Published by Boni and Liveright, New York (1926)
First edition, second issue. Foreword by Allen Tate. Near fine in near fine dustwrapper. 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. Boni and Liveright, New York, 1926. Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good.
Published by Paris: Black Sun Press, 1930 (1930)
First Edition; one of 50 copies printed on Japan vellum, signed by Crane. Connolly 100. By happy coincidence, Evans and Crane met at the Brooklyn Bridge. It was Crane's choice to use these three photographs, previously unpublished, with his poem, a modest collaboration at the time, but now so closely associated as to seem nearly inseparable. A fine copy in the original glassine, and in the publisher's paper-covered slipcase, which has only very minor wear. In a custom quarter-morocco clamshell box. Crane might well have chosen to leap to his death from the iconic bridge, but instead threw himself overboard returning from Cuba just two years later. All books described as first editions are first printings unless otherwise noted. Paris: Black Sun Press, 1930, 1930.
Published by Boni and Liveright, New York (1926)
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 dustwrapper 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*. Boni and Liveright, New York, 1926. Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good.
Published by Boni and Liveright, New York (1926)
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 dustwrapper 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 three) in 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 of poetry. 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) of one of the preeminent and influential modernist poets. Boni and Liveright, New York, 1926. Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good.
Published by The Black Sun Press: Paris (1930)
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. The Black Sun Press: Paris, 1930.
Illustrated with 3 photographs by Walker Evans. 4to. Original wrappers, in glassine dust wrapper and publishers slipcase. Black Sun Press, Paris 1930. First Edition. Limited to 200 copies on Holland Van Gelder Zonen. This copy #155. Minkoff A-32. Mint. Enclosed in ¼-morocco black clamshell box with Harry Crosby's sun sign stamped in gold on the front cover. Soft cover. Condition: Fine. Dust Jacket Condition: Fine.
Published by Black Sun Press, Paris (1930)
4to, original white printed wrappers, original glassine, in publisher's silver-gilt paper covered slipcase. Expert archival restoration to slipcase, light offsetting to the front end papers, and with the usual discoloration to the covers where the book is pulled out of the slipcase, otherwise a very good copy of an increasingly rare book. Expert archival restoration to slipcase, light offsetting to the front end papers, and with the usual discoloration to the covers where the book is pulled out of the slipcase, otherwise a very good copy of an increasingly rare book First edition of Crane's masterpiece. One of 200 numbered copies printed on Holland Paper. Schwartz & Schweik A2. Minkoff A32. Connolly 100, 64. One of the seminal American poems of the Twentieth Century, about which Harold Bloom has noted: "what is imperishable in The Bridge is not its lyric mourning, but its astonishing transformation of the sublime ode into an American epic, uneven certainly but beyond The Waste Land in aspiration and accomplishment." - Introduction to The Complete Poems of Hart Crane (N. Y.: Liveright, 2000). In 1928, Crane and Evans met for the first time under Brooklyn Bridge, "Evans with his vest-pocket camera and Crane with his notebook. They recognized each other as kindred spirits and fell naturally into conversation. Crane was fascinated by photography. . . ." After first considering a reproduction of Joseph Stella's cubist painting of the Brooklyn Bridge to illustrate his poem, Crane decided that he "wanted to use three of Evans' photographs of the bridge as separate plates within the text." Evans's photographs were published for the first time in The Bridge, and since then have become identified not only with Crane's poem, but with the Brooklyn Bridge itself, in the artistic and literary imagination. - Belinda Rathbone, Walker Evans. A Biography (Boston: Houghton Mifflin, 1995), pp. 41-52. Black Sun Press, Paris, 1930.
