Crane hart evans walker (6 risultati)

Hardcover. Condizione: Very Good. First UK edition (date on title page). Sewn binding in full cloth-covered boards, iin dustjacket. A solid and attractive copy of this Oxford edition, following the American edition by two years. Real cloth-covered boards and sewn binding make this a very sturdy alternative to the Liveright edition. The spine is square and the hinges intact. Name and date on front flyleaf, else no marks. Tiny nick bottom edge two pages. A few rubbing marks to coth, and a little wear to the cloth at bottom edge. A few faint marks to fore-edge. Unclipped dustjacket has surface abrasions and edgewear, including a few small tears with creasing, with some shelf-soil showing on the back panel. The dye from the cloth has marked the inside of the dustjacket. B&W frontispiece photo of Crane by Walker Evans (illustratore).…

Hardcover. Condizione: Very Good. 1st Edition. Navy superfine covers have blind stamped border, gilt title. Boards show some bumping, edgewear, surface flaw on front cover. Corners are bumped. See photos. Spine has gilt text dimmed and is a little faded, with softened ends. Binding is secure. Pastedowns and feps are tanned, have some pencil marks, bookseller sticker. Frontispiece is a photograph by Walker Evans. Interior is gently age-toned, exhibits some marginal toning. Inside pages are free of writing and intentional marks. Text block has untrimmed edges fore and foot.** PS2024.0321** 82 pages. 6 1/4 x 8 5/8 inches** A very good copy of the second collection of poems by American poet Hart Crane (1899-1932). The Bridge expressed Crane's ambition to synthesize America, and he intended it to be an uplifting counter to The Waste Land by T.S. Eliot.** The bridge photograph facing the title page is by Walker Evans.** "Postage for oversized and international shipping will be calculated by size and weight. AbeBooks shipping quotes are ESTIMATES only. Seller Inventory #009926"**. Walker Evans (illustratore). …

Hardcover. Condizione: Very Good. First Edition. Number 63 from the total edition of 284 copies. Modern red calf gilt, the original wrappers bound in, cloth slipcase. 10 3/4 x 8 3/4 inches (27.5 x 22 cm); printed in red and black, with 3 fine photogravures by Walker Evans. Light thumbsoiling to wrappers and few spots within but generally clean, the final plate and tissue guard detached. First edition of this collection of Crane's seminal modernist poems The Bridge. Crane met photographer Walker Evans by chance in the shadows of the Brooklyn Bridge and this work constitutes one of Evans' earliest publications. Connolly 100 64; Minkoff A32.…

Hardcover. Condizione: Very Good. First Edition. One of 50 copies on Japanese Vellum, signed by Hart Crane. Contents completely fine, a very fresh copy. Covers generally bright and clean (see photos), but the spine tips are dulled where the glassine is also worn. There is a professionally repaired thin paper-split down the spine, now manifesting as a crease (see photo). During the repair, thin paper reinforcement was added underneath, so that the book can now be laid open flat -- and actually enjoyed. The book is also now supported by a thick mylar wrap, which makes it easier to handle. A modernist highspot at a very attractive price.…

First Edition. One of 25 Review Copies marked "Hors Commerce" in pencil on the colophon, with the publisher's compliments slip laid in. Quarto (27cm); original white card wrappers, with titles printed in black and red on spine and front cover; publisher's original glassine overlay; [110]pp; with three photographs by Walker Evans, each covered by an affixed glassine sheet. Malcolm Cowley's copy, inscribed to him in pencil on the front endpaper by his long-time friend Belle Rosenbaum: "To Malcolm / Because of many tender memories / Belle." Light wear to spine ends, final bifolium (containing the colophon) is loosely laid in, else Fine - bright, white, and without the almost inevitable semi-circular toning at mid-spine; lacking the publisher's original slipcase, though offered here with a handsome custom clamshell case. Beyond simply being a long poem inspired by the Brooklyn Bridge, The Bridge was, as Crane often explained, his attempt at fashioning a myth of America, a "mystical synthesis" of our country's past, present, and future. While today it is accepted as a complicated masterpiece, the poem's reception at the time of publication was mixed. Reviews were generally positive, but the ones that mattered most to Crane were those from his friends, like Yvor Winters and Allen Tate; their reviews, published prominently in June and July, 1930, were withering, and left Crane feeling deeply wounded.Herbert Weinstock was the first to review The Bridge (April 12th, for The Milwaukee Journal), followed closely by that of Crane's close friend Malcolm Cowley, in his capacity as literary editor of The New Republic (April 23rd, for the American edition published by Horace Liveright). This copy of the Black Sun Press edition was inscribed to Cowley by Belle Rosenbaum, long-time associate editor under Irita Van Doren at the New York Herald Tribune, and for many years the associate editor of Book Week (later Book World), published by The Washington Post and The Chicago Tribune. She and Cowley were friends for decades, from the 1920s onward, and while the circumstances behind the gift and the inscription are lost to us, some correspondence from Rosenbaum to Cowley survives among his papers at the Newberry Library.Cowley's relationship with The Bridge and with Crane's literary legacy lasted long after his friend's tragic death in 1932. In his lengthy introduction to The Limited Editions Club publication of The Bridge, Cowley would say the following: "Fifty years after the book was first published, little doubt remains that Hart Crane's The Bridge is a monument of American poetry. Among the longer poetic works I should place it below Whitman's "Song of Myself," but above almost everything else; and this is a judgment shared by many critics.Already The Bridge has survived its author by half a century. It will continue to live by virtue of its bold conception, the splendor of its language, and the almost complete rightness of some of its parts. As compared with other American poets of his time, Crane was a heroic success" (pp.vii-viii). A significant copy in sublime condition. *Special thanks to Cowley scholar Hans Bak for his assistance. Schwartz & Schweik A2; Minkoff A-32. 5413.…

