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Thursday, August 12, 1999
SECTION III: WILLIAM EVERSON COLLECTION FROM THE LIBRARY OF PETER BARTLETT
238. Everson, William. Archetype West: The Pacific Coast as a Literary Region. Uncorrected proof. [1] l., 107 pp. (versos blank). 11x8-1/2, plain black stiff wrappers with black plastic spiral spine. 1 of 10 copies typed & photoduplicated by the poet for presentation. First Edition.
[Commissioned by American Libraries, Chicago;. Written at Stinson Beach, 1970-1].
Bartlett & Campo A35 - Inscribed and signed by Everson on the title-page to Peter Bartlett, dated 1971 at Stinson Beach. The uncorrected proof and true first edition of a book that was later corrected and expanded in 1976. Dampstain to front cover & water damage to rear, staining final leaf & rippling last few, else very good. (150/250).
239. Everson, William. At the Edge. Broadside poem. 20x15-1/2, unframed. 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. One of the unframed copies for presentation. With prospectus. Fine. (1500/2500).
240. [Everson, William] Brother Antoninus. Prologue: At the Edge. Broadside poem. 17-1/2x8-1/2, unframed. * Together with At the Edge: a poem by Brother Antoninus, O.P. Broadside prospectus. 15x7-3/4. Together, 2 broadsides.
[N.p. & Oakland: n.p. & .
Albertus Magnus, n.d. & 1958].
Each signed by Everson as Brother Antoninus. Prospectus has light creasing; Prologue fine.
(100/150).
241. Everson, William. Black Hills. Woodcut by Thayer Hopkins. 12x9-1/2, half cloth & boards. Author's copy E 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 full in the colophon; inscribed and signed by Everson to Peter and Hortensia Bartlett "with much love and affection, Bill..." and dated 1973 in Swanton. Prospectus laid in, also inscribed and signed by Everson for Bartlett, "...friend and colleague." Publisher's announcement with Apologia signed by Everson laid in, along with announcement for Winter Solstice & Publication party at the Didymus Press. Faint discoloration to the boards, else fine. (150/250).
242. Everson, William. Blackbird Sundown. Broadside poem. Illus. from drawing by Ron Sauter. 20x13. Printed by Grant Dahlstrom. Out-of-series copy of a total pull of 175 numbered copies & 26 lettered copies.
Northridge: Lord John Press, 1978.
Signed by Everson under his printed name and by the artist ; inscribed to Peter and Hortensia [Bartlett], dated 1979 and additionally signed "Bill." Moderate foxing, else very good.
(100/150).
243. Everson, William. Blame it on the Jet Stream! Woodcut by Dennis Marks. 8x10, half morocco & cloth. No. 63 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; also inscribed and signed by him on the half-title, "For Hortensia & Peter Bartlett signed on the 4th of July 1981, Bill Everson." Prospectus laid in. Fine. (150/250).
244. Everson, William. The Blowing of the Seed. 10-1/2x6-1/2, blind-lettered calf-backed dec. boards. No. 163 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, & inscribed & signed by him to Peter Bartlett, dated 1971 in Monterey. Fine. (150/250).
245. [Everson, William] Brother Antoninus. A Canticle to the Waterbirds. Illus. from photographs by Allen Say. 9-1/2x7-1/2, gray cloth. No. 192 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. Prospectus laid in. Fine. (100/150).
246.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, glassine dust wrapper; bound by Maureen Carey. No. 7 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; inscribed and signed by Everson "To Peter and Hortensia, on their autumn to Kingfisher Flat and for all the year we have known and enjoyed each others friendship," and dated 1992. 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. Fine. (1200/1800).
247. [Everson, William] Brother Antoninus. The Crooked Lines of God: Poems 1949-1954. 8-1/4x8-1/2 (oblong), cloth-backed dec. paper over boards, gilt-lettered spine. 1 of 1000 copies printed by Everson at the Albertus Magnus Press in Oakland. Second Edition.
Detroit: Unversity of Detroit Press, 1960.
Bartlett & Campo A16a - Inscribed and signed "For Peter Howard, this `most interesting' second edition, containing many changes from the first, especially in this `most interesting' of copies intended, but unfortunately not inscribed to Peter Bartlett, compatriot and long suffering friend..." and dated 1972 in Swanton. The First Edition was published in 1959, being Number One in the Contemporary Poets Series at the University Press of Detroit. Light browning to boards' edges, else a fine copy.
(100/150).
248. Everson, William. Cutting the Firebreak. Broadside poem. Woodcuts & hand-drawn initial in green by Everson. 24x19. Out-of-series copy, from a run of 200 copies printed at the Kingfisher Press.
Swanton: Kingfisher Press, [n.d.].
Signed by Everson; additionally inscribed and signed by Everson "To Peter and Hortensia [Bartlett] this out-of-series copy given in [?] of our friendship..." and dated 1979 in Kingfisher Flat. Fine. (100/150).
249. Everson, William. Earth Poetry. Printed folio pamphlet, with a cover leaf, interior sheet folded for 4 pp. of text, double columned. Front cover illustrated from photograph of the poet by Allan Say. Printed by Graham Mackintosh.
Berkeley: Oyez, 1971.
Bartlett & Campo A34 - Inscribed and signed by Everson on the inner front cover, "To Peter Bartlett, this offering which combines the interests of ecology and poetry in Jeffers..." and dated 1971 at Stinson Beach. Also, with correction in Everson's hand to p.2, col.2, line 22, "myself" crossed over and "mystery" inserted. Marginal foxmark, dampstain on rear cover, else about near fine. (100/150).
250. 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. 1 of 500 copies.
Berkeley: Equinox Press, 1947.
Bartlett & Campo F7 - Inscribed and signed by Everson for Peter Bartlett at the Jeffers Festival in 1971. Fine. (100/150).
251. Everson, William. Brother Antoninus. A Fragment for the Birth of God. 1 leaf poem laid in to folded sheet. 5x7-3/4. 1 of about 200 copies from an edition of 1000 copies, of which about 800 were destroyed. First Edition.
