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The poet, William Everson, was born in Sacramento, California, and grew up in the San Joaquin Valley town of Selma. He attended Fresno State College where he encountered the poetry of Robinson Jeffers, crystallizing his own vocation as a poet. While earning his living as a laborer and farmer, he married his first wife, Edwa. Following the outbreak of the Second World War, he was drafted, and served as a conscientious objector at a C.P.S. camp in Waldport, Oregon. On he release, he settled in the San Francisco Bay Area, and became identified with the anarcho-pacifist group around Kenneth Rexroth. After his failed first marriage, he met a fallen-away Catholic whose struggle back to her faith led to his own conversion. They separated to enter the Church in 1949. During a year with the Catholic Worker movement he was drawn to the monastic life, and in 1951 entered the Dominican Order as a lay brother. While at St. Albert's College in Oakland he printed his own books of poetry and his unfinished Novum Psalterium. After 18 years in the Order he left to marry and moved with his wife and son to the Santa Cruz mountains near the University of California at Santa Cruz, where for ten years he was the poet in residence. He continued his printing by establishing the Lime Kiln Press at the University and produced many books of distinction. He published over forty volumes of poetry and scholarship, and remained a leading Jeffers scholar. Everson died at his Kingfisher Flat home in 1994 after a long bound with Parkinson's disease.
321. (Aldine Press) Didymus. Interpretatio in Odysseam. [Title also in Greek; text in Greek except for a 1-p. foreword in Latin.] 127, [1] leaves. (sm. 8vo) 5-3/4x3-3/4, later vellum, leather spine label. Venice: Aldus, [1528]. Card laid in inscribed "With our most sincere good wishes, Dorothy & Bob Hawley." A nick to the spine, erasure to title-page, near fine. (400/700).
LEW ALLEN ON THE HANDPRESS
322. (Allen Press) Printing with the Handpress: Herewith a Definitive Manual by Lewis M. Allen to Encourage Fine Printing through Hand-craftsmanship. With a preliminary poem on the art of the handpress by William Everson. Illus. by Victor A. Seward; decorations by Mallette Dean. 12x8, pictorial cloth with a hand design on front cover. 1 of 140 copies printed in Roman‚e type on handmade paper. Kentfield: Allen Press, 1969. With a copy of the prospectus, in an envelope addressed to Brother Antoninus, and including a note from Lewis Allen, "Dear Bill, We will be sending a copy off to you soon, with the compliments of the Press. Certainly have appreciated your help. Our tome is not as good as it should be, but maybe it will create some interest, Lew." Near fine condition. (1200/1800).
323. Barthelme, Donald. Here in the Village. 8-1/2x5-1/2, half linen & boards, spine lettered in gilt. Presentation copy, from a run of 275 copies. First Edition. Northridge: Lord John Press, 1978. Signed by Barthelme in the colophon. Scraping to board fore-edges, else very good. (70/100).
324. Blumenthal, Joseph. Art of the Printed Book, 1455-1955. Masterpieces of Typography Through Five Centuries from the Collections of the Pierpont Morgan Library New York. 2nd Ptg. [1974]. * The Printed Book in America. 1st Ed. [1977]. Together, 2 vols. Illus. with facsimiles. 12-1/4x9, cloth, jackets. New York & Boston: [1974 & 1977]. Each signed by Everson on front endpaper. Some soiling to jackets; both very good. (80/120).
325. (Bremer Press) Homer. Iliad. In Greek. 13-3/4x9, half linen & boards, paper spine label, slipcase. No. 531 of 615 copies. [Munich: Bremer Press, 1923]. Handsome printing of the Iliad in the original Greek. Slipcase sunned with some splitting at seams; top - 1/2" of boards darkened, near fine. (300/500).
326. Carruth, Hayden. Journey to a Known Place. 10-1/2x7-3/4, half cloth & boards, spine lettered in gilt. No. 271 of 300 copies hand set in Roman‚e type and printed on Haley paper by Harry Duncan & Kim Merker at Iowa City. Norfolk, CT: New Directions, 1961. Signed by Everson on the half-title. Fading to boards; stain to half-title & preliminary blank, offset to pastedowns, else very good. (100/150).
327. Clark, Walter Van Tilberg. Strange Hunting. 10-3/4x8-1/4, black cloth, paper cover label. 1 of 115 copies, of which 100 were for sale. [Reno]: Univ. of Nevada Reno Library, 1985. Fine. (80/120).
328. Duncan, Robert. A Book of Resemblances. Poems: 1950-1953. Reproduced in Holograph of the Author, and Ornamented with Drawings by Jess. 11x8-1/2, gilt-dec. black cloth, spine lettered in gilt. No. 103 of 200 copies, from a run of 203. First Edition. New Haven: Henry Wenning, 1966. Bertholf A22b - Signed by Duncan and Jess in the colophon. Near fine. (200/300).
