DIVIDING LINE BOOKS Catalog No. 5: Artists’ Books

April 2021 Inquiries: [email protected] Full terms at rear 1. Libro Illeggibile N.Y. 1 by Bruno Munari 1967

One of the world’s most iconic artist’s books, by the legendary Italian designer.

The best-known iteration of Munari’s “unreadable” artist’s books, published in an edition of 2,000 copies by The Museum of Modern Art in 1967. This copy hand- numbered No. 1,756 at base of final leaf.

Saddle-stapled in black wraps and laminated red jacket. A very good copy, whose vellum leaves show off-setting from the printed black circles and moderate toning around the edges. Jacket has a diagonal crease to the front bottom flap and some incidental laminate lifting along hinges. Quite attractive.

$500— 2. 3. FIRSTHAND ROOMS P.S. 1: June 9-26, 1976 by Cecile Abish edited by Stephen Alexander and Eugenie Diserio 1978 1977

A visual treatise on perception and the Exhibition catalogue for the first show at the Long multiplicities contained within an ostensibly Island City contemporary art space now known as singular image. MoMA PS1.

An artist’s book consisting of jigsaw-like permutations Black-and-white photographs of the site-specific works, with on two photographs of a building in New Jersey. notes and comments by the seventy-eight artists at rear. With Published in conjunction with Abish’s 1978 sculptural a brief statement by curator and P.S. 1 executive director installation at Wright State University. Alanna Heiss at front, and another at rear by program director Linda Blumberg. Artists represented include Vito Acconci, John Dayton, OH: Fine Arts Gallery, Inc., 1978. Saddle- Baldessari, Jennifer Bartlett, Peter Downsbrough, Suzanne Harris, stapled in printed black-and-white wraps. Square octavo Joseph Kosuth, Gordon Matta-Clark, Bruce Nauman, Nam June (8 x 8 in.); unpaginated (~40pp.). This copy inscribed Paik, Judith Shea, Susan Weil, and others. on the title page by William Spurlock, then-director of the Fine Arts Gallery at Wright State University, who NY: The Institute for Art and Urban Resources, 1977. Perfect- also contributed a brief introduction. With an essay by bound in wraps; 10.5 x 10 in.; 127pp. First edition. Near fine Abish’s husband Walter. condition, with two white surface abrasions to the front cover, and some quite minor rippling to the front fore-edge. A nice copy. $75— $175— 4. HOUSESCAPES by Laurel Beckman 1982 5.

A handsomely conceived artist’s book sugges- ROLYWHOLYOVER: A CIRCUS tive of the ways in which narrative and desire By John Cage overlay the more prosaic aspects of contem- 1993 porary housing.

Los Angeles: Helix Press, 1982. Edition of 100. Spiral- bound with wire; 9 x 7 in. ; unpaginated. Four sets of briefly captioned images offset printed in color and black-and-white on vellum and paper, respectively.

$100—

A treasure trove of materials by, about, and important to the American avant-garde composer, issued in conjunction with a museum tour of his last major work.

Includes plates and pamphlets of Cage’s own work, along with reprints of texts and visual works which were meaningful to him and scholarly essays about his work by Anne d’Harnoncourt, Laura Kuhn, John Rellack, and others. Published as an independent component of the exhibit of the same name, conceived by Cage as a “composition for museum,” which premiered at The Museum of Contemporary Art in Los Angeles in September 1993.

Los Angeles / New York: The Museum of Contemporary Art / Rizzoli International Publications, 1993. Edited by Russell Ferguson. Designed by Catherine Lorenz. Mirrored metal box, 11.5 x 10 in., containing several dozen printed materials in various formats. Moderate scuffing to the box. Contents mostly fine, with some light toning to some of the translucent paper and a few minor creases here and there.

