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Quill & Brush

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RAVAGED WITH JOY: A Record of the Poetry Reading at the University of California, Davis, on May 16, 1975

Everson, William, Keiji Shinohara, illustrator Number 43 of 150 copies SIGNED BY BOTH THE ARTIST AND THE PRINTER. Designed, edited and printed letterpress on a Vandercook 219 press by Robin Price, with woodcuts by Keiji Shinohara, a CD of the poet's digitally remastered reading located in a well inside the front cover, and similar well for a printed booklet of the narrative portion of the CD, titled "The Experience of an Everson Reading" inside back cover. Edited by Gary Young, introduction by Sidney Berger, and afterword by Bill Hotchkiss, the executor of the Everson estate. Binding co-designed by Daniel Kelm of the Wide Awake Garage, Easthampton, Mass. Printed in 13-point Dante type on 12.75" square heavy gray stock handmade by John Koller at HMP of Woodstock, Connecticut. Bound in a rich red-brown walnut dyed paper that was created for this book by Timothy Barrett at the University of Iowa Center for the Book. The book is in a paper and vellum case over boards. On the book's cover is Shinohara's illustration of a bear's claw, which is a reference to Everson's bear claw necklace. There are six of Shinohara's marvelous illustrations, most on double-page spreads with the text fully integrated. The illustrations are presented in shades of red-brown, blue-gray and green. On the title page is a reproduction of Everson's signature, done by Everson to practice when signing the 1991 "Canticle to the Waterbirds." The text includes Everson's poetically dramatic reading with foreword notes by Robin Price and Gary Young plus the introduction by Sidney Berger, who recorded the 1975 reading. The afterword provided by Hotchkiss makes for excellent reading. Included is the original prospectus and correspondence between Mears and Price that has details about the book's production.
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Bringhurst, Robert First edition. The Center's 30th-anniversary publication, a stunningly innovative work. NUMBER 3 OF 60 COPIES offered for sale from a total edition of 75 (five of which are artist's proofs). INSCRIBED BY BRINGHURST, the author and book designer, " for Allen Mears, / who may appreciate / more than most not only / the poetry but also / Barbara's and Hedi's / magnificent engineering." The inscription is on the COLOPHON SHEET SIGNED BY BRINGHURST, BARBARA HENRY, HEIDI KYLE and RICHARD MINSKY, who founded The Center and was this project's overall coordinator. In addition to his poem, Bringhurst wrote the afterword articulating the evolution of his polyphonic poetry, thus documenting a history of this definitive edition. The unique binding structure was designed by Hedi Kyle. Kyle is an instructor and book conservator who teaches in the MFA in Book Arts and Printmaking at the University of the Arts in Philadelphia. Her one-of-a-kind constructions have been exhibited internationally and are in private and public collections. When closed up, the book has a stunning architectural presence, measuring 17 x 17 x 3 inches. When fully open, the four books, each measuring 8 x 12 inches, sit on individual lecterns and yet each is still anchored at its head to the central construction. Bringhurst has characterized the book as " . . . a wonderfully complex piece of biblio-engineering made to behave as if it were simple." All three voices are printed in each of the three volumes. The book's fourth volume includes Bringhurst's essay, the List of Subscribers and the colophon. In the List, this owner's name is shown as Allen K. Mears. The edition is 75 numbered copies inclusive of five Artist Proofs produced. There were only 25 copies for sale by The Center itself. Also included is the prospectus, extensive correspondence (e-mail and TLS) between Mears, Bringhurst and The Center, pertinent internet downloads, and Center pre-publication announcements. The book is as new, mint.
