Brooke Rupert, Signed (23 results)

Softcover. Condition: Good. Spine has tearing with some paper loss. Covers have some very small chips, mostly to the outer corners. Rear cover has some slight marginal staining and a few dark spots. ; Approx. 7 1/4" wide by 9 3/4". Includes the poets Rupert Brooke, John Drinkwater, Wilfrid Wilson Gibson, & Lascelles Abercrombie. Signed by Drinkwater next to his name on the title page. ; 50 pages.

Softcover. Condition: Poor. Covers are detached and chipped but present, spine is missing. Very slight bump to lower margins. ; Approx. 7 1/4" wide by 9 5/8". "A Quarterly Publication of the Poems of Rupert Brooke, John Drinkwater, Wilfrid Wilson Gibson, & Lascelles Abercrombie." Signed by Drinkwater next to his name on the title page. ; 46 pages.

1948. (Hardcover) Very good in very good dust jacket. 287pp. Signed by the author. Burgundy cloth with gilt lettering on spine and front cover. Frontispiece, photographs, index. The spine is lightly faded, there is a small faded spot on front cover, the dust jacket has chipping and edgewear and damp stain on the spine. "The young English poet, Rupert Brooke, who summed up his compatriots' love of country in his great series of war sonnets, died tragically in World War I. Thirty years later his extraodrinary talent, his restless, romantic spirit, his striking beauty of face, his wandering life were to be the subject this biography". Biography of Rupert Brooke. (Biography, Biography).

Paperback. Condition: Very Good. First Edition. Wraps. Small narrow 8vo (3.5 inches x 5.5. inches). Decorative wraps in the style of a notebook. pp 30. 10 illustrations. Humorous poetry inc a parody of Rupert Brooke poem 'Grantchester.' Presentation copy to comedian Frank Muir from David Smith. No. 169 of limited edition of 175 copies. Rare-- only one copy at WorldCat-- at Ohio State. Very sl rubbing. Very good indeed.

Soft cover. Condition: Very Good. 1st Edition. First edition. This copy inscribed by John Drinkwater on the first leaf: "Jeff from John D 1929". 4to. Paginated 109-152pp. Wrappers. A shade of discolouration to the wrapper margins, and a tiny nick to the fore edge of the rear wrapper. A very good copy. This third of a total of just four issues of the quarterly periodical produced to promote the work of the Dymock poets includes the poems 'Tiare Tahiti', 'Retrospect', 'The Great Lover', 'Waikiki' and 'Hauntings' by Rupert Brooke, John Drinkwater's verse-play 'The Storm', W. W. Gibson's poem 'Wheels' and his play 'Hoops', and Abercrombie's poem 'The Innocents'. Inscribed by Author(s).

Hardcover. Condition: Very Good. pgs:32. 1946 limited ed, 228/240, 1/4 bound in niger leather & marbled paper, with inscription signed by Rupert Hart-Davis, bright clean copy, no markings, Professional booksellers since 1981.

First edition. Octavo. pp viii, 32. The text of a paper read to the Cambridge University Fabian Society, probably during the author's presidency of that Society. The manuscript was given by the author's mother, shortly after his death, to Geoffrey Keynes who here writes the Preface.One of 240 numbered copies printed on part-rag paper, quarter bound in niger leather with marbled paper boards made by Douglas Cockerell & Son, top edge gilt. Loosely inserted is the publisher's compliments slip which has been signed by Edward Young who was Rupert Hart-Davis' co-director.Spine slightly darkened. Head and tail of spine slightly scuffed. Very good indeed.

Hardcover. Condition: Fine. thick12mo, 19.2cm, clviii,161p., with 2 portrait plates including photogravure frontis, in full black hard calf, , gilt decorated raised bands, elaborate gilt decorations and borders in the panels, crushed crimson morocco gilt spine label, doubled gilt ruled borders with device in the corners on the boards, wide inner gilt dentelles, marbled endpapers, all edges gilt, signed fine binding by "bound by Sangorski & Stuffcliffe, London, England", a near fine copy Sangorski & Stuffcliffe, a leading British firm of craftsmen bookbinders, founded in 1901.(n14).

Soft cover. Condition: Near Fine. Signed and inscribed by Francis Crick--visible in photo. The book was a gift to his friend Sumi Adachi in 1987. Signed by Author(s).

