrated wraps (by Serge De Turville). Ratiobrief Nos. 1 – 3 [Complete]. With an unknown signature to the presentation Wien: Dieter Roth & Arnulf Rainer. 4to, page, perhaps that of ownership. mimeographed from typescript and holograph The debut issue of the periodical, issued the on rectos only, each number stapled once at the same year that Wolman, Lemaître and Serge Berna upper left hand corner. 3 + 5 + 22 pp. joined the movement, and one of the foundational All issues published of this collaborative artists’ documents of the movement. Three numbers of the periodical by Dieter Roth and Arnulf Rainer, which first series were published. 7 numbers of a second satirized the form of the form letter and bureacratic series were issued much later, in the 1960’s. processes. Though unstated, the periodical was A substantial statement, with CP-Matricon’s limited to 200 copies. Dobke 220. brilliant outlining of the position of the movement Staples rusted, with a couple spots of soiling; in relation to scandal and silence, graphic works near fine. Sold by Wolman, Dufrêne et al, Wolman, Brau

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90 i. Punk Zines

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71. Gary Panter et al. East Texas State Slash maintained a rigorous and consistent ap- University Presents the Infamous Lizard Cult. proach that remains a remarkable accomplishment [Commerce, TX]: Art Department, East Texas in the turbulent age in which it was published, and State University, 1973. First edition. 4to, [44] pp, the zine arguably had more of a visual impact on offset printed, saddle-staped in card wraps the look of US punk than any other zine. illustrated in color. The longevity of the zine was likely helped by The first and only edition of this student the vigor with which the magazine rejected the past publication of East Texas State University, printing and looked forward, exemplified by the manifesto underground cartoons by students, and notable editorial by Claude “Kickboy” Bessy, entitled for including ten pages of work by Gary Panter – “So This is War, Eh?”, which launches the first his first published work. With his art for Slash issue. “This publication was born out of curiousity (see below) and WET, and numerous record covers, and out of hope. Curiosity regarding what looks not to mention his graphic work for the Screamers, like a possible rebirth of true rebel music, hope Panter would do as much as any other artist to in its eventual victory over the bland products shape the aesthetic of American punk, not to professional pop stars have been feeding us. mention the second wave of underground comics May the punks set this rat-infested industry on and his set designs for Peewee Herman. His raw fire. It sure could use a little brightness!” aesthetic is already clearly defined here, an A clean, unusually well preserved near fine incredible four years before 1977. A cornerstone set, with a number of the issues having never been publication in any punk, zine, or underground folded. There is light overall expected toning to the comics collection. newsprint, some occasional faint, almost imper- Rare. OCLC locates only two holdings. Sold ceptible tidemarking to a few issues and a 1 1/2" closed tear to several leaves of Vol. 2, No.2, but 72. Steven Samiof & Melanie Nissen, Claude considering the fragile, uncoated newsprint which Bessy, & Philomena, eds. Slash [Complete]. the zine was printed on, a remarkable set. $4,000 Los Angeles: Slash, 1977-1980. Tabloid format, offset printed on newsprint with color 73. Holmstrom, John, ed. Punk [Complete]. covers. Includes all consecutive numbered issues New York: Punk Publications, 1976 – 79. from Vol. 1, No. 1 – Vol. 3, No. 5, as well as the 4to, first two issues in folded tabloid format, rare unnumbered first year anniversary issue, and and subsequent issues offset printed and saddle- the posthumous final issue included as an insert in stapled into cover wraps. Issues 1 – 8, 10 – 12, the September 1981 issue of New York Rocker. and 14 – 17 (Numbers 9 and 13 were not pub- A complete run of one of the longest running lished), the D.O.A. filmbook, issued as Punk and most influential first wave punk fanzines. Special #1, along with a poster for the film, Over the course of thirty issues Slash distinguished and the #0 issue which was published in the itself for excellent coverage, not just of the nascent February, 1977 issue of High Times. LA punk scene but also with plenty of news and A complete run of one of the influential punk interviews from elsewhere in the U. S. and abroad, and underground comics zine, which documented beginning with the iconic Dave Vanian portrait on the early days of the New York first wave punk the debut issue from May 1977. The stark cover scene. Holmstrom, known for illustrating the cover portrait, usually based on a photograph by Melanie of two Ramones records, was also later a car- Nissen, who did superb work as photo-editor, toonist for Mad Magazine. The first issue struck a became a trademark look for the zine’s covers. truculent tone early on with an infamous interview The zine also gave page space to early work by with Lou Reed in the first number partially drawn Gary Panter, including his infamous Jimbo comics. as a cartoon. Subsequent issues also included early

