New York: Harper and Brothers, 1847. Hardcover. First American Edition. (Stated Third Edition on the title page; however, this refers to the two English editions published prior.) This story is based on Melville's adventures and experiences during his years at sea between 1839-1844. It has been rebacked with the original boards and modern cloth spine titled in gilt. The original cover features a gilt ship and embossed decoration. Heavy wear to cloth on edges and corners. Small chip to bookcloth on rear board. Original marbled endpapers. Foxing throughout, but heaviest to first and last few pages. 389 pages plus two sets of advertisements. LIT/101918. Very Good.
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New York: Harper and Brothers, 1847. Hardcover. First American Edition of Melville's second novel. This story is based on Melville's adventures and experiences during his years at sea between 1839-1844. It has been professionally rebacked in handsome dark green leather with gilt titling and elaborate ornaments to spine. The front cover features a gilt ship and embossed decoration. Wear to cloth on edges and corners. Original marbled endpapers. Foxing throughout, but heaviest to first several pages. With frontis map and text illustration. A nice copy of this literary landmark. 389 pages plus two sets of advertisements. LIT/091919. Very Good.
London: Richard Bentley, 1849. Hardcover. Third Edition. Very good in three quarter leather with marbled paper covered boards. Leather title labels with titles in gilt to spines of all volumes. Raised bands to spines with gilt decoration. Marbled endpages and full marbled edges. There are a few scuff marks and chips to the leather and there is minor wear to the edges of the boards. Each volume has a full page frontispiece with tissue guard and also multiple vignette illustrations. The illustrations are all wood engravings by G. and W. Measom. The frontispieces all have light foxing as does the last page of text. Aside from this, the interiors are very clean and bright. The title pages are printed in red and black. An attractive set. 455 pages in volume 1; 456 pages in volume 2; 505 pages in volume 3. FRA/3123 This set may require an extra shipping fee. Very Good.
London: Alexander Moring Ltd, 1904. Hardcover. From the illustrious Waugh family, with the bookplate of Evelyn and Alec's father, Arthur. The name "Alec Waugh, Xmas 1916" is written in pencil on a free front end page, so it is unclear who owned the book when. Bound in red cloth with the title embossed. Spine has title and author in gilt. In very nice condition except for some light fraying to spine ends and barely bumped boards. Interior pages show some browning from age and darker spots on the fore-edge. Tear to top right margin to pages 201-204, pages 201-202 missing the piece torn. Text not affected. 255 pages. MOR/070710. Near Fine.
Edinburgh: Printed for Archibald, Constable, and Co., 1820. Hardcover. Includes a total of 4 folding engraved maps. All three volumes are bound in contemporary full tan leather with gilt titles and volume numbers to spines. Gilt rules and designs to spine compartments and gilt rules with embossed designs to boards. Abrasion to leather on front board of third volume. Rubbing and wear to hinges, edges, and corners of all volumes. Splits to leather along all hinges; however, the boards remain firmly attached. Bookplate of Mr. Kingston, Mosstown, Longford to front pastedowns of all three volumes. Large fold-out maps to fronts of each volume. All three have long closed tears near where they are attached to the binding and short closed tears within some creases. A second, smaller folding map is present in volume one. Interiors (including maps) are clean and bright overall, with a few light spots of foxing. Soiling to corner of one page in first volume and creases to corners of several pages. Marbled endpapers and full marbled edges. An attractive set despite the noted wear. Volume I: 517 pages; Volume II: 525 pages; Volume III: 544 pages plus one page of errata. May require extra postage. TRA/011521. Very Good.