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Bringhurst, Robert, translator; Richard Wagener, illustrator; Peter Koch, printer First edition, the "Deluxe" limited issue. Copy B of 26 lettered copies SIGNED BY BRINGHURST, WAGENER, and KOCH. Additionally INSCRIBED BY BRINGHURST "for Allen Mears, the kind of reader / Parmenides has waited for / 17.1.2004" Although copy B, the colophon is absent the limitation. As Peter Koch stated in his March 30, 2004, email to Mears, "I meant to hand-write "Copy B" after the colophon but must have missed it. I will gladly fix your copy when I am in your neighborhood. . . . Yours is the First Copy out the door and I am making all my mistakes on you!" The email is laid in. According to Bringhurst's March 31, 2004, email to Mears, this is the only copy of the book he inscribed. The book was designed and printed by Peter Rutledge Koch at Peter Koch Printers, Berkeley, California, on Bütten-Karton (hand-made heavy weight) paper from the Zerkall mill in Hurtgenwald, Germany. The English translation of Parmenides and afterword are by Robert Bringhurst. The wood engravings by Richard Wagener were printed by the artist. The book's finished size is 16.25 x 9.75 inches and there were to be a grand total of 146 copies, 126 of which were for sale and 20 copies hors de commerce comprising the Contributor's edition. This copy is one of 26, lettered A to Z, which are bound in full leather by Daniel E. Kelm, at the Wide Awake Garage in Easthampton, Massachusetts. The copy is ACCOMPANIED BY A SUITE OF TEN (10) SIGNED WOOD ENGRAVINGS by Richard Wagener AND BROADSIDE TYPE-SPECIMENS for each of the two typefaces specially made for this edition. Wagener's stunning engravings in the separate suite, done on end-cut grain, measure about 5 x 7 inches and were brilliantly printed by Wagener in Serman Oaks on his Vandercook Universal I proof press in black, yellow, orange, and blood red. The book contains five engravings, including one printed in black and white as the frontispiece to the title. The prints in the book were printed by Wagener on Koch's Hacker Test press in Berkeley. The ten engravings in the full suite, housed in a separate chemise, are all in color and each is lettered and signed by Wagener. All in this book's suite are lettered "B" except for one lettered "A." The book and the full suite are in mint condition. This deluxe edition's two broadside type specimen sheets, one for each of the two new typefaces, were specially made for the edition. The type specimen sheet of Carr's type measures about 9.4 x 15.5 inches and that of Stinehour's measures about 9.4 x 16 inches. They are printed in two colors on deep orange-cream colored laid paper using Koch's Vandercook 4 press. The book's publication date is 2003 (the prospectus states 2004 but Koch says this is because the bindings took a long time to complete and drove distribution well into 2004). The box for this deluxe edition is by Peggy Gotthold and her partner Larry Van Velzer and, as with the box for the numbered edition, is covered in orange/yellow Japanese rayon/silk Kototsumugi cloth. Made with Fibrex Platinum Binder's Board, the box for this lettered edition is deeper to accommodate the extra suite of engravings. In summary, this is a stunning book to read, see and hold. It should go down in printing history as one of the best examples of successful collaboration among such a large number of principals. All components are in as new or mint condition. ALSO INCLUDED: CARVING THE ELEMENTS: A COMPANION TO THE FRAGMENTS OF PARMENIDES, 2004, Editions Koch, Berleley, California, first edition, paperwraps, edited, designed and type-set by Robert Bringhurst. The book documents the 10-year history behind Fragments, especially the design and cutting of the new types. This 128-page book is printed offset and published in a smaller format than Fragments. This book is a fantastic read and an excellent adjunct to the artistry of the main book. Each of the book's contributors wrote a section for the book. Some are specific to the book or its history, especially so Bringhurst's and Koch's, while others are more a philosophical treatise of their craft. The Companion measures 6 x 9 inches and is printed in black and white with orange on the title page and printer's device on the ffep. The cover is printed in orange, black and white. Peter Koch issued an errata noting that on page 15, line 3, Richard Wagener lives in Los Angeles, not Santa Cruz, and that on page 39, line 13, John Crichton's name was misspelled. Robert Bringhurst advised that on page 138, note 5, Robert should read Henri. Parmenides, the son of Pyres (or Pyrrhes), of Elea (a Greek colony in Italy), was born about 515 B.C., in Phokaia, a city in present-day Turkey. He was associated with members of the Pythagorean society and is himself called a Pythagorean by later writers. In the formation of his philosophic system, he was influenced by his aged fellow-townsman, Xenophanes. However, he departed from the doctrines of Xenophanes by developing a system that was much more philosophical or abstract, which was embodied in a poetic work "On Nature." He bridges the gap between Homer and Plato; and Plato's work reflects the influence of Parmenides. Also in the Fragments of Parmenides collection housed in a green plastic folder are the ephemera including two versions of the Prospectus; Roxburghe Club Lecture; Bringhurst's lecture notes (sans projected photographs), which are inscribed "for Allen Mears: some inscrutable notes, / not worth the fifty pictures he didn't / get to see / Robert Bringhurst / 23 January 2004"; TLS from Bringhurst to Mears on the lecture and on the signing of Copy B's sheets by Koch, Wagener, and Bringhurst; and about 20 other pieces of ephemera and correspondence relating to the book.
