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All books are first printings of first editions or first American editions unless otherwise noted.

1982. Three original pen-and-ink S. Clay Wilson illustrations for the German edition of Burroughs' Cities of the Red Night. Wilson was one of the group of artists who gained exposure in the underground comix of the 1960s counterculture. After R. Crumb, he is probably the best known of that group, and his images are almost certainly the most extreme: all of the underground comic artists sought to break barriers and defy convention, and Wilson's images are densely packed and full of overt sex and violence to an extreme degree. In this he was very much like Burroughs, whose verbal imagery and subject matter sought to shatter barriers, preconceptions and hypocrisies; the collaboration between the two of them seems in retrospect to have been inevitable. These drawings were displayed at the Los Angeles County Art Museum in the show "Ports of Entry: William Burroughs and the Arts," which sought to convey the influence Burroughs had had on visual arts. Extraordinary images, and probably the best illustrations ever of Burroughs' writings. Burroughs himself appears as a character in one of the images. Two of the images are 5-1/4" x 9", the third is 5-1/4" x 10"; all three are matted and framed to approximately 16" x 19". Fine. [#027316] $15,000
1988. An original drawing by Wilson for Burroughs' 1989 book Tornado Alley. This image was included in the exhibition "Ports of Entry: William Burroughs and the Arts" that was mounted by the Los Angeles County Museum of Art in 1996, and it is reproduced on page 140 of the exhibition catalog. Interestingly, the illustration in the book does not show some of the work that Wilson did, as it was done using nonrepro blue pencil which does not show up when photographed: Wilson's edits didn't appear in Tornado Alley and they don't appear in Ports of Entry, but they are quite visible in the work itself. Wilson, one of the great artists of the underground comix of the 1960s and beyond, whom R. Crumb has said was a major influence on Crumb's own work, collaborated with Burroughs on a number of projects. This is not only a significant work of art, and a significant association with Burroughs, but it is also signed by Wilson, who has added, "To Nelson" next to his signature: Wilson gave this work to his friend Nelson Lyon, who loaned it to the exhibition and is listed in the book as one of the lenders to the exhibit. This is, in effect, a three-way association: Nelson Lyon was the co-producer of Burroughs' Dead City Radio, a 1990 album of Burroughs reading his work (including pieces from Tornado Alley) against a background of experimental music by various artists. 9-3/4" x 6-3/4". Matted and framed. Fine. A notable association copy, and an artifact of one of the great collaborations that Burroughs engaged in. [#028091] $7,500
1979-1995. In the early 1980s, Burroughs collaborated with S. Clay Wilson on the German editions of Cities of the Red Night and The Wild Boys [Die Wilden Boys, Frankfurt: Zweitausendeins, 1980]. This collection includes correspondence related to this and other collaborations between Burroughs and Wilson, as follows: from 1979 to 1982, six items from the publisher to Wilson; from 1979 to 1985, three items from Burroughs' associate James Grauerholz to Wilson; and from 1985 to 1995, eleven items from Burroughs to Wilson. The earlier items, from the publisher and from Grauerholz, generally solicit drawings, convey approval for ideas, and give progress updates. The later items, from Burroughs himself (one typed note signed; four autograph postcards signed; six autograph cards signed), are more personal, frequently conveying gratitude for a gift or appreciation of Wilson's work. In one, Burroughs (according to a pencil note by Wilson, he is referring to The Chequered Demon) says "vintage Clay Wilson hilarious, horrible disgusting as life itself...Its fine its swell itsa gawdy taste of Hell." In another, in a card picturing a unicorn, Burroughs asks, "Did you see the Barnum & Bailey unicorn? I suspect it to be a goat." Several of the cards are holiday cards, and in one Burroughs wishes "All the best for 1986 and the time remaining to us all." In the last two items, Burroughs thanks Wilson for, respectively, the Graham Greene stories and for a cat book. He also complains about the heat: "Over 100 now for a week. Can't do anything but sit in my air conditioned house." This last card is signed "Bill Burroughs." All of Burroughs' correspondence items (excepting the postcards) have envelopes; one of the postcards is near fine; the others are fine; many depict Baaronurroughs' artwork. Also together with an original of Wilson's layout and lettering for the cover Cities of the Red Night [Die Stadte der Roten Nacht]: three hand-lettered sheets and one printed sheet. [#032933] $5,000
Frankfurt, Zweitausendeins, 1980. A unique author's copy of the first German edition of The Wild Boys, bound in full leather with a snakeskin onlay, and inscribed by Burroughs to the illustrator, S. Clay Wilson. Also signed by Wilson, with a note about the binding. Embossed initials of W.S.B. on the rear cover, with samples of the materials used in the binding tipped-in at the rear endpaper. Several scratches to the leather on the rear cover, else fine, in a folding cloth chemise. [#033128] $5,000
Frankfurt, Zweitausendeins, 1980, 1982. Three copies of the German editions of these two collaborations between Burroughs and illustrator S. Clay Wilson: one copy each of The Wild Boys and Cities of the Red Night, each signed by Burroughs and Wilson, and one copy of The Wild Boys in a trial binding that was rejected by Wilson, who was displeased with the endpapers, but which is signed by Wilson, with his handwritten explanation: "Trial endpapers not to my liking. They corrected this error for the published edition. I wanted the endpapers to appear as wallpaper reflecting my 'take' on Burroughs' text "I see his face in every flower." Both copies of The Wild Boys have some rubbing to the covers; very good. Slight corner tap to Cities of the Red Night, else fine. All three in cardstock slipcases. [#033129] $1,500
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