wilder bentley (18 risultati)

Soft cover. Condizione: Fine. 1st Edition. Single Sheet, Folded. Fine. One Of 150 Copies.

Softcover. Condizione: Very Good. Broadside. No sleeve. Ten couplets printed on a single sheet. Approx. 12 1/2" wide by 19 1/4". Folded multiple times. ; 1 pages.

Softcover. Condizione: Fine. First Edition. 7" x 7", [17] pp, in original printed wrappers. Includes six sonnets by Bentley illustrated with six photographs by Bernard Rosenthal and an appreciation (including a poem) by Hoyem of "a stalwart individual in his 82nd year: the poet, printer, painter, and scholar Wilder Bentley." Fine.

Condizione: Good. BROADSIDE. Folio. 11" x 17" Very Good with minor creasing.

Condizione: Good. BROADSIDE. Folio. 11" x 17" Very Good with minor creasing.

Soft cover. Condizione: Near Fine. First Printing. A rare and what appears to be a handbound copy. Illustrated with reproductions of 29 original drawings, one photograph and two maps. A charming collection of drawings and descriptions of San Francisco and North Bay bridges, many of them small and out of the way, by the well-known Berkeley artist and son of poet-printer Wilder Bentley Sr. Clean and neat in freshlooking medium-blue, soft paper covers. Small (about 1/2 inch) darker-blue colored stain along the edge of front cover, and front corners have a slight curl. Glued-on title label has a little fold to the lower corner and some bleed through of the glue from underneath. Other than these small detractants it is a tidy, attractive, crisp copy. Pages are bright white and neatly bound with an unusual kind of strung cord arrangement. Very scarce.

Paperback. First edition. Original printed wrappers, 5 x 6.5 inches, 10 couplets printed on single sheet, 20 x 13 inches, folded and tipped to inside of front wrapper. Editiion of 121 copies printed on the Acorn Press in the Thousand Oaks, Berkeley. Front wrapper faded from lilac to light gray, else about very good.

No Binding. Condizione: Near Fine. 1st Edition. Unbound in cardstock folder with integral foredge. Consists of (2) + 37 fine stock leaves printed on one side. Poetry composed during 1968-1970 at San Francisco State University during a time of "crisis and ordeal," the longest college teachers' strike in U.S. history. In Professor Bentley's annotation to his title asterisk, he describes this work as "A documentary account, week by week, of the vapors and humors of scandal transpired in my Englislh 177(14 and English 177(7) seminars in the literature and practice of militant non-violence during the spring and fall semesters, respectively, of 1970." A scarce item from a renegade radical leftist American poet, academic, printer and artist. Carefully shipped.

Archetype Press (illustratore). folio. cloth with printed design on front cover. 19+(1) pages. Limited to 105 copies, set up and printed on a handpress by Wilder Bentley ("and his faithful spouse, Ellen") on dampened Strathmore Wayside Text for at The Archetype Press in Euclid Court, Berkeley, Ca and issued for private distribution among members of The Arts Club & their friends. Printed in "a bastard version" of Caslon Oldface italic and Goudy Modern roman. Wood-engraved abstraction of the initial i for the Prolegomena, vignette on the title-page, and design for the front cover by John C. Haley. Excerpts from chronicles of The Arts Club's past season. "It is not primarily designed to explain to the world in general what we are, what we do, how well we reason, or how badly we sing. Rather it is a souvenir, intended to revive some of our very happy memories." Finely printed. Bottom corner bumped, else near fine. cloth with printed design on front cover.

Soft cover. Condizione: Good. 1st Edition. FIREBRANDS : FIVE POEMS. A chapbook of ANARCHIST RADICAL POETRY by JUAN ORTEGA, WILDER BENTLEY, NORMAN MACLEOD, LAWRENCE A. HARPER, FRANK ANKENBRAND, JR. Published by The Burlington Chapbooks, Philadelphia, 1935. Printed by ALPRESS in a LIMITED EDITION of only 175 copies. This is the fifth publication in the Burlington Chapbooks series. Chapbook / Booklet, heavy stock paper covers, paper title label on the front cover, string bound, 5.5x8.5 inches, six numbered pages of poems, plus an unnumbered Title Page, Contents Page, and Colophon Page. The poems are: CHAUVINISM, by Juan Ortega; ANARCHIST PORTRAIT IN CALIFORNIA, by Norman Macleod; LAST PRELUDE, by Lawrence A. Harper; TO A POET OF THE PROLETARIAT, by Wilder Bentley; and FOR THE COUNTER-REVOLUTIONIST L. F., by Frank Ankenbrand, Jr. GOOD condition, a bit of wear to the corner tips, a small area of light shorelining to the top edge of the title page; overall remains tight, bright, clean and unmarked. One of the nicer copies this delicate chapbook that I have seen.

Pamphlet. 14p., 6.5x9.75 inches, frontispiece, dedication, biographical note, 15 poems, colophon hand-numbered 44/300 copies and signed by the poet with block-print vignette signed by Wilder Bentley, very good chapbook in sewn lavender wraps with yoni decoration on cover in green. The poet's first book of poetry, dedicated to a friend back home in Florida. Only 10 copies found in OCLC as of 10/2021. Anderson was born and raised in Florida and became one of the Beat poets in Greenwich Village and later San Francisco's North Beach. There he edited "Beatitude" and founded the Communication Company with Claude Hayward which printed most of the handbills, posters and pamphlets of the Diggers and the SF Mime Troupe. Bentley was an important Bay Area printer, calligrapher, poet and fine press publisher exhibited at the De Young. Martinelli was Ezra Pound's helpmate at St. Elizabeth's.

