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.
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London: Printed for R. Dodsley in Pall-Mall and sold by M. Cooper, 1751. Hardcover. First edition of this mock-heroic satirical poem filled with literary jokes and social criticisms. The hero is Martinus Scriblerus, a persona created by Alexander Pope, John Arbuthnot, and Jonathan Swift used to publish satirical writings. In modern full leather binding by S. Russell Hawe of Lorton, VA from the late 1980s. This collection of six books includes a frontispiece illustration of a satyr (representing Comic Poetry) who has overthrown the Sphynx (representing False Science). Each of the six books also includes a frontis, making a total of seven full page engravings. Red and gilt title label to spine with raised bands and faded gilt decoration to compartments. Engraved title page. Minor foxing to interior, but clean overall. Seperate pagination: xvi, 31, 31, 31, 32, 32, 27, [8 page index]. POE/072423. Very Good.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 13 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/011520. Fine.
Toronto: Cheshire Cat Press, 2023. Hardcover. Number 20 of 42 copies. Signed by Tannenbaum, Richards, Malcolm, and Walker. Quarto. A parody of Lewis Carroll's "Hunting of the Snark", written during the COVID-19 quarantine, that involves an expedition to cure infectious diseases by procuring a tissue sample from the elusive Snark, which is said to have immunity to all germs. Unfortunately, all but one of the crew members takes ill and dies from one of the diseases they set out to cure. Includes the Snark Map and a table of diseased crew members. The author of the introduction, which discusses infectious diseases during Carroll's lifetime is Catherine Anne Richards (1963). She is a retired English paediatric surgeon with a passion for Carrollinia. The author of this parody, Alison Crane Tannenbaum (1946), is a neurobiologist that spent most of her career in biomedical research at the National Institute of Health. Bound in red cloth boards with leatherette title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper by George Walker and Andy Malcolm. With wood engravings by Walker, made from end grain end grain maple wood. The engravings of each crew member are underprinted with engravings based on photographs of viruses, which were provided by the author. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 54 pages. PRI/030923. Fine.
Portland, OR: Anne Greenwood, 2016. Number 2 of 12 copies in the special edition portfolio signed and numbered by the book artist. There were also 138 copies of the chapbook. This beautiful and complex work was inspired by the poetry of the Portland poet and seamstress Hazel Hall (1886-1924) and pays homage to her to writings and resilience. She survived either scarlet fever or a fall at the age of 12 and used a wheelchair for the rest of her short life. The poems are republished by permission from The Collected Poems of Hazel Hall. From the colophon: "The special edition portfolio is made of crinoline; it is machine sewn, hand-dyed in fustic, and pressure-printed with machine-stitched text from poems originally written by Hall and then pieced together by Anne Greenwood. The chapbook cover is machine-stitching on crinoline; the under print is pressure-printed, hand-stitched embroidery with pochoir and the book is hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Greenwood and Shannon Ayuyu pressure printed on washi paper. The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand stitching and pochoir. The applique: the moon is pressure-printed, found, hand-made doily, and the poem Loneliness is written by Hall and printed with a polymer plate. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The printing is all by Clare Carpenter (2016) in Portland, Oregon." Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us." When the tapestry is folded the work measures 8 x 12.25 inches. In fine condition. ARTISTB/031819. Fine.
New York: Farrar Straus Giroux, (1984). Hardcover. First American trade edition. INSCRIBED and signed by the author, dated May 1985. "This version of 'Buile Suibhne' is based on J.G. O'Keeffe's bilingual edition, which was published by the Irish Texts Society in 1913" (jacket). Bound in tan cloth over light green paper covered boards wiht gilt title to spine. Minor browning and wear to edges of boards. Clean and bright interior. In light green dust jacket with red title to spine and front panels. Fading to jacket on spine panel and along top edges of front and rear panels. Minor wear to edges of jacket and minor rubbing rubbing to panels. 85 pages. POE/070522. Very Good / Very Good.
