A HAIRLESS HORSE, A CRAZY DIAMOND, A GAY TRAITOR ...

A HAIRLESS HORSE, A CRAZY DIAMOND,
A GAY TRAITOR, URBAN GUERRILLAS, GUERRILLA GIRLS,
BLACK PANTHERS, BLUE DOVES, UFOS,
RUPERT THE BEAR, FEMINIST RATS, A THING
AND THE GREAT BEAST ET AL.
Catalogue 1462, Counterculture, Maggs Bros Ltd.

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[1] SIMMONS (Owen).
(F.C.S.) (“Owen &
Owen”). (Pseudonym).
The Book of Bread.
28 illustrations with ten
of those tipped in
original bromide
photographs. First
edition de luxe limited
issue for subscribers.
4to., endpaper, half-title, title, [3pp.], pp-8–360,
endpaper, in the original red grained morocco,
raised bands on spine, gilt titles and ruling, gilt
dentelles, all edges gilt, gilt marbled paper
endpapers and pastedowns, on doubleweight fine
art paper and with the bromide photographs, 350
copies. London, Maclaren & Sons, Offices of
“The British Baker”, 1902. £6000
Hinges worn, rubbed corners. A good to very
good copy of an overlooked edition of an iconic
photobook. Parr Vol 1. (for the trade edition
only).
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[2] WOOD (Tom). Looking for Love.
Photographs From Chelsea Reach Nightclub
New Brighton Merseyside.
Largely illustrated with colour photographs.
First edition. Oblong 4to., unpaginated, perfect
bound into the original illustrated stiff card
wrappers. Manchester, Cornerhouse
Publications, 1989. £450
Very good, crisp, clean copy.
[3] HASKINS (Sam).
Posters.
32 colour and b&w
posters. First, limited
deluxe edition. Folio,
unpaginated, black
front and back
endpapers, limitation
leaf, [1p.] text, 31ll.,
printed on rectos only,
bound in contemporary
black cloth, gilt titles on
spine and gold leaf covered boards, titles in a
vignette in black on upper board, one of 1500
signed and hand-numbered copies. Zurich, For
Sam Haskins, 1972. £2000
Fine. Very rare.
[4] ENGLISH (Michael). ufo 31 tot. ct. rd. feb
27 pink floyd brothers grimm Mar 3 soft
machine mar 10 pink floyd.
Original poster. 76 x 102 cm., titles in Dayglo
pinks and green on white paper stock,
silkscreened, signed in the stone. N.p. [London],
n.p, [UFO?], n.d., 1967. £1500
Crisp clean image, dog eared corners, creased
and worn edges, a small chip lost on the upper
edge, some dustiness, old central vertical fold. A
very nice copy. Rare.
Pink Floyd with Syd Barrett.
[5] ENGLISH (Michael) (Designed by). Love
Festival. u.f.o 31 tot. ct. rd. 1030 daydawnlite.
feb 10. bonzo dog doo dah band. ginger
johnson. bank dick. w.c. fields. + chien
andalou. salvador dali. feb 17. soft machine.
indian music. disney cartoons. mark boyle.
feature movie.
Original poster. 75.8 x 101.6 cm., graphics and
titles in Day-Glo pinks and reds on white paper
stock, silkscreened. N.p. [London], n.p., n.d.,
1966. £1000
Crisp, clear image and titles, triflingly browned,
creased edges, large pinholes in each corner,
rolled. A beautiful copy, Day-Glo is notoriously
fugitive, it is remarkable that they are still so
very bright after 45 years. Rare. Seemingly a
later edition only on MOMA online.
“THE DIAMOND EXHIBITION
IS REALLY GOING TO BLOW
YOUR MIND” [6] [BARRETT
(SYD)]. Scrapbook.
Silvine. Ref. 438.
Folio, 12ll., 18pp. with
pasted in clippings
from newspapers and
magazines with some
laid onto ruled paper,
sugar paper, stapled
into the original stiff
red card wrappers, titles
in black and a trompe
l’oeil vignette of a pair
of scissors on the upper
portion, COA loosely inserted. c. 2005. £5000
One of the three staples missing, endemic
rippling of pages from paste, lightly worn
wrappers, some clippings removed and replaced.
Very good condition. Provenance: Lot 740.
Cheffins Syd Barrett sale (2006). From Syd
Barret’s estate via Cheffins to a private collector,
thence to Maggs.
Cheffins described this as “Syd’s primary scrap
book”. One clipping is a story from The Times
Magazine, 2 July 2005, reviewing a diamond
1

exhibition at the V&A illustrated with a large
photograph of the De Beers Millenium Star. The
first page has an article on motorbikes and
another clippings of music festival listings.
[7] [BARRETT (Syd)]. His loudspeakers in
handmade and handpainted wood cabinets
with Pioneer mesh grilles, 33 x 25 x 10.5 cm.,
screwed and glued, probably scrap wood, roughly
painted in gloss blue with green and red
additions on one and white sections on the other.
N.d., £3500
Scratched, rubbed, bumped and worn. Untested
by this cataloguer, sold as ‘art’ objects.
Provenance: Cheffins Syd Barrett auction, lot
732, Maggs to a private collection thence to
Maggs.
[8] [GARLAND (John Bingley)]. Six golden
doves on blue, a large découpage, approx.
39.5 x 53.5 cm., a multimedia work with ms.
additions and hand drawn illustrations;
composed of fragments of early nineteenth
century prints, scraps, gilt decoration, gold,
cobalt blue, red paint and sepia ink,
c. 1850s. £4000
Bright, crisp condition, a fragile survival.
Provenance; Burne Jones family by tradition.
British.
The Harry Ransom Centre holds a volume of
these so called Victorian ‘bloody books’ in the
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8
Evelyn Waugh collection. Associate Director and
Hobby Librarian, Richard Oram has discovered
that the Texan volume was commissoned as a
wedding gift by John Bingley Garland, a
Victorian businessman and founding father of
Newfoundland, to his daughter, and was
presented to her on September 1st 1854.
http://www.hrc.utexas.edu/enews/2009/february
/bloodbook.html
Thronged with Old Testament and apocalyptic
imagery, the crucifixion, angels, writhing snakes,
flowers, fruit and six golden doves on a vivid
cobalt flying down upon crucifixes. Stylized
tears of blood drip from the wings of five, with
the sixth dripping gold.
[9] [BURROUGHS (William S.)]. LEIBOVITZ
(Annie). William Burroughs, Lawrence Kansas.
Original gelatin silverprint, 310 x 395 mm., a
signed inscribed presentation copy, conservation
framed and glazed. 1995. £5750
Unexamined out of the frame, a fine copy.
The full inscription on lower margin of the
photograph in black ink, thus:
“William Burroughs Lawrence Kansas 1995 ap
12 for Bruce love Annie Leibovitz”.
Exhibited: Annie Leibovitz Retrospective,
Brooklyn Museum of Art, 2006.
[10] [AFRICAN
AMERICAN
QUEERS]. [FORD
(Robert T.)]. et al.
Thing.
Original poster. 54 x
40.5 cm., b&w
photographic portrait
on red, title in black.
N.p., [Chicago], n.p.
[Thing], n.d., late
1980s. £300
In very good, clean, crisp condition.The
influential zine itself is very rare, OCLC records
only the archive for ‘Thing’ at the Chicago
Historical Institute and nothing else. This
promotional poster is presumably just as scarce.
An engaging image of ‘outness’.
Depicts a black drag queen snarling at the
camera. The internet tells us that ‘Thing’ was an
underground arts and entertainment zine for
African American Gays that ran for a mere ten
issues and was produced by Ford and two others.
Ford died of AIDS in 1993–1994.
BLACK PANTHERS
[11] [DAVIS (Angela)].
MORNING STAR.
Save Angela Davis. A
Morning Star Poster.
Original poster. 76 x 50
cm., in burgundy on off
white, colour offset
litho on coated paper.
N.p. [London],
Morning Star, n.d., c.
1972. £75
In very good condition.
Scarce, no copies on
OCLC.
Depicts the head and shoulders of Davis in
profile, with her distinctive Afro hair, and in full
flow with opened mouth ready to speak. The
Morning Star is a daily socialist newspaper that
is traditionally associated with its orgins in the
Communist Party of Great Britain and its
previous incarnation as the Daily Worker.
[12] [THE BLACK PANTHER PARTY OF
THE] LOWNDES COUNTY FREEDOM
ORGANIZATION. Is This What You Want
Democratic Party of Alabama or This?
Lowndes County Freedom Organization. One
Man —— One Vote.
First edition. Foolscap, 8pp., inside front cover is
a voter’s witness form, illustrated throughout
with line drawings and maps, stab stapled into
the original paper boards; the upper board with
a line drawing of the cockerel emblem of the
Alabama Democrats and a black panther. N.p.
[Hayneville, Alabama], n.p. [Lowndes County
Freedom Organization], n.d., 1966. £600
Rusted staples and ruststaining, first leaf
detached. Very rare, two copies only on OCLC at
Northwestern and, under another title, at
Michigan.
A seminal document in the early history of the
Black Panther movement issued in the wake of
the dropping of Jim Crow. The booklet was
designed to help “negroes” get around the
restrictions and electoral chicanery of the
entrenched, white supremacist, political
establishment. The Black Panther emblem was
later adopted by the more militant Black
Panther Party in California.
[13] [CAMPUS SDS].
Saturday: Berkeley
Conference on Black
Power and Its
Challenges.
Original flyer. Foolscap,
[2pp.], Black Panther
device on masthead,
printed on both sides in
black, offset. N.p.
[Berkeley, California],
n.p. [Berkeley Campus
Students For a Democratic Society], Berkeley
Free Press, n.d., 1966. £100
Lightly creased and edgeworn, old folds, 3

ustmarks on the left margin offset from another
stapled zine laid on top.Very rare, no copies on
OCLC.
A very important marker of a large gathering of
SDSers and others on 28–30 October 1966. The
core event was held on the 29th at Berkeley’s
Greek Theater, where at 5pm Stokeley
Carmichael, the President of the Student Nonviolent
Co-ordinating Committee, spoke to
several thousand largely white activists and
students. Other speakers included James Bevel
of the Southern Christian Leadership
Conference, Brother Lennie and Ron Karenga
from Watts, Rennie Davis of Chicago JOIN and
Ivanhoe Donaldson of Harlem SNCC. Bizarrely,
Berkeley’s Afro-American Student Association
did not participate. The Panther device is an
early appearance of the symbol. Carmichael was
a SNCC activist in Lowndes County, Alabama
registering black voters and the Lowndes County
Freedom Organization used the symbol in their
election campaign in early November 1966, as a
counterpoint to the the cockerel of the
Democratic Party of Alabama (see item above).
[14] BIRD (Joan) & SHAKUR (Afeni). To Our
Sisters in Arms.
First separate printing? Foolscap, 2ll.,
unpaginated, [3pp.], 2 b&w photoportraits, one
line drawn illustration, mimeographed in black
on cheap white stock. New York, Committee To
Defend The Panthers, reprinted from the Black
Panther 9/5/ 1970. £70
Browned on the fore and bottom edges, chipped
foreedge, old horizontal and vertical folds. Very
rare, no copies in OCLC, Houghton Library
records a copy.
A militant hate text by “2 of the 21” in police
custody against the “white capitalist system” and
its ‘representatives such as “Golda Meir..Richard
Nixon, Hoover, and Mitchell”.
ANGRY BRIGADE
[15] Fight Back With The Angry Brigade.
Original poster. 32.8 x 43 cm., two b&w
photographs with captions and title in black ink,
pale green stock, offset. N.p. [London], [Angry
Brigade?], n.p., 1971. £500
Old central vertical fold, endemic light fading,
trivial creasing and wear on the edges. Good to
very good, crisp, clean copy. Very rare poster
issued before any arrests were made.
Depicts the kitchen of Robert Carr, the then
Employment Minister, after the detonation of
two bombs planted by the Angry Brigade on Jan
12, 1971. This is compared to a filthy kitchen
with a forlorn looking toddler. The captions
weigh up the “cabinet minister’s kitchen...
repaired in 3 days” with the plight of “1 of over 2
million slums in britain [sic] damp and dry rot
destroys people people [sic] condemned to live
in squalor can this ever be repaired?”.
“CARR CONSPIRED TO
COMMIT THESE CRIMES
AGAINST THE PEOPLE WITH
THE MEMBERS OF A
TERRORIST GROUP CALLING
ITSELF THE ‘CABINET’”.
[16] Wanted For Conspiracy – Robert Carr.
Original poster. 35 x 23 cm., 1 b&w portrait, with
titles and 17 lines of text above and below
respectively, in black on creme paper. London,
Ian Purdie & Jake Prescott Defence Group, n.d.,
1971. £350
Old central horizontal fold, slight browning and
edgewear, minor nicks. A very good copy. Rare.
Robert Carr was the Minister of Employment at
the time, his home was bombed by the Angry
Brigade in January 1971. He is depicted on this
spoof Wanted style poster smiling and
pronounced guilty of conspiracy to “..kill and
maim...by perpetuating unsafe working
conditions..”, and of ‘terrorizing’ workers by
“..threat of legal punishment if they go on
strike” etc. .
[17] [IAN PURDIE
AND JAKE
PRESCOTT
DEFENCE GROUP].
Carr Bomb Case: State
Conspiracy. Free Jake
Prescott. Free Ian
Purdie.
Original poster/flyer.
32.9 x 23.1 cm., two
b&w photoportraits,
text in black, printed on
both sides on white
stock. London, Ian Purdie and Jake Prescott
Defence Group, n.d., c. April 1971. £275
Very good, clean, crisp condition. Scarce in both
commerce and institutions with no copies on
OCLC.
The title refers to the bombing of Robert Carr’s
house by Angry Brigade members. Photos of
Purdie and Prescott are arranged either side of a
statement by the former declaring his innocence,
thus:
“The circumstances leading to my arrest and
charging show how this Government is based on
tyranny and fear. Millions of people in this
country could be standing in this dock instead of
me, because they are totally opposed to the
political system in this country... History will
show who are the real conspirators”.
Possible flaws in the prosecution case are
discussed and situationist style theories to justify
the Carr bombing are thrown into the mix, thus:
“When the Angry Brigade attacked Robert
Carr’s house, the facts about their series of
attacks on the bosses need no longer be hushed
up. The illusion of social peace was shattered”.
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16
[18] IAN PURDIE
AND JAKE
PRESCOTT
DEFENCE GROUP.
Candidates For An
Outrage; To The
Bailey
Original poster/flyer.
35.4 x 22.9 cm., two
b&w photoportraits,
black ink on white
stock, printed on both
sides, offset. London,
Ian Purdie and Jake
Prescott Defence Group. n.d., August/
September, 1971 £250
iOld central, horizontal fold, a bit creased on the
edges. Good to very good copy. Scarce in
commerce and institutionally with no copy on
OCLC.
Includes two large quotations from Purdie and
Prescott, and a Western Marxist or Situationist
3

