Williams Wightman (19 results)

Hardcover. Condition: As New. APPEARS UNREAD. Hardcover with dust jacket. Dust Jacket shows minimal shelving wear, otherwise an UNBLEMISHED copy.; 100% Satisfaction Guaranteed! Ships same or next business day!

No jacket. Condition: Très bon. Ancien livre de bibliothèque. Sans jaquette. Edition 1995. Tome 27. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. No dust jacket. Edition 1995. Volume 27. Ammareal gives back up to 15% of this item's net price to charity organizations.

Poor condition. No limitation provided. Unpaged - total of 18 pages present including front cover (missing rear cover); printing on 8 pages plus front cover. Paperback: H 22.75cm x L 14.75cm. Binding string present in interior but exterior portion missing; detached front cover stained and toned; staining and some soiling to other leaves; tears and wear at leaf edges with curling/creasing at corners. Sold as is. Title leaf verso states "Reprinted from 'Selected Poems' by Allen Tate, copyright, 1937, by Charles Scribner's Sons." The Cummington Press imprint on eighth text page.

Card Cover - Stapled. Condition: Very Good. 1st Edition. Minimal wear to covers. Internally very clean. Binding good. 36pp Size: 175mm x 250mm. Book.

Hardcover. Condition: Very Good. No Jacket. Wightman Williams (illustrator). Limited Edition. First edition, limited to 330 enumerated copies (#223/330). Hardbound, no dust jacket. Boards show some minor wear including shelf wear and age toning, otherwise very good.

Hardcover. Condition: Very Good. 1st Edition. #51 of 85 copies signed by Williams on limitation page. Internally clean, bright, and unmarked. Some fading to spine, light wear to boards. Signed by Author(s).

First edition. 16 pp. Fine in sewn wrappers with pasted-on cover label. One of 100 copies printed on cotton paper.

Hard Cover. Condition: Very Good binding. Signed by Williams on the colophon. Delicate paper over boards with light toning to the extremities else clean and binding sound;edgeworn glassine wrapper is present. Bound by John Marchi of the Cummington Press. Very Good binding. Limited Edition, numbered 48 of 85 copies.

Handsewn in wrappers with printed label. The cover and title page drawing by (Paul) Wightman Williams appeared in The Winter by Allen Tate (Cummington Press, 1944). Also included is a line cut on wood by Williams to appear in A Face by Marianne Moore (Cummington Press, 1949). Designed and printed letterpress by Nicanor Strozzi in an edition of 100 copies. Includes a note by the printer. Fine. Scarce item.

Hardcover. Condition: Near Fine. Wightman Williams (illustrator). 1st Edition. #142 of 330 copies. Internally clean, bright, and unmarked. Boards are clean with light rubbing at ends of spine.

A Story illustrated by Wightman Williams. (illustrator). A little light scattered foxing to prelims, otherwise fine. 12mo. Black paper covered boards with decorative green and red triangle pattern paper fore-edge #66 of a first edition limited to 330 copies.

Hardcover. Condition: Very good. Wightman Williams (illustrator). Number 36 of 300 copies. Quarter leather boards covered by green natsume paper. Some foxing on the endpapers. the leather is worn and rubbed on the spine. the whimsical pen and ink drawings by Wightman Williams almost seem like doodles done by the poet as he was writing the piece. A beautiful edition of a single poem by Wallace Stevens.

First edition, number 65 of 300 copies on Pace paper from Italy, from a total edition of 340, this copy signed by the illustrator and type designer; 8vo; illustrations of pen and ink drawings by Wightman Williams, minor toning to gutters of endpapers, scattered minor spotting to text block, else unmarked internally; publisher's quarter black morocco over green Natsume paper-covered boards, gilt lettering to upper cover, mild rubbing to extremities, slight toning to boards, with original glassine dust-jacket; a very good copy. Number 65 of 300 copies printed from Centaur types on Italian Pace paper, from a total edition of 340. Though not called for, this copy has been signed by Wightman Williams and the type designer Harry Duncan on the colophon. A very good copy, scarce thus. Edelstein A10.

Hardcover. Condition: Very good. Limited Edition. Large octavo, unpaginated. A notoriously fragile book, and one of only "a few" (per Edelstein, see below) copies bound in rose-colored Japanese Natsume straw-paper over boards. The calf spine is worn at the extremities, but less so than is often seen, and the binding is sound. Gentle wear to corners, but a sharp, internally clean example; very good. Lacking, as usual, the plain glassine dust jacket. This is number 260 of 300 limited copies (another 40 were signed by Stevens). Edelstein (A10) references an unpublished letter from Harry Duncan, publisher of the Cummington Press, to Stevens, which reads, in part: "Five [copies] will be mailed to you on Monday. One of these is covered with rose paper, not with the green [.] Only a few copies have it all the available green paper not quite being enough for the entire edition." Furthermore, of the six locations noted by Edelstein, only Holly Stevens's copy is in the rose binding. A desirable copy.

