Richard Neville founded Oz from his family home in Mosman, a suburb of Sydney, in January 1963, together with a group of friends, among them Martin Sharp, Garry Shead and Alex Popov, and university student magazine editors Richard Walsh, Peter Grose, Peter Kingston and Mike Glasheen. The name for their new magazine originated from 'The Wizard of Oz', rather than the shorthand term for their homeland, a more obvious reference that Neville claimed did not occur to them at the time as the term was not then in widespread use. Intended to satirise Australia's conservative, deeply conformist and highly censored... More about OZ #1-41 (Sydney: Oz Publications Ink Limited, April 1963-February 1969) - all published...
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A glossy card printing a sarcastic conversation between Oz advertising manager John Leaver and Felix Dennis, originally intended for publication in the Advertiser's Weekly (the card claims it refused to run it), c. April 1968. Printed in black on coated white card stock. 17.9x11.5cm. Illustrated with a small image of the Hapshash cover from Oz #4 and photobooth images of two "OZ staff deliberating whether to advertise for advertising in this journal" (a beardless Felix Dennis and John Leaver). Dennis, then still an Oz 'pusher', before he took over from John Leaver (who moved to Time Out), is cast as... More about Banned!
Printed in black on orange stock, illustrated with the pregnant elelephant Oz logo. 29.8x21cm. The blurb includes contrasting quotes on Oz from The People ("muck"), Time Out ("the truest and best underground paper in the world"), and Private Eye ("the worst magazine in the history of the world"). Near Fine. More about An Oz sheet soliciting advertising "at the extraordinarily low rate of only £150 per...
(Dennis became the advertising manager from Oz #17). Printed in black on white paper stock, featuring the Oz logo (c. summer 1968) and an illustration of a chimp holding up a hand mirror reflecting the face of the Mona Lisa. 27.9x11.5cm. Fine. More about An Oz 'With Compliments Felix Dennis Advertising Dept.' slip, c. late 1968 or early 1969
Printed in black on orange stock, illustrated with Robert Crumb's cartoon of an enraged little man. 29.8x14cm. Single vertical machine fold, as issued. Fine. More about An Oz 'With Compliments Felix Dennis Advertising Manager' slip - 'OZ to make you mad again!', c....
Printed in black in a variety of typefaces on white paper stock. 26.2x15cm. Illustrated with an image of a man with a megaphone and a speech bubble proclaiming Felix Dennis's address and phone number. Designer not known (probably Felix Dennis). Near Fine. More about An Oz 'With the Compliments of the Advertising Manager' slip, c. 1971.
22.4x29.2cm. Designed by Richard Adams. One side features the advertising contact phone number, below the Oz pregnant elephant logo, followed by a list of quotes from the media, alongside a high contrast image of David Nutter's photograph of gun-toting hipster rebels (Aussie biker Pete Steedman and black model Mynah Byrd) with small child. The other side prints details of the rates and other information, and a line reproduction of Roy Lichtenstein's painting 'Whaam!' with the giant letters OZ replacing the exploding enemy aircraft, an image presumably intended to convey the potential impact of advertising in the magazine. Fine. More about A double-sided Oz advertising rates card, printed in black on deep scarlet thin card stock, c....
10.2x15cm. One side prints advertising rates and other info, including circulation numbers; the other side prints eight quotes on Oz from various publications. Ad manager Felix Dennis's updated phone number has been inserted using a typewriter and his old number crossed through in ink. Near Fine. More about A double-sided Oz advertising rates card, printed in black on pink stock, c. 1971.
Printed in black on white card stock, with two horizontal machine folds. 29.8x21cm. Illustrated on one side with a full-frontal b/w photograph of a naked man and woman (David Wills and Aina Vasilevska) with their arms around each other, the former holding a joint, and a copy of Oz #44 obscuring their faces. The bold headline above reads: "We've got nothing to hide." The verso prints full details of the advertising rates, printing information and circulation numbers, along with another, smaller full-frontal photograph showing the same pair, unmasked and unabashed (David Wills moved to San Francisco in 1973... More about A double-sided Oz advertising rates card, c. September 1972.
with dimension boxes outlined in blue. Printed on glossy paper stock. Verso blank. 42x30cm. Illustrated with a full-frontal b/w photograph of David Wills and Aina Vasilevska with their arms around each other, the former holding a joint, and an issue of Oz#44 obscuring their faces. The bold headline above reads: "We've got nothing to hide". Old central horizontal fold and slight creasing to centre lower edge, o/w Very Good plus. More about A small poster printing Oz magazine's advertising rates, c. September 1972,
Exeter: Sunrise Press, 2006. First edition. 4to. Illustrated laminated boards. 166pp. + 25pp. introduction. Compiled and edited by Jonathan Hill. Profusely illustrated throughout with more than 550 full colour and b/w plates + photographs. A complete catalogue of the artist's work from 1964 on, including his early psychedelic contributions to Oz, as well as It and Gandalf's Garden, through to his more recent paintings, drawings and book illustrations. One of 1000 numbered copies SIGNED by the artist, with a fragment of an original artwork affixed to the title page, this copy additionally signed by by the book's publisher and editor... More about Johnny: The Work of Psychedelic Artist John Hurford.
5.5cm. diameter. The badge was first offered for sale by Oz mail order in issue #45 (November 1972), and reprises the front cover image of Mickey Mouse in 'Fantasia' from issue #40 (February 1972). Louise Ferrier is pictured wearing one on her jacket lapel in Richard Neville's memoir, Hippie Hippie Shake. Near Fine. More about 'Mickey Stardust - OZ Not So Much A Magazine' badge, in pink, blue, black and white.
3.5cm. diameter. The badge was first offered for sale as a "behind the lapel special" by Oz mail order in issue #45 (November 1972). Near Fine. More about 'Oz Conspirator' badge, lettered in green, with b/w image of a shadowy and sinister face...