analysis of the impending court case with,
examples of police ‘brutality’ and ‘injustice’
mixed with portentous prophecies of mass
uprising in sympathy, thus:
“Outside the crowd is stirring...... People
everywhere are fighting the boredom and misery
of the lives they are forced to live. Jake and Ian
are just scapegoats for us all”.
[19] [STOKE
NEWINGTON 8
DEFENCE GROUP].
Guilty Or Not Guilty:
There Can Be No
Justice Under This
System. Between Us
And The Enemy Draw
A Clear Line!
Solidarity With The
Stoke Newington 8 and
Jake Prescott!
Original poster. 43 x 34 cm., photocollage and
text in black on white stock, offset. N.p..
[London], n.p. [Stoke Newington 8 Defence
Group?], n.d., 1972. £200
In very good, clean and crisp condition, old
horizontal fold with browning. Rare.
Depicts Judge Melford Stevenson with a sheeps
fleece for a wig, portraits of the 8 are mixed with
tenants’ rights placards and graffiti.
[20] Guilty Or Not Guilty There Can Be No
Justice Under This System/Between Us and
The Enemy Draw a Clear Line.
Original poster. 43 x 30.4 cm., verso with line
drawn vignette on masthead with 5 b&w photoportraits,
recto with these 5 and 4 other
captioned portraits, in black on pink paper,
largely German text and photo captions. N.p.
[Germany], n.p., n.d., possibly December
1972. £300
Old central horizontal fold, lightly nicked with
light, even endemic browning. Probably a quite
rare German poster on British urban wafare.
The photos are of the Stoke Newington 8 and
Jake Prescott, the German captions state their
sentences. An unnamed defendant is quoted
below their portraits, thus:
“If you convict we are not going to change. We
will still be who we are and what we believe. I
know that the people in this dock with me are
people working together for a happier and more
peaceful world. That is who we are”.
4
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The masthead on the verso depicts the trial
judge, possibly Judge Melford Stevenson, with a
sheepskin instead of a wig as in the item above.
[21] No One Ever
Wanted To Work In
Little Conspiracies.
I’ve been involved in
open political activity.
You say what you are.
You come out in the
streets & support each
other. Support the
Stoke Newington 8 and
Jake Prescott.
Original poster. 43 x 34 cm., photo-collage
and black text on white stock. N.p. [London],
n.p. [Stoke Newington 8 Defence Group?], n.d.,
1972 £250
Very good condition, old central horizontal fold,
lightly brownedon. Rare.
The photo-collage includes portraits of the
defendants and tenants rights marchers.
[22] STOKE
NEWINGTON 8
DEFENCE GROUP.
March On Wormwood
Scrubs. Sat. 16 dec.
meet Ipm [sic]
shepherds bush green..
Original flyer.34 x 21.5
cm., 1l., [2pp.],
illusrated masthead and
text, printed on both
sides, offset?. London,
Stoke Newington 8
Defence Group, n.d.,
1972. £75
Foxed on upper edge with a tear in the middle, a
bit creased. Good to very good copy. Very rare in
both commerce and institutionally with no
copies on OCLC or IISH.
The masthead crudely reproduces clipped
newspaper photo-portraits of Jake Prescott,
Hilary Creek, John Barker, Anna Mendelson and
Jim Greenfield and the top half of the title hasn’t
been reproduced. The screed links the trial and
the threat of imprisonment to a move by the
“..ruling class, to make us afraid to strike, afraid
to fight back”, as such, supporting the
defendants was “..attacking the system too”.
[23] [STOKE NEWINGTON DEFENCE
GROUP]. Stoke Newington Defence Group
Teach In on the trial, political laws, courts,
prisons, police. Saturday 17th February 1030–
6pm Holloway [Tube symbol] North London
Polytechnic.
Original poster. 45.5 x 32 cm., illustration in
black and titles in pink on white stock. N.p.,
[London], n.p., [Stoke Newington Defence
Group], n.d., 1973. £275
Endemic, light browning of cheap paper, old
central horizontal fold, contemporary pinholes
on top edge, bottom edge a bit crumpled with a
few tears. Good to very good copy. Very rare in
both commerce and institutions with no copies
on OCLC.
Depicts the Angry Brigade automatic rifle
grasped by two hands emerging from male and
female symbols.
[24] [STOKE NEWINGTON DEFENCE
GROUP]. Stoke Newington Defence Teach In
on the trial, political laws, courts, prisons,
police. FREE THE FIVE. Saturday 17th
February 10:30–6pm. Holloway [Tube symbol].
North London Polytechnic.
Original flyer. A4., 1l., printed on both sides, one
illustration, black on white stock, offset?. N.p.,
[London], n.p., [Stoke Newington Defence
Group], n.d., February 17 1973. £75
Very good, clean and crisp condition. Very rare
in both commerce and institutions with no
copies on OCLC.
The verso outlines the day’s curriculum,
completely given over to support for all ‘political
prisoners’ and how to “..fight back as a class..”.
The vignette on the recto reproduces the Angry
Brigade symbol.
[25] [BAADER
MEINHOF GROUP].
HALF DEAD.. ..but
not forgotten. ULRIKE
MEINHOF Described
as “the most
dangerous woman in
Europe” by the West
German authorities.
ULRIKE MEINHOF
Imprisoned for three
years without trial, and
for six months in total
silence...
Original poster. 46 x 29.3 cm., titles and
photomontage illustration in reverse white on
black, spot red, on white paper stock. N.p., n.p.,
n.d., May 1976. £275
Very good, clean and crisp recto, two pinholes on
top corner, verso with two old tape marks. Quite
rare. Old central horizontal fold.
“Half ” has been crossed out with a red ‘X’. The
illustration depicts Meinhof ’s face within a
border of barbed wire. The text is arranged as
four statements commencing with “ULRIKE
MEINHOF”. In the fourth statement she is
described as a “Dedicated opponent and victim
of the new Third Reich”.
[26]
REPUBLIKANISCHE
HILFE-SDS. Ihre
Ordnung ist Auf Sand
Gebaut
Dokumentation zur
Buchmesse + zum
Senghor-Prozess [Your
Order is Built on Sand.
Documentation for the
Bookfair + the
Senghor trial].
First edition. 4to.,
66pp., [4pp.], 7 photographs; 3 in b&w, 4 in red,
printed in blue, red and black on pink or white
paper, perfect bound into the original paper
wrappers illustrated in photomontage with
facsimile holograph titles, mimeographed. N.p.
[Frankfurt], Republikanische Hilf-SDS, n.d.,
1968. £100
In good condition, front board loosening from
glue, head of lower board bitten by insects.
Signed by an unknown hand on upper board in
red. Uncommon.
Activist students from SDS and APO boycotted
the 1968 Frankfurt Bookfair in protest at the
awarding of a peace prize to Leopold Sedar
Senghor, Senegal’s first president, by the
German Booktrade Association. They also
organized a counter book fair. The front cover
depicts a German policeman with a long baton
beating a protestor.
[27] [FORENSIC PHOTOGRAPHY BY AN
UNKNOWN ARTIST]. 3 photographs of a
hand with gun wounds, 166 x 166 mm.,
contemporary silver gelatin prints, mounted
on card with very brief contemporary
annotations in pencil on verso, recently

27
conservation framed and glazed. N.p. [French],
n.p., n.d., early 1900s. £3000
Unexamined out of the frame, one print creased.
Good to very good condition. From the collection
of Dr Philippe Charlier, illustrated in Rue
Morgue. Scènes de Crimes (2012).
The early twentieth century was an unregulated
‘Wild West’ and doctors could experiment freely
on cadavers. The hands on these corpses,
28
probably taken from dead vagrants, were used to
exmine “..a rupture of the back of hand hit by a
bullet shot from a long distance” (Charlier).
[28] [FORTEAN ZOOLOGY]. “Hairless Horse
which I handled in Melbourne knew the
owner. a remarkable Freak not a trace of hair
even as an eyelash. Sepp. India rubber Horse
entirely Black and Smooth”.
Original carte-de-visite, albumen photograph.
5.4 x 9.7 cm. on 6.1 x 10.2 cm. card, in a
detached window cannibalized from an album
leaf, card inscribed “Ballone River
Q[ueens]l[an]d.” on verso, window with long
inscription quoted above, both in pencil and
contemporary to the photograph. Melbourne,
Davies & Co., n.d., c. 1873. £650
CDV with endemic, light, even browning,
window roughly sliced from the leaf, browned
edges.
5

An article in The Auckland Star for November
27th, 1873 entitled “The Hairless Horse”
describes “Caoutchouc... One of the most
wonderful looking creatures ever seen in the
colonies” and a “..model of symmetry and
beauty” (Papers Past website) corroborating the
pencil note that “Not one solitary hair can be
found on him from the tips of his ears to the tip
of his tail, while his skin, bearing a general
resemblance to India-rubber, is as soft as kid”
(ibid). Another article in Auckland’s Daily
Southern Cross on the 28th of that same month
and year describes this brumby found near the
Balonne River as having skin like that of an
“Australian black fellow” (ibid). Caoutchouc is
French for rubber derived from natural latex.
[29] [FREAKS].
[EISENMANN
(Charles)],
(Photographer),
(Attribution). Waino &
Plutano Weight 45
pounds, Age 50 to 60.
Original albumen
photograph, carte-devisite.
10.4 x 6.2
(including card), laid
onto green coated card
with red edges, caption
in darker green. N.p.
[New York], n.p. [The
[Popular Photographer], n.d., c. 1875. £200
Pinhole on upper edge of photo, worn corners,
water damage on lower right edge of card.
www.missioncreep.com depicts the same
photograph, on a variant card, of the so called
‘Wild Men of Borneo’ with their ‘guardian’
Hanniford Warner. The off-stage names of the
brothers were Barney and Hiram Davis. James
G. Mundie, the website’s writer also notes that
they worked for the circus impresario P.T.
Barnum from1880.
30] [FREAKS].
Admiral Dot. Thirteen
years old; Twenty-five
inches high. Weighs
only fifteen pounds &
Admiral Dot.
Seventeen years old
Twenty-five inches
high. Weighs only
Twenty Pounds,
two original cartes-devisite
with one albumen
portrait apiece, 8.6 x 5.4
cm. & 8.4 x 5.5 cm. on
10.6 x 6.2 cm. & 10.3 x
6.3 cm. off-white card, captioned, one with
studio device on verso the other unknown. New
York, E & H.T. Anthony & Co., n.d., 1870s. £120
Cards browned, spotting on the 17 year old Dot.
‘Admiral Dot’ was the stage name of Leopold
Kahn. He performed for P.T. Barnum.
[31] GILBERT & GEORGE. (the sculptors)
Side by Side.
First, limited edition-an artists’ book. 8vo.,
endpaper, blank, title, imprint, colophon, [5pp.],
170pp., [2pp.], profusely illustrated with b&w,
largely photographic, plates, sewn into the
original marbled cloth covered boards, titles and
device in black on upper board and titles alone
on spine, 58/600 numbered copies signed by
G&G. London, Art For All, 1971. £1500
A near pristine copy. Scarce.
G&G describe this as a “sculpture novel”.
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[32] BOSTON
POLITICAL POSTER
WORKSHOP. Why
Are You Afraid?
Original poster. 57 x
44.5 cm.,
photomontage, titles in
black, silkscreened[?] in
black on white stock.
N.p. [Boston], n.p.
[Museum of Fine Arts
School, Political Poster Workshop], n.d., 1970.
£275
In very good or better condition, one corner torn.
Very rare with one copy only on OCLC.
The School was one of a number of centres of
propaganda and dissent that emerged in 1970
when the US mounted a bombing campaign over
the Vietnamese border into Cambodia.
[33] A2 ANARCHIST
GROUP. (Design, print,
distribution).
[Revolutionary Praxis
is the Enemy of
Revolutionary Ideology
and Knows It].
Original flyer. 28 x 21.5
cm., 1l., photomontage
in red and blue on pale
green stock offset,
typescript on verso.
Ann Arbor, A2 Anarchist Group, n.d., circa 27–
28 December 1974. £75
Near fine. Very rare in both commerce and
institutions with no copies on OCLC. A copy in
IISH, part of the Steef Davidson collection of
posters illustrated on their website. Their copy
presumably not annotated.
A2 describe this as “The first leaflet done on our
press; the second pro-situ leaflet we published”.
A collage of the marques of various radical
newspapers such as ‘Workers’ Power’, ‘Yipster’ is
accompanied by a photograph of Stalin’s broken
statue head from the Budapest insurrection in
1956. In turn, Debord’s Thesis 124, from Society
of The Spectacle is below in red with the
substitution of ‘theory’ for ‘praxis’. The bottom
right corner has two appropriated vignettes of
Dr. Seuss’s archetypal pranksters Thing 1 and 2
with an incomprehensible equation below. The
typed note adds that “This is the first copy. Nick
[Totton], ever sent to the U.K. that I know
about—-for whatever that’s worth!”. As with
many US pro-situ productions it is lyrical and
beautifully designed.
[34] THORNE (Beowulf) & SHEARER (Tom)
(Editors). Diseased Pariah News Nos. 1–11 [all
published].
First editions, with a duplicate of #1 in reprint.
Small 4to., 30pp., 30pp., 30pp., 34pp., 32pp.,
30pp., 46pp., 38pp., 41pp., 38pp., 38pp., 38pp.,
#1 & reprint of #1, #2, #5, #7 with
wraparound ‘sanitation’ bands, 3 postcards.
Oakland, n.p., [Diseased Pariah News], Fog
Press, 1990–1999. £550
In very good or better condition, crisp clean
copies. Commercially scarce. No copies in LSD
library.
A complete run with one extra in reprint of the
most, thoughtful, respected, reviled,
transgressive and satirical zines to emerge from
the American HIV postive underground, or in
fact any underground scene. Tom Shearer died of
AIDS related disease circa issue #2 but Wulf
Thorne, born Jack Henry Foster, carried on
pushing the boundaries of good taste and
humour till his own death in 1999. Cover
features include the very confrontational “Piss
34
Jesse”, depicting the head of Senator Jesse
Helms in a bottle mocking his outrage at the
public funding of Andres Serrano’s artwork ‘Piss
Christ’. The very shocking and dark cover for #3
satirizes the recent death of co-editor Tom
Shearer, the story within underlines the horrific
ordeal that the DPN circle went through, it is
subtitled, in ‘slapstick’ style: “Darn! One of our
editors is dead! Can DPN withstand the test of
fire?”.
The zine mascot was ‘OncoMouse’, a lab rat and
therefore the ultimate pariah. DPN ran a series
of centrefolds that, to all intents and purposes
looked like modern, straight beefcake but which
included the model’s T-Cell count and favourite
medications.Other articles in this densely
packed, DTP designed, zine included “AIDS
Barbie” with three détourned dolls posed with
“Estee Lauder.. Oxygen Gurney”, IV rack and
“Bob Mackie designed bedpan with rhinestone
accents!”. Other more practical articles discuss
food and the healthy HIV positive male, with
taste tests and a column entitled “GET FAT”
Don’t Die!” and another, quite dodgy, article on
roadtesting amyl nitrites. This, is also a cover
story entitled “Carburetor Cleaners Compared”.
An important zine.
[35] ACT-UP, SAN FRANSCISCO, ACT-UP
GOLDEN GATE & BOY WITH ARMS
AKIMBO. A collection of ephemera.
5 issues of Act-Up newsletter, several handbills;
including an annotated draft of one by Act-Up
Golden Gate, a marijuana one, a marijuana
leaflet. A 27 x 11.7 cm. window or noticeboard
card, in reverse white on black, “This is For You
Because 7, 000 AIDS Deaths in S.F. Aren’t
acceptable..”, 3 handout cards, 1 ‘business’ sized
35

