John Lennon's Bag One At $133,500

by Stephen J. Gertz

A complete copy of John Lennon's Bag One (1970) from its forty-five sets only hors commerce (not for sale) issue of the first edition has come into the marketplace. No complete copy of this iteration of the first edition has previously been offered for public sale; this is the first to come out of hiding. Numbered in pencil in Roman numerals "H.C.XXXIX" and signed by Lennon, it is being offered for £85,000 ($133,500) by Peter Harrington Rare Books of London..

Bag One is a series of fourteen signed original lithographs originally conceived and executed in 1969 to commemorate Lennon's wedding to  Yoko Ono and their subsequent honeymoon in Amsterdam.

It is the rarest, most desirable and difficult to find of all of Lennon's books, no matter the edition and issue. In addition to the 45 hors commerce copies the first edition was comprised of 300 signed copies.

Last year, an attractive complete copy of one of those 300 sets was offered by New England Book Auctions for $20,000-$30,000.

The hors commerce copies are held dearly by those privileged to have had one bestowed upon them by Lennon or Ono. This copy belonged to British advertising executive and fine arts publisher and author, Edward Booth-Clibborn, who won a rather spectacular claim to fame in 1991 while working for British agency D&D.

"Even by the ad industry's extravagant standards, Edward Booth-Clibborn's lunch bill for two at Mayfair's Le Gavroche in 1991 was a jaw-dropper… [a] £448 lunch for two - including a half bottle of wine costing £126 - that grabbed the headlines. Booth-Clibborn charged the lunch against "PR", causing The Independent to suggest later that the initials must have stood for 'profligate romp'" (Campaign, January 28, 2011). Adjusted for inflation that meal cost £750 ($1,185) in 2012.

Copies of the 45 hors commerce sets were reserved primarily for personal distribution by John and Yoko: 30 sets were given to their company, Bag One Productions, and presumably circulated by them amongst their friends. This set was given to Edward Booth-Clibborn as part of the negotiations in January 1970 over a marketing deal between his company, First Run Ltd, and the US licensee appointed by Lennon and Ono, Consolidated Fine Arts Ltd. Booth-Clibborn's British company proposed to produce mass-market posters of the images, and signed a contract to that effect on January 31, 1970.

On February 7, 1970, a jerk present at the New York opening night exhibition of the Bag One lithographs at Lee Nordness Galleries surreptitiously photographed them. Cheap reprints of the entire set were  publicly offered the very next day and Booth-Clibborn's contract was cancelled. He had invested $24,200 in the project; all he got was this copy of the suite. Forty-three years later he can now enjoy a few more profligate romps. Make sure he picks up the tab and leaves the tip.

Should another hors commerce copy enter the marketplace, one owned, perhaps, by Eric Clapton or any other super nova within Lennon's orbit, it will likely sell for at least $150,000-$175,000. Should Lennon or Yoko Ono's copy ever be offered for sale? I suspect an auction estimate beginning at $200,000-$250,000 and ending where the air is thin, leaving room for outer space before the hammer falls.

LENNON, John. Bag One. New York: Cinnamon Press, 1970. First edition, limited to 45 hors commerce sets, this copy being no. H.C.XXXIX. Folio. Title page, text leaf, and fourteen signed in pencil lithograph prints ( 58 x 76 cm) on BFK Rives paper, loose as issued. Lacking the leather bag, which was not included with hors commerce sets.

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Images courtesy of Peter Harrington Rare Books, currently offering this volume, with our thanks.
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Of Related Interest:

The Rarest, Most Desirable Book By John Lennon Comes To Auction.

Extraordinary Letter From John Lennon To Eric Clapton: Join My New Band!

Yoko Ono Collects Rare Books: The Booktryst Interview.

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Getting Nowhere with John Cage: A Zen Biography

by Alastair Johnston

Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists by Kay Larson. The Penguin Press, New York, 2012. 496 pp., $30.

As a teenager I was interested in all kinds of music, so I took the opportunity to attend a concert for prepared piano by the America composer John Cage at the Royal College of Music (behind the Albert Hall) in London in 1968. I got there early to secure a good spot. I had no idea what to expect but the audience seemed unusual, more curious bohemian than the Baroque crowd. When a man with a wooden leg came in, it occurred to me he was part of the performance as he tapped his way to a vacant chair.

Cage was already controversial. In 1960 he performed "Water Walk" on the TV show "I've Got a Secret." It was a delightful and zany event which used water, ice and steam to create music.