$100— 6. Small archive of materials by the Italian Neo-Dadaist Guglielmo Achille Cavellini 1972–1981

Cavellini (1914–1990) was an Italian collector and artist best known for the program of “self-historification” that he began in the 1970s as a way to insert himself in the canon of modern art. The work took many forms—performance, mail art, autobiography, Neo- Dada provocations—always countering its absurd premise with an unwaveringly earnest approach. The materials in this archive, which comes from the collection of American mail artist David Greenberger, are all exemplary of this “autostoricizzazione” phase of Cavellini’s output. Contents as follows.

Four stickers, including Cavellini’s iconic 1914–2014 design and “Informazione,” a diagram of modern artists as cuts of beef; one 10 x 8 in. color photograph of Cavellini wearing his autobiography coat and holding a metal postage box; seven postcards, including one duplicate card bearing a handwritten note from Cavellini in which he asks Greenberger (unnamed) how many stickers he wants “for the Boston performance.” Dated Jan. 31, 1980 and signed “gac.”

7 Autoritratti di Cavellini. One color plate, else black-and-white images of Cavellini’s postage stamp self-portraits, published in conjunction with an exhibition at the galleria d’arte in Pesaro, Italy. Milan, 1972. Saddle-stapled in wraps; 8 x 8 in.; unpaginated (~20pp.). Light foxing to wraps and occasionally to interior. Laid in is a small printed card apologizing to anyone who has received more than one copy: “I don’t have the time to reorganize my mailing list.”

1946–1976: In the Jungle of Art. Cavellini’s stream-of-consciousness memoirs, a single run-on sentence printed in columns and here translated into the English by Henry Martin. Johann Gutenberg Editor, [circa 1979]. Signature-bound in white printed wraps; 11.5 x 8.25 in.; 86pp. Laid in is a 4.5 x 3.5 in. card offering to send additional copies on request. Lightly bumped at top corner, with some foxing to the wraps. In its original cardboard mailer, addressed to Greenberger.

L’altro Panorama, a supplement included with Panorama magazine no. 782, published April 13, 1981. Includes a one page profile of Cavellini, “L’utopia è uno spettacolo quotidiano,” by Tommaso Trini. Unbound, 16.5 11.25 in., folded once. Very good, rubbed along hinges. Text in Italian. Laid in is a reproduced three-page English-language translation of the article.

Sold— 7. DIVIDE DENMARK by Knud Pedersen, Eric Andersen, Robert Filliou, and Pino Paschali

A folder of unbound works by four members of the international Fluxus movement, apparently as organized by Danish artist and organizer Knud Pedersen (1925–2014).

Eric Andersen’s “Decision-Set” consists of nine sheets of transparent paper printed in black text (English language), along with a title page instructing readers to combine the sheets until reaching “any relevant statement” on a chosen topic. Robert Filliou’s “Exchange of War Memorials,” repeats on a single sheet the brief text of a speech delivered at the Copenhagen Museum for Modern Art, January 2, 1971. Pino Paschali’s “Sale of Ground 1 D. Kr. Cheaper Pr. Square Metre with Every Transaction,” is a single-sheet “advertisement” for a one square meter parcel of land, sold with the stipulation that the price be lowered for each subsequent sale.

Knud Pedersen’s “Medium” contains instructions for a telephone-based project where callers could leave and/or listen to recorded messages. He also contributed four sheets with various 8. images/text, all of which contain the phrase “part of poster for wall- GEM DUCK mounting” in either English of Danish. by Alison Knowles Three of the four sheets are printed 1977 on sticker sheets (as is, perhaps mistakenly, the Paschali sheet). Signed

[Copenhagen]: Vintens Forlag Og Artist’s book on the theme of shoes by one Kunstbiblioteket, [1972]. Seventeen of the founding members of Fluxus. loose sheets in printed white folder, 11.75 x 8.25 in.The good condition Signed, dated, and briefly inscribed by Knowles on the folder shows moderate toning and half-title. foxing, with a three-inch split to the bottom rear corner and a short split Cavriago: Edizioni Pari & Dispari, 1977. Signature-bound in at base of spine. Contents are very printed wraps; 8.75 x 6.5 in.; unpaginated (~130pp.). Offset good, with occasional light perimeter in silver-grey ink on glossy paperstock. From an edition of toning and a few instances of foxing. 1,000. Condition: very good, with some bumping at head An uncommon artifact of the Danish of spine, light soiling and perimeter wear to wraps. Fluxus scene. $200— $225— 9. HOMAGE TO CAVAFY by Duane Michals 1978 Signed

Photos by the American photographer accompa- nying poems by the 20th century Greek poet.

