urstS

0. 40. 42.

Leap 20 , No. 2 2015

hids

9.

20 Neon

Abandon

Feral

20. 23. 26. 27. 30.

1. – 42.

1. – 42.

Equinox

Utopia

Roar

27.

24. 25. 28. 36.

12. 15. 26.

Leather

Robots

Nails

17.

8.

5.

20 9.

17.

6.

7.

31. 3.

23. 18. 30. 2.

20.

10.

27.

14. 29.

41.

37. 32.

Welcome to Catalog 20, the second in a new series of catalogs we’ll be issuing with greater regularity in the coming year. Division Leap will be exhibiting at the Room & Book Fair May 22–24 at the ICA in London. Back in the states, we’ll also be tabling at the Rare Books & Manuscripts Conference in Oakland June 23–24 as part of the ABAA Bookseller Showcase. At other times we’re likely to be mounting an exhibition at a motel room near you, as soon as we find our car, which was stolen late last night with several hundred zines in it. So, if you see an Battered Black Honda CRV with an “Impeach Nixon” bumper sticker that is full of zines – let us know. For updates and new arrivals, go to divisionleap.com. In haste, more soon. Thanks. Adam, Kate, and Jack.

Fredrik and Jack making stacks

divisionleap.tumblr.com

17 SE Third Ave., #502 Portland, OR 97214 (503) 206-7291 [email protected] divisionleap.com Member ABAA, ILAB, ARLIS

instagram.com/divisionleap

All materials subject to prior sale. Please email or call to reserve. All materials considered to be in very good condition or better, with exceptions noted; please feel free to contact us for a more detailed condition report.

Division Leap catalog 20:

1. M. C. Richards Trial Sheets for Poems

Neon, Abandon, Feral.

2. Lisa Carver Archive

Lisa Carver (b. 1968) was the editor of Rollerderby, arguably the most influential publication of the zine explosion of the 90’s. Over the course of 25 anarchic, confessional, provocative and beautiful issues Carver documented her own open approach towards sexuality and challenged any number of taboos. (Your cataloguer remembers reading Rollerderby is a teen and still being a little bit afraid that God would strike him dead from it). Through her confrontational and open-ended interviews – themselves a documentation of a kind of performance art – Rollerderby introduced to a wider audience the work of artists such as Vaginal Davis, Dame Darcy, Cindy Dall, and many others. Carver was also a member of the performance groups Psycodrama and Suckdog.

Diaries

Futura and letterpress

Black Mountain, NC: Black Mountain Print Shop, 1947. Loose leaves, letterpress printed in Futura on various types and dimensions of paper. Provenance: from Serendipity Books, with research notes and correspondence by Peter Howard laid in.

with duplicate sheets, some on different colors of paper, and in one case typeset differently. There is also 9 x 7" sheet printed on onionskin paper on recto only, perhaps in similar format to that of the finished, bound book, which was approximately 9" tall.

Mary Caroline Richards, a graduate of Reed College in Portland, Oregon, joined the Black Mountain College Faculty in 1945, and was an important member of the faculty during its heyday, until she moved to Greenwich Village in the early 1950’s with David Tudor. She later helped form the commune known as The Land, where she became an innovator in ceramics – the work for which she is best known – and developed theories that would inform her landmark 1964 book Centering in Pottery, Poetry and the Person.

Finally, there are also three folded sheets, 5 ½" tall, which are printed on both recto and verso on watermarked paper and folded once into booklet form. This section prints six poems, only two of which are present in Poems; of the remaining four poems, we find two that are included in Imagine Inventing Yellow: New and Selected Poems (1991), but with different line breaks. The remaining two poems are not included in Imagine Inventing Yellow.

We believe these to be trial sheets for M. C. Richard’s first book, Poems, which was handset and printed by the author in an edition of 50 copies in 1947 at Black Mountain – one of the earliest, and rarest Black Mountain College Print Shop publications. Most of the leaves (40) are printed on different colors of colored paper stock, similar to construction paper, all printed on the recto only,

All of the text of the finished book is represented, but some of the sheets differ – for example, one sheet prints the same couplet twice on the same sheet, while another prints it once. Given the variance of the sheets and the inclusion of poems which aren’t present in the text of the published book, we believe these to be trial sheets rather than proof sheets, perhaps made as Richards was testing out the appearance and look of the pages, and deciding what poems to include in the final version.

The sheets are accompanied by faxes, notes and correspondence between Peter Howard of Serendipity Books and others, collating the sheets and attempting to find out what these sheets are. Howard states that he believes them to be proof sheets or a different format. Peter’s correspondence also notes also state that one page of the finished book is not present here, which begins with “walking over pulverized mariners … “ (which Howard refers to as p. 16), but the text is present – because of the larger sheet size found here, that section of the text is present at the foot of the previous leaf.

The confessional style of Rollerderby also spills into Carver’s non-zine writing, which includes the memoir Drugs Are Nice: a Post-Punk memoir, and her fictionalized diaries of her sex life for the website Salon (much of which is related to the diaries included in this archive).

Flyers and notebooks

An artifact that illuminates the artistic process of the search for form and exemplifies the experimental approach of Black Mountain College at the time. OCLC locates three holdings, two in 8vo format, and a third, at Stanford, printed on 8 ½ x 11" sheets such as the majority of these sheets.