329. Duncan, Robert. Heavenly City, Earthly City. Illus. by Mary Fabilli. Pictorial boards, jacket. First Edition. [Berkeley: Bern Porter, 1947]. Bertholf A1 - Duncan's first book, published in an edition of 250 copies. Jacket split down spine, tape-repaired with some paper loss, further verso tape-repairs at flaps & edges; some soiling & sunning to boards, else very good. (150/250).
330. Duncan, Robert. Letters, by Robert Duncan. poems mcmliii-mcmlvi. Illus. with 5 inserted plates from drawings by the author, on light yellow brown rice paper. 10x6-1/2, marbled wrappers, paper spine label. No. 97 of 450 copies. First Edition. [Highlands, NC: Jonathan Williams, 1958]. Bertholf A9a - Signed by Duncan on the colophon page, inscribed "For Brother Antoninus, Elfmere, September 1959" on a piece of paper glued to the colophon page beneath the signature, and then a further inscription on the colophon page, "with the love in which friendship abides and the hope that among these works some gift may delight, some music excite an accord, some truck struck in passing encline. RD." Some chipping to wrappers, else very good. (100/150).
331. Etchison, Dennis, ed. Lord John Ten: A Celebration. 9-1/2x7-1/4, half cloth & boards. Presentation copy from a run of 325 copies, signed by the contributors. Northridge: Lord John Press, 1988. Signed by the 26 contributors on the title page of their piece; includes Everson, Ray Bradbury, Raymond Carver, Gerald R. Ford, Tess Gallagher, Jim Harrison, Robert B. Parker, John Updike, James Purdy, and others. Some staining to covers, else very good. (150/250).
332. Evans, Henry Herman & Patricia Healy Evans. First Duet. Title-page & 10 leaves, printed on rectos only; each of the 10 leaves with color block print by Patricia Evans, plus letterpress text by Henry Evans. 22- 3/4x15-1/4, contents loose as issued in blue cloth folder with paper cover label. 1 of 84 copies printed on Van Gelder paper. San Francisco: Peregrine Press, 1950. Prospectus laid in, which is foxed; this has transferred slightly to the title-page. An attractive collaboration, with the text discussing fine printing, its place in modern society, and other philosophical questions. There were also 46 copies printed on Kelmscott handmade paper, which were not for sale. Some rubbing & soiling to covers, else very good. (200/300).
EVERSON'S OWN BOOKS
333. Everson, William. An Age Insurgent: Poems by Brother Antoninus, O.P. 6-3/4x4-3/4, black wrappers printed in white. First Edition. Oakland: Blackfriars Publications, 1959. Bartlett & Campo A15 - Everson's copy, signed "Brother Antoninus" in inside of front wrapper, and "Corrected by Brother Antoninus, O.P., 3/5/59" on inside of back wrapper. There are a number of ink corrctions and annotations to the text. Although published in an edition of 500 copies, fewer than 100 were issued, the remainder destroyed. Bartlett & Campo note "a large number of errors in the text." Wrappers detached with some chipping & other wear, the whole with a vertical crease, else good. (1000/1500).
BROADSIDE POEM PRINTED BY EVERSON
334. [Everson, William]. At the Edge. Broadside poem. 20x15-1/4, framed under plexiglass. 1 of 100 copies printed by Everson on a handpress, in Goudy Newstyle on Kelmscott Hammer & Anvil paper.[Oakland: Albertus Magnus Press, 1952]. Bartlett & Campo A12 - Signed by Everson as Brother Antoninus at the end of the poem. The frame is a later frame, not the frame in which copies of the 1958 issue were offered. Slight aging & creasing to paper; near fine. (1500/2500).
335. Everson, William. Black Hills. Woodcut by Thayer Hopkins. 12x9-1/2, half cloth & boards. No. "Author's A" of 285 copies printed by Thomas Whitridge on paper from the Wookey Hole Mill in England. First Edition. N.p.: Didymus Press, [1973]. Bartlett & Campo A39 - Signed by Everson in the colophon. Slight sunning to spine; near fine. (100/150).
336. Everson, William. Blame it on the Jet Stream! Woodcut by Dennis Marks. 8x10, half morocco & cloth. No. 2 of 150 copies printed at the Lime Kiln Press on Hayle paper. First Edition. N.p.: Lime Kiln Press, 1978. Signed by Everson in the colophon. Foxing to endpapers with a few slight foxmarks elsewhere; near fine. (100/150).