Each 5.5cm. diameter. The badges were first offered for sale in Oz #32 in January 1971 (the Granny on the front cover is wearing one), with new colours advertised in Oz #41 (April 1972). The badges reproduce Keith Morris's front cover photograph from Oz #24 of Lee Heater and his acid-tipped tongue. Heater was a grungy Texan super-freak connected to the Brotherhood of Eternal Love in California who hung out at Oz, crashed in the back room at Richard Neville's basement flat with a basket of kittens and an illuminated fish tank (spiking his tea with LSD), and... More about A group of Oz 'Beautiful Freak!' badges in four different colourways: blue and red; red and...
Printed in orange, yellow and black on glossy coated card stock. Illustrated with Robert Crumb's 'Three Graces'. 10.5x15cm. Fine. More about An 'Oz Magazine With Compliments' postcard designed by Richard Adams for Oz mail order, c. 1972.
Original photostat. 27.7x21.6cm. Features John Fawcett's illustration of Mickey Mouse in his Wizard's hat, with a thumb print in pink (lipstick?) added. The party was held at a restaurant in West Brompton from, as a handwritten note in the top left corner advises, "9pm onwards". The bottom line prints: "Unfortunately OZpitality is limited to our nearest and dearest, so please bring this invitation with you - it will admit two only." Old, faint central vertical and horizontal fold lines and a few smudges from handling, o/w Very Good. More about Single sheet announcing "We're DOING THE OZ on Friday 18th of February (1972)…to celebrate...
A poster triumphantly announcing Oz magazine's fifth anniversary issue, February 1972 (Oz #40) - "On sale now 25p". Printed in red and purple on white stock. 54.9x37cm. Designed by John Fawcett, and illustrated with a full-length photograph of Sarah Bernhardt alongside a large image of Mickey Mouse in his Wizard's hat from the 1940 Disney movie, 'Fantasia'. The fifth anniversary of Oz was celebrated as a defiant landmark following the obscenity trial and the myriad attempts to close down the underground press. Fine. Provenance: The Felix Dennis Estate. More about OZ 5th ANNIVERSARY POSTER.
A printed sheet announcing Oz's change of address to 19 Great Newport Street in early 1972. Printed in dark blue on pale blue stock. 14.9x21cm. Illustration by Rod Beddall. Fine. More about OZ HAVE MOVED.
A double-sided advertising rates card designed by Richard Adams for the projected Oz International (Quarterly), c. early 1974. Printed in black on white card stock, with two machine folds. 29.8x21cm. One side prints a series of 36 clip art images, including cartoons by Bill Griffiths and Basil Wolverton, the Oz pregnant elephant, and a silhouette map of Australia. The other side prints full details of the advertising rates and other information, including a list of locations "for limited distribution": Paris, Amsterdam, Frankfurt, Munich, Los Angeles, San Francisco, New York, Sydney, Melbourne and Hong Kong. Following Oz magazine's demise, the intention... More about OZ INTERNATIONAL.
The brief letter, typed on b/w Oz letterhead paper featuring the pregnant elephant logo, answers a reader's query about the availability of back issues and lists the unavailable numbers. A few months later Murphy was photographed by David Nutter for the School kids issue as a bare breasted St. Trinian's schoolgirl brandishing a fake AK47, but the image was not used (Jim Anderson had recently met David Nutter, brother of Savile Row tailor Tommy Nutter, through Gay Liberation Front). Three faint horizontal mailing folds, o/w Near Fine. More about A Typed Letter Signed by Oz Secretary, Bridget Murphy, dated February 10th, 1970.
Single quarto sheet of lightweight paper. 70 words. The short letter refers to Steve Abrams's article on the Wootton LSD Report, published in Oz #27. Light creasing to left edge, o/w Very Good plus. Abrams conceived and wrote the full page advertisement petitioning for cannabis law reform which appeared in The Times on July 24th, 1967. More about A Typed Letter Signed from Jim Anderson to the cannabis rights campaigner, Steve Abrams. Nd. (c....
An original hand-painted plaster model of Honeybunch Kaminski, Robert Crumb's idealised fantasy of a young woman as fetishised object, rendered here in three dimensions as a fetishistic object for Oz mail order. The sculpture was made by Phelan Black, with models cast from the original mould in plaster of Paris and hand-painted by him (this example is in black, red, yellow and white). It stands seven inches tall, including the plinth, three inches wide, and weighs almost 900g. The Honeybunch model - "What a little yummy" - was first advertised for sale exclusively via Oz mail order in... More about OZ MAIL ORDER HONEYBUNCH KAMINSKI.
Designed by Richard Adams for Oz mail order, c. early 1972. i) Sorry; ii) Don't Panic; iii) At Last. Here it is - whatever it is. We hope you like it! Each 10.5x14.9cm. Near Fine. More about A set of three illustrated postcards printed in a variety of colours on glossy coated card stock.
Both models made from Das modelling clay and painted. Each figure stands approximately eleven inches tall and is mounted on a two inch plinth. The Pig Policeman adorned the front cover of Oz #35 (May 1971), in which his right trotter appears to be holding up a copy of the Oz School kids issue in anticipation of the imminent Obscenity Trial at the Old Bailey. His left trotter originally wielded a vicious spiked baton, though both the trotter and the weapon are now missing. He also appears on page seven of the magazine, appearing to hold up a.... More about Pig Policeman and Adolf Hitler. Two models created by the sculptor, Edwin Belchamber, as featured...
Offset litho printed in blue, green and maroon on white stock. Designed by David Wills and printed by The Word for Oz Magazine (Oz carried coverage of the Chicago Conspiracy Trial in issues #25 and #26). 76x50.5cm. Illustrated with a central photographic image of a naked woman astride a pig (Sally Kirkland in the 1969 film, 'Futz'), and small headshots of each of the eight conspiracy defendants arranged above. The co-organiser, Danae Brook, was a writer and model (the muse for Vidal Sassoon's geometric haircut) involved with the Living Theatre (her interview with Rufus Collins appears in Oz... More about Poster announcing the Chicago Festival of Life, a multi-media event organised by Danae Brook,...
