Ed. Paul Keeler. Large format tabloid newspaper, printed in black on semi-gloss paper. Folded centrally to make 4pp. The first issue (of 9) of Paul Keeler and David Medalla’s news bulletin, named after the “series of tensile sculptures by the Greek artist, Takis” (subsequent issues were titled Signals). The editorial announces that it “will contain news items on the activities of the Centre, documentation and critical studies on the Centre’s artists, as well as original writings by the artists themselves.” Illustrated with works by Takis, Sergio de Camargo, and Marcello Salvadori (whose idea of the Centre..... More about SIGNALZ Vol. 1, No. 1 (London: Centre for Advanced Creative Study, August 1964

Stapled wrps., 50pp. Mimeograph. Edited by Johnny Byrne, Lee Harwood, Roger Jones, and Barry Miles. The editorial address for the submission of manuscripts is stated as 64 Abbey Road, the famous writers’ house run by Miss Linsley, then shared by Johnny Byrne, Roger Jones and Thom Keyes, among others. Front cover designed by Miles, who has identified Spike Hawkins in the photograph by writing the poet’s name and drawing a small arrow in blue ink pointing to him. He has also SIGNED the title page, adding that it was “The only issue”. Horde was issued as..... More about HORDE 1 (all published). London: December 1964

i) six bookmarks, each with a different colour design (one duplicate). Two of them credit Sewell’s design practice on the verso (“This bookmark was designed by John Sewell ARCA MSIA”), and four announce Better Books’ new OUP Bookshop (“the largest stock of Oxford Books in London”). 15x6cm. Contemporary ink inscription to verso of one bookmark, o/w Very Good; ii) paper bag with colour designs, one to each side. 31.5x22.6cm. Old vertical crease to left edge and overall creasing, o/w Very Good; iii) wrapping paper with colour design. 38x51.8cm. Three old, faint folds, o/w Very Good plus..... More about Six bookmarks, a paper bag and an original sheet of wrapping paper designed by John Sewell for...

Miles’s spiral-bound 1965 desk diary, filled with entries for 169 days of social engagements, meetings concerning his early foray into small press publishing, and appointments relating to his year-long role as manager of Better Books (many also feature later annotations in pencil clarifying names and places). The earliest entries begin with Horde magazine meetings at Lee Harwood’s flat, and continue with the dates of various poetry readings at Better Books, among them: Allen Ginsberg (May 19), Ernst Jandl (May 31), and Lawrence Ferlinghetti (June 23), all of whom read at the International Poetry Incarnation at the Royal Albert..... More about Letts Royal Office Tablet Diary 1965

Np. (Berkeley, CA): Oyez Press, 1965. Poetry broadside. Handset on handmade paper. 51.3x37.6cm. Illustrations by Robert LaVigne of two nude silhouettes of Ginsberg in white and black set within penis-shaped frames; the signatures of both are printed in facsimile below. Ginsberg wrote the poem on the plane to London from Prague, where students had elected him ‘King of May’ (he was deported almost immediately). Shortly after his arrival, and following his famous meetings with Bob Dylan and the Beatles, Ginsberg visited Better Books (on the recommendation of Ed Sanders) and met Miles for the first time. As the..... More about Kral Majales

Satin-matt finish. 25x17.3cm. Printed later (c. late 1990s). The photograph pictures a naked Allen Ginsberg wearing underpants on his head, drunkenly raising a plastic cup of wine while celebrating his birthday during the early hours of the morning in a basement flat in Belgravia. It was a scene that greeted two Beatles at the very moment they arrived, John with Cynthia and George with Pattie Boyd, prompting Lennon’s famous remark to Miles as he was leaving: “You don’t do that in front of the birds!”. Fine. More about A b/w photograph by John ‘Hoppy’ Hopkins of Allen Ginsberg in his birthday suit on his 39th...

