Brakhage, Signed (12 results)

Wrappers. Condition: Fine. First Printing. 32 pages with illustrations. One of 300 numbered and signed copies sewn in paper wrappers. This copy number 125. Size: 8vo - over 7¾" - 9¾" tall. Signed and Inscribed By Author.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. This is number 21 of 125 handbound hardcover copies SIGNED and numbered by the author on the limitation page. Black Sparrow Press was founded in 1966, making this 1969 publication a fairly early offering. Ships same or next business day. Book has minor edge and shelf wear; pages are tight, bright, and clean. In publisher's acetate jacket. Jacket has minor edge and shelf wear. ; Drawings; 8vo 8" - 9" tall; 29 pages; Signed by Author.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Fine in Fine actetate jacket. Signed issue: 29 of 125 numbered copies signed by author. Signed by Author(s).

Hardcover. Condition: As New. Dust Jacket Condition: Fine. First Edition. First Printing. #14/125 copies Numbered and SIGNED on the colophon by the Poet. Very Fine in decorated canvas cloth, illustrated paper covering, in clear unprinted acetate dustwrapper (one closed tear to rear top). 29pp. Illustrated with two line drawings by the author. Stan Brakhage [1933-2003] was an experimental film-maker. Q22627.

Soft cover. Condition: Good. 1st Edition. SIGNED by STAN BRAKHAGE + SIGNED by RICK SCHMIDT, Independent Filmmaker and noted author on filmmaking + SIGNED by CURTIS IMRIE, Independent Filmmaker + INSCRIBED by CURTIS IMRIE to RICK SCHMIDT. Too much good stuff! A MOVING PICTURE GIVING AND TAKING BOOK, by STAN BRAKHAGE. Published by Frontier Press, Newbury, Massachusetts, 1971. First edition. Flexible black leatherette covers, gilt titles to front cover and spine, small format 4.5x6 inches. Pagination: [4], 65, [2] pages. SIGNED by STAN BRAKHAGE on the front free endpaper. Additionally SIGNED and with a PRESENTATION INSCRIPTION by filmmaker and radio personality CURTIS IMRIE to filmmaker and author RICK SCHMIDT. Imrie's signature is dated "San Francisco, 1/9/76". His inscription to Rick Schmidt is dated "9/1/94". ALSO SIGNED by RICK SCHMIDT (as the last owner of the book), and dated "P.T., WA, 2/12/05." There are lots of underlining, circling of text, and margin marks noting various passages, likely made by Curtis Imrie or Rick Schmidt in preparation for one film project or another. A filmmaker's actual working copy of a Brakhage filmmaking book. Nice. Stan Brakhage is considered to be one of the most important figures in 20th century experimental film. Rick Schmidt is a prolific independent filmmaker and the author of the highly regarded book: "Feature Filmmaking at Used Car Prices". Curtis Imrie was an independent filmmaker, radio personality, and champion burro racer. The inscription reads: "Rick / One good support book deserves another. B-4 FX2 @ Used Car $ [before Feature Filmmaking At Used Car Prices] there was only one Bible for unrepentant actor filmmakers. This one. Appropriately leather bound [actually leatherette I think]. Either return it sometime or walk the talk writing with an audio visual diamond where we diagram the human heart. I'll be a major color on your palette anytime but hey.face up to your talent. Do it. / as ever, C [initialed]" It appears likely that Rick Schmidt sent Curtis Imrie a copy of his book "Feature Filmmaking At Used Car Prices", and Imrie reciprocated by sending Schmidt a copy of Brakhage's book. It is unclear to me who had Brakhage sign the book. Rick Schmidt was more in Brakhage's circle, they both were prolific independent filmmakers and went to many of the same film conferences, independent film events, etc.; but Curtis Imrie and Stan Brakhage both spent a lot of time living in Colorado. What a journey through the hands of independent filmmakers - Stan Brakhage - Curtis Imrie - Rick Schmidt. CONDITION: A couple small indents to the covers, lots of underlining, circling, and margin marks noting important passages (as detailed above), a pea size stain to the front margin of one page of text; otherwise tight, bright and clean, with signatures and inscriptions that are bright, clear and bold. About STAN BRAKHAGE (from Wikipedia): ******James Stanley Brakhage, b.1933 d.2003, was an American filmmaker. He is considered to be one of the most important figures in 20th century experimental film.****** (An artistic genius imho.) About RICK SCHMIDT (from IMDB): ******Rick Schmidt, b.1944, has been making films since the seventies. His 26 films have been screened in film festivals around the world, including Sundance's Dramatic Competition (Grand Jury Prize nomination), Slamdance, Rotterdam, Berlin International, New Directors/New Films, the Museum of Modern Art (NY), and has received critical praise from top film critics. Schmidt is also author of "FEATURE FILMMAKING AT USED CAR PRICES" which is considered "The Bible" of fledgling filmmakers and has been credited with influencing filmmakers Kevin Smith, Vin Diesel, Tom DiCillo, and many others.****** About CURTIS IMRIE (from Wikipedia and IMDB) ******Walter Curtis Imrie Jr. (aka Curt Imrie), b.1946 d.2017, was an American filmmaker, actor, radio personality, sportsman, burro racer, and candidate for elected political office.******. Signed by Author(s).

