London: Cherry Red, 2007. DVD (CRDVD146). 120 min. Collects Antony Balch’s films made with William Burroughs, Brion Gysin and Ian Sommerville in Paris, Tangier and New York: “William Buys a Parrot” (1.50); “Towers Open Fire” (9.27); “The Cut-Ups” (18.42); “Bill & Tony” (5.08); and “Ghosts at No. 9” (54.57). The last of these was originally part of “Guerrilla Conditions”, an abandoned project intended as a documentary on Burroughs filmed between 1961-65 and presented here with “cut-ups of film and superimpositions, material from the extensive archive of Psychic TV” and a soundtrack by Genesis P-Orridge. Fine. More about Thee Films 1950s-1960s

Cream paper stock, printed in black. 30x21cm. The letterhead prints Antony Balch’s address, 8 Duke Street, St. James’s, London, with his registered office in Soho and the names of the company’s other directors, William Burroughs and Brion Gysin, printed along the lower edge. Balch formed Friendly Films in November 1970 with the intention of making a “Naked Lunch” feature film, but the project was abandoned in 1971 after Burroughs expressed his dislike of Gysin’s script (written as a Broadway musical), and Mick Jagger declined the lead role due to his antipathy to Balch. Slight..... More about A sheet of Friendly Films Limited stationery, c. 1970

Offset. 43.2x14cm. Illustrated with a b/w photograph of “Black Dhalia”, an assemblage Conner described as a “body full of darkness”, and titled, as Rebecca Solnit has noted, “after one of the most grisly murders ever committed in Los Angeles”. The Batman Gallery was located at 2222 Fillmore, San Francisco (a former dress shop found by Bruce Conner) and run by Joan and William Jahrmarkt, whose father provided the finance. It was named by Michael McClure, who lived nearby, and William Jahrmarkt (a painter himself) later became known as ‘Billy Batman’ after his look of black hair and black..... More about Small poster announcment for the Batman Gallery’s inaugural show

Printed offset by the Auerhahn Press in black on lightly textured pale brown card, with an ornamental design of a stylised bat in repeat along upper margin. 21.5x10.8cm. The first exhibition following William Jahrmarkt’s sale of the Batman to Dr. Michael Agron, an associate of Bruce Conner and a psychiatric clinician at UC San Francisco, who purchased the gallery at the suggestion of Auerhahn Press publisher, Dave Haselwood. Lists participating artists Bruce Conner, Robert Branaman, George Herms, Robert LaVigne, William Jahrmarkt, and six others, including British artist Barry Hall. Fine. More about Announcement card for the group show held at the Batman Gallery between February 22-April 7, 1962

NY: Whitney Museum of American Art, 1995. First edition. 4to. Clothbound. 280pp. Prologue by Allen Ginsberg (a revised version of “A Definition of the Beat Generation” as published in Friction 1, Winter 1982). Issued to coincide with the major exhibition shown first in New York, then later in Minneapolis and San Francisco. An examination in nine essays of the crosscurrents, exchanges and collaborations among poets, artists, musicians and filmmakers on both East and West Coasts, with the emphasis on the visual, and including the links with underground filmmakers Robert Frank and John Cassavetes. Contributors include Rebecca..... More about BEAT CULTURE AND THE NEW AMERICA: 1950-1965 + Larry Keenan photograph of Allen Ginsberg and...

Davis, CA: John Natsoulas Press, 1996. First edition. 4to. Wrps. (no hardcover issued), 228pp. Illustrated throughout in b/w. Various contributors, including Michael McClure and Rebecca Solnit, with poetry by Allen Ginsberg (“Howl”), Bob Kaufman, Robert Duncan, Gary Snyder and others. The first history of the Northern California art scene from the late 1940s to the early 60s, focusing on the artist-run galleries, beginning with Metart, followed by the King Ubu Gallery, the ‘6’ Gallery, the East and West Gallery, the Spatsa, and the Batman Gallery. Features many rare photographs of the galleries, artists and..... More about BEAT GENERATION GALLERIES AND BEYOND (The