From the collection of the late San Francisco artist and graphic designer Richard Zybert (1947–2017), to whom Michals has inscribed and signed the title-page: “For Richard, OK!”

Ten captioned photographs by Michals and ten poems by Cavafy, with Michals’ contribution intended not as illustra- tions of Cavafy’s work but as “separate and sympathetic” explorations on the theme of gay love.

Danbury, NH: Addison House, 1978. First trade edition (as distinct from the limited slipcased edition). Signature-bound in glossy white wraps, in printed parchment jacket. 8.25 x 6 in. 10. Unpaginated (~43pp.) Jacket shows the usual slightly uneven darkening, else a fine copy. SLEEP AND DREAM by Duane Michals $100— 1984 Signed

NY: Lustrum Press, 1984. Perfect-bound in glossy printed wraps. 8.25 x 6 in. 64pp. Signed and inscribed by Michals, “For Richard, wake up!” on the title page. Poems and black-and-white photos by Michals. From the collection of the late San Francisco artist and graphic designer Richard Zybert (1947–2017).

$60— Two scarce self-published works by Davi Det Hompson (1939–1996), an artist variously associated with Fluxus, concrete poetry, mail art, and other avant-garde movements of the 20th century.

11. 12. “Understand. This is only I asked a usually talkative temporary.” friend why she was so quiet. She finished her punch before Eight brief, cryptic quotations, printed in enlarged text on rectos only. Emphasis on the plainness and admitting, “I’m afraid you’ll strangeness of language shorn of context. Notes of put everything I say into your ironic self-referentiality as well (“Fortunately I was right there.”), particularly in the title’s winking allu- next exhibition.” sion to the ephemerality of both the artistic gesture Fifteen sardonic anecdotes, one per page, all dealing and the production itself. with various characters’ reactions to “my writings,” “my work,” etc.: ‘Placing his hand flat against the wall Richmond, Virginia: Davi Det Hompson. Undated, a student called to me and said, “This is it. This is although Clive Phillipot ascribes this phase of what your pieces are doing.”’ Hompson’s book production specifically to the years 1976-77 (“Some Contemporary Artists and Their Books,” in Artists’ Books: A Critical Anthology and Richmond, Virginia: Davi Det Hompson, circa 1976– Sourcebook, ed. Joan Lyons, 120). Saddle-stapled in 77. Saddle-stapled in white paper wraps; 8.5 x 5.5 white paper wraps; 8.5 x 5.5 in.; unpaginated (16pp., in.; unpaginated (16pp., including covers). Very good including covers). Very good condition, with some condition, some brown dampstains along top edge, light toning and foxing, esp. at the top of spine. primarily at the spine corner.

$175— $175— 13. CALIFORNIA WHITE WALLS by George Miller 1974 Signed

Ten photographs of white walls in Los Angeles paired with fictional vignettes, wry and oblique.

A simply yet artfully conceived and executed artist’s book, whose brief stories point to emotional states in the same way that the photos point to specific locations: evoking but failing to actually name them.

Self-published, 1974. Saddle-stapled in printed white wraps; 7 x 5.5 in.; unpaginated (~24pp.). Signed by Miller below artist’s statement at front. Light toning to edges, some oxidation to 14. staples, else about near fine. Uncommon.

Sold— YOUNG TURKS by Stephen Seemayer 1981 Signed

A unique, multiply signed document of the early downtown Los Angeles art scene.

An artist’s book, profusely illustrated in black-and-white, presenting the “documentation, notes, and shooting script” for Seemayer’s film of the same name, which was screened once in 1981 and then not again until its restoration in 2013, and which captured the principal figures of the incipient downtown scene at a pivotal moment in Los Angeles arts history.