337. Everson, William. The Blowing of the Seed. 10-1/2x6-1/2, blind-lettered calf-backed dec. boards. Copy a of 3 copies reserved for the poet, publisher & printer, from a run of 218 copies printed on Kochi paper by Claude Fredericks. First Edition. New Haven: Henry W. Wenning, 1966. Bartlett & Campo A22 - Signed by Everson on the blank leaf preceding the limitation page. A few scattered foxmarks, else near fine. (200/300).
338. [Everson, William]. Brother Antoninus. A Canticle to the Waterbirds. Illus. from photographs by Allen Say. 9-1/2x7-1/2, gray cloth. No. 1 of 200 copies printed by Lawton & Alfred Kennedy. First Separate Edition. Berkeley: Eizo, 1968. Bartlett & Campo A28 - Signed by Everson as Brother Antoninus & by Say in colophon. Fine. (80/120).
CANTICLE LIMITED TO 61 COPIES
339. Everson, William. A Canticle to the Waterbirds. Illus with woodcuts by Daniel O. Stolpe, incl. a color double-page frontispiece. 13-1/4x18-1/2, full linen, paper cover label, linen folding box; bound by Maureen Carey. No. 5 AP of 61 copies, handset in Weiss Roma from the Kingfisher Press & printed by Felicia Rice & Gary Young at the Bear's Tooth Studio on paper handmade by Peter Thomas. [Santa Cruz]: Alcatraz Editions, [1992]. Signed by Everson beneath his author's note at end; signed by Stolpe, Carey, Rice, Young and Thomas in the colophon. A superb printing of what Everson considered his best known poem, and one of his favorites. The five people who produced the book each received five copies, and at least 20 went directly to institutional libraries, and the remaining 20 or so copies were sold out at publication, making this book quite scarce and rarely available. The box is too large for the book; it was specially made by Carey to contain various proof sheets and other material which was included with a few special copies, and which in his generosity Everson gave away. Some soiling to the box; vol. in fine condition. (1200/1800).
340. Everson, William. Cougar. Broadside poem. 14x20. Presentation Copy of 150 copies printed by Henry Morris for the Lord John Press. [Northridge]: 1982. Signed by Everson at the end of the poem. Slight stain at right margin, else near fine. (80/120).
341. [Everson, William]. Antoninus, Brother. The Crooked Lines of God: Poems 1949-1954. Half cloth & boards, jacket. First Edition. [Detroit]: University of Detroit Press, 1959. Presentation copy inscribed on front endpaper, "For Fr. Kevin Meagher, O.P., Brother Antoninus, Advent/1959." Everson has also made about nine corrections or annotations to the text. Front board lightly soiled, stain near bottom edge of rear board; else very good, jacket fine. (100/150).
342. Everson, William. Eastward the Armies: Selected Poems 1935-1942. Intro. by Everson. Ed. by Les Ferris. Illus. with linoleum block cuts by Tom Killion, incl. a separate suite of 3 signed broadsheets with linoleum block cuts & poems, & 1 with a holograph poem, signed. 15x9, half string-tied cloth & marbled boards (bound Japanese style), extra plates in slightly larger separate half cloth & marbled boards portfolio, slipcase. Presentation copy of 50 copies printed on Japanese hand-made Hosho professional & Suzuki papers by Richard Bigus. Imago Papermill made the broad sheet papers used in the portfolio. First Edition. [Torrance]: Labyrinth Editions, 1980. Signed in the colophon by Everson & Killion, & also signed by both on the broadsheets. Fine - a beautifully executed book. (300/500).
343. Everson, William. The Equinox Press: Announcing the establishment of a private press by William Everson at 2445 Ashby Avenue in the city of Berkeley, California. Broadside. Illus. with a block print by Mary Fabilli. 19-3/4x11-1/2, framed & glazed. 1 of 500 copies. Berkeley: Equinox Press, 1947. Bartlett & Campo F7 - Fine. (100/150).
344. [Everson, William] Fine Arts at Waldport. [8] pp. 8-3/4x6-1/2, unstitched in wrappers. [Waldport, OR: Untide Press, 1943]. Bartlett & Campo F5 - Prospectus for describing the School of Fine Arts, scheduled to open at Camp Angel in February of 1944. Everson had been named director of the program. 1-1/2" tear to rear wrapper, else very good. (200/300).
345. Everson, William. The High Embrace. Illus. with 5 mounted photographs of the poet by Leigh Wiener. 14x11-1/4, text & photographs loose in cloth chemise/slipcase. No. 1 of 100 copies on Arches heavyweight paper by Patrick Reagh. [Los Angeles]: Dawson's Book Shop, 1986. Signed by Everson & Reagh in the colophon, inscribed to Everson and signed in the colophon by Weiner, and signed by Wiener in pencil on the photograph mounts. A little rubbing to the slipcase; internally fine. (300/500).