Various places and dates. One Macintosh laptop, nine diaries, photos, negatives, correspondence, and press clippings, about 1 cubic foot.

A couple of years ago – in what became a sort of performance itself, Lisa began to auction her diaries and her laptop on Ebay, and annotating the contents to varying degrees on each auction – this despite the fact that we’d previously offered to help her place it with an institution pro bono. Over the course of several months we had no choice but to bid on and win the items one by one.

The remaining material in the present archive, including photographs and correspondence, was acquired directly from the artist following the auctions. The correspondence includes letters from Bill Callahan of Smog and Boyd Rice, as well as material documenting the workings of Rollerderby and her previous, largely unknown fanzine Dirt. The laptop has been dormant for many years, but according to Carver is in working order. In her own words, “I believe this is from October 2006. It is sluggish because I am a luddite and I let my friend put all these things on it like Toaster or Skype or Word or anything, and then I don’t use it, I don’t do Cookies or whatever you’re supposed to do to help out your machines. I just use it like a typewriter and for storing pictures and stuff until it starts giving me a hard time and then I buy a new one. I know. I am the worst kind of American there is. I got a new laptop in 2009 and just kept this one as a backup and for storage. The battery got too hot (I had the brightness too high and I was leaving it on all the time and I’m going to admit to you I was playing stupid word games on it all night long and I burnt it up and I didn’t replace it, I just keep it plugged in.” We’ve not tried to turn it on, hoping to place it with an institution that has the capability to transfer it and store it in a more secure setting. A more complete list of the materials is available upon request, including copies of the email correspondence between your cataloguer and Carver.

Sold

Laptop

Sheets slightly brittle, with a couple of wormholes to the margin of several sheets, else very good.

$2500 Photographs and negatives 6

Drawings, etc. 7

Division Leap catalog 20:

3.  Sheri Martinelli Abandon All Love Ye Who Enter Here

Neon, Abandon, Feral.

4.  John Cage Amores (To Rue Shaw)

Np: nd. Folio, 11 x 15", [14] pp, photostatically reproduced score, printed on pages which have been glued together by hand, and saddle-stapled in yellow card wraps. Provenance: from the estate of Lou Harrison via the trade. A mysterious production of this early prepared piano piece, from the library of a close collaborator of Cage. The piece was first composed in 1943, and remained commercially unpublished until 1960. It was one of Cage’s earliest pieces to use his technique of rhythmic proportion. This example is reproduced in a large format, with pages glued together by hand, with no publication information or dates. Given that this

Front

Np: nd. 12 x 13" plywood square, framed at margins with strips of wood nailed together. With drawing and inscription at verso. A beautiful artifact and drawing of Sherri Martinelli’s career as a painter. The recto is slathered thickly with oil paint in a variety of colors. The verso of the plywood features a drawing of a sorrowful figure, which is titled in ink in Martinelli’s hand “Abandon All Love Ye Who Enter Here.” The wood is darkened or stained at margins, but preserves an oval halo of bright wood framing the figure. In the darkness around the margins Martinelli has also written “My San Francisco Paint Tray” and signed it with her initials; additional phrases are carefully engraved, into the wood, including a number of flowers, a drawing of the Eye of Horus, the word

appears to have been reproduced by some photostat like process, we can’t help but think, though we cannot determine for sure, that this may be an early copy, perhaps unique, given to a fellow traveller. We have compared it bar by bar with the eventually commercially published score, and it appears to be similar in every respect with the published version, but nonetheless a previously unknown version, and perhaps the first printed appearance of a key work. Wraps creased, age-toned and fragile, with a ½" chip missing from lower front tip, still very good.

$1500

Back

ISIS, and other words beneath which are illegible to this eye. The tray is inscribed to Doug Blazek “in trust”. Martinelli was one of the most enigmatic artists of the 20th century, and an often unacknowledged muse for many of its famous works. You could make a good case that she is the most famous unknown roman a clef figure in 20th century literature, as Martinelli, or characters inspired by her appear in important roles in works as distinct as Anais Nin’s Diaries, William Gaddis’ The Recognitions (the character Esme), H. D.’s End of Torment, Anatole Broyard’s Kafka was the Rage (as Sheri Donatti), as Lady Carey in Larry McMurtry’s Dead Man’s Walk, in Ezra Pound’s Cantos, and we found her last night re-reading the late pages of David Markson’s Reader’s Block – a paragraph

that is only the unadorned statement of her real name. She also appeared in a Maya Deren’s Ritual in Transfigured Time, and modeled for Vogue. One of the most enigmatic aspects of her fictional performances is that these characters, in literature, have sometimes wildly different and sometimes contradictory characteristics, in appearance and behavior – her true character is only mystified by these portrayals.

Front cover

Title page

Pound wrote the foreword to her first and only monograph, and despite the fact that her art was admired and collected by e.e. Cummings and Rod Steiger, her work is largely unknown today. An enigmatic artifact.

Sold Score 8

9

Division Leap catalog 20:

Neon, Abandon, Feral.