[Oakland]: Albertus Magnus Press, 1958.
Inscribed and signed to Peter Bartlett, dated 1972 in Swanton. Fine, scarce. (100/150).
252. [Everson, William] Spanner, Virginia (pseudonym). God Writes Straight: The Anguish and Peace of Brother Antoninus. Mimeographed typescript. 36 typed pp. (versos blank).
[No place: c.1959].
Bartlett & Campo F9 - Inscribed and signed by Everson on the title-page, "Happy to sign this old deciet [sic] for Peter Bartlett..." and dated 1981 at Stinson Beach. A survey of the poet, written by himself under the pseudonym Virginia Spanner. Bibliography states "its purpose was to provide a convenient source of information for press releases and other promotional activities in connection with Everson's readings." Faint foxing, light creasing, very good. (80/120).
253. Everson, William. The Hope We Have: The Study on Environmental Quality and Water Development for the National Water Commission. Photoduplicated typescript, 43 single-stapled typed leaves. [Stinson Beach: 1971].
Bartlett & Campo E51 - Inscribed and signed by Everson to Peter Bartlett, dated 1971 in Stinson Beach. Corrections in Everson's hand copied to this photoduplicate. This article was later anthologized in Environmental Quality and Water Development, edited by Charles R. Goldman et alia, and published in San Francisco by W. H. Freeman in 1973. Bibliography states that "The Hope We Have" was first compiled for the 1971 2-volume National Water Commisssion's study in Arlington, Virginia. Short tear to front wrapper at head & loosening at staple, green rear wrapper suggesting front wrapper now lost; else very good. (100/150).
254. 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. No.75 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; inscribed and signed by Everson on the half-title, "for Peter & Hortensia* whose return to Kingfisher Flat is always an occasion for [rejoining?] Bill Everson, Jan. 7, 1987 *and I can't forget the girls!" Two prospectuses laid in. Fine, in original shipping carton. (200/300).
255. Everson, William. In the Fictive Wish. Woodcut illus. by Mary Fabilli. 11-3/4x8-1/2, purplish mulberry cloth, spine label. No. 185 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; inscribed and signed by him "For Peter Bartlett in appreciation for his energy in collecting the mutual-master Jeffers..." and dated 1971 in Monterey. Fine. (100/150).
256. [Everson, William] Brother Antoninus. The Last Crusade. 13x9-1/4, half vellum & cloth, spine lettered in gilt, acetate. No. 44 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; also inscribed and signed by him "Most happily inscribed for Peter Bartlett, friend of Jeffers & Bill Everson, June 5, 1970, Stinson, California." Fine.
(100/150).
257.Everson, William. The Masculine Dead: Poems, 1938-1940. Gilt-lettered cloth. About 200 copies printed. First Edition.
Prairie City, IL: James A. Decker, [1942].
Bartlett & Campo A3 - Inscribed and signed by Everson on the title-page to Peter Bartlett, dated 1972. 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 with the errata. Moderate wear to extremities; piece torn from front pastedown, previous owner's name inked to front free endpaper, darkening to title-page & last leaf (this partially clean from errata), else very good. .
(500/800).
258. Everson, William. The Masculine Dead. Mimeographed broadside announcement for the play version. Illus. from line drawing. 11x8-1/2, folded. [Waldport, OR.: Camp Angel, 1944].
Not in Bartlett & Campo - Signed by Everson. An announcement for the play version of The Masculine Dead, performed at Camp Angel on April 22, 1944. Everson was part of the cast; drawings and set were by Glen Evans and Larry Seimons. Light edgewear, but near fine.
(100/150).
259. Everson, William. The Masks of Drought. Buckram-backed printed boards, paper spine label. 1 of 500 hardcover copies of the Trade Edition. First Trade Edition.
Santa Barbara: Black Sparrow Press, 1980.
Inscribed and signed on the front flyleaf by Everson, "Happy to sign this edition of Masks of Drought on the 4th of July for Peter and Hortensia. Bill Everson, Kingfisher Flat, 1981." Fine. (100/150).
260. Everson, William. The Mate-Flight of Eagles: Two Poems on Love-Death of the Cross. Afterword by Allan Campo. Illus. by Richard Hotchkiss & from photographs by Jerry N. Uelsmann. 9-1/4x7-1/2, cloth, gilt-lettered spine, jacket. Author's copy "P" printed by Great Western Lithographic on Ivory Artlaid. First Edition.
[Newcastle, CA]: Blue Oak Press, 1977.
Signed by Everson in the colophon; inscribed and signed by him on the half-title "To Peter [Bartlett] and Hortensia, a year long welcome home from Mexico!" and dated 1977 in Swanton. A bit of rubbing to jacket, else near fine. (80/120).
261. Everson, William. [Missa Defunctorum] "The Preacher's Coagulated Rhetoric...". Broadside poem. Woodcut by William Everson. 17x23. No place: no date.
Bartlett & Campo A43 - Inscribed and signed by Everson "To Peter and Hortensia Bartlett, this out-of-series copy of the Red Convertible..." and dated 1979. Few faint fox-marks, else near fine. (100/150).
262. 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].
Signed by Everson on the half-title; inscribed and signed "For Peter Bartlett--All the other Untide Press items were team-made, communal projects. This one I did on my own..." and dated 1974. This is the first complete Everson book printed entirely by him. Browned around the edges, else near fine.
(100/150).
263. Everson, William. The Poet is Dead: A Memorial for Robinson Jeffers. 10-1/4x7-3/4, quarter crushed purple morocco & boards, dust wrapper. 1 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 the leaf preceeding the colophon; additionally inscribed and signed by Everson as Bill Everson for Peter Bartlett, dated 1970 at Stinson Beach with 2-line holograph fragment of the poem with title phrase. Jacket lightly soiled with small tear at foot of spine, inner spine has offset from crushed morocco; else a fine copy, superlative in that the usual fading to the spine is not present in this copy. (200/300).
