Search Results: Authors starting with R from James S. Jaffe Rare Books LLC

London: William Heinemann, (1918). First edition, deluxe issue. One of 765 numbered copies signed by Rackham. This signed limited issue contains one extra color plate not found in trade issue. Bottom fore-tips bumped, one shallow dent in top-edge of front cover, back cover rubbed and discolored along the fore-edge, otherwise a very good copy. 4to, 9 color tipped-in plates and 52 b/w text illustrations, pictorial endpapers, original vellum-backed parchment over boards, lettered in gilt on the spine and front cover, t.e.g. Bottom fore-tips bumped, one shallow dent in top-edge of front cover, back cover rubbed and discolored along the fore-edge, otherwise a very good copy.

Mt. Horeb, WI: Perishable Press, 1971. First edition. Limited to 125 copies signed by the author. Hamady 46. Fine copy.. 8vo, illustrated by John Wilde, cloth. Fine copy.

N. Y.: Knopf, 1945. First edition. Presentation copy, inscribed on the front free endpaper For George Lanning, most cordially, John Crowe Ransom, August 4, 1948. Lanning was Ransom's co-editor at the Kenyon Review. Front inner gutter discolored, otherwise a fine copy in slightly worn, dust-soiled jacket. One of the few inscribed copies of this book we have seen.. 8vo, original cloth, dust jacket. Presentation copy, inscribed on the front free endpaper For George Lanning, most cordially, John Crowe Ransom, August 4, 1948. Lanning was Ransom's co-editor at the Kenyon Review. Front inner gutter discolored, otherwise a fine copy in slightly worn, dust-soiled jacket. One of the few inscribed copies of this book we have seen.

One of Rauschenberg's earliest prints, depicting several stylized giraffes amidst trees and tall grass. In addition to the drypoint, Rauschenberg employs strips of burlap, which were soaked in acid and laid on the plate, creating a highly textured surface. The effect hints at the overlay process for which he was to become famous. The giraffe motif was used again recently in work in the 1990's. The etching is signed "RAUSCHENBERG" in the plate and additionally inscribed in pencil on the bottom edge, "My Love to HAZEL, Rauschenberg". Hazel was Hazel Larsen Archer, the artist's photography teacher at Black Mountain College and a close friend during this era. Rauschenberg and Larsen Archer remained friends and continued to correspond until she passed away in 2001. The print was executed in late 1949, while Rauschenberg and his wife Susan Weil were studying together at the Art Students League in New York City, following their time together at Black Mountain College, NC. The print is among Rauschenberg's… Read More

(London: Trigram Press, 1970). First edition, deluxe issue. One of 100 numbered and specially bound copies signed by Raworth who has added "number" and "is for Jonathan" on either side of this copy's number on the colophon page; beneath his signature Raworth added "Colchester, November 4/71". The recipient is poet and Jargon Press publisher Jonathan Williams. Fine copy. Square 8vo, illustrations, original buckram-backed patterned paper over boards, acetate dust jacket. Fine copy.

London: William Heinemann, (1935). First edition. Presentation copy, inscribed by Read to poet and Jargon Press publisher Jonathan Williams on the half-title page: "Inscribed for Jonathan Williams - Herbert Read 26.iv. 1964. Covers dampstained, rear hinge splitting, but a poor copy in price-clipped jacket redeemed by the association. 8vo, original cloth, dust jacket. Covers dampstained, rear hinge splitting, but a poor copy in price-clipped jacket redeemed by the association.

London: Faber & Faber, (1963). First edition. Presentation copy, inscribed by Read to poet and Jargon Press publisher Jonathan Williams on the half-title page: "Inscribed for Jonathan Williams at Highlands, April 26, 1964. Herbert Read. Light foxing at a few places, otherwise a very good copy. 8vo, original cloth, dust jacket. Light foxing at a few places, otherwise a very good copy.