This copy from the collection of California artist Sabato Fiorello (d. 2017). Signed and inscribed to him, at various points throughout the book, by Seemayer and at least eight of the profiled artists, including publisher Linda Burnham, Andy Wilf and The Dark Bob, Marc Kreisel, Woods Davy, Monique Safford (?), John Schroeder, and Edie Ellis.

Los Angeles: Astro Artz, 1981. Perfect-bound in wraps; 186pp.; 10 x 8 in. Illustrated with 400 photographs from the film and additional records. Condition: about near fine, with some minor rubbing along the spine hinges and a crease to the bottom corner of the rear cover.

$425— 15. 16. TWENTY EIGHT DAYS ART IN EVERYDAY LIFE by Mary Fish by Linda Montano 1975 1981 Signed Signed

Record of a feminist ritual allusive of moon, A monographic overview of the early career of the menstrual, and mythological cycles. influential American performance artist.

Artist’s book documenting a performance which Fish Documents Montano’s work from 1964 to 1980, with each conducted for twenty eight consecutive days from piece explained in text on the verso and illustrated with a single March 11 through April 7, 1975 at Beach Road and black-and-white photograph on the recto. The second half of Doheny State Beaches in Capistrano Beach, California. the book consists of autobiographic writings, interviews, and The activity involved placing stones inside of a circle other materials related to Montano’s art and life. drawn in the sand according to a methodology based on the waxing and waning of the moon. Los Angeles: Astro Artz, 1981. Perfect-bound in wraps. 10 x 7 in. Unpaginated (~150pp.). Signed and inscribed by Montano on the The rectos reproduce Fish’s meticulously title page: “Blessed Art / Life / Love.” Some rubbing to the rear hand-drawn illustrations of the stones’ layout cover, else about fine. A nice copy of this book by the important for each day, along with diagrams of the American performance artist. moon phases, tide charts, number sequences, and handwritten or typed text on a variety $150— of subjects. The versos contain semi-poetic musings on subjects related to each day’s activity: gender, astrology, mathematics, mythological and world-historical traditions. A focused and impressively crafted work of feminist art.

Self-published, 1975. Perfect-bound in wraps; unpaginated (~60pp.); 11 x 8.5 in. Inscribed by Fish on the title page. Eight copies located in OCLC, including MoMA and the Joan Flasch Artists’ Book Collection at The Art Institute of Chicago.

Sold— 17. NOTEBOOK ON WATER 1965–66 by Joseph Kosuth 1970

One of the foundational works of Conceptual art, an investigation into the idea-content of water.

NY: Multiples, Inc., 1970. First edition. Originally included in the now-legendary “Artists & Photographs” box, published by Marian Goodman’s Multiples, Inc. in an edition of 1200. Fifteen loose sheets housed in a 12 x 9.5 in. manila envelope, rubber-stamped with title on top front corner. Contents include an introduction sheet featuring statements by Ad Reinhardt and Donald Judd, nine 11 x 9 in. plates of enlarged white-on-black dictionary entries pertaining to various forms of water, an 11 x 9 in. photographic print of a steam radiator, a folded world map (unfolded size: 21.5 x 14 in.), and three facsimile manuscripts of varying sizes. Folder lightly bumped and toned. Contents fine.

Sold— “USUALLY YOU COME OUT WITH STUFF ON YOU WHEN YOU’VE BEEN IN THEIR THOUGHTS OR BODIES.”

18. EATING FRIENDS by Jenny Holzer and Peter Nadin 1981

Cryptic, often somewhat ominous sentences by Holzer, with illustrations of abstractly rendered body parts by Nadin. The same body of work formed the basis of Holzer and Nadin’s 1982 “Eating Friends” installation at Artists Space in New York.

Buffalo, NY: Hallwalls / Top Stories, 1981. Saddle-stapled in printed wraps. 8.5 x 5.5 in. Unpaginated (~20pp.). Printed in metallic copper ink. A very good (+) copy, with light toning near the spine, some minor creasing and wear. No. 7 in Anne Turyn’s serial publication of experimental prose and art, Top Stories.

