London: Faber & Gwyer, undated, c. 1929. Albert Rutherston. 12mo, 4 pages, with two drawings, one in color, by Albert Rutherston. Number 17 of The Ariel Poems, printed at the Curwen Press. Fine in blue wrappers, slightly darkened at the edges, and with a slight split to the bottom edge of the spine.
London: Faber & Gwyer, undated, c. 1929. Blair Hughes-Stanton. 12mo, 4 pages, sewn into mustard yellow wrappers, with two wood-engravings, including the cover illustration, by Blair Hughes-Stanton. Number 11 of the Ariel Poems, printed at the Curwen Press. Wrappers slightly edge-darkened, else fine.
Philadelphia: J.B. Lippincott & Co., 1873. First edition. Octavo,105 pages. with three sections of poetry, including a group of eight poems of the Civil War. The author, a Catholic, lived from 1832 to1917, and wrote over 20 books of poetry and fiction. This was her first book. Her brother was the lawyer and author Ignatius Donnelly. It is an interesting copy, for non-authorial reasons, because of its ownership. The book bears the large nameplate of Pitt Gravath, said to be a well-known Democratic leader and former clerk of the Louisiana senate after the Civil War. Gravath committed suicide in 1898 by laudanum and gas in his mother's home in Whitewater, Wisconsin, the family home town. He was reportedly despondent over the death of his wife, an event reported by the New York Times, which considered it sensational because he wrote letters to his friends describing his feelings as he succumbed. The book bears his wife's pencilled signature on the first blank leaf as well, and was probably her book to begin with. Gravath's nameplate was affixed to the pastedown endpaper so carelessly that the excess glue joined the endpapers and left a trail of holes in the free endpaper when...
New York: The Fortune Society, 1970. First edition. Softcover. 12mo, unpaged (32pages). Many of these are poems written while the author was incarcerated in prison in New York City at Riker's Island when he was serving a sentence for burglary at the age of 18. There are a few faint pinhead-sized spots on the title page, else very good in very slightly soiled blue wrappers. Uncommon. ;;;;;;;;;;`¬ø.
New York: Cambridge University Press, 1954. First American edition. Small octavo, 39 pages, being the text of a lecture delivered by Eliot before the National Book League in England. Mild offsetting to endpapers else fine in deep blue cloth, gilt spine title, and in a lightly browned and rubbed dustjacket, worn at spine ends.
Atlanta, Georgia: The Tinhorn Press, 1967. William L. Sweney. first edition. 9" x 5 7/8", 23 cm x 15 cm, (20pp.). "Two hundred copies of this book were printed from handset Caslon types at The Tinhorn Press, Atlanta , Georgia, in autumn 1967", with a title-page drawing in sanguine and two other full-page drawings in black and white by William L. Sweney. A printed "compliments" bookmark, reproducing part of the title page drawing, is laid in. The book is stitched into thin patterned paper with yapped edges. Fine.
London: Victor Gollancz, 1929. First edition. 6" x 9 3/4"; 24.5cm x 15.5cm. 102 pages. This is an edition of 750 copies of this five-part poem, of which 250 are for sale in America. All of them are signed by both the French-Jewish poet Edmond Fleg (1874-1963) and his translator, Humbert Wolfe. Top edge gilt, other edges untrimmed. There is a bookplate on the front pastedown endpaper, otherwise this is a fine copy bound in black cloth titled in gilt.
Cleveland, Ohio: Bits Press, 1984. Toulouse-Lautrec. First edition. Softcover. Octavo, unpaged(24pp). Printed by Robert Wallace and the students of English 478 in an edition of 433 copies, of which 300 -- including this copy -- are saddlesewn in grey Ingres Fabriano covers. Fine in faintly edge-creased wrappers with yapped edges, reproducing a drawing,"Le Chien", by Toulouse-Lautrec.
[Aurora, NY]: Wells College Press, 1993. First edition. Quarto. Printed when Kennedy was at Wells College as part of the Visiting Writers Series in the autumn of 1993. The poem was first published in the literary magazine "Boulevard" for fall, 1993. Here, it is printed in Joe Blumenthal's Spiral type at the Wells College Press from the only surviving example of this type, on a single sheet of cream paper, folded to form a folder measuring 11 x 8 1/2". Laid in is another printing of the first five stanzas of the poem, in a different type. Few faint creases from handling else fine.
