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New York: The Grolier Club, 2019. Softcover. A catalog for an exhibition from the collection of Alan M. Klein, held at The Groler Club January 16 - February 23, 2019. This handsome book, designed by Jerry Kelly, offers a valuable picture of the lives and work of these two major American poets who were friends for over 40 years. Klein states that this catalog and the exhibition was his effort to reflect on the these important poets. It includes his essay plus that of scholars, along with the bibiliography of books, articles, and ephemera. Bound in blue paper covers with white titling to cover and spine. Save for a small nick to the top of the spine the binding is in near fine condition. Interior pages are also in about fine condition. Measures 6 x 9 inches. 249 pages. BOB/111623. Fine.
Omaha. NE: Abattoir Editions, The University of Nebraska, 1985. First Edition. Hardcover. LIMITED FIRST EDITION. NUMBER 56 OF 200 COPIES. Olive green cloth with black title to white label on the spine. Label darkened at lower edge, otherwise fine, without printed dust jacket, as issued. In glassine dust jacket. Vietnam War poetry. PRI/102416. Near Fine.
Washington DC: Abstract Orange, 2021. Number 9 of 10 copies of this inventive work by Lauren Emeritz in honor of Emily Dickinson. The artist's statement: "This book was based on the poetry of Emily Dickinson and released on her birthday, December 10th. The book started as visual interpretation of the words 'Hope is the thing with feathers that perches in the soul' with a thing of feathers perched in a box." The simple construction mimics that of a case-bound book, with a spine and fore-edge but it is actually a box. The box is made of basswood and the spine is white birch wood veneer. A gentle wire clasp holds the book shut, but not locked shut. "Inside the box is "the thing with feathers. "The 'thing' is not a bird with a beak and feet, but a grouping of brightly colored orange feathers. They do not represent a specific bird, but rather a fictional idea of a thing with feathers. The feathers are made from cut paper that is scored to looks like feathers and held together by a simple wire. The cover is a bright, glowing yellow with the title in orange letterpress printed type, and a wooden “inlay” with the author's name. This represents that the while the poem is by her and she was the inspiration for the piece, the piece is not just about her, but the idea of hope [artist's statement]." In fine condition. Measures 5.25 x 7.25 x 1 inches. ARTISTSB/041223. Fine.
Washington DC: Abstract Orange, 2019. Number 8 of 36 copies signed and numbered by the book artist. The book was published on May 31, 2019 in celebration of Walt Whitman's 200th birthday. The book artist writes: "The book explores ideas central to Walt Whitman’s Leaves of Grass including transcendentalism, or the inherent goodness of nature, and realism, depicting familiar things as they are. It captures both the complexity and simplicity of nature by juxtaposing dimensional paper grass texture and a quote about nature and wonder. The book is not a reprinting of all of Whitman’s words, but an art object that encapsulates the feeling of Whitman." Her evocative work is done as a box that opens like a traditional book. The inside front cover and back cover are covered with cream paper that includes quotes from Whitman along with his image. Inside of the box/book are several spiky rows of grass leaves crafted from green paper. The box is covered with green paper with the title, author and press name in a lighter shade of green. In fine condition. Measures 5.25 x 7.25 inches. ARTISTB/091123. Fine.
Haarlem, The Netherlands: Carlinaper, 1977. Softcover. [IN DUTCH] Akhenaten was the heretic of Akhet-Aton, rebelling against powerful priests. This is a limited edition of the Dutch translation of Akhenaton's Song of the Sun by Professor A. de Buck, first published in 1938 by the World Library to Amsterdam. This booklet was hand-set, printed and bound by the Carlinaper in Haarlem, using Janson type for the text and Romanee Italics for the introduction. It is printed on Unicorn paper by Van Gelder. The 175 numbered copies were intended for the members of the "de Roos" Foundation in Utrecht. A number of copies were also printed for employees and the archive. This is copy #149. Octavo. Brown paper wrappers. Sunning to top of front wrapper and to spine. Pages are bright and clean. 17 pages, plus colophon. DUTCHLANG/022924. Very Good.