6.  Ivor Darregg Collection of Issues of The Xenharmonic Review and Related Publications and Ephemera

Ivor Darreg, born in Portland under the name Kenneth Vincent Gerard O’Hara in 1917, is one of the most important, if largely unknown figures in experimental and electronic music. An innovator and theorist in experimental intonation, he was also an accomplished inventor of instruments, which at one point landed him in the pages of Life Magazine. He was also a friend and sometimes collaborator with musicians as diverse as John Cage, John H. Chalmers, Erv Wilson, and Joel Mandelbaum. He is best known for his newsletter the Xenharmonic Review, which eventually became the Xenharmonic Alliance – one of the antecedents of the Mills College internet tuning list.

issue includes his article on New Moods, on experimental tuning and mood, which is perhaps his best known piece – and fifteen other publications and posters, including leaflets and publications, not just about music theory, but also about robotics, transportation, pedestrianism, and linguistics.

The present collection includes issue numbers 3, 4, 5 and 7 of the Xenharmonic Review – the latter

Sold

Rare beyond dispute – this gathering is the only appearance of most of these publications we’ve seen or handled. Despite Darreg’s place in the history of experimental music, OCLC locates no holdings of the Xenharmonic Bulletin or any of these publications save for the Numaudo System. An itemized list is available by request.

Nails

5.  Ezra Mark Bruxist Temorage

Seattle: Vortext, nd [c. 1990’s?]. Artist’s cassette tape multiple, housed in a cardboard box, with two title labels and a booklet. A beautiful multiple accompanied by a booklet with quotes by Brion Gysin, Robert Smithson, John Cage, and Isidore Isou. Ezra Mark is the proprietor of the Vortext Press, and is a member of the Subtext Collective, which was the primary experimental poetry and performance series in Seattle during the latter half of the 90’s.

Because of the construction, the booklets and labels and interior of the cardboard box are all pierced with nail holes, as it should be; the inner label has become detached, and there is some glue residue to the inner flap and the exterior of the box (perhaps indicating that another title label is missing.)

$150

“Noose-paper”

10

“Journeys”

11

Division Leap catalog 20:

7.  Johnny Morton Untitled

[Cleveland], nd [c. 1975]. 8 ½ x 11" sheet of notebook paper, silkscreened in blue from a drawing. Unsigned and undated. An original silkscreen from a drawing by John Morton, made while he was a member of the original American punk band – the electric eels. These are similar to the silkscreened swastika posters which were made for the electric eels’ First Extermination Music Night, and which were also silkscreened on notebook paper. The medium of silkscreen does great justice to Morton’s unique drawings, which are like no other visual work we have ever seen. They are simple and

often of banal subjects, here including long division, a glass of water, a stick figure, or a field of x’s, which initially would seem to have little to do with the aggressive approach of the music of the eels, but in some subtle way Morton aptly teases out a sense of horror and whimsy about these simple objects which places them on a similar continuum of relentless exploration. Morton’s early visual work has been criminally neglected. For more on the silkscreens, see our Art Terrorism In Ohio catalog, no. 8 – a PDF is hosted at the Kent State University library blog.

Neon, Abandon, Feral.

8.  Johnny Morton Untitled

Another one.

$750

$750

Man

Robot

12

13

Division Leap catalog 20:

Neon, Abandon, Feral.

10.  Keith Haring Keith Haring Designed Poster for the Poetry Project

New York: 1981. 11 x 17" sheet, offset printed in b/w on white paper. Folded twice, some minor creasing and a couple of short nicks to extremities; very good. Original poster designed by Keith Haring for events held at St. Mark’s Poetry Project in May of 1981. The poster is illustrated after drawings of Haring’s Radiant Baby, and the events

are reproduced from his holograph. Rare. Not included in his Catalogue Raisonne of poster work, and predating all work listed there, as well as his first one man show in the following year. Furthermore, an important link between Haring and the New York School. 

Sold

3.5 x 2"

9.  Cleveland Punk Original Business Card for the Black Orchid Society

Cleveland: Black Orchid Society, nd. Artists’ multiple as business card, 3 ½ x 2" sheet of card stock printed in raised black lettering on white card stock. An original business card for the enterprise run by Peter Laughner and Charlotte Pressler, for the musical activities of Peter Laughner and Pere Ubu. In the upper right hand corner it bears a symbol of a family holding hands in a house, with rays of energy moving outward, and the legend “live better electrically”. This was an appropriation of the image and slogan from a mid 50’s campaign by the electric industry to promote heavy demand for electricity – a campaign that featured one Ronald Reagan. The card also bears the legend “Towards the 21st Century.”

The card bears the address of The Plaza, the legendary Cleveland punk building co-owned by Allen Ravenstine. “it was a really nice old building in a terrible neighborhood … we were into this urban pioneer thing, which was a bunch of kids born in the suburbs moving back into the city, because they though the city should live.” – David Thomas, quoted in SPIN July 1999. Fascinating evidence of early artistic incorporation and self-promotion and the appropriation and subversion of an advertising campaign.

$75

Haring’s Radiant Baby

14

15

Division Leap catalog 20:

11.  Poetry Project at St. Mark’s 98 Issues of the Poetry Project Newsletter

Neon, Abandon, Feral.

12.  Bodily Funktions Two Flyers for Fictional Performances

[Austin, TX]: c. [1980]. Two 8 ½ x 11" flyers, original photocopy from cut-up collage on rectos only. Two flyers issued for the nonexistent “poster band”, probably made by John Slate – i. e. Control Rat X, who also edited the great zine Xiphoid Process. Bodily Funktions never played a show, but were purely conceptual – though according

to an article by Nels Jacobson, some of the flyers led confused fans to show up at the parking lot of Raul’s. One of the best examples of the punk flyer as an art project beyond the function of advertising shows, a rich and largely unexplored area of punk visual art that also includes the work of Winston Smith.

