helen vendler introduction (14 risultati)

Hardcover. Condizione: Brand New. 1152 pages. 9.50x6.75x2.25 inches. In Stock.

Hardcover. Condizione: Brand New. 1st edition. 1031 pages. 9.50x6.75x2.00 inches. In Stock.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: No dustjacket as issued. 275 copies printed. Signed by Milosz on the half title page. Signed by Dine on the artist's statement page opposite his dry-point etching of Milosz. Bound in publisher's original handmade paper-covered boards with brown lettering over brown spine cloth with printed paper label. Near fine with some faint tanning on the boards, hinges of the pastedowns lightly tanned. Folio. 57pp. Signed by Author and Illustrator.

Limited edition. 160 pp., engraved frontispiece portrait of the author by Barry Moser; 8vo (9.75 x 6.75 inches), blue cloth boards with dark blue morocco bands at top and bottom of covers, title embossed in silver across the leather bands, matching cloth slipcase. Publisher's prospectus laid in. Printed letterpress in Monotype Goudy and Goudy Open on the same Barcham Green handmade paper used in (actually left over from) the Arion Press edition of Moby Dick. The leather bands across the covers were also from remnants of the leather used for Moby Dick, the intention being to create a companion volume to that earlier work from the Press. Barry Moser's portrait of Melville depicts the author at an advanced age. Edition of 250 numbered and 26 lettered copies, this #40. Frontispiece autographed by Barry Moser. Previous woner's small exlibris label on front free endpaper, else fine.

Julian Lethbridge (illustratore). San Francisco: Arion Press, 2014. Limited edition, hardcover in slipcase. A landmark fine-press edition showcasing the poetry of Jorie Graham, this beautifully produced volume brings together a generous selection of fifty-five poems written between 1977 and 2011, chosen in close consultation with the poet and introduced by acclaimed critic Helen Vendler. Printed in Stymie type on mould-made Magnani paper and bound in full violet cloth with black titling, the book is housed in a matching cloth slipcase. The edition is limited to 300 numbered copies plus 26 hors de commerce, each signed by both Graham and the artist Julian Lethbridge. Sixteen vibrant color relief prints by Lethbridge, created from photopolymer plates based on his original drawings, are interspersed throughout the text, underscoring the formal and thematic depth of Graham's poetry. In an introduction that frames the compendium's concerns, Vendler highlights the poet's enduring engagement with time ? its flow, perception, and impact on consciousness ? alongside her evolution from intimate lyricism to expansive ecological and historical vision. Ref: Airon Press #101.