8vo. Cardstock cover, with pasted-on altered photo-still of Susan Hayward depicting Barbara Graham from the 1958 film “I Want to Live” (Graham was the first woman sentenced to the electric chair in California). Inserts printed offset on cardstock or paper, contained in a tipped-in paper pocket with the printed text reading: “ALEPH/a gesture involving photographs drawings & text by Wallace Berman, 200 copies, Larkspur, 1961, for Shirley & Tosh I love you”. 18 inserts, all of them by Berman, as follows: i) photograph featuring images of Cocteau, Nijinsky, and a Pre-Raphaelite portrait, with untitled..... More about SEMINA 7 (Larkspur, CA: 1961

8vo. Cardstock cover, tape-bound at spine, with two tie-holes to upper and lower covers. Pasted-on press photograph to front cover of the teenaged ‘Lipstick Killer’, William Heirens, making the forced confessions of three murders in Chicago in 1946, altered by Dean Stockwell to depict him drawing an Iron Cross. Aleph stamped in black ink to lower left corner of back cover. Joanne Kyger’s copy, with the small bookplate of Joanne and Jack Boyce (who married in 1966) affixed to the upper left corner inside the front cover. Both Kyger and Berman moved from Southern California to San Francisco..... More about SEMINA 8 (LA: 1963

Np.: privately published, 1965. Offset lithograph poster, printed in black and yellow. 53.2x43.2cm. Prints repeated images of hands holding transistor radios, each with separate inset images, one of them featuring Bob Dylan. Near Fine. (Support the Revolution, p.172/American Aleph, p.57). More about Poster/Poem [RETARD PARA. 33

Los Angeles: John Martin, 1967. Lithographed on stipple finish moistrite sprinkle paper, printed in three colours. One of 100 copies SIGNED and numbered in pencil by Berman (this one #78), from a total edition of 385. 64x56.5cm. Features repeated images of hands holding transistor radios, each with separate inset images. According to the Black Sparrow Press bibliography (Morrow & Cooney 12a), Berman requested that Topanga (where he was living) be printed along the lower edge, along with the name of the publisher, John Martin (rather than his Black Sparrow Press). Red panel..... More about Poster/Poem [OPT.82. BOOSTER BNG. ANGUINEA/Y

Berkeley, CA: Artaud’s Elbow, 1979. First edition. 4to. Clipbound, 34pp., with cover design adapted from a grid of four Verifax pieces by Wallace Berman (1964). A book produced by Hirschman and Mueller (who, together with Kristen Wetterhahn, founded the Union of Street Poets in San Francisco), and intended as “an October tribute to the Wallace Berman retrospective at the University Art Museum, Berkeley, Sept. 21-Nov. 11, 1979, and continual revolutionary activism by poets/artists of California.” Features poems (each one written out by Hirschman and photocopied) by various contributors, including David Meltzer, George Herms, Gary Gach, Viviane..... More about Frammis

NY: Nicole Klagsbrun Gallery, 2010. Sm. 4to. Illustrated wrps., stapled, 24pp. Illustrations in colour. Exhibition catalogue, with an introduction by Tosh Berman, essays by Michael Duncan and Andrew Lampert, and a checklist of works. Fine. More about Wallace Berman

NY: Boo-Hooray, 2013. Special edition, limited to 300 copies (there were also 700 trade copies). Sm. 4to. Perfect bound wrps., 174pp. Catalogue issued to accompany the exhibition held at Boo-Hooray in New York City between December 5, 2013-January 9, 2014, featuring reproductions in facsimile of the complete run of Semina. This special edition includes a cache of ephemera contained in a pocket located inside the lower wrapper, as follows: i) two glossy b/w photographs (15x10cm.), one of them by Ralph Gibson; ii) a card reproducing in miniature the poster for George Herms’s..... More about Semina 1955-1964 Art is Love is God

Paris: Galerie Frank Elbaz, 2018. Sm. 4to. Wrps., 32pp. Illustrated in colour and b/w throughout. Catalogue issued to accompany the exhibition held in Paris, September 8-October 11, 2018, exploring “the connection between sound and image, music and visual art in Berman’s artwork”. Text by the exhibition’s curator, Sophie Dannenmüller. Fine. More about Wallace Berman - Visual Music