Paris: The Black Sun Press. 1930. 8vo. Original printed wrappers with fold-over flaps, within glassine jacket, printed in red and black and with black woodcut sun to rear wrapper, housed in the publisher's silver paper-covered slipcase; pp. [100]; printed in red and black, three tipped-in photogravures by Walker Evans with glassine and tissue guards (see below); a few small chips to glassine at spine and extremities (with small loss at foot of spine); subtle repairs to slipcase with some wear to corners and edges; internally fine.First edition, no. 154 of 200 copies on Holland paper, of Crane's poems using the Brooklyn Bridge as the central symbol of an epic ode to America, accompanied by some of the earliest photographs by Walker Evans and printed at the Black Sun Press, the Parisian English-language publishing house founded in 1927 by American expatriates Harry and Caresse Crosby.Crane (1899-1932) is a singular figure in American poetry, seeking a Whitmanesque voice in the era of high Modernism. The Bridge, his most significant work, constructs an optimistic response to Eliot's The Waste Land, which he admired greatly but found too bleak, finding hope where Eliot saw only despair. This is sadly ironic given Eliot's long life and Crane's suicide at the age of thirty-two (the poet had jumped off the USS Orizaba into the Atlantic en route to New York from Vera Cruz). Particularly vibrant are the opening poem, 'To Brooklyn Bridge'; 'National Winter Garden', on the Houston Street burlesque; and the five-part 'Powhatan's Daughter', including 'Van Winkle' (in which Washington Irving's Rip Van Winkle awakens not in the aftermath of the Revolutionary War, but amidst the Brooklyn tenements of the twentieth century).The Black Sun Press published the early works of James Joyce, Ezra Pound, T.S. Eliot, D.H. Lawrence, and Ernest Hemingway, among others. The press was one of the longest-running of its kind, closing only in 1970 following Caresse Crosby's death. The present volume, printed in hand-set Dorique type, was published by Caresse Crosby shortly after Harry Crosby's suicide at the age of thirty-one: during a trip to New York to celebrate the completion of The Bridge, Crosby shot and killed himself and his lover, Josephine Noyes Rotch. This edition, dedicated to Crane's patron, the philanthropist, collector, and investment banker Otto H. Kahn, is listed as being 'for sale at the bookshop of Harry F. Marks', the Black Sun Press's US distributor, at 31 West 47th St.The Missouri-born photojournalist and photographer Walker Evans (1903-1975) - best known for his Great Depression-era photographs for the Farm Security Administration and the Resettlement Administration - had helped Crane find work as a file clerk on Wall Street in 1928, and their fathers had been acquainted beforehand. 'Evans had taken up photography in earnest in 1928, and Crane, whose interest in the medium had been awakened and nurtured by his friendship with Alfred Stieglitz, occasionally joined the artist in his explorations of Brooklyn, the waterfront, and lower Manhattan' (Trachtenberg, p. 187). His striking photographs 'call attention to the bridge itself as a physical object, as a palpable presence in the poem' (ibid., p. 185).Connolly 64; Minkoff A-32; Rowe B1; Schwarz and Schweik A2. See Trachtenberg, Brooklyn Bridge: Fact and Symbol (1979).…