5. [THATCHER-REAGAN ERA], LIGHT (Bob) & HOUSTON (John) (Designers). 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 and border in blue, titles in blue and reverse white. N.p. London, Socialist Workers Party, Printed by East End Offset Ltd (TU), n.d., c. 1985. SOLD.
Clean, crisp copy turned corners, a small one inch closed tear on lower edge and margin; not affecting image. Uncommon. Rare with 3 copies only on OCLC, with two in the USA. Another copy in the Labadie Collection. A variant copy in red and blue in the V&A noting 1985, the same printing as the copy in the Gili collection.
From the Felix Dennis collection.
A satire on the very special relationship between Premier Margaret Thatcher and President Ronald Reagan (a former actor), replacing Clark Gable and Vivian Leigh as Rhett Butler and Scarlett O’Hara with an atomic mushroom cloud in the background. The V&A’s note for their poster suggests that this was first produced as a back page for an issue of Socialist Worker and that  “Members of the paper's design studio posed for the photograph”.

1. STARCK (Philippe). [Chez les 3 Suisses].

First edition. 80 x 63 x 9 cm., folder of loose folded architectural plans, blank notepad, facsimile scrapbook, VHS video cassette, hammer, rolled small French flag on pole, in recessed individual bays cut out of brown corrugated cardboard; each with a printed label, within a hinged light oak box. One of 500 copies only, title and marque printed in blue on lid, handwritten number, uniformly numbered cardboard mailing box. Paris, 3 Suisses, 1994, £3, 000.00

Very good condition, lacks the sheet of bubblewrap. Rare in commerce and very rare institutionally, no copies on OCLC, no copy in the Canadian Centre for Architecture, Getty, MoMA, BL, NAL/V&A.

The boxed kit looks a little like an assassin’s rifle case for the militant self-builder. The visionary French designer permitted the the box owner to build one numbered house only in France. If s/he wanted two houses a second box had to be purchased. The Starck House seems to have an almost cult like following partly due to the satirical way it was marketed as it was originally sold in 1993-1994 through a dedicated catalogue for 4900 French Francs by a French mail order company. Starck wanted to make cool, spacious houses available to people who, because of financial necessity, buy “...a house that costs $100, 000 that looks like bullshit (p-39 Philippe Starck -Starck Speaks, Politics, Pleasure and Play in The New Architectural Pragmatism: A Harvard Design Magazine Reader, 2007). He thought that it was “...the best architecture I ever made, definitely the most advanced. It doesn’t look like something by Jean Nouvel or Zaha Hadid - it looks a little classic for the most advanced prototype of the modern house”  (op cit).    

6. STUDIO SPRAS. [The Shrine Basilica of Our Lady of Health Vailankanni].
62.6 x 56.6 cm., central portrait of the iconic statue of the Virgin Mary and child with ten cells (arranged as four each on left and right and two above) depicting scenes of her appearances before, during and after Portuguese colonization and the construction of the Basilica, on a black background with titles on a pink scroll on the foot above a vignette of the basilica on a sky blue background. In polychrome gouache on card, signed in the Illustration. N.p. [Sivakasi], [Ravi Art Calendar Company/StudioSpras], n.d.,
Edges chipped and rubbed, corners worn down with some loss but not affecting the substance of the image.
The shrine is a very popular cross-faith phenomenon, one of the folk art style miniatures depicts a vision of Mary that appeared to shipwrecked Portuguese sailors and another of their landing on her ‘birthday’. The note for catalogue item 65, of a similar subject, in Larsen, Pal and Smith, records that ‘Velankanni’ is itself an epithet for the Virgin Mary, ‘kani’ meaning ‘unmarried’.

4 THE SENSUAL LABORATORY, [ADAMS (Tom)] (Graphic design attributed to). The Sensual Laboratory London. Published by fulham gallery London.

Original poster. 89.5 x 57.3 cm., polychrome psychedelic oil lamp image, text in black in a white box on foot, offset colour lithography, on glossy paper. London, the fulham gallery, n.d., 1967-1968. SOLD.
Crisp and clean with the light patina of 50 years and a few small creases, once tightly rolled. Very rare in both commerce and institutions with no copy in OCLC, Dadabase, Getty.
Mark Boyle and Joan Hills are pioneering performance artists of the light show medium who worked at the Arts Lab, UFO and Middle Earth and with Soft Machine and Hendrix. They recruited a couple to perform in flagrante delicto, going to climax, for ‘Bodily Fluids and Functions’ at the Roundhouse in celebration of their “intercourse” while wired up to ECG and EEG which transmitted the results live on closed circuit T.V..  