WILLIAMS, Wightman (illustrator). 12mo, original decorated paste-paper boards. Arthur Mizener's copy, with his tiny book-label on the front endsheet, spine very slightly faded, with a touch of wear at the base, otherwise an unusually nice copy of this fragile book, which seldom survives in fine condition. Arthur Mizener's copy, with his tiny book-label on the front endsheet, spine very slightly faded, with a touch of wear at the base, otherwise an unusually nice copy of this fragile book, which seldom survives in fine condition. First edition. One of 380 copies printed in Centaur and Arrighi type on Dacian paper. Wallace A23. A diminutive but significant volume, which includes "Paterson: The Falls", "The Dance (In Breughel's great picture)", "The Semblables" and "To Ford Madox Ford in Heaven", in addition to Williams' important introduction, a brief "Ars Poetica".

Edition limited to 85 copies (this, no. 56) signed by the author; 12mo, pp. [22]; frontispiece by Wightman Williams, original green paper-covered boards with a design on the upper cover by Williams; extremities a bit toned, otherwise a near fine copy but lacking the original glassine jacket. Bookplate of Arthur Langdon Blair. From the library of Kim Merker. Richmond 22.

First edition limited to 75 copies printed by the Williams and Harry Duncan; 8vo, pp. [8]; original gray wrappers printed in red; some wear along the edges and discoloration along the spine; a good copy of a scarce title. From the library of Kim Merker. "Seventy-five copies made by the author and Harry Duncan at The Cummington Press, Cummington School of the Arts, during April 1950." Richmond 44: "Thirty-three copies not accounted for in the colophon were on Rives with an intaglio drypoint by Williams.".

First Edition. RILKE, RAINER MARIA. Five Prose Pieces. Cummington, Massachusetts: Cummington Press, 1947. Tall octavo (8-3/4 by 9-1/2 inches), original half brown calf and marbled boards, uncut. $1400.Limited first edition of five select prose works in English from Rilke's early years, featuring the inclusion of Erlebnis (Experience) together in print for the first time with Die Turnstunde (Gym Period), Begegnung (Encounter), Puppen (Dolls) and UrGerausch (Primal Sound), number 178 of only 203 copies on Van Gelder Oxhead paper (271 total), with original woodcut-engraved illustrations by artist Wightman Williams."Rilke was one of the most gifted and conscientious artists who ever lived" (Atlantic). This first edition of Five Prose Pieces brings together, for the first time in English, five early essays and stories. Its opening work, Die Turnstunde, (Gym Period) was first issued in German in 1902. Drawing on his experiences as a student at military schools, Rilke came to view the story "as one of his best prose pieces from his early years. The story's narrative brilliance lies mainly in its terseness, its ability to suggest rather than describe in detail" (Metzger, Companion, 71). This is followed by Begegnung (An Encounter), in which Rilke portrays a chance meeting between a man and a dog on a road "where one meets nobody." This highly evocative work, first issued in German in 1907, captures the dilemma of a man "desperately seeking a way out of the prison house of language" even as the dog's silent yet "happy expectation" seems to express a desire to share that prison (Kari Driscoll). The third work, Puppen (Dolls), was first issued in German in 1914 after Rilke saw the dolls created by German artist Lotte Pritzell. It provocatively offers a "key to understanding his own attitudes towards the theme of division within the self" (Anthony Stephens). The book's fourth work, Erlebnis (An Experience), was written in 1913 but not first issued in German until after Rilke's death in 1926. Here, in its first appearance with these other select works, Rilke's "purely interior" narrative signals an "ecstatically unified worldÉ an idea that is to recur in several of Rilke's works" (Metzger, 84). The final work, Rilke's autobiographical UrGerausch (Primal Sound), was first published in German in 1919. In it Rilke recalls the "homemade phonographs" of a former classroom: its "'markings traced on the cylinder'Ñthe proto-writing of the past" (Jacobus, Time-Lines). First edition, first printing: featuring the inclusion of Erlebnis (An Experience) not present in the 1943 volume titled Primal Sound & Other Prose Pieces, which consisted of the other four works and illustrations by Paul Wieghardt (instead of Wightman Williams). Translation by Carl Niemeyer. Schroeder, Rainer Maria Rilke in America: A Bibliography, 31. Trace of bookplate removal.A very elusive copy in fine condition.

First, Limited Edition. No. 245 of 300 numbered copies in the regular issue (there was a simultaneous deluxe issue of 40 signed copies). This is a complimentary copy to an unknown recipient; holograph "Compliments of the Author" card laid-in, in illustrator Wightman Williams' hand. Octavo (9-3/4"); black dyed sheep over sage-green straw paper boards; [24pp]; illus. Touch of wear to spine ends; slight rubbing to boards edges, with bottom corners showing pin-points of exposure; still a tight, very Near Fine example. One flap (only) from the original, unprinted glassine wrapper is laid in at rear. A very nice copy of this notoriously wear-prone book. EDELSTEIN A10.