Search Results: BROADSIDE from Quill & Brush

(New York: The Center for Book Arts, 2006). First edition. One of 50 copies (each broadside with stated limitation of 100 however, according to Sarah Nicholls, Program Coordinator for the Center, only 50 were to be made). 12 letterpress-printed broadsides -- EACH ONE SIGNED BY THE POET -- in portfolio handmade by summer interns. Produced in honor of readings at the Center by established and emerging poets throughout the year. Portfolio measures 13 x 15" and closes as do shutters with turquoise ribbon looped through the covers and meeting in the middle for fastening with pale-green title card printed in red and turquoise attached. Covered in Mohawk paper pressure printed in pinks, green and purple, this intricate production is hinged at the sides and uses an interior fold to house the broadsides of various sizes, which are as follows: [untitled] by Patricia Carlin (4.7 x 14 x 5.5 x 14" rhomboid with left side intentionally flap folded); "Under Heaven" by Elisabeth Frost (13.25 x 12.25"); "Retarded… Read More

[San Francisco: James Linden / Peter Koch, 1986]. First edition, second printing per Broomfield [A87b] but certainly the first printing in this form. ONE OF ONLY 11 COPIES SIGNED BY KOCH. Issued from the same setting of type as the James Linden production which featured 4 mounted photographs by Michael Mundy and the 4 verses of the poem on 4 separate sheets. This one prints the whole poem on one large leaf with "This printing of Apology for Bad Dreams is a gift of Peter Koch celebrating the publication of James Linden's portfolio edition with photographs by Michael Mundy" beneath. Approximately 19 x 26" on heavy cream paper with top and bottom edges untrimmed and Koch's penciled colophon with signature at right reading, "6/11 Peter Koch 3/15/86." Fine. Scarce to rare.

[San Francisco]: Poetry Flash, 1991. First edition. First separate appearance. One of only 75 copies. 14.25 x 20" broadside printed in black on heavy off-white paper. Illustrated with 3 black-and-white photographic images (appear to be of the moon's surface) and drawing of small blue rock. The very faint colophon is blind-stamped in tiny font at lower left corner -- "Reprinted from Your Native Land ... | Artwork by Jaime Robles | Printing by Eric Holub | This broadside benefits Poetry Flash | September, 1991." Followed by tiny hand-penciled limitation: "43/75." Fine condition. Quite scarce. OCLC locates only 2 copies worldwide.

Kentville, Nova Scotia, Canada: Gaspereau Press, 2004. First edition. Limited edition broadside poem. Number 172 of 200 signed by Sanger, who wrote the poem to commemorate the grand opening of the new Gaspereau Press printshop on September 9, 2004. Letterpress printed on Mohawk Superfine paper by Andrew Steeves on a Vandercook press in three colors-- gold, black and blue-- from Garamond type cast in metal specifically for this broadside to be hand printed. (The heading, "Bookwork," is photopolymer printed). Measures 12.5 x 19 inches. A touch of rumpling and tiny edge creases still altogether very good to near fine.

(New York: The Center for Book Arts, 2004). First edition. Limited to 100 copies (as stated on each broadside). 12 letterpress-printed broadsides -- EACH ONE SIGNED BY THE POET -- housed together in portfolio handmade by summer interns. Produced in honor of readings at the Center by established and emerging poets throughout the year. Portfolio is 11 x 16" medium-gray quarter-cloth with decorated red paste paper over boards, with printed label inset on front cover, matching medium-gray cloth pocket inside and with textured gray cloth ribbon ties for closure. Broadsides, which vary in size, are as follows: "The Window Washer" by Rachel Levitsky [Note: the only numbered broadside], #35/100 (7.75 x 13"); "DJ Spinoza Does Not Fight the Begriffon" by Eugene Ostashevsky (12.75 x 8.5"); [untitled] by Joe Elliot (6 x 9"); "The Betrothal" by Mary Di Lucia (6 x 12.75"); "A Needle in the Sky" by Phillis Levin (6.75 x 11"); "The Hungry Bowl" by Jeanne Marie Beaumont (7.5 x 13"); "The Seat in Front of Me" by… Read More

(New York: The Center for Book Arts, 2005). First edition. Limited to 100 copies (as stated on each broadside). 12 letterpress-printed broadsides -- EACH ONE SIGNED BY THE POET -- housed together in portfolio handmade by summer interns under the leadership of Ana Cordeiro, the Center's binder-in-residence. Produced in honor of readings at the Center by established and emerging poets throughout the year. Portfolio is 11 x 16" yellow quarter-cloth with hand-dyed Chinese rice paper over boards, with printed label inset on front cover, matching yellow cloth pocket inside and with yellow ribbon ties for closure. Broadsides, which vary in size, are as follows: "March Chimes" by Laure-Anne Bosselaar (8 x 12.5"); "A Garden" by Joan Larkin (7 x 10"); "Misprision" by Tony Towle (8 x 15"); "African Leave-Taking Disorder" by Elizabeth Alexander (7 x 9.5"); "Etudes" by Elaine Equi (7 x 10"); "Track / Propagation of Errors" by Garrett Kalleberg (7.5 x 15.5"with lower left corner clipped by design); "The Long Heat… Read More

