e-catalog #013, also known as...
catalog #83

TO ORDER: please email or phone.

The Kid in America.

Denver: Bowery (1985).

First edition, numbered & signed issue. 4to. 33 pp. Very near fine in side-stapled wrappers. One of 100 numbered copies SIGNED by Scibella and INSCRIBED, “To American City: w/deepest appreciation.” This is copy #1.

SORRENTINO, Gilbert. ed.
Supplement to Now.

Brooklyn: Neon (1958).

First edition. 12mo. [16 pp]. Near fine in stapled wrappers. One of 250 copies. Contributions by Olson, Creeley, Finstein, Sorrentino, Selby, Jonathan Williams, and Fielding Dawson.

SPENDER, Stephen.
Returning to Vienna 1947: Nine Sketches.

[Pawlet]: Banyan Press (1947).

First edition. [20 pp]. Near fine in sewn wrappers and integral dust jacket with pasted-on cover label. Poems. One of 350 (of 500) numbered copies SIGNED by Spender.

STEVENS, Wallace and Kurt Seligmann.
A Primitive like an Orb: A Poem.

[NY]: Gotham Book Mart, 1948.

First edition. [16 pp]. Just a suggestion of sunning along spine and bottom edge, else fine in sewn bright green wrappers, one of three possible variant covers. Stevens’ poem, with two drawings by Seligmann. A “Prospero pamphlet.” One of 500 copies on Etruia and Zebu papers designed and printed at the Banyan Press. Edelstein A13.

Camera Obscura.

Aachen: Suermondt Ludwig Museum, 1996.

First edition. 44 pp. Light abrasion to corner of front cover, else near fine in blind stamped boards with cloth spine. No dust jacket, as issued. Twenty four images, along with an essay on constructing and using the camera. Text in German. Printed dedication to John Berger.

TAYLOR, Richard and Ian Christie.
The Film Factory: Russian and Soviet Cinema in Documents 1896–1939.

Cambridge: Harvard University Press, 1988.

First edition. xxii + 457 pp w/index. Fine in fine dust jacket. A collection of 154 documents with 150 illustrations, along with introductions, notes, filmography, and brief biographies of those involved.

TODD, Geoff.
‘Artful’ Drawing from the Nude.

Ararat: OTH Gallery (2009).

First edition. Tall folio. [28 pp]. Fine in sewn wrappers, housed in hand-printed folder (which is signed and numbered to match the copy inside). One of 200 numbered copies SIGNED by Todd. Notes on the "art" within drawing, this book pairs Todd's text with drawings made from the model. Each copy bears an original drawing in colored ink on the front cover. A beautiful presentation.

TODD, Geoff.
A Dictionary of the English Language.

Melbourne: Powell Street Gallery (1983).

First pocket trade edition, based on his Dictionary A Revised Edition. 48mo. [506 pp]. Fine in yellow wrappers with pasted-on cover label. One of 1000 copies. Dated (1983) and SIGNED by Todd on the second leaf. Preceded by two unique examples, Todd’s dictionary presents an associative collection of words, each defined by a delicate line drawing. A handful of entries are additionally embellished with pasted-in elements.

TODD, Geoff.
Private Pop: prints, multiples, ephemera and paintings.

Ararat: Ararat Regional Art Gallery, 2011.

First edition. [106 pp]. Fine in spiral wire-bound wrappers housed in a painted cardstock box. One of 500 numbered copies SIGNED by Todd. A running conversation between Todd and Leo Sayer, liberally illustrated with color images of Todd’s work, items from Todd’s collections, and photographs. A presentation and contemplation of the influence of Pop on Todd’s aesthetic.

TODD, Geoff.
Sculpture / Wine.

Ararat: OTH Gallery (1998).

First edition. 16mo. [32 pp]. Fine in stapled wrappers. Two tales, bound tête-bêche, the texts appearing in French with English translations. Todd’s short stories illustrated with his hand-colored drawings. One of 500 numbered copies dated (‘98) and SIGNED by Todd.

TODD, Geoff.

[Ararat]: Geoff Todd, 1978.

First edition. 16mo. [24 pp]. Fine in stamped full buckram. No dust jacket, as issued. Todd’s drawings of several signature Warhol images. One of 30 numbered copies with a holograph colophon SIGNED by Todd.