Hard Cover. Condition: Good. Limited. Hardback, new spine. 21pp, [2]. Illus. No. 148 of a limited edition of only 300 copies, signed by James Guthrie to colophon. Collection of poems In Memoriam of Edward Thomas. Ex-library copy, with modern library labels to front end-papers. Scarce. (ar5). Signed.

Hardcover. First edition. 23 pages. 19.5 x 15.5 cm. Copy "A" of 99 "To Aid Britain" and signed R.M.G.P. [Richard Montgomery Gilchrist Potter]. A collection of his fragmentary works, some from his copy of Horace, used by him while at Rugby. "The verses from his copy of Horace, now in my possession, are here first printed." Laid-in what appears to be a post card with a black and white portrait of a soldier in military uniform, dated 1914-1917. Mauve endpapers. Orig. vellum spine lettered in gilt and brown boards. Fine in creased original glassine wrapper.

Hardcover. Condition: Fine. 1st Edition. First Printing. Fine in Fine slipcase. 41/100 COPIES (from an edition of 500 copies) signed by Geoffrey Keynes. pp. 25 + Facsimiles, 4to, original quarter vellum with blue cloth, facsimile of author's signature to upper board, backstrip gilt lettered. Signed by Author(s).

Hardcover. Condition: Very Good. 1st Edition. Published in 1917, this is the First Edition of this book of Poems from Wilfred Wilson Gibson, this example being a signed presentation copy from the author to Rupert Brooke's mother. Gibson was one of the six Dymock Poets, along with his friend Rupert Brooke, Gibson obviously remained in contact with Rupert Brooke's mother, presenting this volume to her a couple of years after the death of Rupert, some browning to endpapers, and light foxing within, else in good condition. A NICE ASSOCIATION COPY. Signed by Author(s).

Hardcover. Condition: Good. This is Rupert Brooke's personal copy of Charles Dicken's Martin Chuzzlewit, housed in a custom made leather backed clamshell box, with a very nice strong bold example of Rupert Brooke's signature to the front endpaper, this is volume one only of Martin Chuzzlewit, the Dicken's books covers are generally rubbed else in solid condition, internally the title page is not present, else the volume is complete, some foxing to a few pages else in good condition, clamshell box in nice condition. Signed by Author(s).

Hardcover. Condition: Near Fine. 1st Edition. First Printing. Association Copy. Signed by (one of) the author(s). A complete run of the first printings of New Numbers from the collection of John Drinkwater (by descent from the author), one of the four poets who contributed to the four volumes. The other three were Wilfred Wilson Gibson, Lascelles Abercrombie, and Rupert Brooke ( known collectively as the "Dymock poets"). Brooke submitted a number of poems among them 'The Soldier'. Drinkwater had the set bound with a simple undecorated paper binding in keeping with the original soft covers; he also signed the book on the opening page. Interestingly, he uses the same label that the Dymock poets used on their books of poetry and he labels it "New Numbers Vol. I", indicating that - at the time - the authors believed that New Directions would run for a number of years, not just the one that it did. Sadly, their endeavor fell apart with Rupert Brooke's untimely death in 1915. The front outside board is water stained by what appears to have been water, but it does not affect the interior of the book. There are three small wear points to the rear hinge. Quite a handsome book despite the staining, and one of two known signed copies of this important collection. Signed by Author(s).

Hardcover. Condition: Very Good. No Jacket. Harry Clarke (illustrator). 1st Edition. A very good copy of the limited edition signed by Harry Clarke. Number 182 of 250. In the original full vellum binding with gilt illustration and titles to the front board and spine. With 24 full page illustrations by Harry Clarke - 12 in colour including the frontispiece and 12 in sepia. There is also a full page black and white illustration and numerous black and white designs. Harry Clarke (1889-1931) is also known for his work with stained glass and he was a major figure in the Irish Arts and Crafts movement. The work includes poems by Walter de la Mare, Rupert Brooke, Thomas Hardy and John Masefield. The binding is bright and clean with minimal dulling to the vellum. There is some warping to the boards. Top page edges are gilted; remainder untrimmed. Internally the contents are complete and clean. The free endpapers have some browning and there is light marking towards the page edges particularly where the lack of trimming means that some pages are bigger than others. There is also occasional light edge nibbling - again related to the differing page sizes. Please enquire if you would like to see additional images to further assess condition. Signed by Illustrator(s).