When asked about the audience's laughter, he said he considered laughter preferable to tears. With this he gave permission to other musical experimenters, such as Frank Zappa playing on a bicycle on the "Steve Allen Show" three years later.

Cage was the enfant terrible of American music for half of the twentieth century. Few other composers adopted his chance methods and rejection of the then cutting-edge 12-tone scale. What's wrong with Schoenberg, who was Cage's early teacher? "The twelve-tone row is a method; a method is a control of each single note. There is too much there there. There is not enough of nothing in it."

It's the opposite of Gertrude Stein's famous characterization of Oakland, and something that would resonate through Cage's work. He was on a quest for silence, the discovery of nothing there. For instance, in his piece "Imaginary Landscape no. 4" for 12 radios -- or "Golden Throats," as he called them -- by the time of the performance (late one night at Columbia University in 1951) the radio stations had mostly gone off the air so there was static and a lot of silence. Others deemed it a failure, Cage was delighted.

It is appropriate that the author of this new biography is not a music critic or biographer. In fact this is Kay Larson's first book, though she has made her name as an art critic in the Village Voice and The New York Times. Furthermore it's as much about Zen as about the subject, which is a pleasant surprise. I didn't expect to read a book on John Cage and learn so much about D. T. Suzuki and spiritual practice.

After a bumpy start about Ginsberg, Snyder and the Beats, delivered almost as paper darts that don't fly, Larson settles down to be entertaining. Larson has a lively, journalistic style; she is a practicing Buddhist so starts with a major appropriation to her side: Marcel Duchamp. While we think of Duchamp as the Dada Supreme, she recasts his readymade "Fountain" as a perfect shining Buddha of the Bathroom: "In Stieglitz's photo the bulbous porcelain body looks exactly like the Buddha in outline... The white porcelain arc of the urinal serves as the Buddha's robe. Where the Buddha's head would be is a bright white spot that could represent the 'third eye,' one of the classic attributes of enlightenment" (pp. 47-8).

"Fountain" by Marcel Duchamp, 1917. Photographed by Alfred Stieglitz.

I was really taken with the little chunks of Zen wisdom she drops in as much as the net she casts to catch Cage hanging out with Alan Watts and Joseph Campbell, or leading a class in mycology while warning that no two mushrooms are alike.

His chance operations foreshadow a later musical innovator, Brian Eno, who created Oblique Strategies to help him work, in the same way Cage had used the I Ching, to bring indeterminacy into his music. Other pioneering feats include being the first "turn-tablist" -- in 1938 Cage had discovered two variable speed turntables at Cornish College radio lab in Seattle, and set out to play records that were just one tone per side, but to change the pitch periodically (by chance) and create an ever-evolving soundscape. Scratching and ambient music, both at once!

It was at Cornish that Cage met dancer Merce Cunningham and began a partnership that would last over 40 years.

Merce Cunningham by Halsman (Magnum) 1948

None of his contemporaries got it, so Cage turned his back on the musical avant garde and chose to hang out with artists instead. He had moved to New York by 1948 and was part of "the Club," an informal group of painters, including Motherwell and De Kooning, that got together to drink coffee and talk. There is a lot of discussion of Cage's creative process. The famous four and a half minutes of silence (4'33") is profounder than you would imagine, and Cage worked on it for ages. Seriously. First of all he learned that Muzac Corporation commissioned pieces that were that length, so it was conceived as a subversive joke. But then he started to explore silence, even going into an anechoic chamber at Harvard. This room excluded all outside sound. He rushed out to ask the engineer what the noises were he could still hear. The high whine is the neurons of your nervous system firing and the dull roar is the systolic rush of your blood. A flash of insight: There is no such thing as silence. There is no "something" and "nothing." There is only being.

This leads to a story about a Zen monastery in Japan. The monks get up at 4.30 to chant. After two hours or so one of them slides open the doors to the world and in come the noises of the morning: birds, traffic and wind.

The first performance of 4'33" by David Tudor in Woodstock caused a riot. There's a version by him on YouTube with voice-over and a stopwatch that is distracting, and an orchestral version that really gets into the spirit of the piece (though I prefer it as a solo work). 

