A fine press production of Pound’s Cathay, furnished with seven full-page illustrations by Francesco Clemente, printed on handmade Japanese Ogawashi paper bound in French double-fold. Number 193 of 300 copies, signed by Clemente. With the usual Limited Editions Club ephemera laid-in. A beautiful production, surprisingly light and delicate.

One of the great Poundian publications for the bibliophile, The Italian Cantos printed on the handpress of the Officina Bodoni in Verona. No. 74 of 100 copies for trade (an additional 30 reserved for private distribution); and one of 30 distributed by New Directions.
  First appearing in the Marina Repubblicana, a Salò journal, in 1945, Cantos 72 & 73 were supressed by Pound’s own estate following Pound’s arrest; in Canto LXXIII, Guido Cavalcanti praises the actions of a peasant girl who leads a troop of Allied soldiers into a minefield. In 1973 James Laughlin, who had been entrusted with the safekeeping of carbon copies of these cantos by Mary de Rachewiltz, “until such time as public hostility… might abate,” was forced to publish an edition of 25 copies to secure the copyright of the poems when an Italian researcher discovered the copies which Pound had sent to Mussolini. It was not until 1987 in England, and 1995 in America that 72 & 73 were included in editions of The Cantos. This publication, restricted in number and by price, justified by the method and reputation of the Officina Bodoni, is the first post-war public offering of these cantos. With a foreword by Mary de Rachewiltz.
  A fine copy; dust-jacket with a couple of light scratches. Not in Gallup.

A selection of 26 Cantos, often in pairs, translated into Russian by Boris Avdeyev with English vis-a-vis. The labour of some 30 years’ work, with these translations having appeared individually as far back as 2000, published here in a first edition under the translator’s own press, Ibi Oculus. A fine production, one of 150 copies, with 11 illustrations after The Cantos by Anna Trussler. 2 copies available, both new.

One of 150 copies. The blurb aptly makes thanks to, EP of course, but the Marvel Comic Group: these Space Cantos sound like a monologue of Batman, whose Gotham is Pound’s Dioce. I read in these poems a poet’s evaluation of writing-as-technology against transistor-based technologies, the comparitive speed and longevity of each, their maintenance or fleeting. Psychotic, & schizophrenic in parts; with strands of paranoia and resistance against surveillance by technology. Poundian in no apparent manner, but legible. Lightly worn.

“THE MOST VITAL PERIODICAL SINCE THE LITTLE REVIEW OF 1918”

Edge is not a literary magazine, but an effort against the American conspiracy. Pound’s (and now Stock’s) promotion of the arts is not only for education but as a health-check of culture. Extracts from Frank Lloyd Wright, Brancusi, Stravinsky, retrospectives of Gaudier-Brzeska, arguments for the relevance and impact of Wyndham Lewis, first appearances of poems by Pound and Williams, translations of Rimbaud (by EP, a follow of his Study of Modern French Poets in The Little Review), Mencius (the one Confucian classic not translated by Pound), Cocteau, Zeilinski, articles on Richard St. Victor, and so on, are but a start to the editorial of this magazine. One finds the usual lateral promotion of publications, such as Scheiwiller and the Square $ Series, but the most active content here, often appearing unsigned, goes deeper than communicating the ideas of del Mar, Agassiz, Benton and Confucius. There is, within this magazine, something new: an exploration of medical publications and a study of covert state operations. From a variety of sources, some primary, one finds articles on mind control, subliminal messaging, drug induced mental illness, conditions conducive to schizophrenia (fruit trees are the proposed remedy) — into which one may read an interest in Pound’s trial and St. Elizabeths — and methods of political dissent via chaos. Together with the usual articles against the Rothschilds, the magazine quite subtly designs a vector of social or individual values (bolstered by a few fundamental philosophies) and the establishment’s restistance against it, identifying, diagnosing, and attributing the cause of error and offering solution along the way.
  Unlike the literary Nine, lacking the passivity of the Square $ Series publications, Edge is a concentration of Pound’s attitudes with each contribution reinforcing his curriculum, interspersed with, sometimes propagandist, aphorisms.

This is complete set, not through marriage; all 8 issues published between October 1956 to October 1957, together with the 4 page prospectus (a single leaf, orange paper printed in black, folded once) accompanying the first issue. The first issue has browned with a few marks to the cover; some very narrow whitening to the spines throughout; all very good. See Gallup C1830-C1850 for a few unsigned articles identified as by EP by Gallup.

This set has been digitised for poundian.com and will come with a little card that says so.

