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Paris Gonin, Philippe 1937-43 (1950) Three quarto portfolio volumes. (i), 174, (i) pp.; (i),154, (i) pp.; (154) ff. Volumes I and II are each one of 750 copies, and Volume III is one of 100 copies. The first two volumes contain the full text and illustrations, printed entirely in black. Volume III consists of a suite of ten first-state proofs on papier du Chine of Maillol's woodcut illustrations and two complete suites of all the blocks, one printed in black and the other in sanguine. Each page of Volume III is stamped with device M in circle and numbered. The entire set is printed on Montval handmade paper watermarked with two different Maillol nudes. Maillol first conceived the idea of illustrating Virgil's Georgics while on a voyage from Greece with Count Harry Kessler in 1908. He continued the project sporadically over the years and then abandoned it completely. It was not until 1937, at the urging of Philippe Gonin, that he resumed the project. The last blocks were delivered in 1944, shortly before Maillol's death, and the project was finally completed on the first day of spring in 1950. Lyrical, simple, and classical in feeling, Maillol's woodcuts represent the best modern interpretation of Virgil's text on farming. The leaves, unbound as issued, are in paper wrappers within chemise of plain boards backed with printed vellum. Each volume housed in a slipcase. There is minor scattered foxing to the volumes as well as some breakage to the top edge of one slipcase, else this is a fine set. (Artist and the Book 175).
New York House of Books 1939 First edition. One of 300 copies. Number five in the Crown Octavo Series includes a brief prefatory remark on this previously unpublished piece by Wolfe's literary executor, Maxwell Perkins. Extremely fine in brown cloth with gilt titling. Original glassine wrapper.
Skokie BLACK CAT PRESS 1976 Translated in the metre of Omar Khayyam's Rubaiyat by W.H. Mallock. 51pp. One of an edition of 249 copies. Color vignettes by Calvin Brazelton. Very fine in gilt-stamped black leather with marbled endpapers. (2 13/16 by 2; 70x50mm.).
London 1902 Octavo. First edition. Inscribed by the author for Theodore Spicer Simson, June 16 1922. Tipped in is a TLs to a Mr. Howe signed by de La Mare identifying this as his first book. Spine slightly rubbed and darkened, dried flower laid in between pp. 92-93 with light offset, else very fine in the original vellum-backed blue cloth. T.e.g. Morocco-backed clamshell box with gilt-stamped spine. Bookplate of W.T. Howe.
Norfolk New Directions 1936 First edition. New Directions Pamphlets, Number One. Two 16mo. pamphlets, being the first and second states of the first publication of New Directions. Both are in extremely fine condition and are very scarce. The first state is in blue wrappers; the second in red wrappers.
(Iowa City MEADOW PRESS 1983) Limited to 75 copies signed by Jean Ritchie, by Georgianna Greenwood,the calligrapher, and Leigh McLellan, the printer. Broadside measuring 15 by 20 inches. Jean Ritchie's song about the destruction of the forest and hill country by coal mining. The musical score and title were calligraphed by Georgianna Greenwood. Illustrated with a linoleum cut by the printer, Leigh McLellan. Printed in seven colors on handmade Monarch paper, this is a most elegant and captivating broadside. Extremely fine.
London (Leadlay 1931) Folio. (14) ff. One of 900 copies. A portfolio of five colored drawings of the members of the cast and the producer of "Bitter Sweet," including Noel Coward and Peggy Wood. A prefatory facsimile note by Beerbohm describes them as "sentimental" drawings to commemorate a "sentimental" play, which was successful despite "the roarings of the young lions and lionesses of Bloomsbury." Housed in a vellum-backed portfolio of gray boards. Slight yellowing to rear cover, corners slightly bumped, else a fine copy. (Gallatin and Oliver 30).
Boston Bromer, Anne & David 1984 Quarto. 38pp. First edition. One of 225 copies printed in three colors by Richard Bigus at the Stinehour Press. Illustrated with two wood engravings by Greg Dearth and a specimen sheet printed in three colors on parchment. Handbound by Claudia Cohen in quarter-vellum and printed paper boards with dropback box. The only major book published on the subject of printing on vellum and/or parchment. Mint at publication price.
Boston Four Seas 1915 First edition, first binding. Signed by the author on the title-page. Light chipping and fading to spine, else a fine copy of the author's first book in boards with lilac d/w. Housed in morocco-backed slipcase with chemise. With an engraved bookplate by Sidney Sime.
London WINDHOVER PRESS 1971 Tall quarto. (58) pp. First edition. With an Introduction and Notes by Jerald E. Bringle. Limited to 350 copies printed in four colors by the Windhover Press, this being one of 100 done for Bertram Rota. Typeset and signed by Sidney Berger, bibliographer of K.K. Merker. Extremely fine in cloth-backed pastepaper boards with slipcase.
Boston Little, Brown (1962) Tall octavo. 93pp. Uncorrected proofs in spiral binding and pink wrappers. Some fading to wrappers, else fine. (UNCORRECTED PROOFS).
Worcester ST. ONGE, ACHILLE J. 1977 24pp. Illustrated with a portrait frontispiece. Limited to 1000copies in blue leather with gilt-stamped lion on one cover and a unicorn on the other. Spine slightly faded, else fine. A.e.g. (2 3/4 by 1 7/8; 68x47mm.).