First Edition. First Edition. Inscribed by the author to publisher Barney Rosset on the front endpaper: "Dear Barney / In thanks for all you've given, made possible: / Thanks, / Stan Brakhage." Barney Rosset was the founder of the Grove Press, which, in addition to its obvious importance, helped usher Brakhage's work into institutions in the 1970s by "publishing" select short films by the artist on tiny reels that were sold to libraries and the publisher's readership. In this volume, Brakhage investigates four of the principal architects of cinema, including Sergei Eisenstein. A wonderful association, and an important collection by one of the most important cinematic artists of the 1970s. Very Good plus in paper-covered card wrappers as issued, with moderate rubbing and a bit of light wear at the extremities. Signed.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. SIGNED. 29 pp. Octavo [20 cm]; full red leather covered boards with illustrated paper label in the shape of a strip of film mounted from top to bottom on the front cover. Beautifully designed and bound. In the publisher issued clear acetate jacket, which is lightly rubbed. Signed by the poet, David Meltzer, on the limitation page. This copy is letter "Y" in an edition of 26 hand-lettered copies, handbound in boards by Earle Gray, each with an original illustration by David Meltzer. Limited Edition of 26 hand-lettered copies (this is copy "Y").

Hardcover. Condition: VG. First. Very Good condition 8vo in cream boards printed with red & black, 435 pages. French/English bilingual texts, color images throughout. Additional texts by P. Adams Sitney & Marilyn Brakhage. The present copy contains an als folded twice from the editor to th4 artist Bruce McClure. In addition, on an early black page prior to the half-title is a page-long note from E.V. to B.M. Additonal images upon request.

Soft cover. Condition: Very Good. 1st Edition. Signed on page 142 at his contribution by Stan Brakhage--signature only. Covers have light wear. Fine content. Signed by Author(s).