$200— 19. 20. PER UNA ESPRESSIONE NUOVA / TOWARDS WOMAN RISING NEW EXPRESSION by Mary Beth Edelson by Suzanne Santoro 1975 1979 A scarce early publication from this important first gen- Signed eration feminist artist.

A fiercely feminist take on sexual representation in the Western art tradition. A monographic artist’s book documenting Edelson’s feminist per- formance and installation works from the early 1970s, including the Santoro’s artist’s book articulates titular “Woman Rising” series. Illustrated throughout in black-and- through a series of black-and- white, with statements by Edelson and others. white images a critical stance towards the “subordinate Self-published, 1975. 23pp. Saddle-stapled in printed wraps. Stapled and unclarified” portrayal of to the inside rear cover is a one-page offprint of a Susan Sollins re- women’s genitalia in art from view of Edelson’s Woman Rising Series, published in Art in America in classical to contemporary times. March 1975. Just six holdings located in OCLC. An important feminist statement that generated international Sold— controversy when it was censored by The Institute of Contemporary Arts in London.

Self-published, 1979. Second edition (following the 1974 first). Signed, dated, and inscribed by Santoro on the title page. Signature-bound in printed write wraps; 8 x 6 in.; unpaginated (~40pp.). Laid-in is a single folded sheet reproducing the slightly longer introductory text from the first edition. Very near fine, with only some light softening/curling at corners. Relatively scarce in institutional holdings; even more uncommon in the trade.

$175— 21. NUMBER by Joe Messinger 1973 Signed

An artist’s book of vibrant silk-screen prints, issued in an edition of just 20 copies.

Ten prints of everyday objects containing numbers, arranged sequentially from one to ten, with each image using a unique two-, three- or four-color combination. A lovely production, whose decidedly Pop sensibilities are elevated by careful composition and a tightly registered technical execution.

Our efforts to turn up any concrete information about Messinger have proved largely fruitless, though glancing references suggest he was quite active in the Los Angeles art scene of the 1970s and 80 (and beyond). This copy from the collection of the late California artist Sabato Fiorello (d. 2017), with his ownership mark blind-embossed on the front leaf.

Self-published, 1973. No. 7 in an edition of 20. Signed, dated, and numbered on the interior rear board. Plastic spiral spine, plain off-white boards, 7 x 7 in. Prints interleaved with vellum; one leaf of text at front containing a dictionary definition of “number” and a brief artist’s statement. Some quite minor damage to the plastic comb, else fine, in lightly rubbed boards.

$500— 22. 23. 24. CAVEAT EMPTOR ACTUAL SIZE NO. 1 SIRQWORK by Blaise Tobia edited by Frank Cole, Erika Suderburg, and Cynthia Zimmerman [by Frank Ferguson] 1982 1982 1981

An artist’s book exploring the threat of nuclear war through Zine featuring line drawings, xerox art, and brief prose works Ronald Reagan Rearranged a simple yet compelling conceit. with strong punk and DIY vibes. Cut-up permutations of a photograph of Ronald Reagan, by the prolific Apparently the only issue of this zine ever produced. From an edition of Text from the N.Y. State Civil Defense Warden’s Manual (ca. 1952) paired mail artist Frank Ferguson (1947–2020). Working mostly under his 600 copies. With laid-in folded “submissions” postcard. with photographs from the 1981 Michigan State Fair. Subtitled: on the Sirqworks moniker, Ferguson blended sophisticated aesthetic sensibilities past(?) wisdom of the U.S. Government concerning Nuclear War. and an irreverent sense of humor with DIY production techniques. La Jolla, CA: Actual Size, 1982. Saddle-stapled, 6.5 x 4.25 in., 27pp. Fold- Though he enjoyed a prodigious output, his work is largely unrepresented out centerfold. Scarce; OCLC locates just a single copy, at the University institutionally, and is quite scarce in the trade. Oberlin, OH: The Local Paper, 1982. Saddle-stapled in paper wraps; 11 x 7.5 in. of California, San Diego. From the collection of American mail artist David unpaginated (20pp., including covers). Uncommon; only five holdings located Greenberger; addressed to him on rear cover. in OCLC, including MOMA and the Joan Flasch Artists’ Book Collection at [Billings, MT]: Self-published, 1981. Side-stapled, 5 x 4 in., unpaginated (28pp.). Printed on rectos only. Two small waterspots on front cover, else fine. The Art Institude of Chicago. $50—

$50— $60— 26. ANIMALS: DRAWINGS AND PHOTOGRAPHS by Fred Escher 1978 Signed

The specter of death reanimated with bathos.