card, 1 postcard, 1 sheet of 6 printed crack and
peel stickers, another short reel of round
stickers, sheet of observer/witness or steward
stickers “Act Up Types are Watching”, Act-Up
merchandise leaflet. 1 sheet of ‘Sex is Just Sex’
crack and peel stickers and a 57.7 x 43 cm. poster
for a Canadian Micah Lexier exhibition poster
on newsprint reproducing the Boy With Arms
Akimbo motif on the latter stickers.
Approximately 20 items, 2 relating to Akimbo.
San Francisco, Act-Up/Boy With Arms Akimbo,
1989–1996. £400
Largely in very good condition, a few items
creased, browned and worn.
[36] AIDS KS FOUNDATION, SANTA
CLARA COUNTY CHAPTER. Cache of
printed ephemera, stationery, drafts and
pasteups for Foundation publications.
Approximately 60 items with some leaflets as
multiples, much with contemporary annotations
in pen. San José, AIDS/KS Foundation, santa
Clara County Chapter, c. 1983–1984. £75
In good or very good condition.
A modest but early and important cache of
materials relating to Karposy’s Sarcoma.
Includes an important document, the annotated
“(preliminary) Phone Intake Sheet” for 7/83
used by the Santa Clara Chapter.
[37] AIDS PROJECT OF THE EAST BAY.
STEWART (Hopeton) (Photography).
Brothers! It’s Hard to Remember So,
Remember When It’s Hard/Girlfriend! Can We
talk. It’s a Simple Matter of Protection (and
various other slogans).
Original photographic posters, 4 x 28 x 38 cm &
20 x 28 x 21.5 cm, 24 items, three of the larger
echo the smaller series, printed in black on offwhite
paper. Oakland, AIDS Project of The East
Bay, n.d., c. 1990s. £300
Good to very good condition, the larger posters a
trifle creased on the tail. Rare, no copies in
OCLC.
Stewart is the author of a 1993 book entitled ‘In
Our Own Image: Art of Black Male
Photography’. The portraits on the posters in
hand are all of African American people across
the gender, age and social spectra including
transgender females, homosexual men, middle
aged women, children and toddlers. All stress
the same themes of using latex condoms and
practising safe sex. A sober but important
collection of visual responses to the AIDS crisis
and the over-representation of the disease
amongst the black population.
“EVERYTHING IS FREE, THE
REST NEEDS LIBERATING”
[38] [ALBERY (Nicholas)]. Project London.
Free.
Original guidebook. 12mo., unpaginated,
[28pp.], unevenly cut pages, stapled into the
original printed paper wrapper, upper portion
with titles in black, one b&w photograph in a
box of stars, offset lithography. N.p. [London],
n.p. [Nicholas Albery/Revelaction, printed by
Lovebooks], n.d., 1969. £150
In very good or better condition. Rare, 11 copies
on OCLC, all seemingly microfiche.
A guide to scrounging in sixties London that
includes “Free funeral: this is all you get for
selling your body to medicine..”. Albery was a
social entrepreneur of great renown who was
involved with Frestonia and BIT and in the 90s
he set up the Natural Death Centre.
[39] AMERICAN DESERTERS
COMMITTEE. Manifesto of The American
Deserters Committee.
Original handbill. A4, mimeographed in black
on one side only, with a TLS from Grant Fox,
ADC chairman. Montreal, American Deserters
Committee, December 15, 1968. £50
Good to very good, a paper tape repair halfway
down the page, the letter very good to near fine.
Institutionally very rare with one copy only in
OCLC at the University of Kansas.
An group of AWOL soldiers formed in
“..opposition to the U.S. imperialist aggression
in Vietnam..”. They aimed to help “...U.S.
Deserters and draft resisters gain a more
political outlook toward their own actions..”.
[40] BRAINARD (Joe).
The Banana Book.
First edition. 4to.,
unpaginated, 19ll.,
printed on rectos only,
mimeographed, stab
stapled thrice, in the
original yellow paper
boards, upper portion
illustrated by Brainard,
there were also 26
lettered and signed
copies, signed on the first leaf. New York,
Siamese Banana Press, 1972. £275
Creased and torn on lower right of upper board
with two small coffee spatters on illustration, a
trifle thumbed.
Homo-erotic phallic photos and illustrations
accompanied by witchy comments, found texts,
letters etc.
[41] BRASSAI (George), MILLER (Henry)
(Introduction). Histoire de Marie.
First edition. 12mo., endpaper, [7pp.], pp-9–90,
[2pp.], sewn, in the original off-white paper
jacket glued to spine, facimsile handwritten
titles, one of 2500 numbered copies on Vélin Alfa
from a complete run of 2753 with 100 numbered
copies on Alfa Alma du Marais, 26 lettered
copies reserved for friends of the author, 126
copies with an original etching. A signed
inscribed, presentation copy from Brassaï to an
unknown recipient in Paris in 1970. Paris,
Editions du Pint du Jour, 1949 £175
The full inscription in red Biro on the section
title of the introduction reads:
“Un cordial souvenir de Brassaï Paris le 7 Oct.
1970”.
In good to very good condition, text with
endemic, even, light browning. A clean, crisp
42
solid copy.
Prose poems by Brassaï, better known as a
photographer than a writer.
[42] [BUSCH (Keith)] a.k.a. [NABIT Dag)].
Original maquettes for Punk/New Wave gig
flyers for Ohioan bands appearing at either
JB’s, Kent, or The Bank, Akron.
5 x A4., newsprint and magazine collage,
handlettering and colouring, 3 on blank white
cartridge paper, one on ruled green (this re-used
on verso), the last on a page extracted from a
magazine. N.p.[Akron], 2 with dates in Biro on
verso, thus: 1981. £500
A bit creased, very good, clean, crisp copies.
Three of the flyers are for JB’s, they advertise
performances by the “F Models wi’ Bursting
Brains” and “Bak 2 one (formerly Keith Busch)”,
one is for an “all ages” alcohol free event with
Diffi-Cult, Kleasmos and Twist-Offs. One of the
two Bank flyers is for The F Models and
Unfortunate Children, the other for Big Wow,
Nelsons and Bak 2 1.
[43] [COHEN (Ira)], [MACLISE (Angus)] &
[SMITH (Jack)]. there will be a celebration in
honour of the three Magi at St. Marks Church
in the Bowerie on Tuesday 6th January at 8 ‘o’
clock. it’s free heaven and earth rejoice and
invitation for you.
Original invitation. 8vo., 1l., folded once, [4pp.],
facsimile handwritten text, 5 illustrations, in
black on off-white paper, dsign by Hetty Maclise.
N.p. [New York], n.p. [The Poetry Project], n.d.,
1970. £165
Near fine. Very rare, no copeis on OCLC.
Decorated with found symbols from the Kabbala
and possibly alchemy.
[44] [CORNELL (Joseph)], POLKO (Elise).
Maria.
First edition. Small 8vo., endpaper, ‘found’
headpiece, [10pp.], stapled into the original off
white paper wrappers, title and decoration in
black, glacine jjacket, one of around 100 copies,
in a recent green cloth covered box, titles in gilt
on leather label. N.p. [New York], for
Salamander Editions, [Joseph Cornell], 1954.
£750
Very good or better, rusty staples. Very rare both
in institutions and in commerce with one copy
only on OCLC.
This privately published book, that Cornell gave
7

to his friends, is dedicated to the nineteenthcentury
opera singer Maria Malibran-Garcia
who died young. The headpiece is from a
nineteenth century steel engraving.
[45] [CROWLEY,
BLAVATSKY, LEVI].
[WAIN (Gordon)]
Portraits of the
occultists Aleister
Crowley, Madame
Blavatsky and Eliphas
Levi, 41.5 x 29.7cm.,
40 x 29.8 cm., 39.5 x
29.7 cm., polychrome
acyrlics on Daler board,
all mounted in a grey
card passepartout,
unsigned, formerly of
the Charles Walker
collection of occult
images for which they
were commissioned, c.
1992. £1200
In very good condition,
the mounts a bit
bumped, some paint
stains.
Corny, fairground style
graphic art.
[46] DEBORD (Guy). [SIEVEKING (Paul)] et
al (translator). The Society of the Spectacle.
Publishers’ ‘master copy’ for the first UK edition
of 200 copies. Foolscap, unpaginated, 27ll.,
duplicated on a variety of coloured papers, stab
stapled into paper boards, handwritten titles, list
of translators and ‘Master Copy’ in blue ink on
upper portion, extensively revised translation of
the Black & Red edition copiously emended by
Paul Sieveking throughout. With a leaf of
original paste-up artwork for a flyer for the book;
a détourned portrait of Karl Marx with a speech
bubble and a printed version of this. N.p.,
[London], n.p, [Anti-Copyright, available from
Compendiums Books (for the published book)],
1973 £300
In very good condition, old band of glue on both
covers along the staples-suggesting a lost set of
wrappers perhaps.
A comprehensively revised version of the Back &
Red translation.
[47] DRAFT HELP. (we are broke) prEsents:
the committee laff-packed show! .plus.
Congress of wonders &: committee theater 836
montgomery sunday sept. 28 9 p.m. 2.50
donation a beneFit for... drAft Help tiCKets at
perFormance ticKets at draft Help 3684 18th
st. SF.
Original poster. 25.5 x 35.5 cm., in orange, grey
and burgundy on white paper. N.p. [San
Francisco], draft Help, 1969 £175
[48] EGGAN (Ferd). Your Life Story by
Someone Else.
First edition. 4to., [3pp.], pp-4–92, profusely
8
52 50
illustrated throughout, folded ‘Color-It-Yourself
poster loosely inserted, perfect bound into the
original decorative stiff card wrappers, a signed
and inscribed presentation copy from the author
to ‘Richard’. Chicago, Editorial Coquí, 1989. £75
The inscription is peceded by a rather cynical
rubberstamp in red reading “To my Dearest
Friend ___” which the author has filled in with
“Richard Love from Ferd” in red Biro.
Spine rather faded, text and poster fine.
A satirical and ‘off the wall’ autobiography by a
well known ACT-UP activist. The poster,
illustrated by Scott Brinkman, depicts a group of
infected attacking the White House and
contaminating Reagan and his advisors with
thorns from the Rose Garden loaded with HIV.
The last panel reads: “The great men of the
nation succumb to cerebral hemorrhage and
coronary attack as their blood is laced with the
microbes of slow and guilty death.”
A flip book film of the Capitol being sliced by a
pink triangle is printed onto the top right
corners of the text block.
[49] GOLDIN (Nan).
“The Ballad of Sexual
Dependency” Slide
Show by Nan Goldin.
Sat., May 11 10:00 p.m.
8BC 337 E. 8th St. 254-
4698.
Original flyer. 28 x 22
cm., 1 illustration,
facsimile handwritten
text, Xerox?. N.p. [New
York], n.p. [privately
published], n.d., 1985. £450
Evenly browned paper, old and slightly off
centre horizontal fold. Very good copy of a
fragille ephemeron. Rare in both commerce and
institutions with no copies on OCLC as named
items.
[50] GRAHAM (Paul). A1: The Great North
Road.
41 colour photographs. First edition. Oblong
4to., frontispiece, [10pp.], 40 numbered plates on
rectos with captions on versos, line drawn map,
[6pp.], perfect bound into the original laminated
stiff paper wrappers, colour photograph on
upper portion, titles in black on both portions
and spine with a line drawn map on the lower,
one of 2575 with 75 reserved for a special edition
and 2500 of this the paperback edition. Bristol,
Grey Editions, 1983 £475
Good or very good copy, wrappers a trifle worn
with endemic and light browning.
Photographs of motorway life.
[51] GUERRILLA GIRLS. Guerrilla Girls’
Code of Ethics For Art Museums.
Original poster. 43.5 x 56 cm., titles and
illustrations in black on white, folded. New York,
Guerrilla Girls Conscience of The Art World,
n.d., copyright 1989. £200
Crisp, clean copy, folded as issued?.
On www.guerrillagirls.com which notes that
“The events portrayed in this poster bear direct
resemblance to real events at U.S. art museums.
It’s the only poster we have ever done in Old
Testament language. Copies of it have been
spotted hanging in museum offices all over the
country.”
The ten commandments are listed on a pair of
tablets with trompe l’oeil or photographic

