Douglas Lawder (14 results)

Condition: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

paperback. Condition: Good.

Paperback. Condition: Very Good. Paperback. SIGNED BY AUTHOR (name only.no inscription). Pages are clean and unmarked. Covers show very minor shelving wear.; 100% Satisfaction Guaranteed! Ships same or next business day. Signed by Author.

Hardcover. Condition: Near Fine. First Edition. 79 pages. First edition. Dust jacket in mylar protector.; 5 1/2 x 8" Near Fine in Near Fine dust jacket.

First edition Fine decorative boards in near fine dustjacket. Very attractive edition. Praise from James Wright and Richard Eberhardt. The poet's first book.

Paperback. Condition: Very Good. No Dustjacket. First Edition. ISBN . B0006CP61A Trade Paperback. First edition as stated on copyright page. Personalized inscription by author to previous owner on front endpaper. Slight wear to corners and edges; minor spine fade; otherwise tight, sound and unmarked in Very Good condition. Inscribed by Authors.…

Softcover. Condition: Near Fine. First Edition; First Printing. Near Fine paperback stated: First Edition. 79 pages, unmarked. Probably unread. [dp50 0115]. ; L Poe; 8vo 8" - 9" tall; 79 pages.

Paperback. Condition: Very Good. First Edition. In orange wraps, 8vo, 59pp. (Signed and inscribed by Albert Drake on blank preliminary page: "For Eleanor - Good readers are hard to find - w/ best wishes AL - 9/10/73" (fading to wraps at spine). Size: 8vo - over 7¾" - 9¾". Signed By Contributing Author. Book.…

Condition: Good. 59 pp. Very good in stapled wraps.

Softcover. Condition: Fine. No Jacket. First Edition. The issue in wrappers. Inscribed by the author in 1979. Fine. James Wright, Richard Eberhart blurbs. Unless otherwise noted, our first editions are first printings.

Softcover. Condition: Near Fine. First Edition. First edition. Octavo. 64pp. Stapled wrappers. Wrappers lightly age-toned, near fine. "On James Merrill's *Nights and Days* (article)" by Andrew V. Ettin. Stories and poetry with contributions by John Hermann, William Zander, John A. Lynch, David Cornel DeJong, Robin Magowan, Dorothy Geroch, Andrew V. Ettin, David Farrelly, Don Geiger, Douglas Lawder, Janis Adams, Bruce Berlind, Ralph J. Salisbury, and Hollis Summers. Inscribed by contributor Andrew Ettin to fellow poet Daniel Hoffman on the front wrapper. Additionally, laid in is a lengthy typed and Signed letter from Ettin to Hoffman. Signed.…

Softcover. Condition: Very good. First edition. A nice association copy, inscribed on the first blank: "For Philip Whalen, Poet, Sincerely, Lawson Fusao Inada, 7 Apr 71." His first book, uncommon and more so signed. Inada is a Japanese American from Fresno who as a boy was sent to the internment camps, which significantly influences his poetry (along with jazz). He studied with Philip Levine and went on to win an American Book Award, an Oregon Book Award, and a Guggenheim among other honors. He served as the Oregon Poet Laureate in 2006. The three poets in this collection all passed through the University of Oregon, as Ralph Salisbury describes in the introduction; Inada has gone on to the most impressive career among them. Whalen is himself a Northwest poet, having grown up in the Dalles and attended Reed College. A strong association also considering the influence of Japanese culture and Zen on Whalen. A wide duodecimo, orange stapled wraps with printed black lettering and illustrations. Inanda has X'd out a stanza on page 34. Very good or better with light rubbing and a hint of sunning to spine. A bit of creasing to upper corner of first page. Signed.…

Softcover. Condition: Fine. Uncorrected proof. Octavo. Printer salmon-colored wrappers. Letter from the publisher to poet Donald Hall laid into the book. Poetry.