Duchamp's long years of silence may of course be another source of inspiration. Cage had met him at the Arensbergs' home in the Hollywood Hills and in New York showed up to play chess with him, troubled that he couldn't ask him anything about music, but was calmed simply by his presence. Cage was obviously influenced by Duchamp's intention to make works which are not works of art, his "skillful poetics of ordinary things." Cage wrote: "At a Dada exhibition in Düsseldorf, I was impressed that though Schwitters and Picabia and the others had all become artists with the passing of time, Duchamp's works remained unacceptable as art. And in fact, as you look from Duchamp to the light fixture the first thought you have is 'Well, that's a Duchamp.'"

The art of the everyday -- in Cage's world "sounds" as opposed to "music" -- and the quest for stillness and silence reminds us of all the authors who chose not to write. There's an excellent recounting of them in Bartleby & Co by Enrique Vila-Matas (Random House, 2004). This book is a series of footnotes to a non-existent text and a delightful survey of non-writing "for those in the No," inspired by Bartleby the Scrivener's perennial retort, "I would prefer not to."

In New York in 1950 Cage attended talks by Sukuzi. Cage had been studying Vedanta. Through Alan Watts he met Joseph Campbell and his wife, and the widow of Ananda Coomaraswamy. Listening to Suzuki he realized he needed to get his ego out of his work. One of Cage's students was Christian Wolff, son of Kurt who had published Kafka, Rilke, and Benjamin before he fled Germany and started Pantheon Press in New York. Christian gave Cage the newly published two-volume I Ching. He could use the book to answer questions and thus avoid bringing his own taste into the work.

And Cage acknowledged Bob Rauschenberg's white paintings as efforts to make a neutral artistic statement, though when they met in 1951 at Black Mountain College, Cage was the teacher and Rauschenberg the student. In 1953 they collaborated on an artwork: Rauschenberg glued twenty sheets of paper together and put black ink on a tire of Cage's Model A Ford.

Larson writes, "Automobile Tire Print makes an inescapable allusion to Chinese scroll painting. Here though the scroll is just a single very long black line. The white spaces in the tire tread make the line visually vibrate. The black line is a 'gesture' that doesn't 'express' anything -- a witty put-down of Abstract Expressionist painting and a re-affirmation of Cage's views on an art of action and process."

Automobile Tire Print, SF Museum of Modern Art

The work has since been attributed solely to Rauschenberg, but Cage recalled, "I know he put the paint on the tires. And he unrolled the paper on the city street. But which of us drove the car?"

At Black Mountain, Cage and Cunningham staged the first "Happening." Later his students would start the Fluxus movement (and one of them, Dick Higgins, founded Something Else Press); he is also a godfather of the pop movement through his influence on Jasper Johns. Again Larson makes a Buddhistic connection. The readymades -- Ballantyne cans or flags -- show an aesthetic detachment. Larson quotes Leo Steinberg who was uneasy: he was angry at the artist for letting him down, mad at his friends for pretending to like it, mad at himself "for being so dull, and at the whole situation for showing me up." How often can art provoke that response?

Larson's use of asynchronous time is good, so halfway through 1950 we flash forward to Naropa Institute in Boulder to see a Cage performance being demolished by an audience of hippies in 1974. Naropa was supposed to be a catalyst for cutting through spiritual (as well as consumerist) materialism and "alleviate the terrible karma of addictions to power and achievement at the expense of others." What the author doesn't say is that Naropa was run by wild egos and an out-of-control little scuzzbucket, Chogyam Trungpa, who thought he was a rockstar and ruled the place with a panoply of power. (The Tibetans are the Catholics of the Buddhist world, while the Zen sect are more like the Unitarians, hence the Tibetans are into pomp and circumstance in contrast to the more spartan Zen Buddhists.) Cage chose to perform "Empty Words," based on the writings of Thoreau, where he dropped out words and phrases by chance operations (it sounds like a microphone with a faulty connection to me) until there was mostly silence. He imagined it like clouds drifting into the blue sky. The 1,500 Boulder hippies reacted in a violent uproar, shrieking, whistling, screaming, playing guitars, dancing, throwing things on stage. Cage was appalled, Trungpa on the other hand was "delighted at the ego noise" and asked him to join the faculty. When he repeated "Empty Words" three years later in Milan it led to another riot.

Cage faced a true Zen dilemma: how to keep creating when he would rather not let his ego be front and center. He is "going nowhere yet endlessly evolving." (p. 356) Back in New York, Suzuki had been appointed visiting lecturer at Columbia and Cornelius Crane, the businessman who subsidized the gig, insisted Suzuki's classes be open to auditors, making it possible for Cage and others to attend.