(Paris ca.1985) Octavo. (24)pp.,unbound, as issued. Six poems in the author's holograph which are illustrated with hand-colored etchings by Walker. Limited to nine copies signed by the author and the artist. Mint in cloth-covered clamshell box with hand-colored paper label. The poems are in French and are illustrated with floral scenes softly colored in shades of yellow, brown, orange, and green, with an occasional touch of violet. Anne Walker is an American who has lived in Paris for over 40 years with her husband, the French artist Bertrand Dorny.
Cambridge, MA Pomegranate Press 1973 First edition Broadside measuring 13 by 17 inches. Printed on gray paper and illustrated with a print by Karyl Klopp, which is printed in green. Of an edition of 250 copies, this is one of 100 signed by the poet and the artist. Very fine.
San Francisco POLTROON PRESS (1976) First separate edition Broadside measuring 15 by 20 inches, folded once to form four pages. Limited to 75 copies. Printed in appreciation of George Sterling's life on the fiftieth anniversary of his death. Fine.
Munich/Berlin Rixdorfer Drucke 1970 Quarto. 55 pp., frenchfold. One of 300 copies signed by the four artist-printers of the press. A wild "adventure" illustrated with eight four-color, full-page woodcuts and 66 smaller black and white woodcuts. The front cover has a compass mounted in the center to "guide" the reader through the book. In cloth-backed green printed boards. Boards show slight fading as well as a faint pen mark to upper board, else a fine copy in plain cardboard slipcase. The Werkstatt Rixdorfer is one of the most idiosyncratic of the post-war German presses, creating books with bold illustrations but a humorous sensibility. (Typen 127-12.)
Watertown, Mass. Anne & David Bromer 1979 46 pp. One of 150 copies. Signed by Darrell Hyder, the printer. With pen and ink illustrations by Janet Hobbs and an introduction by Herbert H. Hosmer, Jr. This is the text of the original manuscript, which was later shortened considerably. Bound by C. Allan Carpenter in marbled-paper boards with a paper label to the front cover. Very fine. (2 5/16 by 1 15/16; 59x50mm.).
London St. Dominic's Press 1923 Octavo. 23pp. Illustrated with a wood-engraved frontispiece and 22 small wood-engraved devices by Eric Gill. Covers rubbed and faded along extremities, else about fine in original turquoise wrappers with SIXPENCE spelled correctly. With an additional print of the frontispiece wood-engraving laid in. (Gill 273; Sewall 57).
Chicago Musterbookhouse 1922 First edition of author's third book. Inscribed by the Winters, who signs here with his given name, Arthur. Advertisement inside back cover. Some rubbing to spine and extremities, lower corner chipped, others show light wrinkling. A nearly fine copy in printed wrappers.
Paris 1989 12mo. Panorama. One of three copies. Signed and dated by both the artist and the poet. This is a piece of original artwork in gouache, coupled with original poetry in manuscript. Edward Kessler is professor of contemporary American poetry at American University and has authored texts about Wallace Stevens and Coleridge in addition to having published in the New Yorker. Included also is an invitation to Anne Walker's Paris exhibition, at the Galerie Biren. Mint in green decorated boards and enclosed in a gray dropback box, which is cut out, showing the cover design.
1926 Original copperplate engraving measuring 4 1/2 by 3 1/2 inches. (Capel-y-ffin). Limited to 20 copies signed, numbered, and dated by the artist. In 1926 Jones completed a group of four copper engravings limited to 20 copies each, of which this is one. According to Douglas Cleverdon, apart from some signed artist's proofs, these are the only engravings thus issued. Jones displays a beautifully fluent engraved line in this work. Very fine. (Cleverdon E133; p.12).
(Moscow) 1902 Each of these color lithographed cards shows a different scene from a Russian children's story featuring knights, dragons and fair maidens. All are in extremely fine condition, never having been inscribed or mailed. This set shows Bilibin's mastery of the art of illustrating for children. His postcard and book work made him the most popular Russian illustrator of the last years of the Czarist monarchy.
(Moscow) 1901 This brightly colored lithographed postcard by Bilibin shows a man and a woman with the beginnings of spring in the background. The Russian text displays a greeting for Easter. Fine. Ivan Bilibin first trained as a lawyer, but after traveling through Europe, he became attracted to the art world. He began to draw and became highly successful as a theatrical designer. Besides work for the Diaghilev, he also created for the Theatre des Champs-Elys,es. His postcard work often shows local scenes and characters usually surrounded by attractive borders. Through this medium he was able to capture the everyday working life and spirit of his fellow Russians
(Moscow) 1903 Brightly colored lithographed postcard showing several knights riding on horses. Fine. Ivan Bilibin first trained as a lawyer, but after traveling through Europe, he became attracted to the art world. He began to draw and became highly successful as a theatrical designer. Besides work for the Diaghilev, he also created for the Th,atre des Champs-Elys,es. His postcard work often shows local scenes and characters usually surrounded by attractive borders. Through this medium he was able to capture the everyday working life and spirit of his fellow Russians
(Moscow) 1903 Brightly colored lithographed postcard displaying the image of a singing minstrel. Ivan Bilibin first trained as a lawyer, but after traveling through Europe, he became attracted to the art world. He began to draw and became highly successful as a theatrical designer. Besides work for the Diaghilev, he also created for the Th,atre des Champs-Elys,es. His postcard work often shows local scenes and characters usually surrounded by attractive borders. Through this medium he was able to capture the everyday working life and spirit of his fellow Russians
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