Search Results: Titles starting with U from James S. Jaffe Rare Books LLC

Hopewell, NJ: Pied Oxen Printers, 2002. First edition. One of 125 numbered copies signed by the poet, the artist, and the printer (the entire edition). Very fine copy, without dust jacket as issued. Small folio, two full-page illustrations, original cloth over boards, printed paper labels. Very fine copy, without dust jacket as issued.

Mt. Horeb, WI: Perishable Press, 1968. First edition. Limited to 250 copies. Hamady 18. Slightly faded, otherwise a fine copy. 8vo, original wrappers. Slightly faded, otherwise a fine copy.

London: Horizon, 1944. First edition, hardcover issue, one of 500 copies printed on Barcham Green handmade paper by the Curwen Press. Of the 1000 sets of sheets printed, 500 were reportedly bound in cloth and 500 were bound in wrappers. Presentation copy, inscribed by Connolly to his friend Tom Driberg on the front free endpaper: "Tom with much love / from Cyril - " Tom Driberg, later ennobled as Baron Bradwell of Bradwell, a poet in his youth, a journalist (author of "The Talk of London" column under the pseudonym of "William Hickey" in the Daily Express), a member of the British Communist Party and later long-standing Labour MP (and Chairman of the Labour Party), the author of a sympathetic account of Guy Burgess and a suspected spy, a promiscuous homosexual and High Church Anglican, Driberg is the subject of a biography by Francis Wheen entitled The Soul of Indiscretion: Tom Driberg, Poet, Philanderer, Legislator and Outlaw - His Life and Indiscretions. One of the most civilized, and civilizing,… Read More

(Santa Cruz, CA): Greenhouse Review Press, (1997). First edition, paperback issue. Presentation copy, signed & inscribed to the poet Mark Strand from Levine on the title-page: "for Mark, with love, Phil. As new. 8vo, glossy wrappers. As new.

(Santa Cruz, CA): Greenhouse Review Press, (1997). First edition. One of only 35 copies specially bound in cloth by Timothy Geiger & Shari DeGraw and signed by the poet. As new.. 8vo, original cloth with printed label on spine. As new.

(Santa Cruz, CA): Greenhouse Review Press, (1997). First edition, paperback issue. Presentation copy, inscribed by the poet to his brother Eli: "March 17, '97, NYC, Dear Eli & Louise, No, you don't fix your swimming pool with this little fellow. But it's trying. Love, Phil". Signed by Levine on the title-page as well. Fine copy. 8vo, original glossy wrappers. Fine copy.

Np: The Architectural Press, (1951). First edition. Jones has added an original pen drawing of a cake on a cake tray to the front free-endpaper and signed and dated the drawing in 1963. Endleaves and edges of textblock lightly foxed, otherwise a very good copy in dust jacket, chipped with a little loss at the ends of the spine panel. 4to, illustrations and plates, original cloth, dust jacket designed by the author. Endleaves and edges of textblock lightly foxed, otherwise a very good copy in dust jacket, chipped with a little loss at the ends of the spine panel.

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.

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.

(London): Routledge, (1942). First English edition. Presentation copy, inscribed on the front free endpaper by the author "to Stephen Spender for the pleasure and satisfaction I have derived from his work, Emanuel Litvinoff". "A powerful expression of Jewish anger and denunciation" - Cambridge Companion to the Literature of World War II, p. 22. A noteworthy association copy. Fine copy, preserved in a cloth chemise in folding box. Fine copy, preserved in a cloth chemise in folding box.

N. Y.: Angel Hair, 1970. First edition, "published in an edition of 100 copies for my friends by Angel Hair. Trace of dust to white wrappers, otherwise a fine copy. 4to, original xerographic wrappers designed by Joe Brainard. Trace of dust to white wrappers, otherwise a fine copy.

Berkeley: The Bancroft Library Press, 1991. First edition. One of 41 copies printed (the entire edition) "from the author's unpublished manuscript in the collection of The Bancroft Library... using an Albion handpress and Emerson type.. A very fine, unopened copy. Small 4to, string-tied illustrated wrappers, illustrations. A very fine, unopened copy.