53
marbling and cracking. They include: “I. Thou
shalt not be a Museum Trustee and also the
Chief Stockholder of a major Auction House”
And: “X. Thou shalt admit to the Public that
words such as genius, masterpiece, priceless,
seminal, potent, tough, gritty, and powerful are
used solely to prop up the Myth and inflate the
Market Value of White Male Artists”.
[52] [HACIENDA]. The Gay Traitor.
Original bar sign, printed on paper, framed, 70 x
22 cm. [Manchester, Fac 51, Factory Records
1982.] £2000
In very good condition. Jon Savage’s copy. Rare.
The Hacienda Club in Manchester was the most
celebrated nightclub in Britain in the 1980s. It
was founded by Tony Wilson, who also created
Factory Records: they were the two razor-sharp
cutting edges of post punk music. Knowing,
ironic and subvervise, he and his collaborators
succesfully injected the Situationist aesthetic
into mainstream British culture.
The graphics and architecture for the record
label and nightclub were of a legendarily high
quality. The principal designer in the early years
was Peter Saville, now one of the kings of adland,
and although this work is not formally
credited to him in Matthew Robertson’s Factory
Records the Complete Graphic Album (Thames
and Hudson 2006) it’s a dead spit for his hand.
A copy of the poster served as a cocktail menu at
the three bars at the Hacienda. Collectively
known as “The Gay Traitor”, they were
individually known as Blunt, Philby and Hicks
[the pseudonym for Guy Burgess]..
[53] [HARDCORE PUNK]. XXX Hardcore
Wilson Center 6/25 15th & Irving St. NW,
Washington DC Doors Open 7:00.
Government Issue · From Boston Gang Green
Faith · Artificial Peace ·Scream · Deadline.
Original poster. 43 x 27.9 cm., in red and black
on white paper. N.p. [Washington D.C.], n.p.
[Wilson Center], 1982. £500
Endemic, even browning, large pinhole on top
centre, old creases. Very good. Rare.
The emblem of American hardcore was a
détourned Stars and Stripes with stars cancelled
by the letter ‘X’ thrice. An important poster from
a now much revered punk music movement
sporting an early example of the emblem. Dave
Grohl, later of Nirvana and the Foo Fighters, was
a member of ‘Scream’ here appearing but one
from the bottom of the roster. The show and the
poster are discussed in Andersen and Jenkins’
‘Dance of Days: Two Decades of Punk in the
Nation’s Capital (2003).
[54] [JAMES (C.L.R.)]. [FACING REALITY].
Discussion I-III. Re: Letters on Organization.
Original ‘in-house’ publications. Foolscap,
unpaginated, 2ll., 5ll., 5ll., taken from typed
notes, mimeographed in black on rectos only,
one with an annotation in pencil. With a 2pp.
flyer for James’s ‘State Capitalism and
Revolution’ and a 1p. annotated ‘Recommended
Reading’ list (5 items). N.p., [Detroit], n.p.
[Facing Reality], Sun. Feb. 17, Mon. Feb. 25 &
Sun. March 10 1963. £350
In very good, clean and crisp condition. Very
rare, no copies on OCLC which seems to largely
list public facing publications.
‘Facing Reality’ was named after a book cowritten
by C.L.R. James, the great black
Trinidadian social theorist and cricket
commentator. His greatest literary-historical
achievement was arguably ‘The Black Jacobins:
Toussaint L’Ouverture and the San Domingo
Revolution’.
The ‘Discussions’ are important documents
framing the student debates and tensions of
African-American and Caribbean descendants.
To this cataloguer, they are akin to the concerns
of the sixties generations portrayed in ‘The
Nigger Factory’, Gil Scott-Heron’s great campus
novel.
[55] [KING (Martin Luther) (Jr.)]. I Was There;
Civil Rights Now, Washington, DC, August 28
1963.
Original pennant. 32.5 (lashed end) x 91.5 cm.,
one illustration with titles in yellow and reverse
red, titles in cursive yellow along pennant, red
vinyl, glued to the original stick. N.p., n.p., n.d.,
1963. £1000
In very good condition.
The illustration depicts Capitol Hill and an
open book with some of the titles on the pages.
The August 28 march attracted 200, 000 plus
people. More importantly, King delivered his ‘I
have a Dream’ speech at the demo.
[56] [KINSELLA
(Thomas)]. IRISH
REVOLUTIONARY
SOCIALIST PARTY.
Sunday Bloody
Sunday.
First collected edition.
8vo., [1p.], pp-2–21,
[3pp], illustrated with
b&w offset photographs
throughout, (including
wrappers), stapled into
the original
photomonaged white paper wrappers, ‘Foreward’
by The Chairperson, Comhairle Ceanntair,
Derry City I.R.S.P., old price sticker on upper
portion of wrapper, telephone number on second
page corrected by hand in Biro. Dublin, The
Irish Republican Socialist Party, Starry Plough
Publications, n.d., 1978. £75
Wrappers a little tired with browned edges. Rare,
4 copies on OCLC, a copy in IISH, no copy in
NLI, on CAIN, 4 copies in Linen Hall.
A miscellany of articles in eight parts that
includes a reprint of “..Thomas Kinsella’s
famous poem, THE BUTCHER’S DOZEN,
which expresses the anger and disgust of
Ireland’s leading poet. This work, with the subtitle
“A Lesson for the Octave of Widgery”,
appeared in pamphlet form in late April 1972.
The front cover of the pamphlet carried the
outline of a coffin with the figure 13
superimposed. the text is based on the form of
the Dunciad and was published by the Dolmen
Press, Dublin” (foreword).
[57] [LALLY (Mark)] (Editor). They’re Coming
To Take Me Away Ha Ha [all published].
First, limited edition. 8vo., [44pp.], unpaginated,
illustrated throughout, printed in red, black and
sepia on white and yellow paper, stapled into the
original white paper wrappers illustrated in
photomontage, poster by Babs Santini loosely
inserted, 114/500 handnumbered copies. N.p.
London, n.p., n.d., c. 1984. £75
Near fine. Rare.
Well done zine that includes Allen Ginsberg,
CRASS, Nurse WIth Wound, Die Todliche
Doris, Psychic TV, Test Dept., Chris and Cosey
and interviews with Coil. Of note is a facsimile
of a letter from William S. Burroughs to Lally,
thus: ““A medicine man said to a white
novitiate.. “I can teach you nothing until you get
over the white man’s habit of asking questions”“.
[58] [LESBOPHOBIA]. April 11, 1979. Peg’s
Place “Release”. What happened. How and
what you can do to help.
Original circular. A4., 1l., text in black, printed
on one side only, on off-white paper, pencil mark
on title, annotations in black ink adding the
name “Alene” twice. N.p. [San Francisco], n.p.
[The Erlinda Symaco and Alene Levine Legal
Fund], 1979. £75
Very light creasing, slight browning. Very rare.
Includes a narrative of a notorious violent attack
by a group of drunken policemen and friends on
a Richmond, San Francisco lesbian bar, thus:
“Linda has been hopsitalized now for 10 days
and Alene had severe enough head injuries to
warrant a skull fracture x-ray series”.
[59] LIGHT (Bob) & HOUSTON (John). The
Film to End All Films: The Most Explosive
Love Story Ever: Milton Friedman in
Association with Pentagon Productions
Presents “Gone with the wind.”: Screenplay by
Kid Joseph, Directed by Hank Kissinger,
music by Eddy Heath. She promised to follow
him to the end of the Earth. He promised to
organise it! An IMF picture. Right Rank Inc.
Now Showing World-Wide.
Original poster. 62 x 45.5 cm., photocollage in
blue, titles in blue, red, and reverse white on
glossy white paper stock, probably a later variant
issue. N.p. [London], Socialist Workers Party,
n.d., c. 1983. £150
Some pencils scribbles on verso, edges a bit
worn, crisp and clean. Good copy.
[60] MERRITT (Natacha). PRINCE (Richard)
(Introduction). Sexual Selection.
Largely illustrated with colour photographs.
First edition. Tall 8vo., endpaper, [2pp.], pp-3–
236, [4pp.], in the original photographically
9

illustrated laminated card boards, integral
bookmark. Berlin, Bongoût, 2012. £35
As new condition. Post Parr.
Auto-erotic photos juxtaposed with plant life.
Merritt published the first digitally sourced
photobook.
[61] [MILK (Harvey)], MAUPIN (Armistead)
(Foreword). BLACK (Dustin Lance)
(Introduction, interview extracts). Milk. A
Pictorial History of Harvey Milk. Featuring
oral histories, archival photographs, movie
stills, and the story of the making of the Gus
Van Sant film.
130 b&w and colour photographs. First edition.
4to., [6pp.], pp-7–144, in the original grey cloth,
titles stamped in white on spine, photographic
dustjacket. Contemporaneously signed by the
authors Dustin Black, Armistead Maupin and
also Cleve Jones, Michael Wong, Denton Smith,
Medora Payne, Dan Nicoletta and others on the
front free endpaper. New York, Newmarket
Press,
2009. £300
10
64
Near fine.
Cleve Jones is a well known American AIDS and
LGBT rights activist, he conceived the NAMES
Project’s AIDS Memorial Quilt. Wong is an
activist for Chinese-American rights. Denton
Smith was a close friend to Milk and Medora
was, at the time, a child campaigner volunteer.
Nicoletta is a photographer and was a prominent
member of Milk’s campaign retinue.
[62] [NABOKOV (Vladimir)], KUBRICK
(Stanley) & HARRIS (James B.) M-G-M
presents in association with Seven Arts
Productions James B. Harris and Stanley
Kubrick’s “Lolita”.
Original lobby card. 27.8 x 35.6 cm., photograph
in saturated colour, white border with titles in
red and blue, printed advisory sticker in border
under photograph lower right, thus: ‘Not
Suitable For Children’, reputed to be #2 in a set
of an unknown quantity. N.p., [Culver City],
Metro-Goldwyn-Mayer Inc., 62/262, Copyright
1962. £250
Lightly worn, pinholes.
Depicts Sue Lyons as ‘Lolita’ in a bikini top and
swimming shorts, wearing a feathery hat and
sunshades and reclining on a towel. In a
characteristic pose, she glances over the top of
her shades.
Power to the Passive!!
[63] [NEGATION].
CENTRAL
COMMITTEE
CHRISTIAN WORLD
LIBERATION
FRONT . Christian
World Liberation
Front. Jesus Loves You
– Kill Yourself.
Original broadside/
poster. 43 x 28 cm.,
Gothic header and
section titles,
historiated initial,
détourned map and two other vignettes, in a box,
offset in black on white stock. N.p. [San
Francisco], Christian World Liberation Front
a.ka. [Negation], n.d., c. 1972. £200
Central horizontal fold, slight edgewear. A good
to very good copy.
A piss take of the Jesus Freak, Berkeley based
Christian World Liberation Front by a Situ
group.
[64] OELI (Monica). Original mixed-media
collage, 59.7 x 41.8 cm., fabric, magazine and
wrapping paper clippings glued onto white card,
signeD in pencil on lower right.
N.p.[Switzerland?], n.d., 1950s. £300
In very good condition, the card endemically,
lightly and evenly browned, small tear on top
edge.
A rather creepy portrait head of a fashion model
or actress with a bonnet made of huge roses and
rather dysmorphic (but thankfully clothed) body
composed of scraps of cloth and more roses. We
bought this in Boston and know nothing of Oeli.
“I WONDER WHY MEN CAN
GET SERIOUS AT ALL. THEY
HAVE THIS DELICATE LITTLE
THING HANGING OUTSIDE
THEIR OWN BODIES, WHICH
GOES UP AND DOWN BY ITS
OWN WILL”.
[65] ONO (Yoko). On
film no. 4 (in taking the
bottoms of 365 saints
of our time).
First edition. A4., 6pp.,
2 plates of facsimile line
drawn illustrations, two
other vignettes in the
text, stab stapled once,
original decorative
upper, paper board,
loose leaves, offset? N.p., [London], n.p.
[Insufferable Times?], n.d., c. 1967. £750
Creased, a few tears, rubbed dusty wrappers.
Commercially and institutionally rare, two
copies only on OCLC, at Cambridge and
Emory;the Danowski copy sans publisher like
the copy in hand.
Film No 4 is better known as the film ‘Bottoms’
features close ups of many naked posteriors
played by Jeff Nuttall, Carolee Schneemann,
Ben Patterson. A cartoon “Synopsis of Film No

62
4” in the text invites a DIY approach to making
the work. The pamphlet also includes “Excerpts
from the footnote to her lecture at Wesleyan
University” in facsimile.
[66] ORGANIZATION
FOR SOLIDARITY
OF THE PEOPLE OF
ASIA, AFRICA &
LATIN AMERICA.
ROSTGAARD
(Alfredo) (Designer).
[Nixon/Devil
transformation].
Original poster. 22 x 14
cm, 44 x 28 cm.,
(unfolded), colour,
folded vertically and
horizontally. N.p.,
[Havana?], OSPAAL, n.d., 1972 £275
Endemic but very light browning, a trfile dusty,
minor creases where the edges meet.
Depicts Nixon in profile, in transformation he is
a fanged devil or perhaps vampire in a
psyschedelic landscape. Rostgaard became the
artistic director of OSPAAL in 1966.
[67] ORGANIZATION FOR SOLIDARITY
WITH THE PEOPLE OF AFRICA, ASIA
AND LATIN AMERICA. [UNKNOWN
DESIGNER]. [Human target].
Original poster. 33 x 53 cm., colour offset, folded
as issued. N.p., [Havana], OSPAAAL, n.d., c.
1971. £80
In very good, clean and crisp condition.
This untitled poster depicts a US Army Special
Forces officer of The Green Berets as a paper,
shooting range target.
[68] [OZ.]. [ADAMS (Richard)] (Designer). 2
long sleeved tee-shirts and a singlet, original
apparel, small/medium sizes, red, yellow and lilac
cotton respectively, screenprinted.
N.p. [London], n.p. [singlet with Scott Lester
label], n.d., 1971. £400
Singlet faded but good, yellow shirt ripped and
worn, the last also worn but less so.
The red shirt and singlet were produced for the
Oz Obscenity Trial, the latter is very striking as
it depicts the notorious Rupert The Bear with a
tumescent penis. The other two depict a
pregnant elephant and the 3 virgins.
[69] [OZ]. SHARP (Martin) & HURFORD
(John). Show Your Head. Support Release.
Legalise Pot Rally July 7th Speaker’s Corner
Hyde Park.
Original poster. 75 x 50.5 cm., blacklight poster
in yellow, lilac, red and orange, offset lithograph,
signed by Hurford. N.p. [London], Oz, printed
by “The Word”, n.d., 1968. £1000
Trivial creasing on lower corners and edge.
A good to very good copy, the colour saturation is
still vivid, even after 40 odd years. The trade
68
suggests that this is a scarcer colour variant with
Dayglo orange titles in the lower left corner
rather than the more common purple.
Depicts a sort of bearded pagan godhead
smoking a large joint. Underneath this is John
Hurford’s blacklight figure of another more
Classical bearded face.
[70] PARKS (Gordon) (Producer and director).
The Learning Tree. A film by Gordon Parks
based on his novel.
Original lobby cards. 28 x 35.5 cm., 8ll., colour
photographs from film stills, on a black on white
background, in a white border, stylized titles in
pink and white and credits in reverse white, a
complete set of 8. N.p. [Burbank], Warner Bros.-
Seven Arts, copyright 1969. £150
Some slight wear, #1 with a Sellotape mark on
verso. Good to very good.
Parks’ film based on his autobiographical novel
was probably the first major Hollywood
production directed by an African American.
The next was ‘Shaft’.
[71] PEARSALL
(Robert Brainard)
(Editor, commentary).
The Symbionese
Liberation Army.
Documents and
Communications.
First edition. Tall 8vo.,
half-title, title, [3pp.],
pp-6–158, perfect
bound into the original
stiff, glossy, red card
wrappers, titles in black
on upper portion, with SLA Cobra device, and
spine, a review copy with the distributor’s
printed card loosely inserted. Amulture,
Amsterdam, Editions Rodopi, Melville Studies
in American Culture, Volume Four, [September
10], 1974. £200
Tight, bright, clean copy, light and even endemic
browning, spine worn. Very good copy of a
fragile book. Not rare but very important. A
collection of official screeds and communiques,
with observations and notes by Pearsall.
[72] [SYMBIONESE LIBERATION ARMY].
18 UPI wire photographs of SLA ‘soldiers’
Russell Little & Joseph Remiro, various
sizes;11.5 x 17.8 cm. to 20.3 x 22.9 cm., typed
captions, one on orange coated paper the rest on
thin newsprint[?], one with stapled Velox
reproduction label. N.p., [San Francisco?],
United Press International, n.d, 1974–1975. £200
Largely in very good or better condition, a few
70
11

