Hart Crane (626 results)

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. First edition, second issue. Foreword by Allen Tate. Near fine in near fine dust jacket. Hart Crane's own copy of his first book, with his later ownership Signature: "Hart Crane, Aug. '31" and his bookplate on the front pastedown. Apparently Hart Crane's mother either gave away or sold some of his bookplates shortly after his death to Crane's good friend, the bookseller Samuel Loveman, thus resulting in occasional "association copies" surfacing. However, all of the books that we have seen Signed by him (with the exception of the signed and limited edition of *The Bridge*) were from his personal library.

Hardcover. Condition: Fine. Dust Jacket Condition: near fine. First Edition. The title page is a cancel, with Allen Tate's name (who wrote the Foreword) spelled correctly. One of Crane's own copies of his first book (the only one that's ever surfaced, and the only one that's likely to) with his bookplate and his ownership signature (in ink) "Hart Crane, Aug '31" (he drowned in 1932). This copy should not be confused with 1st editions that just have his bookplate for evidence of ownership, as his family (with all the integrity of hyenas) sold bookplates after his death. Fine in a beautiful dustjacket with the spine faded half a shade else fine condition, quality that parts the clouds to let the Sun shine down, and quite a rare jacket in such condition. Since the title page was canceled immediately, Crane logically opted for author's copies with his friend Tate's name spelled properly. Heavy. Singular. Best copy in the world, so far. Hart Crane's first poetry collection, White Buildings, published in 1926, helped establish him as a leading voice in modernist poetry. The book showcases Crane's innovative style, marked by dense imagery, complex metaphors, and a non-linear, fragmented structure that evokes the rhythms of jazz and the disorienting experience of modern urban life. Poems like "For the Marriage of Faustus and Helen" and "Voyages" display Crane's signature synthesis of classical mythology and contemporary urban scenery, casting the New York cityscape as a dreamlike realm where ancient archetypes intermingle with subways, skyscrapers, and bridges. In "At Melville's Tomb," Hart Crane constructs a complex metaphysical meditation that exemplifies his modernist poetics while engaging with the American literary tradition through the figure of Herman Melville. The poem's dense imagistic patterns reflect Crane's commitment to what he termed "the logic of metaphor"an associative rather than linear discursive structure that seeks to crystallize emotional and intellectual complexities into condensed linguistic expressions. Crane's syntax deliberately frustrates straightforward semantic interpretation, forcing readers into active participation with the text's meaning-making processes. The opening stanza's declaration that "Often beneath the wave, wide from this ledge / The dice of drowned men's bones he saw bequeath / An embassy" establishes the central tension between material dissolution (the bones) and transcendent communication (the embassy), illustrating Crane's characteristic fusion of concrete imagery with abstract metaphysical concerns. The poem's richly textured marine imagery functions as more than decorative metaphor; it operates as a sustained symbolic system that explores the relationship between artistic creation and death. Crane's handling of the nautical lexicon transforms Melville's oceanic obsessions into a metaphor for poetic consciousness itself, where "multitudinous seas" become the repository of cultural memory and artistic inheritance. The final stanza's proclamation that "Compass, quadrant and sextant contrive / No farther tides" suggests the limitations of rational epistemologies when confronted with the sublime, yet the poem concludes with the paradoxical assertion that even "silent answers" may "stock the sand," implying that absence itself can generate meaning. This dialectic between presence and absence, between the expressible and the inexpressible, positions Crane's work as a crucial bridge between symbolist poetics and high modernism, anticipating the linguistic preoccupations of postmodern poetry while remaining grounded in the metaphysical concerns of the American transcendentalist tradition.