New York: Whitney Museum of American Art, 1989. 1 of 140 copies. Signed by the author and the book artist. This scarce and intriguing limited edition work was produced to benefit the Library of the Whitney Museum of Art. "Heat" is a classic short story by the renowned and prolific writer Joyce Carol Oates. "It tells the story of the murder of eleven-year-old identical twins, Rhea and Rhoda Kunkel, through the eyes of a childhood friend who is now an adult. Oates weaves the story together like bursts of heat on a sultry day. The story begins with a reference to the “rippling” heat of the summer day as the girls ride their bicycles toward Whipple’s Ice. In the next scene, the twins are in matching white caskets in a funeral parlor. Again, reference is made to the heat. In a narrative that borders on stream of consciousness, Oates introduces the girls, the narrator, and Roger Whipple. The child narrator describes the girls as inseparable, full of life, and drawing energy and power from each other. She describes their lives and their death with the innocence of a child’s perceptions."[Enotes.com] The book's production is inventive and fitting for the story. It was produced and edited by May Castleberry of the Whitney and Leslie Miller of the Greenfell Press. The work's two volumes resemble a young person''s diaries. They are bound in white leather with gilt title and ruling to the front covers and closed by a gold clasp. The text was handwritten by Robert Gober and printed on Saunders paper. It was handbound at Booklab in Austin. Gober's illustrations for the endpapers are lithographs printed at Derriere L'Etoile Studios in New York. The volumes are housed in a custom purple cloth clamshell box. The volumes are fine in a near fine box.
Monmouthshire, UK: The Old Stile Press, 2010. Hardcover. 1 of 60 copies. Illustrated with textual descriptions by Natalie d’Arbeloff. The artist created these gestural pen and ink figure drawings over fifty years ago while she was a student in New York City studying under Jack Tworkov, a prominent abstract expressionist. D’Arbeloff is now a printmaker, cartoonist, and book artist with work in collections around the world. Bound in blue paper covered boards with gilt title to spine and black illustration to front cover. Printed on Velin Arches Blanc in Aries type. The images were printed at original size with photopolymer plates. The text is printed in grey with titles in blue and illustrations in black. In fine condition. Unpaginated. PRI/081111. Fine.
London: C. Arthur Pearson Limited, 1899. Hardcover. First edition. This is the second book (and first novel) by the author of The Scarlet Pimpernel, which first appeared as a play in 1903 and was later released as a novel. This book is a tale of jewels, intrigue, and high Russian society. It is scarce in this condition. The author, Baroness Orczy (1865 - 1947), was born in Hungary and grew up in London. Very good plus in original tan cloth boards with brown title to spine and front board. Minor wear to edges and spine ends. Light rubbing to boards. A few spots of foxing to the interior, else very clean. Bookplate of book collector, Mark Samuels Lasner, is tipped in on the front pastedown. 288 pages. LIT/050109. Very Good.
London: Chatto & Windus, 1893. Hardcover. First Edition. PRESENTATION COPY in author’s presentation binding. The inscription is written in light purple, “To My Dear Friends/Sir Philip and Lady Currie/Ouida”. Ouida (1839-1908) was a highly popular author in her day, writing more than 40 novels plus children’s books and essays. She was also greatly interested in influencing foreign policy. She moved to Italy in 1874 and lived there until her death. Sir Philip Currie (1834-1906) was a career diplomat and served as England’s Ambassador to the Ottoman Empire and to Italy. Ouida was well known for having special bindings done for her friends. Bound in cream cloth with gilt ruling and design to front cover. Boards are smudged and show other signs of handling. There is a small red spot on front board that may be ink. The spine is browned and slightly chipped. The interior has light foxing to some pages and slight loosening of a few signatures, although text block is tight. All edges gilt. In very good condition. 254 pages. LIT/032111. Very Good.
Baltimore: Patapsco Land Company, 1874. Hardcover. First Edition. Presentation inscription from William C. Pennington to the architect Benjamin H. Latrobe dated November 14, 1874. Pennington was the president of the Patapsco Land Company at the time of publication, and he was also one of four directors. This publication was intended to persuade the City of Baltimore to invest in developing the Curtis Bay area with an extension of the railroad, development of the harbor terminal, and development of local industry. It is broken up into eight sections outlining the present condition of Baltimore, the advantages of utilizing the Curtis Bay area, the present harbor conditions, reasons for investing in Curtis Bay terminal rather than attempting to expand the Baltimore terminal, and a plan created by Patapsco Land Company for developing their property. In brown cloth boards with gilt title to front cover. Minor wear and fraying to spine ends and corners and minor soiling to front cover. Smudge mark to margin of title page, offsetting to endpapers, and minor foxing to a few pages, but clean overall. Includes fold-out map in rear pocket showing greater Baltimore and the railroad connections with Curtis Bay and Pennington. Offsetting to one panel of the map from the pocket. Browning and few closed tears to some of the creases. 100 pages plus map. BALT/010516. Very Good.