London: Oz Publications Ink Ltd., nd. (c. October 1969). 13 quarto sheets, four of them card stock, printed in various colour inks on both sides, bound at the side by a white plastic spine clip. An "impressive collection of flattery, lies, comment, quotes, prophecy and absurdly biased opinion on the British underground movement, and OZ in particular, from the Press over the last three years", collated and designed by Felix Dennis. Contents include ad. rates for Oz, and a selection of extracts from articles on the underground press, especially Oz, from both the daily press and alternative publications, prefaced by... More about OH YES, THIS IS A SELL OUT! (you're buying, we’re selling).
Printed in orange and dark blue on white stock. 29.8x21cm. Designer not known (possibly Jon Goodchild). Faint foxing to upper part; faint lower left corner crease; o/w Very Good plus. More about A single sheet of unused Oz Publications letterhead stationery featuring Keith Morris's...
Printed in green and red on white stock. 24x20.8cm. Designer not known (possibly Jon Goodchild). Faint patches of foxing, o/w Near Fine. More about A single sheet of unused Oz Publications letterhead stationery featuring Keith Morris's...
Printed in orange, green and black on grey stock. 29.7x21cm. Designed by Richard Adams. Near Fine. More about A single sheet (large size) of unused Oz Publications letterhead stationery featuring Robert...
Printed in red on orange stock. 26.7x21cm. Includes a form inviting feedback from the subscriber: "Your magazine is getting worse/better/more boring/less boring/to be a pain in the ass/I don't know/I'd personally like to see more cartoons/less cartoons/more sex/less sex/more news/no news/more music/no music/more madness/less sanity/more religion/no religion/you get busted by the pigs/I don't care". Fine. More about A printed Oz subscriptions letter featuring the Oz pregnant elephant logo, c. 1972.
Oblong sheet (20.3x32.8cm.). Printed on recto only in rainbow colours by Copyrun Ltd., Tower Street, London. Illustrated with a photograph taken at the 14-Hour Technicolor Dream, with an image of Yoko Ono's face superimposed in the foreground (Yoko performed 'Cut Piece' at the event). The Saville concert featured the world premiere of 'The Fog Machine', and, as the flyer adds, "Yoko's Film No4 will be shown in the Men's Room during the concert. All those who attend are asked to please bring a mirror with you." The left edge provides a subscription coupon designed to be completed, detached... More about An Oz subscription form doubling up as a flyer announcing the solo concert 'Music of the Mind' by...
Photographer not known (probably Phil Franks). Similar shots of Anne Hopkins appear in the mail order pages of the penultimate issue of Oz, a magazine by then, following the departure of the Australians, very much made in Felix Dennis's image. Several old corner pinholes, o/w Very Good plus. More about An original 10x8 b/w photograph of model Anne Hopkins wearing a wet Oz trial Honeybunch Kaminski...
Offset litho, printed in red and black on thin buff-coloured paper. 73.5x48.2cm. Designed by Ed Barker. Illustrated with a cartoon by Rand H. Holmes (reproduced from The Georgia Straight) and a version of the magazine's front cover featuring contact sheet images of Richard Nixon and a group photograph of naked Oz staff by Phil Franks. The photograph, a different shot from the one chosen for the magazine's cover, features on the back row, from left: Don Atyeo (assistant editor); Marva Rees; Felix Dennis (editor); and on the bottom row, from left: Pat Woolley (of Wild & Woolley, the... More about A promotional poster announcing the last issue of Oz magazine (November 1973), promising...
London: privately printed, 1996. Colour postcard reproducing Caroline Coon's epic oil painting of the Oz trio, originally commissioned by Felix Dennis, together with a 4pp. folded sheet printing "An account of the painting" by the artist (though not called for, this copy has been SIGNED by her). Postcard and leaflet each measure 15.2x20.4cm. (when folded). Both items enclosed in an unprinted white envelope, as issued. In her account, Coon writes: "In this picture it was my wish to bring together in an idyllic landscape those men and women of all ages who were supporters and detractors of the... More about The OZ 3, Free! A History Painting by Caroline Coon.
Apple, 1971 - US release (precedes the UK release). 7" vinyl record (1835), with colour photographic picture sleeve. The John Lennon-penned and co-produced song, originally entitled 'God Save Oz', had been intended for release before the Oz trial began with the aim of raising funds, but did not appear in Britain until July 16th (July 7th in the US), three weeks after the trial opened. Lennon recorded 'God Save Us' at Ascot Sound Studios, with, among others, Ringo on drums and Klaus Voormann on bass (Oz staff members who considered themselves as having some musical ability were also... More about God Save Us/Do The Oz.
Newspaper format. Each 24pp. Four issues of this Notting Hill-based underground paper, each one featuring news, comment and reports on the Oz trial, including three front covers, as well as a statement on the Oz Obscenity Fund by the three defendants. Also: full-page ads. for the Elastic Oz Band's single; the Angry Brigade; LSD; a 2pp. interview with Yoko Ono and John Lennon; Implosion; the killing of George Jackson; more. Very Good plus (old central horizontal fold to issue #9). More about FRENDZ #5/#8/#9/#11 (London: Echidna Epics, July 8th-September 30th, 1971).
An original 'Friends of Oz' Press Kit (June 1971), designed and compiled by Richard Adams, and reputed to have been distributed to The New York Times, The Herald Tribune, Le Monde, and Der Spiegel. Large quarto glossy yellow card folder, with Oz pregnant elephant and two Honeybunch Kaminski stickers to front cover. The Friends of Oz campaign was run by Stan Demidjuk and Sue Miles from an office in Pottery Lane (the 'Oz Obscenity Centre'), located immediately behind the Oz offices in Princedale Road, Notting Hill. Its intention was to raise money for the legal defence, though, following... More about FRIENDS OF OZ PRESS KIT.
Caroline Coon's copy, with the following inserts: i) 'Presenting the Oz Obscenity Trial'. Nine quarto sheets, printed in black on rectos only on different colour paper stock, stapled at top corner; ii) four 8x10 b/w photographs by David Nutter portraying the three editors as St. Trinian's schoolgirls in gym slips, as businessmen in bowler hats, and as bobbies in police uniforms, and the group shot of them with the school kid co-conspirators in the back garden at 38 Palace Gardens Terrace; iii) two 'Oz Obscenity Trial' stickers, Honeybunch Kaminski and pregnant elephant; iv) small poster for... More about FRIENDS OF OZ PRESS KIT.