Condition: Near Fine. First American Edition. First American edition, preceded by the Paris edition published by Black Sun Press. Signed by Hart Crane on the front free endpaper. Bound in publisher's original dark blue cloth ruled in blind, with titles in gilt on spine and upper board. Near Fine with sunning to cloth at spine and edges, a few light scratches to the boards, light loss to corners and spine ends heaviest at the crown. Pages toned and with a few short edge tears to pages. A work that has critics divided to this day, with some claiming it to be Crane's best work and a masterpiece of American Modernism.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First edition, second issue. Foreword by Allen Tate. Edges of the boards a little rubbed and worn, some scrapes and small stains on the front fly, very good in very good dust jacket lacking the top ½" of the spine. In a fine custom quarter morocco clamshell case. Inscribed by Crane to his close friend, the poet Wilbur Underwood: "For Wilbur Underwood with affection always. Hart Crane. January 1927." A few pencil notes and marks in the margin, likely in the hand of Underwood. Underwood, whose archive is at the Library of Congress, published at least a half-dozen volumes of poetry and was associated with the Decadent Movement. He was a veteran of the homosexual underground scene of the period and is perhaps best known as Hart Crane's mentor and confidant. One of the best sources of information on Underwood is Clive Fisher's biography *Hart Crane: A Life*.

Letter. Very scarce, closely written two-page AUTOGRAPH LETTER SIGNED with superb content two years before the publication of his first book, WHITE BUILDINGS, to his mother, addressed as "Dear Grace." In part: "Another very active week. Luncheon with someone different every day, -- and nearly always someone to take up the evening. But I have been so interested in several incompleted poems that I've sat up very late working on them, and so by the advent of Saturday felt pretty tuckered out. There's no stopping for rest, however, when one is the 'current' of creation, so to speak, and so I've spent all of today at one or two stubborn(?) lines. My work's becoming known for its formal perfection and hard glowing polish, but most of those qualities, I'm afraid, are due to a great deal of labor and patience on my part. Besides working on part of my BRIDGE I'm engaged in writing a series of six sea poems called VOYAGES (they are also love poems) and one of these you will soon see published in '1924,' a magazine published at Woodstock and which I think I told you about heretofore." Crane than writes a poetic paragraph describing the weather and the river before talking about Eugene O'Neill: "O'Neil [sic] has a new play at the Greenwich Village Theatre -- a tragedy called DESIRE UNDER THE ELMS which I'll see sometime this week. He and Agnes were in town for the premiere and I called on them at their rooms in the Lafayette one evening. He seems to have Europe in applause more than America. That's true of Waldo Frank's work in France, also, where he has been much translated and more seriously considered, far more so, than here at home. The American public is still strangely unprepared for its men of higher talents, while Europe looks more and more to America for the renascence of a creative spirit." Crane is happy to get his mother's letters and rejoices in her having "a lyric evening," dancing and drinking. "I still like to think of those five o'clock booze parties we had in the office and how giddily I sometimes came home for dinner. You were very charming and sensible about it all, too, and I thank my stars that while you are naturally an inbred Puritan you also know and appreciate the harmless gambols of an exuberant nature like my own. It all goes to promise that we shall have many merry times together later sometime when we're a little closer geographically." He concludes: "My -- but how the wind is blowing. Rain, too, on the window now! There was a wonderful fog for about 18 hours last week. One couldn't even see the garden close behind the house -- to say nothing of the piers. All night long there were distant tinklings, buoy bells and siren warnings from river craft. It was like wakening into a dream land in the early dawn -- one wondered where one was with only a milky light in the window and that vague music from a hidden world. Next morning while I dressed it was clear and glittering as usual. Like champagne, or a cold [?] to look it. Such a world! Love, as always, your Hart." With the envelope hand-addressed by Crane to "Grace Hart Crane" and SIGNED by him with his address. Also with a 1964 invoice and letter from bookseller Henry W. Wenning. An especially significant piece of Crane's extensive family correspondence, this letter has often been reprinted, appearing specifically in Thomas S. W. Lewis (editor), LETTERS OF HART CRANE AND HIS FAMILY (NY: Columbia UP, 1974), on pages 371-373. And while Lewis's Calendar of Letters indicates that the original is owned by Columbia, recent correspondence with Columbia reveals that that published claim is incorrect: this letter somehow escaped Columbia's acquisition of the Crane archive in the 1950s. A key item of Crane's that has been off the market for nearly 60 years. For the four years preceding Crane's suicide in 1932, Grace Crane had not spoken to her son. She nevertheless became his literary executor and devoted her life to promoting his work. Creases from folding, otherwise about Fine.