In Escher’s Animals, poorly taxidermied specimens of familiar creatures are arranged and pho- tographed in front of crude and often ironic line drawings. From an edition of 1,000, this copy signed by Escher on a front flyleaf. About near fine, with light soiling, a touch of wear at corners.

Janesville, WI: Rock County Productions, 1978. First edition. Signed and dated by Escher on a front flyleaf. Introduction by Cathy Kord. Perfect-bound in stiff wraps; oblong octavo (9 x 8 in.); unpag- inated (~60pp). A very near fine copy.

Sold— 25. WHICH WITCH ATE THE SANDWITCH? OR: WHO DUNE IT? by Witch Agent JEAP [Julie Partansky] 1975 Signed

A hand-lettered artist’s book centered on a character named Witch Agent JEAP and her friends—apparently a lightly fictionalized representation of Partansky’s life. Veering freely in and out of diaristic autobiography, with frequent asides of a humorous, self-conscious nature. Profusely illustrated with the author’s playful line drawings.

Partansky (1947–2009) was an artist and Green Party member who served as mayor of Davis, California from 1998 to 2000, during which time she instituted a number of creative and progressive policies, including planting fruit trees in empty lots as a food source for the homeless. Her papers are archived at the University of California, Davis.

Self-published, [1975]. Side-stapled in wraps; 10.75 x 8.5 in.; 145pp. Inscribed on the front flyleaf by “Witch Agent JEAP,” with accompanying doodles. Five holdings located via OCLC, including MoMA and the Joan Flasch Artists’ Book Collection at the School of The Art Institute of Chicago. Near fine, with some light stains and oxidation around the staples.

Sold— 27. FOUND POEMS by Bern Porter 1972 Signed

A compelling association copy of the sui generis artist and thinker’s best-known work.

Found Poems consists of a collection of images and texts culled from various mass-media sources and rearranged so as confuse their original aesthetic and semiotic content in a suggestive and often humorous way.

Signed, dated, and inscribed by Porter on the half-title to Gerard [Dombrowski], founder of Abyss Publications, who issued a num- ber of Porter’s (and also Something Else Press founder Dick Higgins’) works. Laid in are a cardstock announcement for the book, as well as a business card-sized “compliments of the editors” card, with hand-corrected mailing address for Something Else Press.

NY: Something Else Press, 1972. First edition. Quarto (11 x 8.75 in.); unpaginated; full red cloth, red topstain, in dust jacket. A very good copy. Softening and light sunning at spine ends; slight spine-twist. Unclipped jacket is lightly sun-faded along the spine panel, with short closed tears at the tips and curling and minor wear along the edges.

$250— 28. DIFFICULTY SWALLOWING: A MEDICAL CHRONICLE by Matthew Geller 29. 1981 TELLING TIME Signed by Judy Levy 1979 A document of illness and loss, as affecting as it is un- Signed sentimental.