Soft cover. Condizione: Very Good. Large hand-bound softcover INSCRIBED BY THE AUTHOR to the first owner, in VG condition (ordinary light handling, mild indentation affecting the front cover and most pages). Northern California Bridges, including 28 illustrations. Some forgotten bridges. [1 lb]. Signed by Author(s). Book.

Softcover. Condizione: Near Fine. Large broadside folded as issued in printed brown sleeve. Small tear in one margin and at the bottom of the spine, else very near fine. No. 1 in the Acorn Broadside Series. One of 121 copies printed on Worthy handmade paper. Uncommon.

Condizione: Good. French-Folded Leaf, 6.5 x 9 cm. 4 pp. Letterpress on Watermarked Laid Paper with Deckled Edges, Black & Red Ink. Very Good+. Scarce.Keepsake for the members of the Roxburghe-Zamorano Club joint meeting in San Francisco in 1976.

Condizione: Good. Broadside. Unfolded: 19" x 12.5"; folded: 6.25" x 5". Letterpress on Off-White Deckled Laid Paper with Watermark (Very Good), mounted to Letterpress Deckled Grey Paper French-Folded (Good with marginal tear, faint toning).

No Binding. Condizione: Near Fine. Dave Rike was a local San Francisco printer, union activist and SciFi fanzine writer/artist who befriended Wilder Bentley in the late 1950's in Berkeley. These four letters (three handwritten, one typed) and postcard chronicle Bentley's travels, and observations, as he traveled around California and Colorado seeking both employment and spiritual enrichment in the 1959/60 time period. Quite a charming batch, especially since Bentley had such a calligraphic turn to his writing! Signed by Author(s).

Bentley, Harvey Wilder. HOLOGRAPH LETTER AND TYPED PAGES OF POETRY. 1. A letter dated in 1986, handwritten on both sides of a sheet of yellow paper, addressed "Dear Margot (Margot Archer)," and signed "Wilder," and with the writer's Berkeley, CA address at lower left of the recto. Interestting content, discussing his college days at Yale, his godfather, Frank Jewett Mather, who was an art historian at Princeton, his visits to Princeton, the influence of Mather's collection of Claude Lorraine drawings on his own work, his need to give up his work as a printer of fine press books (he was the proprietor of the Archetype Press in San Francisco) because of cataracts and arthritis, and his contempt for Existentialism and Expressionism as "the perversion of Personalism into self-indulgence, and self-pity posing as confession." 2. A typed sheet, dated 1 September 1972, titled "On Memories of a Labor-Day Weekend With Richard and Margot Archer Exactly Two and Thirty Years Ago Today, containing two sonnets, a nd signed in red ink "Wilder" with the typed signature "Wilder Bentley the Elder." A photocopy of the same is attached to the original. 3. A typed sheet containing a Sonnet titled "A Hippotypical Toast to the Sign of the Hippogryph," signed "Wilder" in red ink, and with the typed signature "Wilder Bentley the Elder/On the Feast Day of/St. Victricius of Rouen). Below on the same sheet, a typed letter or note addressed "Dear Richard," presumably Richard Archer, complaining about the fact that U.S.C. had stopped ordering his Scrolls, which were a series, thus leaving him with incomplete sets. This initialed "W." He hoped that Archer might know someone, as his communications and those of "Muir" (Dawson?) had not been responded to. 3. A typed sheet titled "A New Year's Sonnet for Margot and Richard Archer," followed by the sonnet, and signed "Wilder" in red ink, and dated Christmas Day, 1976. Attached is a photocopy of a New Year's Sonnet for Marka and Ward Ritchie." H. Richard Archer (1911-1968), a specialist in the history of printing was the Custodian of Rare Books at the Chapin Library of Rare Books at Williams College in Williamstown, MA. from 1957-1977. He also had his own press called The Hypogryph Press. With Ward Ritchie he authored a book titled "Modern Fine Printing" in 1968. All in excellent condition.

First Edition. 1949. Four original ink wash paintings, signed and dated in red and stamped with red chop, on separate sheets each approximately 5 x 7.25 inches, each matted to 10 x 13 inches, captioned in the mat by the artist in black and red ink. Hint of foxing to the margins, mats a little toned, over all very good. ? Four paintings inspired by Muriel Rukeyser's poem "Orpheus." The four titles are: I. Cossack Fury II. Semina Scandali III. Treading out the Grapes of Wrath IV. Opera Belle Each plate additionally hand-titled "Fury from Rukeyser's Orpheus." It is possible the four abstract "Furies" were prepared as potential illustrations for the first edition of the poem, which was published by San Francisco's Centaur Press in December 1949. If so, then the publisher must have changed tack, as the book ultimately appeared with a single etching by Picasso. Harvey Wilder Bentley was born in San Francisco, worked from 1930 through 1933 at Porter Garnett?s Laboratory Press at the Carnegie Institute of Technology, and later settled in Berkeley where he established the Archetype Press, producing limited editions of finely printed books, broadsides, and scrolls. Highlights of the press included William Saroyan?s A Native American (San Francisco: George Fields, 1938) and Ansel Adams? Sierra Nevada: the John Muir Trail (1938). In addition to his printing activities, Wilder Bentley was a prolific poet, calligrapher, and brush artist. An exhibition of his brush drawings was held at the De Young Museum in San Francisco in May 1943.