1944. Softcover. [IN DUTCH] Gerrit Achterberg (1905-1962) was a Dutch poet "whose use of surreal language and imagery influenced a generation of post-World War II poets known as the Experimentalists. His verse, traditional in form, is characterized as romantic and metaphysical. He was a linguistic innovator, often coining new words based on the terminology of science and scholarship." (Britannica) This printing of Eurydice is a collection of poems set in the Lutetia typeface by J van Krimpen. The edition is limited to 275 copies, printed on handmade paper, not commercially available, and 275 intended for trade. This copy is #258. Octavo. Light blue/grey paper wrappers with title plate (orange on blue) affixed to front wrapper. Wrapper is separated from text block. Sunning to edges of wrappers and spine, especially top of rear wrapper. Minor bumping to edges. Pages are yellowed but clean. 33 numbered pages, plus index and colophon. POE/022224. Very Good.
Baltimore: John B. Piet, 1881. Hardcover. SCARCE. Good in original red cloth boards with gilt title and decoration to spine and front cover. Covers are dampstained and lightly soiled. There is a large split to binding after front endpage and a few smaller splits within textblock. Front pastedown is loose near hinge. Frontispiece illustration and each poem begins with a decorative initial. Writing in pencil on front endpage, else clean interior. Slight musty smell. 96 pages. POE/121013. Good.
Morelia, Mexico: Ioulia Akhmadeeva and Alternativa Ediciones, 2019. Hardcover. Number 8 of 17 copies, of which three are special copies with sand and shells from each visited place. Signed by the artist. Includes poetic moments and painterly landscapes from Crimea in the Ukraine, Baja in California, Oaxaca and Guerrero in Mexico. Pages of poetry about the sea are printed on translucent paper that has been cut in various shapes to mirror designs within facing paintings. Many pages have elaborate cut-outs of clouds and starfish to create windows. Stab bound in blue yotsume toji silk over white patterned paper covered boards with black title to the front cover. This book was printed using letterpress, silkscreen, and laser printing. Clean and bright. Unpaginated. [48 pages.] Created by Russian born book artist Ioulia Akhmadeeva, who has resided and worked in Mexico since 1994. She is a full professor of the book arts at the university in Morelia, Michoacá. Fine.
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 Queene 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. Folio. ITA109201. Very Good.
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.
New York: Harper & Brothers, 1928. Hardcover. INSCRIBED BY THE AUTHOR. Very Good Plus/No Jacket. 8vo. In black cloth covered boards with gilt title stamp to spine and gilt and blind stamp to front board. Minor fading to spine and slight shelfwear to board edges. Interior is mostly clean and bright with only slight aging to endpapers. Inscribed by author on FFEP. 76pp. POE/051304. Very Good +.
Boston: Little Brown & Company, 1915. LIMITED EDITION. Hardcover. Thin 8vo. Number 340 of 500 numbered copies and SIGNED BY AUTHOR. 3/4 white cloth backed blue paper covered boards with gilt title to spine and front board. Charming illustration of a tree in gilt to front board. Minor browning to spine and to edges of boards. Minor browning to endpages, else interior is very clean. Tight binding. POE/102005. Very Good.
Mission, B.C. Barbarian Press, 2023. Hardcover. One of 108 copies for sale. An additional 20 were hors commerce. This marvelous book is the 52nd book from the Barbarian Press. Its founders Crispin and Jan Elsted write: "We conceived this book as a celebration of our 50 years of marriage and our 45 years as Barbarians. It comprises fifty of our favourite love poems, reaching back to classical Greece and the Old Testament, and forward through the late Middle Ages, the renaissance, and the 18th and 19th centuries to the present day, by twenty-eight poets ranging from the writer(s) of The Song of Songs which is Solomon’s to lyrics by Sappho, to Chaucer, Spenser and Donne, Marvell, Clare, Christina Rossetti, Tennyson and Yeats, to contemporaries Jan Zwicky and Heather Simeney MacLeod, among many others – not forgetting the ubiquitous Anonymous, who contributes five. Eight of Shakespeare’s sonnets form a thematic spine throughout the book. We invited seven engravers who have illustrated our books over the years and have become part of our lives as friends and collaborators to contribute engravings to accompany poems of their choice: Richard Wagener engraved a stunning frontispiece block, while Abigail Rorer, Andy English, Simon Brett, Peter Lazarov, Walter Bachinski, and Graham Williams chose to illustrate poems that range from the Middle English to the contemporary. The type we have chosen for the book is Pastonchi, in its inaugural use here at the press – a graceful, elegant, but little-known face issued by Monotype in 1929, designed by the Italian poet Francesco Pastonchi with the typographer Eduardo Cotti to be used to print an edition of the Italian classics. We are fond of the face. Although it has never been widely used (especially in North America), and has occasionally been criticized by those who fail to respond to its openheartedness, we feel it is ideally suited to poetry, and are delighted to add it to our range of typefaces." The book was designed by Crispin Elsted, who also designed the patterned paper for the binding. Jan Elsted printed the text and the engravings. Apollonia Elsted printed many of the title lines and the cover papers. Bound in half crimson morocco with paper covers at The Mad Hatter Bookbinding Company. Printed on Zerkall ENR White Smooth paper. Each copy is housed in a crimson cloth slipcase with a portfolio containing a suite of seven proofs of the engravings used for the book. In fine condition. Measures 7.25 inches x 10.5 inches. 88 numbered pages + 8 unnumbered pages. PRI/091423. Fine.