Published by Paris: The Black Sun Press, 1930 (1930)
Tall quarto. Original white wrapper, titles to spine and front wrapper in red and black. With the original glassine jacket. Housed in the publisher's silver card slipcase. Housed in a silver flat-back cloth box by the Chelsea Bindery, lettered to spine in black. A superb copy in the somewhat worn tissue and original silver-covered card slipcase that has had the lower panel and a small portion of the top panel renewed. First edition, first impression, one of 200 copies on Holland Paper from a total limited edition of 284 copies. The Bridge was Crane's only attempt at a long poem, inspired by his view of the Brooklyn Bridge from his apartment in Columbia Heights, and includes three plates from photographs of the bridge by his friend Walker Evans. Harold Bloom praised the poem for "its astonishing transformation of the sublime ode into an American epic, uneven certainly but beyond The Waste Land in aspiration and accomplishment" (Complete Poems of Hart Crane, Liveright, 2000). This shimmering first appearance was one of several exquisitely produced books put out by the Black Sun Press, founded by the wild and wealthy expatriate couple Harry and Caresse Crosby. Harry Crosby (1898-1929) was heir to one of Boston's wealthiest banking families, but after serving as an ambulance driver during the First World War he met and fell in love with a married lady, Mary Peabody (née Jacob) - they fled to Paris, married, and she changed her name to Caresse. Harry and Caresse embedded themselves in the avant-garde cultural scene, befriending the likes of Dalí, Hemingway and Cartier-Bresson, founded the Black Sun Press which helped to publish the early works of Joyce, Eliot, Pound and Hart Crane, and lived a life of utter dissolution off Harry's inheritance - which, when it ran out, had to be supplemented by telegrams to his banker father such as the infamous, "PLEASE SELL $10,000 WORTH OF STOCK. WE HAVE DECIDED TO LIVE A MAD AND EXTRAVAGANT LIFE" (to which the father, reluctantly but nonetheless amazingly, assented). Following Crosby's tragic death in 1929 (he was found shot dead in the same bed as Josephine, "The Fire Princess", one of his many lovers), the Black Sun Press continued issuing books in Paris and New York under the directorship of Caresse, who survived until 1970. Schwartz & Schweik A2. Paris: The Black Sun Press, 1930, 1930.
Published by Boni & Liveright, New York (1926)
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. Boni & Liveright, New York, 1926. Hardcover. Condition: Very Good. First Edition.
Published by 21st Editions, 2007. (2007)
Signed Limited Edition, #4 of 68. 12 Signed Original Hand Printed Platinum Prints. 1 Signed Free-standing Platinum Print. MINT Condition in Original Wood Packing Case. History: In 2007, fine press photography book publisher 21st Editions released The Bridge. Limited to 68 copies worldwide, the hand-bound collection contains 13 original platinum prints (twelve bound and one free-standing platinum print entitled, "Brooklyn Bridge" that is suitable for framing). Each print is fully signed by Sheila Metzner with the free standing photograph also signed in full on the rectro. This copy, 4 of 68, was presented to Lance Speer, 21st Editions Contributing Editor and Director of Marketing, upon completion of the project. Details of the Book and Prints: 21st Editions was honored to have been granted permission to reprint one of the greatest of American epics, Hart Crane's The Bridge, along with 13 platinum prints of Sheila Metzner's finest and most luminous images of the Brooklyn Bridge and New York. In his introductory essay John Wood characterizes both artists as "the sweet singers of America" and sees Crane?s hymn to the Brooklyn Bridge, New York, and American potential reflected in Metzner's similar lyricism, sensuality, and hopefulness. The Bridge is a completely handmade work of art designed, printed, and bound by the foremost masters in the field of the book arts. Each signed and numbered copy of The Bridge is hand-bound and printed in letterpress on handmade cotton rag paper. Measuring 18" x 14", this gorgeous handmade volume is bound in embossed blue Moroccan goatskin and is housed in a custom clamshell box. The free-standing platinum print is housed in a folded, letterpress printed presentation folder contained in the clamshell box. The book is signed and numbered by Sheila Metzner, John Wood, and the publisher, Steven Albahari on the limitation page. A Letter of Provenance from Lance Speer is included. The book, prints, and case are all in MINT condition in the original wood packing case. 21st Editions, 2007., 2007. Hardcover. Condition: Fine. 1st Edition. Signed by Author(s).
Published by Brooklyn Heights, (1934)
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. Brooklyn Heights, 1934. Soft cover. Condition: Fine. 1st Edition.