A variant copy, issued in a translucent blue plastic folder, with Honeybunch Kaminski sticker to upper cover (blue plastic folders were used after the yellow card folders had run out). The contents comprise: i) 'Presenting the Oz Obscenity Trial'. Nine quarto sheets, printed in black on rectos only on different colour paper stock, stapled at top corner. SIGNED by Richard Neville on the first page; ii) three 8x10 b/w photographs by David Nutter of the three defendants (a group shot with school kid co-conspirators in the back garden at 38 Palace Gardens Terrace, and the three... More about FRIENDS OF OZ PRESS KIT.
A small poster imploring "Help Oz Win At The Old Bailey…and grow old gracefully (Put the money in the tins)". 40.5x25cm. Printed in black on white stock. The poster launched the Oz Obscenity Fund in March 1971 (it had previously appeared in a slightly different version in Oz #32). It features a futuristic cartoon from 1969 by Ron Cobb depicting three wizened old hippies sitting on a park bench, one of them holding a copy of the Los Angeles Free Press which in the poster has been altered to read: "Oz 50th Anniversary Issue, 1965-2015". Cobb's work first appeared in... More about HELP OZ WIN AT THE OLD BAILEY.
A large poster announcing the 'Independence Day Carnival - A Celebration of People's Rights', organised by the Friends of Oz and held in Hyde Park on July 4th, 1971. Printed in black on yellow paper. 76.2x50.7cm. Illustrated with a large cartoon illustration by Alain Le Saux of a pack of naked hippies being rounded up by sadistic cowboys and preyed upon by vultures. The mass rally and 'Smoke-In' brought many underground and community groups together, including Release, BIT, Agit-Prop and Gay Liberation Front, and its main intention was to "support the defendants in the OZ Obscenity Trial and... More about INDEPENDENCE DAY CARNIVAL.
A set of four small posters (41.5x27cm.), one of each colour variant produced (turquoise blue, buttercup yellow, salmon pink and pale lilac), all but one of them double-sided, announcing the 'Independence Day Carnival - A Celebration of People's Rights', organised by the Friends of Oz and held in Hyde Park on July 4th, 1971. Illustrated with a cartoon illustration by Alain Le Saux. The versos of the lilac, pink and yellow copies print news of the obscenity trial, arguing that it is not just Oz "on trial at the Old Bailey, it is in fact an entire community... More about INDEPENDENCE DAY CARNIVAL.
Tabloid newspaper format. Each 16pp.-24pp. Ed. Andrew Fisher and Ed Victor. A run of nine issues of Ink, containing news and analysis of the Oz Trial, including three front covers, one of them featuring a Ralph Steadman cartoon of Judge Argyle. Issue #8 includes Richard Neville's recollections of the first Oz Trial in Sydney in 1964, accompanied by trial transcripts and Martin Sharp's original cartoons. Subsequent issues include a photograph of the huge Honeybunch Kaminski, constructed at the old Middle Earth club by Edwin Belchamber, Phelan Black and Dick Budden using expanded polystyrene and papier-mâché and star of..... More about INK - The Other Newspaper #8-16 (London: Ink Publishers Ltd., June 19th- August 18th, 1971).
29x22.3cm. SIGNED and inscribed by the photographer on the verso to former Oz art director, Richard Adams (Reid, who gave the print to Adams sometime in the late 1970s, has mis-captioned the year as 1972). The image, published in Ink #23 and elsewhere, shows Lennon holding a megaphone and looking into the camera, with demonstrators in the background (many of whom chanted 'Power to the People!' as they marched, a song recently written by Lennon in response to an interview he gave to Red Mole and, he later stated, "as something for the people to sing")... More about An original photograph by Ron Reid of John Lennon on a demonstration march in central London,...
B/w (20.2x25.2cm.). Printed caption label affixed to verso, with press agency stamp. Richard and Louise were busted by Detective Inspector Luff in their basement flat at 38 Palace Gardens Terrace, Notting Hill Gate, on Friday December 18th, 1970 (three months after the issue of summonses in the Oz school kids case), though the Drugs Squad found only a pile of roaches in the garbage outside. Upstairs, Jim Anderson managed to throw his stash over the back wall into the grounds of the Russian Embassy before being grabbed; Felix Dennis turned up on the street outside, but was moved... More about An original 8x10 press photograph of Richard Neville and Louise Ferrier taken on the day of their...
Blue on blue variant, with cover art by Raymond Bertrand depicting black lesbians playing with dildos. Edited and published by Richard Neville, Jim Anderson and Felix Dennis "with the help and inspiration of about twenty people, all 18 or under, mostly still at school who came from various parts of London and England in answer to our appeals for injections of youthful vigour in our ageing veins." The contributors included Charles Shaar Murray, Peter Popham, Deyan Sudjic, T.I. Bradford, Trudi Braun, and Vivian Berger, whose notorious collage of Rupert Bear's head with Robert Crumb's priapic Eggs Ackley (from... More about OZ #28 SCHOOL KIDS ISSUE (London: Oz Publications Ink Ltd., May 1970).
A poster designed by Felix Dennis announcing "Oz - A Play From The Transcripts Of The Historic Obscenity Trial", staged at the Oxford Playhouse, May 23rd-27th, 1972. Printed in purple and blue on white stock (there was also a black ink on orange paper variant). 54.6x36.9cm. Felix Dennis's design features a rearrangement of David Hockney's nude drawings of the three editors (the originals were donated by the artist to the Friends of Oz), with images of the Honeybunch Kaminski sticker strategically placed. Prints the statement that "Tickets include street carnival procession before performance and a discussion after the performance with..... More about OZ - A PLAY.
An original handbill reproducing Felix Dennis's poster design. Printed in black on pale blue stock. 29.8x21cm. Faint central horizontal crease and minor handling wear, o/w Near Fine. More about OZ - A PLAY.