The original manuscript for Brooke's sardonic poem, unpublished until 80 years after his death. Scrawled while Brooke was en route to America, the poem was inspired by the eccentric decadent poet Richard Le Gallienne, who always carried with him the urn containing the ashes of his first wife, Mildred, even after his remarriage. Autograph manuscripts of Brooke's poems are rare: we trace just three examples in auction records. Brooke met Le Gallienne (1866-1947), a contributor to The Yellow Book and an erstwhile lover of Oscar Wilde, on board the ocean liner SS Cedric, which set sail from Liverpool to New York in May 1913. Brooke, who had been a youthful admirer of the decadent poets of the 1890s, described his fellow passenger disparagingly in an animated letter to his friend Eddie Marsh: "Oh Eddie, he is a nasty man. He mouches about with grizzled hair and a bleary eye. He eyes me suspiciously - he scents a rival, I think. We've not spoken yet. His shoulders are bent. His mouth is ugly and small and mean. His eyes are glazed. His manner is furtive. Is it to this we come[?]. I have started a ballade, in imitation of Villon: but it may not be printed" (quoted in Read, pp. 186-7). Brooke's resulting "ballade" mixes satirical sting and lyrical pathos: "in some happy hour / The God, whose strange alchemic power / Wrought her of dust, again may turn / To woman, this immortal urn; / May take this dust and breathe thereon, / And give me back my little one". The poem was rediscovered in the 1990s and first published in Mike Read's Forever England: The Life of Rupert Brooke (1997), which prints a photographic facsimile of this manuscript. Read writes that it was "one of a batch of poems that Rupert was to mislay while travelling through Canada" in the summer of 1913 (p. 187). Mike Read, Forever England: The Life of Rupert Brooke, 1997. Single sheet (235 x 175 mm) written on one side in dark brown ink. Folded twice, small marginal loss to one corner, a couple of ink marks: very good.

First edition, presentation copy, inscribed by the poet on the front free endpaper to his Cambridge friends Bill and Eva Hubback, "Bill, Eva, 1911, R.B.", with five manuscript annotations, correcting misprints and revising the title of one poem. This is the only poetry collection Brooke published in his short lifetime; inscribed copies are scarce. Brooke and the Hubbacks together formed part of the group Virginia Woolf dubbed the "neo-pagans", after their love of the outdoors; the group also included David Garnett, Ka Cox, Geoffrey Keynes, and Frances Cornford, among others. Francis William Hubback (1884-1917), a civil servant at the Board of Education, was, like Brooke, killed in action during the First World War. His wife Eva (1886-1949), a feminist and social reformer, was an economics tutor at Cambridge, later principal of Morley College, and a fierce advocate for women's suffrage and birth control. Both often visited Brooke at Clevedon and on one occasion camped with him on the Beaulieu River. Loosely inserted is an autograph letter from Cornford to Brooke's literary executor Edward Marsh, identifying the Hubbacks as the recipients of this copy: "He was killed in the first war - a burning Fabian (what an odd combination those words make now). She was of a rather distinguished Jewish family and a delightful person - can't remember the name". A brief autograph letter from Marsh, passing on Cornford's letter, is also included. Brooke explains his corrections in a letter to the bookbinder Sybil Pye, dated 22 December 1911: "When you see copies of my book, will you surreptitiously change 'greasy' to 'queasy' (p. 35, last line), insert 'so' before 'fair' p. 32, and write 'LUST' for 'LIBIDO' p. 34? The first two are misprints; the last is a sacrifice to my publisher's pudency" (Letters, pp. 326-7). The first two misprints were corrected in the 1913 second edition; Brooke's publishers originally asked for his poem "Lust" to be removed entirely, but settled for the change of title (it remained as "Libido" until the publication of Brooke's 1918 Collected Poems). The other corrections on pp. viii and 81 in this copy are typographical. Keynes 5. Rupert Brooke, The Letters, ed. by Geoffrey Keynes, 1968. Octavo. Original dark blue cloth, printed paper spine label. Housed in a custom blue cloth folding box. Reading notes of collector William A. Strutz (1934-2024) loosely inserted. Small spot of wear to foot of spine, label toned and chipped, marks to cloth, front inner hinge cracked but firm. A very good copy.

