Search Results: Authors starting with R from Triolet Rare Books, ABAA

New York: W.W. Norton & Co, 1929. First English language edition. 243 pp. Yellow cloth, lettered and decorated in black, with the dust jacket. Cloth soiled in spots, spine rolled. Top edge of boards and text block spotted. The jacket has two pieces of old tape reinforcement on the verso of the spine head and tail, spine darkened, with some edgewear. Translated by Malcolm Cowley. Foreword by Jean Cocteau. Radiguet's second and final novel, but the first to be published in English. His first, The Devil in the Flesh, was published in a translation by Kay Boyle in 1932. Uncommon.

Cambridge: Rampant Lions Press, 1975. First edition. Original wrappers. Very good +. First edition, one of 200 copies printed. Stiff card wrappers with folded-on dust jacket. Title and colophon by Reynolds Stone. The first in a series of collections of Latin inscriptions assembled by Sparrow and John Gere. Some toning to covers, front cover shows some rubbing, especially at the fore-edge. Zeitlin and Ver Brugge description laid in.

Mystic: Hozomeen Press, 1995. First edition. Original Wraps. Near Fine. First edition. [97] pp. Printed wrappers, a paperback original. Photographs by Leah Singer. Texts by the Sonic Youth guitarist with color and black and white images. Slight edgewear to wrappers.

Hartford: James Thrall Soby, 1934. First edition. Publisher's plastic comb binding, stiff wrappers. Minor vertical crease to front cover, light chipping to outer edge. Upper and lower portions of the front cover coming loose from the binding, but the cover is still held firmly. Internally clean and bright. Now housed in a custom clamshell box. The very rare first issue. As Roth describes, the publisher "attempted to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies- presumably a healthy percentage of the run whose sales had in fact, been slow to none- with one stating 'deuxième edition,' second edition, he returned them for sale. Copies with the original title page are exceedingly rare." Man Ray's first monograph, with texts in English and French by Duchamp, Tzara, Eluard, Breton, and Man Ray himself. Frontispiece portrait of Man Ray by Picasso. Contains 104 heliogravure images. "Part art, part illustration, [the book] was… Read More

New York: Julien Levy Gallery, 1945. Single sheet, folded once to form [4] pp. Slight edgewear, minor staining to center crease. Slight transfer ghost to rear cover, as often seen. Exhibition brochure designed by Marcel Duchamp, cover image based on a photograph by Czech filmmaker Alexander Hackenschmied. Includes an artist's statement by Man Ray, a checklist of the exhibition, and some definitions by the artist about certain of his "objects of my affection.".

Hong Kong: Liu Publishers, 1960. First edition. Original Wraps. Very Good. Japanese-style string-tied wrappers with printed cover label. Wrappers foxed, edges a bit chipped. A collection of poetical works by the author of Zen Flesh, Zen Bones.

Prairie City, IL: The Decker Press, 1949. First edition. Hardcover. Very Good. 117 pp. Light green paper-covered boards over brown cloth backstrip, spine lettered in silver and front board lettered in brown. Corners heavily rubbed, minor general edgewear. An uncommon Rexroth book- although 500 copies were slated to be published, far less than that were bound, and the sheets were later used under different imprints. This copy unnumbered. Inscribed by Rexroth on the front free endpaper and dated Xmas 1950, an early inscription. The ink from the inscription has offset onto the front pastedown. Errata slip laid in.

San Francisco: Twowindows Press, 1970. First edition. Original Wraps. Fine. [12 pp]. Red printed wrappers, sewn. One of 300 copies, of a total edition of 350. Extremely slight sunning to spine, still a fine copy.

Deyá, Majorca: The Seizin Press, 1935. First edition. Single sheet of cream laid paper, folded twice, unbound, to form [8] pp. [1], title-page, [2], blank, [3-6], text, [7-8], blank. Top edge cut. Some edgewear and minor browning and spotting. A poem which later became part II of "Disclaimer of the Person," which appeared in Riding's Collected Poems. This was the last text printed by Riding and Graves on their Crown Albion handpress. Wexler A25.

New York: Adelphi Company, 1926. First American edition. 77 pp. Paper boards, printed label on front cover. Boards faded at extremities, corners a little rubbed, slight rubbing to spine exposing webbing. Interior clean with slight glue staining to gutter of preliminaries, bookplate on front pastedown. Riding's first book, first published by Leonard and Virginia Woolf at the Hogarth Press preceding this American edition, from the British sheets. Bibliographer Joyce Wexler noted of Riding's enigmatic verse, "She believed speech was the natural complement of thought; the possibility of inarticulate thought never existed for her. Her experience with words that were untrue made her loathe anything less than what she called the fidelity of word to thought, or truth. Poetry became the supreme value in her life because it offered a stable way to unite speech and thought." Wexler A1b.