Maplewood, NJ: Olchef Press, 2020. Number 12 of 55 copies. Signed by the poet and signed and numbered by the book artist, Sydney Jean Reisen. Reisen studied at Rutgers and at the Corcoran College of Art and Design. Her books can be found in several collections nationally including the Library of Congress, the Brooklyn Museum, and the Getty Institute. Poet John Yau (1950 - ) has published over 50 books of poetry, fiction, and art criticism. His first book of poetry was published in 1976. Since then, he has won acclaim for his poetry’s attentiveness to visual culture and linguistic surface. In poems that frequently pun, trope, and play with the English language [Poetry Foundation]. Catullus (c. 84 – c. 54 BC), was a Latin poet of the late Roman Republic who wrote chiefly in the neoteric style of poetry, focusing on personal life rather than classical heroes. His surviving works are still read widely and continue to influence poetry and other forms of art [Wikipedia]. This lovely book marries Yau's evocative poem to Reisen's thoughtful and beautifully executed artist's book. She writes in her prospectus: "If Catullus is going to sail to China he better have a boat that floats. John Yau’s words take a poet to his destination, but words are impermanent. Printing, in particular letterpress, give words physicality, it forms and protects them. Printing creates text. It was the mission of this book to not impede the words’ journey by making sure the text was equally seaworthy. First, there needed to be a sea. The element of water was introduced by the flexible fibers of kozo paper. Kozo was the right substrate, but in turn it created problems of buoyancy. Another characteristic of the paper, transparency, sunk the text into a puddle. To open the route and keep the text afloat, a rig and a crew were implemented. The structure of the book, the materials, and printing techniques were developed to fill these roles. Once the text was secure on the surface, the book granted the text more liberties. It was able to rise and fall, fly and dive as it journeyed eastward. Hopefully the reader enjoys the ride more than Catullus. Nine poems are printed on Sekishu and color kozo from Hiromi Paper and stab bound in a shop-made muslin bookcloth to construct a fluid and strong book. The texts are set in cold metal Bembo in tandem with prints crafted with ornamental letterpress, wood and resingrave block, and pochoir. The applied colors are distemper inks derived from historic recipes for preindustrial wallpaper production." Housed in a black archival box with a white spine with black titling. In fine condition. Book measures 6 x 7 inches; Box is 7 x 8 inches. ARTB/092821. Fine.
Amstelodami, Typis Danielis Elzeverii, Sumptibus Societatis. 1664. Hardcover. In Latin, this is a new edition of Heinsius's text of 1652 of the poetry of Ovid. A lovely small volume that contains the text of Ovid's first two books, the Amatoria and the Metamorphoseon. Bound in period brown mottled leather with gilt decorations and red label to spine. Expertly restored with dark brown Japanese tissue reinforcing both joints and off-white tissue reinforcing both hinges. Fading to gilt title on spine and there is a closed crack going down the middle of the spine. Original white endpapers with some fading and soiling. Text pages have lightly browned and there is occasional foxing but text is still clean and legible. There is a split between the two volumes but the text block remains firm. With a general title page with a woodcut illustration and an ownership signature, and each book has a title page with Elsevier's printer's device in vignette. Housed in a custom brown leather clamshellbox with gilt titling to cover. A nice copy in very good condition. Measures 2.5 x 4.5 inches. Box is about 5.5 x 3.25 x 2 inches. Volume I: 268 pages. Volume II: 292 pages. CLA/031423. Very Good.
Bennington, VT: The Bird Press, 2016. Number 6 of 38 copies, signed and numbered by the artist and translator. A collaboration between the illustrator / book artist and translator. This is a new translation of the prologue and first part of Mayakovsky's first long poem, originally published in 1915. The Russian modernist poet and cultural icon Vladimir Mayakovsky (1893 - 1930) committed suicide in Moscow 15 years after publishing this piece. According to the translator: "Thorsten Dennerline's twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line's intended meaning and Mayakovsky's rhythm and music. I also attempted to make the poem's diction smooth, accessible, and idiomatically modern to a 21st century American ear." Fascinated with the intensity of Mayakovsky's work and life as well as the historical happenings that influenced him, Thorsten decided to illustrate his work with "monsters." As the drawings developed with layers of ink and detail he "began seeing [them] as bodies, less as monsters and more as physical, mortal, vulnerable beings." Bound in yellow paper wrappers with black title to front cover and binding sewn with red thread along spine. Printed with lithography and letterpress at the Working Dog Press and Horton Tank Graphics. The plate lithographs were printed in sixteen layers of ink. Housed in a grey handmade paper wrapper featuring one of Thorsten's illustrations snaking around the front and rear panels along with another on the inside flap. 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; and his work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark). Size: 8.5 x 7 inches. ARTB/120120. Fine.