[No-place: Pipers Press, et al., 1953 - 1969. First edition. This small gathering from the collection of Washington poet Ernest Kroll includes four holiday greetings printed by Doris & Harry Hoehns' Pipers Press: "ANTIPHONAL: The Cross Town Omnibus" (1953), 13 x 6.5" peach-colored leaf with "Season Greetings/ John & Gini Pauker" on verso (evidently in then-wife Virginia's hand). "CHRISTMAS SIMILES" (1961), 10.875 x 7.75" pale-peach leaf, printed name only (no signature). "A POETRY OF OUR TIME" (1962), 11 x 7.75" pale-orange leaf SIGNED "Greetings - Pauker" on verso. "GENTLE POEM" (1963), 5 x 7.25" yellow leaf SIGNED "Greetings - Pauker." All 4 printed in black and brick-red. Creases where previously folded to fit in mailing envelopes though none present. "LATER POEM" (1967) postcard SIGNED by Pauker. "FLORID POEM" (1968) on "Fun House" letterhead, not signed. 1954 JULLIARD CONCERT BROCHURE with Pauker's English translations from the German translations by Otto Erich Hartleben of Albert Giraud's… Read More

Various places: Various publishers, 1978 - 2007. Collection assembled by Allen K. Mears. Includes 2-page TLS from Gallagher with extensive handwritten portion and two enclosures; Autograph Postcard Signed from Gallagher; 4 books (2 are later printings) signed and/or inscribed by Gallagher; a broadside signed by Gallagher; a few items of ephemera related to Carver; correspondence with artist and publisher Suzanne Ferris of Sea Pen Press; and copies of Mears' own letters. TYPED LETTER SIGNED -- evidently printed from a computer; dated August 17, 1999; 2 pages with most of the 2nd page being HANDWRITTEN; discusses the posthumously published collection of Carver's poetry, ALL OF US; her plans at the time - or, in this case, her lack of plans -- for writing a memoir of her and Carver's time together ("...it is rather more woven into the introductions I've done to Ray's books"); her handling of and coping with widowhood ("...in a sense, I haven't suffered the same way perhaps other widows suffer a loss");… Read More

1991 & 1992. 1991 broadside: The Work of Happiness, inscribed on the front "For Louis Brodsky/ Gratefully/ May Sarton" and on the back with an 8-line note thanking Brodsky for his generosity, presumably for sending her one of his books of poems, as it reads in part "I re-read the poems and tremble before their [honor?] and beauty." 1992 postcard: Sarton's personal "Wild Knoll" postcard with color photo by Susan Sherman of a quite well-fed cat reclining on a garden bench on front. She thanks Brodsky for "the beautiful books," presumably copies of his 1992 A Gleam in the Eye: Poems for a First Baby -- "I have sent one to a friend of mine at Univ. of Indiana, she has just had her first baby and is in ecstasy." Broadside is 8.5 x 11.5" printed in black with title in green at the "Firefly Press for William B. Ewert, Publisher, to honor May Sarton on her 79th birthday, May 3, 1991. Limited to 136 copies, of which 36, on special paper are signed by the author." Crease where folded for mailing. Includes… Read More

Northridge: Lord John Press, 1982. First separate edition, first edition thus. One of 125 SIGNED numbered copies of this illustrated single-sheet poetry broadside designed and printed by Henry Morris for the Lord John Press. Approximately 20 x 14". Suitable for framing. Fine.

(Winston Salem): Palaemon Press, 1984. First edition. The only edition of this set of 22 broadside poems, printed in red and black, with each broadside SIGNED by the poet. Reportedly one of only 50 unnumbered copies. Issued as a tribute to the founder and president of the Academy of American Poets, Marie Bullock. Each broadside measures about 9 x 14"; laid in a marbled paper portfolio with printed label on front cover. Fine.

[No-place]: Eric Holter / Peniel Press, 1992. First edition of each of these five limited-edition broadsides all of which are SIGNED BY THE POETS. Printed by Eric Holter at his Peniel Press. All are within 15 x 9" and printed on various colors and weights of fine deckled-edge papers. Fine.