Vintage silver gelatin print. 8.3x14.2cm. Three small holes from having originally being pinned to the wall at Indica. 3mm. closed tear to left edge, o/w Very Good. More about A small b/w photograph by John ‘Hoppy’ Hopkins of the Royal Albert Hall poetry reading’s...

Quarto sheet of blue paper stock, mimeographed, recto only. The second bulletin (its content almost identical to the first), announcing the upcoming, though as yet unnamed, International Poetry Incarnation at the Royal Albert Hall, June 11, 1965. Lists Allen Ginsberg, Gregory Corso, Lawrence Ferlinghetti, Alexander Trocchi, Michael Horovitz, Pete Brown, Anselm Hollo, Pablo Fernandez, John Esam, Dan Richter, Barbara Rubin, Simon Vinkenoog, Ernst Jandl “and many more to come”, and announces “Readings, Improvisations, Symposium and Final Poets Communique at neo popular prices!”, with tickets available at the RAH and Better Books. A third (and..... More about Poets of the World/Poets of our Time - Bulletin No. 2

Satin-matt finish. 25.5x20.4cm. Printed later (c. late 1990s). Harry Fainlight can be seen in the background, seated in the audience. Fine. More about A b/w photograph by John ‘Hoppy’ Hopkins of Allen Ginsberg, taken during his reading at the...

White paper stock. 26x20.5cm. Printed in blue by Binn Tivy and headed “Lovebooks Limited Printers Publishers and Stationers”. Miles and Hoppy first conceived the idea of creating a company to publish alternative poetry and underground texts around the time of the Royal Albert Hall reading, and Lovebooks Limited was incorporated soon afterwards, on June 24, 1965. Company directors were Miles and Hoppy, with an office registered at 20 Fitzroy Square and Michael Henshaw appointed as company secretary (Henshaw, London’s hip accountant, specialised in “difficult cases involving creative people”, and as well as establishing Lovebooks Limited for..... More about LOVEBOOKS PRINTED LETTERHEAD

4to. Stapled wrps., 40pp. Mimeograph, with lilac endpapers. Edited and published by Lee Harwood. A continuation from Harwood’s earlier small poetry publications Night Scene, Soho: bi-lingual review, and Horde. Contents include contributions from John Ashbery; Miles; Gerard Malanga; Dom Sylvester Houédard; Brian Patten; George Dowden; Ken Weaver; and the editor’s translations of Tristan Tzara and Max Jacob. Very Good plus. 200 copies printed. More about TZARAD 1 (London: Night Scene Publications, August 1965

Off-white card with graphic design in blue and purple by John Sewell. Verso blank. 13.7x8.1cm. Handwritten in bold purple and green marker pen by Miles, the shop’s manager. It seems likely that the after-party was held immediately after the book launch of “Loquitur” by Basil Bunting, the first publication from Stuart Montgomery’s Fulcrum Press. Miles later remembered Bunting as “a great reader, with a very musical delivery, but his strong Northumbrian accent made him very difficult to understand” (Better Books/Better Bookz, p.108). Fine. Provenance: Nathaniel Tarn. More about An original numbered ticket for an after-party event held at Better Books on September 11, 1965...

A 3pp. synopsis of a projected book on the drug experience, compiled by the ‘Editorial Committee, Lovebooks Ltd.’, October 1965. Three foolscap sheets, printed rectos only. Stapled at top left corner. The proposal was almost certainly written by Hoppy, possibly with input from Steve Abrams, and its intention, using the knowledge and contacts of Lovebooks’ directors, was for the book to be sold to a mainstream publisher, such as Jonathan Cape or John Calder. It begins by outlining the book’s four main aims, the first being “to supply accurate information about the experience of using drugs”..... More about Lovebooks: Drug Book