Published by Red Angel Press], [Bremen, ME (2004)
Unique binding by Gabrielle Fox, from an edition of 100 copies, the poetry on Saunders Waterford paper and the title page and illustrations on Sekishu, signed by the artist / printer, Ron Keller. Page size: 12-1/2 inches x 7-1/2 inches, oblong octavo. Binding: full blue Valencia goatskin, with slightly raised bridge image on both front and back boards achieved by a layer of watercolor under leather, various shades of grey goatskin onlays, the outline of the bridge highlighted with gold gilt and red gilt dots and squares and the onlays around bridge supports, endpapers of grey Japanese paper with onlay of green Tengujo in same shape as bridge, laminated to Twinrocker handmade paper, grey snakeskin headbands, signed on back turn-in at lower center with Fox logo finishing tool , housed in custom-made sailcloth over boards clamshell box, which also houses the original binding and portfolio of original binding designs and ephemera associated with the binding. The structure is one developed by Gabrielle Fox that allows the binding to open flat by sewing the text to an inner lining of alum-tawed goatskin thus creating a hollow tube. Text hand set and printed letterpress in American Garamond 648 for the poetry, Garamond Italic for the text and Caslon 471 for the title. The text is printed in black and the title page and colophon in a gray green. Keller has chosen to reprint three poems that strongly use the imagery of the Brooklyn Bridge. The book is presented in a horizontal format reflective of the span of the bridge. The first two poems, "Cutty Sark" and "Atlantis" are illustrated with three relief print images of the bridge's interesting stone arches and steel suspension cables. These images are each printed in six colors in a style reminiscent of early 20th century poster graphics. The third poem, "To Brooklyn Bridge" is printed on four hinged leaves that extend to 42 inches when opened. This poems typographic layout forms the bridge's roadway and is bordered by a depiction of the suspension cables - the poet's "choiring strings!" - which rise up from the pages when opened. An elaborate and imaginative design from Red Angel Press honoring one of New York's most recognizable landmarks which is perfectly complemented by Ms. Fox's beautiful binding. Red Angel Press], [Bremen, ME, 2004.
Published by New York: Horace Liveright. (1930)
Hart Crane. THE BRIDGE. Published in New York by Horace Liveright in 1930. Frontispiece photograph of the Brooklyn Bridge by Walker Evans. The book is fine in dark blue cloth with bright gilt lettering and design on the front cover and spine. The text is crisp and unmarked. The beautifully designed dust jacket has no restoration and is not price-clipped. As such it is a splendid survival with the Walker Evans photo on the front panel. The rear panel has blurbs by Eugene O'Neill, Waldo Frank, and Edmund Wilson for Hart Crane's first book, White Buildings. There is some very minor chipping along with the slightest edge wear. This is the first American and first trade edition of this remarkable book-length poem. A slightly different earlier version was published in February 1930 in a very limited edition by Harry Crosby's Black Sun Press in Paris which contained three Walker Evans photographs. New York: Horace Liveright., 1930. Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. 1st Edition.
Published by Boni and Liveright, New York (1926)
First edition, first issue with Allen Tate's name spelled incorrectly on the integral title page. Introduction by Allen Tate. Edges of the boards rubbed, a very good copy in an internally repaired, very good dustwrapper with a half-inch loss at the crown, housed in custom cloth clamshell case. Crane's first book. One of 500 copies of the first edition (encompassing both issues), with seemingly a very small number of those in the first issue. The last copy of the first issue to appear at auction brought $8000 in 2002. Boni and Liveright, New York, 1926. Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine.
Published by Horace Liveright, New York (1930)
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. Horace Liveright, New York, 1930. Hardcover. Condition: Fine. Dust Jacket Condition: Fine. First American Edition.
Published by Horace Liveright, New York (1930)
First American edition (preceded by the very limited French edition). Photograph by Walker Evans. Faint offsetting to the front fly, else fine in a good dustwrapper with some restoration and that has been slightly misprinted by the publisher. One of the highspots of 20th Century poetry. *Connolly 100*. Horace Liveright, New York, 1930. Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine.
Published by East Aurora, N. Y.: Roycrofters
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. East Aurora, N. Y.: Roycrofters. Hardcover. Condition: Very Good. No Jacket.
