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1979-1991. In the early 1980s, Burroughs collaborated with S. Clay Wilson on the German editions of Cities of the Red Night [Die Stadte der Roten Nacht, Frankfurt: Zweitausendeins, 1982] and The Wild Boys [Die Wilden Boys, Frankfurt: Zweitausendeins, 1980]. This archive includes: - the first German edition of The Wild Boys, signed by Burroughs and Wilson; a trial edition, rejected by Wilson, who was displeased with the endpapers, signed by Wilson; and Wilson's own copy, bound in Niger goat and snakeskin, signed by Wilson and inscribed by Burroughs to Wilson. The first two copies have a bit of edge-rubbing and are otherwise fine in the publisher's slipcases; the third copy is fine in a custom folding chemise. - the German edition of Cities of the Red Night, signed by Burroughs and Wilson. Fine in slipcase.- correspondence related to this and other collaborations between Burroughs and Wilson, as follows: from 1979 to 1982, six items from the publisher to Wilson; from 1979 to 1985, three items from Burroughs' associate James Grauerholz to Wilson; and from 1985 to 1995, eleven items from Burroughs to Wilson. The earlier items, from the publisher and from Grauerholz, generally solicit drawings, convey approval for ideas, and give progress updates. The later items, from Burroughs himself (one typed note signed; four autograph postcards signed; six autograph cards signed), tend to be more personal, frequently conveying gratitude for a gift or appreciation of Wilson's work. In one, Burroughs (according to a pencil note by Wilson, he is referring to The Chequered Demon) says "vintage Clay Wilson hilarious, horrible disgusting as life itself...Its fine its swell itsa gawdy taste of Hell." In another, in a card picturing a unicorn, Burroughs asks, "Did you see the Barnum & Bailey unicorn? I suspect it to be a goat." Several of the cards are holiday cards, and in one Burroughs wishes "All the best for 1986 and the time remaining to us all." In the last two items, Burroughs thanks Wilson for, respectively, the Graham Greene stories and for a cat book. He also complains about the heat: "Over 100 now for a week. Can't do anything but sit in my air conditioned house." This last card is signed "Bill Burroughs." All of the Burroughs' correspondence items (excepting the postcards) have envelopes; one of the postcards is near fine; the others are fine; many depict Burroughs' artwork. - three original pen-and-ink S. Clay Wilson illustrations for the German edition of Cities of the Red Night. Wilson was one of the group of artists who gained exposure in the underground comix of the 1960s counterculture. After R. Crumb, he is probably the best known of that group, and his images are almost certainly the most extreme: all of the underground comic artists sought to break barriers and defy convention, and Wilson's images are densely packed and full of overt sex and violence to a nearly unthinkable degree. In this he was very much like Burroughs, whose verbal imagery sought to shatter all barriers, preconceptions and hypocrisies; the collaboration between the two of them seems in retrospect to have been inevitable. These drawings were displayed at the Los Angeles County Art Museum in the show "Ports of Entry: William Burroughs and the Arts," which sought to convey the influence Burroughs has had on visual arts. Extraordinary images, the result of an equally extraordinary collaboration: these are probably among the best artwork Wilson has done, and probably the best illustrations ever of Burroughs' writings. Burroughs himself appears as a character in one of the images. Two of the images are 5-1/4" x 9", the third is 5-1/4" x 10"; all three are matted and framed to approximately 16" x 19". Also together with the original layout and lettering for the title page of the book: three hand-lettered sheets and one printed sheet. All items fine. A unique archive of an exceptional collaboration.   [#027555] $40,000

Undated. Burroughs, the author of Naked Lunch, Soft Machine, and numerous other works that 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 beyond the artist's direct control and manipulation. Oil and perhaps spray paint. 17-1/2" x 23". Signed by Burroughs. Fine, framed. One of the most evocative Burroughs paintings we've seen.   [#017959] $7,500

1988. Acrylic and spray paint on poster board. 20" x 32". Mounted and framed to 24" x 36". This painting formed part of the Seven Deadly Sins exhibition at The Writer's Place, Kansas City, Missouri, January 14 - February 11th, 1993. The image is of a gold triangle and heart spray painted against a background acrylic image of black, blue and gray. Signed by Burroughs. Fine.   [#024825] $7,500

Paris, Olympia, (1959). The first issue of the first edition of his second book, a high spot of postwar American literature and one of the three key volumes of the Beat movement, along with Kerouac's On the Road and Ginsberg's Howl. Published only in paperback in Paris by Maurice Girodias' small press, in an edition of 5000 copies, three years before it could be published in the U.S. Signed by Burroughs in 1996. Uneven sunning and a bit of creasing to covers; rubbing to the folds. A very good copy in a supplied, very good dust jacket with a small chip at the crown and some smoke-darkening to the spine.   [#024504] $6,500