Ed. Miles. 8vo. Perfect bound. Wrps., 80pp. Front cover line drawing of Allen Ginsberg by Miles, based on Hoppy’s photograph of Ginsberg at the Albert Memorial; back cover art by Pete Simpson; other graphics by Graham Keen. SIGNED in pencil by Miles inside the front cover. The third publication from Lovebooks Limited, printed on Hoppy’s offset litho press. Named by Ginsberg after noticing the length of men’s hair in England, and aimed at the audience who had attended the Royal Albert Hall poetry reading in June 1965. Declaring itself as being “interested in all aspects of the NEW..... More about LONG HAIR: 1 - North Atlantic turn-on (London: Lovebooks Ltd., c. December 1965

Vintage print. 27x19.5cm. Photographer’s (later) studio label to verso, along with a pencilled caption by Miles, who has written out his return address in holograph biro. The premises at 6 Mason’s Yard were found by John Dunbar (the weekly rent was £19), and the scrap of paper taped to the front door visible in the picture prints Indica’s name in small lettering, alongside delivery information for the postman. Short, diagonal crease to lower left corner, o/w Near Fine. More about A promotional b/w photograph by Graham Keen of Peter Asher, Barry Miles and John Dunbar standing...

Printed later. 20.3x25.3cm. Clearly visible on the newly built shelves behind them, among the small press books and magazines, are copies of the LP records “Lawrence Ferlinghetti reading at Better Books” and “Call Me Burroughs”, a record Paul McCartney first heard at Miles’s flat. Fine. More about A b/w photograph by Graham Keen of Peter and Jane Asher with Barry Miles at the Indica bookshop...

Printed later. 20.3x20.3cm. The publicity photograph, arranged by Margaret Asher for the Evening Standard, shows Jane and Peter reading from books by Basil Bunting and Charles Bukowski. Fine. More about A colour photograph of Jane and Peter Asher posing by the newly constructed bookshelves in...

London: Design Group of the Exhibition on Neocolonialism [sic], nd. (c. January/February 1966). 8vo. Stapled wrps., 44pp. A pamphlet reproducing international press coverage of the Moroccan revolutionary socialist and anti-imperialist Mehdi Ben Barka, who was ‘disappeared’ by the French police in Paris on October 29, 1965, and never seen again. The fourth publication from Lovebooks Limited (and the third booklet), printed by Hoppy (under the pseudonym ‘Bradley Martin’) using zinc plates, though the name Lovebooks wasn’t included for fear of attracting unwanted attention from the security services (Mossad or the CIA). The pamphlet quickly disappeared from..... More about UNTITLED (MEHDI BEN BARKA

Printed in black, recto and verso, on white stock. 16.7x11cm. A version without McCartney’s cross-hatching on the map and now identifying the precise location of Indica with an ‘x’. The text printed on the verso, similar to the first version, adds the gallery’s telephone number. Old vertical crease; ink arrow to upper right corner; o/w Very Good. More about An original flyer for Indica Books and Gallery, designed by Miles (c. Spring 1966

Printed in black, recto and verso, on white stock. 17.2x10.3cm. A fourth version, with newly redrawn map and printing the address and telephone number of Indica Books & Gallery in the lower part. Text abbreviated and redesigned. Contemporary telephone number in Miles’s hand to upper edge (AMB 9069, the exchange code for Paddington); six tiny pinholes; o/w Very Good plus. More about An original flyer for Indica Books and Gallery, designed by Miles (c. Spring 1966

Printed in bold black lettering on white paper. 41.9x53.2cm. In his memoir, Miles recalls McCartney arriving at Indica and hauling a heavy package out of a brand new Aston Martin DB6 containing a thousand sheets of wrapping paper he’d had printed on “best-quality paper, which made each one virtually an artwork”, continuing: “The design read ‘Indica Books and Gallery’ with our address, the lines of the text forming a cross and a diagonal cross - a Union Jack, in fact - done in large black capital letters on white, each painstakingly hand-lettered” (In the Sixties, p.96). In..... More about An original sheet of wrapping paper designed by Paul McCartney for Indica, c. March 1966