4. NITSCH (Hermann). Galerie Hans-Georg Schultz.  
A4., (29.6 X 21 cm.), 1l., title in red, b&w photo with text underneath in black, printed on one side only, German text. Signed by Nitsch in green ink after complimentary closing, thus: “Mit besten Grüßen”. N.p. [Berlin?], Galerie Hans-Georg Schultz, n.d., 1973. SOLD.
Old central horizontal and vertical folds, slightly creased, crisp white paper.
Bold, elongated, cursive signature.  Very rare in both commerce and institutions, even more so signed by Nitsch: we can find no copies on OCLC: though surely some exist in vertical files.
An inordinately polite exhibition invitation (styled as a letter) at Galerie Hans-Georg Schultz, December 17, 1973. The text contrasts sharply with the bucket of bloody cow brains in the photo.

2. -                                   [Guerrillero Heroico].
Original poster. 76.1 x 50.8 cm., monochrome photo graphic on off white paper. N.p., Copyright to The Revolution Press, n.d., c. 1968. £200.00
Crisp and clean, slightly creased. Seems to be institutionally rare, we can find no copies on OCLC searched by copyright authority. No copy in V&A. From the Felix Dennis collection.
Dennis’s first poster insert for OZ misspelt Guevara's name, he later rectified this by publishing Don Honeyman’s solarized version in revolutionary red with no titles at all (Big O Poster 35).  
Two versions of the most potent icon of the 1960s, and the afterlife of Guevara, cropped and blown up from Korda’s copyright free portrait that, in Don Honeyman’s or Jim Fitzpatrick’s versions at least , seems to have hung on every student bedsit, squat and commune wall.

2 CONSTANT aka [NIEUWENHUYS (Constant Anton)] & CASPARI (C.) (Text). Labyrismen.
First and limited edition. Folio; [50.3 x 40.4 cm.], 11 colour lithographs by the artist , 9 illustration guards (printed with text by C. Caspari)  and a title page, loose in publisher's red box,one of 76  signed and numbered by Constant on the box's screenprinted interior. Amsterdam, Published by the artist in collaboration with Galerie Krikhaar, 1968. SOLD.
Nice condition.  Ph. Dagen -Constant, grafiek, p-84; catalogue number 58-68. Very rare institutionally, no copies in OCLC, RIBA, Netherlands National Library, National Art Library, MoMA, Getty or CCA. On Fondation Constant website and Rijksmuseum.
Constant's very scarce work coming after the great ‘New Babylon’ which was Constant’s nomadic city of the future connected to the whole world through labyrinths. In this utopua, land would be owned in common, automatons would labour for man who would have the freedom to creatively play. Thus Art would be rendered unnecessary as the creative impulse would be satisfied by living itself.
The Labyrismen, in a sense, were a conclusion to Constant’s utopian undertaking, for the Vietnam War and les evenements of Paris, May 1968 transformed his views. He came to believe that New Babylon’s total liberty also freed the discontents and destructive impulses in the heart of man and that a murderous, Hobbesian war of ‘all against all’ would be unleashed. Constant’s fear was that the unfettered freedom of his utopia could also be its downfall. The final years of New Babylon mainly show the horrors attached to this freedom, and can be detected in his Labyrismen - with the lithographs depicting turmoil, blood, and finally a burning city.


5 KLEIN (Yves). Yves Propositions Monochromes. Dusseldorf. Galerie Schmela. 1957.
Small landscape 8vo., 10.3x18.2 cm. (20.6x29.3 cm. unfolded),  1l., cream white paper, fodled in four, printed in blue, German and French texts, recto/verso respectively, Pierre Restany’s contribution entitled 'La minute de vérité'. Duesseldorf, Galerie Schmela, May 31, 1957. SOLD.
A scarce early ephemeron printed in IKB. Crisp copy. Very rare in both commerce and institutions with no copies on OCLC or in Dadabase.  Something of a  blue tulip
The catalogue for Schmela's inaugural show and the first time that Klein had exhibited the monochromes in Germany, which was also his first exhibition at Iris Clert in the same year.  There was a spirited discussion for the exhibition in which Alfred Schmela defended the showing of, then, controversial artists like Klein.

5. NITSCH (Hermann). Hermann Nitsch. 25 Ritualgewänder aus dem Orgien- Mysterientheater/Hermann Nitsch 25 Priests’ robes from the Orgies Mystery Theatre.
First edition? Tall, thin 8vo., bifolium; b&w cover photo with text beneath, [2pp.], text, printed order letter, on glossy, limp, white paper, bilingual German and English text. Tubingen, Galerie Edition Matala, n.d., 1969-1970. £40.00
Near fine. Very rare and fugitive ephemeron, no copies in OCLC.
A strange marketing relic for the bloodied vestments of Nitsch’s ‘Actions’ that were offered signed by the artist in a “..transparent case” at 1500 Deutschmarks each. The cover photo shows one of the 25. The prospectus also notes that Nitsch had been “..sent to prison several times on account of his Actions”.   