Most of Rexroth's compositions from the late 1930s through the 1960s register a shift from the magnet (transformed into a black moving line or decomposed) to all-over calligraphy to gossamer webs (calligraphic patterns interwoven with different colors) through which appears a diffuse radius of light or veiled iridescent area. Rexroth continues to use biomorphic or geometric forms as well as symbolic or representational figures. Black or white rectilinear designs (derived from Synthetic Cubism) soften. Expressionist use of linear patterns shows influences of Japanese sumi-e painting, Mark Tobey's "white writing", and the planar geometric explorations of Bradley Walker Tomlin. San Francisco Museum of Art label on the back, title given is "Abstraction"; date "in" is "6/29/42". There's a fragment of another label present. In white chalk on the back is written: "1935 / Mountaineers. Some tiny chips, and/or flecks, in the paint, perhaps the result of a bit of abrasion, with 14 or 15 tiny droplets of what… Read More

A note attached to the back of the piece in the hand of Carol Tinker (Rexroth's wife) signed and dated June 2011 reads: "This painting was done in the late 1940s in Europe. It is painted with wax, silica and colors. KR NEVER used oil paints." The theme of visionary ecstasy, reminiscent of Mark Tobey, is clearly present in this composition, painted during a period in which Rexroth became a practicing Buddhist. The painting is in fine condition. Wax, silica, and color on fiberboard, 17 5/8" wide x 23 1/2" high, ca. 1948-1958, unframed. The painting is in fine condition.

Rexroth spent most of 1959 in Aix-en-Provence, where this painting is clearly set. A palette of white, yellow, terra cotta, purplish blue-black, brown, and silver/gray. A white bowl on a pedestal holds blackish-blue grapes and a peach. On the table covered with a dark brown cloth in the foreground is a bright-eyed fish, mottled with black, silver, gray, and yellow and on the wooden cutting board are cucumbers, eggplants, and a peach. Diagonally to the right is a large terra cotta wine decanter. The window view opens on to a lush meadow. Fine condition. Masonite or fiberboard, 19 5/8" wide x 24" high, ca. 1959, unframed. Fine condition.

This piece was given the date 1925-1930 for the UCSB Rexroth retrospective in 1981. A slightly North-of-centre white square is contained within a black magnet, with a red horizontal bar encasing the magnet, and a yellow magnet is poised at the bottom of the composition. The simple, flat geometrical forms are presented against a grey background. The magnets that appear in this piece are a recurring motif in Rexroth's paintings of this period, at times in fragmented or partial form, often used with geometric lines, shapes or grids, and contrasting tones or colors to suggest fields of opposing forces. Loose in the frame, some cracks in the paint, otherwise in fine condition. Wax, silica, and pure decorator colors on wooden board or Masonite, 15 7/8" wide x 18" high, ca. 1925-1930, signed "Kenneth Rexroth" in pencil, and framed by the artist. Undated and untitled. Loose in the frame, some cracks in the paint, otherwise in fine condition.

Rexroth dated the painting 1937, indicated the orientation (top), and the palette: "red, yellow, blue, black, grey, white." The title, "Hornpipe" is written in the artist's hand on the verso of the painting. Rexroth also notes that another version exists in the collection of Sergei Chermayeff. For a 1973 exhibition of his works at Occidental College in Los Angeles, Rexroth retained the same dating and assigned the title "The Sailor." In the 1981 University of California at Santa Barbara Rexroth Retrospective, it was dated 1925-27. It is reproduced in letterpress on the cover of Excerpts from a Life (1981) and is dated "ca. 1929. Some tiny chips, and/or flecks, in the paint, perhaps the result of a bit of abrading, otherwise the painting is in near fine condition. Wax, silica, and pure decorator colors on Masonite, 15 5/8" wide x 19 7/8" high, ca. 1937, framed. Some tiny chips, and/or flecks, in the paint, perhaps the result of a bit of abrading, otherwise the painting is in near fine condition.

In 1944 Rexroth specified on the back of a photo of this painting what is the top and the bottom. He dated it "1926" and noted the colors: "blues, yellows on blue and blue green, white and black circles." The composition uses Mondrian's palette of primaries with black and white, and is a good example of Rexroth's use of solar and lunar polarities (the white and black circles) combined with the magnet form, which also carries the association of musical notation (as in linked eighth notes). Rexroth was particularly interested in music because (like mathematics) its complex interrelationships are recorded in a precise, universal notation. San Francisco Museum of Art label on the back, title given is "Abstraction"; date "in" is "6/29/42". There is a remnant of another label on the back, the little bit of text remaining is illegible. Some minor surface abrasion at top-edge (perhaps from the frame), otherwise in fine condition. Untitled abstract on Masonite (which Rexroth referred to as "Beaver Board"), 12… Read More

A Cubist still life with rounded objects in a style resembling Fernand Léger's and Juan Gris's Cubist works using a palette of white, gray, and earth tones (ochre, amber, taupe, terra cotta). Andrée Dutcher, a commercial artist from Chicago, married Rexroth in 1927. He encouraged her to pursue non-commercial painting and she in turn encouraged his writing. They painted together throughout their marriage and began exploring organic forms under the influence of Edward Weston in 1929. Unhappily married, they were divorced in 1940, the same year Andrée died of complications from epilepsy. "The Downtown Gallery" label on the back, with the note, in pencil: "Still Life by Andrée Rexroth. Fine condition. Wax, silica, pure decorator colors, and watercolor on fiberboard, 7" wide x 8" high, ca. 1929-1933, signed "A. Rexroth" at the bottom right hand corner, unframed. Fine condition.