264. Everson, William. A Privacy of Speech. With block print decorations by Mary Fabilli. 10-1/4x7-3/4, quarter 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 - Inscribed and signed by Everson on the page facing the colophon, "For Peter Bartlett in the affection of a long labor of love together in the work of Jeffers' interim struggle to achieve realization..." and dated 1974 in Swanton. The first book from Everson's Equinox Press; fewer than eighty copies were ever bound. Also included is a copy of the keepsake printed for the Roxburghe and Zamorano clubs with Everson letter to Hobart Lovett in facsimile, describing the binding process and the colophon. Rubbing to corners, light scuffs to vellum, else fine. (800/1200).
265. Everson, William. Rattlesnake August. Illus. with 4 color plates by Hans Burkhardt. 15x11, contents loose in cloth portfolio, gilt-lettered leather cover label. plexiglass slipcase. No.5 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 (5/50) & signed by Burkhardt. Slight foxing to title-page, else fine. (200/300).
266. Everson, William. Renegade Christmas. Frontis. woodcut by Daniel Stolpe. 11-3/4x7, 3/4 morocco & paste-paper covered boards, gilt-lettered spine. No. 81 of 151 copies printed on Nideggen paper by Patrick Reagh. First Edition.
Northridge: Lord John Press, 1984.
Signed by Everson on the half-title. Tiny rubs to the corners, else about fine. (80/120).
267. 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. Chipping to wrapper edges, spine discolored from glue as usual with irregular sunning to wrappers; else very good.
(150/250).
268. Everson, William. The Residual Years. Cloth-backed dec. paper over boards, gilt-lettered spine, jacket. 1 of 1000 copies printed by Peter Beilenson.
[New York]: New Directions, [1948].
Bartlett & Campo A9 - Inscribed and signed by Everson to Peter Bartlett on the title-page, dated 1971. Originally published as a mimeograph typescript by Untide Press in 1944; however, Everson had approached James Laughlin at New Directions about publishing the book as early as 1936 (with concerns about including holographic and photographic aspects of creating the poems in the collection). Jacket slightly browned with a short tear & chip at head and foot of spine, respectively; previous owner's inscription on the front free endpaper, else very good. (80/120).
269. [Everson, William] Brother Antoninus. Robinson Jeffers: Fragments of an Older Fury. Original printed wrappers. Advance Copy of the First Edition. [Berkeley: Oyez Press, 1967].
Inscribed and signed on the front free endpaper, "Inscribed for Peter Bartlett here at the Fire Station on Big Creek..." and signed "Bill Everson" in Swanton (on the Big Creek). Advance pre-publication copy, stating that publication date for the book is January 15th, 1968, and without the initials printed. Slight creasing towards wrappers & with pre-binding flaws as usual, near fine thus. (100/150).
270. [Everson, William] Brother Antoninus. Robinson Jeffers: Fragments of an Older Fury. Cloth, pictorial jacket. First Edition.
[Berkeley:] Oyez Press, 1968.
Inscribed and signed on the front free endpaper to Peter Bartlett, dated 15 February 1969. Oyez bookmark/advertisement laid in. Light rubbing to corners. (80/120).
271. [Everson, William] Brother Antoninus. The Rose of Solitude/Rosa de Soledad. Folded broadside poem, 2 fol. In English & Spanish; Spanish translation by Catherine de Rodrigues. 14-3/4x9-3/4. Printed by Graham Mackintosh.
[Berkeley]: Oyez Press, [1966].
Bartlett & Campo A24 - Inscribed and signed by Everson on the first page, "To Hortensia Bartlett, this early Oyez keepsake of 1966 given new at Christmas-time eight years later with the esteem and affection of him who was once Brother Antonius...." and dated 1974 in Swanton. Issued as a Christmas poem by Oyez. Bottom edges & fore-edge of second leaf untrimmed. Light browning to top edge of front page & browning to blank, else about near fine with nice inscription. (100/150).
272. [Everson, William] Brother Antoninus The Rose of Solitude. Broadside poem. 16-1/2x12. Proof copy, specially signed for Peter Bartlett by Andrew Hoyem at the Auerhahn Press in San Francisco.
[Berkeley]: Oyez Press, 1964 [but 1971].
Bartlett & Campo A21 - Inscribed and signed by William Everson as Brother Antoninus to Peter Bartlett at the Jeffers Festival, dated 1971. Also, inked under imprint: "A Proof Copy for Peter Bartlett from Andrew Hoyem July 1971." This was published by Oyez in 1964 as "Oyez Number Two" in 1964 in an edition of 350 copies. Some light creasing, near fine. (70/100).
273. 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 I of 26 lettered copies, from a run of 250 copies designed by Thomas Whitridge & printed at the Watsonville Press, of which 200 were for sale.
[Berkeley]: Oyez Press, 1976.
Signed by Everson in the colophon; also inscribed & signed by him on the half-title, "To Peter [Bartlett] & Hortensia, in the year of the Great Drought..." and dated 1977. Very tiny rubs to spine ends, about fine. (150/250).
274. 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 - With very nice inscription on front free endpaper: "for Peter Bartlett--this copy - Gordon Newell's old copy - joining two grand friend's across the years with gratitude and affection. Bill Everson. March 10, 1974. Swanton." Also, with 2-line holograph poem fragment on the half-title, signed "W.E." Everson's second book. Light scuffs & brownspotting, faint dampstaining to covers, corners rubbed; occasional light foxing, else very good, scarce & nice associative copy.
(600/900).
275. Everson, William. Sixty Five. Broadside poem, printed on paper. Illuminated with 2 initials in gold, scarlet & blue by Maureen Carey, plus gilt foliate decorations on the left border. 18x14. No.16 of 100 copies designed and printed on paper by R. Bigus and Maureen Carey.
[Boston: Bromer, 1980].
Signed by Everson at the end of the poem. The colophon is printed on the verso. Fine, handsomely printed and with lovely illuminations. (100/150).