Granary Books is pleased to announce Selections from the Jane Wodening and Stan Brakhage Scrapbooks, 19621966. This limited-edition book comprises thirty-three page spreads in full color facsimile, selected from Jane Wodening's extraordinary three-volume set of scrapbooks, now housed in the Beinecke Library at Yale University. As a testament to the intersection of the domestic and creative life that Wodening and Brakhage led, these scrapbooks engage collage as an artistic practice within the act of archiving and storytelling. The scrapbooks document the early- to mid-sixties as Wodening spent with her then-husband, avant-garde filmmaker Stan Brakhage and their children, during a particularly productive and important creative era in their lives. She began creating the books after collecting materials for several years and later recalled: "I started the Scrapbooks I think in 1962 when we left San Francisco. I had such a wonderful collection by then of pictures and poetry and memorabilia and pretty things, a box of paper jewels. And when we were about to move, I brought them out at a party and everyone looked at my collection. Should I just throw these away, now that we're leaving? I asked, and I think it was Michael McClure who said, 'No, make a scrapbook!' and he gave me many copies of himself naked as The Beast.Others agreed with him, even Stan. Then in our travels I collected such things and I remember working on them, page by page, here and there in our travels, at Hooker Street [Denver], in South Dakota, in New York City, and in Lump Gulch [Colorado], people swimming through the life like angels. I finished them perhaps in about 1966. I ran out of material. It seemed that we had been blessed with a great time of idealism and energy, but that it was over and no more came in that was magical enough to be useable." Wodening combines textual and visual material in meticulous arrangement on each page, with elements created by Stan Brakhage, the Brakhage children, as well as friends and correspondents from the era who were active in the 1950s and 1960s avant-garde movements. She collaged together letters, poems, and artworks by Robert Kelly, Carolee Schneemann, Charles Olson, Robert Creeley, Kenneth Anger, Jack Collom, Jonas Mekas, Robert Branaman, Michael McClure, Joseph Cornell, Wallace Berman, Guy Davenport, Philip Whalen, Ed Dorn, Denise Levertov, and others, creating her own narrative from the voices of friends in her life. She would often combine found images of saints, snowflakes, butterflies, tigers, landscapes, and other evocative terrain with newspaper and magazine clippings, children's drawings, postcards, photographs, cards, stickers, stamps, notes, pamphlets, film strips, broadsides, family photographs, and other media. While the scrapbooks reflect on one of the most significant and productive times in Stan Brakhage's filmmaking career, they remain an artistic accomplishment by Wodening in her own right (as poet Richard Deming has noted). Wodening's collages might be viewed alongside other comparable artists such as Jess and Helen Adam, particularly for the ways they reveal the contours of Wodening's domestic, artistic, and intellectual life. Granary Books is particularly pleased to offer this book given our history with Jane Wodening and long-time admiration of her work. Wodening was one of the first Granary Books authors, with From the Book of Legends (1989), which explored the work of Maya Deren, Joseph Cornell, and Charles Olson. Granary Books also published Wodening's Brakhage's Childhood (2015), the story of Stan Brakhage's life up to age twelve. Jane Wodening has published numerous other books including Lump Gulch Tales (Grackle Books, 1993), Living Up There (Baksun Books, 2009), Driveabout (Sockwood Press, 2016), and Animals I've Neglected to Mention (Sockwood Press, 2019). Her writing reflects close relationships with animals, adventurous living off the grid, and an artistic sensibility that is straightforw.

First Edition. First Edition. This copy is INSCRIBED by Brakhage at the blank opposite his introduction to poet Kenneth Irby: "To Ken Irby / That I should meet "Roadrunner" here in these circumstances at this time of most wonderful day I take as the best of all possible signs / Stan Brakhage / SF - 2 Nov 64." Irby's nickname came from his first published pamphlet, "The Roadrunner Poem," which appeared as the fourth issue of the journal Duende in 1964. The legendary Fluxus issue of Film Culture Magazine, devoted to the work of director Brakhage, with a die-cut to the corrugated front panel revealing a negative image of Brakhage's eye. The new century has revealed Brakhage to be one of the most important experimental filmmakers of the last century. His oeuvre was celebrated in 2005 with a stunning multi-disc Criterion Collection Blu-ray release titled "By Brakhage: An Anthology." Near Fine in corrugated wrappers, lacking the original wraparound label. Criterion Collection 518. Signed.

Lengthy typed letter signed from Stan Brakhage to Will Petersen, roughly 500 words, dated May 28, 1973. Petersen was the director of the Creative Arts Center at West Virginia University, and Brakhage's letter confirms an upcoming talk at the university and answers in some detail a number of Petersen's questions. With Brakhage's manuscript signature in black ink at the closing: "Blessings / Stan." Included is the original mailing envelope, with Brakhage's Rollinsville, Colorado PO Box address, postmarked May 29, 1973. Several ink annotations on the envelope, presumably by Petersen, some relating to thoughts on Brakhage. After briefly confirming transporation and terms for his talk, Brakhage dives into several topics, including his reaction to Petersen's stone prints for a piece called the "Prefiguration," and how desperately he wishes he could transmit the same level of detail to his own work (i.e., the celluoid canvas), that he finds Frank Samperi difficult to read, "apropo art," Frank Oppenheimer, Stanley Hayter, and watercolor artist Emile Nolde. Not surprisingluyhdiscusses his reactions to art very broadly, and only conceptually in relation to his own work on celluloid-furthering and deepening the evidence that Brakhage really was more an artist than just an "experimental filmmaker," and that his knowledge and understanding of the work of his contemporaries was comprehensive, and fully integrated into his own. One page, 8.5 x 11 inches. Near Fine. Signed.