A gilt-edged printed invitation to the preliminary hearing into the School kids Oz obscenity charge, held at Marylebone Magistrates Court on October 1st, 1970. Printed in black and grey on thin white card, decorated with a pale green border and gilt edges. 9x11.5cm. The invite to 'the first of a series of Obscene Courtroom Dramas' was mailed out to Oz subscribers and sympathisers, suggesting 'Fancy Dress optional' and R.S.V.P. Obscene Publications Office, New Scotland Yard. The three editors dressed up in schoolboy attire for the occasion, hired from a theatrical costumier's, and the public gallery was packed as..... More about OZ INVITE TO PRELIMINARY HEARING.
Private View Invite card for Ozjets D'Art, a fundraising sale of work by various artists in aid of the Oz Obscenity Fund, held at the Clytie Jessops Gallery, King's Road, Chelsea, April 20th, 1971. Designed by Richard Adams and illustrated with cartoons. Printed in black on yellow card stock. 20x11.5cm. States: "Works include originals by leading Oz graphic artists and contributions by David Hockney, Richard Hamilton, Jim Dine, Joe Tilson, Andy Warhol, Gerald Scarfe, John and Yoko, Martin Sharp, Patrick Procter (sic), Michael English and others". George Melly was the auctioneer for the sale, David Hockney's original drawings... More about OZJETS D'ART.
An unused gummed sticker printing the slogan 'OZ NOW. YOU NEXT', illustrated with a version of Ron Cobb's cartoon of a Nazi stormtrooper robot, altered to show it burning School kids' Oz and the Little Red Schoolbook (1971). Printed in black on orange stock. 14.9x12cm. Probably intended for pasting up on the London Underground. Cobb's original cartoon, reproduced in Oz #15 and widely disseminated elsewhere, has the robot breaking flowers in its hand and crushing them underfoot. Near Fine. More about OZ NOW. YOU NEXT.
A poster announcing an Oz obscenity trial fundraiser concert at the Polytechnic of Central London (near the GPO Tower) on July 3rd, 1971. Designed by Richard Adams. Printed in black on white stock, featuring an illustration by Alan Grimwood of a Commedia dell'arte or carnivalesque pantaloon. 56.8x43.6cm. The concert line-up included Traffic and Alexis Korner (part of Traffic's performance was included on their album, 'Welcome To The Canteen', released two months later). Near Fine. More about OZ OBSCENITY FUND.
A poster designed by David Wills announcing the Oz Police Ball, a benefit concert for the Oz obscenity trial, held at 43 King St., Covent Garden (formerly the Middle Earth club), on March 6th, 1971. Printed in pink and blue on white stock. 56.2x37.6cm. Illustrated with an old engraving of a Bacchanalian procession of semi-clad men, women and children with cattle and sheep (one of the men depicted has a policeman's helmet added). The poster prints the eclectic line-up (Arthur Brown's Kingdom Come, Viv Stanshall's Seanhead Showband, Gene Vincent's Houseshakers, the Pink Fairies, Egg, Roy Harper, and "Holding... More about OZ POLICE BALL.
A small poster designed by David Wills announcing the Oz Police Ball, held as a benefit for the Oz defendants at the former Middle Earth club on March 6th, 1971. Printed in dark blue and green on white stock. 31.7x21cm. Prints an illustration from 'Canterbury Tales', and, below, the line-up and ticket outlets for the event. Slight edge-discolouration and faint creasing to lower left corner, o/w Very Good plus. More about OZ POLICE BALL.
Two stickers made for the Oz Obscenity Trial Fund (1971), one depicting Honeybunch Kaminski (red on yellow, 10x8cm.), and the other depicting the heavily pregnant bipedal Oz elephant (dark blue on green, 9.5x9cm.). Fine. More about OZ TRIAL STICKERS.
An original Oz obscenity trial long-sleeved T-shirt (March 1971), designed by Richard Adams. Green cotton, featuring a screenprinted illustration of Robert Crumb's Honeybunch Kaminski on the front, with lettering to border (green was a trial colour that was never produced). Oz T-shirts first appeared for sale in Oz #34 in April 1971, offered in four different designs (one of them, the Oz pregnant elephant, is shown worn by a model on the magazine's front cover in a photograph by David Nutter). Very small hole just above lower seam edge; slight fraying to stitching around the neck, o/w Very Good... More about OZ TRIAL T-SHIRT. Jail Bait of the Month.
An Oz obscenity trial long-sleeved T-shirt (March 1971), designed by Richard Adams. Originally owned and worn by Caroline Coon. Pale orange cotton, featuring a screenprinted illustration of Robert Crumb's Honeybunch Kaminski on the front in pink and brown, with lettering to border. Caroline Coon, co-founder of Release, part of the 'Free The Oz Three' campaign and later a defence witness at the trial, was given the T-shirt by Richard Neville. She remembers wearing it out and about and at the Release office (just down the road from Oz), and customising the seams (a practice she later put to... More about OZ TRIAL T-SHIRT. Jail Bait of the Month.
An original Oz obscenity trial long-sleeved T-shirt (March 1971), designed by Richard Adams. Pale pink cotton, with Marshall Lester label, featuring a screenprinted image in red and black of Rupert Bear charging ahead at full mast. Seams to under arms partially split; small rip to right sleeve and neckline and cuffs slightly frayed, o/w Very Good. Provenance: Richard Adams. More about OZ TRIAL T-SHIRT. Rupert Bear.
An original Oz obscenity trial short-sleeved T-shirt (March 1971). Canary yellow cotton, with Oz elephant logo screenprinted on the back and a large colour image of Jiminy Cricket to the front. Trial version, not produced for sale. Neckline and seams frayed and worn, with holes and wear to lower front section. Provenance: Richard Adams. More about OZ TRIAL T-SHIRT. Oz pregnant elephant.
London: Blond & Briggs, August 1971. First edition (p/b original). 276pp. Cover art by Jim Fitzpatrick. Illustrated with 17 drawings by Feliks Topolski, who appeared as a witness for the defence and testified that Oz was "an inventive paper". The book provides a detailed document of the Oz case, including extensive transcripts (Palmer, who wrote the book in eight days, attended every day of the six-week trial and was permitted to tape record the proceedings). Page edges slightly browned; mild rubbing to wrappers; o/w an unusually clean and tight copy, with only very slight fading to the spine. More about The Trials of Oz.