276. 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; inscribed and signed by Everson on the front free endpaper "For Peter Bartlett, happy to sign this supurb pressbook of Ken Carpenter. May our own effort on `Tendril on the Mesh' prove as rewarding!" and dated 1972 in Swanton. Very slight rubbing to corners & spine ends, else about fine. (100/150).
277. Everson, William. Tendril in the Mesh. 12x8, half leather & patterned boards. Author's copy B 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; inscribed and signed by Everson on the half-title to the publisher, "To Peter [Bartlett] who rescued this work from limbo and gave it to the world with deepest gratitude. Bill Everson, The Feast of Augustine, 1973." Prospectus and blank receipt of order laid in. Fine. (250/350).
278. Everson, William. There Will Be Harvest. [2] pp. Illustrated with woodcuts by Kenneth J. Carpenter. 10-1/2x8, french fold, pages untrimmed. 1 of 200 copies printed by Kenneth J. Carpenter for the joint meeting of the Zamorano and Roxburghe Clubs. Berkeley: 1960.
Bartlett & Campo A17 - Inscribed and signed by Everson on the colophon for Peter Bartlett, dated 1974. According to the colophon "This poem There Will Be Harvest is part of an unpublished sequence by the same name written in the fall of 1947, some four years before the author became Brother Antoninus of the Dominican Order. At the time Everson was employed at the University of California Press, and the printing reference commemorates the moving of his giant Washington handpress from the Tyler ranch on the ridge west of Sebastapol to the Maybeck House on Ashby Avenue in Berkeley, where the Equinox Press was formally founded. This the only reference to printing in the poet-printer's verse." Fine. (80/120).
279. Everson, William. These Are the Ravens `By' Bill Everson. 12 pp. (incl. covers). Fleuron decorations. 8-3/4x5-3/4, original printed self-wrappers, saddle-stiched. 1 of 1000 copies. First Edition.
San Leandro: Greater West Publishing, 1935.
Bartlett & Campo A1 - Inscribed and signed on the front cover, "For Peter Bartlett, happy to sign this strange prefigurement of all that was to come with every good wish. Bill Everson. New Years Day, 1974." Everson's first book. A bit of browning to the wrappers with light creasing, else very good or better, an important rare item. (300/500).
280. Everson, William. Though Lying With a Woman. Original 1 page manuscript draft of the poem. Holograph manuscript in pencil on leaf measuring 10-1/2x6-1/2, with emendations and later inked note by Everson, signed. On verso is a fragment of a letter with later note by Everson on its identification. Together with typed transcription of the manuscript.
[Selma: 17 Sept. 1941].
In ink on the lower margin Everson inscribes, "A late draft of Though Lying With a Woman signed for Jim Pepper..." and signed Bill Everson, Kingfisher Flat, 1978. With "Libby's" in the upper right corner, and no title but the date, "Sept. 17, 1941" heading the poem. The verso letter also with later inscription by Everson, "This seems to me to be a draft of a letter to James Atkisson of Sanger made while making syrup for Libby McNeil & Libby in Selma. Signed for Jim Pepper..." also dated 1978 in Kingfisher Flat. Everson's friend Atkisson would later (in 1943) help him set type for a book of poems under the imprint of Broken Acres Press; the book was never published (See Bartlett & Campo F4). Pencil light (as written), else fine. (200/300).
281. [Everson, William] Brother Antoninus. Triptych [For the Living]. Complete book in sheets: [12] pp. of text (16 pp., incl. wraps, prelim. & col.). 5-1/4x8, cream colored printed wrappers being 4 folded sheets, unsewn. 1 of a planned edition of 200 copies printed on the hand-press on Tovil, of which only 2 were reportedly cut & sewn. First Edition Thus.
[Oakland]: Albertus Magnus Press, [1955].
Bartlett & Campo A13 - Inscribed and signed by Everson on the rear wrapper, "For Peter Howard. Brother Antoninus. And again for Peter Bartlett with every good wish..." and dated 1970 at Stinson Beach. Also with notation by Everson by the inscription, "This printing part of a destroyed edition. W.E." The bibliography calls this Triptych for the Living, which it does indeed say on the inner front wrapper, but the title on the front simply says Triptych. Bartlett & Campo states, "According to the colophon, this item was to be printed in an edition of 200 copies by William Everson on the Albertus Magnus Press in 1955. All of the sheets were printed, but only two copies were cut and sewn into covers. Everson retains one, another was given to a friend. Never released due to an error on p.10, line 5: "up" has been ommitted following "can get." With another marginal pencil notation on p/[7]. Fine, and highly scarce. (800/1200).
282. 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 - Inscribed and signed by Everson on the page facing the colophon, "for Peter Bartlett, in the comradeship of the long labor of searching at the spirit of Robinson Jeffers and bringing it to the world..." and dated 1974 in Swanton. According to a 1951 letter from William Everson, only 105 copies were ever bound; the remaining sheets were destroyed. A few spots to the vellum, else a near fine, fresh copy.
(1200/1500).
283. Everson, William. The Veritable Years 1949-1966. Afterword by Albert Gelpi. Pictorial boards backed with red corduroy, printed spine label. No. 6 of 250 copies. First Edition.
Santa Barbara: Black Sparrow Press, 1978.
Signed by Everson in colophon. Fine.
(80/120).
284. Everson, William. The Veritable Years1949-1966. Afterword by Albert Gelpi. Pictorial boards backed with brown corduroy, printed spine label. 1 of 500 hardcover copies of the Trade Edition. First Trade Edition.
Santa Barbara: Black Sparrow Press, 1978.
Presentation copy, inscribed and signed by Everson for Peter and Hortensia [Bartlett], dated 1981 in Kingfisher Flat. Fine. (80/120).
285. Everson, William. War Elegies. Illus. by Kemper Nomland, Jr. Dec. orange wrappers printed in black & blue. 1 of 975 copies. First Edition thus.
Waldport, OR: Untide Press, 1944.