Condition: Very Good. First Edition. First edition, second issue with Allen Tate correctly spelled on the tipped-in title page. Signed by Hart Crane and inscribed to a former owner mere months before his suicide, "To Hanna with all good wishes, from Hart Crane Mexico '32." Bound in publisher's paper-covered boards over dark blue spine cloth. Very Good with rubbing to binding and gilt lettering on spine. Pages toned, and with a small bookseller's ticket (Brentano's) to the rear pastedown. Crane has been hailed by many as the most influential poet of his generation. The poet committed suicide at age 32, and books signed by him are uncommon.

First American edition of Crane's landmark modernist epic. Octavo, original blue cloth with gilt titles to the spine and front panel, illustrated with three photographs by Walter Evans. Presentation copy, inscribed by the author on the front free endpaper one month after publication, "For Bob Thompson, from his friend always- Hart Crane, Brooklyn, April 30." The recipient, Robert Thompson, was a close friend of Crane's. During the early part of 1930, Thompson and Crane spent what John Unterecker described as "wild evenings" in New York. Thompson was "a good drinking companion whom Hart in the summer would recommend to Caresse Crosby as 'a former sailor who has got tired of office work and expects to hit the deck again for awhile.'" With Thompson's inscription to the pastedown recording the details of Crane's suicide, "April 28,1932, S/S Orizaba, Capt. Blackadder." In very good condition. Housed in a custom clamshell box. Crane presentation copies are of the utmost rarity, and this personal and significant association is of exceptional desirability. "There are certain single volumes of American poetry⦠which carry with them a special and spiritual power; they seem to arise from a mysterious impulse and to have been written from an enormous private or artistic need. The poems are full of a primal sense of voice⦠This tone, so apparent in Hart Crane's work⦠matches a sensibility which was both visionary and deeply rooted in the real," especially in The Bridge, the second and last book published during Crane's brief and tragic life (Tà ibÃn, New York Review of Books). As a result of this work, Crane was granted a Guggenheim Fellowship and went to Mexico City to write another verse epic, which never materialized. On his way back to New York, on April 27, 1932, Crane jumped from the S.S. Orizaba into the Caribbean and was drowned.

Soft cover. Condition: Near Fine. 1st Edition. Crane is a singular figure in American poetry in that he sought a Romantic voice in the era of high Modernism. 'The Bridge' is easily his most significant work, his answer to Eliot's 'The Waste Land' or the Cantos of Ezra Pound, and one which finds hope and optimism in his century where Eliot saw only despair, which is sadly ironic given Eliot's long life and Crane's suicide at 32. This is one of Black Sun Press' typically beautiful productions, one of an edition of 284. Includes the original slipcase which is a bit damaged, and is otherwise an excellent copy of this scarce and much loved title, made particularly special by the inclusion of illustrative photographs by Crane's friend, the legendary photographer Walker Evans.

Paris: The Black Sun Press. 1930. 8vo. Original printed wrappers with fold-over flaps enclosed in a glassine dust jacket, housed in the publisherâs silver paper-covered slipcase; tiny loss to bottom of front wrapper; slipcase splitting along top and bottom edges; internally fine. First edition, one of the original 284 copies of Craneâs poetical masterpiece.Hart Crane is a singular figure in American poetry, seeking a Romantic voice in the era of high Modernism. The Bridge is undeniably his most significant work; his answer to T.S. Eliotâs The Waste Land and the Cantos of Ezra Pound. It is one which finds hope and optimism in a century where Eliot saw only despair, sadly ironic given Eliotâs long life and Craneâs tragic suicide at 32. This is one of Black Sun Pressâ typically beautiful productions, one of a total edition of 284, made particularly special by the inclusion of illustrative photographs by Craneâs friend, the legendary photographer Walker Evans.The Black Sun Press was an English-language publishing house based in Paris. Founded in 1927 by American expatriates Harry and Caresse Crosby, it published the early works of influential literary figures such as James Joyce, Ezra Pound, T.S. Eliot, D.H. Lawrence, and Hemingway. The books, all handset, were typographically impeccable and wonderfully bound. The Black Sun Press was one of the longest running of its kind, closing only in 1970 following Caresse Crosbyâs death.Minkoff A-32.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First edition, corrected state with the corrected title page spelling "Allen," rather than "Allan" tipped in. Foreword by Allen Tate. The entire first printing consisted of 500 copies, 50 of which were sent out to reviewers before the mistake was caught. The title page was quickly reset and the revised pages tipped in by hand in the 450 remaining copies. Faint bend in the text block, edgewear on the fragile boards, very good in very good or a little better dust jacket with one fold strengthened on the verso. Housed in a cloth chemise and quarter morocco slipcase titled in gilt. Inscribed by Hart Crane: "For John Wolcott in memoriam the Cleveland days 'where cuckoos clucked to finches' Hart Crane." The line "Where cuckoos clucked to finches" appears in the penultimate stanza of the second part of Crane's poem "For The Marriage of Faustus and Helen," considered by critics to be one of his greatest poems, and which appears on pages 37-44 of this volume. The line apparently suggests the animated conversations taking place at a frenzied jazz club. Crane grew up in Cleveland, Ohio, in the north tower of his family's large home at 1709 East 115th Street, his "sanctum de la tour." Wolcott was almost certainly one of the young friends who Crane left behind when, at the age of 17, he abandoned Cleveland for New York. A significant copy of the first book (of only two before his suicide at the age of 32) by one of the preeminent and influential modernist poets.