$450

Approx. 4" tall Tigers

New York: Poetry Project at St. Mark’s, 1972–2011. Most issues 8 ½ x 11", earlier issues mimeographed and stapled, later issues offset printed and saddle-stapled. This accumulation with issues 2–8, 13–15, 23–24, 26–30, 32–35, 36–38, 39–52, 67, 72–108, 110–112, 114, 115, 118, 121, 127, 128, 130, 132, 13, 138, 141, 143, 147, 148, 151, 153, 160, 162, 189, 227, 229. Some issues stamped and addressed to different recipients. A very substantial run (approximately 4") of one of the longest-running periodicals devoted to experimental poetry, which has been and remains a vital means of communication for New York poetry and an important chronicle of some of the more ephemeral events at the Poetry Project. The PPN expanded the notion of what a newsletter could be,

including a large number of poems by prominent poets, some of which remain uncollected [a brief run through shows pieces by Ted Berrigan, Susan Howe, Robert Creeley, Ted Greenwald, Michael McClure, Larry Fagin, Eileen Myles, Yuki Hartman, David Shapiro, Paul Violi, Michael Lally, Glen Baxter, Dick Gallup, James Schuyler, Anne Waldman, Dennis Cooper, Anselm Hollo, et al] artwork, interviews, sketches, advertisements, notices, reviews of readings and gallery shows, speculations, etc – no other periodical of the time captures the minutiae of the poetic life and struggle for community in American poetry in such detail.

Project events, becoming one of the few publications that regularly list and review poetry books from small- and medium-sized presses.” – Ed Friedman, quoted in Clay & Phillips, p. 189.

“Over the years, the newsletter expanded to include poems, articles, columns, reviews, comics, ads, and calendars of

Clay & Phillips p. 189.

Earlier issues, when the mailing list remained small, are scarce, and this accumulation includes some of the toughest issues, dating back to when it was edited by Ron Padgett. Other editors represented here include Ted Greenwald, Bill Mac Kay, and Greg Masters. Generally very good to near fine, with the occasional checkmark or brief ink notation. The largest accumulation of the newsletter we’ve handled.

$2000 Pigeons 16

17

Division Leap catalog 20:

13.  Frank Stanford The Singing Knives

Neon, Abandon, Feral.

14.  Frank Stanford The Singing Knives The other state

Fayetteville, AS: Lost Roads Press, 1979. 8vo. Offset printed on white pebbled paper and perfect bound in lavender wraps printed in silver ink, with a drawing of a knife by C. D. Wright to the front panel. Limited to 1000 copies.

Very good with a bump to head of spine and some creasing.

Sold

The second, limited edition of Stanford’s first published book, originally published by Mill Mountain Press in 1971. This edition, published shortly after Stanford’s death, adds two poems which did not appear in the 1971 edition. This is a book that has long puzzled us, as there are two different versions of this posthumous edition of his first book. This copy features a striking cover by C. D. Wright, printed in silver ink. There is another state which has a very different cover silkscreened by David Hurley, and which adds an unattributed afterword not found in this copy. The colophon of both editions is the same, and mentions the curious fact that there are two runs of 500 copies each. We wonder if the two versions of the book were perhaps issued at the same time, perhaps in order to have a version with and a version without the afterword – another wrinkle in Stanford’s strange publishing history. Near fine with some light, uneven fading and a Brown Bookstore sticker to first blank page.

Sold

A silver knife

Stars

18

19

Division Leap catalog 20:

15.  Earth Life Defense & Regeneration Committee Holocene Gazette & Country Traveller #1

Hanover, New Hampshire: Center for Paleocybernetic Research, 1970. First edition. 17 x 22" sheet offset printed in b/w and folded three times, probably for mailing. The first, and to our knowledge, the only issue published of this radical, beautifully produced newsletter made as the trumpet for this radical environmental group. Their manifesto states that ‘We must dismantle & dissolve, by any means necessary, the whole of centralized government & corporate industry.”

Neon, Abandon, Feral.

This first issue is dedicated to the memory of Charles Olson, who at the time had just passed. The verso prints poems by Grant Fisher and Diane Di Prima. The Center for Paleocybernetic research is the same imprint that appears on at least one issue the Guerilla: Free Newspaper From the Streets periodical, perhaps indicating the involvement of Allan Van Newkirk.

$200

A life on the margins

16.  Judson Crews Psalms for a Late Season

New Orleans: The Iconograph Press, 1942. First edition. 8vo, 13 pp, rebound in gray boards with a titled pastedown to front panel. The first edition of his first book, published by Kenneth Beaudoin’s Iconograph Press. This is a unique copy that has been extensively annotated by Judson Crews, giving background information and the circumstances surrounding the genesis of each poem, and signed by him at the conclusion. Judson’s current obscurity surprises us. Like Pessoa, his poetic project involved writing a great variety of work under different identities, but in a distinctly American way across race and sexuality, a practice he pursued with such commit-

Wolves

ment that readers and scholars are still trying to untangle his web of identities. His publishing efforts and the vital place his Motive Bookstore, in Waco, Texas played in sheltering poets of the immediate postwar era make him one of the great poet-publishers. The dedicatee of the book is not named. This copy came out of London, but we don’t know to whom these words, which constitute an unpublished biography or second book within the book, are addressed to. It is difficult to imagine a more significant copy.