A Sea Story.

Saffron Walden: Byways [1975].

First edition. Single sheet folded once. Very good plus. A short prose work.


Nottingham: Shoestring Press (1997).

First edition. 23 pp. Fine in printed wrappers. Thirty-two short poems on the title theme.

A Year and a Day.

Glasgow: Mariscat, 1985.

First edition. 43 pp. Very near fine in glossy illustrated wrappers. Cover art by Tom Malone. A journal of “interesting things” maintained by Turnbull over the course of a year, reflecting on both his work as a writer and as a physician.

TZARA, Tristan.
Chanson Dada: Selected Poems.

Toronto: Coach House/Underwhich (1987).

First edition. 140 pp. Fine in illustrated wrappers. Lee Harwood’s English translations of all Tzara’s poems, together with Harwood’s introduction, a bibliography, and an essay, “dada / My Heart Belongs to Dada.”

VAN HORN, Erica and Simon Cutts.
The Money Jar.

Clonmel: Coracle Press (2002).

First edition. [36 pp]. Fine in illustrated boards. One of 1000 numbered copies. An examination of the coins in a one pound jar.

Suzy Stanton’s “On Andy Warhol’s Campbell Soup Can” essay

NY: Stable Gallery, 1963.

First edition. Eleven photocopied pages with red “Andy Warhol / Stable Gallery” ink stamp to the verso of last page. In the spring of 1962, art critic Lawrence Alloway showed slides of Warhol’s soup can works to his students at Bennington College, igniting arguments that flared throughout the school. One of his students, Suzy Stanton, wrote a paper for the course, parodying various hypothetical theories and motives that ostensibly led to the paintings. She devised an imaginative scenario in which sixteen students visited Warhol’s studio and recorded their interpretations of the man and his work. In one of Stanton’s fantasized versions, Warhol asks his visitor: “Won’t you come and share my soup with me? I’m just about to have my lunch---or is it breakfast? Or dinner? Oh the time is not important, I always have soup no matter what the hour happens to be.” As the two sit down, Warhol remarks: “I love soup, and I love it when other people love soup, too...You know, when I was little, my mother always used to feed us this kind of soup. But now she’s gone, and sometimes when I have soup I remember her and I feel like she’s right here with me again.” There was a good measure of truth in this. According to Warhol’s brother Paul, their mother habitually served Campbell’s Soup at home, and Andy grew up on the product. Alloway sent a copy of Stanton’s essay to Warhol, who was so enthusiastic about it that he had it photocopied, applied his rubber stamp to the back, and had it distributed as the announcement for his November 1962 show at the Stable Gallery. TOGETHER WITH the other promotional item from this show, a pin-back button featuring a color reproduction of a Campbell’s Soup can printed against a white background, with a red ribbon printing “Andy Warhol” hanging from the button. The paper is held together with a paper clip, else near fine, the button is fine. Suzy’s recontextualized paper is Warhol’s first artist’s book, and falls within the continuum of appropriation art first defined by Duchamp’s “Fountain” to the current total embrace of the form by Richard Prince. An important, though little-known, Warhol rarity. OCLC records only one copy at the Museum of Modern Art in N.Y.C.

[WARHOL, Andy]. Guardiola, Juan.
Andy Warhol: cine, vídeo y tv.

Barcelona: Fundació Antoni Tapies (2000).

First edition. 4to. 362 pp. Fine in illustrated wrappers. Fully-illustrated in color and b&w with several fold-out plates. Texts in Spanish.

WEINER, Hannah.

Madison: Xexoxial Editions, 1990.

First edition. 82 pp. Near fine in printed wrappers. Weiner’s text, drawing largely from newspapers and television news broadcasts, combined with photographs by Barbara Rosenthal.

WEINER, Hannah.
Written in the Zero One.

Victoria: Post Neo Publications (1985).

First edition. 4to. [28 pp]. Small spot on first three pages, else very near fine in printed wrappers. One of 350 numbered copies. “Written in a blank book called Homo Futurus by Barbara Rosenthal.”

back ⟨ previous 20 itemsgo to page 1 2 3 4 [ 5 ]

TO ORDER: please email maser@detritus.com or phone 510-524-8830.