3 vol. : [unpaginated] ; [unpaginated] ; [unpaginated]; 3 vol. : 13.5 x 16.9 cm. (each); glue bound; black-and-white; edition size 700; unsigned and unnumbered; offset-printed; Three volume publication documenting the exhibition Sonsbeek ''71 held in and around Park Sonsbeek. Book produced as graduation projects by Paul Bonger and Rick Vermeulen at art school in Rotterdam, now know as Willem de Kooning Academy. Introduction by Bonger and Vermeulen. Artists include Vito Acconci, Bas Jan Ader, Carl Andre, Ben d''Armagnac, Richard Artschwager, Bruce Baillie, Douwe Jan Bakker, Joseph Beuys, Ronald Bladen, Marinus Boezem, Stanley Brouwn, Daniel Buren, Javacheff Christo, Tony Conrad, Hanne Darboven, Walter de Maria, Ad Dekkers, Ger Dekkers, Jan Dibbets, Ger van Elk, Pieter Engels, Groep Enschede, E.R.G., Hans Eykelboom, Barry Flanagan, Fluxus, Hollis Frampton, Ernie Gehr, Dan Graham, Robert Grosvenor, Michael Heizer, Douglas Huebler, Ken Jacobs, joepat, Donald Judd, On Kawara, W (Imi) Knoebel, Hans Koetsier, Axel van der Kraan, Peter Kubelka, George Landow, Standish Dyer Lawder, Sol LeWitt, Richard Long, Mass Moving, Yutaka Matsuzawa, Mario Merz, Jack Moore, Robert Morris, Bruce Nauman, Robert Nelson, Groep Noord-Brabant, Claes Oldenburg, Dennis Oppenheim, Nam June Paik, Panamarenko, Egbert Philips, Emilio Prini, Klaus Rinke, Peter Roehr, Ulrich Rückriem, Edward Ruscha, Fred Sandback, Jean-Michel Sanejouand, Wim T. Schippers, Richard Serra, Paul Sharits, Eric Siegel, Tony Smith, Robert Smithson, Kenneth Snelson, Michael Snow, Koert Stuyf, Ellen Edinoff, Shinkichi Tajiri, Sajiki Tenjo, Yokoyama, Carel Visser, André Volten, Hans de Vries, Lex Wechgelaar, Lawrence Weiner, Joyce Wieland, Annemiek Backer, Marijke Boon, Cor Blok, Pieter Brattinga, K. Schippers, B. van Garrel, Ton Haak, Les Levine, Titia Tybout, Odufré Joes and Wim Crouwel. Texts in English and Dutch. "The tripartite catalogue Sonskeek [sp] ''72 arose from the notes and photos we made of a project that we executed during the period November ''71 - June ''72. What was the starting point of the project? Of all the Sonsbeek exhibitions in ''49- ''52- ''55- ''59 and ''66 one could or one can find back all the sculptures; although not in the original place, in the park, they are to be seen somewhere. Yet the transiency of the projects and objects as exposed during the manifestation ''Sonsbeek buiten de perken'' for us was a reason to trace back what happened to these projects and objects. Doing this we considered ourselves as visitors who came after the closing of the manifestation. We visited the original place of the object/project, made photographs and described it and did so with the present place as well. E.g. from the gigantic wedge by Ronald Bladen at the place in park Sonsbeek hardly anything could be found, except a slight difference in colour of the pavement. The wedge itself we discovered in pieces against the wall of a shed of a firm in Arnhem. Most of the projects and objects we also found back in totally different state: at rubbish dumps, on heaps of scrap- iron, dismantled and packed in boxes, in peoples homes on the cupboard. In some cases nothing was to be found back. We sent a stencil to the 35 filmmakers asking them to send a photo and a description of the present place of their films. Description and photo were their part in our project, the original place always being the place at the lawn where in a tent the films have been shown, during the manifestation. From some filmers we didn?t get an answer within a certain period, then the second card is dropped out. Some artists played a part by the publication they got in one of both Sonsbeek cataloques. When their project had a relation with a location, we visited it and made a photo, if not, we reproduced the concerning pages out of the cataloques. The definite form of the three booklets as they now appear, is the result of collecting and combining the 360 cards on one side a photo, on the other side the descri.…