Zephyrus Image, First Edition (13 results)

Condition: Very good . First Edition. First printing, review copy, of this collection of verse by Blazek, with handsome cover art designed by Michael Myers of the Zephyrus Image press. Wraps. 8vo. Perfect-bound printed wraps. Very good plus. Review copy with slip laid in. Light soiling to covers. Interior bright, clean throughout. Good and sound. 57pp.

No Binding. Condition: Fine. 1st edition. Near Fine. 8vo sized broadside. The fourth state of this classic early 1970s Zephyrus Image production, sure to bemuse all sides of the political spectrum. A few light spots near the edges, crisp and clean otherwise. Not Signed.

First edition. Approximately 3 3/4 x 9, printed in black on white crack-n-peel. Roughly cut, as issued, some minor toning and light creasing; very good. An inventive multiple as bumper sticker made by the press during the Geary Boulevard years in San Francisco. The text is printed in reverse. The sticker is intended to be placed on a front bumper, so that the text can be read only in a rear view mirror. The target was Ed Davis, the chief of the L. A. police department who presided over the city's race riots in the sixties. [Johnston p. 197] Some creasing, but still very good.

First edition. [8] pp. Stapled wrappers. Bottom corner toned on rear leaves. An early attempt by environmental activist Keith Lampe (later aka Ponderosa Pine) to disrupt the Republican convention in San Diego in August 1972. Johnston, pp. 27, 176.

First edition. 8 x 11" broadside, letterpress and linocut on newsprint. One of the earliest broadsides from the press, illustrated with a distinctive linocut of before and after pictures of an arm and track marks. One of the most striking and ephemeral productions of the press, the image was also utilized in a 1972 issue of Open Hand, the magazine published by David Bromige's Cal State Sonoma Class. [Johnston p. 185, 227] Paper toned, as usual, with chipping and nicks to margins and a chunk missing from the upper left hand corner.

First edition. 8" square broadside, linocut on white paper. Pictographic sequence predicting the environmental degradation of the region of Warm Springs and the Russian River. Designed to be folded into a "cootie catcher," a children's game used to predict the future [Johnston, p. 218]. This copy unfolded and unassembled. Near fine with some minor handling creases.

First edition. 8 1/2 x 11" letterpress broadside. Typographic anthropomorphization rendering type as a tennis match. A response to a call to work made by British poet Tom Raworth and heeded by Holsbrook Teter. "By the Oaf of the Tennis Court," probably adds a slight jab at John Ashbery [Johnston pp. 217-218]. Single faint crease else fine.

First edition. "Gloster City, CA" [i.e. Healdsburg]: Fester Stasis [i.e. Zephyrus Image], 1977. Johnston describes this "truly silly" item: "Folger's is a flip book with a bright red cover imitating the logo on cans of Folger's coffee. The very tenuous connection was that Folger's slogan was 'it's mountain-grown' (ergo Black Mountain), and their television spokesperson was a motherly housewife called Mrs. Olsen. The book (entirely done from Myers' artwork) shows Charles Olson in front of a weather map rubbing his index finger over his lip in the gesture that people make to amuse babies. It was a massive amount of work for a one-line joke. Zephyrus Image was skilled at concocting such puns, but turning them into beautifully crafted artifacts belied the whimsy with which such notions usually appear and disappear in conversation." Johnston, pp. 120, 209.

First edition. 6 1/2 x 12 1/2", linocut in green on newsprint. The rare first state of the broadside, originally distributed by posting them on telephone poles around Berkeley. One of the greatest posters of the 70's, deriving a strange power from Myer's masterful linocut that joins somewhat anachronistic, Beardsley-like figures with mechanical imagery and very modern slogan. One of several broadsides the press produced at this time in a similar vein, including Liberate Berkeley and Ford. Johnston p. 185. Paper toned, as usual, with some creasing, a 1/2" closed tear to lower margin and a couple other nicks, and a small pin hole to upper margin, else very good.