$1250

Bisons 20

21

Division Leap is available for the installation of temporary exhibits of printed matter in liminal spaces. (Motel Rooms a Specialty)

Division Leap catalog 20:

Neon, Abandon, Feral.

18.  Tom Raworth, ed. Outburst 1–2 with Outburst: The Minicab War Complete

London: Matrix, 1961–63. First edition. 8vo, letterpress printed and saddlestapled into card wraps. All issues published of one of the best little magazines of the early 60’s, which helped to bridge the Atlantic and was the first to publish several prominent American poets in England. In a 2014 interview with Kyle Schlesinger at the Cuneiform Press website, Raworth outlined how the magazine came into being. It was actually cheaper at the time to letterpress a magazine, so Raworth, with some of the type inherited from Piero Heliczer, taught himself to print letterpress. Because Raworth only had a limited amount of type, the magazine was printed two pages at a time, and then the type redistributed. One of the most strikingly beautiful aspects of the magazine was the different colors of ink used on the text from page to page, but as with so many beautiful aspects of small press printing of the period, this is a product of necessity; the sheets were printed at night in a North

Soho printshop, and there was so little time to work that whatever ink remained on the press was the ink used that night for the pages. This run includes the collaborative artists’ book Outburst; The Minicab War. The Gotla World, which is considered the “third” issue of the little magazine. It is a collaborative artists’ book that prints a collection of fictitious interviews about Minicabs vs. Taxicabs, including T. S. Eliot, John Betjeman, prime minister Harold MacMillan, Martin Bormann (!) and others. The book was pseudonoymously authored by Raworth, Gregory Corso and Anselm Hollo. According to research by Johnston, Raworth considered this no. 2 ½ of Outburst, though it was probably produced between the first and second issues. The Minicab War and Outburst no. 2 are quite scarce in the trade; this is the first time we’ve handled either. A high point for both content design.

$750

Leather, wax, poetry

17.  Diane Di Prima and George Herms Haiku

Topanga, California: Love Press, [1966]. First edition. 4to, loose leaves, 36 color woodblock prints and a title page housed in a hand-stitched leather satchel, titled in ink, with red sealing wax at enclosure. One of 100 (of 112) copies. Inscribed and signed by Di Prima at the title page – “For Bob – With great glee and many thanks – on the eve of departure.” One of the most beautiful books of many published under Herms’ Love Press imprint, a collaborative artists’ book. These Haiku are some

of Di Prima’s most beautiful poems, their toughness and beauty perfectly matched by the woodblock prints in a variety of bright colors which are some of Herms’ most beautiful graphic work, their hues still bright after all these years of being housed within leather. A rare perfect combination of language and image and one of the great collaborative beat artists’ books, now rarely seen in the trade.

Sold

Two men

24

One man

The Minicab War

25

Division Leap catalog 20:

Neon, Abandon, Feral.

19.  Kenneth Patchen Wedding in the Forest

21.  Christopher Perret Untitled Drawing

Np: David Ruff, 1950. Approximately 9 x 12", soft-ground etching & engraving on copper, black intaglio with three color offset, printed on Dutch van Gelder rag paper. One of 50 numbered copies signed by both Patchen and Ruff on both the lower margin of the face, and also on a printed title pastedown affixed to the back of the frame.

Approximately 9 ½ x 15", ink and watercolor on paper. Inscribed “to A + D” at lower left hand corner in pencil, and signed “Christopher” in the lower right hand corner. A striking and mysterious drawing by Christopher Perret, who was at one time associated with Leni Sinclair, and whose artwork appeared in the pages of some of the best magazines of the era, including the Artists’ Workshop journal, Poesie Vivante, and Botteghe Oscure. Two volumes of his poetry were published in fugitive editions by Outposts and Hors Commerce Press. He was also known as a translator.

A beautiful collaboration between Patchen and his close friend, the master printer David Ruff, who in this year would begin to run The Print Shop in San Francisco. In the following year Ruff would print Jargon 1, and five years later would go on to print the first volume in the legendary City Lights Pocket Poets series, Ferlinghetti’s Pictures of a Gone World.

The drawing is a striking one, featuring a woman with a cup reversed, spilling a red liquid, possibly blood that rises to frame her. Because of the upended cup we wonder if this is a reference to the tarot.

Given that the signed title pastedown is affixed to the back of the frame, we wonder if the frame is original, or at least contemporary to the sale of the print.

Perret died of a heart attack in 1965, the year in which this drawing is dated. He seems to have left behind many mysteries – David just handed me a copy of El Corno Emplumado 18, with a biographical note that states “we know little about the 5 Algerian poets translated here by Christopher Perret, and Perret’s death leaves us without possibility of further knowledge concerning them …”

Sold Signed, numbered, and dated, one of fifty copies

20.  Kenneth Patchen Kenneth Patchen Memorial

$750

Woman with cup reversed

San Francisco: [1972]. 8 ½ x 14", printed in red on pink paper. Original flier for Patchen’s Memorial, held in a small theater in the Native Sons Building – now the Cable Car Theatre.

