NICHOLAS POUNDER fugitive PAPER
number one
PHONE [61] [0] 417 499 570 nicholas.pounder@gmail.com
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ABN – 68 549 380 050 PO Box 3299 Tamarama NSW 2026
THE DIGGER
1972 • 1975
Hand drawn dummy for the first issue.
Australia’s only sustained alternative newspaper, representing radical politics, countercultural phenomena, new music and cinema, and the wave of movement for social change in the period of its publication. Born only months before the end of decades of conservative government, and expiring in time with the fall of the Whitlam Government, this paper documents those heady times with a vitality and originality not recreated since. Hand drawn folded masthead [Three sheets 435 x 620 to 435 x 310] Vol 1 No 1 | October 23 1972. Newstand folded cover pasteup of Mick Jagger with features listed: The Stones On Tour | Political Bisexuality | Turn On To Bi For The Sisterhood | Death For Dealers : The Liberals Last Stand | On The Trail In Bali | Neil Young Festival; Rear panel is a hand drawn mockup for a comic titled On The Road Again, and below a paste up for a Digger subscription form. Unfolded broadsheet cover (see above) + 1 further sheet [620 x 435] being the mock up/paste up for the inside front cover: Mastehead/Staff | Letters | Features | Bi lines | Departments: Films • Concerts • Books • Theatre • Television • Records. With some tears, stains and a sense of the urgent and vital—the culmination of ideas and talent engaged with a time. $1500
BOB GOULD • CHE GUEVARA 1967
Poster: [Guerrillero Heroico by Alberto Korda.] Sydney, NSW: Third World, [1967]. Printed by Comment Publishing, 22 Steam Mill Street, Sydney.
The earliest local publication of this iconic image and dating to the establishment of the Resistance HQ at 35 Goulburn Street in January of that year.
Material printed by Comment after 1967 uses the 2000 postcode and by then this monotone print was supplanted by the popular poster process in three colours. Korda’s photograph - first published in 1960is the basis for the ubiquitous 1968 silkscreened poster by Jim Fitzpatrick and nigh on all subsequent appropriations. The history and contemporary global impact of the image is the basis for the 2008 documentary Chevolution, directed by Trisha Ziff, along with the 2009 book Che’s Afterlife: The Legacy of an Image by Michael Casey.
A vertical format, single sided, offset printed poster in black on white paper [505 x 380] pin holes in upper two corners, else miraculously well preserved. $750
RICHARD
AVEDON • JOHN LENNON 1967
Poster.PrintedinEnglandbyWaterlow&SonsLtd.[680x470].JohnLennonphotographedbyRichardAvedon forLookMagazine.OriginalNEMS1967musicadvertisingposterfeaturingacolourfulandpsychedelicphoto designusinganewsolarisationtechniquebyRichardAvedonofmusicianandsingersongwriterJohnLennon depicted wearing his round glasses with his face in shades of orange and purple on a yellow background. Beatles manager Brian Epstein commissioned Richard Avedon to photograph the band and design a set of posters that would visually capture the new psychedelic direction of Sgt. Pepper's Lonely Hearts. Very very well preserved. $750 3.
JOHN LUC-GODARD • ROLLING STONES
1970
Sympathy for the Devil (1+1). [Sydney, NSW: c. 1970]. In time for screening at various venues while the presence of Jagger was fresh in the minds of Australians due to his casting as Ned Kelly in the Richardson film released that year. Promotion for the producer Iain Quarrier’s version with the addition of the completed recording of the Stones’ number at the end of the film. One of the landmark new wave films of the late 60s, directed by the celebrated Jean-Luc Godard, Sympathy for the Devil alternates between reflections on contemporary politics and social issues of the late 1960s as well as giving the audience an unprecedented view of The Rolling Stones creative process in the recording studio working on what would become one of the band’s defining tracks. Unused generic daybill/poster [650 x 305] Bendaydotmontageillustrationblack on white, offset lithography. Very fine. $175
Women's Liberation Is Gonna Get Your Mama and Your Sister and Your Girlfriend. Originally issued by Celestial Arts in San Francisco in 1971, this one has a local and distinctly Glebe and Tomato Press feel about it. A take on Whistler's Mother with the addition of a machine gun and an urgent graffiti like script. And who or what was Shadowy Woman? A detail and accreditation added to the appropriated original with classic Letraset. Foolscap [335 x 205] offset onto heavy rose coloured wove. A few creases, no fading, no stains, no tears, no loss. $120
KATE JENNINGS
1970
With the group of determined women at her back, she perhaps wasn’t clear what her speech would do — that it would effectively inaugurate second-wave feminism in Australia and help it become a movement with its own momentum. A new chapter for the world’s longest revolution. But she did know that the time had come.
