London: William Heinemann, 2013. Hardcover. Laurence Binyon (1869-1943) was a prolific English poet and scholar of the late 19th and early 20th centuries, whose career spanned 50 years. During this time, he authored numerous poetry collections and plays, two historical biographies, and several art history volumes, including books on the works of Asian artists, English watercolorists, and William Blake’s drawings and engravings. He is perhaps best remembered for his World War I poem, “For the Fallen,” and his translation of Dante Alighieri’s Divine Comedy, which he translated in its original terza rima, a remarkable undertaking much admired by Ezra Pound, T.S. Eliot, and other younger poets.[Poetry Foundation] This first edition of his poetry is accompanied by a charming tipped in handwritten letter dated December 2, 1913. He writes: "Dear Sir, I feel it an honour to comply with your request, & have written out a little poem from my just published volume [this work], which I hope may not be unsuitable for your purpose. I was particularly glad to get your letter because the reviews one gets in the newspapers are apt to make one feel that what has been written with all one's heart means nothing to the public; & besides I am much dissatisfied with my work & wish often I could make an entirely fresh start. To get a letter like yours is a reminder that there are people who prefer to encourage rather than discourage & that there are others besides the few I know for whom it is worth while printing what one writes. So it is I who thank you - Believe me Truly yours Laurence Binyon. P.S. I should have sent this at once but it is difficult to get a moment's leisure." The letter has offsetting on the front page but it clear and legible in Binyon's attractive handwriting. Bound in brown cloth with faded gilt titling to spine and front cover. The book has some darkening to the covers and light bumping. Interior pages are clean with offsetting and light foxing to the preliminary and rear free endpapers and title page. . Very good condition. Measures 5 x 7.25 inches. 97 pages. POET/051721. Very Good.
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New York: Frederick A. Stokes Company, . Hardcover. A beautiful copy of Barrett Browning's romantic Victorian poems in an ornate publisher's design binding. The collection of her poems and sonnets, including her famed Sonnets From the Portuguese, appears to be comprehensive. With numerous black and white illustrations and vignettes throughout by Canadian artist Frederick Gordon. Bound in dark green cloth with elaborate gilt and silver designs on the spine and along the top and bottom edges of the front cover. In the middle of the cover is a framed silver label with "Mrs. Browning" in gilt. The binding is near fine with the slightest bumping to corners of covers. All edges gilt. Interior is clean and bright with gift inscription dated 1898 on free front endpaper. A wonderful gift for lovers of fine bindings and/or Victorian poetry. Near fine. Measures 5 x 7.5 inches. 528 pages. POET/031821. Near Fine.
London: Printed by T. Bensley for Vernor and Hood et al, 1799. Hardcover. Hudibras is an English mock-heroic narrative poem from the 17th century written by Samuel Butler. Published in the aftermath of the English Civil War, it is a scathing satire of Puritanism and the Parliamentarian cause from a Royalist perspective. This later edition is enhanced by the annotations and preface by Zachary Grey, and the 16 engraved plates after Hogarth. Bound in handsome three quarter reddish brown leather with red and cream marbled endpapers. Light bumping and rubbing to leather but very good condition. The interior pages are heavily foxed throughout the two volumes although the text is still quite legible. Interior is only good+. Volume I: 434 pages; Volume: 446 pages plus index. POETRY/031721. Good +.
Ireland: Gallery Press, 2002. Hardcover. A review copy with slip taped to front free endpaper. Fine in black cloth boards with gilt title to spine. Clean and bright. In grey jacket with blue title to spine and front panels. Minor wear to edges of jacket with minor rubbing to panels. 74 pages. POE/031221. Fine / Very Good.
New York: D. Appleton & Co., 1856. Hardcover. A sweet gift book with twenty charming b&w text illustrations by Wehnert. Bound in embossed red leather with gilt titling and design to covers and ornaments on spine. Leather is rubbed, chipped and bumped. Marbled endpapers and a.e.g. Thirty numbered text pages with blank leaves interspersed. Pages are generally clean and bright. Ownership signature on free front endpaper. Bookseller tickets on front and rear pastedowns, and ownership label also on front pastedown. Small octavo. Very good condition. POETRY/072621. Very Good.
