The Old Bachelor and Other Poems de Justice, Donald - 1951

London : Frederick Etchells & Hugh Macdonald, 1928 Limited edition, 1 of 55 signed and numbered copies, this being number 11; rebound in custom quarter leather marbled boards, ribbed spine and gilt-lettered, xxvi, 84pp. printed on Millbourn, hand-made paper, no dust wrapper issued for this signed edition [Gallup B7a]. Signed by T. S. Eliot. Small stain to front endpaper and light rubbing to corners of boards and spine ends, else book in fine condition.

London : The Aquila Press, 1930 First printing of the first edition, limited edition of 150 copies; publisher's copy; original orange and cream patterned boards, 4to, unpaginated, issued without dust jacket. Contains poems, "Simultaneous" and "In Provins." Crease to top, outer corner, slight tanning to spine, minimal wear, else book in fine condition.

New York: New Directions, 1967. First Edition. Near Fine/Near Fine. Signed limited first edition. One of a limited 110 unnumbered copies signed by Ezra Pound. Printed by Andrew Hoyem and Robert Grabhorn in San Francisco, and bound in publisher's tan linen cloth over blue paper-covered boards with errata slip tipped in at rear; in publisher's unprinted white dust jacket. Near Fine, with lean to spine, covers faintly marked. In a Near Fine dust jacket, lightly soiled and with light edge wear. An early long poem of Pound's, and his first attempt to write poetry using world history, and adding opinions of his own. Originally intended to be published in the 1911 first edition of Canzoni, Pound deemed it too serious, and removed it during the proof stage. It was not until 1967 when the poem was finally published, first in an Australian poetry magazine, then here for the first time in book format in a limitation of 110 copies. There is no equivalent trade edition. Gallup A90.

London: Faber and Faber, 1975. Uncorrected Proof. Very Good. Advance uncorrected proof of the first British edition. Bound in publisher's blue wraps printed in black with review slip laid in. From the library of Irish writer Francis Stuart, with presentation inscription on the half-title from Ted Hickey reading, "For Francis Stuart from Ted Hickey 18 June 1975," five days prior to the publication date according to the penciled notation on the review slip. A further inscription in another hand reads, "Ted Hickey, Belfast. 26 March 1975." Hickey was Keeper of Art at the Ulster Museum when he commissioned a portrait of Seamus Heaney to be painted by Edward McGuire, which would be used on the rear cover of the dust jacket of the first edition. Very Good, spine toned and with two tiny droplet stains, a bit of wear to wraps. Corners bumped. A scarce, advance format of an early work by Seamus Heaney, with a nice association.

London: Faber and Faber, 1959. First Edition. Near Fine/Near Fine. First British edition, first printing. Signed by Robert Lowell and inscribed to a former owner on the front free endpaper. Bound in publisher's plum-colored cloth with gilt spine lettering. Near Fine with faint rubbing at the tips, in a Near Fine unclipped dust jacket with minor shelf wear. This edition preceded the much more common American edition; quite scarce signed.

London : Frederick Etchells & Hugh Macdonald, 1928 Limited edition, 1 of 55 signed and numbered copies, this being number 11; rebound in custom quarter leather marbled boards, ribbed spine and gilt-lettered, xxvi, 84pp. printed on Millbourn, hand-made paper, no dust wrapper issued for this signed edition [Gallup B7a]. Signed by T. S. Eliot. Small stain to front endpaper and light rubbing to corners of boards and spine ends, else book in fine condition.

London : The Aquila Press, 1930 First printing of the first edition, limited edition of 150 copies; publisher's copy; original orange and cream patterned boards, 4to, unpaginated, issued without dust jacket. Contains poems, "Simultaneous" and "In Provins." Crease to top, outer corner, slight tanning to spine, minimal wear, else book in fine condition.

New York: New Directions, 1967. First Edition. Near Fine/Near Fine. Signed limited first edition. One of a limited 110 unnumbered copies signed by Ezra Pound. Printed by Andrew Hoyem and Robert Grabhorn in San Francisco, and bound in publisher's tan linen cloth over blue paper-covered boards with errata slip tipped in at rear; in publisher's unprinted white dust jacket. Near Fine, with lean to spine, covers faintly marked. In a Near Fine dust jacket, lightly soiled and with light edge wear. An early long poem of Pound's, and his first attempt to write poetry using world history, and adding opinions of his own. Originally intended to be published in the 1911 first edition of Canzoni, Pound deemed it too serious, and removed it during the proof stage. It was not until 1967 when the poem was finally published, first in an Australian poetry magazine, then here for the first time in book format in a limitation of 110 copies. There is no equivalent trade edition. Gallup A90.

London: Faber and Faber, 1959. First Edition. Near Fine/Near Fine. First British edition, first printing. Signed by Robert Lowell and inscribed to a former owner on the front free endpaper. Bound in publisher's plum-colored cloth with gilt spine lettering. Near Fine with faint rubbing at the tips, in a Near Fine unclipped dust jacket with minor shelf wear. This edition preceded the much more common American edition; quite scarce signed.

New York: The Limited Editions Club, 1988. First Edition. Near Fine. Limited edition of 550 copies; this copy is #136 with authorized facsimile signature of De Kooning. Elephant folio. Black Nigerian goatskin lettered in gilt, housed in black cloth clamshell case with gilt lettered black leather spine label. Includes 13pp. staplebound Limited Editions Club Letter. A bit of waviness to a few pages in middle of book, else Fine, housed in Very Good slipcase with worn spot to back edge of spine, a bit of pilling to cloth. Letter has small light crease to bottom corners, else near fine. 17 original lithographs by De Kooning, reproduced from charcoal drawings, illustrating the New York School poet's ode to the Dutch-American abstract expressionist painter.