Milan: Giovanni Pirotta, 1818. Hardcover. A beautiful version of this great Italian epic poem that first appeared in 1516. It takes place against the backdrop of the war between Charlemagne and the King of Africa, and has many fantastic and magical elements. It was a big influence on later works of literature, including Spenser's Faerie Queen and Shakespeare's Much Ado. Very good in full leather with repairs made using Japanese paper to both joints. The edges of this tissue are coming loose. A small section of modern leather has been added to the front board where there had been a chip to the original leather. The new leather has been tooled and dyed to blend with the original. Light cracking to leather with minimal board-wear. Despite the noted repairs, this is a nice, attractive copy with strong, tight spine and clean interior. Marbled end pages. Bookplate to front end page. In Italian. Folio. ITA109201. Very Good.
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London: Chiswick Press [Privately printed], 1888. Paperback. First Edition. Scarce. Presentation copy inscribed "To F. Coylestone with best wishes T. Ashe Feb. 1888." Thomas Ashe (1836-1889) was a minor English poet who was admired by some, including Michael Field, but his work was not popular with his generation. He has risen far enough to be included in many recent anthologies of mid-to late- Victorian verse. In original paper wrappers. Covers stained, creased on right corner, and chipped along edges. Hinges tender but text block is tight and clean. Very good condition. 84 pages. POE/102714. Very Good.
London: Elkin Mathews, 1891. Crane, Walter. Hardcover. Number 121 of 150 copies of the copies for America. 350 copies were published for England. This lovely and scarce volume is Crane's only book of poetry. It includes 39 black and white designs by Crane that were engraved by Emery Walker, W. Boutall, or Arthur Leverett. Bound by Putnam's & Sons in three quarter brown leather and cream paper boards, with Art Nouveau style gilt design and title to spine. Very light rubbing to joints and edges of covers otherwise very good. Some spotting to paper boards, including a very small red mark on back board. Interior text and illustrations are bright and clean except for some mild aging to some margins and the fore edge. White ribbon bookmark. Leather on interior pastedowns have left brown offset to ffep. t.e.g. Previous owners signature in ink, inscription by original owner and embossed owner stamp on ffep. These do not detract from the delightful contents. 163 pages +1 page ad. POE/043008.
Freeville, NY: Carol Schwartzott, 2007. Hard Cover. Number 24 of 25 copies signed and numbered by the book artist. This is a particularly beautiful version of the famous Rubaiyat. In her artist's statement Schwartzott writes that as a collector of Rubaiyats she began to toy with creating her own version in 2006. "The book is divided into seven segments, each separated by a divider of hand-marbled Japanese paper. The first contains the title page and introduction and the last an artist's statement, bibliography and colophon. The remaining five are dedicated to the seventy-five quatrains of FitzGerald's first edition. Each contains a vellum window, reminiscent of a Persian archway that opens to reveal my version of a miniature painting." Bound in light blue Japanese cloth with an intricate wood cut out to front board. The pristine interior was laser printed with archival ink onto Mohawk Via vellum and Moab Entrada paper. The prints were then finished with color pencil, paint, gold and silver leaf. Housed in clamshell box covered in the same cloth as the book. In fine condition. Unpaginated. ARTB/120219. Fine.
Chicago: Herbert S. Stone & Co, 1896. Hardcover. First American Edition. Tipped-in is a one page autograph letter on the author's printed stationary to the book's then owner, the author and book collector Thomas Hutchinson, on his own writing and books - an interesting autograph letter with good literary content. In maroon linen covered boards with highly decorated elaborate gilt Art Nouveau binding by Frank Hazenplug with gilt author and title stamp to spine. Minor bumping to corners and head/foot of spine, small smudge to design on front cover. Interior is clean and bright with decal edge to pages. Frontis photograph of Le Gallienne. Hutchinson's handwritten ownership signture on front pastedown. Very good condition. 201 pages. POE/121613. Very Good.
[London]: [late 1800s]. A very scarce collection of Lushington's privately printed writings. All were printed by the Chiswick Press. Vernon Lushington (1832-1912) was an English solicitor, a Positivist, an associate of many famous writers and artists, a friend of the Pre-Raphaelites, and the father of the model for Woolf's Mrs. Dalloway. He remains virtually unknown today, but recently available family archives reveal how interesting and important figure he was. It was Lushington who arranged the first meeting between his friend Dante Gabriel Rossetti and Edward Burne-Jones. He contributed to The Oxford and Cambridge Magazine and remained a long-time friend of William Morris, often visiting Kelmscott Manor. There was also a close connection between the Lushington and the Stephen family. After his wife died, Lushington's three daughters were taken under the wing of Julia Stephen, wife of Leslie Stephen, and mother of Virginia Woolf. The eldest daughter, Kitty, became the model for the eponymous heroine of Woolf's novel Mrs. Dalloway. Lushington's views on Positivism, politics, and literature are clearly evident in the occasional poetry he wrote and had printed by the Chiswick Press. This collection comprises: 1) Positivist Hymns, London, 1885. First edition. Original wrappers. 60 pages. 2) Moses. [London n.d.] First edition. Original wrappers. 28 pages. 3) St. Paul. [London, n.d.] First edition. Original wrappers.17 pages. 4) Sonnets on the Positivist Calendar. [London, n.d.]. Original wrappers. 5) Good for Evil: or a Marriage in Kensington Square. [London, n.d.] 7 pages. 6) Remembered Words. [London, n.d.]. Original wrappers. 27 pages. 7) A Slab Tomb in Rome [London, n.d.] 12 pages. 8) Prophetic. [London, n.d.]. 2 pages. Some light wear and browning to the wrappers but still very good copies of such fragile publications. POE/103014. Very Good.