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95 i. cartoon work by Peter Bagge, Bobby London, independent music from abroad – and striking mix and others, and excellent photography by of imagery – the back cover even appropriates a Roberta Bayley. photograph from William Klein’s Life is Good and All issues near fine to fine, a remarkably Good for You in New York. well-preserved set. $3,000 The first issue contains interviews with Hate from Ignorance, show reviews including Iron 74. Woodell, Sarah, ed. Now What? #0 Cross at Janelle’s, DC scene news, and numerous [Complete]. intelligent and indepth reviews, which would be Washington DC: Now What?, 1981. 8 1/2 x a feature of every issue, including more obscure 11", offset printed in b/w. Stab-stapled. With a European acts. The second issue prints interiews couple of internal additions and deletions in blue with Double-O, Neighbor’s Children and Iron marker, which appear to be editorial and perhaps Cross. The foreward to the third issue warns that as issued. this might be the last due to lack of funds, and so First and only issue of this excellent early it was, but it is a great issue, printing interviews fanzine from the DC scene, distinguished for the with Minor Threat, Lucky Pierre, Second G, quality of the writing as well as the incredible Denmark’s Sort Sol, and the Raincoats. layouts and striking original photography through- All issues of the zine are scarce, and rare as out, beginning with the cover image of a quizzical a complete run. Nick Cave. On the short list of our favorite early Slight and dissipating smell of mustiness, fanzines of that era, and a crime that there are no ownership signature of a fellow fanzine editor further issues. written neatly in red ink to the cover of each Live reviews with original photography issue. Very good. $750 throughout, and interviews with Government Issue, Scars, Bad Brains, and part one of a great 76. Mike Ross & Stafford Mather, Bob Davis, interview with Siouxsie & The Banshees, with a eds. Brand New Age 1 – 2 [Complete]. teaser that the next issue will feature photographs Arlington, VA: Brand New Age, 1983. 4to, of the band at the Holiday Inn. I guess we’ll never xeroxed in b/w and stab-stapled. know. $200 All issues published of this short-lived but excellent D.C. hardcore punk fanzine, which was 75. Cheslow, Sharon & Colin Sears. originally supposed to be titled D.C. Riot, and If This Goes On Nos. 1 – 3 [Complete]. which was published by three teenagers from H-B Bethesda, MD: If This Goes On, 1982 – 83. Woodlawn. Ross would die in 1987 in a fall from 8 1/2 x 11", xeroxed in b/w and stab-stapled. the Williamsburg Bridge in New York City. The All issues published of this early DC area punk archive for the zine is now part of the D.C. Punk and music fanzine, co-edited by the artist Sharon Archive at the D. C. Public Library, as described in Cheslow, who was a founding member of DC’s first a Washington Post article from September 16, 2015. all-female punk band, Chalk Circle, which was Brand New Age published the greatest Minor deeply influential of the Riot Grrrrl movement, Threat interview ever put to paper. The following and has had a long subsequent career as an artist is an excerpt of the band’s to the responses to the working with sound and other mediums – and question “How long do you plan to stay together?” Colin Sears, of Bloody Mannequin Orchestra. “Lyle Preslar: There’s not a plan on that. If This Goes On was distinguished for its intel- Ian MacKaye: Eventually someone’s going ligent and wide-ranging articles and reviews – some to want to go. of the most informed and intelligent album reviews Jeff Nelson: Our fights will become of any fanzine of the era, including of more obscure physical someday.”