with tears, a few others with annotations in Biro.
Very fresh and crisp.
The photos largely depict the urban guerrillas
going to and from Sacramento’s courthouse
where they were on trial for the 1973
assassination of Marcus Foster, a black man who
was the Superintendent of the Oakland Unified
School District. They were both convicted oas
muderers but Little was later relased on appeal.
Let A Thousand Block Parties Bloom.
[73] RADCLIFFE (Charles), ROSEMONT
(Franklin) & MABEY (Richard). Mods,
Rockers, & the Revolution.
First collected edition. 4to., 11pp., [1p.]
publishers’ catalogue, facsimile line drawn
illustrations, stab stapled thrice, in the original
coloured paper boards; handwritten facsimile
titles in black on red on upper portion and a
combination of this and typed text on lower
purple portion, mimeography. N.p. [Chicago],
n.p. [Chicago Branch of The Industrial Workers
of The World], Rebel Worker Pamphlet 1, n.d.,
1965. £500
In very good condition, endemic fading of lower
board, staples a trifle rusty, a bit edgeworn and
creased, an excellent copy of a 47 year old ‘read
and pass on’ ephemeron. Institutionally and
commercially rare with 5 copies only on OCLC
under four citations, one a virtual copy, another
a microform copy.
Includes a revised and enlarged version of
Rosemont’s ‘Mods, Rockers, & the Revolution,
Radcliffe’s ‘Pop Goes The Beatle’ from
‘Freedom’ and Mabey’s ‘Twist and Shout’ from
‘Peace News’. Published to appeal to young
radicals in the venerable old Wobbly movement,
it attracted Charles Radcliffe the British
situationist who exported it back to the UK. A
similar but longer essay to this on youth culture
appeared in the first issue of Radcliffe’s
‘Heatwave’. By turn, this influenced Malcolm
Maclaren. Mabey, has become a venerable writer
and commentator on rurality, nature, foraging
and desolate spaces.
[74] [PHYSIQUE SCENE]. BUCZYNSKI
(Robert). A handwritten, signed magazine
submission letter with photograph, 8vo., 1l., 9.5
x 7.5 b&w photo tipped on. N.d., circa late 1950s.
£50
In very good condition.
Buczynski of New Jersey, was obviously a
dedicated “lifter”, photographer and poser but
remains unknown to us.
[75] [SOCIETY FOR INDIVIDUAL
RIGHTS]. later BEARDEMPHL (W.E.)
(Editor) et al. Vector: responsible action by
responsible people in responsible ways.
Vol. 1, nos. 1, 7, 10, 12. Vol. 2, nos. 1–3, 5, 7, 9.
Vol. 4, nos. 2–12. Vol. 5, nos. 1, 5, 8, 9, 11. Vol. 6,
nos. 1–4, 6–8, 9, 9, 11, 12. Vol. 7, nos. 1–5, 5, 6, 8–
12. Vol. 8, nos. 1–8, 8, 9, 11, Vol. 9, nos. 1–7, 7, 9,
11, 12. Vol. 10, nos. 1–6, 8–12. Vol. 11, nos. 1, 2, 4,
4, 5–12. Vol.12, nos. 1, 3–7. [101 issues].
First editions. A4, vols. 1& 2 approximately 4–
16pp. per issue, vols. 4–9 are app. 30pp. each,
vols. 10–12, 50–60pp. Vols. 1&2 loose folded
leaves, vols. 4–12 staplebound in the original
decorative, colour paper wrappers, vol. 9 no.12
and vol. 10, no. 12 with a loose inserted poster,
colour photographic centrefolds in the later
issues, several are complimentary copies
rubberstamped in red on the front cover,
monthly. San Francisco, The Society For
Individual Rights. 1964–1976. £3000
Largely in good or very good condition, several
issues with small areas clipped out, near all with
lightly worn wrappers, some with foxing,
12
75
endemic rusty staples, endemic light browning
throughout the text from volume 2 on.
A very long, if broken run, that includes the
crucial first and last issues, of perhaps the most
important regional gay serial, published in San
Francisco, the heartland of ‘pink’ America.
Quite common in North American institutions
searched by OCLC, but commercially very rare.
The numbering is rather eccentric with two #9s
standing in for #9–10 of volume 6, 2 issues of #5
for volume 7, vol. 8 has 2 number #8s, vol. 9 has
two #7s and vol 11 two #4s.
The zine started as a newsletter and had a
variety of subtitles over its 12 year existence,
including: ‘A Voice for The Homophile
Community’, ‘A Voice For The Homosexual
Community’, ‘The Gay Experience’ and
‘Celebrating The Gay Experience’. José Sarria, of
Black Cat Café fame, co-founded the League for
Civil Education with Guy Strait. He went on to
found the Society for Individual Rights in 1963
and this, the ‘house’ zine, a year later. Sarria was
a popular drag artist and an influential political
figure in San Francisco who declared himself
‘Her Imperial Majesty, José I, The Widow
Norton, of San Francisco’ in 1965. He
established an important political lobbying and
fundraising group called The ‘Imperial Court
System’.
‘Vector’ was a collective effort that started
modestly as a few pages of folded leaves with
little or no illustrations and mainly everyday
political-legal fare. After 1967, the ‘Summer of
Love’, ‘Vector’ turned into a glossy, exciting,
‘funky’ organ for the sexual revolution of the
60s’ and 70s’. From 1967 on, it showcased bold,
erotic, pornographic content in line with the
revolution that was taking place in the
Underground and campus press scenes as a
whole. Or perhaps, it related more to the
Californian tradition of ‘beefcake’ nude male
models derived from magazines such as
‘Physique Pictorial’. For instance, the cover of
volume 4, issue 2, from 1968, depicts three male
nudes illustrating ‘The Anatomy of
Pornography’. The cover of vol. 4, no. 7
‘Leather!’ depicts a man in a business suit
surrounded by pictures of butch leather clothing
and accessories with tabs, parodying the cut out
‘paper dolls’ found in 1950s girls’ magazines.
‘Vector’, ‘from the Latin ‘vectus’ or carrier’,
became a platform through which ‘straight’ local
politicians reached the increasingly important
Gay vote. The zine also backed the first wave of
openly gay and now quite famous politicians
Harvey Milk and Elaine Noble. For example,
volume 11, no. 10; ‘Upfront Runner’, features an
article about Harvey Milk and his second
attempt at running for the Board of Supervisors,

on that occasion he was “endorsed by four nongay
Democratic clubs”
More importantly, the zines are full of
advertisements for businesses that are either
homosexually oriented or cater to the
increasingly powerful pink dollar. These include
plugs for mail order porn, a gay pet shop (Pet’s
World featuring a naked man with the pet of the
month), restaurants, beer (“Swallow our Pride”)
and the infamous bath houses of the Castro and
Market, the erotic playgrounds of the new
homosexual utopia.
Cover stories include “Mishima and The War of
Emotion”, “Homosexuals in The Tenderloin”,
“Fairy Tales”, “Are Homosexuals Sick”, “Is Gay
Lib Dead?” and “Shakespeare’s Gay Sonnets”.
The “unclassifieds” section includes listings for
gay cleaners, jobs and sexual contact adverts,
such as; “Slave Wanted Downtown SF. Live-in
possible with benevolent autocrat”. ‘Dr
Inderhous’ was a sexual health column dealing,
for example, with jaundice “My Trick had bright
yellow eyes” and the pains of anal sex “Why
getting screwed is sometimes just a pain in the
ass”. “Around Town” by Lou Greene reviewed
gay scene bars and even had a barman of the
month, the one for June 1971 featured Loyd
Woodard ‘..otherwise known as the “Furry
One”...’ .
[76] TOM OF
FINLAND. pseudonym
of [LAAKSONEN
(Touko)]. Eons A
Gallery To View And
Be Viewed Presents
The First 1978 Tom of
Finland Calendar.
Original calendar. 50.9
x 27 cm., 12ll. printed
on rectos only, one
illustration apiece, in
black and white, text
below, spiral bound, in
the original white paper
boards, the upper
portion illustrated, titles in black. N.p. [Los
Angeles], Eons, copyright 1977. £100
Wrappers a bit dusty, closed tear like creases on
the head of the front cover, good to very good
condition. Quite rare, no copies on OCLC.
This was probably the first and last as we can
77
find no later issues.
Classic Tom drawings of the naked and butch,
the well endowed and the tightly dressed.
[77] SHERO (Jeff), EMBREE (Alice), THIHER
(Gary) then [WOMENS’ COLLECTIVE]. from
Vol. 2, no. 27 onwards. RAT Subterranean
News/Women’s LibeRATion. Vol. 1, no. 1 – vol.
3, no. 24 [52 issues].
First editions. Small folio, . New York City,
R.A.T. Publications Inc., 1968–1971 £3000
Some issues lack chronological or numerical
designation.
Published on alternate weeks during August
1969 with: Other scenes. ORBIS
Includes first 12, and most of the first score and
also the very last issue.
Weekly then bi-weekly.
22 full-page or double-page centrefold posters
printing UAW/MF manifestos, statements and
artwork, several in two colours.
The condition covers the whole spectrum from
poor to very good and near fine; both covers of
#1 detached, several others are split or torn
along fragile and frayed folds, all are browned to
some degree or other. The ink colours retain a
crisp, freshness. A good to very good run of an
important, militantly ‘subterranean’ publication.
The trade informs us that large quantities, never
mind runs, are seldom found. Stansill and
Mairowitz/BAMN on, respectively, pages 12, 164
& 167: “We Are Outlaws”; “Paris Burns – Henry
Returns – Tonite St. Marx Pl.”; and the skeleton
immersed in flame.
SPANISH CIVIL WAR & THE
FRANCO REGIME.
[78] BADIA VILATO
(Dessins) & SANTOS
(Mateo) (Textes de).
[REY (Pedro)]. [Images
de l’Espagne
Franquiste].
12 colour lithographs.
First edition. Large 4to.,
unpaginated, 27ll.,
plates with tipped in
tissue guards with
captions, text in red on
rectos on washes of
colour with decorations, loose folded sheets in
the original decorative paper wrapper,
untrimmed, text in Spanish, French and
English, one of a 1, 000 on Velin du Marais with
the first 25 numbered. N.p. [Paris], n.p.
[Alliance Nationale Des Forces Democratiques
D’Espagne], Les Presses De La Société
D’Impressions “Art et Technique”, 30 June
1947. £1500
Wrappers worn on spine, repaired internally
with paper tape. Light endemic browning and
offsetting. Very good, clean, crisp copy. Very rare
in both commerce and institution with two
copies only on OCLC, one at the BNE with a
different imprint under a separate listing the
other at UCSD attributed to the Alliance. No
copy in IISH.
Pedro Rey’s introduction likens Badia Vilato’s
surrealistic work to Goya’s Caprichos, the
posters for him “..symbolise the Franquist terror,
the heroism of the Resistance and the despair of
the Spanish”. Badia Vilato was an eminent
poster designer for the Republic before and
during the Spanish Civil War. He went on to
design magnificent posters for Air France after
1945.
[79] SPANISH WORKERS DEFENCE
COMMITTEE. The “Carabanchel Ten”. The
Struggle For Trade Union Freedom in Spain.
First edition. Tall 8vo., [2pp.], pp-3–24, 10 b&w
photopotraits in the text, stapled into the
original stiff mustard colouerd paper, titles in
black on upper portion, tipped in change of
address slip on half title, a similar has
probabaly fallen off the wrapper. London, The
Spanish Workers Defence Committee, n.d., c.
1972–1975. £75
In very good or better condition. Rare with 5
copies only on OCLC under five separate
listings with different publication dates, one of
them in the BNE.
The new address is for el Club A[ntonio].
Machado, an emigré group that probably took
over the SWDC and it’s Bulletin around issue 15
or so. The ten were members of Workers’
Committees that were banned under Franco’s
repressive régime. They included a worker-priest
and a sheet metal worker in their ranks. the
Panopticon style prison ‘Carabanchel’ was a
notorious prision built by Republican slave
prisoners probably as an enfored act of expiation
that has been described as a ‘hellhole’. Stuart
Christie, the would be assassin of Franco spent
time there along with many other political
prisoners.
[80] PRADER (Jean).
Au secours de
l’Espagne socialiste!
Pour ou contre la
politique de “nonintervention”?
suivi
d’une Discussion du
problème de la guerre
[Socialist relief for
Spain! For or against
the policy of “nonintervention”?
followed by a discussion of the problem of
war].
First edition. 8vo., [2pp.], pp-3–63 [1p.], sewn,
stapled into the original paper wrappers, titles in
black, French text. N.p. [Paris], n.p.[Comité
d’action socialiste pour la levée de l’embargo?],
Imprimerie Centrale, 10 Novembre 1936. £75
In very good and clean condition, endemic, light
and even yellowing. A few nicks and tears and
especially around the staples. Several copies on
OCLC under two attributions this and the
Librairie au Travail, OCLC also locates
seemingly two seperate editions in the same year.
Scarce.
Prader was a French Socialist Party member who
helped form the ‘Comité d’action socialiste pour
la levée de l’embargo’ and the ‘Comité de
Vigilance des Intellectuelles Antifascistes”. An
advert on the front inside cover promotes the
P.O.U.M. periodical ‘La Révolution Espagnole’.
[81] OLLIVIER
(Marcel). Les Journées
sanglantes De
Barcelona (3 au 9 mai
1937). Le Guépéou En
Espagne. [The Days of
Blood in Barcelona (3–
9 May 1937). The GPU
in Spain].
First collected edition?
Small 8vo., [1p.], pp-2–
31, publishers’
catalogue on lower wrapper, stapled into the
original paper wrappers, French text. Paris, J.
Lefeuvre, Spartacus, Cahiers Mensuels —
Nouvelle Série — No 7, n.d., 1937. £120
Endemic browning, a good, clean and stable
13

