Resultados de búsqueda: Literature from Bromer Booksellers

Boston: G. K. Hall & Co, 1978. Two large quarto volumes. xxi, (1), 657, (1); (ii), 629, (1)pp. A hefty, thorough, and eminently consultable reproduction of approximately 27,000 catalog cards, still relevant to the library historian or historical bibliographer. Bound in green cloth over boards with spine titling. Mild shelfwear, else a near fine pair.

London: Faber and Faber, 1978. Baskin, Leonard. Oblong quarto. (63)pp. First trade edition. Inscribed by Leonard Baskin, whose stylized drawings provide a dramatic illustration of Hughes's poem sequence. The effect, as the jacket copy rightly describes it, is a "haunting combination of word and image." Baskin, the renowned sculptor, artist, and founder of the Gehenna Press, shared a long friendship with Hughes, and had previously illustrated the poet's famous "Crow" seqence. Bound in full black cloth, lettered in gold on spine. Dust jacket illustrated with drawings repeated from interior. Boards slightly bowed with light shelfwear, jacket with few closed tears at edges and two faint marks to front. Near fine.

N.p., 1990. Small collection of works by the Pulitzer-Prize winning Mississippi author and photographer, Eudora Welty. A private collection formed primarily in the late 1980s through the mid-1990s, this group spans Welty's long career and includes several early magazine appearances. Most of Welty's regularly published books are present, and most present as near fine to fine. Of especial note are those copies with Welty's autograph: The Ponder Heart (autograph laid in, and signed by the full cast of the theatrical production), A Pageant of Birds (Albondocani Press), Women!! Make Turban in Own Home!, "For Reynolds Price," One Writer's Beginnings, The Optimist's Daughter, Place in Fiction, Acrobats in a Park, Bye-Bye Brevoort, Eudora Welty in Black and White, and Retreat. Other copies show the range of Welty's pen, and the relative scarcity of some of her titles: A Curtain of Green (no d/w); The Wide Net; The Golden Apples; The Bride of the Innisfallen; The Robber Bridegroom; Delta Wedding (2… Leer más

San Francisco: John Henry Nash, 1929. Nash, John Henry. Four folio volumes. (ii) 120; viii, 165; (iv) 166; (iv) 165pp. One of 250 copies printed on Van Gelder paper with the Nash watermark. The first volume contains "The Florence of Dante Alighieri: the Dante of all the World," by translator Melville Best Anderson of Stanford University, followed by the three volumes of "Inferno," "Purgatorio," and "Paradiso." The text and titles of this handsomely printed set are placed within light blue rules, and the text throughout is accompanied by marginal notes. Nash labored for six years to produce this great edition of Dante, which Blumenthal terms "an admirable performance in the private press tradition of tall books, magnificent paper, vellum binding, and superb workmanship throughout." Touch of sunning to spines, minor staining to rear board of "Inferno" volume, else fine in full gold-tooled vellum. T.e.g. Bookplates. (Blumenthal p.101).

New York: Henry Holt, 1949. Thick octavo. First edition, one of 500 copies signed by Frost on a tipped-in leaf. This is copy number 3, which Frost has inscribed to his grandson, Prescott, and his wife Phyllis. This text served as the basis for the Limited Editions Club two-volume edition that appeared the following year, and it stood for many years as the definitive arrangement of Frost's works. Named for his great-grandfather, William Prescott Frost was the son of Frost's only son, Carol, whose suicide in 1940 affected the poet deeply enough that he "assumed considerable financial responsibility" for his grandson and his daughter-in-law (Thompson, Letters of RF, 517). Family association copies of Frost's books appear infrequently on the market. Spine toned and with a few light stains, stray mark on outer margin of title page; overall, a very good copy. (Crane A35.1).

(Salem: Colonial Society, 1939. Hunter, Dard. First separate edition, which consisted of fewer than 100 copies. A single folded sheet with one page of type, printed by Dard Hunter II at the MIT Paper Museum Press. Inscribed by Frost to Martin K. Howes at foot of poem. Frost read this delightful piece about a fly on a piece of paper, which had appeared previously in the Atlantic Monthly, aloud at a Colonial Society dinner. This is the second use of this typeface, created by Hunter, who cut the steel punches and cast the type by hand, basing his designs on early type as his father had before him. With one large initial printed in brown and a border of "housefly" printer's ornaments. Accompanied by the scarce broadside from the Colonial Society explaining the background of the piece. Both pieces are fine, though unflattened. Housed in original mailing tube designated for Howes in Frost's hand. (Crane A24; Robert Frost and his Printers 31; Dard Hunter, My Life with Paper, 214-15).

