Evans, Walker Crane, Hart (18 results)

first edition. Wrappers, very good. Contains Crane's letters to Otto Kahn about The Bridge, also two Walker Evans portraits of Crane, and three other Evans photographs. S & S B167.

Wrappers, very good. First publication of "By Nilus Once I Knew ." Not in Schwarz and Schweik.

Hardcover. Condition: Very Good. Walker Evans (illustrator). 1st Edition. Navy superfine covers have blind stamped border, gilt title. Boards show some bumping, edgewear, surface flaw on front cover. Corners are bumped. See photos. Spine has gilt text dimmed and is a little faded, with softened ends. Binding is secure. Pastedowns and feps are tanned, have some pencil marks, bookseller sticker. Frontispiece is a photograph by Walker Evans. Interior is gently age-toned, exhibits some marginal toning. Inside pages are free of writing and intentional marks. Text block has untrimmed edges fore and foot.** PS2024.0321** 82 pages. 6 1/4 x 8 5/8 inches** A very good copy of the second collection of poems by American poet Hart Crane (1899-1932). The Bridge expressed Crane's ambition to synthesize America, and he intended it to be an uplifting counter to The Waste Land by T.S. Eliot.** The bridge photograph facing the title page is by Walker Evans.** "Postage for oversized and international shipping will be calculated by size and weight. AbeBooks shipping quotes are ESTIMATES only. Seller Inventory #009926"**.

First American Edition. First American edition, revised from the Paris edition published by Black Sun Press. [iv], 82 pp. Bound in publisher's original dark blue cloth ruled in blind, with titles in gilt on spine and upper board. Near Fine with hardly any wear, pages slightly toned with age, lacking jacket. An attractive copy. An epic modernist poem inspired by the Brooklyn Bridge, the New York City landmark that's changed hands in the minds of people so many times it deserves to adorn today's cryptocurrency, if such a thing were possible. The photographic frontispiece is by the poet's buddy, Walker Evans.

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. 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. Auflage. Selten.

First edition. The complete portfolio containing nine hand-pulled photogravures, printed on Rives BFK paper by Jon Goodman from Evans's original negatives, lent by the Estate of Walker Evans, each with the publisher's debossed stamp. With an introduction, "Walker Evans: The Brooklyn Bridge," by publisher Leslie George Katz, and the dedicatory poem "To Brooklyn Bridge," by Hart Crane. Copy 39 of an edition of 100 numbered copies plus 15 proofs. Each print measures 9 7/8 x 5 7/8 inches (25.1 x 14.9 cm.). Unbound sheets in cloth box, with label, as issued. Fine. "In an age where the 'vintage print' has all but stopped the full realization of important, past photographic works, the Eakins Press Foundation has brought to fulfillment one of the earliest projects of America's most important photographer. The nine photographs of Walker Evans of the Brooklyn Bridge have been scrupulously reproduced in hand-gravure by the renowned printer Jon Goodman. With this portfolio, the quality of the final print has at last reached a level worthy of the grandeur of Evans's vision and the timeless symbol of the Brooklyn Bridge. Each of the nine photographs in this portfolio is an architectural detail reinforcing the integrity of the whole. They dwell with Crane's eloquence in the mind of the viewer to form a kind of prayer. Together, Crane's words and Evans' photographs form a relationship that joins the two mediums in a pure and distinctive metaphor of appreciation that is worthy of both." - excerpt from the essay by Leslie George Katz.

Walker Evans (illustrator). Second printing of the second edition. Dark blue cloth,very good, second printing jacket worn but intact. The second edition contains many corrections and revisions. This, its second printing, printed in July 1930, has a different Evans photo as frontispiece. Signed by Crane, and by Walker Evans. Schwartz and Schweik A 3.2.

Evans, Walker (illustrator). First edition. Quarto, original white printed wrappers, copy number 104 out of 200 on Holland paper. Wrappers fine, just a bit of wear to the spine of the original glassine, original silver-paper slipcase worn, missing its ends and with a bit bent down and peeling. [Schwartz & Schweik A 2].

Evans, Walker (illustrator). First edition. Quarto, original white printed wrappers, glassine cover, silver-gilt paper slipcase in pieces, light offsetting to the front end-papers, and with the usual slight discoloration to the covers, and a few small spots to the spine. Basically, a fine copy, fresh and clean. One of 200 numbered copies on Holland paper. The first book illustrated by Walker Evans, with three photogravures.

Evans, Walker (illustrator). First edition. First edition Quarto, original white printed wrappers, small ownership "chop" on front endpaper, a fine copy in original silver paper slipcase. No. 97 of 200 numbered copies on Holland paper. [Schwartz & Schweik A 2].

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.