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Everson. William First edition thus. Number 38 of a designated 61 copies.SIGNED BY EVERSON beneath his end-note (preceding the colophon page) and on the colophon by Felicia Rice, Gary Young, Peter Thomas and Daniel O. Stolpe. 13 x 19" oblong folio book produced by past apprentices and friends of the author. Handset at Everson's Kingfisher Press. Printed by Felicia Rice and Gary Young at the Bear's Tooth Studio. Handmade paper by Peter Thomas and woodcuts by Daniel O. Stolpe with full linen binding by Maureen Carey. Rice and Young were former students of Everson's and apprenticed at his UCSC Library's Lime Kiln Press. Stolpe was a longtime friend. Title is printed on a slip of white paper mounted on a deckle-edged piece of crimson paper. The first wood cut of various water birds spans two pages and is printed in black, light blue and yellow. The other woodcuts are printed in gray. Frontispiece in a color double-page format. A stunning book of one of the poet's most important works. Everson wrote the poem in 1950 during his 15 months of service in a Catholic Worker House of Hospitality in West Oakland where men of skid row were offered food and refuge. Everson composed the entire poem in one day. Peter Thomas made about 1,500 sheets, using 75 percent rag, 20 percent linter and 5 percent abaca, a Manila hemp. Thomas packaged the paper, watermarked "Santa Cruz 1992" and with his own wooden shoe watermark, and delivered the paper to Young's Bear's Tooth Studio in Bonny Doon. Of the 61 copies, five each went to the principles (5 x 5 = 25), around 20 went to institutional collections and the remainder [61 - (25+ 20) = 16] sold out at publication. This is one of those 16 copies. Includes the prospectus, article from Fall 1992 issue of UC Santa Cruz Review on the book's production, as well as an ALS from Rice to Mears concerning Everson. As New.
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THE OCCIDENTAL; (Four issues from the year Jeffers’ graduated)

Jeffers, Robinson First edition of each of a set of four extremely scarce and delicate periodicals from the year Jeffers graduated. Includes Volume XI, Numbers 4, 5, and 6, issued in January, February, and March 1905, respectively. Each is 20 pages, 7 x 9.8", saddle stitched in gray-green wrappers decoratively printed in black. Also includes Number 9, issued June, 1905, which is 112 pages, 7 x 9.8", in black paper wrappers with cover embossed in gilt. The four magazines are heavily illustrated with drawings, photos, and ads (the ads and artwork are exquisite). JANUARY 1905: ISSUE NO. 4, with first appearances of "Faunus" [A-8] on p.1 and "El Dorado" under his Edwin Rush pseudonym on p.5. ("El Dorado" is listed by Jeffers Association and Robert Brophy as Jeffers' but not included in Hunt's Collected Poetry as it was never published elsewhere or in book form.) Jeffers is listed as Associate Editor under the literary department, Class of 1905, on p.10 masthead and mentioned as one of the "new men" in athletics for long distance running (p.15). Condition: rust from staples has offset to each page at gutter (acid-free paper now laid in to mitigate further offsetting ); pp.9-12 detached but present; lengthwise crease from folding; printed covers vivid but show small marks from staples; faint offset to back cover (from being stacked when fresh from printer); p.1 (with "Faunus") shows pale offset from inside front cover; light damp stain to lower corners throughout but otherwise the text nice and clean. FEBRUARY 1905: ISSUE NO. 5, considered to be the rarest Jeffers periodical. Includes many poems attributable to him using the pseudonyms Rob York, Edwin Rush, etc.: "The Lake" (p.8) by "R. J." [A-9]; "Nemesis" (p.1) by Rob York and "In the Garden" (p.8) by Edwin Rush are attributed to Jeffers by the Jeffers Association and Robert Brophy but not in Hunt's Collected Poetry. (Note: not the same poem as "Nemesis" from Flagons and Apples). References to Jeffers throughout and to Dan Hammack, Jeffers' elder classman, mentor, and first publisher. P.10 lists Jeffers as Associate Editor under literary department and p.12 lists his father, Dr. Jeffers, who taught his son "The History of the Reformation" at Occidental. Condition: staples only slightly rusted (acid-free paper now laid in); pp.9-12 detached but present; lengthwise crease from folding; printed covers vivid but show very small staple marks; back cover clean. Pp.12-17 splotched, apparently from rust (a bit worse on pp.12-13); some pale stains to interior but much of text and ads nice and clean. MARCH 1905: ISSUE NO. 6, first appearance of "The Fox" (p.1) by "R. J." [A-10]; Jeffers listed as Associate Editor on p.10 masthead and under Athletics on p.15 (in the field day match between the college and Pasadena YMCA, "Jeffers took second" in the two-mile race). Condition: staples only slightly rusted (acid-free paper now laid in); pp.9-12 detached but present; lengthwise crease from folding; printed covers vivid with only slight rust from staples; cover and interior very clean except gutters pp.8-13, which show very slight rusting around staples. Altogether in very good condition. JUNE 1905: ISSUE NO. 9, the scarce graduation issue for the class of 1905, which had only 18 students (would seem to indicate the number of copies issued was very small). Contains several contributions by Jeffers who is mentioned throughout. A photo of "John Robinson Jeffers" in his cap and gown appears on p.