Bartlett & Campo A6 - Inscribed and signed by Everson to Peter Bartlett, dated 1971 in Stinson Beach. Contains an additional elegy which did not appear in the original mimeographed version a year earlier. Darkening from glue at spine as usual, else near fine. (80/120).
286. [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 glazed cloth stamped in gilt. Author's copy "D" of a run 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; inscribed and signed by Everson "To Peter & Hortensia [Bartlett] with deepest affection from Bill & Sue Everson, the day of Jude's third birthday party..." and dated 1972 in Swanton. Announcement laid in. Fine. (150/250).
287. 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.
Berkeley: 1961.
Bartlett & Campo A18 - Signed by Everson in the colophon; presentation copy, inscribed & signed on the page preceeding the colophon "Inscribed for Peter Bartlett, this journal of my life from another era revived now in a new beginning with all its hope and beauty and vitality, affectionately..." and dated 1974 in Swanton. 2 prospectuses from the Porpoise Bookshop laid in, 1 of which is folded and signed by Everson. Some faint soiling to covers, very slight rubbing to corners & spine ends, else near fine. (400/700).
288. Everson, William. Triptych for the Living. pp. 9-16 only. Laid in woodblock print from title-page. 2 folded sheets, unsewn. [1951]. * Tragedy Has Obligations. 2 fol.: title-leaf & terminal leaf. Announcement laid in. 1973. (Signed). * Granite & Cypress. Proof sheet, folded. [n.d.]. * Granite & Cypress. 1 leaf, experimental pull printed in umber. (Inscribed & signed). [n.d.] * Granite & Cypress. Prospectus/announcement. French folded sheet (Signed; corrections in Everson's hand). 1975. * Granite & Cypress. Announcement. 1 leaf. (Inscribed & signed). * Granite & Cypress. 4pp. prospecuts plus party invitation, in original mailing envelope. 1975. * Granite & Cypress. 1 leaf. 1975. (Inscribed & signed). Together, 9 items.
[Various places: various dates].
Inscribed and signed to Peter Bartlett. Near fine. (200/300).
289. (Everson, William) Jeffers, Robinson. The Alpine Christ & Other Poems. Commentary & notes by William Everson. Full blue leatherette, jacket. First Trade Edition.
N.p.: Cayucos Book, 1973.
Presentation copy, inscribed and signed by Bill and Sue Everson in Bill's hand, "To Peter and Hortensia on the day of the issue of this fine edition May 26, 1974, at the gathering at their beautiful Bartlett Ranch. Aromas, California. With Affection and gratitude." Also included is a copy of the prospectus/order form/announcment (resembling a wraparound label) and an open house invite from Cayucos. Fine. (100/150).
290. (Everson, William) Jeffers, Robinson. The Alpine Christ & Other Poems. Commentary & notes by William Everson. 10x6-1/2, half crimson calf & cloth, gilt-lettered spine. No. 18 of 250 copies printed by the Capra Press. First Edition Thus. N.p.: Cayucos Book, 1973.
Signed by Everson in the colophon. Light frays to the cloth & a bit of faint scuffing, else near fine. (100/150).
291. (Everson, William) Jeffers, Robinson. Brides of the South Wind: Poems, 1917-1922. Commentary and notes by William Everson. 9-1/4x6, half leather & cloth. No. 1, the Publisher's copy, of 285 copies printed by Noel Young. First Edition Thus.
N.p.: Cayucos Books, 1974.
Signed by Everson in the colophon. Fine.
(100/150).
292. (Everson, William) Jeffers, Robinson. Californians. Intro. by William Everson. Quarter cloth & printed boards. No. 1 of 50 copies printed by Graham Mackintosh, specially bound & signed by Everson. N.p.: Cayucos Books, 1971.
Signed by Everson in the colophon. Copy No. 1, the publisher's (Peter Bartlett's) copy. Laid in is the prospectus from Cayucos in original mailing envelope. Vol. fine. (100/150).
293. (Everson, William) Jeffers, Robinson. Tragedy Has Obligations. Illus. with an original woodcut by Allison Clough & a tipped-in facsimile holograph of a manuscript of Tragedy Has Obligations. 15-3/4x10-1/4, half morocco & cloth, gilt-lettered spine. No. 17 of 200 copies printed on Tovil handmade paper in Weiss Roman and Italic type.
[Santa Cruz]: Lime Kiln Press, 1973.
Signed in the colophon by Everson & Clough; additionally signed in the colophon by Everson: "Signed again for Peter Bartlett on a midsummer day at Kingfisher Flat, July 18, 1981." Also included is a typed letter signed from Joan Ward of UC Santa Cruz enclosing a photographic print of Peter Bartlett and his children at the Everson reading (Everson is partially seen reading) of Tragedy, held by the Friends of the Library in 1973; inscribed and signed to Peter and his family, dated 1974. Prospectus also laid in. Fine. (150/250).
294. Everson, William, calligrapher. The Seven Ages of Man: Selected from the plays of William Shakespeare. Selected by Louis B. Wright of the Folger. Calligraphy by Wm. Everson. Illus. with cuts by George Steuart. 12-1/2x8-1/4, original wrappers. Printed by Howard Winn as a keepsake for the Great Books Discussion Group Conference.
[Asilomar: 1972].
A keepsake printed for the Great Books Discussion Group Conference in February 1972, and "as a labour of love" not meant to be sold. A bit of bumping to spine ends & corners, else near fine. (80/120).
295. Everson, William et al. The Illiterati. Nos. 3-4 (Summer 1944 & Summer 1945). Ed. by Kermit Sheets & Kemper Nomland." Include Everson's poems "Though Lying with Woman" & "Revolutionist," respectively. Illustrated; second poem illustrated with linoleum cut by Everson. 8-1/2x7, original printed wrappers.
[Waldport, OR.: CPS Camp, 1944-45].
Bartlett & Campo C41, C43 - First poem, "Though..." signed by Everson; second poem, "Revolutionist" inscribed and signed to Peter Bartlett by Everson underneath his linoleum cut. Light chipping about the edges, some browning, else very good plus. (80/120).