Evans, Walker (illustrator). First edition. Quarto, original white wrappers, original printed dust jacket, original glassine jacket, untrimmed. Housed in publisher's original silver foil-covered slipcase. Custom boxed. Copy number 121 of 200 copies on Holland paper (from a total edition of only 283 copies). This copy has Crane's bookplate, version "C" (K. Lohf, Proof, 3, 1972), on the front endpaper. Illustrated with three superb tissue-guarded photographs by Walker Evans. The second and last book published during Crane's brief and tragic life, The Bridge was written in violent reaction to the pessimism and disillusionment of post-war American and English poetry, specifically Eliot's Waste Land. Crane's goal was to write a visionary poem integrating American history since the Spanish conquest with present-day realities of business, the marvels of architecture and engineering, and the American spirit of democratic optimism, all held together by one dominant symbol -- the Brooklyn Bridge. His poetic sensibility, akin to the revolutionary aesthetic begun by Walt Whitman and developed by such poets as William Carlos Williams and later Robert Lowell, is at its best in such lyrics as "The Harbor Dawn" and "The River." "Crane finds in America a principle of unity and absolute faith and. in the Brooklyn Bridge, an image of man's anonymous creative power unifying past and present" (Hart, 192). . Connolly, The Modern Movement, 62. Hart Crane's engraved bookplate on inside of front wrapper. Only some darkening and wear to the fragile glassine along the spine; fragile paper spine starting to split, but sound. Some rubbing to edges of the silver-foil publisher's slipcase. Interior fine. Evidenced by the presence of his bookplate in its earliest state, this was Crane's own copy (or one of his copies) of his masterpiece, a cornerstone of modern American poetry, in extremely good condition. [Schwartz & Schweik A 2].

Evans, Walker (illustrator). First edition. No. 175 of 200 copies (from a total edition of only 283 copies) on Holland paper, printed in red and black. Printed for Harry and Caresse Crosby at the Black Sun Press. A most desirable association copy. The Crosbys visited Crane in New York in late 1929. A few days later, Harry committed suicide. Caresse returned to Paris and supervised the production of this book. This copy is from the library of Caresse Crosby, and bears the leather, joint bookplate of Harry and Caresse on the reverse of the front cover. The three Evans photographs are protected by tissue-guards. Original paper-wrapper covers, front and back. Small cracks to the paper on the spine near the top and a minuscule split at the lower front hinge. A very small chip to spine. Offset from bookplate on endpaper. Contained in the original grey cardboard slipcase covered in a gold-and-silver paper, with a cloth pull; the slipcase has been expertly restored. A fine, fresh copy. Provenance: From the library of Crane scholar Vivian Pemberton, purchased from InternationalBookfinders, 1987. Minkoff: Black Sun Bibliography A-32. pp. 30-31. [Schwartz and Schweik: A 2].

Evans, Walker (illustrator). First edition. From the first edition of 283 copies, this copy is one of only 25 review copies marked "hors commerce". Lightly soiled wrappers with minor wear and sun to the spine. Pages have the occasional faint spotting. Schwartz & Schweik A 2. The Black Sun Press issued a note with hors commerce copies (although not present here) stating "[We] regret that due to a defective impression and quality of paper these advance copies of 'The Bridge,' hors commerce, are considered typographically imperfect. A re-impression on velin Van Gelder of the numbered copies will appear for sale March 1st at the Bookshop of Harry F. Marks, New York." This would indicate that hors commerce copies along with those on Japanese vellum arguably constitute a first impression before the type was reset for the run on Van Gelder, and, indeed there are differences in the line spacing between the printings.

Evans, Walker (illustrator). First edition. Quarto, original white printed wrappers. Expert restoration to the paper on the spine, otherwise a bright, fresh copy with all tissue guards present; original glassine replaced; enclosed in a new slipcase. Copy number 30 of only 50 copies printed on Japan Vellum, signed by Crane. There were an additional 200 copies in the regular issue. One of the most important American poetic works of the twentieth century as well as a significant collaboration between writer and photographer. The Bridge, called "cubism in poetry" when it was initially reviewed in The New York Times, stands as one of the great epics of 20th-century poetry. Cyril Connolly writes that of the poems "some of them. are near perfect and the whole allegory a masterpiece of neo- romanticism" (The Modern Movement, p.62). Its publication was initiated when Crane met Harry and Caresse Crosby on his trip to Europe in 1929. After reading drafts of "The Bridge", they agreed to publish a limited edition under their Black Sun imprint. Crane took up residence in an old mill on the estate of the Conte de la Rochefoucauld which the Crosby's had made into their weekend retreat. Crane hoped to finish the poem that summer, but was arrested for drunk and disorderly conduct and briefly incarcerated in July. Crosby brought Crane's return ticket to the U.S. In December, he and his wife visited Crane in New York. A few days after their visit, Harry committed suicide. Despite her husband's death, Caresse Crosby returned to Paris to see The Bridge through the press. Numerous changes, mostly minor, were incorporated in the American edition, which appeared three months after the first. [Schwartz & Schweik A 2].