1. [GUEVARA (Che)], [KORDA (Alberto)] (Photography). [Guerrillero Heroico].
Original poster. 76.1 x 50.8 cm., monochrome photo graphic on white paper. London, Osiris Visions Ltd., 0A 503, printed by TSR England, n.d., c. 1967. SOLD.
Institutionally rare, we can find no copies on OCLC, including the BL, searched by publisher. Two copies in V&A. Osiris was a comradely company to International Times (IT).

Peter)] & [WICKENS (BRETT)] (Brand identity). FAC 51 Haçienda Manchester [Eat Yourself Fitter At The Canteen] 11/13 Whitworth St. West Manchester 061236 5051.
Original ‘blank’ club night promotional poster. 52x 38.5 cm., titles and information within left, right and lower borders in black, FAC51 within two columns of trompe l’oeil ‘hazard’ tape on top centre above blank area, border in yellow and orange, on left and right border respectively, with hazard pattern in yellow and orange on lower edge, silkscreened, on off-white or browned paper, filled in by hand in block capitals in black felt pen by Mike Pickering who has inscribed “(Mike/Bar)” on bottom right corner and “By Mike” on verso in Biro. N.p. [Manchester], n.p. [Factory Records], n.d., from or after 1983. £675.00

Browned, smudged, a horizontal fold, creases, multiple old drawing pin/staple holes on corners. By repute from the wall of the Canteen at The Haçienda. One of surely many blank posters and other ephemera subsumed under the general FAC51 number. However, this copy has a great association (Pickering was a Haç DJ and Factory worker who signed the Happy Mondays) and an evocative and humorous inscription as it references the great Fall song ‘Eat Y’self Fitter’ from ‘Perverted by Language’.

1 [GUEVARA (Che)], [KORDA (Alberto)] (Photography) [HONEYMAN (Don) (Graphic design). Che Guevara.
Original poster. 117 x 84.7cm., blown up and solarized portrait on a red background, offset colour lithography. N.p. [London], DHI Don Honeyman, Big O, 1968. £300.00
A trifle worn. From Felix Dennis’s poster collection. No copy in V&A,
A poster from the long ‘afterlife’ of Che and perhaps the most famous détournement of Korda’s wonderful black and white photo ‘Guerrillero Heroico’. The poster arguably distilled the sixties student revolt into one potent, some would say ‘iconic, image. Honeyman only had one very damaged copy left when he summoned me to his flat, to get me to buy it, and the only other ones I have seen were from my early childhood.

2. [BUÑUEL (Luis)] & DALI (Salvador) (Text) et al.  Studio 28 Revue-Programme/L'Âge d'Or.

Illustrated profusely with b&w film stills. First edition. Tall 8vo., 12p., 36pp., portrait of Buñuel and 30 b&w stills in the text, line drawn illustrations by Max Ernst, Joan Miro, Man Ray and Yves Tanguy, French text, errata slip, texts bound tête-bêche in the original limp gold coated paper wrapper with stylised titles in black on each portion. Paris, Studio 28, 1930.  SOLD.

Very good condition overall, slightly rubbed edges, with minor foxing on the first leaves of both works. Price overwritten in blue ink in a contemporary hand. Referenced in Tracts surréalistes et déclarations collectives,1980, pp-155-184/435-441. Dali’s text translated in Gibson’s The Shameful Life of Salvador Dali. A rare ephmeron in commerce and uncommon in institutions with 5 copies only found in North America via Worldcat and a handful elsewhere under two different titles and publication dates. A copy in the Breton sale 2003, lot 1532.

The rare and important programme for Cinema 28, with a text accompanying the first public run of a great success de scandale, a blasphemous and uncompromisingly sadistic, surrealist film at Jean Mauclair’s Cinema 28 in Montmartre.

The programme for L'Âge d'Or is a foundational document in the history of Breton’s Surrealist movement. Robert Short described the film as “..the most trenchant and implacable expression of its [the Surrealist movement’s] revolutionary intent” (quoted in Elliott H. King - Dali, Surrealism and Cinema, 2010, accessed in preview on google books).

The film literally caused a riot, after six days of screenings the cinema was attacked on December 3 by thugs from the right wing Ligue des Patriotes and the Ligue Anti-Juive (the Anti-Jewish League) who screamed “Death to Jews” and “We’ll show you there are still Christians in France” (op cit). They flung ink at the screen, set off smoke bombs and wrecked a show of Surrealist paintings in the foyer (op cit) and judging by pictures of the devastation trashed the showcards and no doubt the printed programmes as well. Surely many were destroyed and others discarded by Mauclair as, after a Press outcry, the film was banned for half a century (op cit) but the ban was lifted after the Second World War ended. The Surrealists themselves were galvanised by the attack and delighted enough to publish a four page plaquette recounting the ransack. Sixteen surrealists signed it declaring that the scandal demonstrated that “..surrealism was revolutionary and altogether incompatible with the accepted morals of bourgeois society.. [the film] was proof that the Surrealists were politically engaged and against all that was held dear by the conservative Right” (op cit).

