Ephemera

A complete eleven-issue run of one of the greatest publications to emerge from the mid-century experimental music scene.<ul><li>Sold as a set of 11 numbers in 10 volumes.</li><li>Davis and Sacramento CA: Composer and Performer Edition, 1967-1973.</li><li>Printed offset throughout on various paper stocks, with numerous custom elements: die-cut and folded sheets, glassine inserts and a variety of tipped-in items.</li><li>Bound in the original spiral-bound pictorial wrappers all, issues 7/8 printed tete beche.&nbsp;</li></ul> Elaborately produced and edited by Larry Austin (UC-Davis instructor and director of its New Music Ensemble), SOURCE aimed not only to document the experimental music scene that centered primarily on the West Coast (Mills College, etc.), but to expand the very idea of the musical score: "Our idea of a 'score' is broad. To us it is transcribed information about the composer's music-making process and contains a way of imparting this information to those who might recreate the composition" (Austin, issue 1). Much like frequent contributor John Cage's 1969 book Notations, SOURCE argued in part that the score should be viewed as much as a visual art as a musical one. This was reflected in the magazine's production: a Dick Higgins score riddled with actual bullet holes, John Cage's "Not Wanting to Say Anything About Marcel" printed in color on glassine, and perhaps most infamously Nelson Howe's "Fur Music," which utilized actual tipped-in fur swatches and included the instruction "to focus attention on the exploration of the tactile qualities of fur, but with the added requirement that the tactile sensation be *heard*." Contributors across the run include: John Cage, Toshi Ichiyanagi, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, Harold Budd, Lejaren Hiller, Max Neuhaus, Larry Austinm, among many others.

SOURCE: Music of the Avant Garde Collection

Tasha Tudor

A signed watercolor used in Tudor's Caldecott Honor book, Mother Goose.<ul><li>Tasha Tudor (American, 1915-2008).</li><li>This image appears on page 63 of the book.</li><li>It accompanies "Sing a Song of Sixpence" and depicts the King, Queen, three other adults and two little children seated at a feast with the birds just coming out of the pie.</li><li>This work is presented unframed.</li></ul>

Mother Goose, Sing a Song of Sixpence, Watercolor Illustration

A first-edition copy of the catalog for Keith Haring's exhibit at Tony Shafrazi Gallery, featuring the iconic neon Haring Three Eyed Smiling Face cover.<ul><li>Forward by Tony Shafrazi (American).</li><li>Includes texts by Keith Haring, Jeffrey Deitch, Robert Pincus-Witten and David Shapiro.</li><li>Includes photographs of Haring's subway drawings by Haring’s close friend Tseng Kwong Chi.</li><li>Designed by Dan Friedman.</li><li>New York: Tony Shafrazi Gallery, 1982.</li><li>144 pages.</li><li>Softcover.</li><li>Includes 15 double-sided lithographic inserts.</li><li>Part of a limited edition of 2,000 copies.</li><li>Metal wire bound.</li></ul>

Keith Haring at Tony Shafrazi Gallery Catalog

Catalog for Keith Haring exhibition at the Stedelijk Museum, signed by the artist.<ul><li>Includes original drawing by Haring along with signature.</li><li>Amsterdam: Stedelijk Museum, 1986.</li><li>83 Pages.</li><li>Preface by Wim Beeren.</li><li>Includes in-depth interview with the artist.</li><li>Includes photography by Haring's close friend, Tseng Kwong Chi.</li><li>Published for the occasion of the exhibition Keith Haring at the Stedelijk Museum, in Amsterdam, Netherlands, March 15th – May 12th, 1986.</li></ul>

Keith Haring Exhibition, Stedelijk Museum, Signed Catalog

Vanessa Bell

Original watercolor for the children's book Emlycaunt by Julia Duckworth Stephen.<ul><li>Vanessa Bell (English).</li><li>Depiction of donkey with monkey in foliage.</li><li>Artist's stamp to lower right corner.</li><li>Pencil, ink and watercolor on paper.</li><li>Framed and mounted on a folding matte under glass.</li></ul> One of 33 illustrations by Bell for her mother's children's story, Emlycaunt. This particular work was probably to illustrate the following passage of the story: "Tommy was very glad to do what the elephant said, and a monkey who came cantering up on a donkey advised him to go to the bathing place.&nbsp;'On such a warm day,' he said, 'we all like to take a swim.'"

Emlycaunt Original Watercolor

Raymond Chandler

Original typed document assigning exclusive motion picture rights for his unpublished book “entitled BRASHER DOUBLOON (alternate title HIGH WINDOW).”<ul><li>Raymond Chandler (American).</li><li>Leaves punched in left margin for ring binder.</li><li>Los Angeles: 29 May 1942.</li><li>4 pp. typed on rectos only.</li><li>4to.</li><li>Signed by Chandler on page 4, dated and notarized below with raised seal.</li></ul> Chandler assigns film rights for his third novel, completed in March 1942, here still bearing his original title, The Brasher Doubloon as well as the alternate title that Chandler gave it at Blanche Knopf’s suggestion. The High Window was published by Knopf in August 1942.&nbsp;&nbsp; “In May of 1942, The High Window was sold to 20th Century-Fox for $3,500 as a second-run or B picture and was released the following year as Time to Kill.” (Macshane, p. 105) At the time of the present assignment, Chandler had established a critical reputation but financial success eluded him. He sold film rights to Farewell, My Lovely (1940) for $2,000, and came to regret this intensely when Murder, My Sweet, the film of Farewell, My Lovely, proved a box office hit but earned Chandler no additional money. Rights to his first novel, The Big Sleep, remained unsold, in large part because of the restrictive climate of censorship of subject matter exercised by the Production Code Administration. Chandler was hired by Paramount in 1943 to work on the screenplay of Double Indemnity with Billy Wilder in part because Wilder was impressed by The High Window. Wilder and Chandler’s collaboration was a landmark in film noir and marked a change in the climate of censorship in Hollywood, and thus cleared the way for the filming of The Big Sleep in 1944 and its release in 1946. The High Window was filmed again in 1946 and released in 1947 as The Brasher Doubloon, starring George Montgomery as Philip Marlowe. A fine document from an early point in Chandler’s decidedly ambivalent relationship to Hollywood.

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Tasha Tudor

Vanessa Bell

Raymond Chandler