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.
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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...
Melbourne: Sun Books Pty. Ltd., 1966. First edition. Sq. 8vo. Stapled wrps., 92pp. "The Year's Best Cartoons", selected by Oz editor, Richard Walsh, with accompanying texts by him (and one by Richard Neville). Includes 18 cartoons by Martin Sharp that had first appeared in The Sydney Morning Herald and Oz, along with work by several other artists, among them Bruce Petty, George Molnar, Aubrey Collette, Mike Glasheen, Les Tanner, Paul Rigby, Bill Green (Weg), and Will Rushton. The book's title is a pun on the name of Australia's then prime minister, Harold Holt, who helped end the White... More about No Holts Barred.