London and New York: John Lane; Macmillan Company, 1901 - 1904. Hardcover. A collection of Stephen Phillips' dramatic works. An attractive set in signed full leather bindings by The Adams Bindery. These books do not appear to have been originally issued as set as they were printed by different publishers (2 John Lane and 2 Macmillian) in different years. The bindings may be later, possibly from the 1910s or 20s. Full dark brown morocco with gilt titles and author to spines. Each spine has six compartments with gilt rules and raised bands. Marbled endpages and top edges gilt. Minor wear to hinges, edges, and corners of boards. Clean interiors overall; although there is light foxing to a few pages. Herod - 126 pages; Ulysses -178 pages; Paolo - 120 pages; Sin of David - 141 pages. This set may require an extra shipping fee. DRA/071713. Very Good.
New York and London: Putnam's The Knickerbocker Press, (1902). Hardcover. Number 95 of 150 copies of The Collector's Eldorado Editions with each volume signed and numbered by the publisher. Canadian artist and illustrator Frederick Simpson Coburn (1871 - 1960) illustrated many works for Putnam's as well as for various American magazines. He is best known for his paintings of winter landscapes of Quebec featuring horse drawn sleighs. A beautiful set bound in three quarter dark blue morocco over blue cloth boards with gilt titles and Art Nouveau style floral decoration to spines. Browning to spines of all volumes. Minor wear to edges and corners of boards. Minor soiling to boards. Clean, bright interiors with occasional smudge marks to margins. Includes full page illustrations by Frederick Simpson Coburn with captioned tissue guards, as well as occasional in text vignettes and initials. Previous owner's name in pen to bottom of printed bookplate, dated 1904, in all volumes. Marbled endpapers and top edges gilt. This set may require an additional shipping fee. LIT/041719. Very Good.
Oxford: T. Shrimpton and Son, 1880. Paperback. Newdigate Prize Poem. First Edition. The first publication by the poet, diplomat, and one-time friend of Oscar Wilde; Wilde wrote an unauthorized dedication to himself published in Rodd's 'Rose Leaf and Apple Leaf' (1882). Very good in blue paper wrappers with black title to front panel. Browning to edges of wrappers and a few chips to rear panel. Pencilled initials to front cover. The interior remains clean and bright. Housed in a fine light brown cloth box with gilt and black leather title label to spine. A very nice copy of this fragile and uncommon work. 18 pages. POE/051710. Very Good.
[c.1881]. A very nice handwritten copy of this fine early poem by Rossetti. He wrote the sonnet on his trip to the continent with Holman Hunt in the autumn of 1849. This manuscript is undated, but it is possibly a draft of the final poem. It uses wording which was changed in the final version of the poem as published in Ballads and Sonnets in 1881 and the Collected Works in 1887. In the published collections, Rossetti writes in line twelve..."was blown abroad on gospel-tongues of flame." In this handwritten copy he writes "was blown abroad upon swift tongues of flame." It is known that Rossetti often wrote out slightly differing versions of his sonnets. Written on one side of a 4 3/4 x 7 1/8 piece of paper torn from a larger sheet, which has an embossed stamp at lower left edge that reads "best quality." Mounted on sheet of archival paper and protected by acetate. In very good condition. AUTO/102814. Very Good.
London: Ellis and White, 1881. Hardcover. First Edition. AN EXCEPTIONAL ASSOCIATION COPY. Inscribed by Dante Gabriel Rossetti: "To Frederick Leyland from his friend D.G. Rossetti 1881." Rossetti died the following year. Leyland was Rossetti's most important late patron. Frederick Leyland (1832-1892) was a Liverpool shipping magnate and major art collector. He had a collection of paintings by the Pre-Raphaelites and from artists of the Aesthetic Movement, as well as an important collection of Italian Renaissance paintings. His collection included Rossetti's “The Blessed Damozel,” “Monna Rosa Proserpine”, and “Lady Lillith.” Rossetti also painted portraits of Leyland and his wife. Other well-known works commissioned by Leyland were “The Beguiling of Merlin” by Edward Burne-Jones, and Whistler's Peacock Room, which was installed in his London house (The Peacock Room may now be seen at the Freer Art Gallery). Bound in original green cloth with gilt flower and lattice design by Rossetti on covers and spine. There is spotting to the preliminary leaves and at the end of the book, including on the inscription page, but this does not obscure the inscription. Closed half-inch margin tear to page 327. A very nice copy in very good plus condition. Housed in a modern green cloth clamshell box. 335 pages plus one page ad. PRERAPH/052213. Very Good.
