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

click for a larger image of item #33847, Early Photographs from the Collection of William S. Burroughs [ca 1950s]. An album containing early photographs by and of William S. Burroughs and other figures of the Beat generation, including photo collages and partial collages, with annotations by Burroughs; a photobooth portrait; a passport photo; a negative of an unpublished Brion Gysin photograph of Burroughs from 1959 (with contemporary archival print); and other images. 32 photographs in all, plus calling cards of Bruno Heinrich and Charles Henri Ford, and a copy of Driffs magazine -- "The Antiquarian and Second Hand Book Fortnightly" -- which includes Part 1 of Iain Sinclair's "Definitive Catalogue" of the Beats -- this part being devoted entirely to the works of William Burroughs, with this album as item number 80 in the catalogue.

The photographs are primarily from the early 1950s -- the ones annotated by Burroughs having dates from 1952 to 1954. Several photographs are taped together, forming early visual collages, while a number of the individual photos have sellotape along their edges, suggesting they were at one time part of a larger collage. The collages, or collage fragments, represent some of Burroughs' earliest attempts to use visual images in the way he was using words -- to transcend time and space, and link together various aspects of his life and world, in ways that correlate to a "mindscape" -- akin to the connections between the stories he wrote during that period that were collectively known as the Interzone, which was also an early title for Naked Lunch.

Brion Gysin, in his 1964 essay, 'Cut ups: A Project for Disastrous Success,' wrote that "Burroughs was more intent on Scotch-taping his photos together into one great continuum on the wall, where scenes faded and slipped into one another, than occupied with editing the monster manuscript" -- i.e., Naked Lunch, aka his Word Hoard. And Burroughs wrote in one of his Adding Machine essays: "I was back in my old garden room at the Villa Muniria [in Tangier], and it was here that I first started making photo-montages." This was March 1961.

The provenance of this group of materials is "the legendary Hardiment suitcase," belonging to poet Melville Hardiment, a friend of Burroughs during the years 1960-62, who is also known as the first person to have given Burroughs LSD, apparently without Burroughs' advance knowledge. Hardiment's wife at the time was Harriet Crowder, a photographer who is well-known for having taken the portrait of Burroughs on the LP "Call Me Burroughs." Hardiment bought a number of items from Burroughs in that time period and famously kept them in a suitcase. According to his second wife, Pat Hardiment, Melville would sell off the contents bit by bit, when he needed money. One group of materials ended up at the University of Kansas, and is known there as the Burroughs-Hardiment Collection: this group went from Hardiment to the bookseller Pat Zanelli, to bookseller Larry Wallrich, and then to the university.

A second group of photographs and collages went into the collection of photographer Richard Lorenz, and were exhibited in the 1996 show at the Los Angeles County Museum of Art -- "Ports of Entry: William S. Burroughs and the Arts." By 1996, Burroughs' influence on the visual arts was sufficiently deep and widespread to justify a museum show of its own. The photos and collages in the Lorenz collection were of the same subjects, from the same time period, with the same annotations as the Kansas photos, and would appear to have also come from Hardiment's suitcase. Several of the Lorenz images remain taped together forming collages, or mini-collages; many others, though, now stand alone, although by the evidence they were once part of a larger construct.

This third group, offered here, went from Hardiment to Iain Sinclair, likely again via Pat Zanelli (Sinclair recalls buying the lot from a woman bookseller, and Zanelli is the most likely candidate). Like the photos in Kansas and those in the Lorenz collection, many of these have sellotape on the edges, and like the collages in the Lorenz collection, some are still taped together, forming collages themselves or representing collage fragments.

Tape shadows on the versos of some of the images both here and at the University of Kansas hint that Burroughs may have created the collages and then, when he began experimenting with the cut-up technique in writing, have cut-up the collages with the intent of applying this same technique to visual imagery. The Lorenz items were not presently available for examination of their versos, but some evidence supports this notion, such as that some of the images in the collages were partially torn away, and that there was evidence of the collages having been part of a larger grouping previously.

