Simon howard illustrations (5 Ergebnisse)

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. 1st Edition. 206 Pp. Green Boards, Gilt. First Edition (Stated). Near Fine In Near Fine Dj Priced $2.95. Owner's Information On Front Pastedown.

Hardcover. Zustand: Very Good. Dust Jacket Included. 1st Edition. First edition. Orig. cloth with illustrated endpapers. Top of spine bumped, very good in about very good dust jacket which is chipped at top and bottom of spine; about one half-inch is missing from the top, taking away the first letter of the author's name, and about the same from the bottom. The chip at the top of the spine extends onto the upper left corner of the front panel and a bit also onto the extreme upper right corner of the back panel, not affecting anything of importance. The front flap, front endpaper, and first few pages show trace marks left by a paperclip. Otherwise the interior is clean and unmarked. Jacket has a drawing in colors on the front panel, and besides the illustrated endpapers there are six full-page black-and-white illustrations and numerous black-and-white vignettes throughout the text. Osceola Buddy is a mule whose conversations with other mules supply most of the book's dialogue. This book is interesting for its local color about agricultural life in southern Florida in the 1930s, including the farm labor done by African-American adults and children. There is a brief mention of Seminole Indians. Effie Power was an early supporter of Langston Hughes and provided the introduction to his 1932 poetry collection The Dream Keeper. at the time of writing this book she was living in Florida. Scarce in dust jacket.…

Zustand: Near Fine. Zustand des Schutzumschlags: No Dust Jacket, As Issued. Limited Edition #473 of 500. THE FIRST BOOK FROM THE PARIS PRESS THAT HELPED DEFINE AMERICAN LITERARY MODERNISM. Rococo marks the inaugural publication of Edward W. Titus's Black Manikin Press, establishing the typographic standards and artistic identity that would distinguish one of the most admired private presses of the American expatriate movement in Paris. Printed in a limitation of only 500 copies, it combines Ralph Cheever Dunning's refined verse with Howard Simon's elegant woodcut illustrations in a volume that reflects Titus's commitment to craftsmanship as much as literature. Issued from Titus's Rue Delambre press, only steps from Sylvia Beach's Shakespeare and Company, the book represents the beginning of a publishing enterprise that would soon become associated with D. H. Lawrence, Anaïs Nin, Henry Miller, and other important voices of twentieth-century literature. For collectors of fine printing, Rococo is the foundation upon which the reputation of the Black Manikin Press was built. A PARIS LITERARY CROSSROADS. Edward W. Titus occupied a unique position within the expatriate literary community of 1920s Paris. Bookseller, publisher, critic, and patron, he fostered relationships with writers and artists working beyond the limits of conventional commercial publishing. The establishment of the Black Manikin Press allowed Titus to unite careful hand-press craftsmanship with contemporary literary experimentation, producing books that were both typographically distinguished and culturally significant. THE FIRST IMPRESSION. Rather than beginning with controversial novels or established literary figures, Titus chose this modest collection of poetry to introduce his new press. The decision reflects his confidence that exceptional typography, thoughtful design, and fine illustration could establish the reputation of a publisher before notoriety or commercial success followed. The collaboration between Dunning and illustrator Howard Simon produced a remarkably harmonious debut that announced the artistic ambitions of the Black Manikin Press. PHYSICAL DESCRIPTION: Original quarter white parchment spine lettered in gilt over blue-grey paper-covered boards with blue paper title label mounted to the upper cover. Measuring approximately 9 by 5.25 inches. Unpaginated (22 pages). Printed in a limitation of 500 numbered copies, this being copy number 473. Illustrated throughout with three tipped-in woodcut plates by Howard Simon, the first bearing the artist's signature in the block. CONDITION: Near Fine. The bindings are tight and square, holding firmly. Internally clean and unmarked with light, even age-toning. Most leaves remain unopened beyond the preliminary gatherings. The parchment spine displays gentle, even toning with faint hand-soiling typical of the material, light rubbing at the extremities, and minor offsetting to the endpapers. An exceptionally well-preserved example of a notoriously delicate production. BIBLIOGRAPHIC SIGNIFICANCE: THE BIRTH OF BLACK MANIKIN PRESS. Rococo occupies a pivotal place in twentieth-century private press history as the first publication issued under the Sign of the Black Manikin. It established the visual and typographic principles that Edward W. Titus would continue to refine throughout the following decade, laying the foundation for one of the most respected expatriate presses operating in Paris. PRINTING MODERNISM. Although remembered today for publishing D. H. Lawrence, Anaïs Nin, and Henry Miller, Titus first demonstrated his ambitions through finely printed limited editions such as Rococo. The volume illustrates how the private press movement served not merely as a vehicle for literature but as an expression of bookmaking itself, where typography, paper, illustration, and binding formed a unified artistic statement. A POET WITHIN POUND'S CIRCLE. Ralph Cheever Dunning belonged to the expatriate literary community encouraged by Ezra Pound during the flourishing years of literary modernism in Paris. Howard Simon's restrained woodcuts complement Dunning's introspective verse, reinforcing the balance between text and image that became a hallmark of Black Manikin Press productions. CONTENT HIGHLIGHTS +++ Inaugural publication of Edward W. Titus's celebrated Black Manikin Press. +++ Limited edition of only 500 numbered copies. +++ Three tipped-in woodcut illustrations by Howard Simon. +++ Printed at Titus's Rue Delambre press in the heart of expatriate Paris. +++ Important foundation volume for collectors of twentieth-century private presses and literary modernism. SUBJECTS: Black Manikin Press, Edward W. Titus, Paris Expatriates, Howard Simon, Ralph Cheever Dunning, Fine Press, Private Press Movement, Modernist Poetry, Ezra Pound Circle, Rue Delambre, Limited Edition, American Expatriate Literature, Private Press, Fine Printing, Modernist Poetry, Limited Editions, Illustrated Books. Illustrations by Howard Simon (illustrator).…