London: F.S.Ellis, 1870. Hardcover. A fine association copy inscribed to Arthur Hughes from Rossetti. The inscription reads: “To Arthur Hughes, from his friend, Dante Gabriel Rossetti, April 1870.” These men were two of the most important artists of the Pre-Raphaelite movement. This is one of only a few copies personally inscribed to Rossetti’s close friends (see D.G.R. Letters to Publishers). Bound in dark green cloth boards with gilt title to spine. Attractive gilt floral decoration by Rossetti to spine and boards. Minor wear to edges and slight discoloration to boards. Clean, bright interior with decorative end pages and a tight binding. Housed in a black cloth covered clamshell box with gilt label to spine. 282 pages plus 4 pages of advertisements. Very Good condition. PRERAPH/102006. Very Good.
[London]: . Rare. This is a single leaf, with the poem dated "D.G.R. 1859" below the text. The sonnet was printed as part of the proof process for Rossetti's Poems, published in April 1870. Rossetti decided not to include the poem after all because of its erotic nature and reference to prostitution. Thus the poem was written in 1859 but not published until 1904, many years after Rossetti's death. William Michael Rossetti, in his Bibliography of Dante Gabriel Rossetti (1904) considers this as a separate item of importance. There are only four copies in Worldcat (Lilly, Princeton, Texas, and Huntington). Two tiny chips on right side of page else in very good condition. Although there is no evidence with this item of its provenance, it is supposedly from the collection of William E. Fredeman, the Pre-Raphaelite bibliographer and collector. PRERAPH/120114. Very Good.
Dania Beach, FL: Claire Jeanine Satin, 2009. A unique book created as part of a series about Venice. The book artist describes this beautiful and mysterious work as an homage to the city of Venice, Italy, where she was awarded three residencies in 2009, 2012, and 2015. During these residencies, she pursued her research on the waters and gardens of the city. Following her residencies, in addition to her books about Venice, she produced two short videos: "The Waters of Venice: Remembering Henry James" and "Water Veils". The MAPPA ANTICA VENEZIA images are printed on transparencies, with embedded monofilaments and small crystals on the filaments or embroidered on the pages. Images of the churches of Venice are printed on the side edges of two of the pages with metallic overlays. Claire states: "PENTIMENTO refers to the idea of reappearences manifested by employing the use of transparency, multiplicity, interpenetration. These factors result in the concept of indeterminacy influenced by my association with John Cage whom I met in 1979." A native of Brooklyn, Claire Jeanine Satin's talent was first recognized when she was just 8 years old. After high school she continued her education at Brooklyn Museum of Art School and Sarah Lawrence College. Her mentor, Theodore Roszak, shepherded Claire into the MFA program at Pratt Institute, and recommended her for a Louis Comfort Tiffany Foundation grant in sculpture, which she was awarded. In the late 70s, while teaching in the Art Department at Broward Community College (now Broward College), she met the composer John Cage, and also the minimalist composer Steve Reich and the avant garde filmmaker Stan van der Beek. Claire became a follower of Cage's theories and his concept of indeterminacy and her work has been largely devoted to the concept of chance/indeterminacy, allowing this idea to take precedence over other pursuits of art-making in bookworks and related objects. To date, she has created 250 bookworks. Her work can be found in numerous international collections including: The Library of Congress, the National Museum of Women in the Arts, The Getty, MOMA, The Victoria and Albert Museum, National Institute of Design (India), and The King Stephen Museum (Hungary). Book Size: 11 x 13 inches open. ARTISTSBOOK/030118. Fine.