Hardcover. Condizione: New. Kitaj, R.B. (illustratore). Limited Edition. Quarto, 12 3/8" by 10", 64 pages. The type for the poetry and the introduction is Imprint, in Monotype composition by Mackenzie & Harris. The display type is Weiss Titling No. 3, handset. The lithographs were printed by Curwen Chilford in Cambridge, England. The paper is T.H. Saunders cream laid, an English mould-made sheet. The binding, done in-house, is hand-sewn, in two colors of Japanese cloth, a black with tan fibers and a gray-green, titled on the front cover and fore-edge. A triangular flap (reflecting the shape of the initial K in the title) encloses the fore-edge and folds into the front cover. Edition of 200 numbered copies, plus 26 lettered copies hors de commerce, signed by the poet and artist. Following the Grabhorn-Hoyem edition of Allen Ginsberg's "Howl" in 1971, Hoyem proposed to Ginsberg (1926-1997) that his second major poem, "Kaddish", about his mother, Naomi, be published in a limited, signed edition by Arion Press. He agreed, and as for the "Howl" edition, offered additonal material. For "Howl", he had included "The Names", a poetic fragment that identified and provided more information about people mentioned in the longer poem. For "Kaddish", he offered two additional poems, "White Shroud" and "Black Shroud", which were extensions of themes in "Kaddish". The artist R.B. Kitaj (1932-2007) made a lithograph, a double portrait of Ginsberg and his mother facing each other as if at about the same age, with Naomi seeming to be speaking to her son and saying: "Get married, Allen, don't take drugs." ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condizione: New. John Newman (illustratore). Octavo, 9-7/8 by 6-7/8 inches, 192 pages. The type is English Garamond composed and cast in Monotype for the text and large sizes for display handset. The type and the 24 relief prints in three colors from polymer plates were printed by letterpress. The paper is Magnani wove, Italian mouldmade, for the text and Canson Mi-Teintes, French mouldmade, for the prints. The binding is Smyth-sewn, with headbands, in a three-piece cover: a gray goatskin spine with titling, black cloth sides, with an inset additional print on the front cover. All copies are signed by the artist, in an edition of 300 copies. This edition of the poetry of Elizabeth Bishop (1911-1979) has been selected and introduced by Helen Vendler. In the years since Bishop's death, her stature has grown remarkably, as Vendler tells us in an introduction that begins by lauding the innovations of early twentieth century poetry: "Ezra Pound, with his command 'Make it new!' encouraged his contemporaries to break with tradition, and many seemed to join him in the effort, not least his friend and fellow-expatriate Thomas Stearns Eliot. E.E. Cummings brought typographical play into whimsical and satiric lyrics, flouting conventions of erotic propriety, while Frost - although asserting a rootedness in New England - had to go to London to be published, and drew on Latin lyric for his stoicism and epigrammatic force. Marianne Moore's poems were unsettling amalgams of satire, fable, and sermon, unwilling to observe generic borders. After the rebellious exhilarations of those modern poets, it seemed that any subsequent collection of poets might be a disappointing one. To everyone's surprise, the next American constellation was no less brilliant: Robert Lowell, Sylvia Plath, John Berryman, John Ashbery. . . . Against such contemporaries, Elizabeth Bishop seemed decorous, "feminine", "modest", hardly dangerous. Living in Brazil, and publishing at intervals of several years, she was not visibly part of the American cluster of poets. Although she was always esteemed by her fellow-poets, it was only in her latter years that she was understood and prized by the wider public. Since her death in 1979, she has become the most popular poet of her generation, in part because of her plain- spoken language but also because of her candor and depth of feeling. This is a selection of thirty-nine poems considered her most important and most representative by Professor Vendler. The sculptor John Newman has long been a reader of poetry and Elizabeth Bishop is one of his favorite poets. For this Arion Press artist book, John Newman has made twenty-four drawings of small sculptures made between 1998 and 2016, with a twenty-fifth for the cover. Reversing the process in his early sketches for objects-never-to-be-made, he has now depicted forms he has already made, each from one point of view, as works of graphic art, flat on the page, in gouache, in black, gray, and white, on tan paper. These drawings have been transformed into relief prints and printed by letterpress from polymer plates on French mould-made paper. The titles and dates of creation of the sculptures are used as the titles for the prints, which appear on the facing page of poetry, below the running foot. The prints are arranged in chronological order and spaced at regular intervals throughout the poetry. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condizione: Fine. Artin, Wendy (illustratore). Limited Edition. Folio, 11 5/8" by 8 3/8", 116 numbered pages plus 32 unnumbered pages for the illustrations (148 pages total). The types for the text are Poliphilus Roman and Blado italic. The display type is Hadriano Stone Cut, handset. Monotype compisition by Mackenzie & Harris was done using the new Welliver computer interface to drive the caster. The illustrations were printed on an Epson digital inkjet printer. The paper is German mould-made Schiller. The binding, done in-house, is hand-sewn, with a tan goatskin spine, titling blind-stamped, and brown cloth sides with an inset oval on the front cover holding a print of an Artin watercolor drawing of the Omphalos stone. "Stone from Delphi", poems with classical references by Seamus Heaney (1939-2013), selected and with an introduction by Helen Vendler and with sixteen watercolor drawings by Wendy Artin. This was the last book of poetry published during the lifetime of Seamus Heaney, a Noble Laureate in Literature. An exhibition of the book, prints, and original watercolor paintings by Wendy Artin was held at the American Academy in Rome, while Heaney was Poet-in-Residence in the spring of 2013. He died four months later. The idea for the selection came from Helen Vendler, who made the intial choices of poems with classical themes and then conferred with Heaney. Wendy Artin, an American watercolor artist living in Rome, was recommended for the project by the painter Eric Fischl. The type chosen is based on the fifteenth-century roman of Aldus Manutius, used for his "Hypnerotomachia Poliphili" of 1499, thought by many to be the most beautiful illustrated book of the Renaissance. The watercolors are reproduced same size. Issued in an edition of 300 numbered copies (plus 26 lettered copies hors de commerce). Please note that this is the final copy of this title available, and it is marked as a display copy. The condition is near fine, with one small mark on the spine; and please note that the slipcase is lacking. This copy signed by both Heaney and Artin, as issued. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condizione: New. LeWitt, Sol (illustratore). Limited Edition. Square, 10 7/8" by 10", 128 unnumbered pages. The type is 24-point Deepdene, handset, with smaller sizes in Monotype composition by Mackenzie & Harris for subsidiary matter. The drawings were scanned to make negatives for photopolymer plates. The paper is Pescia, a mould-made sheet from the Magnani mill in Italy. The binding, done in-house, is hand-sewn, in full gray cloth printed by letterpress with a design that is an enlarged reference to elements in the artist's drawings, and titled on the front, back, and spine. The volume is enclosed in a darker gray cloth slipcase that features the same front and spine titling as on the book. The volume is signed by both the poet and the artist. This was the first of two volumes of Heaney's poetry published by Arion Press (the second being "Stone From Delphi", 2012). Seamus Heaney (1939-2013) was lecturing at the University of California, Berkeley in 1999. Through Helen Vendler we invited him to come to San Francisco to visit Arion Press and have lunch with us on South Park. On February 9, he arrived bearing a present, a copy of the manuscript of a translation he had just made of a Pushkin poem about the legendary poet Arion, who, in Ovid's "Metamorphoses", is saved from the sea by a dolphin. We printed the poem as a keepsake for Arion subscribers in 2002. Hoyem proposed to Heaney that Arion Press publish a deluxe limited edition of his forthcoming translation of "Beowulf" with facing Old English. His publishers, Faber & Faber and Farrar, Straus & Giroux, had intended to use only the translation. Heaney took the idea back to his publishers and they agreed to add the Old English text, which obviated the rationale for the limited edition. Vendler prevailed upon Heaney to allow us to instead produce a limited edition of his most important series of poems, "Squarings". Hoyem approached Sol LeWitt (1928-2007) to do four prints for the four sections of twelve poems each. Instead, the artist offered to do forty-eight drawings, one for each of the poems, as squares with underlying patterns and overlying scribbles. Please note that this copy is marked as "Display I", but is still in as-new condition. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Condizione: Fine. Number 200 of 250 numbered copies, with 26 lettered copies hors de commerce. It is the forty-seventh publication of the Arion Press and rather scarce with no copies in commerce. The book shares characteristics with the sixth publication of the press, Moby-Dick, by the same author, of 1979, in that the same typeface is used, Goudy Modern . it is printed on the same paper, which was made for that edition by hand to the specifications of the press at the Barcham Green Mill in England and bears watermarks of the mill, the press, and of a sperm whale; and the same artist, Barry Moser, has engraved a new portrait of Herman Melville on Resingrave for the frontispiece. The text type was composed and cast on the Monotype by Mackenzie & Harris. The display type is Goudy Open and was set by hand. The book was designed and produced by Andrew Hoyem and conceived in many ways as a companion to the 1979 Moby Dick, one of the most important press books of the twentieth century." [from the Prospectus]. This book was suggested to Hoyem by the renowned scholar of poetry, Helen Vendler. She regarded Melville as among the greatest American poets of the 19th century and was eager to make a selection that would show the variety of his best poetry. Despite the importance attached to his poems today by scholars and critics, seldom did readers have any appreciation for Melville the poet. Bound in bright blue cloth with darker blue dyed leather goatrskin bands left over from the earlier Moby Dick. The bands run across the top and bottom edges of the book with title and author in silver foil. Printed on octavo sized paper of 6.75 x 9 7/8 inches using Goudy Modern type in a smaller point size than the 1979 volume. Top page edges trimmed, while the fore-edge and bottom edges are untrimmed. The signatures were folded by hand and each copy was sewn by hand with linen thread over linen tapes. Housed in a blue cloth slipcase with blue goatskin title label to spine. Accompanied by the prospectus. In fine condition. Measures 7 x 10 inches. 156 numbered pages. PRI/110424.