[7]; Jeffers is listed as Associate Editor p.[8]; the poem "The Classes" (p.18) may be Jeffers'; photo of Jeffers as member of the Stevenson Literary Society appears on page "0-3" (33); Jeffers is listed as competing in the two-mile run (p.54)and appears in the track team photo (p.55); "The Stream" (p.71) with a photo of Antonio Canyon should be [A-11] as it was later published in a revised text October 1905 in Out West Magazine, the appearance of which Albert's lists as [A-11] (neither version appears in Collected Poetry); "An Acrostic" (p.82) is presumed to be by Jeffers but is not so listed elsewhere; under plumbing ad (p.95) is stated, "Sept. 30--Seniors receive Freshies. Jeff wears gown and spills himself." Although this issue is not in Alberts' bibliography, it should be for "The Stream," if not others. (See Alberts, pp.1 and 95-96.) Condition: interior clean and tight; front cover loose at top but still holding; rear cover with few tears and detached but present. Overall the four-issue set is in good to very good condition and forms an exceedingly rare collection of some of the earliest published writings of Robinson Jeffers. As period pieces for early 20th-century academic publications, these may not be exceeded.
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Wagener, Richard First edition. The first book published by Wagener's Mixolydian Editions. SIGNED BY WAGENER, the author/publisher/ printer AND INSCRIBED on the colophon page "For Allen / With Best Regards / Richard Wagener / 1/15/07" This 5.5 x 10 inch tall book contains four full-page wood engravings by the author, who is one of the country's best such artists. The prints are 3 x 5 inches in size. The title page is printed in black and red and contains a vignette woodcut illustration of a cracked sidewalk, printed in a medium shade of gray. This same illustration is blind-stamped (printed sans ink) on the front cover. The book was composed and cast in Monotype Dante by Dan Carr and Julia Ferrari at Golgonooza Letter Foundry in Ashuelot, New Hampshire. Printed by Wagener. Bound by John DeMerritt, Emeryville, California, with deep purple end-papers and in quarter tan linen over charcoal paper-covered boards with a printed label on the spine. This is copy No. 27 of 40 regular copies (numbered 26-65) printed on Rives Heavyweight paper. The total edition consists of 65 copies. (The 25 deluxe copies were printed on Twinrocker handmade paper and contain an extra suite of the four plates.) This is a handsome book featuring stories by the author about growing up in Southern California. The four engravings are of the Pantages Theatre and Palomar Observatory and views of two automobiles from the 1950s. Mixolydian is the musical name for the seventh of the eight church modes and also is a scale beginning with G on the white notes or keys of a piano. This copy of the book is unique in that it is the only regular edition that CONTAINS AN EXTRA SUITE OF THE PRINTS. Upon learning of the book's existence, Mears emailed Wagener to buy a deluxe copy. However, the printer had none left nor did any of the dealers who had them for sale. As a courtesy, Wagener included an extra suite of the four engravings, which he housed in a stiff deep purple folder or slipcase. Wagener actually made fresh prints of two of the engravings because he thought those he had already were not as good as they could be. In response to a question from Mears, Wagener's January 30, 2007, email stated, "I did all the printing. When I was writing the colophon I was thinking of documenting the work performed by others. (Mears had asked if Wagener did the printing since the colophon was silent on that point and if there was a prospectus.) I was thinking about doing a prospectus but then the books started selling and I never revisited the idea. In retrospect it would be nice to have such a document." Included with the book is the email correspondence between Wagener and Mears discussing the book, Mears' ALS to Wagener, downloads from the internet offering the book for sale, and a copy of pages from the Winter 2006 edition of the Book Club of California's Quarterly News-Letter, which is where Mears first learned of the new book. The book and extra suite of engravings are as new.