$125 A sad day in San Francisco

26

27

Division Leap catalog 20:

Neon, Abandon, Feral.

22.  Robert Branaman. Folding Exhibition Announcement for a Show at Batman Gallery

23.  Robert Branaman Robert Ronnie Branaman [Once There Was a Man Named Poolock]

24.  Robert Branaman Untitled Poster

25.  Robert Branaman Untitled Poster

Los Angeles: Batman Gallery, 1963. First edition. 4 ½ x 12 ¾", offset printed and folded once. Addressed to Philip Whalen c/o Auerhahn Press, and postmarked March 8, 1963.

[San Francisco]: Charles Plymell, 1963. First edition. 8vo, [8] pp [incl. covers], folded, unbound sheets. Printed in black and white with a neon red outer sheet.

Np: nd. 11 ½ x 17", printed in silver ink on white paper.

As left, a copy with silver ink on black paper.

We know of at least three states of this poster – silver ink on white paper, as with this copy, silver/purple ink on white paper, and silver ink on lightweight black paper. In a 2009 email from Branaman posted on the Beats in Kansas page, Branaman states that Charles Plymell made a poster of the image in several colors and that Branaman gave a copy of the black paper copy to Henry Miller, who hung it on his wall.

$450

Exhibition announcement for this show at Billy Jahrmarkt’s Batman Gallery. The announcement is illustrated with a great profile portrait photograph of Branaman which is uncredited. The announcement also notes (Costume Optional). Though not noted on the piece, the printing was done by the Grabhorn Press, according to the OCLC record for the BYU copy. Rare ephemera from the best gallery of the 60’s.

$200

The first and only edition of Branaman’s first book, an artists’ book considered to be one of the earliest underground comix. The book was printed by Plymell, who had published S. Clay Wilson in Kansas, and would soon publish the first printing of Robert Crumb’s Zap Comix. Rare. Despite the book’s significance to the history of both the underground comix scene and the beat scene, OCLC locates only two holdings, under the title Once There Was a Man Named Poolock, the first line of the story. The book is more widely known to underground comix historians under the title Robert Ronnie Branaman.

$350

$750

Best gallery of the 60’s

Early underground comix

Silver on white

28

Silver on black

29

Division Leap catalog 20:

26.  Michael McClure Grahhr April Grharrr April

28.  Unohoo, Coyote, Rich and the Mighty Avengers The Morningstar Scrapbook. In the Pursuit of Happiness

Buffalo: Gallery Upstairs Press, [1968]. First edition. 21 ¼ x 28 ½", offset lithograph on thick cardboard stock. With blindstamped gallery sticker at verso, and a rubberstamped facsimile of McClure’s signature. Visual reproduced from McClure’s distinctive holograph in red, overlayed onto a found image of two lions roaring at the sea – a legend reading “Security and Trust” can be read at the foot of the image, perhaps indicating that this was appropriated from an old advertisement or bond. We wish we knew more about this gallery, located at 3400 Main St. in Buffalo, which also published John Wieners’ Pressed Wafers, as well as a work by Cornelius Cardew. One of the most beautiful broadsides of the era.

Neon, Abandon, Feral.

The first edition of this book documenting the rise and fall of the Morningstar Ranch commune, the community founded by Lou Gottlieb of the Limelighters and others. It includes numerous photographs of life in the community, as well as press clippings from the underground and mainstream press documenting their many run-ins with the authorities. The community had close ties to the Diggers (it was also known as the Digger Ranch) and was used to grow vegetables to feed people at gatherings in San Francisco. After many run-ins with the law, Gottlieb famously attempted to deed his land to God. A court decided that property couldn’t be owned by God in California, as there would be no recourse for property taxes.

April lions

“God can’t own land in California.”

Newsprint rather toned, with creasing, rubbing and softening to the wraps, still about very good.

$300

$75 29.  Longo Mai Chansons Antifascistes Allemandes / Antifaschistische Lieder

27.  Free Print Shop break/fast vernal equinox [San Francisco]: [Free Print Shop], [1969?]. 4 ¼ x 8 ½", printed in two colors, photographically illustrated. This small leaflet was published by the Free Print Shop at the Sutter Street Commune. It is included in the California Historical Society’s Free Print Shop collection as item no. 19. The FPS and the Sutter Street Commune carried on the work of the Diggers, by publishing Kaliflower and carrying on the Free City Activities – this leaflet perhaps advertising for one of their free food events. A striking example from a larger body of work that deserves wider documentation.

Occidental: Morning Star Ranch, nd. 4to, 187 [1] pp, offset printed on newsprint and perfect bound in photographically illustrated wraps. Illustrated in b/w.

And other animals

Np: Longo Mai. Gatefold double vinyl audio record [with] a book of lyrics, originally issued separately, but included here. A superb recording, including performances of songs by Muhsamm, Wedekind, Brecht, Eisler, Dessau, Busch et al. The Longo Mai cooperative network of anarchist and agrarian communities began a group of students and activists – including Roland Perrot – banded together to purchase land in the wake of the events of 1968 in France. In 1973 the group purchased land near Limans, and created an agrarian community. In the years since the loose network has grown to include locations in Costa Rica, Germany, and elsewhere, making it one of the most successful and enduring network of such communities in our time. The cooperative also publishes books, and this excellent record, in constant rotation at DL.