A group of eight original b/w press photographs, including two showing the Oz defendants, taken immediately after they had been granted bail by a High Court Judge and released from jail, and five showing the demonstrations held outside the Old Bailey in protest at Judge Argyle's earlier sentencing of the three editors to imprisonment. Dimensions vary: most measure approx. 19x25cm. (largest 25x20.5cm.; smallest 15.2x25.7cm.). Caption labels to verso of each, most of them printed in aniline purple, with photo agency stamps to all but one of the prints. The two photographs of Richard Neville, Felix Dennis and Jim..... More about PRESS AGENCY PHOTOS.
Magazine format. 20pp. Illustrated. Ed. Richard Ingrams. The 'Special Judges Issue', featuring Ralph Steadman's front cover art depicting a naked Judge Argyle with his face obscured ("To avoid prosecution under the Obscene Publications Act, the obscene parts have been blacked out"). Contains a half-page spoof insert printed in red, illustrated with Rupert Bear dressed as a Judge; plus comment by Claud Cockburn, and 1pp. article on the trial, with an accompanying photograph from the protest held outside the Old Bailey. Private Eye's implicit support for Oz, which originally began in imitation of it, seems ironic, since Richard Ingrams... More about PRIVATE EYE #252 (London: August 13th, 1971).
Quarto card sheet reproducing the front cover of the Oz School kids issue and printing several advertisements for local businesses. Folded once, as issued, with stapled flap to lower half containing various printed inserts, including a small photographic image of the three defendants, the Rupert Bear cartoon, and two drawings reproduced from pages 10 and 11 of School kids Oz. The dramatisation was directed by Andrew Hochhauser, who provides a one-page explanatory text on the legal aspects of the trial. Other inserted sheets include a cast list and several contemporary press quotes on the trial. An early version of the... More about THE OZ TRIAL. A programme for a Bristol University production of David Illingworth's...
The only complete copy known to exist of an unpublished book, compiled by Jim Anderson at the suggestion of Felix Dennis following the Oz trial, and researched by Louise Ferrier, together with source material and the original artwork for three press advertisements that were never placed. The book was designed by David Wills and Richard Adams, and a half-page illustrated ad for it appeared in Oz #38 in November 1971 (illustrated with a different cover photo), which described it as a "gigantic eighty page, glossy souvenir programme… [representing] a chronological diary of events leading up to the trial with edited... More about THE OZ TRIAL: A CHRONOLOGICAL DIARY.
Ed. Tony Elliott. Quarto magazine format. 66pp. Oz Obscenity Trial front cover featuring Robert Crumb's Honeybunch Kaminski. The abbreviated news item on page 5 announces the opening of the trial on June 22nd at the Old Bailey, prints the charge, and names the three defendants, before stating: "This issue of Time Out was to have contained a two page feature on the forthcoming trial. Our printers informed us that, on legal advice, they would be unwilling to print the material as it was Contempt of Court …Faced with this decision at such short notice we have been forced to withdraw... More about TIME OUT #70 (London: June 18th, 1971).
Ed. Tony Elliott. Quarto magazine format. 66pp. Extensive 8pp. Oz front cover feature: "Time Out looks at the law of obscenity and the legal aspects of the 'Oz' trial and argues it represents a fundamental perversion of the original Act and a dangerous attempt to extend the legal supervision of public morals." Contributors include Neil Lyndon, Nigel Fountain (both formerly of Idiot International), and David Widgery (Oz). This issue had to be entirely reprinted at the last minute after the printers refused to distribute the magazine following legal advice. It had originally featured a double-page spread of pictures... More about TIME OUT #78 (London: August 13th, 1971).
London: Mathews Miller Dunbar, 1972. First edition. 12mo. Illustrated glossy laminated boards. SIGNED and inscribed by Martin Sharp to Felix Dennis on the half-title page: "Dear Felix the first publisher of page 2! Love Martin. Have a happy….". A wonderful association copy of this miniature book, which reproduces 38 of Sharp's collaged images of well-known paintings cut from art books, including the overlay of Van Gogh on Van Gogh referred to in his inscription, first published by Felix Dennis in Oz #43 (July 1972). Laminated boards slightly rubbed and lightly soiled, o/w Very Good, with Felix Dennis's bookplate... More about Art Book.
Inscribed by Martin Sharp to "Felix", and SIGNED "Martin", with an added colour reproduction of his collage, "Goya/Whister", affixed by him to the top right corner. Glossy card, printed in black on one side only. 9.9x21.6cm. Sharp's tiny collage combines Goya's "La maja desnuda" and Whistler's "Arrangement in Grey and Black No. 1", so that in the latter Whistler's mother, Anna, a figure seated staring enigmatically into the middle distance, is replaced by Goya's reclining nude, her gaze returned unapologetically towards the viewer. Goya's painting was one of the earliest Western artworks to depict a female nude's pubic... More about Art Book. Original invite to the book's publication party, held in Covent Garden, London, on...
London: Big O Posters Ltd. (Big OP1), 1967. Poster printed offset litho in red and black on gold metallic foil paper. 74.7x49.6cm. Sharp's classic psychedelic rendition of Bob Dylan (later adapted by him for the cover of Oz #7). This copy has been SIGNED and dated ('11.12.2003') by Martin Sharp in black ink (front centre lower edge), and, due to its near indecipherability on the dark background, again on the back, with, in addition, his name written out. Sharp created the poster as a tribute to Dylan at Joubert Studios in Chelsea, a bijou space he shared with... More about BLOWING IN THE MIND.
London: 1967. Printed offset litho on thin white paper in black and red on a gold ground. 76.7x50.5cm. The rare original printing, made for the Legalise Pot Rally in Hyde Park on July 16th, 1967 and intended for flyposting. The collaged artwork features nineteenth century ethnographic engravings from 'The Races of Mankind', a work of 1873 by Robert Brown, images from which were discovered by Sharp in an old copy of National Geographic magazine. Peter Ledeboer told this cataloguer that he paid £60 to Vince Stitt to flypost the print run of 600 posters all over town, but... More about CANNABIS. THE PUTTING TOGETHER OF THE HEADS.