346. Everson, William. In Medias Res: Canto One of an Autobiographical Epic: Dust Shall be the Serpent's Food. Foreword by the author. Woodcuts by Tom Killion. 15-3/4x10-1/4, half turquoise niger & cloth, gilt-dec. cover label, in specially made slipcase. Copy A of 226 copies printed on Barcham Green handmade paper by Adrian Wilson at the Press in Tuscany Alley. San Francisco: Adrian Wilson, 1984. Signed in the colophon by Everson, Killion & Wilson. A few slight smudges to cloth, else fine. (200/300).
347. Everson, William. In Medias Res: Canto One of an Autobiographical Epic: Dust Shall be Serpent's Food. Foreword by the author. Woodcuts by Tom Killion. 15-3/4x10-1/4, half turquoise niger & cloth, gilt-dec. cover label, slipcase. Copy C of 226 copies printed on Barcham Green handmade paper by Adrian Wilson at the Press in Tuscany Alley. San Francisco: Adrian Wilson, 1984. Signed in the colophon by Everson, Killion & Wilson. Fine, in original shipping carton. (200/300).
348. Everson, William. In the Fictive Wish. Woodcut illus. by Mary Fabilli. 11-3/4x8-1/2, purple cloth, spine label, plain dust wrapper. No. 108 of 200 copies designed & printed by Graham Mackintosh on handmade Fabriano paper. First Edition. [Berkeley]: Oyez, [1967]. Bartlett & Campo A27 - Signed by Everson in colophon. Fine in foxed dust wrapper. (100/150).
349. [Everson, William]. Brother Antoninus. The Last Crusade. 13x9-1/4, half vellum & cloth, spine lettered in gilt, acetate. No. 24 of 165 copies printed on Arches paper by Graham Mackintosh. First Edition. [Berkeley]: Oyez, [1969]. Bartlett & Campo A33 - Signed by Everson as Brother Antoninus in colophon. Fine. (100/150).
350. Everson, William. A Man Who Writes. 10x15, half morocco & spine, spine lettered in gilt, slipcase. Author's copy of 26 lettered copies (all published). Northridge: Shadows Press, 1980. Signed by Everson in the colophon. The book is comprised "mainly of pages from an unpublished edition in which the experimental features of the Lime Kiln Press printing of Granite & Cypress were largely worked out... The title-page, foreword and colophon were designed and printed by Grant Dahlstrom for Shadow Press." Some of the pages exhibit some soiling or ink smears, which occurred in the press. Slight rubbing to slipcase extremities, else fine. (300/500).
WITH CORRECTIONS BY EVERSON
351. Everson, William. The Masculine Dead: Poems, 1938-40. Gilt-lettered cloth. About 200 copies printed. First Edition. Prairie City, IL: James A. Decker, [1942]. Bartlett & Campo A3 - Everson's own copy, with numerous pencil corrections by him to the text. The errors in the book were legion, and Everson had an errata slip printed up, which he inserted at the end of the 100 copies which were given to him as a royalty. This copy has the errata slip. A little shelf wear; darkening to title-page & last leaf, marginal tear to pp.31-2, else very good. (800/1200).
352. Everson, William. Mexican Standoff. Frontis. woodcut by Robin Eschner; tissue guard. Orange cloth, paper spine label. No. 8 of 100 copies printed by the Lapis Press. First Edition. Emeryville: Lapis Press, 1989. Signed by Everson in the colophon & by Eschner under her woodcut. A few small stains to the front cover; near fine. (100/150).
353. Everson, William. On Printing. Ed. by Peter Koch. Frontis. port. Burgundy cloth, paper spine, slipcase. 1 of 400 copies printed by Peter Koch. First Edition. San Francisco: Book Club of California, 1992. Inscribed in pencil on front free endpaper, "To Bill Everson with the greatest admiration. Thanks, Peter Koch, 9/15/93." One of the scarcer of the recent Book Club publications; much of the issue was lost in the mails. A few slight stains to page fore-edges; near fine. (100/150).
354. Everson, William. On Printing. Ed. by Peter Koch. Frontis. port. 7x4-1/2, stitched into plain boards with paper cover label. 1 of 400 copies printed by Peter Koch. First Edition. San Francisco: Book Club of California, 1992. Typed card laid in, "#1 of 1 copy - especially bound for William Everson by Shelley Hoyt at the instigation of Peter Koch, John Carpenter and Bob Hawley." Fine. (150/250).