Berkeley, CA: Editions Koch, 2003. First edition, and only edition. Bringhurst's translations from the Ancient Greek of surviving fragments of the circa 475 BC poem generally titled "On Nature" written by the pre-Socratic Greek philosopher, Parmenides of Elea. ONE OF 26 COPIES in the "Deluxe" issue SIGNED BY BRINGHURST, WAGENER & KOCH, bound in full leather, and with a separate suite of 10 signed engravings. From an edition of ONLY 146 COPIES TOTAL. This copy ADDITIONALLY INSCRIBED BY BRINGHURST on the colophon,"for Allen Mears, the kind of reader / Parmenides has waited for / 17.1.2004." Folio, blind-stamped full black leather; approximately 50 unnumbered pages with original Greek and English translations on opposing pages; illustrated with black-and-white frontis engraving and 4 full-page color engravings. With separate SUITE OF TEN WOOD ENGRAVINGS, EACH SIGNED BY WAGENER, laid in an orange silk-covered chemise; and 2 broadside type specimens for the typefaces specially made for this edition by Dan… Read More

[Amador City: Marlin Beilke / Quintessence Press, 1986]. First edition, first appearance. According to Beilke, although this was the only poem she ended up having printed, it is the second of two (or more) given to him by Edith Greenan Kuster, hence it having been numbered "II" [Broomfield A89]. 8.5 x 11" heavy off-white card stock printed in black and blue. Limitation not stated. Fine. TOGETHER WITH A TLS FROM BEILKE SIGNED "LINOMARL" AND BUSINESS CARD FROM HIS QUINTESSENCE PRESS.

New York: The Oliphant Press, 2002. First edition. Broadside, suitable for framing. One of 500 copies published in celebration of the 40th anniversary of The University of Rochester Plutzik Reading Series held at the National Arts Club, New York City. Plutzik was a Professor of English at Rochester. The poem is from his 1959 collection, APPLES FROM SHINAR, a Pulitzer Prize finalist in 1960. Approximately 11 x 16" on off-white, heavy paper, lettered in black over light green, stylized willow branches. Fine.

2008. First edition. DIGITAL ART CARICATURE. The Jeffers caricature by artist John Sherffius used on the covers of the "Big Read" teacher's and reader's guides published in 2008 by the National Endowment for the Arts, Washington, D.C. The digital print is 8.5 x 11" with image of a smiling Jeffers perched, ocean-side, atop granite boulders; he's writing on a tablet with Hawk Tower and Tor House behind him. Presentation copy of the "original" illustration produced by the artist at the request of Jeffers' collector Allen Mears' INSCRIBED, "To Allen. / You meet the nicest / people in this business! / Best wishes. / John Sherffius / 11/18/08." According to Sherffius in emails between the two men, the illustration was partially created on a computer; so there is no one copy that can be considered the original. "The Big Read" -- a nationwide event celebrating authors and their works -- was first held in 2006. In 2007, the NEA partnered with the Poetry Foundation to create a new component of "The Big Read"… Read More

(Amador City: Quintessence Publications, 1981). First edition. Number 4 of 100 numbered copies, per the colophon. Drew's poem printed by Marlan Beilke at his Quintessence press, inscribed beneath the colophon on verso, "For Marlan Beilke, who prints my Irish poem, teaches me ever more about our poet Jeffers, brightens my life with his fun and wit and friendship, and has my affection and admiration - Fraser." Additionally signed above the inscription, "Fraser Drew/ 16 January 1981." Letterpress printed in black with green border and ornamentation on 8.25 x 11.5" off-white textured paper. Near fine with slight toning to verso edges.

(London: Methuen and Co.), no-date [1919]. First UK edition, preceded by the 1918 U.S. copyright edition. Broadside poem in six stanzas with two on front and remaining four on back. 5.5 x 8" stiff cream paper printed in black on both sides with exterior double frame rule and interior single rule "between which the names of towns and villages laid waste by the Germans in World War I are printed in capitals" {Richards A315]. Good or better with creasing, few tiny tears to edges, slight overall tanning, and two corners chipped off but still present.

(London: Methuen and Co.), no-date [1919]. First UK edition, preceded by the 1918 U.S. copyright edition. Broadside poem in six stanzas with two on front and remaining four on back. SIGNED BY KIPLING on back beneath the final stanza. 5.5 x 8" stiff cream paper printed in black on both sides with exterior double frame rule and interior single rule "between which the names of towns and villages laid waste by the Germans in World War I are printed in capitals" {Richards A315]. Near fine with rubbing to top of double rule on front and mild smudge towards end of Kipling's signature on back. Housed in green cloth chemise and gilt-stamped quarter leather green cloth slipcase (leather toned from green to brown otherwise near fine). Scarce, especially signed.

No-place: no-publisher, 1964. First edition, first separate appearance [Broomfield A50a]. One of 250 copies "printed for their friends of the Roxburghe Club and for their other friends at Christmas, 1964, by Kerwin Whitnah and Arlen H. Philpott." Prints the text of Jeffers' letter to Sister Mary James beautifully answering her question about his "religious attitudes." Approximately 12.75 x 20" printed in black on Arches watermarked paper. Near fine with crease at center where folded (as noted by Broomfield) and touch of minor rumpling. Scarce.