Suzuki talked about Zen: Before studying Zen men are men and mountains are mountains. While studying Zen there is confusion between the two. After studying Zen men are men and mountains are mountains once again. And a student asks, What's the difference between before and after? Suzuki replies: No difference, only your feet are a little higher off the ground.

Another talisman for Cage was Erik Satie who explored unusual avenues in music outside the mainstream. Cage was instrumental (pun intended) in getting together a group of 10 people to play "Vexations," the piece that repeats 840 times, and lasts over 18 hours. Written in 1893 it had been laughed off until Cage gave it a premier at the Pocket Theater in New York in 1963. Among the performers was John Cale who appeared on TV ("I've Got a Secret" again!) to talk about it. Andy Warhol was in the audience and it inspired his film "Sleep."

It wasn't until 1962, when he was fifty, that audiences began to get Cage. In fact his biggest success was his first tour of Japan, arranged by his student Yoko Ono & her then-husband Toshi Ichiyanagi. He visited D. T. Suzuki and Zen monasteries, and gave concerts with David Tudor. And he wrote another piece. An aesthetic of indifference had become key to Cage. This doesn't mean he doesn't care, just that he doesn't care to choose. The student of Suzuki had learned well. Finally, Cage gave up arranging things in exchange for process. The sequel to 4'33" is 0'00" which consists of an instruction: "In a situation provided with maximum amplification (no feedback), perform a disciplined action." Cage himself performed it by putting a contact mike on a desk and sitting down to type answers to his voluminous correspondence, thus combining his duty as a celebrity with clamoring fans wanting a piece of him and his need to be a creative artist.

We get more paper planes thrown out at the end: notes about Minimalism and later artists who were influenced by Cage, but we return to Duchamp and how he denied any influence from Oriental philosophy though he lived life like a Zen master. It was Cage who pointed this out. Al Held said, "Duchamp was just a French Symbolist until Cage showed us how to understand him."

For many people, myself included, Cage is more interesting as a philosopher than a composer. But his influence persists, and one of his compositions is still being performed. Inspired by Satie's "Vexations," Cage wrote "Organ 2/ASLSP (As SLow aS Possible)." It is being performed in the church of St Burchardi in Halberstadt, Germany. The first movement began with a rest of 17 months duration on September 5, 2001 (Cage's 89th birthday). "The first chord roared from the organ on February 5, 2003. The first tone change drew a cheerful crowd on July 5, 2004. The first movement is scheduled to end in 2072." The piece will end in 2639.

I do have to lament how the mighty Penguin Press has let its typographic standards slide. There are some serious design flaws: hard hyphens in quotes that weren't caught, sections beginning at the bottom of the page, no ligatures, figure 1 for cap I, and other glitches that show the book was typed but not redacted by a real typographer.
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The Rarest, Most Desirable Book By John Lennon Comes To Auction

By Stephen J. Gertz

"We're all in a bag, you know?...I was in a pop bag, going round and round, in my little clique. And she was in her little avant-garde clique, going round and round. So we just came up with a word. If you'd ask us what Bagism is, we'd say, 'We're all in a bag, baby'" - John Lennon, Avant-Garde, March 1970.

A scarce, complete, unnumbered and out-of-sequence first edition copy of John Lennon's Bag One, his 1970 collection of lithographs limited to 300 examples, is being offered by New England Book Auctions on Tuesday May 29, 2012. It is expected to sell for $20,000 - $30,000.

The only other copy to ever sell at auction fell under the hammer at Sotheby's twenty-four years ago, in 1988, for $12,155.

Bag One is a series of fourteen signed original lithographs originally conceived and executed in 1969 to commemorate Lennon's wedding to  Yoko Ono and their subsequent honeymoon  in Amsterdam.

The lithographs were scheduled for a two-week exhibition at London Arts Gallery at 22 New Bond Street on January 15th 1970.  On the exhibit's second day, however, Scotland Yard raided the gallery and confiscated eight of the fourteen lithographs on the grounds that they were obscene and "exhibited to public view...to the annoyance of passengers, contrary to Section 54(12) of the Metropolitan Police Act, 1839, and the third schedule of the Criminal Justice Act 1967."  

Text leaf.

The case was later dismissed when the magistrate hearing the case determined that they were unlikely to deprave or corrupt.

The lithographs were soon afterward exhibited by Lee Nordness Galleries in New York City, February 7 through February 28, 1970.