NY: Siamese Banana Press, 1971. First edition. 4to. Side-stapled slim white paper wrps. Comprises nine sheets, with the author’s drawings/texts printed rectos only. Final page handwritten by Brainard in black ink: “A Special Edition of 26 Copies Lettered and Signed by Me Z Joe Brainard”. The Siamese Banana Press was founded in 1970 by Johnny Stanton, a writer associated with the New York School, who began by publishing the Siamese Banana, a newspaper that documented local happenings at the Rhinelander Center on East 88th Street. Stanton’s later publications included books by Tom Veitch, Don Weingarten, Rebecca..... More about Some Drawings of Some Notes to Myself

Ink on paper. Titled and SIGNED “BUK” in the lower right corner. Undated (c. early 1980s). 21.6x14cm. In March 1966 Bukowski underwent an operation to have his haemorrhoids removed, his account of which, a short story titled “All the Assholes in the World and Mine”, was published by Doug Blazek a few months after. Light creasing, o/w Near Fine. More about Hemorrhoids

Ink on paper. SIGNED “BUK” in the lower right corner. Undated (c. early 1980s). 25x16cm. A near-identical version of the drawing appeared in “All's Normal Here: A Charles Bukowski Primer”, published in 1985 by Ruddy Duck Press. Fine. More about Untitled (Man Smoking/Lying Down with Bottle of Booze

Vintage deckle edge silver gelatin prints. Each 7x9.7cm. Both photographs (seemingly identical at first glance) were taken by Burroughs just as the Camel man exhaled, sending out a huge air ring of smoke (actually steam), which occurred every few seconds. The billboard, with its famous advertising slogan “I’d walk a mile for a Camel”, was created in 1941 and subsequently featured a soldier, an airman, a movie star, an athlete, and, as here, a man dressed in a Brooks Brothers suit and trilby hat, looking not unlike Burroughs himself. Brief clips of the billboard were included by Antony..... More about Two b/w photographs of the gigantic Camel Cigarettes billboard in Times Square, New York, c. 1965

Square format (10.1x9.8cm.). Vintage prints. The various arrangements, or permutations, with elements added or subtracted, feature Burroughs’ Webley ‘Senior’ Compression air pistol, a Webley pellet tin, and a toy gun; colour photographs of Burroughs with John Brady; a colour photograph of John Brady; a flyer for “The Godfather” (one of Burroughs’ favourite films, according to Brady); the second edition of “The Exterminator”; the August 1964 issue of Analog Science Fact & Science Fiction; a postcard depicting the main street in Gibralter (a location referred to in “The Third Mind” in “Precise Intersection Points”); and a scrapbook page, with..... More about A group of six colour photographs by William Burroughs, each one depicting a different...

Acrylic paint with collaged magazine photograph on Fabriano Fine Art paper. 47x32cm. SIGNED and dated “12/1/87” in pencil to lower edge. Sweeping brush strokes in green, ochre and brown paint, with a collaged colour magazine photograph of a lemur in a tree. Burroughs’ short story, “The Ghost Lemurs of Madagascar”, first published in the New Statesman in December 1986, was an ecological lament for an endangered species in which Burroughs took a special interest, and he frequently included them, as here, in his visual work. Tiny bump to upper left corner, o/w Fine. More about Untitled. Mixed media painting

Watercolour paint on textured cream-coloured paper. SIGNED and titled in pencil and inscribed “for Vojo” (Sindolic, Croatian poet, writer and translator of Beat literature) to lower edge. Undated (c. 1990). 21x29.7cm. The painting features three monkey faces peering out from an abstract wash of predominantly brown paint, its title perhaps referring to the multiple perspectives (‘ports of entry’) from which the image can be viewed. In the catalogue text for his first solo show three years earlier, Burroughs wrote: “I am trying to get pictures to move. It almost happens: a face comes into almost-miraculously close focus, almost..... More about Every Which Way

Acrylic paint on watercolour paper. SIGNED, titled and dated (“5/27/91”) in pencil to lower edge. 48x33cm. A dense painting portraying the ghost-like face of a lemur, the ‘blue eyes’ of which have been painted on a separate section of paper (approx. 17x26cm.) and collaged to make a composite image. As Burroughs would likely have known, the blue-eyed black lemur is among the most critically endangered species in Madagascar. Fine. More about Blue Eyed Lemur