dj. First Edition. First Printing. Octavo (23.5cm); red cloth, with titles stamped in gilt on spine; dustjacket; xvi,233,[3]pp; illus. Early owners inscription to front endpaper, old bookseller's description clipped and tipped onto front pastedown, with some offsetting to pastedowns from binders glue; Near Fine. Dustjacket is unclipped (priced $3.75), sunned at spine and panels, modest wear, with several shallow losses and small tears; Very Good.…

Second Printing (same year as the first). Octavo (21cm); black cloth, with titles stamped in gilt on spine and front cover; illustrated endpapers; [12],13-309,[3]pp; illus. Inscribed by the author in year of publication the half-title page: "To Erskine and Sara / with never-ceasing affection / Sincerely & fraternally / Michael Gold." Further inscribed, by Wood: "From Erskine & Sara to their dear friend Max Rosenberg - echoing the above - The Cats / July 1930." A tight, clean copy in the original cloth binding; board corners lightly bumped and a few mild taps to board edges, the endpapers illustrated after woodcuts by Howard Simon. Solidly Very Good, lacking the scarce dustwrapper. A great association copy, inscribed by Gold to one of the leading leftist intellectuals and authors of his time. Wood (1852-1944) was a self-styled anarchist, aesthete, and painter. As an attorney in the 1920s he defended a number of prominent figures on the left, including the anarchist lecturer Emma Goldman, and contributed prolifically to the radical periodicals of the period. With his second wife Sara Bard Field, he was a long-time resident of Los Gatos, California, and was known for entertaining visitors at the estate "The Cats," mentioned in the present inscription. Interestingly, Wood did not have a reputation for sympathy with doctrinaire Marxist thought; it seems unlikely that Gold would have written Wood such an effusive inscription even a few years later, as during the Great Depression he would rise to become one of the leading apparatchiks in the CPUSA. Signed. …