Mission, Canada: Barbarian Press and Sperling Printshop, 2023. Softcover. One of 110 copies each accompanied by a handsome original woodcut of a raven, signed and numbered by Edith Krause. This delightful book is a flock of poems on birds by 15 Canadian poets. The book provides a diverting anthology of poems about birds by sixteen contemporary Canadian poets, some of them well established figures, such as Lorna Crozier, Susan McCaslin, Harold Rhenish, and Bill Richardson, and others younger emerging poets. The result is a rich cross-section ranging from the lyrical to the satirical, the humorous to the elegiac. Edith Krause provides an introduction to the project itself; ornithologist Rob Butler, a thoughtful ecological preface; and wildlife biologist Phil Henderson, a short reflection on the relationship between the poems and the birds in the book. Edith’s 26 woodcuts of birds, each representing a letter of the alphabet, provided the core of the project. In addition she created four further woodcuts to accompany the three prefatory essays and an extra poem, and provided a title page block, a selection of woodcut feathers for the endpapers, and a press device. Book artist and proprietor of the Barbarian Press, Crispin Elsted writes about the book: "Early in 2023 we were approached by woodcut artist Edith Krause and poet Susan McCaslin with a ready-made book project in hand for which they needed a printer. It had been many years since we had printed a book for another publisher, and it was a practice we had not planned to renew – especially since we had a considerable list of our own book projects in various stages of planning or production. However, we were struck at once by Edith’s delightful woodcuts of birds, and it seemed to us that the project deserved to be encouraged. Crispin consulted on the design of the book and Jan and Apollonia [Elsted] devised the imposition of the pages and subsequent details of placement and colour. Jan and Apollonia, Edith and Susan sorted out the logistics of acquiring materials and established the nature of the collaboration, and work began." The poems and other texts were handset by Apollonia in Joanna roman and italic type and printed on Hannemühle paper, with help from Kirsten Way and Lea Sanchez Milde, while the lion’s share of the presswork, comprising all the poems and the prose elements, was done by Apollonia, Jan printed the preliminary pages and the second colour title lines. We decided that we would make a departure with the blue paper binding of An Avian Alphabet, and imposed the texts and images so that the pages could be French-folded (i.e. with the fold at the foredge), then stabbed (that is, drilled) and laced into the covers with waxed coloured linen cord in an exposed sewing, and housed in a beige cloth covered slipcase with title label to spine. In fine condition. Measures 6 7/8 x 10 inches. Unpaginated [About 70 pages] PRI/112023. Fine.
La Haye: D.A. Daamen, 1939. Paperback. Number 221 of 500 copies. With full page erotic illustrations by Bantizinger, in a style similar to Matisse. In cream paper wrappers with black title to front wrapper. Tape repair to front wrapper near front joint. Chipping and browning to wrappers and spine panel. A few spots of soiling to wrappers. Clean, bright interior with full page (mostly erotic) illustrations for each of the 12 poems. IN FRENCH. Size: Thin folio. About 13.75 x 9.75 inches. FRE/021323. Very Good.