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Bloom, Amy, M. Jordan Tierney, illustrated by First edition, limited issue. Number 37 or 125 copies SIGNED BY AUTHOR, ARTIST, AND PRINTER/PUBLISHER. Robin Price designed, composed, printed it letterpress and hand bound the book. This copy was presented to Mears with Price's INSCRIPTION ON THE COLOPHON that states "this copy for Allen K. Mears." The green cover is made of soft Quinel brand suede that is laminated to a black Suedel Luxe material on the interior. The cover is illustrated with a pyrographic (burned in) image that was done with a blow-torch heated metal frame. Bloom's short story was first published by Ms. Magazine and later anthologized. The image making techniques and paper include Japanese handmade Okawara and Asarakusui paper, acetates, paper doilies, Denril vellum, and text sheets of Johannot and Clearprint. All rubbings are originals and vary throughout the edition. The publisher and printer wrote a page of notes explaining the image source and process behind each sheet in the book. ALSO INCLUDES the original prospectus with smoked illustration; a packet of ephemera including the original invoice, the program from the book party at the Teacher's and Writers Collaborative in Manhattan, and the "because I know you'll want to know' explanation Price wrote on January 12, 2006; the extensive correspondence between Mears and Price, which includes additional insights by Price on the book's complex production and answers to Mears' questions; and Internet source material on Bloom, tierney (who uses on capitals in her name), and the pyrographic process. The book is as new.
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Ritchie, Ward), Lawrence Clark Powell WARD RITCHIE, PRINTER: First edition, limited issue. Designed and letterpress printed by Mark Sanders. Printed in black and red in Warren's Olde Style on ivory paper. Bound by Roswell Bookbinding in Phoenix with orange endpapers and deep tan self wraps. The cover has titling information. The cover and title page are illustrated with Ritchie's 1929 skull-and-anchor logo. The book was printed for members of the Library Patrons of Occidental College, Friends of the UCLA Library, Rounce and Coffin Club, Roxburghe Club, Zamorano Club, and others. The book accompanied a Retrospective Exhibition of Ritchie's work at several libraries from May 16 through July 31, 1980. Contains a foreword by Ty Harmsen, essays by Ward Ritchie, Lawrence Clark Powell, John Dreyfus, Adrian Wilson and Jake Zeitlin. Contains 15 b/w photos and reproductions of a number of Ritchie's books, including of Jeffers' and Everson's. Because of the level of detail, this makes for a good reference. 110 pages, measuring 5.5 x 9 inches. Very good to fine. THE WORK OF WARD RITCHIE; DESIGNER, PRINTER, POET: by Lawrence Clark Powell. 1997 Trupenny Books, Tucson, Arizona. First edition as issued without dust jacket. One of 300 copies. Designed by Vance Gerry. Gray paper covers with a paper title label on the front. This 96-page octavo is smyth-sewn and bound by Roswell Bookbinding into the gray Gainsborough Cypress 80# cover stock. The edition is Powell's farewell to Ritchie, his late life-long friend. It contains Ritchie's poetry and, on page 64, gives the pseudonyms Ritchie used in his life and when they were used. Also included is the only version of the book's announcement or prospectus. This is a warm, sweet book from one friend to the memory of another. As new. LIST OF PUBLICATIONS: FALL 1938: 1938 Ward Ritchie Press, Los Angeles, CA. Oblong brochure measuring 5.5 x 4.25 inches, printed in black and purple. Announcements for six publications, including "Robinson Jeffers" by William Van Wyck. Good or better.