355. Everson, William. poems: mcmxlii. Dec. wrappers designed by Clayton James. 1 of 500 copies printed by the author. First Edition. [Waldport, OR: Untide Press, 1944-1945]. Inscribed "Many years later, Clayton James" on front flyleaf. This is the first complete book printed entirely by Everson. Wrappers a little sunned & soiled with some extremity wear, else very good. (100/150).
356. Everson, William. The Poet is Dead: A Memorial for Robinson Jeffers. 10-1/4x7-3/4, quarter crushed purple morocco & boards, slipcase. 1 of 5 boxed copies not for sale, from a run of 205 copies printed by the Auerhahn Press. First Edition. San Francisco: Auerhahn Press, 1964. Bartlett & Campo A20 - Signed by Everson as Brother Antoninus on leaf preceding colophon. Some sunning & light soiling to slipcase; vol. spine faded, some soiling to boards; else very good. (200/300).
357. Everson, William. The Poet is Dead: A Memorial for Robinson Jeffers. Linoleum-cuts by Tom Killion. 13x9-1/4, full crushed brown morocco with blindstamped cover & spine lettering, slipcase. No. 79 of 140 copies printed by Peter & Donna Thomas on handmade All Rag paper. First Edition. Santa Cruz: Good Book Press, 1987. Signed by Everson in the colophon. Some staining to slipcase; vol. fine. (150/250).
FIRST BOOK FROM EQUINOX PRESS
358. Everson, William. A Privacy of Speech. With block print decorations by Mary Fabilli. 10-1/4x7-3/4, half vellum & boards. 1 of 100 copies designed, handset, and printed on a handpress by William Everson, on Tovil English handmade paper, in Centaur & Arrighi types. Berkeley: Equinox Press, 1949. Bartlett & Campo A10 - The first book from Everson's Equinox Press. Fewer than eighty copies were ever bound. Rubbing to corners, spine darkened, else very good, internally fine. (800/1200).
359. Everson, William. Rattlesnake August. Illus. with 4 color plates by Hans Burkhardt. 15x11, contents loose in cloth portfolio, gilt-lettered leather cover label, specially made plexiglass slipcase. Author's copy of five special copies, from a run of 50 copies designed by Herb Yellin, edited by Norman Tanis & printed on Arches paper by Pall Bohne. First Edition. Northridge: Santa Susana Press, 1978. Signed by Everson & Burkhardt in the colophon, & each plate numbered (A.P. 10/10) & signed by Burkhardt. Slight foxing to title-page, else fine. (300/500).
360. Everson, William. Rattlesnake August. Illus. with 4 color plates by Hans Burkhardt. 15x11, contents loose in cloth portfolio, gilt-lettered leather cover label. No. 1 of 50 copies designed by Herb Yellin, edited by Norman Tanis & printed on Arches paper by Pall Bohne. First Edition. Northridge: Santa Susana Press, 1978. Signed by Everson & Burkhardt in the colophon, & each plate numbered (1/50) & signed by Burkhardt. Fine. (200/300).
361. Everson, William. Renegade Christmas. Frontis. woodcut by Daniel Stolpe. 11-3/4x7, 3/4 morocco & paste-paper covered boards, gilt-lettered spine. Presentation copy of a total run of 151 printed on Nideggen paper by Patrick Reagh. First Edition. Northridge: Lord John Press, 1984. Signed by Stolpe in pencil beneath the frontis.; with original pencil sketch by him on front flyleaf, of a coyote drawing a picture of a nude woman, with inscription "Coyote is with us all in pursuit of our vision! Daniel O. Stolpe, 4/24/85." Not numbered, with "Presentation copy" printed in the colophon. Rubbing to corners & board edges, else very good. (100/150).
362. Everson, William. Renegade Christmas. Frontis. woodcut by Daniel Stolpe. 11-3/4x7, 3/4 morocco & paste-paper covered boards, gilt-lettered spine. Presentation copy of a total run of 151 printed on Nideggen paper by Patrick Reagh. First Edition. Northridge: Lord John Press, 1984. Signed by Stolpe in pencil beneath the frontis. Light rubbing to corners; near fine. (80/120).
363. Everson, William. The Residual Years: Poems, 1940-1941. Mimeographed typescript. 8-1/4x7, wrappers. 1 of 330 copies. First Edition. [Waldport, OR]: Untide Press, [1944]. Bartlett & Campo A7 - Signed by Everson in the colophon. With holograph correction by Everson p.2, line 5, which occured in a number of the copies. Chipping to wrapper edges, stain to front wrapper, spine faded with irregular sunning to wrappers; else very good. (150/250).