New York: The Harry T Thomas Company, 1896. One of 540 copies of the scarce Autograph Edition signed by the author/artist. Francis Hopkinson Smith (1838-1915) was an American author, artist and engineer born in Baltimore, Maryland, a descendant of Francis Hopkinson, one of the signers of the Declaration of Independence. He became a contractor in New York City and did much work for the Federal government, including the stone ice-breaker at Bridgeport, Connecticut, the jetties at the mouth of the Connecticut river, the foundation for the Bartholdi Statue of Liberty in New York harbor, and the Race Rock Lighthouse off New London, Connecticut. His vacations were spent sketching in the White Mountains, in Cuba, in Mexico, and afterwards in Venice, Constantinople and Holland. He published various volumes of travel illustrated by himself, including this work on Venice [Wikipedia]. This beautiful large folio is extensively illustrated both in color and black & white. There are 20 full page color plates and 21 in b&w, all protected by tissue guards. In addition there are numerous color and b&w text illustrations throughout the book. In his preface Smith wrote that his aim was to describe and depict the beauties of Venice that one sees in the sunlight of a summer's day. Bound in contemporary brown three quarter leather with marbled paper boards and endpapers. Leather is scraped and scuffed, with tear along top of spine. Paper boards are also scraped and worn. The interior pages are quite clean and bright. There is a margin stain on the free front endpaper but the rest of the book is very good plus. A very desirable copy of this homage to the magical city of Venice. 140 pages plus plates. This is very heavy book that will require extra postage. ART/012319.
Baltimore: John Murphy & Co., 1853. Hardcover. First edition. Scarce. The Baltimore & Ohio railroad was the first railway in the United States to be chartered as a common carrier of freight and passengers in 182. The B&O Railroad Company was established by Baltimore merchants to compete with New York merchants and their newly opened Erie Canal for trade to the west. A driving force in its early years was the Baltimore banker George Brown, who served as treasurer from 1827 until 1834 and had Ross Winans build the first real railroad car, the Tom Thumb, the first American-built locomotive to operate in regular service. The first stone for the line was laid on July 4, 1828, by Charles Carroll, the last surviving signer of the Declaration of Independence. The first 13 miles of line, from Baltimore to Ellicott’s Mills, Maryland, opened in 1830. Peter Cooper’s steam locomotive, the Tom Thumb, ran over this line and demonstrated to doubters that steam traction was feasible on the steep, winding grades. The railroad was extended to Wheeling, Virginia (now in West Virginia), a distance of 379 miles, in 1852. In the 1860s and ’70s the railroad reached Chicago and St. Louis. In 1896 it went bankrupt. After it was reorganized in 1899, it grew further, reaching Cleveland and Lake Erie in 1901. In 1963 the B&O was acquired by the Chesapeake and Ohio Railway Company and in 1980 became part of the newly formed CSX Corporation. In 1987 the B&O was dissolved when it merged into the Chesapeake and Ohio. [Encyclopedia Britannica}.Carroll desired to provide this comprehensive history to "redound to the honor of the State of Maryland and the City of Baltimore. Bound in three quarter red leather with the name Edward Hungerford stamped in gilt to front cover. This was his book, with his bookplate on a free front endpaper and his ownership signature in pencil dated 1924. Edward Hungerford (1875-1948) was an American author and journalist whose main interest was railroads, about which he wrote frequently. In 1925, Hungerford approached Daniel Willard, the president of the Baltimore and Ohio Railroad, and offered to write a history of the company, which was shortly to reach its centenary. Willard not only took up the suggestion, but also hired Hungerford to be the B&O's centennial director. Hungerford had seen a railroad celebration in England and created an extravagant exhibition at a park outside Baltimore. The "Fair of the Iron Horse" opened on February 28, 1927, including displays and a two-hour play, Pageant of The Iron Horse. It drew crowds averaging 50,000 a day. "His success in Baltimore became his chief calling card,"He created five more transportation pageants during the 1930s including the Rochester Centennial of 1934, the Parade of the Years Pageant in 1936 in Cleveland; and lastly "Railroads on Parade". The railroad display at the fair, which lasted until 1940, presented steam, electric and diesel engines brought from Canada, England and Italy. The attraction drew 2.6 million visitors during its two-year run. Hungerford traveled annually more than 75,000 rail miles "just for the fun of it." [Wikipedia] The book's red leather is scuffed and slightly bumped, with gilt title and date to spine compartments. The interior pages are clean and bright with light aging to margins. The book was published with a map and six portrait engravings. The map, which has a tear in one panel and a few loose panel seams shows the railroad's route between Baltimore and St, Louis. Three of the six engraved portraits are missing (McLane, Swann, Latrobe) but Brown, Carroll, and Thomas are still present. Still a very good copy of this useful history with important provenance. 200 pages. RAIL/011621. Very Good.