William S. Burroughs is known as a key figure of the literary avant garde of the 20th century, and the impact of his work on the visual arts -- both his own artwork and others' works derived from his literary writings -- was sufficient to justify a major museum show and catalog. These snapshots and snapshot collages represent some of his earliest efforts to explore the ideas he was working on in his writing using visual materials. Isaac Gewirtz, the curator of the Burroughs archive in the Berg Collection at the New York Public Library, wrote in his book on Burroughs, Beatific Soul, that the Interzone was an "imaginary city" which was "a combination of New York, Mexico City, and Tangier" in which Burroughs "construct[ed] hallucinatory, interconnected narratives for its numerous characters." These groups of photographs show Burroughs venturing even farther afield and including "Tetuan" [i.e., Tetouan], in Morocco; Huanuco, in Peru; and Paris, as part of his interzone, or mindscape. The Huanuco photographs and a Pucallpa, Peru calling card date from Burroughs' trip to South American to meet with Harvard ethno-botanist Richard Evans Schultes (aka "Dr. Schindler" in The Yage Letters) to try ayahuasca for the first time.

Early, seminal material from William S. Burroughs, an icon of the Beat Generation, whom Norman Mailer, in 1962, called "the only American novelist living today who may conceivably be possessed by genius."

[#033847] $24,900
click for a larger image of item #24825, The Golden Triangle - The Gold Heart 1988. An original Burroughs painting, which became part of the Seven Deadly Sins exhibition at The Writer's Place, Kansas City, Missouri, in 1993. Acrylic and spray paint on poster board: a gold triangle and heart spray-painted against a background acrylic image of black, blue and gray. Signed by Burroughs. 20" x 32". Mounted and framed to 24" x 36". Fine. Burroughs, whose Naked Lunch, Soft Machine, and numerous other works helped define the Beat generation and redefine the psychedelic novel, also worked in the visual media from the early 1950s on, experimenting first with collages and later with what he called "nagual art" -- art infected by chance, which had the possibility of giving the viewer access to what Burroughs called a "port of entry," an access to a different universe or a different way of seeing our own. In writing, Burroughs adopted the "cut-up" technique, with Brion Gysin, to achieve similar ends: a final product that was, in part, a product of chance or, at the very least, forces beyond the artist's direct control and manipulation. [#024825] $7,500
click for a larger image of item #28091, Original Drawing for Tornado Alley 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
click for a larger image of item #33085, Junkie London, Bruce and Watson, (1973). First hardcover edition of this title, published in an edition of 1500 copies. Variant brown cloth -- M&M describes black cloth, and olive green cloth has also been noted. Inscribed by the author to Bob Jackson in 1984. Fine in a near fine dust jacket. An uncommon edition, especially signed (and signed authentically). [#033085] $3,000
click for a larger image of item #33095, Naked Lunch (NY), Grove Press, (1959)[1962]. The first American edition of this classic novel of the Beat generation, which was not published in the U.S. until three years after its Paris publication, and until a legal challenge to its banning was successful. Such authors as Norman Mailer testified as to the literary value and accomplishment of Burroughs' work. Basis for the 1991 David Cronenberg film featuring Peter Weller, Judy Davis, Ian Holm, Julian Sands, and Roy Scheider. Inscribed by the author in 1984 for Bob Jackson. Fine in a near fine dust jacket but for creasing and a couple small chips along the top edge. A very nice copy in the original, pre-zip code, dust jacket. The first printing of the U.S. edition was only 3500 copies -- smaller even than the original Olympia Press paperback in Paris, which had a 5000-copy first printing. [#033095] $2,500
click for a larger image of item #33147, Photographs ca. 1983-84. Six black and white photographs (not stated but) by Abe Frajndlich, of William Burroughs, or parts thereof: two photos of Burroughs seated inside at a desk; two photos of Burroughs outside in a trench coat and hat; one photo of Burroughs' coat, hat and cane on the floor next to a baseboard heater; one photo of Burroughs' hands as he signs a copy of The Place of Dead Roads. Each photo is 8-1/2" x 11"; faint staining to a few margins, else fine. Frajndlich is known for his portraits of photographers, and of others involved in the arts. [#033147] $2,000