London: William Rider and Son, Ltd, 1899. Hardcover. First Edition. This is the author's uncommon second book. Very good in original white parchment covered boards with gilt title to spine and front board. The elaborate gilt cover with floral and geometric design is by Gleeson White. Browning to spine and rubbing to spine and boards. Minor wear to joints. Signed by the previous owner in pen on the front pastedown; otherwise, the interior is clean. An attractive copy of a scarce book. 123 pages. POE/062910. Very Good.
London: Ellis & Elvey, 1904. Hardcover. 7 of 30 numbered copies with the plates on Japanese vellum. 25 copies were for subscribers and 5 for presentation. A lovely set bound in full vellum. teg. Slight soiling to gilt on fore-edge of Volume II.Beautifully printed, with 18 full page illustrations and frontispieces from Rossetti's paintings and drawings. Each is protected by a tissue guard giving the name of the work. It was noted by bibliographer Colbeck that the poem "After the French Liberation of Italy" was being published for the first time. Vellum binding is in very good condition with just the lightest signs of handling. Gilt title and author to spine, and Rossetti's own design of his initials on front cover. Interior is pristine. Bookplate of Frederick William Brown affixed to each front pastedown. Original blue ribbon placemarks present. Housed in modern green cloth slipcase. Volume I: 227 pages; Volume II: 245 pages. PRERAPH/070910 This set may require an extra shipping fee. Fine.
[Seattle]: Sea Pen Press, 1988. Hardcover. Number 97 of 100 copies. Signed by the author. Thomas Brush is an award winning Seattle poet who has written several books and for several distinguished journals. He tended bar for four years at a Seattle racetrack several years ago and found it an enchanted place that values possibilities and dreams. This influence is evident in the poems included in Even Money. This interesting production from the Sea Pen Press has a blue handmade light-and-shade watermarked paper covers that are sewn in a non-adhesive concertina fashion to the text. The orange and brown decorated endpapers were created by Neal Bonham of the press using colored paper pulps in a decorative technique that he developed. There are five linoleum cut illustrations by Suzanne Ferris that "capture the linear poetry of the thoroughbred world" (prospectus). The book also has images of racetrack betting tickets decorating the title page and colophon that were created by transferring Xerox images to linoleum. The text is printed in Monotype Janson and the title page is printed with Weiss Initial Series 2. The book is housed in a coarse tan linen covered clamshell box with blue borders and ticket images on the front cover. Both the book's binding and the case were designed and constructed by Judith L. Johnson. In fine condition. Book is 9 x 11.5 inches. Case measures 10.25 x 13 inches. Unpaginated [21 pages]. PRI/090717. Fine.
[Leicester]: . Paperback. A rare pamphlet printed for the 1881 opening of the hall of the Leicester Secular Society, which is still in use today. The architect, Lamer Sugden, who was a close friend of William Morris, designed the hall. This pamphlet contains a five-page poem written for the occasion by James Thomson (BV) and was delivered by the actress Mrs. Theodore Wright. James Thomson (1834-1882) is best known for his long poem, "The City of Dreadful Night." The poem he writes for this occasion is a hymn to secularism. Mrs. Theodore Wright was a famous actress in her day and was the wife of a member of the Fabian Society. Printed on cream paper with red design and lettering to front cover. Sewn as issued, with spine splitting. Soiled and spotted but still very good condition. 5 x 8 inches. 8 pages. POE/052313. Very Good.
Newfoundland: walking bird press, 2018. One of 120 copies. Facades for Mark Rothko is a poem in eleven parts by writer, proprietor of the Barbarian Press, and some times actor Crispin Elsted, accompanied by a ‘Note About the Poem’ by the poet. The beautiful and densely layered poem creates a connection between the Rothko paintings seen by Crispin in the Tate Modern and his experiences in the outside world–a stile between fields, as he states in his notes. Rothko once described his paintings as facades, and the there are enigmatic illustrations representing his facades. Bound in lovely lightly gilt cloth with the title in relief on the cover. The text is hand-set in Van Dijck monotype cast by Michael and Winifred Bixler and printed on Zerkall Book Laid. Maple blocks for the monochrome "facades" were cut type-high by Ken Holden. Jerry Kelly penned the calligraphic title; Brian Roberts executed the covers and casing-in. Book design, letterpress printing, and stitching were completed by Tara Bryan, a proprietor of walking bird press. A recording of Crispin Elsted reading this and other poems comes with the book as a digital download. A CD is also being produced. Purchasers of the book can contact Tara Bryan for the download key for the digital download of Crispin's recording of the poem (www.tarabryan.com). Measures 8.50 x 12.25 inches. Includes prospectus. In fine condition. Unpaginated. PRI/120318. Fine.
New York: Charles Scribner's Sons, 1929. Hardcover. First edition. This “is not at all the conventional collection of poems, but consists of very diverse material given unity by the pervading sense of an unusual personality. Although written for the most part in the established forms, the poems are intensely modern in tone and method. They have at times an astonishing effect of giving back the sensation of reality, and an emotional force all the greater because of their restraint, their outer serenity and perfection” (jacket). Bound in quarter black cloth with brown paper covered boards titled in gilt on front cover. Upper corner lightly bumped, otherwise fine. In a white and blue dust jacket titled in blue on the spine and front panel. A few short closed tears to edges of jacket and minor browning to spine panel. A bright, fresh copy, uncommon in this condition. 78 pages. POE/110216. Fine / Very Good.