Pastels became Rexroth's preferred medium throughout the 1950s and 1960s, at times combined with black ink and/or crayon. The play of light and color in the work of Venetian painters Tintoretto and Tiepolo, as well as Mark Tobey and Morris Graves, inspired Rexroth's work of this period. Paper fragile, a few (3 or 4) approximately 3/4" closed tears at the edges, a few old pin holes in extreme corners, a small area of dry adhesive at one edge (on the verso), approximately 1" high x 3" long, otherwise in very good to fine condition. Abstract in pastel on heavy paper, unfixed, 26 ½" wide x 20 1/4" high, ca.1955, unframed. Paper fragile, a few (3 or 4) approximately 3/4" closed tears at the edges, a few old pin holes in extreme corners, a small area of dry adhesive at one edge (on the verso), approximately 1" high x 3" long, otherwise in very good to fine condition.

A figurative painting of Rexroth's second wife, Marie (Kass) Rexroth. Rexroth's notes indicate the date and title of the painting, and include: "hair - orange, dress - green." Reminiscent of Matisse, the piece is not entirely representational, as the portrait shows distortions in the disposition of Marie's body (the angles of her legs and arms, the relation of Marie to the chair, and the chair to the room), and includes an abstract painting in the upper left corner, which carries a typical motif of Rexroth's work, a magnet turned on its side with two circles set in opposition. Cracks in the paint in a few places, few flecks out of the red paint of the hair, a couple of tiny chips in the black of the dress, otherwise in fine condition. Wax, silica, and pure decorator colors on wooden board, 15 5/8" wide x 17 3/4" high, ca. 1936, with notes on the back in white chalk: "Marie Rexroth", and the date "1935" or "1936", framed by Rexroth. Cracks in the paint in a few places, few flecks out of the red paint… Read More

Woodside: Heyeck Press, 1983. First edition, second printing, the paperback issue. One of 1000 copies printed. Inscribed by Rich on the title page to poet Jane Cooper: "For Jane, with love and thankfulness for her poetry + her friendship. Adrienne. Top corner slightly bumped, some light creasing along spine, otherwise a fine copy. 8vo, wrappers. Top corner slightly bumped, some light creasing along spine, otherwise a fine copy.

Leipzig: Im Insel-Verlag, 1910. First edition. Von Mises 76. Covers somewhat soiled but still a very good set, preserved in a full brown morocco clamshell box. 2 volumes, 8vo, original publisher's green cloth with paper labels on spines. Covers somewhat soiled but still a very good set, preserved in a full brown morocco clamshell box.

Leipzig: Im Insel-Verlag, 1908. First edition, printed on a smooth glossy paper. Von Mises 63. The book is dedicated to Auguste Rodin. A few nicks in dust jacket, otherwise a very fine copy, preserved in a full brown morocco clamshell box. Original suede-backed decorated paste-paper boards, t.e.g., plain unprinted dust jacket, in publisher's slipcase with printed label. A few nicks in dust jacket, otherwise a very fine copy, preserved in a full brown morocco clamshell box.

Berlin und Leipzig: Imm Insel-Verlag bein Schuster & Loeffler, 1900. . First edition of this early collection of stories about a God who is a sculptor resembling Rodin, for whom Rilke served as secretary. Von Mises 11. Presentation copy, inscribed by Rilke on the first blank to his cousin Paula: "Meiner lieber Cousine und Fründin, meiner lieber hilfreichen Paula. René. Weinachten 1900." In English, "My dear cousin and friend, my dear helpful Paula. René. Christmas 1900." Paula von Rilke was one of the poet's close relatives, both friend and benefactor. During her life she advanced him money against an inheritance and then, at her death, left him a legacy which enabled him to live permanently in Switzerland. Covers darkened and lightly soiled, otherwise a very good copy, preserved in a full brown morocco clamshell box. 8vo, illustrated, original decorated boards (rebacked). Covers darkened and lightly soiled, otherwise a very good copy, preserved in a full brown morocco clamshell box.