Chronicles the death of Geller’s then-girlfriend from leukemia, pre- senting her rapidly deteriorating condition through doctors’ and An interactive exploration of time, sequence, memory. nurses’ reports, medical forms, and excerpts from the diaries of Telling Time contains striking black-and-white images created through the process of Haloid xerography. Pockets both Geller and his girlfriend. Somehow all the more poingnant for tipped onto the pages hold cards musing on various aspects of time, which readers may arrange in sequences of its objective presentation of the tragic circumstances. their choosing. An ambitious and thematically rich artist’s book by a long-time instructor at the Rochester Insti- tute of Technology (now retired). NY: Works Press, 1981. First edition. Inscribed by Geller on the ti- tle page. Perfect-bound in wraps; 10 x 6.75 in.; unpaginated (156pp.). Sugar Run, PA: ExPress, 1979. Inscribed by Levy to a former owner on the copyright page. Also laid in is a color Some bumping and minor surface abrasions at spine ends, very light photograph of Levy with a long note bump to top leading corner, else about near fine. from her on the rear. No statement $100— of limitation, though other copies give an edition size of 170. Spiral bound in plastic comb; 10.5 x 8.25 in., unpaginated [36pp.]. Cover is an original Haloid xerox produced by Levy. Internal images made from Ha- loid masters, then offset at the Visual Studies Workshop Press in Roches- ter, NY. Eleven pages contain tipped- on pockets which hold a total of 43 notecards (5 x 3 in.) printed with text. Very good condition, with some rubbing and moderate edgewear to covers. Pages slightly warped, in part due to the bulges created by card pouches. Uncommon.

Sold— 30. Five signed self-published photographic artist’s books by Todd Walker 1974–1980

Walker (1917–1998) was an American photographer and later book artist. In the mid-1960s, after receiving an offset press as a gift from his wife, he began publishing his own works, which show an increasing mastery of the various aspects of book production, from typesetting to binding to photolithography. He is particularly known for his iconic nude photographs produced using Sabbatier solarization—a technique on striking display in three of the five works in this grouping.

Twentyseven Photographs. Self-published, 1974. Prints of Walker’s solarized photographs of nude women, printed on the recto only. Signed by Walker in pencil and numbered 13/166. Perfect-bound in printed wraps; 8 x 6 in.; unpaginated. Some light foxing to the wraps, internally fine.

A Few Notes Selected from Lesson A of Wilson’s Photographics. Self-published, 1976. A selection of quotations originally given in Edward L. Wilson’s “Photographics” (1881), each one printed on the verso in a unique typographic format and accompanied on the recto by solarized nudes. Inscribed by Walker to former owner at rear. Perfect-bound with unopened fore-edges (blank interiors); 6.25 x 5.5 in.; unpaginated. Some very light soiling and foxing to spine and fore-edge.

For nothing changes.... Self-published, 1976. Inscribed by Walker on the title page. Versos contain a selection by Democritus, as taken from Robert Burton’s “Anatomy of Melancholy,” interlineated with selections from “recent newspapers.” Rectos feature photographs of nudes, originally black-and-white, but here colorized by a “series of photo-mechanical masks.”Perfect-bound in printed wraps, with unopened fore-edges (interiors blank); 6 x 4.75 in.; 21pp. (paginated on versos only). Light foxing to textblock edges, else near fine.

Three Soliloquies. Self-published, 1977. From an edition of “about 500 copies.” Signed and inscribed by Walker, “For Jack, best wishes.” Three black-and-white photoseries, two from 1961 and one from 1967. Perfect-bound with unopened fore-edges (interiors unprinted); 7 x 5.75 in.; unpaginated. “Halftone negatives, hand typesetting, platemaking, & presswork were all done by the photographer, who also wrote the words. The edition, on Mohawk Superfine smooth, will be about 500 copies printed on a 1250 Multith, the press of Todd Walker, April of 1977.”

Several Dialogues. Tucson, AZ: Thumbprint Press, 1980. A collaboration with poet Brandon Kershner. Walker’s photographs accompany a series of first-person poems exploring fraught sexual and domestic dynamics through reported dialogue. Saddle- stapled in printed wraps; 8.25 x 5.5 in.; irregularly paginated to 14 (the number of Kershner poems). Numbered 112/180 and signed by both Walker and Kersher on copyright page at rear. Especially scarce; just four copies located in OCLC.

$500— Ordering Information and Terms of Sale

Dividing Line Books is Evan Miller, a bookseller based in Ridgewood, NY. To order or inquire about an item, please contact via email or telephone: [email protected], (319) 594-3238.

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