Tabloid newspaper format. 40pp. Ed. Daniel Wolf. Front cover photograph by Fred McDarrah shows the Velvet Underground performing at the Dom (23 St. Mark’s Place), a residency that began on April 1. Inside, a full-page headlined “Andy, Edie, & the Velvet Underground”, prints five photographs, the first of which shows Andy Warhol at the Leo Castelli Gallery with his new Cow wallpaper installed on the wall behind him. Page 29 prints a half-page ad. announcing ‘The Exploding Plastic Inevitable’ (newly renamed from ‘The Expanding Plastic Inevitable’): “Do You Want To Dance and Blow Your Mind”. As..... More about THE VILLAGE VOICE Vol. XI, No. 25 (NY: April 7, 1966

i) original paste-ups. 14 foolscap sheets, including the front cover (printed offset by Hoppy) and its hand-drawn ink overlay (with mention of the “20 Guinea” film competition prize). The paste-ups were made by Miles, who in some instances typed up the letters and flyers in facsimile (among them the Timothy Leary Defense Fund flyer), or otherwise pasted the originals directly on to paper sheets (including John Wilcock’s letter and the mimeographed Ed Sanders newsletter). The double-sided typed aerogramme from the California surfer (addressed to Miles at Indica), dense with references to the surfing scene, the ‘acid craze’ and light shows..... More about THE LONG HAIR TIMES. A collection comprising the original artwork for The Long Hair Times, the...

38x11.3cm. The text by Dunbar (who informed this cataloguer that the floppy material used for the flyer was sourced from shower curtains found in Paris during his visit in late 1965) sets out a mini-manifesto for the gallery - “painting & construction exploiting new techniques & ideas; increasing the occurrence of communication contributing to the basic structure of sense data and visual expression” - and lists the names of artists planned for future exhibitions. Miles, who drew the map printed in the lower half, provides a brief description of the stock carried by the bookshop, and..... More about An original flyer promoting Indica, silkscreened in black on geometrically-patterned translucent...

Printed later. 20.3x30.5cm. Posters for Julio Le Parc and Lourdes Castro are visible in the windows, and a large cloth hangs in the central window, possibly in an attempt to obscure the view of anyone hoping to catch a glimpse of Paul McCartney. The photographer, Keith ‘Avo’ Avison, was Peter and Gordon’s tour manager, as well as the former trombone player in the Ken Colyer jazz band. Fine. More about A b/w photograph by Keith Avison of Peter Asher standing outside Indica, taken between shows, c....

White paper stock. 25.3x20.3cm. Designed by Peter Broxton. Printed in black with the address of Indica Books at 102 Southampton Row, the names of its four directors (no longer including Christopher Hill), and company secretary, Mike Henshaw. Illustrated with Broxton’s letterhead, a design based on the tomb lid of Pakal, Mayan ruler of Palenque, showing him seated in a flying saucer. Fine. More about INDICA PRINTED LETTERHEAD

56x45.8cm. Headlined “Incredible!” in bold red lettering. Prints the album’s cover image depicting all four band members dressed in blood-smeared white butchers’ coats, strewn with chunks of raw meat and dismembered bodies of dolls. The session from which the image was taken took place in London on March 25, 1966 at the Chelsea studio of Robert Whitaker, the Beatles’ favoured photographer at the time. Inspired by both Luis Buñuel’s “Un Chien Andalou” and the work of Hans Bellmer, Whitaker’s original intention had been to portray the Beatles as religious icons in a triptych with an all-gold background and..... More about An original promotional poster for “Yesterday and Today”. LA: Capitol Records, c. June 1966