(London): Gogmagog Press, 1962. Cox, Morris. Octavo. (24)pp., frenchfold. One of fifty copies printed and signed by Morris Cox. Contains fifteen black and white satirical prints illustrating awkward moments, with captions in red. Near fine in linen-covered boards with printed spine label. (Chambers 8).

(Andoversford, 1985): Lorson's Books & Prints. Morgan, Gwenda. (24)pp. From an edition of 150, this is one of 35 deluxe copies signed by the artist, Gwenda Morgan, and with an extra suite of plates. Each month is described by a verse of English poetry, coupled with a full-page wood-engraving by Morgan. In full tan calf, blind-stamped and with gilt-titling to the spine. Extra suite is enclosed in a special portfolio of marbled boards. The whole is housed in a gold raw-silk dropback box. Fine. (2 1/2 by 1 7/8;64x49mm.).

NY: Ballantine Books, 1957. First edition. A sort of interstellar Robinson Crusoe, Cycle of Fire follows the survival of human castaway Nils Kruger and his shipwrecked extraterrestrial companion Dar. As they travel across an unfamiliar planet, they learn to communicate and trust one another, eventually sharing critical knowledge that ensures the prosperity of Dar's species. This work falls firmly within the genre of hard science fiction, an areathat demands of its authors not only a galactic imagination but also a rigorous adherence to scientific fact. Indeed, the key piece of knowledge that promises salvation for Dar's people is the scientific method. Hal Clement saw hard science fiction as a competition between himself as the author and his readers, stating that the role of the reader is to find "as many as possible of the author's statements or implications which conflict with the facts as science currently understands them" while the author must "make as few such slips as he possibly can." Bound… Leer más

Boston: Bromer Booksellers, 2011. Octavo. 408pp. One of 50 deluxe copies signed by the bibliographer, of which 40 are available for sale. The deluxe edition includes a previously unpublished poem by Huxley dedicated to his first wife Maria. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley is the culmination of over twenty years of research, fact-finding, and detective work undertaken by David J. Bromer. "Aun Aprendo," which means "Still Learning" in Spanish, was the title of a commencement speech that Huxley gave at the progressive Happy Valley School in California in 1951. Bromer's experience as a collector and bibliographer of Huxley's work has sparked a life-long process of education and discovery. With over 2,000 entries, Aun Aprendo is the most current and comprehensive descriptive bibliography of Aldous Huxley's works ever produced. It describes the first appearances of Huxley's works in the English language and identifies many previously unrecorded… Leer más

NY: Knopf, 1927. First edition. One of 175 copies on Borzoi rag paper, signed by Cather. Signed TLS tipped-in from Cather to a Mr. Barrett, dated September 26, 1928, on Grosvenor stationery. Here Cather points out a letter she published in The Commonweal detailing her experiences researching and writing the book, which she notes "follows the actual lives and experiences of the first Bishop of New Mexico and his vicar very closely." Quarter green cloth with marbled paper over boards and glazed cloth label to spine. General overall rubbing, else near fine. Bookplate of Estelle Doheny and her husband Edward L. Doheny. Bookseller label at rear paste-down.

London: William Heinemann, 1927. Schmidt, Harold Von. Octavo. Second English edition and first illustrated edition. Illustrated with full-page chapter headings, head- and tailpieces from drawings by Harold von Schmidt. This is the first illustrated edition of Cather's most significant novel. Rebound in half burgundy morocco, with red cloth over boards, five raised bands, and gilt ornamentation to spine and rules to covers. Fine. T.e.g. Together with a copy of the later printing by Knopf in 1940. This bound in full green cloth over boards with paper labels to upper cover and spine. Generally present sunning, else very good in a very good dust wrapper, which is measurably toned, cosmetically chipped, and bears a minor dampstain to the top right corner of the upper panel.