In constant rotation at DL

$75

$200 30

31

Division Leap catalog 20:

30.  Up Against the Wall Motherfucker Fuck the Bourgeois Left!!!

Neon, Abandon, Feral.

31.  Rote Hilfe [Dieter Kunzelmann] Sofortige Freilassung von Dieter Kunzelmann : Freiheit für alle polit. Gefangenen schafft Rote Hilfe : Dokumentation II

[New York]: [Up Against the Wall Motherfucker], nd. 8 ½ x 11", mimeographed from typescript and drawing on recto only. With a small ink notation, “BC-UAW / MF” at lower margin in ink.

Np: Rote Hilfe / Komitee Freiheit für Dieter Kunzelmann, [1974]. 4to, [16] pp, offset printed in two colors on unbound, folded sheets.

An attack on the left, with specific reference to Camejo and Bloom. Prescription for change is given on the flyer as a recipe for a Molotov Cocktail and an injunction to send a “white radical” home to watch television. The flyer ends with the following injunction: “After you read this leaflet use it to start a fire!”

Joint publication calling for the release of Dieter Kunzelmann, then in prison serving a five year term. The cover features a striking image of a red fist bending the bars of a prison cell, with text printed on the now liberated area of the page – a classic image of German political art in the 70’s

The instructions and also the reference to send white radicals home also appear on the UATWM Chapter Report on the SDS flyer (reproduced on p. 141 of Black Mask & Up Against the Wall Motherfucker: The Incomplete Works of Ron Hahne, Ben Morea, and the Black Mask Group). However, this flyer is not documented in that book. Whether or not the injunction to use the flyer as tinder was heeded, it is rare, this copy being the only one we’ve seen.

Kunzelmann was a member of Gruppe SPUR, as well as Tupamaros West Berlin and was a founding member of Kommune 1. Fine.

$450

Folded twice, with some moderate staining else very good.

$450

“… better than the neon light.” Red fist, black bars

32

33

Division Leap catalog 20:

Neon, Abandon, Feral.

32.  Christopher Logue September Song

33.  Christopher Logue I Shall Vote Conservative

Np: Vandal Publications, 1966. 18 x 23" poster poem, offset printed on recto only.

London: Turret Books, 1970. First edition. 19 ¾ x 31" broadside, printed in blue. One of only 75 copies signed by the poet – this being copy no. 1.

One of the most famous poster poems of the sixties. Logue’s elegiac poem is here matched to a photograph of the corpse of Rube Burroughs, an American outlaw gunman killed in Souix City in 1879. The poem became a chant of the 60’s after being set to music by Donovan, a recording that also featured in Ken Loach’s film Poor Cow.

One of the most famous political poems of the 70’s. Rare. Very good with a short nick at upper margin some moderate creasing.

$500

The lower margin of the poster bears the phrase “iron if creased.”

$450

“Iron if creased”

One of the most famous political poems of the 70’s – copy no. 1

34

35

Division Leap catalog 20:

Neon, Abandon, Feral.

34.  John Sappington Photograph of William S. Burroughs

35.  Michael Parker Jail Bait

Np: nd. Approximately 10 x 13" b/w vintage print, matted and framed in wood. Provenance: Serendipity Books.

Np: Privately Printed, n.d. First edition. 4to, saddle-stapled in pictorial wraps. Photocopied from typescripts, found photos and drawings. Printed on rectos only.

A note in Peter Howard’s hand in pencil at verso states that the print is vintage and is the only copy, and that it is signed at verso, though it doesn’t state whether it is signed by Burroughs or Sappington. Not examined out of frame.

Poems of life as a teenage street hustler, illustrated with drawings, photographs of William Burroughs and Iggy Pop, a redacted FBI memo labeled “X-Rated Poetry”, a photocopied ID badge for a Police Magistrate named Michael C. Parker, etc. Dedication page bears a lengthy inscription to “Brian” from the author.

The photograph of an elderly Burroughs standing in profile in the darkness is a striking image.

$500

We suspect the author of this collection of street hustler poems to be Michael Parker, who inspired the Mike Waters character in Gus Van Sant’s My Own Private Idaho, and who almost played the character in the movie before the role was given to River Phoenix. Parker appeared in a smaller role in the film, as well as Drugstore Cowboy. The final poem is illustrated with a photograph of William S. Burroughs, and includes the lines “he never knew / i stole one silver hair / & tied it around my cock / & took it to my bed of words”.

Is that you, Mike Waters?

OCLC locates no holdings.

$250

36.  Bowart, Walter H. Omen Vol. 1, Nos. 1–2

Burroughs peers into the shadows

Complete Tucson, AZ: Omen Press, 1970–71. First edition. folio, each issue offset printed in color, the second issue in metallic wraps. Both issues published of this periodical published by one of the founders and the first publisher of the East Village Other. The Omen Press continued the counterculture themes present in Bowart’s previous publishing career with the EVO and Gothic Blimp, but with more of a millennial, metaphysical and conspiratorial approach. With contributions from Gary Snyder, Paul Reps, Lew Welch et al.

No. 1

No. 2

Very good with minor creasing and wear.