London: Elkin Mathews, 1891. Number 45 of 50 copies of the large paper edition, signed and numbered by Louise Chandler Moulton, who wrote the biographical preface. This lovely book gathers poetry written by the sad and talented Philip Bourke Marston (1850 - 1887). At age three, he partially lost his vision. For many years he maintained enough vision to see, but in later years he lost his sight completely. His skills in verbal expression and melody were soon manifested in poems of remarkable merit for his years, and displaying a power of delineating the aspects of nature which, his affliction considered, seemed almost incomprehensible. Marston was intensely happy for a time in the affection of Mary Nesbit. The death of his betrothed from rapid consumption, in November 1871, devastated him, and was the precursor of a series of calamities which produced the morbid element in his views of life and nature.In 1874, a friend, Oliver Madox Brown, died suddenly. In 1878 Marston lost with equal suddenness of his beloved sister Cicely, His surviving sister, Eleanor, died early in the following year; her husband, the poet Arthur O'Shaughnessy, followed shortly. In 1882, the death of Marston's chief poetic ally and inspirer, Dante Gabriel Rossetti, was followed closely by that of another kindred spirit, James Thomson, who was carried dying from his blind friend's rooms. Marston's poetry became sorrowful and melancholy. The idylls of flower-life were succeeded by dreams of sleep and the repose of death. These qualities and gradations of feeling are traceable through his three published collections. [Wikipedia] Marston's poetry was collected in 1892 by Louise Chandler Moulton (1835-1909), a loyal friend, and herself a poet. In her biographical essay of Marston in this volume of his uncollected works, she writes movingly of his tragic life, praises his poetical gifts, and offers this book as a tribute to all Marston was and could have been. Bound in original vellum backed brown paper boards with printed label on spine. Darkening to spine label and bumped corners but still nice. Interior pages in very good condition with a little creasing to top of last few pages. Bookplate of collector Mark Samuels Lasner on front pastedown. Octavo. 147 pages. POET/042321.
London: Macmillan and Co., 1878. Hardcover. First edition. Author's presentation copy, inscribed to Herbert Edwin Clarke with manuscript verse about friendship and love on front and rear free endpapers. Louise Chandler Moulton (1835 - 1908) was an American poet, storywriter and critic. Contributing poems and stories of power and grace to the leading magazines, Harper's Magazine, The Atlantic, The Galaxy, the first Scribner's, she also published a half-dozen very successful books for children that were considered popular in their day. Moulton went abroad almost every summer. Every winter, she was back in Boston, where her house was a center of literary life. She was the friend of Henry Wadsworth Longfellow and John Greenleaf Whittier and Oliver Wendell Holmes Sr. among many others. She was on pleasant terms with Sir Walter Besant, William Sharp, Mathilde Blind, Holman Hunt, Coulson Kernahan, John Davidson, Kenneth Grahame, Richard Le Gallienne, Anthony Hope, George Meredith, Thomas Hardy, and Alice Meynell, as well as Christina Rossetti and William Morris [WIkipedia]. Herbert Edwin Clarke, born in 1852, published four collections of poetry between 1879-1896. His work appeared widely in English and American magazines. A lovely copy bound in original green cloth with gilt rulings to front cover and gilt titling to spine. Slightly bumped on corners and spine edges. Hinges weak but text block tight. Interior pages clean and bright with light aging. With bookplate of collector Mark Samuels Lasner on front pastedown. Very good condition. Measures 4.75 x 7 inches. 140 pages. POET/042721. Very Good.
