Search Results, p. 2

1962-08-28. Oil on canvas. 12" x 16". [#034350] $8,000

Oil on cardboard. 10-3/4" x 13-3/4". No date. [#034351] $8,000

A bare, black tree under a vivid end times sky. Oil on canvas. 16" x 12". No date. [#031626] $8,000

1980. Long galley sheets for Dick's novel VALIS (Vast Active Living Intelligence System), a 1981 paperback original. The VALIS galley sheets are dated 6-23-80: approximately 68 sheets of 25" in length, age-toned with minimal edge wear, in a custom folding chemise and slipcase. Casual inspection revealed one textual difference from the published version. Near fine. Also laid in is a very good copy of the proof of the Bantam covers, which differs from the final version by virtue of the absence of the Bantam logo on the front cover. A very scarce issue of the book that would become the capstone to Dick's literary career. Long galleys such as these are seldom produced in more than a couple of copies, and very seldom turn up for books that were issued as paperback originals. It's ironic that Dick's culminating novel, which transcends science fiction's usual boundaries, would be issued as a paperback original: Dick had so many books issued as paperback originals in the 1950s and 60s, before his books came to be regularly published in hardcover, that the Science Fiction Writers of America named an award after him, the Philip K. Dick Award, for the best SF novel issued as a paperback original. Dick spent the last several years of his life striving for recognition as more than a science fiction writer, and VALIS could have been that break-out novel, had it not reverted him to his former identity as a writer of paperback originals. A rare issue of a major Dick novel. As far as we can tell, unique. [#032867] $8,000

1940-12-18. Oil on cardboard. 8-1/2" x 17-1/2". [#034348] $7,700

1939-05-28. Oil on cardboard. 8-3/4" x 17-3/4". [#034347] $7,700

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

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

1962. Oil on canvas. 15" x 20". [#031573] $7,500

Oil on cardboard. 8-1/2" x 17". No date. [#031622] $7,500

1947. Oil on canvas by Cummings, who did not title his paintings; the title given here is purely descriptive. 18" x 24". "By E.E. Cummings" written on the wood frame, apparently in another's hand. Cummings signed only a small fraction of his work, deliberately and for philosophical reasons: he believed the work should stand on its own -- and be judged on its own merits or faults -- rather than be judged by who the creator of it was. When he backed away from the New York art scene in the late 1920s and early 1930s, Cummings was backing away from what he considered to be an artistic milieu driven by personality and ego rather than by art. After his early period as an abstract artist, he focused on representational art for the rest of his life, but often -- as in this painting -- he used a palette and a style that owed much to his early influences among modern artists: Cezanne, Matisse, and the Fauvists. One tack missing from the top of the stretched canvas; else fine. [#031362] $7,500

Oil on cardboard. 8-1/2" x 17-1/2". No date. [#034346] $7,500

1942-08-28. Oil on canvas. 12" x 16". [#034345] $7,500

1945-08-25. Oil on canvas. 15" x 20". [#034344] $7,500

(London), (Faber and Faber), (1991). Copy No. 64 of 250 numbered copies, signed by the contributors. Twenty-six writers contribute to this AIDS fundraiser, edited by Stephen Spender and with drawings by David Hockney. Signed by Hockney and Spender, and also also signed by contributors Joyce Carol Oates, Iris Murdoch, Normal Mailer, Seamus Heaney, Martin Amis, Erica Jong, Ian McEwan, Nigel Nicholson, Margaret Drabble, Craig Raine, William Boyd, V.S. Pritchett, Doris Lessing, William Golding, Arthur Miller, Ted Hughes, Kazuo Ishiguro, Julian Barnes, John Updike, Susan Sontag, Douglas Adams, and Patrick Leigh Fermor. Four living contributors declined to sign this edition -- Paul Theroux, Ted Hughes, Anthony Burgess and Gore Vidal. This copy, however, is from the collection of Vidal's bibliographer, Steven Abbott, and Vidal did sign this copy, the only copy of this edition he signed. Blue boards bound in quarter vellum. Fine in a fine slipcase. [#035645] $7,500

Oil on cardboard. 12" x 18". No date. [#034342] $7,000

Late fall in the Sandwich Range. Watercolor. 18" x 12". No date. [#031612] $7,000

Oil on canvas. 16" x 10". No date. [#034343] $7,000

Oil on canvas. 16" x 20". No date. [#034340] $6,500

1947-09-25. Oil on canvas. 15" x 20". [#031597] $6,500

Vibrant, jazzy female figure sketch. Tempera on cardboard. 8" x 17", matted and framed to 12" x 21". GBM #353: Cummings' paintings had several exhibitions at the Gotham Book Mart in New York City in the 1960s-70s. Undated. There is a well-blended stain across lower edge. Very good, but a candidate for reframing. [#034332] $6,500

1944-04-13. Oil on canvas. 18" x 26". [#031634] $6,500

Oil on canvasboard. 13" x 16". No date. [#034335] $6,500

Watercolor. 12-3/4" x 10-7/8". Signed on front. No date. [#033238] $6,500

Oil on canvas. 8" x 12". No date. [#034334] $6,500

1939. Oil on canvasboard. 10" x 14". November 4, 1939. [#031641] $6,500

Ink on paper. 8-1/2" x 10-1/4". Signed by Cummings on the front. No date. [#034329] $6,500

Oil on cardboard. 7-1/2" x 8-1/2". No date. [#034337] $6,500

Oil on canvasboard. 18" x 12". No date. [#034336] $6,500

Watercolor. 18" x 12". Signed on front. No date. [#033237] $6,500