Milan: New Directions, 1948. first edition. 4" x 3", 10cm x 7.5cm, unpaged (32pp). Not Laughlin's first book of poems, but an early one, and definitely what it says -- small! It was printed in Milan in June, 1948 this copy being number 302 in an edition of 500 copies, 450 of them for New Directions, and 50 special copies for the publisher, Giovanni Scheiwiller. The book, which contains over 20 brief poems, is bound in a thin flexible cardboard with a blue integral dustjacket, now worn on the botton edge and agreeably sunned at the spine.
Mount Carmel, Connecticut: Ives Street Press, 1981. first edition. 9 1/2" x 6 1/8", unpaged (18 pages). A group of six striking poems by Thomas McAfee (1935-1982), handset in Spectrum type on Arches text, and sewn into pale grey inner wrappers and deep blue covers in Fabriano Roma, Of an edition of 170, this is number 127. The original mailing envelope, which is printed with both author's name and title, is included. Private Press Books #81-4.308. Fine.
Charlottesville, VA: University Press of Virginia, 1978. First edition. Hardcover. Large octavo, unpaged  pages.The book is a collection of quatrains and is also an alphabet book.The text is printed in black ink, with large color initials as headings in red, blue, green, brown and ochre. The book was beautifully printed at the Stinehour Press in Lunenberg, Vermont, and is number 884 in the bibliography of the press. The design is by Freeman Keith, who was one of Stinehour's book producers. The elegant, winged A and Z letters that form the two-panel dustjacket, though not credited, are surely the work of calligrapher Stephen Harvard, whose very similar treatment appears on a History of Photography also printed by Stinehour. A very fine copy, and, like other books printed by Stinehour, a total pleasure to hold in one's hand.
New York: Norton, 1990. Third printing of the paperback edition, octavo, 79pp., slight creasing to edges, a few pale spots of foxing to the last pages, else very good in heavy wrappers. This copy is inscribed by Sarton on the half-title to poet and biographer Honor Moore: "To honor Honor, with love from M", and signed May Sarton, York, July '90. Laid in is a 20-line typed letter signed, dated July 6, '90, writing from York (Maine), to Honor (Moore), writing of her mother and critiquing Moore's new play. Sarton also writes of her illness and heart problems. The letter is signed "Love from MS", and is on a single sheet of 8 1/2 x 11" lavender paper, slightly spotted, with numerous hand-written corrections to her shaky typewriting.
London: Faber & Gwyer, c. 1929. Stephen Tennant. 12mo, 4 pages, wth two drawings, including one in color, by Stephen Tennant. Number 14 of the Ariel Poems, printed at the Curwen Press. The blue wrappers, slightly edge-darkened, are split at the bottom of the spine for 3 inches, and have a single quarter-inch tear to the bottom of the front cover. About very good.
New York: The Alcestis Press, 1936. first edition. Octavo, 57 pages, this being number 25 of 165 copies, signed by Tate on the colophon. In addition, this copy is inscribed to poet/writer Mark (Van Doren) on the blank leaf preceding the title page: "To Mark (with the usual misgivings) from Allen July 1, 1936". Allen Tate and Mark Van Doren corresponded for many years; collections of their letters are at Vanderbilt and Columbia. There is a narrow inner margin stain from the glue used in binding, otherwise this is a very good copy in green wrappers, with the spine and some page edges somewhat darkened. The broken remains of the original slipcase, worn and faded, are included. This was Tate's second book.
London: printed for James Sharpe, Piccadilly by C. Whittingham, Chiswick, 1816. 12mo (6 5/8" x 4", 16.5cm x 10.3cm), half-title, xii, 215 pages, with both an engraved and a printed title page, and a title vignette and five other engraved vignettes from designs of Richard Westall. Tissue guards are preent on all the engravings, which has resulted in the plates showing some foxing. The text is otherwise perfectly clean and bright. The set of four poems was first composed in four seasonal parts over the course of several years, and was issued as a complete book in 1730. This copy,with new endpapers, is in a fine modern binding by Starr Bookworks of 3/4 marbled paper to complement older marbed edges, with a burgundy leather spine, compartmented, gilt-stamped and with a black morocco tittle patch.