296. 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. No. 123 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. Fine.
(100/150).
297. Everson, William et al. West to the Water - Six Poets: A Santa Cruz Portfolio. Six broadside poems by William Everson, George Hitchcock, Mary Norbert Korte, Peter Veblen, Naomi Clark & John Skinner. Hand-colored calligraphic initials by Everson. 20-1/2x15-3/4, loose broadsides, printed paper folio. No. 81 of 200 copies printed in Goudy Oldstyle on Tovil paper at the Library of U.C. Santa Cruz.
Santa Cruz: Lime Kiln Press, 1972.
Each broadside is signed by the poet. Additionally inscribed and signed by Everson in the colophon under a signed pseudonym he gave himself as calligrapher, Peter Dorn: "For Peter Bartlett, patient and thoughtful friend, this copy of the work of Philip Dorn who is none other than Bill Everson." The first project of the Lime Kiln Press. Prospectus laid-in. Fine. (200/300).
298. Everson, William, printer. Hitchcock, George. "Fields of Memory/Fields of Fire" from West to the Water portfolio. 2 broadside poems, proof copies (1 being on the reverse of a Navajo War Song, trans. by John Skinner). Decorative hand-drawn initials in red & blue. 20-1/4x15-1/2.
[No place: no date].
One broadside is inked "Trial Sheet/B.E." and the other is inked "Trial Sheet/W.E." Poems dated 1969. Apparently, the same typesetting on both. Printer's ink smudges towards tails, else near fine. (70/100).
299. 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 Jeffers's stoneyard; original styrofoam box & mailing cardboard. No. 29 of 100 copies printed at the Lime Kiln Press under the direction of William Everson.
Santa Cruz: Univ. of Calif. at Santa Cruz, 1975.
Bartlett & Campo - Signed by Everson in colophon. Also included is a printing of the prospectus/announcement. Natural flaws to wood at base of slipcase & on slipcase, else fine. (5000/8000).
300. Everson, William, printer. Novum Psalterium PII XII. 14 leaves only (7 folded sheets). Present are imprimatur, title, dedication, chapter heading, & text pp.1-8, 53-64. 15-1/2x10-1/4, unbound sheets. [Los Angeles: 1955].
See Bartlett & Campo B1 - Inscribed and signed by Everson on the imprimatur, "This sheaf of pages from Novum Psalterium Pii XII is happily inscribed for Peter Bartlett by me who printed it. Brother Antoninus..." and dated 1981 at Kingfisher Flat. The Psalter in which these leaves were sewn was 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. Originally in an edition 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."Given that there may be no more than a handful of Psalters held privately, this is an opportunity to acquire a portion of the book for a fraction of the price a complete copy would command. Fine. (800/1200).
301. Everson, William, printer. Jeffers, Robinson. Broadside poem: "Shine, Perishing Republic" from Stonecut. 13x17. 1 of 100 copies specially pulled for the Gleeson Library Associates.
Santa Cruz: Lime Kiln Press, 1974.
Poem dated 1924. Fine. (100/150).
302. Everson, William, printer & illustrator. Whitman, Walt. American Bard...Being the Preface to the First Edition of Leaves of Grass, Now Restored to its Native Verse Rhythms and Presented as a Living Poem. Illus. with 2 woodcuts by William Everson. 16-1/2x11-3/4, 3/4 gilt-ruled slate-gray pigskin and raw India silk over boards; bound by the Schuberth Bindery. No.99 of 115 copies of which 100 were for sale, printed under the direction of William Everson.
[Santa Cruz]: Lime Kiln Press, 1981.
Signed by Everson in the colophon; additionally signed by Everson "Signed once again for Peter Bartlett in the firmness of friendship in many adventures shared..." and dated 1981 at Kingfisher Flat. This was Everson's final offering as Master Printer of the Lime Kiln Press, and the only book of his long career which he both printed and illustrated. Handset in Goudy Newstyle type, with Castellar initials in red and blue, printed on paper specially made for this edition by Imago Handpaper Mill. The book was an immediate success, and sold out at the publication party at the University of California, Santa Cruz. Prospectus, signed by Everson, laid in. Additionally laid in are an unsigned prospectus, and invitation card to the Lime Kiln Press reception celebrating the book's publication at UC Berkeley, in original envelope. Fine, in original shipping box.
(800/1200).
303. (Everson, William) Brother Antoninus. Brother Antoninus (A Sampling of Reviews & Press Notices), 2-leaf broadside, from letterpress, stapled at center of head. Illus. with woodcut. 17-1/2x8-1/2.
[N.p.: c.1963].
Features high praise from the likes of The Nation, Berkeley's KPFA, Spirit, Evergreen Review, SF Bay Window and others. Fold line, else near fine. (80/120).
304. (Everson, William) Brother Antoninus. The Hazards of Holiness. Cloth, jacket. [1962]. * Single Source: The Early Poems of William Everson [1934-1940]. Intro. by Duncan. Cloth-backed boards, jacket. [1966]. * Brother Antoninus. The Rose of Solitude: A Love Poem - Sequence. Cloth, jacket. 1st Ed. 1967. * Stafford, William E. The Achievement of Brother Antoninus: A Comprehensive Selection of His Poems with a Critical Introduction. Pict. wraps. 1967. * Man-Fate: The Swan Song of Brother Antoninus. 2 copies. Cloth, jackets. [1974]. * Earth Poetry: Selected Essays & Interviews of William Everson: 1950-1977. Ed. by Lee Bartlett. Pict. wraps. 1980. Together, 6 titles in 7 vols.
Various places: various dates.
Each inscribed and signed by Everson to Peter Bartlett (some to Hortensia as well). Near fine.
(150/250).