Paris, Olympia, (1959). The first edition of his second book, one of the all-time great drug novels and a high spot of Beat and postwar American literature -- one of the three key volumes of the Beat movement, along with Kerouac's On the Road and Ginsberg's Howl. This is the first issue, without the New Franc stamp over the original old franc price on the rear cover. Published only in paperback in Paris by Maurice Girodias' important small press, in an edition of 5000 copies (comprising both "issues"), three years before it could be published in the U.S. This copy has a small, narrow stain to the lower corner of the first 20 pages and a couple of incidental bends to upper page corners; a near fine copy in a very near fine dust jacket nicked at the crown. A very nice copy of an important book.   [#027182] $3,000

(Berlin), Nishen, (1994). The hardcover issue of this photo-biography of Burroughs. This is a contributor's copy belonging to Nelson Lyon, who contributed three of the photographs. With the publisher's prospectus laid in, as well as a letter to Lyon identifying this as a sample copy and including a statement of Lyon's royalties. Signed by Lyon, and also signed in the year of publication by Burroughs, Allen Ginsberg, and Timothy Leary. Signed three times (on the title page and on two of the photos in which he appears) by Gregory Corso. Ginsberg appears in several photos, as does Leary who also contributes a piece of writing. Never published in the U.S. and including a large number of photos of Burroughs that do not appear elsewhere. Near fine in mildly splayed boards, with rubbing to the joints, and a small bit of smoke damage to the front endpapers and title page. Text in German; the photographs need no translation. Scarce in the hardcover issue; probably unique with the signatures.   [#027558] $2,500

NY, Ace, (1953). Burroughs' pseudonymous first book, a paperback original bound back-to-back with Maurice Helbrant's Narcotic Agent. Signed by Burroughs. Junkie was a straightforward narrative of Burroughs' experiences with drugs; the publisher chose to release it couched in an anti-drug context, as a first person example of the horrors of drug use, and bound with a narcotic agent's memoir. Small ink date (2/6) inside front cover; spine and cover creasing; very good in wrappers.   [#019133] $2,500

NY, Grove Press, (1959)[c. 1962]. The first American edition and the first hardcover edition: Naked Lunch was not published in this country until three years after its original publication in Paris. It was published by the maverick publisher Barney Rosset, of Grove Press, in a tiny edition of 3500 copies -- a smaller number than was done of the scarce French paperback edition in 1959. Fine in a near fine dust jacket with a short tear at the lower edge of the front panel and a bit of rubbing on the rear spine fold. Together with an advance reading excerpt: eight pages from the novel and two reviews, one by Terry Southern. With additional blurbs by Norman Mailer, Jack Kerouac, Robert Lowell and John Ciardi. Fine in stapled wrappers. An important promotional piece, in that Burroughs' novel was subjected to censorship prior to its U.S. publication, and the endorsements of such established literary celebrities as the above helped pave the way for its publication here by establishing it as a novel of literary merit. A beautiful copy of a landmark book, together with an uncommon, important ephemeral piece.   [#026950] $2,000

Original photograph of Burroughs at a reading in Lawrence, Kansas, taken by Nelson Lyon. The image was used on Dead City Radio, an LP and then a CD of Burroughs' reading, which was co-produced by Lyon. Inscribed by Burroughs: "For Nelson Lyon who took this shot/ William S. Burroughs/ June 24, 1989." Approximately 11" x 14", including the margin, which bears the inscription. Slight curl, which would be cured by framing; else fine.   [#027556] $1,500

Paris, Olympia, (1962). The correct first edition, published in paperback in Paris, five years prior to the U.S. edition. Issued in Maurice Girodias' "Traveller's Companion" series -- a line of paperbacks that was largely dominated by softcore and hardcore pornography that could not be sold at all in the U.S. at that time -- few copies migrated to the U.S. until well after Burroughs' popularity here was established and the landmark censorship cases of the early 1960s (including that of Naked Lunch) had been settled in favor of increased permissiveness in printed matter. Inscribed by the author "with friendship and best wishes" on the title page. Bookstore stamp of a Spanish bookshop on flyleaf; covers a bit wrinkled; small abrasion to spine; very good in a very good dust jacket.   [#016153] $1,000

(NY), Viking, (1985). A review copy of this autobiographical novel, and a major statement on Burroughs' writing and its sources. Cloth very slightly edge-sunned; else fine in a fine dust jacket, with review slip laid in.   [#013132] $50

NY, Grove, (1964). His first novel published in the U.S. after his controversial and ground-breaking Naked Lunch. Owner initials front flyleaf; boards a bit splayed; small, faint stain to top stain. Near fine in a near fine dust jacket creased on the front flap.   [#024020] $35

NY, Serpent's Tail/High Risk Books, (1991/1995). The first American trade edition, after a limited edition done by the Whitney Museum. Fine in pictorial boards without dust jacket, as issued.   [#013133] $25

(Hadley), Ken Lopez Bookseller, (2005). A catalog/brochure describing the Burroughs archive previously known as the "Vaduz archive" and printing in facsimile a number of items from the archive, including Brion Gysin calligraphy, photographs of Burroughs and others, visual poetry by Burroughs, and other items. An overview of the archive, with description of its contents and essays on its history and importance in the context of 20th century literature. The archive was purchased by the Berg Collection at the New York Public Library, which also purchased the Jack Kerouac archive a few years ago. Fine in wrappers.   [#024827] $20