click for a larger image of item #33109, The Soft Machine Paris, Olympia, (1961). The true first edition, published in Paris by Maurice Girodias' press five years before it came out in the U.S. This copy is inscribed by Burroughs: "For Bob Jackson/ all the best/ William Burroughs/ for Brion Gysin." Gysin designed the dust jacket. Modest foxing to pages edges and endpages; near fine in a near fine, mildly tanned dust jacket with rubbing to the folds. The first issue, with the 15 New Franc price on both the rear cover of the book and the front flap of the dust jacket. An influential book, part of the sequence that includes The Naked Lunch and The Ticket That Exploded. [#033109] $1,750
click for a larger image of item #33081, The Job London, Jonathan Cape, (1970). The uncorrected proof copy of the first British edition (following a French edition) of this interview with Burroughs by Daniel Odier. Inscribed by Burroughs to Richard Aaron. An excellent association copy: Aaron was the bookseller who helped negotiate the sale of Burroughs' archive to Roberto Altmann in Liechtenstein, and he was also involved in the sale that brought the archive back to the U.S., when Robert Jackson bought it from Altmann. Aaron also published Burroughs, under his Am Here Books imprint. Near fine in a near fine, proof dust jacket, which is crumpled at the crown from where it extends above the proof. Proof copies of this edition are scarce, let alone ones with a significant association. [#033081] $1,500
click for a larger image of item #33094, The Naked Lunch Paris, Olympia, (1965). Third printing of the original edition of his second book, one of the all-time great drug novels and a high spot of Beat and postwar American literature. Inscribed by the author to Bob Jackson in 1984. The price stamp on the rear cover has been partially removed. Rubbing to the spine and joints; near fine in wrappers without dust jacket, as issued (the second and third printings did not have the jacket). [#033094] $1,500
click for a larger image of item #33146, Photograph 1984. Photograph by Frajndlich of Burroughs in a three-piece suit sitting behind a table in a public space, smoking. Frajndlich is known for his portraits of photographers, and of others involved in the arts. Copyrighted, signed and dated by Frajndlich in ink at the right of the image in the margin, and titled, copyrighted, signed and dated in pencil by Frajndlich on the verso. Black and white. 11" x 14" Marginal crease to an upper corner, else fine. [#033146] $1,000
click for a larger image of item #33117, The Ticket That Exploded London, Calder and Boyars, (1968). The first British edition. Inscribed by the author to Richard Aaron, the bookseller and publisher, and a key figure in Burroughs' biography, especially with respect to the placement of Burroughs' papers. Fine in a fine dust jacket. [#033117] $650
click for a larger image of item #33100, Nova Express London, Jonathan Cape, (1966). The first British edition. Inscribed by the author, again for Richard Aaron. Slight softening to the spine ends; faint foxing to the edge of the text block; very near fine in a fine dust jacket. Uncommon signed, and a good association. [#033100] $500
click for a larger image of item #33086, Junky (NY), Penguin Books, (1977). First thus -- "the first complete and unexpurgated edition," according to the publisher -- and with an introduction by Allen Ginsberg. This is a complimentary copy, with the publishers "compliments of the author" card laid in. Offsetting to the inside cover from the card; mild age toning to pages; near fine in wrappers. [#033086] $200
click for a larger image of item #33089, The Letters of William S. Burroughs, 1945-1959 (NY), Viking, (1993). Edited and with an introduction by Oliver Harris. Laid in is a June 29, 1993 letter from the publisher, transmitting "one of the first copies." Also laid in is a July 16, 1993 typed letter signed by Oliver Harris to the recipient, who is listed in the Acknowledgements as having provided copies of letters for this collection; the letter attempts to encourage action on a follow-up volume. (In 2012, Rub Out the Words: The Letters of William S. Burroughs, 1959-1974 was published by Ecco Press, edited by Bill Morgan.) Fine in a fine dust jacket. [#033089] $125
click for a larger image of item #33138, Gentleman Junkie Boston, Little Brown, (1998). A biography, heavily illustrated and printed on multi-colored paper. Fine in a fine dust jacket. An attractive and visually engaging publication. [#033138] $35
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