copy. Uncommon, 8 copies in OCLC. A 1970
reprint in IISH.
A Trotskyite appraisal of an outbreak of factional
violence in Barcelona between the anarchist
CNT-FAI and the Stalinist PCE that broke out
after the former faction were assaulted when
occupying the telephone exchange. Orwell also
wrote on these tragic events in ‘Homage to
Catalonia’. ‘Les Journées..” was published in a
journal entitled ‘Essais et combats’ in the same
year. It has become something of a literary
touchstone on the subject with at least two
reprintings after 1937.
[82] CONFEDERACION NACIONAL DEL
TRABAJO Y LA Y LA FEDERACION
ANARQUISTA IBÉRICA.. Boletín De
Información. Informaciones facilitadas par la
Confederaciòn Nacional Del Trabajo y la
Federaciòn Anarquista Ibérica. 12.
Original publication. Folio, 8ll., masthead in
black and red and mimeographed text, stab
stapled on the head once, cheap paper, loose
leaves stab stapled once on the head, English
text. Barcelona, Interacia Pres Servo., October
15th, 1936. £60
Fragile, endemic browning, turned corners with
some loss on the tips. Rare.
Includes an interview with Durruti, extracted
from Madrid ‘CNT’.Under the title “Better Late
Than Never”, P.O.U.M. were welcomed into the
anarchist fold as a party that had “..come to see
that the CNT is a revolutionary factor of great
significance”.
[83] HEUSSLER (André). Avec les ‘Héros de la
Liberté’ Espagne 1936–1937 [With The Heroes
of Liberty. Spain 1936–1937].
21 b&w photos in the the text. First edition. 8vo.,
[3pp.], pp-4–72, stapled into the original yellow
paper wrappers, printed in brown and blue,
photomontage illustration on upper portion,
French text. Paris, Editions du Comité
International d’Aide au Peuple Espagnol, n.d.,
1937. £175
Endemic browning of text. Very good, clean,
bright copy. Garcia Duran 6137. Rare, four
copies only on OCLC under separate listings, of
these, a copy in BNF and another in BNE.
Heussler is described as an “ancien Commissaire
de la XIV Brigade Internationale”.
Includes photos of church wealth seized by the
Republicans, German bombs, the effects of
German bombing raids and much more.
[84] [CO-OPERATIVE WHOLESALE
SOCIETY.]. Milk For Spain 6d.
14
84
Original token. 4 cm. diameter, text in green on
recto in a circle on a white card ‘coin’,
rubberstamped on both sides, verso with date
issued. N.p. [London], n.p. [London Co-
Operative Society, 23 Sep[tember], 1938. £35
In very good condition. Understandably perhaps
there is no copy as a named item on OCLC,
though surely examples exist in vertical files and
archival depoists. A rare piece of realia.
The CWS Milk For Spain Campaign was formed
in the Autumn of 1937 (footnote 7, p-163 Jim
Fyrth – The Aid Spain Movement in Britain
1936–1939, History Workshop). It was one of
many such campaigns in the period that
attempted to assist the large numbers of hungry
refugees displaced by the Nationalist insurgent
army.
[85] THE
VOLUNTEER FOR
LIBERTY, ORGAN
OF THE
INTERNATIONAL
BRIGADES (Compiled
and Edited by). English
– Spanish Grammar.
First edition. 8vo.,
[2pp.], iii-viii, 111pp., 9
halftone photographs &
1 vignette in the text, in
the original orange paper wrappers, titles in
black, an unknown hand has annotated the book
and page markers stuck on the top edges
throughout. Barcelona, Ediciones Del
Comisariado De Las Brigadas Internacionales,
Imp. Elzeviriana, June, 1938. £150
Very poor condition, browned, torn pages, book
loose in three parts, wrappers in two parts loss of
most of spine, squiggle on upper portion. Rare in
commerce and institutions, 5 copies only on
OCLC, one in BNE and four in the USA. No
copy in Garcia Duran.
One of the walking wounded, in atrocious
condition, veteran’ book produced in the
Spanish Civil War, The larger distribution of
survivors in the US suggests that they were
issued in large numbers to the Abraham Lincoln
Brigade. The photographs are modestly
reproduced but nevertheless stunning images
from the front line.
[86] CROSSLAND (Mr. Fred) (Producer)
CROSSLEY (Mrs.) (Management). Saturday.
The New Church Grove Place, Dalton ‘La
Princesa Carmencita’ An Operetta with a
Spanish Flavour. Performed by Children of the
New Church, Grove Place, Dalton, and by
Spanish Refugee Boys from the Spanish
Childrens’ Home, Almondbury. Wednesday,
December 7th, Saturday, December 10th,
Doors Open 6-15 p.m., Commence 7-15 p.m.
Original programme. Small 8vo., 1l., bifolium,
text and decorations in black on pale blue paper.
N.p. [Dalton, Huddersfield], n.p., n.d., 1937. £75
In very good condition, slight fading, old pencil
price on front. Seems rare.
One of the rare instances when Basque child
refugees were described as Spanish. The
Operetta included two ““..Spanish national
Dances, the “Aurescu” abd the “Jota Basca”,
arranged by Srta. Soledad Gorrino”“.
[87] [SPONTANEOUS COMBUSTION].
[Good afternoon, subjects.
As one of the star corpses in the capitalist
show that daily sucks life out of your narrow
mind and shallow body, I’d like to say on
behalf of the World Market and your bosses in
band, how glad i am to see the bosses fumbling
for yet another piece of paper with my name on
it..].
Original détourned currency. 7.5 x 21 cm., 1l.,
one illustration, printed on both sides in black
on white. N.p. [London], n.p.
[Spontaneous/B.M. Combustion/Nick Brandt?],
n.d., c.1973 £200
Clean, crisp copy with one slight crease.
Probably quite rare. Not in Ford.
Recto designed as a mock £1 note with a speech
bubble coming from the Queen’s mouth. The
verso has a text discussing the “..present crisis of
the world market..” predicting that “The day
will come when all of us who have no control
over our lives shall smash every barrier between
ourselves and our world, and turn the banks into
museums of bygone misery, wallpapering its
walls with ten pound notes”.
[88] [TELEGRAPH AVENUE LIBERATION
FRONT.]. Spare Change.
Original poster/newsletter. 28.5 x 22 cm.
(folded), 57 x 44.5 cm (unfolded), text and
photomontage illustrations on recto, poster on
verso. Printed in purple, black and brown on
white stock, old and rather asymmetric centra
vertical and horizontal folds. N.p. [Berkeley],
T[elegraph]A[venue]L[iberation]F[ront], n.d., c.
1969–1970. £200
Creased and nicked, good to very good
condition. Very rare, OCLC records three
listings of runs
A full issue of a very rare unnumbered and
undated newsletter “for people around
Telegraph Avenue”. The poster depicts a stick
pig roasting in purple flames. The title derived
from a local anti-panhandling by-law that in
effect made the saying of “Spare Change” into
an illegal act. It is a very radical prototype of the
‘freegan’ movement’s guides to anti-capitalist
living. Illustrations include Fidel holding a
lighted torch and street battles.
[89] [THE NATIONAL MORATORIUM].
[COBB (Ron)] (Illustration). Repression Breeds
Resistance Chicano Mexicano, Puerto Rican,

Black, Native American Peoples. National
Moratorium: Sept. 7–8–9, 1979, New York. To
Expose Violation of Human Rights in The U.S.
of Chicano/Mexicano, Puerto Rico, Black,
Native American Peoples
To Build National Unity of Third World
Peoples in The U.S. Based on the Principles of
Self-Determination.
Original poster. 57 x 44.5 cm., titles in reverse
white on black. N.p. [San Francisco?], n.p. [The
Moratorium], Inkworks, n.d., 1979. £200
Each corner has a contemporary drawing pin
hole, lightly creased, closed edge tears, a human
half-bitemark? on the mid left near the margin,
light and even browning. Good, clean and crisp
copy. Rare, not in online archive of Inkworks
posters, no copy on OCLC.
The poster headline ‘Repression Breeds
Resistance’ echoes a Huey Newton essay
published in 1970. Various regional bodies
convened to run “National Peoples Tribunals”,
hold workshops and screen films. Cobb’s graphic
depicts a mass of riot helmets with BIA, INS,
Police and FBI emblazoned on them and a pair
of hands above this breaking the chain attaching
two shackles.
[90] THEEWEN (Gerhard). Salon Nos. 1–12
[all published] and The Complete Collection
of Nudists/Die Komplette Nudisten
Sammlung.
Profusely illustrated with b&w photographs and
drawings. First editions. 13 volumes, 8vo.,
unpaginated, approx. 40ll. per issue, the Nudists
volume double that, perfect bound into the
original photo-illustrated, stiff, white paper
wrappers, #7 with the facsimile ‘Puppenwagen
1953’ pamphlet loosely inserted, text in German
and English. Cologne, Gerhard Theewen, 1977–
1993. £400
Very good or better, crisp, clean and largely
unread copies. Uncommon.
A great photobook sort of serial that includes
Hans-Peter Feldmann, H.P. Adamski, Markus
Oehlen, Bruce McLean, Albert Oehlen, Walter
Dahn, Geoffrey Hendricks, Maurizio Nanucci et
al..
[91] UNOHOO,
COYOTE RICK and
the Mighty Avengers.
The Morning Star
Scrapbook. First
edition! In The Pursuit
of Happiness.
First edition. Large 4to.,
[1p.], 185pp., [6pp.],
profusely illustrated
throughout with b&w
photographs,
newsclippings and line drawings, perfect
bound into the original photomontaged stiff
paper wrappers, titles in purple, spine titles in
black, on newsprint, 5,000 copies printed.
Occidental, California, Friends of Morning Star,
n.d., 1973. £200
Endemic but light, even browning of paper,
wrappers a bit worn, remains of old price sticker
on upper top right. A good, tight copy. Scarce in
commerce.
The Intro explains how the book documents the
“unintentional media event created by Lou
Gottlieb and his ‘guests’ on his 31 acre ranch in
California’s Sonoma County during the late
‘sixties’ and early ‘seventies’“. Also, how over
time the hippie community’s use of “Dope,
nudity, uninhibited sex, sanitation and building
code violations caused a crisis in the rural
neighbourhood and brought the county officials
out in force”.
[92] [VIENNA
ACTIONISTS].
[NITSCH (Hermann)].
Aktionsraum
1/Lesung: Nitsch aus
“Orgienmysterien
Theater” (Marz
Verlag), Freitag: 20
February 1970 – 20 Uhr
Buchandlung
Montanus Leopoldtsr.
23.
Diese Lesung is eine
Einführung zum 7. Abreaktionsspiel am
Freitag, 27 Februar 1970 (nur für Erwachsene)
im Aktionsraum 1 München 5 Waltherstr. 2
Rgb. Tel. 53 61 44. [A reading: Nitsch from
“Orgienmysterien Theater” (Marz Verlag),
Friday 20 February 1970, 20: 00, Montanus
bookshop, Leopoldstrasse 23.This lecture is an
introduction to the 7th Abreaktionsspiel on
Friday, February 27, 1970 (adults only) in
Aktionsraum 1 Waltherstr Munich 5. 2 RGB.
Tel 53 61 44] .
Original poster. 51.5 x 37.5 cm., titles in red on
white with a pasted on b&w central panel, offset,
German text. N.p. [Munich], n.p.
[Aktionsraum/Marz Verlag/Buchhandlung
Montanus], n.d., February 1970. £400
Rolled, minor creases, some curling from glue
seepage. Rare.
An example of integrated marketing, flyer or
small poster for a bookshop reading showing
Nitsch and others performing has been pasted
on to the familiar red on white exhibition poster.
VIETNAM WAR. [93] THE STOP OUR
SHIP MOVEMENT.
Agitprop ephemera
produced by ‘S.O.S.’, a
military service based
movement to stop the
aircrcaft carrier U.S.S.
Coral Sea from setting
out from Alameda
Naval Air Station.
A4 & small folio, 1ll &
bifolium, 6 handbills
and 1 street newspaper,
offset or mimeographed, Goldenrod, newsprint,
sugar paper and cartridge paper. Oakland, The
Stop Our Ship Movement, n.d., c. 1971. £200
In very good, clean and crisp condition. Very
rare in institutions, OCLC records a similar
bunch of 8 at U of California, Irvine
Includes a petition from the U.S.S. Hancock, an
open letter aimed at “Civilians” declaring”We all
dig the fact that they do not wish to be the
machinery that makes the air war in Indochina
possible”. The street newspaper’s headline
declares that “A warship can be stopped” and has
stories “From the belly of the beast...” and
another on “GI Revolt”. Another handbill
directed at service wives commences with:
“Sisters we are appealing to you as our last hope
to keep our men off the Coral Sea”.
Another graphic handbill points out that “The
U.S.S. Coral Sea is one of a small number of
aircraft carriers which form the life support
system for Nixon’s air war in Indochina”. The
graphic depicts three revolutionary fists, one
black, emerging from the flightdeck.
[94] [THE STOP OUR SHIP MOVEMENT].
Nov. 8 Monday Demonstration 5am. East NAS
Alameda Gate. For The Men of The USS
Coral Sea. Show Solidarity With Crewmen
who want To Stop The Ship.
Original poster. titles, map and graphics
silkscreened in red on blue lined Fortran
computer read-out paper, the verso with printed
system mesages for UC Berkeley’s Calidsoscope
Operating System . N.p. [Berkeley], n.p. [SOS?],
n.d., c. 1971. £375
Contemporary central horizontal fold and
another central vertical, top half evenly
browned, in darker relief at the fold, large old
tear extending ten centimetres from the top edge
into the image with old tape marks, a few small
tears on lower edge (where torn from printer),
tractor hole strips intact. The graphics and titles
are still very fresh for such a fragile poster.
Probably a unique example or a remarkable
survival.
This looks like one of the many posters that
came out of Malaquias Montoya’s student
workshops at Berkeley. Depicts a very elegantly
rendered Popeye punching and breaking an
aircraft carrier after eating a can of “People’s
Power”. An important artefact of a small but
significant element of the under-documented
servicemens’ movement of the 60s and 70s that
energetically protested against the Vietnam War.
[95] 16 b&w Press photographs of the largely
child victims of US bombing raids, largely 11 x
7.5 cm. or slightly larger or smaller, typed
captioned labels on versos, many with agency
rubberstamp and ‘Chris’ inscribed in pencil.
N.p., CECAV Photo, 1966–1967 £450
Near fine condition, endemic browning of
captions.
We can find no trace of CECAV, it was
presumably a conduit for NLF propaganda.
Profiles, life studies, post mortem photographs
and medical documentation of the horrific aftereffects
of napalm, phosophorous, pellet and
other bombs on pregnant women, the unborn,
babies, older children and young people. Studies
include “Little Dáo van Téo, 15 years old,
wounded by steel pellet bombs on April 25,
1967..”.
[96] REDWOOD CITY COMMITTEE
AGAINST NAPALM. Napalm Newsletter.
Original flyer. A4., 1 b&w photograph, offset
printed on both sides, date in pen on upper right
corner. Redwood City, California, Redwood City
Committee Against Napalm, n.d., 5.6. 1966. £75
94
(detail)
15