Hardcover. Condition: Very good. Dust Jacket Condition: very good. First Edition. His first book (500 printed). Contemporary signed presentation copy inscribed by Crane (in ink), "For John Wolcott in memoriam the Cleveland days 'where cuckoos clucked to finches' Hart Crane." The quote is from Crane's poem, For the Marriage of Faustus and Helen, page 37 of this book (I found no other copy of White Buildings inscribed with a quotation). Very good in a 1st printing dustjacket, the spine faded and one fold strengthened, else very good. Rare, one of only 2 inscribed copies sold at auction in the last 40 years, the other in a defective jacket. Cancelled title page with Allan Tate's name correctly spelled, but only review copies had the uncorrected state so our copy is not a 2nd issue since it exactly replicates the book as it was for sale on the day it was published, and Crane's own copy was also in this state. Hart Crane's first poetry collection, White Buildings, published in 1926, helped establish him as a leading voice in modernist poetry. The book showcases Crane's innovative style, marked by dense imagery, complex metaphors, and a non-linear, fragmented structure that evokes the rhythms of jazz and the disorienting experience of modern urban life. Poems like "For the Marriage of Faustus and Helen" and "Voyages" display Crane's signature synthesis of classical mythology and contemporary urban scenery, casting the New York cityscape as a dreamlike realm where ancient archetypes intermingle with subways, skyscrapers, and bridges. In "For The Marriage of Faustus and Helen," considered by critics one of his greatest poems, the line "Where cuckoos clucked to finches" appears in the penultimate stanza of the second part (of 3). The poem spans pages 3744 of White Buildings. The line suggests the animated conversations taking place at a lively jazz club: "O, I have known metallic paradises Where cuckoos clucked to finches Above the deft catastrophes of drums. While titters hailed the groans of death Beneath gyrating awnings I have seen The incunabula of the divine grotesque. This music has a reassuring way." Crane's vision in White Buildings encompasses both the soaring optimism and existential despair of the 1920s, a decade of dizzying change as America underwent rapid industrialization and urbanization after World War I. Growing up in the north tower of his family's large home in Cleveland, Ohio (his father invented Lifesavers and other candies), Crane left behind childhood friends like Wolcott when, at the age of 17, he abandoned Cleveland for New York. White Buildings, the first of only two books published before his suicide at 32, remains a significant work by one of the preeminent and influential modernist poets.

Hardcover. Condition: Very Good. First Edition. One of 50 copies on Japanese Vellum, signed by Hart Crane. Contents completely fine, a very fresh copy. Covers generally bright and clean (see photos), but the spine tips are dulled where the glassine is also worn. There is a professionally repaired thin paper-split down the spine, now manifesting as a crease (see photo). During the repair, thin paper reinforcement was added underneath, so that the book can now be laid open flat -- and actually enjoyed. The book is also now supported by a thick mylar wrap, which makes it easier to handle. A modernist highspot at a very attractive price.

Three photographs by Walker Evans, 10.5 x 8.75, wrap in glassine cover, unpag, one corner with very gentle bump else nice fresh copy in splitting silver slipcase. FIRST ED, ONE OF 200 NUMBERED COPIES.