3. IAN PURDIE AND JAKE PRESCOTT DEFENCE GROUP. Candidates For An Outrage; To The Bailey. Free Ian Purdie Old Bailey Sept 7th Free Jake Prescott.
Original poster/flyer. 35.4 x 22.9 cm., two b&w photoportraits, in monochrome, offset lithograph on white stock, printed on both sides, offset. London, Ian Purdie and Jake Prescott Defence Group. n.d., August/ September, 1971 £250.00
Crisp, clean copy, slight, even endemic yellowing. Scarce in commerce and institutionally with no copy on OCLC. A copy in Maggs Counterculture catalogue 1462. From the Felix Dennis collection.                  
This and the following item surely struck a chord with Dennis as he was imprisoned, with two colleagues, the previous year after a spectacular series of trials. Includes two long quotations from Purdie and Prescott, and a Situationist style analysis of the impending court case. Cites 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”.

3. BURROUGHS (William [S].) & GYSIN (Brion). Time By Williams Burroughs With 4 Drawings by Brion Gysin.

Profusely illustrated throughout in photocollage with detourned b&w photographs and 4 full page numbered illustrations. First edition. 4to., unpaginated; title, [30pp.], text partly in three columns, stapled into the original stiff white paper wrapper; the upper portion illustrated, mimeography. One of 100 numbered copies signed by Burroughs and Gysin from a complete run of 1, 000 copies with 4 hors commerce, 10 hardbound copies lettered A-J with a manuscript leaf and a drawing by Burroughs and Gysin respectively inserted, and 886 for the trade. New York, ‘C’ Press, 1965. SOLD.
Crisp, clean copy, slightly worn spine and corners. Maynard & Miles A11. Rare in commerce, Worldcat offers no clues as to which part of the edition is held, though logically the majority of the many copies discovered therein are from the numerous trade edition.

A beautiful artists’ type book that preempts the very similar punk collage/DIY genre by a decade or so. Issued by the influential and highly collected ‘C’ Press under the general editorship of Ted Berrigan, this publication was edited by Ron Padgett and Joe Brainard provided art direction. Berrigan had previously published ‘Giver of Winds is My Name’ in the first volume, issue 9 of the house magazine ‘’C’ A Journal of Poetry’ in the summer of 1964 and another text for the next issue (pp-434-435 Barry Miles -WIlliam S. Burroughs: A Life, 2014). The cover of this “..book of words and pictures..” ( from the publishers’ ‘letter’) reuses the cover and title page of the November 30, 1962 issue of Time which included the “”..libellous review of Naked Lunch called “King of the YADS” (Young American Disaffiliates), in which it was claimed that Burroughs had cut off a finger joint to dodge the draft” (p-435 ibid). Burroughs felt that by “...transforming this supreme organ of control .. [he] was aiming at the jugular” (op cit).

4. [THE IAN PURDIE AND JAKE PRESCOTT DEFENCE FUND]. Free Jake Prescott Free Ian Purdie Free All Political Prisoners. Jake Prescott and Ian Purdie have been committed for trial at the Old Bailey accused of, among other things, conspiring to cause explosions carried out by the Angry Brigade.
Original poster. 61x 43cm., 2 b&w photographs and text in black, offset lithography on thin white paper. London, the Prinkipo Press, n.d., 1971. £400
Crisp, clean copy, slight, even endemic yellowing. Rare, we can find one copy only on OCLC, possibly from one this cataloguer’s old lists, thus: Maggs Counterculture Catalogue 1455. From the Felix Dennis collection. The photos depict the pair handcuffed to policemen and they are quoted below the images.   


3 HARIG (Ludwig). das fussballspiel, ein stereophones hörspiel [the game of football; a stereophonic play].
First and limited edition, an artist’s book. Large 4to. (32 x 33 cm.), [40pp.], ring bound into the original publisher’s orange Dayglo stiff paper boards, titles in black, German text. One of 200 numbered copies signed by the artist on the colophon.   
Stuttgart. Edition Hansjörg Mayer, 1967. £450.00

Boards a bit marked with a few tears. Very rare in both commerce and institutions with one copy only in OCLC and that in Australia, at Macquarie,who describe it as a “..radio playscript in German”. Harig, like Gysin, was a permutational poet who work with radio and adding, or perhaps collaging in, sampled sound. He is much influenced by Queneau and he has translated his work into German. The publisher produced at least three other books in the same format with variant Dayglo coloured boards, all are highly collectable.

Carl Williams Rare Books