NY: Knopf, 1929. Schmidt, Harold Von. Quarto. First illustrated edition. One of 170 copies signed by Cather. Illustrated with full-page chapter headings, head- and tailpieces from drawings by Harold von Schmidt. This is the first illustrated edition of Cather's most significant novel. Spine faintly sunned, else a fine copy in full limp vellum stamped in silver on upper cover and spine, and with the plain heavy paper dust wrapper, which has had some restoration. Housed in the original slipcase, which has also been expertly restored.

NY: Oxford University Press, 1966. Octavo. First American edition. One of 1,000 copies comprised of sheets from the first edition with a new title page. This is Heaney's first commercially produced verse collection, preceded by Eleven Poems, a pamphlet published by Queen's University in Belfast. The future Nobel Laureate's richly cadenced lyricism is firmly established in this auspicious debut, from the famous opening lines of "Digging" onward. Few small stains to green gilt-stamped cloth, else fine, in a dust wrapper that shows the customary fading to the photo-sensitive colors on the spine and some chipping and wear to edges. (Brandes & Durkan A2.b).

NY: Knopf, 1933. von Schmidt, Harold. Octavo. (12)pp. First edition thus. Signed by von Schmidt at the colophon. Von Schmidt executed twelve ink drawings for the publication, each bridging his own iconic visions of the American West with the pre-Raphaelite style the book's mise-en-page presents. Printed in black and orange. Bound in tan paper over boards with titling stamped in blind. Mild bumps to corners, else near fine in original very good dust wrapper, which shows some edgewear and shelf-toning.

Hamburg: Raamin-Presse, 1976. Quadflieg, Roswitha. Quarto. (40)pp. From an edition of 170, this is one of twenty copies with an additional two plates signed and numbered by the printer and illustrator, Roswitha Quadflieg. Translated into German from the original French by Elmar Tophoven, the short story "L'Expulsé" ("The Expelled") first appeared in Fontaine in 1946 and was reprinted in the collection Nouvelles et Textes pour rien in 1955. The text is accompanied by eleven woodcuts by Quadflieg, which illustrate elements from the story, including the stairs down which the narrator is expelled, his hat, and the rather large old woman upon whom he falls. Bound by Christian Zwang in grayish-brown Fabriano paper blind-stamped on the spine and boards. Fine. (Quadflieg 7).

London: Faber and Faber, 1999. Octavo. First edition. In 1917, Janacek discovered Ozef Kalda's poems in a local newspaper, and set them to music. Here Heaney has translated and adapted Janacek's songworks into melodic English verse, a task certainly difficult but one in which Heaney has successfully preserved both lyricism and meaning. Bound in green wrappers with yellow dust wrapper. Faint soiling, else near fine. Together with the first American edition, printed by Farrar, Straus and Giroux in 2000. Mild edge rubs else near fine in green and black wrappers. Also with the FSG's uncorrected proof of their edition. Bound in light blue wrappers, on which the spine titling capitalizes "Of," an occurrence not sustained in the final review. Four stains to upper cover, some toning to spine, else good. Square 16mo. First American edition.

London: Pergamon Press, 1970. Two octavo volumes. xvii, 968; xi, 1497pp. paginated continuously. An achievement of encyclopedic attention. Bound in full brown cloth over boards. Mild shelfwear, volume one hinge split at half title, inconsequential dampstaining at tails of spines. Very good in very good dust wrappers.

NY: Null-Q Press, 1968. First American edition. One of 250 copies printed on a mimeograph machine on pulp paper, and stapled. This copy is inscribed and signed by Blish. This novel was first published in the U.K. in 1964, and because no American imprint would agree to publish it in the U.S., Blish was forced to self-publish in order to protect the copyright. This is the first part of the philosophical trilogy "After Such Knowledge" -- an historical novel based on the life of Roger Bacon. A fine copy in the original mailing envelope addressed by Blish, which is worn and torn.

London: Faber & Faber, 1969. Octavo. First edition of Heaney's second regularly published book. In his introduction to this work, which appears on the Poetry Book Society Bulletin laid into this copy, the future Nobel laureate notes that this sequence moves from the notion of memory - which characterized the overall theme of Death of a Naturalist - to "poems on love and marriage" and the balance between the sexes. Central to this work is "A Lough Neagh Sequence" which centers upon the parallels between the life-cycle of the eel and the work-cycles of the eel fisherman. A fine copy, overall, which shows virtually none of the jacket toning to which this title is susceptible. (Brandes & Durkan A5).