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Limited Edition. #118/200 Numbered Copies printed on Holland Paper, bound in French fold cream wrappers printed in black and red, spine slightly toned, in clear glassine (browned and nicked at edges), in silver-sided slipcase. Slipcase is restored. Text and endpapers clean and unmarked. Unpaginated. A lyric epic and paean to America at the height of the industrial age, brimming with rhetorical flights and eccentric visionary imagery. Lovely copy of a scarce and fragile book. Q15820.

Hardcover. Condition: Very Good. First Edition. First edition, first printing. Rare first issue with Allen Tate's name misspelled on integral title page. Near Fine in a Very Good dust jacket. Light bruising to spine cloth at ends. Front free end paper shows light evidence of book plate removal. Dust jacket is price clipped, and the edge of the front flap appears slightly trimmed; toning to spine and unevenly to front panel; a bit of creasing to the top of the front panel; internal repair made at top of spine and front fold. Housed in a custom folding case. The first edition consisted of a mere 500 copies, with a very small, but unknown amount of the first issue. The author's first book.

Soft cover. Condition: Fine. 1st Edition. 5 1/2 inches x 8 1/2 in., a single sheet of paper folded to form four pages, printed in brown ink. Titling on the outer front page with dedication to Frederick Clayton, and with a Brooklyn Heights, November 1934 imprint. Prints two letters from Crane to Samuel Loveman: (1) R.M.S. "Tuscania" Off Newfoundland, December 9, 1928. & (2) 15 Calle Michoacan, Mixcoac DF April 13, 1932." On two printed pages with the limitation statement, and with Jack Birss' signature in blue ink at the bottom of the third page. "These letters are printed through the kindness of Grace Hart Crane and Samuel Loveman." An ultra fine copy of a very rare item; very few surviving copies are now in private hands. Schwartz & Schweik: Hart Crane Bibliography, A 5, p. 42-44.

Hardcover. Condition: Very Good. First Edition. Number 63 from the total edition of 284 copies. Modern red calf gilt, the original wrappers bound in, cloth slipcase. 10 3/4 x 8 3/4 inches (27.5 x 22 cm); printed in red and black, with 3 fine photogravures by Walker Evans. Light thumbsoiling to wrappers and few spots within but generally clean, the final plate and tissue guard detached. First edition of this collection of Crane's seminal modernist poems The Bridge. Crane met photographer Walker Evans by chance in the shadows of the Brooklyn Bridge and this work constitutes one of Evans' earliest publications. Connolly 100 64; Minkoff A32.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. First American Edition. Preceded by the limited edition from Black Sun Press a few months before. This is the first American edition, first printing. A Fine, clean copy in dark blue cloth, in a Fine dark blue dustwrapper, not price-clipped, with some minor restoration along spinefolds, and points. Many pages uncut. 82pp. Crane's masterpiece. Two years later, he would jump to his death from deck of a steamship into the Gulf of Mexico. Q06247.

Condition: Near Fine. Dust Jacket Condition: Very Good+. First Edition. First edition, first printing. Second issue with Allen Tate's name correctly spelled on the title page, which is a cancel. Bound in publisher's original tan batik paper covered boards over dark blue spine cloth lettered in gilt, with blue topstain. Near Fine with toning at edges, foxing to textblock edges, pages toned. In a Very Good+ unclipped dust jacket with uneven sunning, spine toning, shallow chipping at the crown and light edge wear. The author's first book.