364. Everson, William. River-Root: A Syzygy for the Bicentennial of These States. Illus. from erotic line drawings by Patrick Kennedy. 12-1/4x9-1/2, half calf & dec. boards, gilt-lettered spine. Copy A of 26 lettered copies, from a run of 250 copies designed by Thomas Whitridge & printed at the Watsonville Press, 200 of which were for sale.[Berkeley]: Oyez Press, 1976. Signed by Everson in the colophon. Prospectus laid in. Fine in sunned dust wrapper. (150/250).
365. Everson, William. River-Root: A Syzygy for the Bicentennial of These States. Illus. from erotic line drawings by Patrick Kennedy. 12-1/4x9-1/2, half calf & dec. boards, gilt-lettered spine. No. 147 of 250 copies designed by Thomas Whitridge & printed at the Watsonville Press, 200 of which were for sale. [Berkeley]: Oyez Press, 1976. Signed by Everson in the colophon. Inscribed to Everson & signed by several people involved in the publication of the book, including Bob and Dorothy Hawley, Jack Goddard, "Big Bill," and others; one of the inscriptions covers Everson's signature. Light soiling to the boards, spine a bit rubbed; else very good or better. (150/250).
EVERSON'S SECOND BOOK
366. Everson, William. San Joaquin. Foreword by Lawrence Clark Powell. Title page decoration by Hubert Buel. 8x6, cloth-backed dec. boards, paper spine label. 1 of 100 copies. First Edition. Los Angeles: Ward Ritchie Press, 1939. Bartlett & Campo A2 - Everson's second book. Eight-line signed inscription by Powell at the end of his foreword, "To Edwa and Bill Everson in remembrance of an equinoctial weekend of Rilke, MacIntyre, Pickett and Everson, and a graveyard pilgrimage to Mariposa on the trail of one long dead `Gone but not Forgotten'! And thanks for the best sort of hospitality, Larry Powell, Selma, September 25, 1939." Rubbing to spine & corners, else very good. (1000/1500).
367. Everson, William. Single Source: The Early Poems of William Everson [1934-1940]. Intro. by Robert Duncan. Half leather & boards, spine lettered in gilt, jacket. Copy A of 25 hand-bound copies, from a run of 1000 copies designed & printed by Graham Mackintosh. Berkeley: Oyez, [1966]. Bartlett & Campo A23 - Signed by Everson in the colophon. The jacket has some chips & short tears; vol. fine. (300/500).
BROADSIDE POEM ON VELLUM
368. Everson, William. Sixty Five. Broadside poem, printed on vellum. Illuminated with 2 initials in gold, scarlet & blue by Maureen Carey, plus leaf decorations on the left border. 17-3/4x13-3/4. Artist's Proof of 26 numbered copies designed by Richard Bigus and printed by him on vellum, this copy numbered 28. [Boston: Bromer, 1980]. Signed by Everson at the end of the poem. The colophon is inked on the verso. Fine, handsomely printed and with lovely illuminations. (500/800).
369. Everson, William. The Springing of the Blade. 13x9-3/4, green cloth. 1 of 180 copies printed on Rives paper. First Edition. [Reno: Black Rock Press, 1968]. Bartlett & Campo A30 - Signed by Everson on flyleaf. Light foxing to last several leaves, else near fine in lightly worn dust wrapper. (100/150).
370. Everson, William. Tendril in the Mesh. 12x8, half leather & patterned boards. Author's Copy A of 26 lettered copies for presentation, from a run of 250 copies designed & printed by Clifford Burke at Cranium Press. First Edition. N.p.: Cayucos Books, 1973. Bartlett & Campo A38 - Signed by Everson in colophon. Fine. (150/250).
371. Everson, William. Tendril in the Mesh. 12x8, half leather & patterned boards. No. 2 of 250 copies designed & printed by Clifford Burke at Cranium Press. First Edition. N.p.: Cayucos Books, 1973. Bartlett & Campo A38 - Signed by Everson in colophon. Near fine. (100/150).
372. Everson, William. There Will Be Harvest. 4 pp., uncut & unbound quarto signature. 10-1/4x8. 1 of 200 copies printed by Kenneth J. Carpenter on the Berkeley Albion. [Berkeley: 1960]. Bartlett & Campo A17 - Previously unpublished poem printed for presentation to the Roxburghe and Zamorano Clubs. Fine. (80/120).
EVERSON'S FIRST BOOK WITH INK ANNOTATIONS BY HIM
373. Everson, William. These are the Ravens. 11 pp. 8-3/4x5-3/4, printed self-wrappers. 1000 copies printed. First Edition. San Leandro: Greater West Publishing Co., 1935. Bartlett & Campo A1 - Everson's first book. This is Everson's own copy, annotated by him: on the front wrapper he has written "Cain Flat, Fresno, Selma, Sunnyvale," indicating the locales at which the 16 poems were written; each of the poems is numbered, indicating the order in which they were written; at end of each poem he has written the season, year, and place where they were written. A little wrapper soiling, else very good or better, a unique, important annotated copy. (1000/1500).