7x17.4cm. Harrison’s name and home address at ‘Kinfauns’ in Esher handwritten by him in blue ink for Indica Books’ mailing list, as requested by Miles when Harrison visited him at his newly located bookshop on Southampton Row. A year or so later, after Miles’s interview with Harrison was published in International Times #13, Harrison invited Miles and Sue Miles to ‘Kinfauns’, where they spent the day, ate an evening meal cooked by Pattie Boyd, smoked grass together, and eventually fell asleep while watching Jean Renoir’s “Grande Illusion” on Harrison’s home cinema. Near Fine. Accompanied by Miles’s..... More about A small piece of white paper with George Harrison’s autograph inscription. Nd. (c. June/July 1966

Printed later. 28x20.3cm. 16 Magazine’s May 1966 issue first reported that “Peter Asher and John Dunbar [have] opened a bookstore-art gallery in London. Among the featured items will be 16 Magazine…”, though the name Indica wasn’t mentioned and the bookshop moved to new premises soon afterwards. Two copies of the August issue can be seen prominently displayed in the window. Fine. More about A b/w 16 Magazine publicity photograph of Barry Miles and Peter Asher standing outside the front...

Silkscreened in black and blue on white paper. 74.5x49.5cm. Sharkey, then Gallery Manager at the ICA, helped with the organisation of the Symposium, and also designed the newsletters and other publications. John Dunbar’s copy, with his signature in pencil to lower margin (it was after seeing Yoko Ono perform “Cut Piece” at the Africa Centre that Dunbar invited her to exhibit at Indica). The Symposium’s Honorary Committee, led by Gustav Metzger (who unsuccessfully invited Pete Townshend and The Who to participate), included Roy Ascott, Mario Amaya, Bob Cobbing, Ivor Davies, Dom Sylvester Houédard, Enrico..... More about An original poster designed by John Sharkey announcing DIAS, which took place at the Africa...

The three advertising spaces, each a quarter-page in size, were given free to Yoko by the magazine’s editor, Mario Amaya, who had earlier invited her to participate in the recent Destruction in Art Symposium (20 photographs of the event, taken by John Prosser, appear in issue #7). The three works, titled “Fountain Piece”, “Mouthpiece” (design by George Maciunas), and “Do It Yourself Dance Piece” (photo of Yoko asleep by Tony Cox), all trace their lineage to earlier works by Yoko, and all three relate to “Do It Yourself Dance Festival”, a Fluxus work she advertised in the Village..... More about Three advertisements published in ART AND ARTISTS, Volume 1, #7-9 (London: October-December, 1966

Printed in black and red on white paper stock. 31x24cm. Illustrated. A rare item of Los Angeles Free Press ephemera, emphasising the paper’s commitment to press freedom in the face of the threats and intimidation it regularly received from the authorities. It may also have been a specific response to California Proposition 16, Prohibition of Obscenity Measure, November 8, 1966, a ballot that was ultimately defeated and which the paper covered in depth, including in its issue #117. Small loss to upper right corner; short, closed tear to lower left edge; o/w Very Good plus. More about A window sign designed for display in newsagents and bookshops (c. 1966) - “The Los Angeles...

Ed. Tom McGrath (#1-12); Jack Henry Moore (#13-17); Bill Levy (#18-32). A complete run of every issue published by Lovebooks Limited (formed in June 1965 by Miles and Hoppy), including almost every half and quarter issue (#15.25 supplied in photocopy). From issue #33, following the events of May ’68, the paper was run as a workers’ co-operative, with the (by then enlarged) board of Lovebooks directors - Jim Haynes, Mike Henshaw, Hoppy, Miles and Jack Henry Moore - acting as a board of trustees. This run of the earliest issues includes all the half-issue posters, as..... More about INTERNATIONAL TIMES #1-32 (London: Lovebooks Ltd., October 14, 1966 - May 31, 1968). Newspaper,...

Printed letterpress by Binn Tivy in brown on off-white coated card stock. 23x10.6cm. Illustrated with an image of a 1920s ‘It’ girl found in a junk shop. Stamped number to verso; the tickets were sold at Indica, Better Books and other sympathetic outlets. Tiny pinhole to upper edge, o/w Near Fine. More about An original numbered ticket announcing Pink Floyd and Soft Machine at ‘International Times...