CRANE, Hart. The Bridge. Illustrated by Joel Shapiro, with an essay by Langdon Hammer. Scroll format, 13-1/2" x 50', with seven woodblock prints by Joel Shapiro, an introduction by Langdon Hammer, and two photographs by Michael Kenna. In a linen box. San Francisco: The Arion Press, 2017. The Bridge was conceived by Hart Crane in 1923, when he was twenty-three years old, and published in 1930. After his death in 1932, Crane grew into a figure of legend and is now regarded as one of the great American poets of the twentieth century and The Bridge as his greatest work. A specially commissioned essay on the poem by Yale Professor Langdon Hammer is included in a separate bound volume. Joel Shapiro, born in 1941, is a renowned abstract sculptor who has also been active as a printmaker, particularly in the medium of woodblock prints. His images here are untitled but are suggestive of themes in the poem. One of 300 copies, numbered and signed by the artist. 2017.
Published by Arion Press, San Francisco, CA. (2017)
Issued in a single-spool scroll format 13 1/2 " tall and 50' long, made up of joined sheets 13 1/2 X 25" paper. The paper is Chinese hand made, with 7 woodblock prints by Joel Shapiro, edition of 300 numbered and 26 lettered, this is copy . Introductory booklet by Langdon Hammer. Arion Press, San Francisco, CA., 2017. No Binding. Condition: As New. Shapiro, Joel (illustrator).
Published by The Four Seas Company (1927)
*** SUPERB ASSOCIATION COPY ***THE BARE HILLS A BOOK OF POEMS, The Four Seas Company, 1927, first edition, bottom 4 cm of spine missing, the rest of the somewhat tanned spine both re-glued and taped down amateurishly, else a good copy with near fine contents. 1/500 copies. Apparently Hart Crane's copy as this book is INSCRIBED to him by Winters and dated in year of publication. Also laid in is what may very well be an unpublished 1927 photo of Winters with his two dogs noted as such by the photographer, Malcolm Cowley, in his hand on the verso. The Four Seas Company, 1927. First Edition.
Published by New York Horace Liveright (1930)
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. New York Horace Liveright, 1930. Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition.
Published by New York. Horace Liveright. 1930. (1930)
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. New York. Horace Liveright. 1930., 1930.
Published by New York: Boni & Liveright (1926)
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, -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. New York: Boni & Liveright, 1926. Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition.
Published by Sergio Tosi Stampatore, Milano (1965)
pp. non numerate, con 7 acqueforti originali in b/n di Gianni Dova. Questa cartella comprende 7 acqueforti originali numerate e firmate a mano da Gianni Dova e 5 poesie di Hart Crane nella traduzione di Roberto Sanesi. Le acqueforti sono state tirate su torchio a mano e recano numero (16/50) e firma a matita dell'artista. Dimensione vol. cm 52x37,5. Volume composto da 10 quartini sciolti. Cartella in mezza pelle e carta marmorizzata. Ottimo stato (segni del tempo e tracce d'uso alla cartella; volume ottimo). Tiratura di 50 es. numerati. Il nostro è l'es.n.16. Sergio Tosi Stampatore, Milano, 1965.
Published by Twice A Year, New York (1938)
8vos. Consecutive run of the first fifteen issues of Dorothy Norman's exceptional journal of literature, the arts and civil liberties. Lacking only the final anniversary issue. Started just before the war and under the auspices of Alfred Stieglitz and others, Twice A Year was especially concerned with issues of war, democracy and civil liberties. Issue I and Issue III/IV were published in bound wrappers. All other issues published in boards with printed dustwrappers. Issue I's binding is a bit loose, otherwise an exceptionally clean and well bound set. Uncommon thus. Twice A Year, New York, 1938. Hardcover. Condition: Very Good +. Dust Jacket Condition: very good +. First edition.