374. Everson, William. Triptych for the Living. Illus. with block prints by Mary Fabilli. 10-1/4x7-3/4, bound by Everson in limp goat vellum, ribbon ties. 1 of 200 copies printed on a handpress by William Everson, on Tovil English handmade paper, in hammer uncial type. Oakland: Seraphim Press, 1951. Bartlett & Campo A11 - According to a 1951 letter from William Everson, only 105 copies were ever bound; the remainding sheets were destroyed. A few spots to the vellum; near fine. (700/1000).
375. Everson, William. The Veritable Years 1949-1966. Afterword by Albert Gelpi. Pictorial boards backed with red corduroy, printed spine label. Author's copy of 250 copies. First Edition. Santa Barbara: Black Sparrow Press, 1978. Signed by Everson in colophon. Light foxing to rear board, near fine. (80/120).
PRINTED ON HAND-PRESS IN HARVARD YARD
376. [Everson, William]. The Vision of Felicity. Broadside poem. Color block print by Karyl Klopp. 15x10. No. 3 of 65 copies. [Cambridge]: 1966. Bartlett & Campo A25 - Signed by Everson as Brother Antoninus, also signed by Klopp. Scarce broadside printed on a hand-press in Harvard Yard by The Lowell House Printers, on the occasion of a reading by Brother Antoninus. Slight foxing, near fine. (600/900).
377. Everson, William. The Waldport Poems. Illus. by Clayton James. Dec. wrappers. 1 of 975 copies. First Edition. Waldport, OR: Untide Press, 1944. Signed by James on front flyleaf. This is the second publication of the Untide Press, operated by pacifists detained at Camp Angel, Waldport, during the Second World War. Minor sunning & extremity wear to wrappers, otherwise very good. (100/150).
378. Everson, William. War Elegies. Illus. by Kemper Nomland, Jr. Dec. wrappers. 1 of 975 copies. First Edition thus. Waldport, OR: Untide Press, 1944. Bartlett & Campo A6 - Light soiling to wrappers, spine rubbed & faded; else very good. (80/120).
379. Everson, William. War Elegies. Illus. by Kemper Nomland, Jr. Later full leather with title & Everson's name giltstamped on front cover. Copy A of 975 copies. First Edition thus. Waldport, OR: Untide Press, 1944. Bartlett & Campo A6 - Signed by Everson in the colophon. This is one of thirty copies specially bound at the Lord John Press during the 1970's from sheets recently found. Contains an additional elegy which did not appear in the original mimeographed version a year earlier. Fine. (150/250).
380. [Everson, William]. Brother Antoninus. Who is She that Looketh Forth as the Morning. Illus. with a color block print by Graham Mackintosh. 12-3/4x10, dark green boards stamped in gilt, acetate. "Author's A" of 250 copies designed & printed by Noel Young. First Edition. Santa Barbara: Capricorn Press, 1972. Bartlett & Campo A36 - Signed by Everson as Brother Antoninus in colophon. Acetate lacking large portion from front panel; vol. fine. (120/180).
381. Everson, William. The Year's Declension. Decorative initials & sign cuts by Kenneth John Carpenter. 11-1/2x8, boards. 1 of 100 copies printed by Kenneth John Carpenter on the Berkeley Albion, of which 50 were for sale. Berkeley: 1961. Bartlett & Campo A18 - Signed by Everson in the colophon. Upper corner of front cover slightly bumped; near fine. (400/700).
382. Everson, William, et al. Out of the West: Poems by William Everson, Gary Snyder, Philip Levine, Clayton Eshleman & Jerome Rothenberg. 10-1/2x7-1/2, half cloth & boards. Author's copy, from a run of 350 copies designed & printed by Vance Gerry. First Edition. Northridge, CA: Lord John Press, 1979. Signed by all 5 contributing authors on the pages preceding their respective poems. Signed by Everson again in the colophon, dated Winter Solstice, 1979. Mild sunning to spine & covers, else very good or better. (100/150).
383. Everson, William, et al. West to the Water. Six Poets: A Santa Cruz Portfolio. George Hitchcock, Mary Norbert Korte, Peber Veblen, Naomi Clark, John Skinner, William Everson. 6 broadside poems & title-sheet, loose in printed paper folder, as issued. 20-1/2x15-1/2. No. 3 of 200 copies printed on an 1830 Acorn Handpress in Goudy Oldstyle on Tovil English handmade paper. Santa Cruz: Lime Kiln Press, 1972. Each broadside signed by the poet. Everson's contribution is entitled Gale at Dawn. Paper folder lightly soiled; title sheet with tiny fox spot, else near fine. (200/300).