Hardcover. Condition: Very Good. No Jacket. HART CRANE'S COPIES of: (1) Hubbard, Elbert "Little Journeys to the Homes of Eminent Artists: Leonardo" and (2) Hubbard, Elbert "Little Journeys to the Homes of Great Philosophers: Spencer." (1) Roycrofters, East Aurora, N. Y. 1902; (2) Roycrofters, East Aurora, N. Y. 1904 Each book is 6 in. x 7 ¾ in. (1) Paginated from 27 to 50. + printer s page and hand-colored design colophon page with a frontispiece of Leonardo and a hand-colored title page with the title-page initials and ornaments designed by Samuel Warner. (2) Paginated from 96 to 127 + printer's page and a black-and-white colophon page, a hand-colored title page, and two portraits of Spencer. Each book has a tan cloth spine and blue-grey paper over boards with mounted printed title labels on the front cover. The cover corners show light wear, some age-related tanning to the outer covers. (1) Signed at top of front free end-paper "Harold Crane." This is followed by a later inscription: "To my friend Vivian from Betty Crane Madden, July 21, 1989 (Hart Crane s Birthday)." (2) Also contains the identical inscription from Madden to Vivian. These volumes of "Little Journeys" were originally owned by Harold Hart Crane and were given to Vivian H. Pemberton by Betty Crane Madden. They were part of a set, another volume of which was a presentation copy from Elbert Hubbard to Hart Crane in 1915: "To Harold Crane, my valued helper at Roycroft. Elbert Hubbard, April 20, 1915." The whereabouts of this earlier volume are unknown. Hart Crane worked at The Roycroft Workshops in 1915 and this is mentioned in John Unterecker's "Voyager," pp. 39-40. Both books in very good plus condition.

Condition: Fine. Limited Edition. Limited edition. One of 326 copies, signed by artist Joel Shapiro at colophon. Scroll measuring 13½"x50", comprised of glued sheets of handmade paper from China's Red Star Paper Company printed by letterpress, wound on aluminum spool with book cloth wrapper, housed in a custom steel blue cloth-covered box with foil-stamped lettering on cover. With seven woodblock prints by Shapiro. Accompanied by a booklet with a new essay on the poem by Langdon Hammer and with two photographs of the Brooklyn Bridge by Michael Kenna. Handset by Andrew Hoyem. Fine with a hint of rubbing to bottom corner of case lid. A truly elegant Arion Press printing of Crane's most notable long poem about the Brooklyn Bridge, which is also for sale if anybody's asking.

Soft cover. Condition: Good. No Jacket. Limited Edition. Good. Spine is beginning to split in several places, French wraps with glassine covering, illustrated with tissue guards intact. The silver slipcase has only the front and rear boards remaining. Internally bright. An excellent candidate for a re-binding. Number 193 of an edition of 284.

Hardcover. Condition: Near Fine. No Jacket. 1st Edition. Limited Issue. #27/50 Numbered copies for presentation to the friends of Hart Crane, so designated on the verso of the half title leaf. A Near Fine copy in carob-colored silk cloth stamped in gilt with black margin rule to front cover, brown topstain, black facing endpapers, without dustwrapper as issued. Tiny nick to fore-edge of frontispiece portrait. 179pp. with Appendices at end. Text clean and unmarked. No fraying. Top edge dusty. Obviously scarce. Q18184.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. First American edition, after the limited, Black Sun edition. Half-title; frontispiece with black & white Walker Evans photo of Brooklyn Bridge; title-page in red & black, 1930 copyright date on the reverse; page with a quotation from the Book of Job; Contents. 6 ¼ in. x 8 7/8 in., 82 pp. Printed on laid paper with watermark design and word: Utopian. Dark blue cloth with gilt titling on the spine and front cover. Dark blue dust-jacket with black titling, Walker Evans photo on the front panel, reviews of "White Buildings" on the back panel. Two dollars fifty price present. The lower spine of the book shows some scattered mottling or spotting, with a few similar spots to the back cover. The dust-jacket which shows fading & edge wear, and some of the lower dust-jacket spine lacking, was laminated by a former owner for preservation. A few pages are unopened. Titles: Proem: To Brooklyn Bridge; Ave Maria; Powhatan's Daughter: The Harbor Dawn, Van Winkle, The River, The Dance, Indiana; Cutty Sark; Cape Hatteras; Three Songs: Southern Cross, National Winter Garden, Virginia; Quaker Hill; The Tunnel; Atlantis. Schwartz & Schweik A 3.1 p. 20.

Condition: Fine. First Edition thus. 50+ foot scroll, quarto on Chinese hand made paper with a silk ribbon tie for the scroll. illustrated with 7 woodblock prints by Joel Shapiro. Accompanied with a blue silk 19 page introduction by Langdon Hammer containing 2 tipped in photographs by Michael Kenna. 1/300 copies printed. Fine in matching silk box.