Evans, Walker (illustrator). First edition. One of 50 copies on Japanese Vellum, signed by Crane. Quarto, original white printed wrappers, with original glassine cover and gilt paper covered slipcase (slipcase slightly rubbed, 1-inch piece missing from bottom edge). A beautiful copy of one of the rarest and most important books of twentieth century poetry, and the first book publication of Evans's work, it was illustrated with three gravures printed actual size from his 1-3/8 inch by 2- 1/2 inch photos.

Evans, Walker (illustrator). First American edition. Photographic frontispiece by Walker Evans. Original blue cloth, gilt-lettered on front cover and spine (few soil marks); pictorial dust jacket (some minor chipping at edges, a few old tape repairs on verso). Provenance: Kathryn and Nick Kenney (presentation inscription). First American Edition. PRESENTATION COPY, INSCRIBED BY CRANE TO KATHRYN AND NICK KENNEY on the front free endpaper: "For Kay and Nick | With the most affectionate regards | of the 'last | bear, shot drinking in the Dakotas' | Hart Crane | Brooklyn, '30." Kathryn Kenney and Crane met in the spring of 1921 in Cleveland, when she was "a vivacious, enormously talented girl who seemed the focus of every group in which she moved"; she was Crane's "happiest companion as, singing, laughing, alive with irrepressible wit, they would turn their troubles into comedy" (John Unterecker, Voyager: A Life of Hart Crane, New York, 1970, p.210). Kenney later wrote the society column for the Cleveland Times Commercial, though Crane still preferred to think of her as "the famous vaudeville songster" (p.296). Thirty years after Crane's suicide, in 1962, Kenney recollected: "The great laughter which was Hart's most distinctive and charming feature has never, to my knowledge, ever been touched. Not really. And yet, it colored and saved (I am certain) him to the end of his life" (p.201). Connolly, The Modern Movement 64 [Schwarz and Schweik A 3.1]. Christie's New York, Rockefeller Plaza; Masterpieces of Modern Literature: The Library of Roger Rechler Sale, Oct 11, 2002. Lot Number 58, Sale Number 1098; Christie's cataloguer butchered the inscription, rendering it (a phrase from Crane's "Powhatan's daughter") nonsensically as "'last | bear, shit-drinking with | L'Abotas".

Evans, Walker (illustrator). First American edition. Blue boards, a near-fine copy, without dust jacket. Photographic frontispiece by Walker Evans. An amazing association copy, inscribed on the front end paper by Hart Crane to Walker Evans, whose three small photographs illustrated the first edition. To Walker Evans, - / 'clean animosity, - clear name." / from / Hart Crane / New York - Brooklyn in fact / March 25th '30", three days after official publication. Evans was involved in their arrangement in the book and, perhaps, also that of the larger, horizontal image used as the frontispiece in this edition: "With Walker Evans's ownership signature above the inscription. Spine gilt dulled; near fine in blue boards without jacket. From the collection of noted photographer and collector Arnold Crane. Schwartz & Schweik A 3.1. Although their fathers were business acquaintances, the poet and photographer first met in the fall of 1928, when both men were living in Brooklyn Heights, where they often met and shared their sympathetic literary and artistic tastes. Their mutual friend Hans Skolle credited Evans with rescuing the manuscript of "The Bridge" from Crane's destructive, drunken fits. Evans found Crane a file clerk job at the Henry L. Doherty Company, where he worked, but it lasted only a short time. Crane gave a party which Evans attended, along with Crane's other close friends,Sam Loveman, e.e. clummings, Gorham Munson, ands others, celebrating his departure for London and Paris. It was while Crane was in Paris that he met Harry and Caresse Crosby, who agreed to publish a limited edition of "The Bridge," which Crane was then struggling to complete, in the fall of 1929, around the time Evans made a series of portraits of Crane, as James Mellow, Evans's biographer, notes that "there is no definite date for when Crane asked Evans to provide photographs of the Brooklyn Bridge as illustrations for the Crosbys' edition of The Bridge. In January 1929, Crane was courting the painter Joseph Stella, hoping to use one of his dramatic paintings of the bridge as frontispiece.Even as late as Sepember 6 he was offering to get the Crosbys a photo of Stella's picture.Between then and late December the plans had been changed and Crane asked Evans to supply the illustrations," Crane wrote Caresse Crosby, in Janjuary 1930, how he thought Evans "the most living, vital photographer of any whose work I know. More and more", he wrote, "I rejoice that we decided on his pictures rather than Stella's". (O My Land, My Friends, p.422). Although at the beginning of 1930 Evans and Crane saw a good deal of each other, as Crane promoted Evans in advance of The Bridge's publication, by the end of March 1930 their relationship had deteriorated, and in May Evans wrote his friend Hans Skolle, that he was "fed up" and not seeing Crane, who was "beyond redemption" It's not clear to us whether the inscription refers to this quarrel. It was Evans, who in August 1931 bundled Crane, who had been for days drinking alone in his hotel room, and his luggage onto the S.S. Orizaba for his return trip to Mexico. Evans never saw him again.