305. (Everson, William) Campo, Allan et al. William Everson: Poet from the San Joaquin. Plates from photos by Jamieson & Hotchkiss. Cloth, gilt. 1st Ed. [1978]. (Inscribed & signed). * Campo, Allan et al. William Everson: Poet from the San Joaquin. Plates from photos by Jamieson & Hotchkiss. Wraps. 1st Ed. [1978]. (Inscribed & signed).* Everson, William. Birth of a Poet. Ed. by Lee Bartlett. Wraps. 1982. (Inscribed & signed). * Everson, William. Naked Heart: Talking on Poetry, Mysticism, & the Erotic. Wraps. 1 of 2000 copies. 1st Ptg. [1992]. Together, 3 titles in 4 vols.
Various places: various dates.
All but Naked Heart are inscribed and signed by Everson to Peter Bartlett (all but one also to Hortensia). Fine condition. (100/150).
306. (Everson, William) Kheridan, David. Six Poets of the San Francisco Renaissance: Portraits and Checklists. Intro. by William Saroyan. Illus. from photos. Cloth, gilt, jacket. 1st Ed. [1967]. (Short tears to dj; gilt dulled; some notations in pencil). * Kheridan, David. Six San Francisco Poets. Plates from photos. Wraps. 2nd Ed. [1969]. * Charters, Samuel. Some Poems/Poets: Studies in American Underground Poetry Since 1945. Photos by Ann Charters. Wraps. 1st Ed. 1971. (Inscribed & signed). * John Keats's Porridge: Favorite Recipes of American Poets. Ed. by Victoria McCabe. Intro. by William Cole. Includes Everson's "Hanging Tenderloin" recipe. Wraps. [1975]. (Inscribed & signed). * Everson, William. Archetype West: The Pacific Coast as a Literary Region. Cloth, gilt, jacket. 1976. (Inscribed & signed). * Another copy of the preceeding. Wraps. 1976. (Inscribed & signed). Together, 6 vols.
Various places: various dates.
Inscribed copies are either to Peter or Hortensia Bartlett or to the both of them. From near fine to fine condition. (120/180).
307. (Everson, William) Sloan, Jacob. Generation of a Journey. Illus. by B. Straker James. Original dec. wrappers. 1 of 950 copies.
Waldport, OR.: Untide Press, [1945].
Inscribed and signed on the half title by Everson, "To Peter Bartlett, happy to present my close friend of these years with the Untide Press item. This is the first piece of printing in which I was completely responsible for the presswork..." and dated 1974. Light discoloration to the wrappers, very slight wear to edges, else very good or better. (100/150).
308. (Everson, William) Teiser, Ruth, interviewer. Brother Antoninus: Poet, Printer, and Religious. 97, [1] ll. Photoduplicated transcript of the taped interview. Mounted photographic portrait print of Brother Antoninus. 11x8-1/2, gilt-lettered blue cloth.
Berkeley: Bancroft Library, Regional.
Oral History Project, 1966..
Inscribed and signed "For Peter Bartlett on his birthday, April 5, 1974...". Part of UC Berkeley's Regional History project, transcribed for research purposes. Teiser has also studied printer Lawton Kennedy, and co-wrote Printing as a Performing Art with Catherine Harroun in 1970. Light rubbing to extremities, else fine. (70/100).
309. (Everson, William) Group of periodicals, pamphlets, etc. with appearances/contributions by or articles/announcements relating to Everson: "The Release" in Circle, No.9. 1946. (Signed). * "Latter-Day Handpress" in the Book Club of California Quarterly Newsletter, Vol.XV, No.2. 1950. (Signed at contribution) * Brother Antoninus. "The Encounter" in Fresco, Vol. IX, No.2. Winter, 1958. (Corrections in Everson's hand). * Brother Antoninus. "A Tribute to Robinson Jeffers" in The Critic, Vol.XX, No.6. June-July 1962. * Brother Antoninus. "The Poet is Dead" in Poetry Festival. 1962. (Inscribed & signed). * "The Poet is Dead" in Ramparts, Vol.2, No.3. 1963. (Signed). * "Death Has Pounced (Brother Antoninus on President Kennedy's Death)" in Domincana/50, Vol.50, No.1. Spring 1965. * Brother Antoninus. "The Presence of the Poet" in The Windmill. January, 1967. * Brother Antoninus: San Francisco Renaissance Poet.4 pp. write-up. [c.1967]. * "The Man Who Was Brother Antoninus" in The Pacific Sun, Yr.8, No.41. October, 1970. * Hoyem, Andrew. "The Poet as Printer" in The Book Club of California Quarterly Newsletter, Vol.XXXVII, No.1. Winter, 1971. * If I Speak Truth: an Interview-ing with Brother Antoninus & Jerry Burns. 1968. * Brother Antoninus. The City Does Not Die. 1969. (Inscribed & signed). * Everson. "Earth Poetry" in Sierra Club Bulletin, Vol.55, No.7. (Inscribed & signed). * William Everson Double Issue of The Road Apple Review. Summer/Fall 1971. (Inscribed & signed). * "Robinson Jeffers & The Mystic Call" in The Stain. [1970s]. * Tendril in the Mesh in the Rounce & Coffin Club's Western Books: 1974. 1974. * "Dionysius & The Beat: Four Letters on the Archetype" in Sparrow 63. December 1977. (Inscribed & signed). * Henderson, Esther Lauder. As Joy is Cut From the Eye: The Mariposa Poems. Foreword by Everson. [1977]. (Inscribed & signed). * Ruddy, William. Braille for a Storm of Loss. Foreword by Everson. 1978. (Inscribed & signed). * Ad for Masks of Drought in New Titles, Black Sparrow Press. Fall/Winter 1979. (Inscribed & signed). Together, 21 items. Original wrappers.
[Various places: various dates].
Inscribed and signed copies are for Peter Bartlett or Peter and Hortensia Bartlett. Very good to near fine. (200/300).
310. (Everson, William) Lot of ephemera, prospectuses, announcements, etc. relating to Everson and his books, including those for Californians, Tendril in the Mesh, West to the Water, The Alpine Christ, Tragedy Has Obligations, and Black Hills. Original printed wrappers, broadsides, or leaves.