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Other interviews include the F. U.’s and Black to be assembled. Flag in the first issue, and Government Issue, A fine set showing only light handling creases Hüsker Dü, and Circle Jerks in the second. and some faint toning. Some light creasing and indenting, particularly $2,000 to the second issue; previous owner’s signature (of a fellow zine editor) to the first, else near fine. 78. Tony Lombardi & Steve Kiviat, Sue $450 German, Elliot Klayman, eds.. XXX Thrillseeker Nos. 1 – 3 [Complete]. 77. Barbara Ann Rice, ed. Truly Needy Bowie, MD: XXX Thrillseeker, 1982 – 84. Nos. 1-10 [Complete, with Poster]. 4to, first two numbers offset printed and stab- Rockville, MD: Truly Needy, 1982 – 85. stapled; final issue offset printed on newsprint 8 1/2 x 11". First two issues xeroxed from type- and saddle-stapled. 56, 64, 72 pp. [incl. covers]. script, cut-up collage, drawings and holograph All issues published of this dense, indepth on both recto and verso and stab-stapled. Issues DC punk fanzine, with numerous interviews of 3 – 6 offset printed and stab-stapled. Subsequent local and visiting acts, reviews both of shows issues saddle-stapled. With a flyer for a 1984 and records, and much local information that benefit show for the zine (8 1/2 x 11", xeroxed make it an essential reference to the early days from cut-up collage). of the hardcore scene in DC. All issues published of this dense and longrun- First issue slightly musty, with several small ning zine out of DC which began with the Reagan stains to back cover that penetrate to the last couple years (the zine appears to be named after a line pages; second issue with a fellow fanzine editor’s in Reagan’s inauguration speech that year, which name written neatly to cover; final newsprint usual was described in the first number). One of the best toned, as usual. Very good. $750 resources from the D.C. punk scene, with extensive reviews and articles on local and visiting acts, and 79. Sab Grey, ed. The Skin Flint Nos. 1 – 3 also film reviews, and political material, and ads [Complete]. for local record shops. Not only limited to punk Washington DC: Skin Flint, 1982. 8 1/2 x 11", music, there is also coverage of new wave, industri- each issue xeroxed on rectos only. 8 + 10 + 5 pp. al, and goth acts (there’s even a rare early American [incl. covers]. Stab-stapled. interview with Sisters of Mercy in issue 8.) The All three issues of this rare DC fanzine edited sheer amount of interviews is staggering, including by Sab Grey, the singer for Iron Cross – one of with Gang of Four, Alan Vega, Section 25, Jello the first Oi! bands in North America, whose early Biafra, Psychodrama, Fear, Gun Club, Tin Huey, members were drawn from the D.C. Skins scene. Urban Verbs, Velvet Monkeys, Keith Levene, Nico, The band had close ties to the hardcore community Nuclear Crayons, No Trend, Government Issue, in DC, with Grey being one of the original tenants Social Suicide, Dream Syndicate, Scream, Static of the Dischord House. Distruptors, Marginal Man, The Fall, T. S. O. L, Lots of coverage of the UK scene, but also local The Birthday Party, Henry Rollins, Minor Threat, reviews of early DC shows including Bad Brains, Media Disease, Flipper, Hüsker Dü, Meat Puppets, SS Decontrol, Government Issue, Flipper, and Leslie Singer, Einsturzende Neubauten, Clay others. The final issue prints an interview with Allison, Nick Cave, The Minutemen, Big Black, Black Market Baby. Also included are comics in Rites of Spring, and more. each issue about the D.C. scene. Later issues, which were more widely distribut- Rare individually, exceedingly so complete. ed, are not rare, but the early issues are extremely Some scattered faint staining, and rusting to difficult. This is the only run we’ve handled or seen the staples of no. 1. $850

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80. Straight Edge. Straight Edge 82. Jon Hope, ed. Skid Nos. 1 – 6 [Complete]. Nos. 1 – 2 [Complete]. Oconomowoc, WI [1 – 5] then Buford, GA: Hicksville, NY, then Brooklyn, NY: Straight Skid, 1981 – 4. 8 1/2 x 11", photocopied on both Edge, 1982. 8 1/2 x 11", unpaginated, offset rectos and versos and stapled once at the upper left printed, each issue stab-stapled into a card cover. hand corner, with the exception of nos. 4 and 5, All issues published of this punk zine covering which are loose leaves laid into folded wraps. not just the New York and east coast hardcore With hand-coloring to the cover of no. 1, likely scenes, but also international hardcore and news as issued. Final issue addressed and mailed with from elswhere in the US. The first issue prints a postmark in the year of publication. interviews with DC’s Double-O, the Misfits, and Complete run of this teenage zine out of New York’s Misguided as well as an article on Wisconson. Lots of reviews, New York scene report the hardcore scenes in Finland and Sweden, scene by Lyle Hysen of Damaged Goods in no. 2, inter- reports from DC, Boston, LA, and the midwest, views with James Chance, The Kingdom the Power and plenty of photographs throughout. The second the Glory, Bad Brains, Gun Club, Flower Children, issue, after a move to Ocean Park, Brooklyn, The Beat, Secret Hate, and the Scapegoats. features an original cover illustration by Pushead, Rare complete. This being the first set we’ve an interview with John Crawford, the underground seen assembled. cartoonist who drew the Baboon Dooley strip, Near fine with some light handling creases whose work also appears in both issues of the zine, and toning. $850 and interviews with Scream, Circle Jerks, the U.K’s Discharge, Finland’s Rattus, and Charlie. 83. Tony Steel & James Stark, Jane Who, Near fine with some moderate toning to the Selan et al. No Exit: Fanzine for the Other Wave first issue. $250 Nos. 1 – 2. [Complete]. San Francisco: No Exit, 1977. 8 1/2 x 11", 81. Jocko Weyland, ed.]. Revenge Against each issue offset printed on rectos only from cut-up Boredom Nos. 1 – 5 [Complete]. collage, typescript, holograph, and photographs, Estes Park, CO [1 – 4] then Honolulu, Hawaii and stapled once at the upper left hand corner [5]: Revenge Against Boredom, 1983 – 84. All issues (with original staple missing to no. 1). Second issue 8 1/2 x 11". First issue photocopied on rectos only, with original 80 cents price sticker from Aquarius and subsequent issues photocopied on both recto Records to cover. and verso and stapled once at the upper left hand Both issues published of this rare, very corner; final issue stab-stapled. 3 + 4 + 6 + 8 + 8 pp. early first wave punk fanzine from San Francisco [incl. covers]. With holograph ink credit addition “dealing with exclusively New Wave Music, to the cover of no. 2, likely editorial and as issued. People, and Fashion”. Legendary punk photogra- Complete run of this skateboarding and punk pher James Stark was the house photographer fanzine created by a teenage Jocko Weyland, for the magazine, and his photographs are who later went on to create Elk Magazine. Lots complimented throughout with an excellent, of great photographs of Colorado skaters, inter- severe design by Selan Hall. views with White Trash, Frantix, Subhumans, Jane Who was the fashion editor, and the first and the Fallout. issue includes a fashion page of photographs, with Some light toning and handling creases, some of the models wearing clothes and accessories and a bit of rusting to the staples, else fine. from Diamond Lil’s. That issue also includes Rare individually and complete, this the first interviews with Novak and Johnny Strike of Crime, run of the zine we’ve seen assembled. $850 and even a couple of stills from the NBC weekend show on the UK punk scene.

