There is a deceptively simple goal for the collector of first editions: to obtain the earliest printed form of a work of literature, in as close to the condition it was in when it first appeared in bookstores as a new book. Dig deeper, though, and you find that the first edition collector also has an interest in ...
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NY: Random House, 1930. First edition. One of 1000 copies printed at the Spiral Press and signed by Frost. This is the first collected edition of Frost's poems and marks the first appearance of "The Last Words of a Bluebird" and "What Fifty Said". Previous owner's signature on front paste-down..... More
NY: Henry Holt, (1936). First edition, second printing. Signed by Frost below the frontispiece reproduction of a manuscript of "Stopping by Woods on a Snowy Evening." Contains a poem for each month of the year, selected by the poet from previously published work. They include two of Frost's best-loved poems..... More
NY: Holt, (1936). First edition. One of 4,000 copies printed. This copy is inscribed by Frost with the final quatrain of "Desert Places". The inscription is dated "June 1936", which is shortly after the book's May 30th publication date. Frost received the Pulitzer Prize for this collection, and was the..... More
Philadelphia: Colonial Press, February, 1917. Square octavo. 52, (2)pp. Contains the first appearance of "Locked Out," which had only previously seen print in The Bouquet, a magazine compiled by Frost's children in 1914. This poem was not included in the first edition of Mountain Interval but was added to its..... More
NY: Henry Holt, (1947). First edition. One of 751 copies signed by the author. Frost's second long verse drama is set in a bookstore after closing. Printed at The Spiral Press. A fine copy in cloth-backed boards with original glassine dust wrapper, slightly chipped, housed in original slipcase. (Crane A31)..... More
London: David Nutt, (1914). First edition. From an edition of 1,000 copies, this is one of 200 in the sixth binding state. This was one of two binding states that were done by the Dunster House Bookshop in 1923 in Cambridge, MA when the remaining first edition sheets were sold..... More
(N.p. c. 1915). Single page. Signed by Frost. The typescript has been copied in blue ink, with two manuscript corrections in Frost's hand. The first, a change from "need" to "wish" in the second line, appears in subsequent editions of the poem, which was first published in Frost's Mountain Interval..... More
NY: Henry Holt, 1947. First edition. One of 751 copies signed by Frost. Title page decoration by Loren MacIver. In a review in the June 1, 1947 issue of the New York Times, Randall Jarrell singles out “Directive,” an early poem in Frost’s penultimate collection, for possessing “so much longing..... More
NY: Henry Holt, 1947. First edition. One of 751 copies signed by Frost. Title page decoration by Loren MacIver. In a review in the June 1, 1947 issue of the New York Times, Randall Jarrell singles out “Directive,” an early poem in Frost’s penultimate collection, for possessing “so much longing..... More
(1950). 13pp. Signed typescript with Frost's manuscript correction to the title, changing "Hard Not to be King" to "Hard to Keep from Being King," and noting "As read at the American Academy." Additionally inscribed by the author "For Reginald Cook" on the final page. Cook was a close friend of..... More
NY: Henry Holt and Company, (1928). First edition, first issue, with no "first edition" statement on the copyright page, and "roams" for "romps" in the last line of Canis Major on page 44. Signed and dated by Frost on the front endpaper. Illustrated with a frontispiece and three full-page woodcuts..... More
NY: Henry Holt, (1928). Small quarto. viii, 58pp. Second (i.e., limited) edition. One of 1,000 copies signed by the author. Illustrated with four full-page woodcuts, each of which is signed in pencil by the artist, J. J. Lankes. These have been inserted and are not included in the pagination. This..... More
Northampton, MA: Gehenna Press, 1963. Elephant folio. (24)pp. One of 150 copies, signed by the illustrator, Rico Lebrun, and by the engraver, Leonard Baskin, below the colophon and on the prints. Lebrun's illustrations evoke the raw emotion and bare-bones humanity and animality of Melville's tale. Pages held loose in unbound..... More
Boston: Stratford Co., 1925. First edition, binding A. Signed by Gernsback on the front free endpaper, with “Sincerely yours” added in a different hand. Illustrated with eleven black & white plates by Frank R. Paul. A novel of the future in which Gernsback intertwines a love story with predictions for..... More
London: Sheed & Ward, (1931). Octavo. iv, 121 pp. First edition. One of 500 copies signed by Eric Gill and Rene Hague and printed by Hague & Gill. This is a presentation copy, inscribed on the colophon. Illustrated with twenty-five figures, including ten type specimens and four illustrations from wood..... More
(London): Gogmagog Press, 1962. Octavo. (24)pp., frenchfold. From an edition of fifty copies printed and signed by Morris Cox, this is one of eleven out-of-series copies. Contains fifteen black & white satirical prints illustrating awkward moments, with captions in red. Spine cocked, else near fine in patterned paper boards with..... More
(London): Gogmagog Press, 1962. Octavo. (24)pp., frenchfold. One of fifty copies printed and signed by Morris Cox. Contains fifteen black and white satirical prints illustrating awkward moments, with captions in red. Near fine in linen-covered boards with printed spine label. (Chambers 8). More
London: Gogmagog Press, (1975). Thin octavo. (viii), (24)pp. One of twenty-four copies signed by Morris Cox. A collection of Cox's more melancholy poetry, accompanied by four reverse/direct offset illustrations printed across double pages on gray, scarlet, gray-green, and blue papers. A scarce Gogmagog title, no copies of which were for..... More
(London): Gogmagog Press, 1972. Octavo. (96)pp., frenchfold. One of fifty copies signed by the printer-author. Illustrated with eight original intaglio engravings by Cox, printed in colors. "Each print has the device of a hand with pen or brush, entering from beyond the margins, drawing its composition (poem or picture) from..... More
London: Gogmagog Press, (1960). Octavo. (36)pp., frenchfold. One of fifty copies printed in various colors and signed by Morris Cox. Illustrated with four double-page color prints that accompany poetry by Cox, which he calls "a poem in three parts, being the apotheosis of an unknown woman victim of a war,"..... More
NY: Gotham Book Mart, 1988. First edition. One of twenty-six lettered copies, signed by Beckett and Gorey. The second and final collaboration between the author and the artist. Design and typography by Ronald Gordon and Dean Bornstein, and illustrated throughout with vignettes by Gorey. A fine copy in black boards..... More
Cartoon Art Museum: San Francisco, 1996. Octavo. 6(ff). Of an edition of 776 copies, this is one of only 150 signed and numbered by Gorey. A very nicely produced and illustrated catalog for the Museum's Gorey exhibition from September 18, 1996 to January 12, 1997. Mint in grey pictorial wrappers..... More
NY: Peter Weed, (1987). Oblong octavo. Stated second printing. Signed by Gorey. Fine in pictorial black and white boards with matching dust jacket. More
NY: Atheneum, 1972. First edition. With full-page illustrations by Edward Gorey in olive, black and red. An entertaining interpretation of Red Riding Hood, based on the version of the story by the Brothers Grimm and "retold in verse for boys and girls to read themselves." Foxing and toning at edges..... More
(San Francisco: Richard A. Gleeson Library, 1970). Large quarto. French-folded single sheet. Sketch of the poet Robert Graves to the front cover. On the interior, the printed text faces a facsimile of the original, handwritten poem. Printed by Lawton and Alfred Kennedy and presented to the joint meeting of hte..... More