London: Big O Posters Ltd. (Big O1), 1967. Offset litho in black and red on gold metallic foil paper. 76x50.8cm. The poster that launched Peter Ledeboer's Big O poster company and helped establish Martin Sharp's reputation in London. A detail from it, the dancing Patagonians in the upper centre section, subsequently adorned the front cover of Oz #6 (August 1967), and the pot rally it announced was the occasion of Jim Anderson's first meeting with Richard Neville (apart from Anderson's research for 'Play Power', however, which began in November 1968, they didn't work together on Oz until February... More about CANNABIS. THE PUTTING TOGETHER OF THE HEADS.
Sydney: Scripts Pty. Ltd., 1966. First edition. 4to. Glossy silver wrappers printed in black. Stapled, unpaginated (48pp.). An anthology containing a selection of Sharp's earliest cartoons for the student magazines Tharunka (ed. Richard Neville) and Honi Soit (ed. Richard Walsh), and his contributions to Oz and daily newspapers prior to his departure for London in March 1966. Wrappers slightly rubbed and lightly creased, with light edge-wear and faint foxing to pages. Neat ownership name to first page. Overall, Very Good. More about CARTOONS: A Selection from Oz, The Australian, The Sydney Morning Herald, Honi Soit, Tharunka..Etc..
Sydney: Reid Books, nd. (April 1971). 4to., magazine format. Unpaginated (36pp., including cover). Printed in black on white paper stock. A spectacular continuous collage of cartoon psychedelia, acid imagery, clippings and cut-up texts, compiled by Sharp in Sydney following his return from London in late 1970. Described by Joyce Morgan in her biography of Sharp as "part manifesto, part scrapbook, part autobiography", it was intended to accompany his upcoming exhibition (The Incredible Shrinking Exhibition) at what would become The Yellow House at 59 Macleay Street (named after Van Gogh's Maison Jaune). Van Gogh features prominently, including a line... More about CATALOG NO. 3: an improvisation.
Large quarto. Stapled, 26pp. Ed. John Mathews. Front and back cover art by Martin Sharp. The first (of three?) issues of this film magazine, described in Arts Lab Newsletter #5 as "a radical forum of theoretical writing on the cinema." Contributors include Malcolm Le Grice ("Outline for a Theory of the Development of Television"); Umberto Eco ("Articulations of cinematic code"); Simon Hartog (on 'Bicycle Thieves'); Peter Gidal ("Film as Materialist Consumer Product"); along with lengthy interviews with John Llewellan and Jean-Marie Straub, reviews of films by David Larcher and Conrad Rooks, and a brief piece on the Arts... More about CINEMANTICS #1 (London: January 1st, 1970).
Edited and published by Graham Keen. Tabloid newspaper format, folded. The first issue of the first major British underground comic, including a full-page contribution from Martin Sharp. Also contains the first appearance of "The Unspeakable Mr. Hart Pts. 1-4", a collaboration between William Burroughs and illustrator Malcolm McNeill, plus work by Mal Dean, Ed Barker, Vaughn Bodé, and Raymond Lowry, as well as a full-page Ed Barker-designed ad. for Phun City, with mention of Burroughs. Newsprint paper slightly darkened along edges, o/w Very Good plus, with pre-publication flyer loosely inserted. More about CYCLOPS #1 (London: July 1970).
Melbourne & Sydney: Scripts Pty. Ltd., 1967. First edition (p/b original). 115pp. Martin Sharp contributes the front and back cover art and 32 illustrations to Draffin's semi-autobiographical novel, several of them full-page or double-page spreads. 4.5cm. split to upper wrapper at head of spine; pages a little dog-eared; spine panel slightly worn; o/w Very Good. More about Pop - A Novelty.
Newspaper format 24pp. Centrespread art by Martin Sharp (reprinted from Oz #12). Also: front cover art by William Stok; magic mushrooms; the Mangrove 9; more. Edges slightly browned, o/w Very Good plus. More about FRENDZ #12 (London: Echidna Epics, October 14th, 1971).
London: Big O Posters Ltd. (Big OP4), nd. (1968). Offset litho poster in black ink on silver metallic foil paper. 50.5x76cm. Sharp's psychedelicised version of Michelangelo's 'Creation of Adam'. It's not clear when Sharp created this intricate drawing, but it was probably soon after his first visit to the Sistine Chapel, sometime in 1968, an experience he recalled as being "so much more than I thought it would be [and] incredible though I could hardly take any of it in" (quoted in Joyce Morgan's biography, p.143). Superficial handling creases, o/w Near Fine (without any of the usual rubbing or bubbling... More about LIVE GIVE LOVE.
Offset litho poster in black and red on white paper, printed later (1990s). SIGNED by Martin Sharp in black ink, dated by him ('11.12.2003'), and with his name written out by him alongside his signature. 75.8x49.7cm. (the original edition of the poster is slightly larger). Sharp's delicate, filigree arabesque design, with its characteristic central image of a red-lipped, gap-toothed grin, was created to inaugurate the first issue of London Oz, published on January 24th, 1967. Minor handling creases, o/w Near Fine. More about LONDON OZ IS A NEW MAGAZINE.
Sydney: Ure Smith, 1968. First edition (p/b original). 221pp. Front cover art and 16 full-page illustrations by Martin Sharp (one of them an early Bob Dylan image). Sydney Oz contributor Craig McGregor's "series of close-ups of contemporary life", themed around "Pop, Sex, Satire, Politics, Affluence", featuring essays on Beatlemania, folk music, Barry Humphries, suburbia, and the original Oz trial in New South Wales, among other topics, plus two short stories. Former owner's bookplate inside upper wrapper and ink name to half-title page; faint spine creasing and small patch of discolouration to lower part of upper wrapper, o/w Very Good. More about People, Politics, & Pop: Australians in the Sixties.