Hardcover. Condizione: Fine. Hardcover. Number 85 of 250 deluxe copies numbered in Arabic, with fifteen copies numbered in Roman for complimentary distribution. This was the 100th publication of the Arion Press. It is one of the most elegant and collectible books issued by the Press. The origins of Arion Press reach back to 1919, when the brothers Edwin and Robert Grabhorn came to San Francisco from Indianapolis. The brothers established the Grabhorn Press, which became one of the foremost fine printing establishments in the United States from the early 1920s to the mid-1960s. They were proponents of what the great bookmaker Bruce Rogers called "allusive printing," in which the selection of type, decoration, and page layout alluded to aspects of the books' contents. When the Grabhorn Press closed in 1965, Robert Grabhorn partnered with Andrew Hoyem. Together, Grabhorn-Hoyem preserved and utilized the Grabhorn Press's vast and distinctive holdings of type and equipment. In 1974, Arion Press was officially formed and launched a series of limited-edition books, printed by letterpress and bound by hand. Many of them were illustrated by prominent artists; some were accompanied by separate editions of original prints. To this day, the list of Arion publications is characterized by its diversity, with titles that range from ancient literature to modern classics [From the Arion Press website]. The text for this exceptional book was taken from the 1855 first edition, which contained just a dozen poems, the first, later titled "Song of Myself," was so long that it took up half the pages. The introduction to this edition was written by noted poetry scholar Helen Vendler (who died earlier in 2024). The volume includes the preface to the 1855 edition, plus the text of a letter of praise of his poetry from Ralph Waldo Emerson to Whitman in 1855. There is also a reproduction of a well known image of Whitman at the age of 34, the year before the first edition was published. Bound in light brown wood boards with a green leather spine with gilt titling. The binding design is a tribute to the Grabhorn edition of 1978-79 in that the boards are wooden, with oak veneer stained yellow-tan, and the spine is goatskin, green for this volume. The types are Goudy Californian (designed for the University of California Press in 1938) for the text, and Trajan capitals, also by Frederic Goudy for initial letters and titling. The paper is handmade Langley, from the Barcham Green Mill in England with watermarks of the Press and the Mill. Accompanied by the prospectus, which includes a sample page from the volume. Housed in a green cloth covered slipcase. In fine condition. Measures 10 x 14 inches. 155 pages plus colophon. PRI/092524.

Cloth. Condizione: Near Fine. R.B. Kitaj (illustratore). Limited. Limited edition of 200, this is 65, 1992. Near Fine. Small folio, 62 pp., with lithographs by Kitaj. Bound in publishers two colors of Japanese cloth, black and grey/green, black lettering on the front, binding design with a flap enclosing the fore-edge that folds into the front cover; cream endpapers, fore- and bottom edges uncut. Very, very slight signs of shelf wear - no notable defects. Signed by author and artist.

Hardcover. Condizione: Near fine. First Edition. Near fine, without any notable defects. Lovely copy.

Condizione: Fine. Limited Edition. Limited edition. Copy #208 of 275. Bound in half green goatskin stamped in gilt with the title and drawing of grass, oak plywood boards, stained and sealed, with a green cloth interior hinge. House in publisher's full green cloth slipcase with titling and grass drawing stamped in gilt. Fine with prospectus in a slipcase with minor rubbing. The 100th book from Arion Press based on the 1855 text of the first edition of Whitman's career-defining epic poem "Leaves of Grass." The Arion Press Bibliography,100.