"The American opening of Bag One was a lavish affair... I flew over on John's behalf to film the proceedings. The whole of the New York art scene and all the 'beautiful people' turned out. Dali came with his pet ocelot on a leash. The lithographs were on view in a specially created environment, where spectators were asked to remove their shoes. The next month's issue of the prestigious Avant Garde magazine featured the Erotic Lithographs on the cover and as the major inside spread" (Anthony Fawcett. One Day at a Time, pp. 164-173).

Cinnamon Press of New York issued the first edition in 1970 simultaneously with the exhibitions. Laurens A. Daane of Amsterdam published a subsequent edition afterward in the same year.

The whole, inside story of Bag One, from conception through exhibition and publication, was related by Lennon and Ono's personal assistant, Anthony Fawcett, in his 1976 biography, John Lennon: One Day at a Time. A Personal Biography of the Seventies. You can read that section here.

A copy of Bag One was offered in the Rock & Roll Pop Culture Auction held by Gotta Have Rick and Roll in December 2011. It was estimated to sell for between $75,000 and $100,000, with minimum bid $72,500. It did not sell, "irrational exuberance," evidently, not limited to the financial markets.

The auctioneer, high-as-a-Mr. Kite, it seems, was, apparently, under the influence of Lucy in the Sky with Diamonds, rather than Lovely Rita, down-to-earth meter-maid, when conjuring up that strictly from Alpha Centuri estimate.

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LENNON, John. Bag One. New York: Cinnamon Press, 1970. First edition, limited to 300 copies. Folio. Title page, text leaf, and fourteen SIGNED in pencil lithograph prints ( 58 x 76 cm) on BFK Rives paper, loose as issued in white vinyl portfolio with black lettering and three ribbon ties, here foxed and stained.

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Images courtesy of New England Book Auctions, with our thanks.
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Yoko Ono Collects Rare Books: The Booktryst Interview

by Stephen J. Gertz

I had lunch with Yoko Ono during the 2010 New York Antiquarian Book Fair.

That’s a sentence I figured I’d have about as much chance of writing as, “I accept the nomination of my party for President of the United States,” but with less probability of actual realization.

At the Fair on Saturday, I noticed Yoko Ono quietly walking the aisles. I thought, I must talk to her about rare books. And immediately I thought, Gertz, you do not have the nuts to approach her. And I was right.

Forty minutes later I was starving and, anxious to have my wallet gutted, walked over to the food concession. Buying a ham and cheese sandwich that, by its price, apparently had a 24k slice of Black Forest gold within, I looked around for someplace to sit down. Only one spot available: a chair at the table that Ms. Ono and her companion were sitting at, along with a stranger.

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"John Lennon was a lover 

and a collector of old books"

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I asked the stranger if the seat was taken and, answered in the negative, parked myself, kept my head down, and ate.

I’m 6’2”, 190 lbs., and not easily rattled. Yoko Ono, in contrast, is quite petite yet carries a huge rattle. She remains, at age 77, remarkably attractive; all in black with black-banded white fedora set at jaunty angle, she cut quite a dashing figure, with panache to spare. I was smitten. As soon as I could compose myself, I initiated a conversation.

Ms. Ono could not have been more gracious, and we chatted about rare books and the Book Fair for the next twenty minutes. I asked if I could pose a few questions for a formal interview via email, and she agreed.

•••

BP: How long have you been collecting rare books?

YO: My father was my influence. John Lennon was a lover and a collector of old books, as well. He was an avid reader, which is not known so much.

BP: What are your areas of collecting interest?

YO: Rare books, of course. I won't mention more than that, since I wish not to be flooded with letters from book dealers letting me know their findings. I like to find the books myself, by going to shops of old books and book fairs.

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"I'm very happy that there are book fairs"

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BP: Do you have any books in your collection that, from your perspective, really standout? Why? Your prize favorites?

YO: Again, I wish to not answer this question for the same reason as the above.

BP: Rumor is that you acquired some very interesting books while at the Fair. Can you tell Booktryst about them? What was it about the books that attracted you?

YO: Just something that attracted me. With very special books, I must fall in love with them to consider acquiring them. They could be very expensive, you know. I don't take that lightly.

BP: How often do you attend rare book fairs? Why? (This may seem an elementary question with self-evident answers but Why bother with book fairs has become an ongoing question within the trade as book fair attendance has dropped). I'm curious what your take is.

YO: I'm very happy that there are book fairs now. It's a nice way to experience the books of the whole world just by walking through the richly shining corridors of books. For the buyers of rare books, it is heaven! For the ones who just want to window shop, it is less intimidating than going into a shop of antique books and facing the owner of the shop, who is usually a bespectacled, intelligent looking expert of books.