Private view invite card and various ephemera printed for the retrospective exhibition of Martin Sharp's work held at the Museum of Sydney between October 31st, 2009 - March 14th, 2010. Five items, including two postcards (10.5x19.5cm.), each one reproducing a painting by Sharp, who designed the exhibition. Sizes vary: largest 21x15cm. (folded); smallest 10x10cm. (pvi, folded). More about MARTIN SHARP SYDNEY ARTIST.
London: Big O Posters Ltd. (Big OP6), 1967. Printed litho and silkscreen in blue, pink and black on silver metallic foil paper. 75x49cm. Sharp's tribute to Max Ernst, one of his main artistic influences (the Magic Theatre issue of Oz, for example), featuring a work from the fourth chapter of his collage novel, 'Une Semaine de bonté ou les sept éléments capitaux', published in Paris in 1934. A painted version of the image appears in 'Performance' in the scene where Pherber goes to pick mushrooms in the greenhouse. Short 4cm. crease to lower left corner, o/w Fine. Provenance: The Felix..... More about MAX ERNST - THE BIRDMAN.
Crows Nest, Sydney, NSW: Allen & Unwin, 2017. First edition. Glossy illustrated wrps. (no h/c issued), 338pp. + two 16pp. photo-inserts (colour and b/w). Front cover photograph by Robert Whitaker. Comprehensive, thoroughly researched biography by a former arts editor of The Sydney Morning Herald. As new. More about Martin Sharp: His Life and Times.
An original poster promoting the publication of Oz #4. London: June 1967. Silkscreen in black and orange on off-white paper. 75.4x50.9cm. Illustrated with a large central image of a nineteenth century ethnographic engraving, with the Oz logo printed above in black and a rough guide to the magazine's contents decorated with various symbols below. 1cm. surface paper loss around border, incurred from an earlier poor mounting, with marginal loss to lettering (easily hidden if framed with a window mount); two tiny, closed tears to upper edge, o/w clean, bright and uncreased. More about OZ NUMBER FOUR.
An original poster promoting the publication of Oz #4. London: June 1967. Variant issue, silkscreened in gold and blue on thin white paper. 75.4x50.2cm. (approx.) A rare colour variant, with the central image of the engraving reversed, ie. negative. Left edge unevenly trimmed; old corner pinholes and small blu tack remnants to corners of verso; a few faint handling creases, o/w Very Good plus. More about OZ NUMBER FOUR.
An original poster promoting the publication of Oz #4. London: June 1967. Variant issue, silkscreened in pale orange (apricot) and gold on thin white paper. 75.3x50.4cm. (approx.). A rare colour variant, of which no other copies have been seen by this cataloguer. Paler in comparison when placed next to the more commonly found orange issue, but viewed separately it holds up well. Left and lower edges unevenly trimmed; old corner pinholes and four tiny pinholes to central image (two per side); two, short closed tears to left edge; some superficial creasing and light edge-wear, o/w Very Good plus. More about OZ NUMBER FOUR.
Magazine format, unpaginated (48pp., including cover). Printed in colour and b/w. The first purely visual issue of Oz, created by Martin Sharp at the Pheasantry with Philippe Mora, and conceived by him as an endless circle: "It's a circular magazine. The back goes into the front and keeps going around" (quoted by Joyce Morgan, p.136). Sharp's reworking of Van Gogh's self-portrait, which appears on page 42 in the magazine, is accompanied by a brief quote from the artist: "Life is probably round". In Hippie Hippie Shake (p.126), Richard Neville describes this issue as "a forty-eight page rush-hour of... More about OZ #16 - The Magic Theatre (London: Oz Publications Ink Ltd., November 1968).
33.6x26.2cm. Museum level conservation mounted on black acid-free cotton board backing, secured with rare earth magnets and framed in aluminium with polished face and sanded sides behind 3mm. UV Perspex (40.9x33.6cm.). Sharp's choice of material reflects his continous experimentation with different media during the period, including painting on Mylar (the Smartiples series) and glass (his record sleeve design for Mighty Baby). Although Sharp's work had shifted from psychedelia by 1970, this work, with its hallucinatory portrayal of a figure wearing a white mask, its face and body melting into multi-coloured liquid shapes, evokes the altered state of consciousness... More about An original painting by Martin Sharp. Paint (probably acrylic) on soft (Mylar) plastic film....
Poster printed offset litho in yellow, red and orange inks on thin white stock. 75x50.5cm. The acid-drenched blacklight poster was printed by The Word for Oz magazine to promote the Legalise Pot Rally held in Hyde Park on July 7th, 1968, a follow-up to the previous year's event. It features a drawing of a long-haired, bearded mystic by John Hurford (only really visible under ultraviolet light), overlaid with an ink drawing by Martin Sharp of a stoned hippie smoking a joint, wild flowers sprouting everywhere from his head. The image was used in a slightly modified form on... More about SHOW YOUR HEAD (LEGALISE POT RALLY).
A large poster designed by Martin Sharp for the Anderson Theatre's production of the play of the Oz trial, December 1972. Printed offset litho in coloured inks on white paper (Scoop Printing Co. Inc.). 104x68.4cm. The play was written by Geoffrey Robertson, based on transcripts of the trial, and directed by fellow Australian, Jim Sharman, with music by Buzzy Linhart added for this production, along with a song each from John Lennon/Yoko Ono ('God Save Us') and Mick Jagger ('Schoolboy Blues', ie. 'Cocksucker Blues'). Felix Dennis travelled to New York to help promote the show, which opened on... More about THE TRIALS OF OZ.
TDK CD-R, in plastic cases, each one with inlay cards hand-titled in black pen by Sharp, printed track listings added, and one of them embellished with multi-coloured glitter strips. The recordings are 'Tiny Tim's Pop Album', 'Tiny Tim's Christmas Album', 'Chameleon' (all possibly differing from the official releases), and 'Tiny Tim Live at the Royal Albert Hall' (1968), this latter concert being the moment of Sharp's hash-induced epiphany (or acid, accounts vary) and the beginning of his lifelong obsession with the singer. Immediately after this revelatory discovery of his soulmate, whose work he would tirelessly champion, Sharp immersed... More about Four CDs of recordings by Tiny Tim, transferred from records or tapes by Martin Sharp, each one...