many women are beginning to feel the necessity to speak for themselves, for their sisters. i feel that necessity now. KATE JENNINGS
The women in the Vietnam Moratorium movement had fought hard to have one of their number included among the many male speakers scheduled to speak at the march. We persisted, and eventually the organisers gave in. As the most experienced writer in our group, I was given the task of composing the speech, which we decided would be deliberately incendiary. But what I wrote was so incendiary everyone balked at giving it, me included. In the end, with a big shove and no experience of speaking in public, much less in front of a thousand or more, I walked the plank.
KATE JENNINGS
The day of the speech is etched in my mind, it had been run off and printed on the Gestetner machine, I kept the old layout and it’s now in the National Library with the Lost Culture of Women’s Liberation archives. Short, rageful, beautifully structured, it changed the moment. No more can be asked of a poem read aloud. SUZANNE BELLAMY
‘watch out you may meet a real castrating female…’ Sydney: Women’s Liberation, at 67 Glebe Point Rd [1970]. Single foolscap sheet both sides duplicated typescript of the poet’s speech delivered at the University of Sydney on the 18th September, 1970. A piece of paper: the script of that very moment. $350
ABORIGINAL • AUSTRALIAN FILM
Jedda was a film of remarkable firsts: the first locally produced Australian feature film shot in colour and the first to star Indigenous Australians. It was arguably Chauvel’s best film, but also his last.
NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA
Jedda is partly an expression of Charles Chauvel’s love of his own country, but it’s an equally powerful expression of the idea that Aboriginal Australians had loved it longer, with an intensity that Chauvel seems to have respected. PAUL BYRNES
Jedda. Promotional material for the Australian release. London: W. Whitehouse & Cº (Mansfield), [1954] An Australian film written, producedanddirectedbyCharlesChauvel.His last film, it is notable for being the first to star two Aboriginal actors, Robert Tudawali and Ngarla Kunoth (later known as Rosalie KunothMonks) in the leading roles. It was also the first Australian feature film to be shot in colour. The productionprocesswaslaborious,asthecolour technique used, Gevacolor, could only be processedinEngland.Thefilmstockwasfragile and heat-sensitive, which was a problem in the tropical climate of the Northern Territory. The film had its world premiere on 3 January 1955 at the Star Theatre in Darwin. (The British title was Jedda the Uncivilized). Single sheet [595 x 310] folded to square [310 x 300]. Minimal edgewear and a slight weakness at the folds, else well preserved. With a Philip J. Pike (rear stamped) b&w still of Ngarla Kunoth from the shoot. $300
HOLLYWOOD IN NGUNNAWAL COUNTRY GETS DARWIN WORLD PREMIERE
ABORIGINAL • AUSTRALIAN FILM
BOB DALY • BOB BISHOP
An Aboriginal interview and a white crew combine to catch on tape insights into what it is like to be Aboriginal. The tape cuts through the established genre in documentary film - making in an attempt to let people tell their stories unhindered by art or commercial constraints. NATIONAL FILM AND SOUND ARCHIVE OF AUSTRALIA
We don’t owe the government a damn thing —they owe us.
These Captain Cooks and Uncle Toms they give me the shits.
Broken White Line: A Colour Videotape by White Trash. [Mt. Gravatt, Qld]: 2 Bob Posters, 1980. Poster by Bob Daly and Bob Bishop. The printing of this poster took place at the studio designed and outfitted the previous year by Michael Callaghan at Queensland Film & Drama Arts Workshop at Griffith University. Daly recalls “Bob Bishop had just finished the doco with a partner and came from Melbourne for a holiday and we made the poster with stills from the movie and hand written transparencies”.
Silkscreened from several stencils onto litho paper [840 x 685]. SIGNED IN PENCIL BY BOB DALY AND R. [BOB] BISHOP AND NUMBERED 2/6 LOWER LEFT - DATED 8/80 IN PENCIL LOWER RIGHT. Minor creasing at edges, else bright and fresh. $850
TheonlyotherrecordedcopyofthisposteriswiththelateQueenslandbornBobDaly’spapersattheJohnOxleyLibrary,StateLibraryofQueensland Collection. 8.
Banner. Herald. Melbourne, Vic: Herald & Weekly Times, Tuesday December 2, 1969. 660 x 520 on newsprint. A miracle of preservation. A tear without loss between the R and the E in actress and a little discolouration to the stock. $250 10.