BP: You began your career as a conceptual and performance artist, with roots in Fluxus, and with John Cage as a major influence. These art forms are, by nature, visual media. With the rise of visual media in the Sixites, text-based media, i.e. books, have been overshadowed and are consumed less - or so it seems. While print-on-page certainly has visual elements, do you see a conflict between visual and text-based media, the visual word vs the text word?

YO: Calligraphy is a very developed visual art in Asia. That is where I come from.

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"in the beginning was the word, 

and the word was... with love."

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Grapefruit. First edition, limited to 500 copies. 
Tokyo - Bellport, NY: Wunternaum Press, 1964. 

BP: In 1964, you produced Grapefruit, one of the seminal artists books to emerge from the second half of the 20th century, a volume that influential art critic, David Bourdon, considered "one of the monuments of conceptual art..." It was an "event score," providing instructions for a journey by the artist and reader, in the spirit of Cage's "chance music" - a score suggesting action-performance possibilities rather than a specific, concrete performance to be replicated. Do you have any plans to create other artist books?

YO: Well, I still keep writing new art scores whenever there is a need for it.

BP: The event scores in Grapefruit read as zen poetry. Was that intentional or a felicitous by-product?

YO: I think it is the influence I received from the form of Haiku. 

Ceiling Piece (Yes), 1966.

Text on paper, glass, metal frame, metal chain,
magnifying glass, painted ladder.
Installation at Japan Society Gallery, New York. Photo by
Sheldan C. Collins. Collection of the artist © YOKO ONO.

BP: With Ceiling Piece (Yes) (1966) you invited the viewer to become seeker, climb a ladder, and be rewarded at the top with a single word: Yes. (I believe it was an installation of Ceiling Piece that introduced your future husband, John Lennon, to your work, yes? - oops, there's that word!) With Instructions for Photographs words are, as in Grapefruit, used as tools to lead into a visual landscape in the imagination. Do words lead you to the visual or is it the other way around? I sense a large, informal (or is it?) religiosity in your work. In the beginning, it is still The Word?

YO: Well, let's say in the beginning was the word, and the word was... with love.

BP: You published Grapefruit through your own imprint, Wunternaum Press. Fine and small press books have a major place in the collecting world yet the general public has little awareness of their existence. Did you/do you have any other plans for Wunternaum? Can you comment upon artists books in general and, if so inclined, in particular?

YO: It's great that more and more artists are publishing their own books. In terms of artists' books, they become much more interesting than when they are edited by non-artists.  

BP: The Internet has raised many issues about artists' and writers' copyrights. One of the more provocative scores in Grapefruit appears to lay out your feelings about property rights of the creator:

"PAINTING TO EXIST ONLY WHEN IT'S COPIED OR PHOTOGRAPHED
Let people copy or photograph your paintings. Destroy the originals."

Forty-six years later, do you still feel the same way?

YO: I was exploring more possibilities of art as its form and stated as such. The birth of the Appropriation Art movement gives justice to my then statement. 

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"I am very thankful for book fairs"

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BP: Simon and Schuster's 2000 reissue of Grapefruit contains, at the end, a collection of your writings. Do you have any plans to publish your writings in a separate edition?

YO: I did give birth to a book called ACORNS, which was only printed and performed by people as a 100 day event on internet.

BP: What is the future of books? Do book fairs still matter?

YO: Again, I am very thankful for book fairs. For a shy person like me, it does give a space to stroll around and window shop the various book shops in one space, in one afternoon.

I think there will be many people who will develop the taste and love for going to such an event. It is exciting in a way you probably don't expect when you just hear the word "Book Fair." Well, to me it is just as exciting as sitting in the dark of the theatre and watch a horror film!  This experience is not horror. But it's just as exciting!

yoko ono April 2010 nyc.
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There are no copies of the first (limited) edition of Grapefruit currently being offered in the marketplace. ABPC reports no copies at auction within the last thirty-five years. OCLC/KVK report only four copies in institutional holdings worldwide: At MOMA, U.C. - San Diego, Northwestern University, and the Library of Congress. What this tells us that all remaining copies are being closely held by private collectors. The book is exceedingly scarce in the marketplace.
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Of Related Interest:

Paul McCartney's Handwritten Lyrics To "Lovely Rita" Offered At $175,000.

Extraordinary John Lennon Letter To Eric Clapton: Join My New Band!
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