Paris: Hours Press, 1930. First edition. 50, [3] pp. Decorative paper boards over brown leather backstrip, spine lettered in gilt. Touch of rubbing to head and tail of spine and corners, else fine. One of 200 numbered copies, signed by the author. Cover photomontage designs by Len Lye, of which the publisher Nancy Cunard commented, "they suggest stonelike figures and a sort of arabesque, [and] also evoke the thought of tapestry and Renaissance velvet." The critic Herbert Palmer noted the difficulty of Riding's verse, but went to say of this volume, "It is like going to a warm fire on a bitter cold day to turn to her very different Four Unposted Letters to Catherine which is for the most part charmingly and lucidly written, addressed to a child, full of downright truths and wisdom, and such flashes of insight as 'Making a poem is like being alive for always.'" (Cunard, These Were the Hours, p. 107-108). Wexler A10.

Los Angeles: The Dragon Press of George William Shaw/Wagon & Star Publishers, 1962. First edition. Original wrappers. Near fine. 35 pp, printed on rectos only. String-tied textured paper wrappers, printed in black and red. One of one hundred copies, set into type and printed by George William Shaw at Lennox High School, under the supervision of Eugene Earll. Very minor toning to spine and foxing to fore-edge. An attractive student production; no copies in OCLC.

London: Duckworth, 1922. First edition. 320, 16 pp. Blue cloth, lettered in black on the front board and the spine. Spine cocked and rubbed at head and tail, some foxing to extremities throughout. Scarce novel of the louche post-war demimonde. OCLC locates three copies in the United States: NLM, Mayo Clinic, and Harvard (Santo Domingo Library).

London: Secker & Warburg, 1957. First edition. Hardcover. Very Good +/very good +. Green cloth, lettered in silver on the spine, with the dust jacket. 200 pp. Cloth a bit stained at heel of spine, jacket price-clipped with some light chipping to the head of the spine and some foxing to the rear panel. McLeod A5, preceding the American edition, which was published in a slightly different form and won the National Book Award.

Locust Valley: The Four Winds Press, 1975. First edition. Hardcover. Near Fine. One of 75 copies printed by Henry Schniewind. Marbled paper boards over red morocco spine, lettered in gilt. Presents a hitherto unpublished letter from 1948 from Bruce Rogers to Winifred Howe, secretary to his good friend Henry Watson Kent of the Metropolitan Museum of Art, founder of the Museum Press (and primary sponsor of BR's design of Centaur type, first used at the Museum Press). Slightly rubbed at the lower corners, else a fine copy. Laid in is a prospectus for a later Four Winds book and a Christmas greeting from the Museum Press dated 1926, printed in Centaur and Arrighi types.

New York: William E. Rudge's Sons, 1955. First edition thus. Hardcover. Fine. Decorated paper boards over cloth, top edge gilt. Designed by Bruce Rogers and printed at the Stinehour Press. Of a total edition of 600 copies, one of 100 copies with special imprint, signed by Bruce Rogers. A fine copy in the original glassine, with slipcase.

Bretenoux, France: Braad Press, 1977. First edition. Original Wraps. Near Fine. First edition, one of 300 copies. Perfect-bound wrappers with printed dust jacket. Four woodcut illustrations laid in, as issued.

Garden City: Doubleday, Doran and Company, Inc, 1944. First edition. Hardcover. Near fine/near fine. First edition of Rukeyser's fourth book of verse. Near fine in a near fine jacket, slightly chipped at the head and foot of spine, else clean and bright. Review copy, with slip laid in.

New York: Alexandre Iolas Gallery, 1970. First edition. [36] pp. Original white printed wrappers. Introduction by Henry T. Hopkins, fourteen color reproductions. Catalogue of Ruscha's second exhibition in New York, at the Alexandre Iolas Gallery (his first New York exhibition was at the same gallery three years earlier). Some very minor spotting and browning to the wrappers.

[Los Angeles]: Edward Ruscha, 1970. Second edition, one of 3000 copies, after the first printing in 1965 of 700 copies. Perfect-bound printed wrappers, with original glassine wrapper. Slight toning to glassine at spine, else fine. Photographed by Ruscha, with 34 black and white reproductions of mid-sixties Los Angeles apartment buildings (various high rises, dingbats and other midcentury apartment buildings), each identified by address.