The Seven Deadly Sins. NY/St. Louis: Lococo-Mulder Fine Art, 1991. First edition, trade issue. 4to. Bound in black cloth, with an original cut from plywood stained and gunshot by Burroughs affixed to the front cover. As new (still sealed in publisher’s shrinkwrap with small sticker with the original dollar price at publication). More about The Seven Deadly Sins

(Brussels): Plan K, nd. (1976). Promotional pack (“Le Dossier Plan K”) consisting of 14 loose quarto-size sheets printed on both sides and arranged in no particular order. Produced for the avant-garde theatrical production based on a routine from “The Wild Boys” and first performed in April 1975 (as a child Burroughs used to frequent the penny arcade peep shows at the Forest Park Highlands funfair in St. Louis). Designed and printed by Jean-Pierre Point, Anne Van Nypelseer and Michel Nobels. Texts in French and English, including some translations. Includes scenes from the show, some..... More about “The Penny Arcade Peep Show” d’après William Burroughs

Amsterdam: Suzanne Biederberg Gallery/London: The October Gallery, 1988. Wrps. SIGNED and briefly inscribed by William Burroughs on the first page, and by James Grauerholz on the final page. Exhibition catalogue for Burroughs’ second and third solo shows (they shared the same catalogue), and the first to be held outside America. Reproduces sixteen paintings in colour and prints an 8pp. essay by James Grauerholz, “On Burroughs’ Art”. Fine. Together with: single-sheet, double-sided oblong card folded in three to make four pages, illustrated with reproductions of three Burroughs paintings, issued to coincide with the October Gallery exhibition. Near Fine. More about William Burroughs - Painting

Double-sided promotional postcard announcing the exhibition organised by Joseph Geraci and held at The Vintage Gallery, Amsterdam, between June 17-July 15, 1994. 19x14cm. One side illustrated with Brion Gysin’s photograph from 1959 of William Burroughs standing in front of the wooden door at the back of the Institut Française in Paris. Fine. More about Word Falling - Photo Falling - Towers Open Fire! Vintage Photographs, 1962-72

Kansas City, Missouri: David Levik Gallery, 1996. Promotional card (folded to make 4 panels; 18x13cm.) announcing the exhibition held at the David Levik Gallery in Kansas City, November 19, 1996-January 7, 1997. Reproduction of Burroughs’ painting “Out of the Closet” (spray paint and gun shot on wood) to upper panel, with b/w photograph of Burroughs to verso. There was no exhibition catalogue. Fine. More about William S. Burroughs: Shooting and Painting

Each print measures 16.5x21.5cm. Printed from the original negatives c. 1982, with four prints SIGNED on the verso in blue ink by Barry Miles, who was given the negatives by Brion Gysin. The images are: i) three photographs of Burroughs at the Institut Française. In the first he is standing with his back to the ornate wooden door at the back of the building; the other two were taken at 23 Quai de Conti (opposite the end of Pont des Arts) by the columns of la Coupole, the central building of the Institute; ii) a sequence..... More about A collection of 13 b/w photographs of William Burroughs on the Left Bank in Paris, taken by Brion...

Silver gelatin print. 30.2x24.1cm. Printed later. SIGNED by the photographer in the lower margin, and again in pencil on the verso, along with his studio stamps and a caption by Claire Parry. Fine. The image, which appears on page 75 in Chapman’s book, “The Beat Hotel”, shows Burroughs looking into the middle distance with an impenetrable expression, referred to in the pencilled caption with a quote attributed to Allen Ginsberg: “visage inexpressif impassible Sherlock Holmes”. More about A b/w photograph of William Burroughs in the bar of the Beat Hotel, Paris, 1961

Photographer unknown. The images were probably taken on a Kodak Instamatic 126, a cartridge-based format introduced by Kodak in 1963 (image size 28x28mm.). Three frames are extremely underexposed, one of them a lost cause, but two have been rendered discernible on a second pair of contact sheets. The snaps include images of Burroughs both outside and inside 4 calle Larachi (his home between July 1963 and May 1964); on the house’s balcony alongside various permutations of Gysin, Targuisti (both wearing traditional Moroccan costume) and an unidentified male friend; and one of him in front of a local restaurant..... More about Twelve b/w negatives on two strips, together with recently made contact print sheets, featuring...