[Various places: various dates].
Most near fine. (50/80).
311. Everson, William. The Ruin. Original manuscript draft of "The Ruin" from the Masculine Dead. Holograph manuscript in ink on lined 7-1/2x5 notebook paper, with emendations. Together with 2 holograph notes in Everson's hand, signed, about the poem, dated 1980.
[N.p. & Kingfisher Flat: c.1942 & 1980].
Nice early draft of "The Ruin" in Everson's hand showing the process of drafting the poem, earlier than 1942, at which the published poem appeared in Everson's third book, The Masculine Dead. The accompanying two notes (with slight variations) tell Everson's story with this poem: "This Draft of my poem...now in possession of my friend John Knight, is the first instance I have seen of a manuscript of mine outside the collections in the Clark and Bancroft Libraries. I take it to be the first draft, or certainly a very early draft, of this poem. I am unable to explain its presence outside the Clark collection, where the rest of the manuscript survives..." and signed William Everson, dated 1980 in Kingfisher Flat. Rust stains from paper clips, else fine. (300/500).
312. Everson, William. Typed letter signed, from Everson to Malcolm Cowley, on University of California at Santa Cruz letterhead, dated 5 September 1980. 1 p., 11x8-1/2.
Santa Cruz: 5 September, 1980.
Signed by Everson in the closing. Nice letter from Everson, signed as "Poet in Residence" of UCSC, regarding American Bard, to critic Malcolm Cowley: "I enclose an offprint of a Whitman project we are publishing via our Lime Kiln Press here....I also enclose a letter from Karl Shapiro suggesting I send it to you...In sending the piece to Karl I acknowledged the instinctive repugnance which anyone who writes seriously feels toward the attempt to elevate prose into poetry, recalling that fervid endeavor from the forties to redo the more lyric passages of Thomas Wolfe...If this project has merit in your eyes and you would care to write a few words I would be grateful. It was your characterization of the original Leaves as a buried masterpiece of American verse that emboldened me to speak of an unacknowledged one in my Note." Light marginal browning & remnants of staple, else fine. (80/120).
313. [Everson, William] Brother Antoninus. Autograph letter, signed to Fred Rizzo, dated 29 April, 1964 on La Salle College letterhead. 10-1/2x7-1/4, 1 leaf written on recto only, folded, with original envelope.
La Salle College, Philadelphia: 1964.
An A.L.s. regarding theses written both by Fred Rizzo and Allan Campo: "Campo finished his thesis, it is quite good. Yours is strongest on relating to contemporary ideas such as Jung, etc. His is strongest on the interior development, what he calls the "inexorable" quality of the work." Everson also writes about his speaking engagements of late, plus his new poetry, of which he says "I hope to submit to the censors when I get back." Signed only "Antoninus" and with embossed seal (Everson's?). A bit of offset from the envelope, else fine. (80/120).
314. Everson, William. 2-page holograph essay by Everson on the typography of Granite & Cypress, signed. In ink on 2 plain leaves, 11x8-1/2, dated 1979. Together with typed transcript of the essay.
Kingfisher Flat: 8 December 1979.
Nice essay by Everson on the history of one of his masterpieces, Granite & Cypress, particularly in its typography and the poet's enthusiasm over the long-line approach: "The basic typographical innovation featured in Granite & Cypress was worked at a decade and a half earlier in a trial printing of my poems called A Man Who Writes. The restoration of the long line by the Beat poets revolting against New Critical terseness raised the problem of the ungainly verso page, and I came up with the solution later adapted in Granite & Cypress...Jeffers himself, while indifferent to fine printing, was concerned about the handling of his lines. He objected to the excessive turning of his lines in the Grabhorn printing of his Solstice [1937]...But he voiced no objection to...Hungerfield [1952]. It was at this point that I bethought myself of my typographical experiment of 1958, and moved to adopt it as format-principle for Granite & Cypress, where the idea made more sense than with my own poems due to the stone-rubbing effect made by reverse image of the preceding poem offset on the verso. Here everything came together...and the book emerged as my most completely realized testamonial to the art of handpress printing." Fine. (150/250).
315. Everson, William. Group of 3 letters by and 2 photographic prints of William Everson: Typed letter signed as Brother Antoninus to editor William Cole, dated 20 Sept. 1964 on Dominican Priory (Kentfield) stationery, regarding poetry anthologized in Erotic Poetry. Together with 2 poems typed poems by Carol Ely Harper for the Illiterati, unsigned. * Autograph letter signed as Brother Antoninus to Albert [Sperisen], dated 20 July 1967, in ink on Dominican Priory (Kentfield) stationery, thanking Sperisen for a tribute to Everson in a recent interview. Together with typed transcript. * Autograph letter signed, dated 13 Feb. 1977, from Everson to Ferol Egan at Holmes Book Company regarding Egan's source in a chapter on Jim Beckwourth in his book, Fremont: Explorer of a Restless Nation. Together with a typed transcript. * Photographic print from shot taken in 1946 of William Everson, Hal Lubin, Mary Tyler (with unidentified child in her lap) and Hamilton Tyler. With note dating the shot as 1946, "Treesbank - Sebastopol." Inscribed & signed on the reverse to Mel Smith from Everson, "this glimpse of a bygone day. * Photographic print of Everson in later years, long white hair & beard, with pipe. Signed by Everson in full on the print. Together, 5 items.
[Various places: various dates].
From near fine to fine. (250/350).
|
The August Miscellany
Fine Press Books Henry Miller Ms. Material Western Americana William Everson Collection From the Library of Peter Bartlett |
|
Section I...Books in All Fields, Press Books, Henry Miller...Lots 1-170
Lots 1. ALLEN through 92. MEEHAN Lots 93. MILLAY through 170. ZOLOTOW
Section II...Western Americana, including Fine Press Printings...Lots 171-237
Section III...William Everson from the Library of Peter Bartlett, Lots 238-315 |