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The second issue prints interviews with the The Circulating Library is an anonymous art Avengers, Penelope Houston, and the Nuns, all group which publishes public works. According accompanied by original original photographs to the group, 100 copies of this poster were made, by Stark, and live reviews of Zeros and Weirdos. with half of the total number wheatpasted around The first issue is very scarce, the second issue town, and 25 copies sent through the mail. is rare. This is the only copy we’ve handled or seen The remaining 25, unposted copies were given in the past 12 years. to DL to sell on their behalf to cover printing costs First issue with original staple removed; some of the Circulating Library No. 3. $10 slight toning, else fine. Second issue fine. $850 85. The Circulating Library. I Walk Here 84. The Circulating Library. Untitled Poster Sometimes Too. [We Demand the Release of the Lost Rivers of [Portland]: The Circulating Library, 2016. Portland … ]. 3 1/2 x 7 1/2" card, offset printed in blue on [Portland, OR]: The Circulating Library, both recto and verso. One of approximately [2016]. 12 x 18 1/4" poster, text silkscreened in 1,000 copies. gray ink, with holograph addition (the word “city” The verso contains the request “please post”. handwritten as the penultimate word). Published The postcards were distributed in public locations as the Circulating Library No. 2. in cities by around the world in late 2016. $1

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105 Bibliography

106 Blauvelt, Andrew et al. Hippie Modernism: Silva, João. Entertaining Lisbon: Music, Theater, The Struggle for Utopia. Minneapolis: Walker & Modern Life in the Late 19th Century. Oxford: Art Center, 2016. Oxford University Press, 2016.

Bosséno Christian-Marc. La place du spectateur. Vernon, Paul. A History of the Portuguese Fado. In: Vingtième Siècle, revue d’histoire, n°46, Aldershot: Ashgate, 1998. avril-juin 1995. Cinéma, le temps de l’histoire. pp. 143 – 154. von Olenhusen, Albrecht Götz. Der Wreg om Manuscript zum Gedruckten Text ist Länger, Brodersen, Momme. Walter Benjamin: Eine als er Bisher je Gewesen Ist. Libelle, 1998. Kommentierte Bibliographie. Cicero Press, 1995. Vuillemin, Alain. Informatique et po´esie. Revue Davey, Eleanor. Idealism Beyond Borders: de l’EPI (Enseignement Public et Informatique). The French Revolutionary Left and the Rise of EPI, 1995, pp.175 – 179. . Cambridge University Press, 2015.

Faber, Richard und Christine Holste. Der Potsdamer Forte-Kreis (1910-1915): Eine utopische Intellektuellenassoziation zur europäischen Friedenssicherung. Königshausen u. Neumann, 2001.

Leclercq and Devillez, Mass Moving: Un Aspect de l’Art Contemporain en Belgique. Brussels: Dexia, 2004.

McCole, John Joseph. Walter Benjamin and the Antinomies of Tradition. Ithaca: Cornell University Press, 1993.

Natsoulas, John. The Beat Generation: Galleries & Beyond. Joun Natsoulas Press, 2010.

Pörtner, Paul. The Writers’ Revolution: Munich 1918 – 19. in Journal of Contemporary History Vol. 3, No. 4, 1918 – 19: From War to Peace (Oct., 1968), pp. 137 – 15

Scholem, Gershom & Theodor W. Adorno, eds. The Correspondence of Walter Benjamin, 1910 – 1950. Chicago: University of Chicago Press, 1994.

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