Eugene, OR: 2005. Number 8 of 12 copies. Signed and numbered by the book artist. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her artist’s books involve movable parts, pop-ups and LED circuitry. She is a professor at Lane Community College in Eugene, Oregon, teaching courses in printmaking, artist books and graphic design. Her work has been collected by over 60 public institutions including, the Getty Museum, the Library of Congress and the New York Public Library. Her artist’s books are represented in galleries throughout the United States. She earned her Master’s of Fine Art from the University of Oregon. The text of this book is a quote from Shakespeare's As You Like It: It is ten o'clock: Thus may we see how the world wags: 'Tis but an hour ago, since it was Nin; and after an hour more, 'twill be Eleven : And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot, And thereby hangs a Tale." The poem is printed on eight Stonehenge paper panels and is in an Indonesian palm leaf style construction with sewn thread binding. When untied, the book can be opened to reveal all of the panels and the text. With black corrugated paper covers with grey title label on front. In fine condition. 12.75 x 4.6 inches. ARTISTSB/073118.
Akron, OH: Saalfield Pub. Co., 1936. A charming complete set of five little books about Shirley Temple and her life, published when she was only eight years old and the country's number one box office draw. Each book has a pictorial cover and fourteen pages of black and white photographs of Shirley. The titles are: Shirley Temple Twinkletoes," "Just a Little Girl," "Shirley Temple Little Playmate," "Shirley Temple on the Movie Lot," and "Shirley Temple in Starring Roles." The books are all in very good to near fine condition. Housed in their original box covered with glossy white paper and with a color portrait of Shirley on the front. The box has some wear, soiling, and creases but still very nice. CHILD/110118. Very Good.
Bennington, VT: The Bird Press, 2011. Since 1997, The Bird Press has been an artist-run publishing project that has focused on hand printed artists’ books. All projects utilize some inherent aspect of the book and often take the form of open-ended collaborations with writers. Each project is a response to the last, both in form and content, in order for the work to continually evolve. Poetry, broadly defined, is a major inspiration for most of the work. Editions between 15-40 utilize various print media including: flatbed offset lithography, stone lithography, etching, letterpress, wood blocks, and digital pigment printing. Book artist Thorsten Dennerline creates paintings, drawings, and prints in addition to artists’ books. He has exhibited work across the U.S. as well as in Chile and Denmark. His work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark).Number 23 of 25 copies. Signed and numbered by the book artist. According to the artist: “Some time ago I suddenly got the urge to make a book about tattoos. I decided to think about tattoos not just as pictures or designs, but to consider them more broadly (scars, living drawing marks, body adornments, rites of passage, magic to improve the body’s function, ways to relieve or relive pain, signs of bravery, remembrances, cultural signifiers, or tribal/ group markings). I also thought of the idea of drawing on skin and marking its surface as a way to be aware of it as a three-dimensional picture plane (with psychological implications). I have to admit that the association with crime and other ‘bad’ things was enticing to me as well. This book of tattoo proposals is simply a non-linear document of my own thinking about these ideas.” Japanese style stab binding in black cloth wrappers with red print to front cover. The illustrations are printed from woodblocks and the text is letterpress printed from polymer plates on handmade Richard de Bas paper. Housed in a black and white printed paper folding case. Oblong, measuring: 15.25 x 5 inches. In fine condition. ARTB/032417. Fine.
(London): Sadie Coles HQ, (1997). Paperback. Number 29 of 50 copies. Signed by both authors on title page in pencil. A collection of fifty love poems by English artists Thomson (1966) and Lowe (1967), who are known best for their humorous and sometimes offensive installations pieces. Their work often involves recreating elements from historical artworks by using everyday objects such as cigarettes or whiskey bottles to make statements about popular English culture. Fitting with their visual art, these poems are terse, crude, and very funny. They poke fun at the seriousness of the love poetry genre with verses like: "Tonight I want you more, than any other, it's crazy I know, after you left me for, me brother." The poems are printed in black ink on fine paper and are housed in a black paper covered box titled in silver on the front panel. Unpaginated. [51 pages.] ARTB/081914. Fine.