$200 36

37

Division Leap catalog 20:

37.  George Andrews This cycle of poems traces my trajectory through different phases of the psychedelic drug experience … Cover title

39.  Nam June Paik Please, return the fish (inside) to water

Np: c. 1964–65. 4to, 8 pp., mimeographed from typescript on rectos only; stab-stapled in card wraps. Title from cover. Signed by Andrews on cover. An early collection of psychedelic poems by the Andrews, who was an important part of the expat scene in Tangiers also lived for a time at Syd Barrett’s legendary 101 Cromwell Road flat. No publication information is included, but the first poem, “Annihilating Illumination,” was also published in 1963 by the Psychedelic Review. Another poem, “Live Rock”, is dated “Tangier Jail, Decembre 1964”. Some of these poems would also appear in Andrews’ 1966 Trigram Press collection. Rare. OCLC locates no holdings.

$450

Neon, Abandon, Feral.

Np: [1969]. Black lithograph print on paper, affixed to white envelope containing a small dried fish. There are at least two states for this multiple, one bearing the title “Liberation Sonata for Fish” in addition to instructions, which appears to be the more common state. This example, which we haven’t seen before, is similar to the Walker Art Center copy from Paik’s archive. Acid

According to the Walker Art Center’s catalog entry, these envelopes were handed out at the 7th Annual NY Festival of the Avant-Garde in Wards Island, New York. A brilliant and strange multiple, existing in this state as a disregard or suspension of the instructed action. Some discoloration caused by aged glue; envelope is torn, but fish is intact inside. 

Envelope with a small dried fish

$850 38.  George Andrews Burning Joy

London: Trigram Press, 1966. First edition. Small 4to, 37 pp, bound in full white cloth with gilt titles. Housed in a dust jacket illustrated in color with a photograph by Hans Bruggeman of a painting by Barry Hall. One of only fifty copies in cloth, which are also numbered and signed by the author; the trade edition consisted of 550 copies in wraps. Fine in a very good dust jacket which is lightly scuffed, with a few small closed tears to margins.

$200

One of only fifty copies in cloth

38

39

Division Leap catalog 20:

Neon, Abandon, Feral.

40.  Buster Cleveland Untitled Collage

42.  K Foundation Attendee Handbook for Money: A Major Body of Cash

Untitled Collage. Np: Buster Cleveland, [1985]. 8 ½ x 14" collage on chipboard. Unsigned, but inscribed by Cleveland on verso with the phrase “I Love You” within his drawn palm tree symbol. From the collection of Barbara Cushman.

Np: K Foundation, 1994. 28 loose leaves, offset printed, photocopied or laserprinted, some on embossed K Foundation stationary. Housed in a printed folder.

A beautiful collage featuring 7 matchbooks, one for each day of the week, pasted down onto the board and then lighted on fire. It is clear that the matchbooks were lit after being affixed to the board, as the burn shadows have also affected the board they are mounted on. A striking, conceptually complex collage that was likely made for one of the mail art calendars which Barbara Cushman made in the mid 80’s.

In 1994, Bill Drummond and Jim Cauty of the musical project KLF, or Kommunication Liberation Front, set up the post-situ group K Foundation in order to rid themselves of the money accumulated from their bestselling singles and albums.

Burning each day of the week

Their first project was the creation of the K Foundation Award, a prize of 40,000 pounds to be awarded to the worst body of work produced in the previous 12 months. The price was twice the amount of the Turner Prize, which it clearly was commenting upon; the list of finalists for each award was the same.

$750

Running up to the prize, K Foundation ran advertisements on Channel 4, which

are reproduced here, as well as invoices for the cost of the ads, correspondence with lawyers, and correspondence with a representative of Rachel Whiteread, who at first sends along Whiteread’s banking info to receive the prize; also included is another reproduction of a letter in which the representative conveys Whiteread’s outrage at the nature of the prize, and asks the K Foundation lawyers not to use this information. Shortly after Whiteread won the Turner, she was also announced as the winner of the K Foundation prize. Whiteread initially refused to accept the 40K, at which point K Foundation decided to burn the money at an undisclosed location in front of 40 attendees, who would be part of a motorcade to this undisclosed location. We suspect that this is a handbook made up for attendees.

When Whiteread heard of the plan to destroy the money she at the last moment changed her mind and accepted it on condition that the money would be donated to artists in need and a housing charity, and the event didn’t happen. Rare documentation of the proposed event; if this was produced as an attendee handbook, then it is doubtful that more than 40 copies were produced. Though no money was burnt on this night, the idea would culminate the following year in their most infamous action, The K Foundation Burn a Million Quid, in which the duo did exactly that on the island of Jura. OCLC locates no holdings.

$750

41.  Buster Cleveland Buster Post Stampsheet

Np: Mail Art International , 1982. 8 ½ x 11", artists’ perforated stampsheet, color xerox on recto only. Inscribed to Barbara (Cushman) and signed in pencil in 1982. Fine.

$125

Perforations

As seen on Channel 4 40

A motorcade to amend art history 41

Legal tinder.

The view from here

20 Acid

Negatives

Community

37.

2.

1. – 42.

Stars

CASSETTES

LaptopS

14.

5.

2.

Diaries

Hope

WOLVES

2.

1. – 42.

15.

Outbu

5. 12. 30

Division Vol. 1, May,

Orch

9