London: International Times, c. October 1966. Offset in black on white paper stock. 22.9x30.4cm. Illustrated with the IT logo, featuring Theda Bara; lettering by Michael English. The first printing of this flyer, slightly larger than later versions, and with the paper’s name, address and telephone number printed along the lower edge. Jim Haynes, IT’s first street-seller, is credited with coming up with the idea of a flyer for display in the windows of sympathetic outlets. This copy has old corner pinholes from having originally been attached to the wall at Indica Books; otherwise Near Fine. More about A window sign announcing ‘You Can Get It Here’, designed for display in newsagents and bookshops

London: Indica Gallery, 1966. Double-sided card (15x10.cm.). Illustration to one side, with opening date (November 24) and exhibition dates (November 25 through December) printed in silver ink to verso. Both John Lennon and Paul McCartney bought pieces: Lennon paid £1500 for a work titled “Black Mirror”, and McCartney nicknamed his acquisition “Peter and Gordon” after the flashing green and red lights that topped the double rod sculpture. Near Fine. More about TAKIS MAGNETIC SCULPTURE AND THE WHITE SIGNALS. Private View Invitation

London: Indica Gallery, 1966. Sm. 4to. Stapled wrps., 12pp. Eight b/w illustrations, including the cover (photographs by Clay Perry). Exhibition catalogue for Takis’ exhibition of electromagnetic sculptures and other kinetic works (November-December 1966). Includes a text by William Burroughs (first published in the catalogue to the Takis show held in Milan at Galleria Schwarz in April 1962, later reprinted in the first issue of Signals), as well as an “Extract from Kinetic Symposium University of California, Berkeley March 1966”; a quote from Marcel Duchamp; and a prose statement by Allen Ginsberg, written in Benares in 1963... More about TAKIS MAGNETIC SCULPTURE AND THE WHITE SIGNALS. Exhibition catalogue

(London): nd. (c. late 1966). Poster, silkscreened in silver on a black ground. 44x61.5cm. Michael English’s psychedelicised version of “The Last Supper”. Slight surface creasing to right-hand section; very short crease to upper right corner; minor handling wear; o/w Very Good plus. More about Friday? Good!

White cardstock with William Burroughs’ Duke Street, St. James’s address and telephone number printed in black. 5.2x8.7cm. Burroughs has written out the Athens address of his friend, Alan Ansen, in blue biro to the verso. Contained in a brown manilla envelope (10x23cm.), addressed by Burroughs in black marker pen to “Miles I.T.” (date unknown). Burroughs had the visiting card printed shortly after moving into his Duke Street flat, a traditional symbol of social status that presumably he felt was in keeping with his new and fashionable neighbourhood. Fine. The only example encountered by this cataloguer. More about Visiting card, c. 1966/67

London: Indica Gallery, 1967. Sm. 8vo. Stapled wrps., 16pp. Printed in green throughout. Exhibition catalogue for Lourdes Castro’s show at Indica Gallery, which ran for a month, beginning on January 20, 1967. Reproduces illustrations of her work, including photographs by René Bertholo, Flavio Shiro and André Morain, as well as a list of works exhibited and the artist’s exhibition history. Faint vertical crease to lower wrapper, o/w Very Good plus. More about Lourdes Castro

Single quarto sheet. Illustrated with a b/w reproduction of Bob Gill’s original design for the poster and handbill (a second design was made by Dudley Edwards). The invite reads (in part): “Binder Edwards Vaughan invite you to share a new experience. London’s first Light and Sound Show, at the Round House… Please come in something white or wear a sheet.” Sometimes referred to as the Carnival of Light Rave, BEV intended the event as a showcase for electronic music and light shows (it featured Ray Andersen of San Francisco’s Holy See Light Show), and advertised “Music composed by..... More about A printed invite signed by Dudley Edwards, one third of design collective BEV (Binder, Edwards...