[ORIGINAL WATERCOLOR, SIGNED AND DATED] by Miller, Henry - 1944

1988. An original Burroughs painting, which became part of the Seven Deadly Sins exhibition at The Writer's Place, Kansas City, Missouri, in 1993. Acrylic and spray paint on poster board: a gold triangle and heart spray-painted against a background acrylic image of black, blue and gray. Signed by Burroughs. 20" x 32". Mounted and framed to 24" x 36". Fine. Burroughs, whose Naked Lunch, Soft Machine, and numerous other works helped define the Beat generation and redefine the psychedelic novel, also worked in the visual media from the early 1950s on, experimenting first with collages and later with what he called "nagual art" -- art infected by chance, which had the possibility of giving the viewer access to what Burroughs called a "port of entry," an access to a different universe or a different way of seeing our own. In writing, Burroughs adopted the "cut-up" technique, with Brion Gysin, to achieve similar ends: a final product that was, in part, a product of chance or, at the very least, forces… Read More

[ New York?], 1966.. [2] leaves plus ten etchings. Quarto (36 x 25.5 cm; 14 x 10"). Loose sheets, laid into folding cloth portfolio. A few smudges to portfolio, otherwise fine. One of a total edition of 110 copies (including 10 artist's proofs), consisting of ten original etchings (plate size 12.5 x 9.5 cm) by Schwartz, printed on handmade Italia paper by Emiliano Sorini, with each etching signed and numbered in the margin by the artist. A beautiful suite by this notable master of several media, whose other works have illustrated or been accompanied by texts by, among others, Anthony Hecht (PREDATORY BIRDS, Gehenna Press 1958), and Czeslaw Milosz (CATS, Privately Printed 1994).

[Np, ca. 1917].. Approximately 22 x 11 cm, in contemporary mat (the latter 35.5 x 25 cm). Mat edgeworn and somewhat dust darkened, with a few minor spots, but generally very good. A charming period drawing, inscribed as a gift to his model, Hildegarde Hirsch on the mat: "To Hildegarde on her sixteenth birthday. Rockwell." There is also a small 'H' in the lower right foreground of the image in his hand. Hildegarde Hirsch was a performer with the Ziegfeld Follies, and was both Kent's model and his lover. "The reference to 'sixteenth' birthday is facetious, as there is evidence that she was in her 20s when they met and may have been married and separated prior to the relationship with RK" - Stanley, REDISCOVERING ROCKWELL KENT. The drawing was published, without color, in the November 1917 issue of VANITY FAIR, and this original was included in the 1997 Grolier Club exhibition. GROLIER (STANLEY) 9.

[Probably Big Sur, CA.], no date.. Original watercolor on paper, 19.5 x 21cm, matted. Not examined out of mount, but visible portions a trace tanned, otherwise near fine. A characteristic watercolor, likely painted during the period of Miller's residence in Big Sur, when he actively solicited financial assistance in exchange for his paintings to enable him to survive and continue writing (ref: AN OPEN LETTER TO ALL AND SUNDRY, etc etc). The dominant colors are shades of blue and black. The painting depicts a male and a female figure, in a bathtub, exposed from mid- chest up. Not signed by Miller, but inscribed by his friend Emil White, who functioned during his Big Sur residence (1944-62) as his aide/secretary in correspondence with painting customers and the public: "This was painted but not signed by H.M. E. White."

[Np: The Artist, ca. 1962].. Original watercolor on paper (13.5 x 8"; 345 x 200 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A close-up full-body rendering of a pangolin next to a waterhole, with a suggestion of its focusing on its own reflection in the water. This watercolor was painted at the approximate time of Parker's work on the illustrations for the limited edition of Marianne Moore's EIGHT POEMS, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work.

[ New York?], 1966.. [2] leaves plus ten etchings. Quarto (36 x 25.5 cm; 14 x 10"). Loose sheets, laid into folding cloth portfolio. A few smudges to portfolio, otherwise fine. One of a total edition of 110 copies (including 10 artist's proofs), consisting of ten original etchings (plate size 12.5 x 9.5 cm) by Schwartz, printed on handmade Italia paper by Emiliano Sorini, with each etching signed and numbered in the margin by the artist. A beautiful suite by this notable master of several media, whose other works have illustrated or been accompanied by texts by, among others, Anthony Hecht (PREDATORY BIRDS, Gehenna Press 1958), and Czeslaw Milosz (CATS, Privately Printed 1994).

[Np, ca. 1917].. Approximately 22 x 11 cm, in contemporary mat (the latter 35.5 x 25 cm). Mat edgeworn and somewhat dust darkened, with a few minor spots, but generally very good. A charming period drawing, inscribed as a gift to his model, Hildegarde Hirsch on the mat: "To Hildegarde on her sixteenth birthday. Rockwell." There is also a small 'H' in the lower right foreground of the image in his hand. Hildegarde Hirsch was a performer with the Ziegfeld Follies, and was both Kent's model and his lover. "The reference to 'sixteenth' birthday is facetious, as there is evidence that she was in her 20s when they met and may have been married and separated prior to the relationship with RK" - Stanley, REDISCOVERING ROCKWELL KENT. The drawing was published, without color, in the November 1917 issue of VANITY FAIR, and this original was included in the 1997 Grolier Club exhibition. GROLIER (STANLEY) 9.

[Probably Big Sur, CA.], no date.. Original watercolor on paper, 19.5 x 21cm, matted. Not examined out of mount, but visible portions a trace tanned, otherwise near fine. A characteristic watercolor, likely painted during the period of Miller's residence in Big Sur, when he actively solicited financial assistance in exchange for his paintings to enable him to survive and continue writing (ref: AN OPEN LETTER TO ALL AND SUNDRY, etc etc). The dominant colors are shades of blue and black. The painting depicts a male and a female figure, in a bathtub, exposed from mid- chest up. Not signed by Miller, but inscribed by his friend Emil White, who functioned during his Big Sur residence (1944-62) as his aide/secretary in correspondence with painting customers and the public: "This was painted but not signed by H.M. E. White."

[Np: The Artist, ca. 1962].. Original watercolor on paper (13.5 x 8"; 345 x 200 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A close-up full-body rendering of a pangolin next to a waterhole, with a suggestion of its focusing on its own reflection in the water. This watercolor was painted at the approximate time of Parker's work on the illustrations for the limited edition of Marianne Moore's EIGHT POEMS, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work.

[Np: The Artist, ca. 1962].. Original watercolor on paper (13.5 x 8.75"; 342 x 222 mm). Signed by the artist in the left lower corner, and captioned in pencil on verso. About fine. A lovely rendering of a Plumet Basilisk perched on a stalk, cast against an orange sun and sky. This watercolor was painted at the approximate time of Parker's work on the illustrations for the limited edition of Marianne Moore's EIGHT POEMS, published by the Museum of Modern Art. It is a much more detailed and finished piece than the drawings executed for that work.