First edition. [8] pp. Folded sheets, bible paper issue. Folded twice; fine copy. Johnston notes, "While it looks like a newspaper, Bean News is full of in-jokes that are hard to decipher." The Zephyrus Image archives at the University of Delaware: Bean News is "an unconventional newspaper that combined letters, articles, poems, puns, and rebuses while experimenting in art, typography, and layout. Poets Ed Dorn, Tom Raworth, Tom Clark, Jeremy Prynne, Michael McClure, Luis Garcia, and others submitted copy, and Bean News became an item of intrigue in the San Francisco small press community." Johnston, Zephyrus Image, pp. 76, 177. Streeter, Ed Dorn, B22.

Condition: Very good. First Edition. First state of this scarce broadside printed by Holbrook Teter and Michael Myers's Zephyrus Press, which famously graced telephone poles around Berkeley. An early work from Zephyrus Image. OCLC locates at most three holdings. An iconic work by this influential West Coast artists' press. 12" x 6" approximately. Broadside. Linocut in green on newsprint. Single fold at bottom edge not effecting image. Moderately toned, as common. Mild wear.

First edition. 9 1/2 x 13 5/16" folder, illustrated at the front panel after a photograph by Ellen Mann, with ZI insign printed in green at rear panel, containing nine broadsides of varying dimensions. The Kent State Creative Arts Festival was created as a reaction against the Kent State shootings, which is often cited as the formative impetus for Devo. The band's first public performance had been at the festival the year prior, and their performance at the festival in 1974 was either their first or second show, featuring the line-up of Bob Lewis, Mark Mothersbaugh, Jim Mothersbaugh, and the Casale brothers. The Michael Myers bee linocut which graces this and several of the other broadsides was created in San Francisco and brought to Kent, where the broadsides were printed. Zephyrus Image were probably involved in the event due to the agency of Ed Dorn, who was on faculty at the time. The pairing of Myers' delicate and inimitable linocut work with the quirky pathos of Devo is sublime. The text instructs the viewer to supply their own waltz rhythm as the piece is read, making it a DIY performance piece - a broadside where you, the reader, are in the band. The portfolio also contains broadsides by Jennifer Dunbar, Ines Brolaski, Joanne Kyger, Barbara Einzig, Ed Dorn (2), Joel Oppenheimer, and Samuel Fuller. All are beautiful, especially those by Dorn, where each line of the work is typeset in a different font, and film-maker Samuel Fuller, who contributes a haunting text on the relationship between between typography and cinema which begins, "The language of type moves with flesh today." The text is overlayed onto a photograph of someone pushing a lawnmower (Johnston identifies the figure as Bing Crosby). [Johnston pp. 79-81, 199-200] Rare in the trade. this is one of only two examples of the complete folder which we've handled, and only the third example of the Devo broadside. The broadsides are in fine condition with the exception of the Kyger broadside, which is near fine with some creasing to margins. The folder is fine.

Condition: Very good. First Edition. Printed by Holbrook Teter, Michael Myers' iconic FORD marked the beginning of their collaboration and was the first item issued from Zephyrus Image. Alastair Johnston, in his ZEPHRYUS IMAGE: A Bibliography, describes how Myers arrived at Teter's print shop with "a linoleum block depicting a Hippie Jesus in front of car radiators brandishing a crucifix wrench. Teter knew at once he wanted to work with Myers. They printed broadsides with the block [.] and Teter drove Myers back to Berkeley where they pasted them on the walls of the City dump [.] This appraoch would signal the future for Zephyrus Image" (21). Scarce; OCLC locates just three holdings (Yale, University of Chicago, and SUNY Buffalo). A auspcious debut to this influencial West Coast artists' press. [Johnson 184]. Broadside. 13" x 7.25" approx. Linocut printed in blue ink on newsprint. Moderately toned, as common. Mild wear. Very good overall.