Published by Red Angel Press], [Bremen, ME (2004)
Limited Edition, signed by the artist and designer, Ron Keller, one of 100 copies, the poetry on Saunders Waterford paper and the title page and illustrations on Sekishu. Page size: 12-1/2 inches x 7-1/2 inches, oblong octavo. Bound: beige linen cloth with painted silver lines resembling cables of Brooklyn Bridge. Text hand set and printed letterpress in American Garamond 648 for the poetry, Garamont Italic for the text and Caslon 471 for the title. The text is printed in black and the title page and colophon in a gray green. Keller has chosen to reprint three poems that strongly use the imagery of the Brooklyn Bridge. The book is presented in a horizontal format reflective of the span of the bridge. The first two poems, "Cutty Sark" and "Atlantis" are illustrated with three relief print images of the bridge's interesting stone arches and steel suspension cables. These images are each printed in six colors in a style reminiscent of early 20th century poster graphics. The third poem, "To Brooklyn Bridge" is printed on four hinged leaves that extend to 42 inches when opened. This poems typographic layout forms the bridge's roadway and is bordered by a depiction of the suspension cables - the poet's "choiring strings!" - that rise up from the pages when opened. An elaborate and imaginative design from Red Angel Press honoring one of New York's most recognizable landmarks. Red Angel Press], [Bremen, ME, 2004.
Published by [Bremen, Maine, and New York City:] Red Angel Press, 2004. (2004)
The three poems from Crane's masterpiece include: "Cutty Sark," "Atlantis," and "To Brooklyn Bridge." Oblong quarto.  pp. The poetry is printed on Saunders Waterford paper, and the title and illustrations on Sekishu. Six illustrations of the Brooklyn Bridge in black, green, and brown, plus a large double fold-out leaf with a pop-up construction of the Bridge. Ecru cloth with front cover illustration and spine lettering in charcoal. Fine. One of 100 copies signed by the printer/illustrator/designer, Ronald Keller. [Bremen, Maine, and New York City:] Red Angel Press, 2004., 2004.
Published by Horace Liveright, New York (1930)
First Printing (second edition overall, following the Holland paper issue published in Paris) of this "landmark achievement in the genre of the modern long poem." (Literary Encyclopedia) Squarish demy 8vo (219 x 154mm): ,82pp, with frontispiece photograph of Brooklyn Bridge by Walker Evans. Publisher's fine bead dark blue cloth, upper cover and spine lettered in gilt, fore- and bottom edges rough-trimmed, title page in red and black. A fine copy, wanting the dust jacket. Modern Movement 64 ("masterpiece of neo-romanticism"). Schwartz & Schweik A3.1. First published in limited format, in Paris, by Harry Crosby's Black Sun Press, in February, 1930, some six weeks before this Liveright issue with Crane's many corrections and alterations (especially with respect to "Cape Hatteras"), which was intended as the trade edition. Crosby's suicide in December 1929, while publication was still being arranged, was a sad portent of Crane's own tragic end two years later, when he leapt into the Gulf of Mexico from a ship bringing him back from Cuba to the United States. Walker Evans, whose photographs illustrate both editions, was then unknown. Crane began this attempt to investigate "the myth of America" with Ave Maria, "set aboard Columbus's ship as he returns to Spain after discovering America. Later sections dealt with aspects of American history, myth, and folklore, moving into the modern age with its attendant technological and scientific advances. . . . while celebrating the symbols of man's attempt to spiritually transcend the bounds of mortal existence, Crane also strives to deal with the limitations of progress." (Literary Encyclopedia) N. B. With few exceptions (always identified), we only stock books in exceptional condition, carefully preserved in archival, removable mylar sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed. (Fine Editions Ltd is a member of the Independent Online Booksellers Association, and we subscribe to its codes of ethics.). Horace Liveright, New York, 1930. Hardcover. Condition: Fine. First Trade Edition.
Published by Logan Elm Press, Columbus, Ohio (1980)
4to.,  frenchfold pages printed on hand-made Hayle paper by J.B. Green - this is one of 25 handbound copies in quarter leather and line by Andrea & Frank Klein. Edition limited to 100 copies signed by the photographer. 3 photogravures by Andrew Cahan - evocative of THE BRIDGE and Walker Evans. A rare and splendid production and a fine poem to boot. A fine copy with the calling card sized bookplate of David Enderton Johnson to front inner cover. "Hart Crane wrote this poem in 1920 while he was working in Akron, Ohio. An early draft was included in a letter to his friend Gorham Munson and is now in the Special Collections of The Ohio State University Libraries" (colophon). Logan Elm Press, Columbus, Ohio, 1980. Hardcover. Condition: Fine. Cahan, Andrew [photogravures] (illustrator). 1st Edition. Signed by Illustrator(s). Book.