GRANITE & CYPRESS
384. (Everson, William, printer) Jeffers, Robinson. Granite & Cypress. 33 leaves. 12-1/2x16-1/4, full Naturgewebe (a coarse German cloth) lined with Uwa Japanese paper, spine open-laced with deerskin rawhide from California; with slipcase sculpted from Monterey Cypress wood with a window of granite from Jeffer's stoneyard. No. 3 of 100 copies printed at the Lime Kiln Press under the direction of William Everson. Santa Cruz: Univ. of Calif. at Santa Cruz, 1975. Signed by Everson in colophon. Slipcase cracking along top edge, a few small chips, several natural flaws to the wood, as is naturally the case, else fine in very good slipcase. (3000/5000).
EVERSON'S UNFINISHED MASTERPIECE
385. (Everson, William, printer) Novum Psalterium PII XII. An Unfinished Folio Edition by Brother Antoninus, O.P. Foreword by Robert O. Schad. A Note on the Psalter by Brother Antoninus. xxix [incl. front blank], [10], 1-8, 17-76, [2] pp. 15-1/2x10, full blue levant morocco with gilt cross on front cover, spine & front cover lettered in gilt, raised spine bands, gilt-ruled inner dentelles; bound by R.R. Donnelley & Sons at the Lakeside Press. No. 2 of 48 copies, the main body of the text printed on the handpress by William Everson [as Brother Antoninus], the preliminary pages and colophon printed by Saul & Lillian Marks at the Plantin Press. [Los Angeles: 1955]. Everson's acknowledged masterpiece as a printer, regarded by many as the finest book printed in America in the twentieth century, and the finest rendering of the Psalms ever printed. This is one of only 48 complete copies (there was later an issue of only 12 sheets, comprised of extra sheets Everson printed in case originals were damaged). The "complete" editions are of the greatest rarity, very seldom becoming available for sale. Bookseller Peter Howard, proprietor of Serendipity Books in Berkeley, California, in his Catalogue Eleven, describes the scenario under the heading of "A Noble Book": "Brother Antoninus projected a six year program to complete a hand-printed edition of the Psalter (`...it is the typographical opportunity of the age: for the first time in nearly two millenium, the Psalter has appeared in a new official text.') But because of costs, his own religious development, and affairs as his priory, Antoninus was forced to give up after printing 72 pp (less one signature). He originally contracted with a Los Angeles book dealer [Dawson's] to sell the work, and to this end he sent exactly 48 complete sets of sheets there. Thereafter Antoninus lost all control over the fate of his masterpiece; he was, in fact, in his own words - `shafted.' Mrs. Estelle Doheny, a wealthy and eccentric benefactress of the arts, of Catholic faith, purchased the whole edition (contrary to Antoninus' hopes), had it bound with the Marks' printing of the preliminaries, and proceeded to distribute it to institutions. Moreover, Antoninus' introductory essay was edited against his wishes. The few individual sheets he had sent to Los Angeles in case originals were damaged were assembled in folios of 12 sheets each and later sold. This bit of commerce Antoninus fails to remember having agreed to or profited by." This copy, number two, was given by Doheny to Antoninus, and his name is filled in on the preliminary presentation leaf. The Pope got copy number one, so this is undoubtedly the earliest number of the edition which will ever be available for public sale. Only the earlier copies were numbered at all, and exhibited the small leather booklabel of Estelle Doheny, which this one has. Some sunning to slipcase & vol. spine, a few scratches to covers; faint foxing to half-title, offset to free endpaper margins from morocco turn-ins, else near fine. (10,000/15,000).
386. Fabilli, Mary. Saints: Nine Linoleum Blocks. 9 broadsheets with block prints by Fabilli, plus printed title sheet. 20-1/4x13-1/4, unbound. 1 of 100 copies printed by Henry Evans at the Peregrine Press.San Francisco: Porpoise Bookshop, 1960. One of the prints, of Blessed James of Ulm, is signed in pencil by William Everson as Brother Antoninus. Some foxing, else very good. (150/250).
387. Fowles, John. Conditional. Broadside poem. With color calligraphed initial by M. Carey. 22x14-3/4. Printer's copy of 150 copies designed & printed by William Everson & Richard Bigus for the Lord John Press.Northridge: 1979. Signed at the end "John Fowles, whose eye approves it, Lyme Regis, 17 August, 1979." Fine. (100/150).