New York: Frederick A. Stokes & Brother, 1888. Hardcover. First edition of an early work by the poet. Clinton Scollard (1860–1932) was an American poet and writer of fiction. He was a Professor of English at Hamilton College. Scollard has been characterized as a minor poet but a fine technician. He knew himself to be a fine craftsman, able to fashion delicate lyrics that forbear contemplative weight for perfection in form. His verse delights in the natural world, in small incidents that are honed to perfection. It is easy to view him as a Frost without the philosophy [Wikipedia]. This volume has a tipped in handwritten note from Scollard dated November 12, 1886 thanking the unnamed recipient for the honor bestowed upon him by the Literary and Historical Society of his city, also saying that he could not provide a photograph of himself that he found satisfactory. Bound in three quarter brown leather with marbled paper boards and endpapers. Leather is scuffed, bumped and rubbed, and the boards are also scuffed. Gilt tilting to spine. Front hinge is tender and there is a small library stamp on the title page. No other library markings. Text pages clean. Several pages unopened. Very good condition. Measures 4.25 x 6.25 inches. 174 pages. POET/051821. Very Good.
London: Printed at the Chiswick Press for George Allen, 1897. Hardcover. One of 1000 sets on paper (there were an additional 28 on vellum).A magnificent edition of The Faerie Queene with Crane's glorious illustrations. Walter Crane (1845-1915) was renowned as an illustrator, artist, decorator, and designer during his career. This was Crane’s most elaborate and extensive commission as a book illustrator. It was inspired by the revival of the private press, particularly the Kelmscott Press, as well as by the transition from Art Nouveau to Arts and Crafts, and by the importance of the illustrator in book production, bound white cloth, with gilt spine lettering plus a large Art Nouveau design in gilt stamped to the front boards. This was originally issued in 19 parts, and all of the original salmon colored pictorial front wrappers are bound in. There are 88 mostly full page (one double page) black on white and white on black illustrations and 132 head or tail pieces, all from woodcut designs by Crane. The boards show very light wear and spines are slightly darker than covers. The texts are very tight throughout with front hinge to volume I somewhat cracked. Pages with some light aging to the margins and just a few have a light speckle. All volumes are in very good or better condition. 1546 pages. PRI/ 042821. Very Good.
San Francisco: Terry Turrentine, 2020. One of ten copies, signed by the photographer and book artist Terry Turrentine Two copies are artist's proofs and one is a handling copy. Although she grew up in a family whose traditions included guns and hunting, as an adult Terry became an esteemed artist and wildlife photographer, specializing in capturing spectacular photographic images of birds. Her previous artist's books were of snowy owls, egrets, and gannets. This latest work offers magnificent images of falcons and a message of hope at this challenging time in our history. She writes in her colophon: " Widening Circles celebrates the ferocious beauty of the falcon, and the interdependent relationship of all beings to each other. Some may see the portraits of falcons in their protective hoods as disturbing. But those familiar with the ancient art of falconry know the hoods are a means to protect the bird from the assault of outside stimuli, as they are extremely sensitive to light, sounds, color, and motion. This is why falcons are such fearsome predators. All predators and their prey maintain the balance of nature and are essential for the world as we know it to exist. It is the natural order of things that there is destruction and rebirth in every second of every day. The ultimate predator, mankind, however, often abuses the privilege of living off the resources of this planet, and upsets the natural balance, causing extreme destruction. As a result, we are witnessing a death spiral of the climate, of the social order, and of the basic balance we need to survive as a species." Terry says of the Rilke poem, "Widening Circles," printed in the book in both English and German: "Over 100 years ago, this was also the observation of Rilke, as he saw the degradation of some of the cities he visited. He could only find solace in God and the wonder of nature - and he dedicated his timeless love poems to both." She concludes: "Life, death, and renewal - each stage is fluid. I believe the sublime gift of living is its constant change, its eternal cycles, and our capacity for transcending destruction through creativity." The credits for this beautiful production: Photographs and creative direction by Terry Turrentine; Book and text design by Dana F. Smith; Editorial consulting by Susan Gangel; Typography and letterpress printing by Dina Pollack; Bound by John DeMerritt Bookbinding; Images printed at Electric Works by Noah and Kris Lang. The stunning images are printed in brilliant colors against a black background, with a line from the poem appearing on each page out of the dark background. The work is housed in a custom black cloth box with a red leather cover. Measures 10.5 x 14.5 x 1.5 inches. In fine condition. ARTISTB/052621.