Old pinhole on top left corner, slightly browned.
Very rare, one copy only on OCLC. The Bay
Area Peace Coordinating Committee published
an item under the same title. The Stanford
Committe for Peace in Vietnam published a
markedly different two page broadside at around
the same time as this one was presumably
published.
The one in hand describes what napalm is, use
in World War Two and Vietnam. The photograph
is a profile of a Vietnamese child with horrific
burn injuries.
[97] Six Million Victims. The human cost of
the Indochina War under President Nixon.
Original poster. 57.8 x 43.4 cm., main title in red,
subtitles and text in black, two b&w
photographic illustrations, on newsprint, folded
many times. Pennsylvania, American Friends
Service Committee Inc., n.d., c. 1970. £100
Endemic browning, a good copy.
This very simple but effective poster is set out
with one portrait of Nixon on the upper left,
with a caption to the right. The rest of the poster
is divided into two cost columns for the USA and
Indochina. The Americans are said to have
incurred the deaths of 20, 000 soldiers, 110, 000
wounded, and over 500 MIA’s or POWs, $59
billion spent, inflation, “thousands of GI heroin
addicts, 1/3 of US comes from SE Asia”. The
Indochinese costs included 4.5 million civiliain
deaths.
[98] [UNION DES
FEMMES DU VIET-
NAM]. [UNKNOWN
PHOTOGRAPHER].
4 b&w propaganda
photographs, 11.3 x
8.3 cm., 11.3 x 8.3
cm., 8.7 x 11.6 cm.,
8.5 x 12 cm., (two including borders), pasted on
mimeographed captions, with bilingual French
and English text, on versos, in a printed offwhite
paper envelope. Hanoi, Union Des
Femmes Du Viet-Nam, n.d., 1970s. £100
Very good condition in a similar envelope.
The rather stiff scenes of women and children,
and one man, depict “Canh Queng guerillos”,
children studying in bunkers under
bombardment, ammunition going across a river
“..under a deluge of bombs” and armed women
working in a rice field, thus: “Carry out
production and fighting at the same”.
[99] [YOUNG LORDS ORGANIZATION].
MOVE with the LORDS. Rally! Action! Do it!
11:30 AM TODAY COLUMBIA U (116 St. +
Broadway)... All Power To The People!
Original flyer. Foolscap, 1l., facsimile
handwritten titles, mimeographed in black on
one side only. N.p. [New York], n.p. [Young
Lords Organization], n.d., c. 1969–1970. £50
A bit browned on two edges, a crisp, clean copy.
Rare, no copy on OCLC.
The YLO was a former Puerto Rican streetgang
that became politicized and occupied empty
property such as in this instance a Spanish
Methodist Church, in a bid for a venue to,
quoting the flyer, provide “Free breakfasts for
Children”, “Liberation Schools”, “Day Care
Centers” and “Medical Services”.
[100] [BIG FLAME]. Big Flame. Merseyside’s
Socialist Newspaper.
Original poster. 50.5 x 38.5 cm., silkscreened or
part stencilled[?] in black and red on newsprint.
N.p. [Liverpool], n.p. [Red Flame], n.d.,
1970–1973. £200
16
Browned and creased,
central horizontal fold.
Surely very rare, no
copy on OCLC as a
named item though
copies surely exist in
vertical files.
‘Big Flame’ was a
protean revolutionary
socialist, social
movement that
included feminism,
Italian style Autonomism, Trotskyism and
Libertarian traditions and aimed to be of the
working class not The Party. They seem to have
been largely based in the North of England. The
name is reputed to come from Ken Loach’s play
of the same name broadcast by the BBC in1969.
[101] [SOLIDARITY]. [CASTORIADIS
(Cornelius) writing as CARDAN (Paul) et al.
Solidarity Pamphlets 6–12, 15–20, 22–40, 42,
44–45, 48, 50–52, 54 [40 issues] and Index
volume.
Largely first editions. 4to., with one in 8vo.,
25pp. approximately per issue, some with
illustrations in the text and plates, most in offset
or mimeograph, stab or saddle stapled into the
original paper boards or wrappers (many
illustrated), with approximately 25 other
Solidarity books, leaflets, flyers and serial
pamphlets from regional groups.
London/Bromley/, Bob Potter/Solidarity, c.
1968–1976. £600
Largely clean crisp copies, good or very good
collection. All with endemic edgewear, some
with rusty staples. A rare ensemble. As well as
the core 40 pamphlets, the collection includes
(surely very rare} pamphlet and other
publications by regional groups in Aberdeen,
Glasgow and the North West of England and
Clydeside and other DIY works on the LSE and
the like.
Solidarity was an important decentralized
movement of autonomous leftist activists and
groups who were anti-capitalist and largely
believed in self governance and workers councils
and rejected the economism, elitism,
bureaucracy and jargon of the both the Western
Left and Soviet Russia. They took a great deal of
inspiration from the French libertarian group
‘Socialisme ou Barbarie’ and the political
philosophy of founding member, the Franco-
Greek thinker Cornelius Castoriadis in
particular. They were arguably of great influence
on Ian Bone’s Class War group and other
anarchistic entities in the USA.
Solidarity published many translations of
Castoriadis’s work in the pamphlet series. For a
time, they were largely written under
pseudonyms, such as Paul Cardan, presumably
to protect his day job as an economist at the
OECD and secure his French citizenship.
The group was involved with a great deal of the
trade union, shop floor, pacifist and anti
authoritarian campaigns of Britain from 1960 on
and later with Solidarnosc in Poland. As well as
Cardan, the pamphlets include reprints of
Alexander Kollontai, Ida Mett’s ‘The Kronstadt
Commune’. Topics covered include bus workers
strikes, Socialism or Barbarism, May 1968,
Regional Seats of Government, the Grosvenor
Square demo and CND, the Greek Colonels, the
Flint Michigan dispute with General Motors,
The Paris Commune, Women and the Spanish
Civil War, disputes at Ford etc.
SOME OF THE PRINTED
REFERENCES USED IN
THIS CATALOGUE.
Mark Andersen and Mark Jenkins –
Dance of Days: Two Decades of Punk in
the Nation’s Capital, 2003.
Gordon Carr – The Angry Brigade, 1975
Dr Phillipe Charlier – Rue Morgue.
Scènes de Crimes (2012).
Juan García Durán – Bibliography of the
Spanish Civil War, 1936–1939, 1964.
Simon Ford – The Realization and
Suppression of the Situationist
International. An Annotated
Bibliography 1972–1992, 1995.
Martin Parr & Gerry Badger – The
Photobook, A History, Vol. 1, 2004.
Matthew Robertson’s Factory Records
the Complete Graphic, 2006.
FREQUENTLY USED
ACRONYMS.
OCLC: Online Computer Library Center
IISH: International Institure of Social
History.
MAGGS BROS LTD
50 Berkeley Square
London W1J 5BA
T: 020 7493 7160
F:020 7499 2007
E: Carl@maggs.com
Bank Account:
Allied Irish Bank (GB)
Mayfair Branch
10 Berkeley Square
London W1J 6AA
Sort code: 23-83-97
Account number: 47 77 70 70
IBAN: GB94 AIBK 238397 47777070
BIC: AIBKGB2L
VAT no: GB 239 3813 47
EU members: please quote your
VAT/TVA number when ordering.
The goods shall legally remain the
property of the seller until the price has
been paid in full.
Front cover items, left to right, top to
bottom: nos 28, 52, 10, 68, 49, 5, 15, 6, 45,
4, 8, 11, 25.
Catalogue designed by Tattersall
Hammarling & Silk. Photographs by
Ivo Karaivanov and Sam Farman.
‘Vector’ research and cataloguing by
Lilian Maguire.
©Maggs Bros Ltd 2013

COLLECTING THE COUNTERCULTURE:
THE TEXT OF A PUBLIC LECTURE
GIVEN BY CARL WILLIAMS
IN THE EDISON AND NEWMAN ROOM,
HOUGHTON LIBRARY,
HARVARD UNIVERSITY,
ON WEDNESDAY, NOVEMBER 14TH, 2012.

A man started his first day at work in a foreign country, newly employed by a very wealthy, wellknown,
dog-loving book collector, a jet setter. The collector, though still a relatively young man,
had a huge library spread over two floors of a sort of small business centre with very large rooms
and two lifts. His remarkable collection of books, manuscripts, posters, art, paraphernalia, films,
records, clothing and so on was named after his dog, which went everywhere with him, and indeed
such was his love for the hound that they often slept in the same bed. Late one evening, after one of
the first full days at work, the new employee was waiting by one lift, which he had just summoned
for his new employer, to finish locking up the library doors. In a moment of absentmindedness, the
collector returned to the office for something he had forgotten and let the dog walk free with his
leash trailing behind. The dog entered the lift, the doors closed. The collector asked where the dog
was. They both looked as the lift ‘pinged’ and the doors began to close as it was summoned to one
of the upper floors. The leash started to disappear through the slight crack in the doors until only a
small tip of the leather loop remained, the chain made a rasping sound as it was ground between
the doors and the lift base and shaft. The collector went to the doors and frantically tried to prise
them open, to no avail, and so he ran up the stairs screaming his dog’s name and wailing ‘NO, NO,
NO’. The employee waited for the inevitable scene, a horrific death in an excreta- and blood-filled
lift compartment. But the collector came downstairs with the dog bounding along, ‘Poor thing was
up against the floor,’ he said.
Consider the consequences; if the janitor had pressed the lift button on a lower floor rather than
a higher one, he would have become, in essence, a sort of Albert Pierrepont of the dog world, with
the poor canine frothing and twitching like a poorly-judged executioner’s drop in a nineteenth
century horror story. Like a Mafia message – the horse’s head in bed, blood cells and serum
separating through silken sheets. It would have been an awkward moment to say the least, getting
in the way of sales, collecting and cataloguing.
The relevance of this shaggy dog story to Collecting the Counterculture is that, like all things,
collecting is reliant upon the most idiosyncratic and improbable factors, such as a lift button being
pressed at the exact time that a pampered dog with a trailing lead walks in. Especially so, when
arguably the world’s greatest private library of counterculture is named after the pet dog of the
collector. I have thought of this often, of how this moment was like a ‘butterfly effect’ that changed
the course and shape of collecting this fledgling area, the counterculture. Many thought that the
Counterculture had grown up, settled down, had kids, got a mortgage, graduated from the LSE
into The City, or that s/he he had become a kind of baser, naughtier version, a wayward child of the
sixties and grandchild to the Beats.
“Punk Rock You’re My Big Crybaby,” said Allen Ginsberg in 1977 the year of punk, adding “I’ll
buy tickets to your nightclub, I wanna get busted! 50 years old I wanna GO! With whips and chains
and leather. Spank me. Kiss me in the eye! Suck me all over from Mabuhay Gardens to CBGB’s
coast to coast…”
When the Iron Curtain fell, it was seen as an inevitable ‘march of progress’ that America had
won the Cold War, that the American Way of Life was the ineluctable endpoint of history, that all
cultures would converge around the American model. The end of history, as one star academic
called it at the time; but others like Talcott Parsons had said much the same fifty years earlier. As is
above, so is below, with the counterculture, it was tacitly assumed by some, if not many, to have
started in some way with the Beats, who were in some way rehearsing or prototyping a style of life
and art for the Sixties and especially the San Francisco Renaissance in Haight Ashbury, and of
course Woodstock, the Isle of Wight Festival, Hendrix, Jim Morrison, John Lennon, Yoko Ono. Not
forgetting Timothy Leary and LSD, the Beatles and Rolling Stones, Pot smoking and let’s throw in
the Kings Road and May ’68. But there was far more to it, as people like the dog-loving collector of
counterculture demonstrated with his collecting rituals.
Actually, it was formally a drug library he built, buying at all levels in bulk, meta-collecting
huge collections, the finest and rarest of what he called ‘funky’ books and manuscripts and also
1

single pulp paperbacks priced individually from a few pounds to large collections of wild Oriental
antiques, Pop art, and so on, for much more money. He was a Mickey Mouse type, seemingly in two
places at the same time, for he travelled constantly and bought from everyone – the bouquinistes
on the banks of the Seine, a laid back A-frame dwelling hippy dealer of California, a bohemian
Parisian poster dealer in a converted garage, an auteur photo galleriste, the retro soft porn dealers
of Lyon, the psychedelic specialist of Greenwich Village, a hip bookshop in Notting Hill, Timothy
Leary’s archivist, a Beat books vendor in an Islington basement and the big auction rooms of the
Western World. In the latter, he arguably drove the price way up for ‘funky’ stuff by the Marquis de
Sade, Hans Bellmer, Arthur Rimbaud, Charles Baudelaire, and others. He even, from time to time,
bought books at an old bookshop in Mayfair called Maggs Bros. He also began to get to the source
of the stuff from the sometimes ancient and venerable old longhaired hippies and Lower East Side
punkers. He was at various times part of a number of scenes around the Stones, Warhol, Johnny
Thunders, Max’s, The Lower East Side of Basquiat and Haring, etc.
Most importantly, perhaps, he bought massively off Ebay at the very moment that the Englishspeaking
world was emptying its garages and attics onto the internet. Then there was the rare book
portion of the internet that he bought hugely from; he had people dedicated just to following up
his want matches on ABE, I think. So, the shape and direction would probably have been very
different if that lift had been summoned from below rather than from above. He was, of course, not
alone in this great passion for collecting the counterculture, there are other great private collectors
such as Philip Aarons and Richard Prince but his buying in overlapping areas surely affected their
book hunts, their goals, the availability of material and the way that it was presented and, indeed,
priced in dealers’ catalogues. He was a very superstitious man, and a dead dog, like the albatross to
the maritime explorers of old, or a crow to the Norseman, could have been a very bad omen for him
indeed.
Aside from these ‘butterfly’ sort of effects, how does a book become collectable, a good book to
collect? I’ll model very crudely how it happened for some books in the twentieth century, in the
hope that this will illuminate the collecting of counterculture. On occasion, books that became
collectable were tested or ‘made’ first by the primary market, they had saleability, they were
popular. People bought the book, it became scarce or, rather, it went out of print, and they started
to look in the second-hand market for other copies. This was the case with Ian Fleming’s Bond
series of novels, and also TE Lawrence. You might equally ask how a theory becomes a truth in
science; ideally, there is a theory that is tested through experimentation and observation. So, for
example, Einstein’s theory that light was deflected by the gravitational field of large planetary
bodies was proved by Eddington’s observations and measurements of a solar eclipse. You might call
this the inner truth of how a book becomes collectable and in parallel how a hypothesis is proved.
Then there is the external bit, it is not enough to have a theory proved in the lab or the field. It
has to be disseminated and tested through peer-reviewed journals, conferences, popular science
books, lobbying and, of course, it has to be given funding to become ‘true’. Similarly, enterprising
rare book dealers, auctioneers and some collectors catalogue books and produce books about books
to bring out their nuances, create a sense of connoisseurship and thereby make them more
desirable and, in the process, create bigger markets. Film adaptations are made, Fleming and Bond
again, further stimulating the market and increasing the pull, the shelf appeal, and adding noughts
to the price. Examples of very important collector catalogues that drove markets include Printing
and The Mind of Man and Martin Parr and Gerry Badger’s two volume history of photobooks. These
became shopping lists for collectors. You could say the same for learned journals and magazines
such as Nature and New Scientist which drove funding to exploit scientific discoveries.
You may well also have a stratum of wealthy collectors who all hit the demographic bend at the
same time and create an even richer market for the books already at ‘critical mass’, exploding them
into the realms of super collectability. You might call this the ‘external’ way that books become
collectable and truths become true, i.e. both are partly determined by society and not the quality of
the text or the conclusions of an experiment. Most importantly, a good book can be determined by
how much money and effort is put into marketing it. The amazing publicity machine used by the
big auction houses is one example of money and marketing. In a rather too perfect example of this
parallel between science and book collecting, a wealthy vice president of J.P. Morgan called Gordon
Wasson believed that the ancient drug Soma of the Sanskrit Rg Veda, was in fact the red and white
fly agaric mushroom of European fairytales. He kept the idea in vogue by printing his books in fine
bindings, beautifully laid out with great typography, in limited editions and on good paper printed
at the Stamperia Valdonega in Verona.
In 1973, a Russian scholar noted this ‘bling effect’ in a letter to the late John Brough, the
2