Paper. Condition: Near Fine. Joel Shapiro (illustrator). From the Arion Press's laid-in announcement: "The Arion Press edition of Hart Crane's 'The Bridge' is in an unusual format. It is a scroll, over fifty feet long. The Chinese hand-made paper on which it is printed is wound on a single spool, in the Chinese manner. When you remove the lid of the box that contains the scroll, you will first encounter the bound booklet that contains the introduction. Beneath that volume you will find the scroll rolled up, with a ribbon tie securing the outer fabric attached to the beginning of the scroll. Untie the ribbon and place the scroll flat on a table. It can be unrolled for viewing in segments, all the while rolling up the scroll loosely around the cloth reinforcement at the beginning of the scroll." An unsual, wonderfully-designed edition of Hart Crane's legendary Modernist poem, paying homage to the Brooklyn Bridge. A pristine copy to boot. The box (which measures 15" tall x 6" wide), the bound booklet and the scroll itself are all in immaculate coindition. Also includes 7 lavish woodblock prints by artist Joel Shapiro, 2 tipped-in photographs of the Brooklyn Bridge by the redoubtable Michael Kenna and an Introduction by Langdon Hammer. The 2017 1st thus, limited to 300 copies.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, second state, with the corrected title-page, spelling Allen Tate s name correctly, as a cancel. Hart Crane s first book. 500 copies were printed and only around 50 with the Allan spelling were sent out to reviewers. Half-title; title-page with: White Buildings: Poems by Hart Crane With a Foreword by Allen Tate, B&L design, Boni & Liveright, 1926, and no other dates on the copyright page. Dedication page to Waldo Frank; page with a quotation from Rimbaud; list of previous appearances. Xix, [1]-58. 5 ¼ in. x 7 7/8 in. Black cloth spine with gilt titling, with tan and black textured paper over boards. Dark blue dust-jacket with lighter designs and lettering. The dust-jacket has been laminated for preservation by a former owner. The spine ends, cover corners and edges show light wear, fading to the gilt lettering on the spine. A near fine copy in a laminated dust-jacket. This copy has the bookplate of Alfred Young Fisher, a poet who was a professor at Smith College and was married to the well known gastronomic writer M. F. K. Fisher, and who also taught poetry to Sylvia Plath, adding a special and unique interest to this copy. Titles of the poems: Legend, Black Tambourine, Emblems of Conduct, My Grandmother s Love Letters, Sunday Morning Apples, Praise for an Urn, Garden Abstract, Stark Major, Chaplinesque, Pastorale, In Shadow, The Fernery, North Labrador, Repose of Rivers, Paraphrase, Possessions, Lachrymae Christi, Passage, The Wine Menagerie, Recitative, For the Marriage of Faustus and Helen, At Melville s Tomb, Voyages I, II, III, IV, V, VI. Schwartz & Schweik A 1.1; pp. 3-7.

Leineneinband mit Goldbeschriftung. Illustrierter OSchutzumschlag. Mit dem oft fehlenden Schutzumschlag! 82 Seiten. Format 16,5 x 22,6 cm. Seitenschnitt unregelmäßig. Zustand: OSchutzumschlag mit Gebrauchs- und Alterspuren. Am unteren Rand fachgerecht restauriert. Kanten des OSchutzumschlags berieben. Insgesamt noch gut erhaltenes Exemplar. DJ with traces of wear and age. With some expert restauration to the DJ at the lower margin. Otherwise well preserved. Second printing. Mit Gedichten von Hart Crane, u. a. , The Brooklyn Bridge, . Hart Crane, geb. 1899, beging 1930 Selbstmord. Umschlagillustration mit einem Foto von WALKER EVANS, der mit dieser Arbeit sein Debut als Fotograf hatte. 1.edition, 2nd printing. Selten.

paperback. Condition: Good. Slipcase holder thing shows some fading and discoloration from age as well as some light scuffing and rubbing. One hinge edge shows some chipping, rubbing and scuffing but is still intact. Book itself is in fantastic, like new condition.

paperback. Condition: Good. Slipcase holder thing shows some fading and discoloration from age as well as some light scuffing and rubbing. One hinge edge shows some chipping, rubbing and scuffing but is still intact. Book itself is in fantastic, like new condition.