First editions, first impressions, one number signed by W. W. Gibson and another possibly initialled by Lascelles Abercrombie. Four numbers comprising the complete run of New Numbers by the "Dymock Poets" are present here, together with a reprint of the first number. The periodical presents 41 poems, of which 15 are by Rupert Brooke. The majority of the poems in Brooke's 1914 and Other Poems first appeared here, including the first publication of his famous poem, "The Soldier". Keynes, in his bibliography of Brooke, notes that demand for the first number "exceeded the supply" and that a reprint was required. This set includes both first and second impressions of the first number, together with an autograph letter signed from Gibson to an unidentified recipient enclosing "another copy of No I" and regretting that "unfortunately, I am unable to send a copy of the first edition". Gibson requests that "if you should come across any more possible subscribers, will you ask them to subscribe direct to us? We make a little more on it that way." Gibson concludes with biographical information "I have been married nearly six months now; and it has been six months of solid happiness - such happiness as I scarcely thought possible. We live in a snug little thatched and half-timbered cottage". A half-title, title page and contents are provided in the final number for those who wished to bind together the separate numbers. This was frequently done, and a set in original wrappers is rare. Keynes, pp. 115-17 5 vols, octavo. Original blue-grey wrappers, front and rear wrappers lettered in black. Autograph letter signed ("Wilfrid Wilson Gibson"), to Miss [Mary] Gorrie, dated 31 May 1914, single sheet of wove paper (256 x 201 mm), written on both sides, headed notepaper ("Greenway, Ledbury"). Bookseller's label to front wrapper of numbers 2 and 3. Inscription to title page of number 1 ("To Mary Gorrie, April 1914, J. P. G."). Some light browning and soiling to wrappers, minor loss to spines, some occasional foxing, newspaper clipping ("Rupert Brooke's Poetry" on the announcement of the poet's death) with adhesive paper strip to half title of number 4; a very good set.

No Binding. Condition: Very Good. This is a nice item, a framed original pencil drawing of Rupert Brooke copied from the famous portrait photograph taken by Sherril Schell, the drawing is not dated or signed, but is nicely done, inset below the portrait is Rupert Brooke's signature cut from one of his cheques from the Cambridge Branch of Barclays Bank, the information on the reverse of the frame shows an example of one of Rupert Brooke's cheques held in the special collections of King's College, Cambridge, and below that a picture of the signature in this frame showing it as it appears out of the frame. The frame measures 11 inches by 9 inches approx. Signed by Author(s).

1 vols. 8vo. First London edition. First London edition. 1 vols. 8vo. Signed by John Drinkwater on title page, and by Edward Marsh at the Note on page v. Brooke's Cambridge essay, which won him a fellowship at King's College, published posthumously, here with signatures of two close associates who both wrote memoirs of their friend. Keynes 44 Black cloth, printed spine label. Very good. Signed.

Condition: Creasing to mount, image fine. Vintage gelatin silver print photo montage, mounted to card embossed "J. Palmer Clarke, Cambridge," and signed in pencil beneath image ("J. Palmer Clarke"), docketed on verso, "Mr. [Francis] Cornford, Conduit Head, Madingly Road, Cambridge". 4 x 5-3/4 in. A previously unknown photo-montage of Rupert Brooke. Provenance: Francis Cornford, husband of poet Frances Cornford (née Darwin), granddaughter of Charles Darwin (docketed on verso of mount) Vintage gelatin silver print photo montage, mounted to card embossed "J. Palmer Clarke, Cambridge," and signed in pencil beneath image ("J. Palmer Clarke"), docketed on verso, "Mr. [Francis] Cornford, Conduit Head, Madingly Road, Cambridge". 4 x 5-3/4 in. Signed.

A rare wartime issue of part of Rupert Brooke's best-known poems, "The Dead", printing on a large single sheet the first stanza, beginning "Blow out, you bugles. ". The sheet is signed below on two printed lines over the legend "War Command" Lieutenant-General Sir Fenton Aylmer (1862-1935), recipient of the Victoria Cross and commander of the Tigris Corps, an Indian army formation founded in 1915, who led the first effort to end the siege of Kut (December 1915 to April 1916) in Mesopotamia. The poem was first published in 1914 & Other Poems (1915). This issue is rare, and its distribution by an exalted figure goes to show just how far Brooke's poetry had worked its way into the British military consciousness. Keynes 6. Broadside printing (450 x 280 mm), printed on one side of laid paper watermarked "Glastonbury". Tipped onto mount (507 x 450 mm). Slight foxing to margins, a little creased from being previously rolled up.