leading scholar of Sanskrit etymology, who was locked in a battle with Wasson over ‘Soma’. I will
have to quote partly from memory and from notes made a few years back because the letter is now
probably in the cataloguing carrels of a US university. After she had overcome the shock and
excitement over the ‘poisonous’ mushroom that her “... children usually knock down with sticks...”
could have been the sacred mushroom of the Vedas she returned to the original Sanskrit text,
concluding that:
“Great is the spell of the beautiful coloured photos in Wasson’s book. Besides, as a Russian
native, I am very fond of mushrooms. But nothing can be done about it”.
Robert Graves also noted in another unpublished letter written to Brough in the previous year that
he should:
“Forget the whole incident if you can Wasson has too much professional fame and money
behind him. He was Vice-President of Morgan’s Bank. The U.S.A. is not England. Best
wishes Robert Graves”.
It helped also that Wasson had appeared in Life Magazine in 1957 discussing his hallucinogenic
experiences with the Mexican curandera Maria Sabina. She, in turn, has become an icon of
indigenous protest in Oaxaca. It amused me greatly to think that the great printer Hans
Mardersteig was even, unintentionally of course, suggesting book projects to Wasson as early as
1952, as they noted in an article for The Garden Journal in 1958, thus:
“At this point in September 1952, in almost the same mail, we received two
communications, one from Robert Graves in Majorca and the other from Hans Mardersteig
in Verona, alerting us to the peculiar place of mushrooms in the Meso-American cultures”.
When it comes to modern first editions there is often a large supply, the books are solidly bound
and were printed in large quantities for wide public consumption. So, for example, Ian Fleming’s
Bond books are not rare, they are just expensive. Fine limited edition books, like Wasson’s are
often well looked after and everyone buys them thinking they are ‘futiques’, so they can oddly be
quite common. The books that have truly reached ‘futique’ status such as the first edition, actually
second edition but don’t tell anyone, of The Seven Pillars of Wisdom, Lawrence’s great work on his
role in the Arab Revolt against the Ottoman Turks, is also not particularly rare, but rather it is just
fine, beautiful and expensive.
All commodities such as books or ice cream have a marginal utility to the consumer. So, when
the big meta-search engines on the internet such as Amazon, ABE, Justbooks, Alibris and their
meta-meta search engines such as Bookfinder and Addall came along in the late nineties – I won’t
drag on about this too much it is a different lecture – they revealed just how many copies of certain
supposedly rare books were available at any one time. By marginal utility, a theory derived partly
from the economist William Stanley Jevons, I mean purely and simply that progressively eating too
many ice creams makes you fuller and eventually sated and then sick. After the first two or three,
the use to you decreases marginally each time you eat another. Incidentally, Jevons once wrote that
the laws of economics “... do not apply to unique objects, like a statue, a rare book, or gem, which
do not admit of the conception of more or less”. Collecting rare books using the internet can be like
eating too many ice creams. You would probably get sick of Ulysses if you bought every fine copy of
the first edition, one of 750 copies in fine condition in the Thalassic blue wrappers, on the net at
this time. Ubiquity and a high price cancel out the longing to own and add to your collection and if
the book is available at anytime, with a ‘one click buy’, from a number of places with equally good
brand identity why not wait? This kind of ice cream never melts so where’s the rush? It might even
be cheaper later on, you might even get a free flake and some sprinkles.
By the way what is counterculture? For me, at Maggs Bros, the term emerged partly because I
was primarily dealing in drug books, that is, drug books not drugs, though sometimes I deal in
books that hide drugs. We felt that we did not want to give people the wrong impression and
alienate our long established customers. The name was given to me by Ed Maggs, the Great
Helmsman at Maggs, and it sort of stuck, it became quite useful and I started to employ a very
loose, general idea that would sort of encompass all the many and varied areas of the
counterculture, its origins, the iconography and the people in it. I am not going to give you a
history of the term, that is what Google is for. For me, it meant cultural, political, artistic, aural,
hedonistic, stylistic, sexual and religious messianism. The way that at the end of each millennium
or century people get the heebie-jeebies, or get very expectant that something, a Second Coming, a
New Heaven on Earth, will happen and start to revisit the ideas and styles of life that were played
out in the sixties of that century and again after the first 12 or so years of the next century.
Themes include déshabillé; dressing carelessly, or inappropriately, or mixing military, working
3

or religious wear with everyday clothing to create a sense of otherness, indicating a rejection of
mainstream society at the micro level and not just politically at the State level. The ultimate
expression of this is probably nudity, or perhaps the attempt by the Vienna Actionists and modern
fakirs to get under the skin or get the contents of it outside. There are many other examples
throughout history, such as the religious dissenters of the middle ages who wore sackcloth and
lived the poverty of the life of Christ, the street prostitutes of the Weimar period, Ono’s Film No. 4
and the Leathermen of the Castro or Rodchenko wearing his ‘working uniform’. Punk as well of
course, over to Jon Savage in England’s Dreaming, the Sex Pistols and Punk Rock:
“One of McLaren and Westwood’s most brilliant early designs captured this: a cut-out of a
photograph of a pair of female breasts was placed at breast height on T-shirts worn by
either sex. The effect was both androgynous and, in the double-take it forced upon you,
distinctly unsettling” (p-102)
There were other very interesting T-shirts produced by the pair, highly collectable once, but ruined
by a market rumoured to be awash with fakes. These include a series of manifesto inspired designs,
détourned swastikas, a naked black footballer, two semi-naked cowboys by Tom of Finland
standing almost glans to glans, the dodgy Cambridge Rapist and the very, very troubling naked boy
smoking a cigarette.
Another theme is what might be termed ‘altered states’, a markedly different way of seeing this
and other ‘mental worlds’ is a hallmark of the counterculture (at least in my version). As are the
alteration or even destruction of the self and the body that can result from playing with
consciousness. The methods by which you might see the world and mind differently are endemic to
the twentieth-century countercultures, either by drugs, repetitive beats, embracing madness,
deprivation, meditation, walking, hypnosis, mass meetings, magic and new religious movements.
Andrew Hussey – The Game of War. The Life and Death of Guy Debord:
“Not far from Chez Moineau, there was a famous government information poster which
warned that ‘L’alcool tue lentement’ (Alcohol kills slowly). The poster had not been up
twenty-four hours when, on [Guy] Debord’s instructions, a raiding party from Chez
Moineau had scrawled over it: ‘On s’en fout. On a le temps’ (We don’t give a fuck. We’ve
got the time). This was not simply a joke: for the Letterists, the key principles of creation
were inextricably linked to those of auto destruction” (p-56)
Another area is the seizure, temporary or otherwise, of bits of public space to create a form of
heavenly society or non-capitalist utopia, a heterotopia, here on earth or to break the power of a
status quo. The counterculturalist and his/her progenitors make bits of the street into a kind of
theatre. They create situations outside to counter the world of power inside the city’s buildings.
Think of the Zengakuren camps protesting airport construction in Japan, the public burning of
property in the town squares of Early Modern Europe, the situationists walking randomly through
the streets of Paris, women setting up peace camps outside missile bases or kids occupying Wall
Street, Yayoi Kusamu’s public orgies, Allan Kaprow’s Happenings. A lot of Happenings happened
a long time before The Happening happened in the sixties and they are still happening.
One major area remains ambiguous or poorly assimilated in collecting, the new religious vision,
which for a moment in the late sixties and early seventies brought varieties of Eastern and Western
experience together in a cultural synthesis of sorts. Its promise was never completely fulfilled. But
the depth and authenticity of that spiritual shift and its influence needs to be more widely
acknowledged. It is a wide open area of collecting in the counterculture as well. A great part of it
was down to the influence of the great Indian classical sitar player Ravi Shankar, etc.
Enough for now.
So this focus on messianism, covered a lot of ground from the Eleusian Mystery cults of the
Hellenic world, to the apocalyptic visions of Joachim of Fiore, Ranters, Dissenters, Diggers,
Luddites, odd proto-Green fascists, The Communards, Situationism, Punk, the Nadaismo of the
young Pablo Escobar, Esperpento and the drug poems of Spanish writer Ramón del Valle-Inclán,
the graphic art, photography and flags of the Republican side in the Spanish Civil War, the
magical-Nietzschean religion of Aleister Crowley, the works of the Zephyrus Image, etc.
When I set out to deal in the counterculture I had this messianic idea sort of running round my
head. I tried to comply with my brief, but I couldn’t get into the sixties for lots of reasons. The
books were taken by other dealers, were too expensive, they felt like done deals, lots of people like
Beat literature and expected to see it on my ‘hip’ shelves but few wanted to pay for it. I didn’t want
to do ‘the great books of the Beats’ – line them up on my shelf like some cargo cult waiting for John
Frum to return, or to satisfy people that I was working within the canon. Still, I have probably sold
4

more very good Beat literature and related material in my career than some dealers of Beat
literature. Things like Jack Kerouac’s psychiatrist’s tapes, an important copy of Howl and private
photographs of the author, Burroughs’ typescripts, letters, photos and even his Scientology
handbooks.
So, I sort of moved into the seventies, without realizing it, and rediscovered what I already knew
– that the counterculture is near limitless and that the so called high-spots of the era were in fact
the little and large printed scraps of paper called flyers and posters, or bits stapled together, etc. the
flat stuff, the street literature, produced by the truckload on mimeograph machines and
photocopiers. All equally important, and all in a sense negated by the next bit of paper that you
see. This was a situation that was so fluid and ever-changing that the only way to deal with it was to
embrace it, ‘Go with the flow’, someone once said. More importantly, it was and still is almost
entirely up to the agency of the dealer to interpret the stuff, establish its rarity, interest and,
therefore, price. Our old model was too slow and cumbersome to, taking a word from the
situationists, co-opt and ‘commodify’ them, for they were not popular things. Indeed, their
potential popularity to some extent depended on their unpopularity. Neither could you write them
up into some kind of shopping list, an ABC of ‘high points’ like PMM.
Though I might try at some stage.
It seems to be the case that rather than mining the commentaries about counterculture, or even
established dealers catalogues and auction houses to look for stuff, or listening entirely to people
who were ‘there’, the modern collector should employ a kind of laziness, a sort of studied disregard.
‘Never Work’ – commanded a famous graffito on a wall of rue de Seine put there by Guy Debord.
Pass playfully through the library stacks, use arbitrary principles to collect, or throw dice, then
reject chance as too structured, deny the idea of an author, be ignoble in your reading habits. With
these things in mind, you can begin to collect the counterculture.
You could even collect the aleatory, the random and the improbable, starting with the printed
works of Zen man John Cage, through to the spontaneous bop prosody of Jack Kerouac, the packs
of Oblique Strategy cards produced by Brian Eno, Neo-DADA (Dada was a word chosen at random
from a dictionary), the tape cut ups of William S. Burroughs and Brion Gysin, Stephan Mallarmé
et al. I would also suggest the works of the situationists who were deeply interested in using
random juxtapositions as a way of breaking the power of the ‘Spectacle’.
I met a woman, a box maker, who was married to a very eminent collector of surrealist and other
books, all themed around representations of expressions of pain. She divorced a short while later.
Similarly, it struck me then that you could collect and deal stuff in the same way. For example, you
could collect a range of sullen gazes from the otherworldly upwards glance of a seventeen-year-old
Arthur Rimbaud in Etienne Carjat’s studio portrait, Aleister Crowley’s hypnotic stare from The
Equinox, Johnny Rotten’s nihilistic glower caused he said by meningitis, the insane, scary violence
of Charles Manson, the insectivore like look of the Velvet Underground wearing wraparound
shades etc.
Similarly, it surprises me that I have not come across any collectors of what might be described
the ‘Old Believer’ look. Rasputin was one of the ‘stranniks’ or ‘pilgrims’ who wandered pre-
Revolutionary Russia and who became a ‘starets’ or Holy Man. He had a distinctive look, a long
beard, straggly hair and rough clothes with that penetrating stare again. This interesting look that,
at a glance, tells us that the person who is wearing it has rejected the daily grooming norms of
Western society has reappeared time and again in the counterculture. Hermann Nitsch of the
Vienna Actionists, saw himself as descended from a line of shamanistic transgressors, that his work
was somehow a secular, mystery ritual. He wears the long, flowing Abrahamic or Jesus-like beard, a
hat and dark, somberly cut clothes to match. Jewish poets, Allen Ginsberg and Ira Cohen had
versions of the beard probably from Indian Sadhus but equally besported by the Lubavitchim
named after a Russian town. Charlie Manson did the look, as do the Hell’s Angels and today’s Old
Believers like the late Dash Snow and the grungy artist Richie Culver.
My point is that the world of the counterculture is full of countless ‘unknown unknowns’ and
that rather than shy away from this or try and impose order upon them, to herd them into
categories, we should embrace the mess. Embrace it introducing into collecting the possibility of
quite unexpected ‘butterfly effects’. In effect, to learn from what you collect and use the methods
used by some of the people we are collecting.
5

I'VE SEEN THINGS YOU PEOPLE
WOULDN'T BELIEVE. [LAUGHS] ATTACK
SHIPS ON FIRE OFF THE SHOULDER OF
ORION. I WATCHED C-BEAMS GLITTER IN
THE DARK NEAR THE TANNHÄUSER GATE.
ALL THOSE MOMENTS WILL BE LOST IN
TIME, LIKE [COUGHS] TEARS IN RAIN.
TIME TO DIE.
ROY BATTY – BLADERUNNER
THIS IS HOW I FEEL WHEN PEOPLE ASK
ME IF JULIO'S COLLECTION WAS GOOD
Maggs Bros Ltd