One of the post-war mags associated with Pound at a time where his usual correspondence consisted of “wahl wot can YU do?” and some, Peter Russell included, did. Publishing 11 issues between 1949 and 1956, Nine starts off with the intent of depersonalising the creative and critical process, more Eliotesque than Pound’s method of personae, yet rocks the chiu³ ideogram (which means 9) to represent this. The desire for such a periodical in England at the time was clearly great, the Criterion having ended in 1939, and Nine quickly became stuffed with literary criticism all too causeless for my liking. Reproducing a contribution from His Satanic Majesty to sum it up:

          DIVISION

  1.  commercial pulp
  2.  attempts to write (poetry or something or other)
  3.  reading matter (of which there is very little)

                 H. S. M.

A good set. Touch of damage to spine of Vol. II No. 4. Pencil marks to front cover of Vol. III No. 1, and a few leaves detached but in good condition in the same. Some loss to spine of Vol. III No. 2, covers lightly worn. Spine of Vol. III No. 3 faded with two small tears. Wraps of Vol. III No. 4 detached, present & complete, with a few thin breaks to spine. Light wear to front cover of Vol. IV No. 1. Wear to spine of Vol. IV No. 2. With the occasional pencil inscription, and a pen correction from 1880 to 1800 in Peter Russell’s Editorial in Vol. 1 No. 1, presumably by the publisher. Could be salvaged into a very good set at not too great a cost. See Gallup variously from C1719 to C1732.

This set has been digitised for poundian.com and will come with a little card that says so.

The first twelve issues (none missing) of the great Poundian journal, whose editorial board including Kenner, Hesse, Davie, Gallup, Terrell (and more) should speak for itself; first generation Pound scholars in action, providing scholarly, biographic and bibliographic advances. All copies in excellent condition; touch of damage to the spine of Vol. 3 No. 1.

First American (offset) edition, the coolest edition of MIN. A great copy; has one small nick at bottom of cloth and the spine is rather loosened, but the dust-jacket has lasted very well with only partial light sunning to the covers and a typically discoloured spine; not price-clipped, no damage. Gallup A36b.

First edition, what Gallup suspects to be first impression with laid end-papers and publisher’s name in one line to spine. A collection of Japanese Noh plays translated once by Fenollosa and twice by Pound, with commentaries by Pound on occasion.
  American poet Witter Bynner’s copy (1881-1968), with his bookplate to fpd. Pound and Bynner first met in February 1908 in Manhatten. Homer Pound had arranged the meeting, trusting in Bynner (who had only published his first collection of poems in 1907) judgement as to whether Ezra had any promise as a poet. Bynner’s would decide for Homer if he should fund his son’s travels to Europe. Bynner’s emphatic “yes” thus rests as one of the earliest establishments in Pound’s career. In thanks, one of the first fifty copies of A Lume Spento (Antonini, Venice 1908) was reserved for “Bitter.” In 1910 Bynner arranged the publication of Provença, Pound’s first American book. Bynner later would mock Pound’s -isms (Imagism, Vorticism) by creating his own, Spectrism, published pseudanonymously in Others and as a collection, Spectra (1916), a successful hoax designed to question the authority those movements claimed. Bynner supported Pound throughout his career, only disapproving of The Pisan Cantos’ receiving the Bollingen’s Prize, but supporting Pound’s release from St. Elizabeths and twice nominating him for an award from the Academy of American Poets, which Pound won in 1963. (See Manhatten, Pound and Poetry by Ira B. Nadel in Make It New, January 2018.)
  Quite fine throughout with a very straight tissue guard between the title page and frontispiece, with the usual offsetting. Review of this book from The London Times cut out and pasted to ffep. Boards are lightly worn and quite grubbied, with a very mottled spine; shelf-wear. Gallup A13a.

“All that he now wishes to keep in circulation from “Personae,” “Exultations,” “Ripostes,” etc. With translations from Guido Cavalcanti and Arnaut Daniel and poems by the late T. E. HULME”

First edition, one of 1000 copies for trade. With the scarce and beautiful dust-jacket, unfortunately missing its spine, only the title part remaining and laid-in; small chips, tears and a little loss to the front-cover; back-cover complete with good colour radially fading; flaps complete with even better colour showing the original duck-egg blue. Some browning to end-papers. A small piece of Japanese newspaper laid in on pp.10-11, marked in pen, “24.2.21 / E. Pound,” leaving heavy offsetting onto these pages. Overall a very nice copy still brilliant with some of the dust-jacket.

First English edition, sole impression. Published as Eleven New Cantos in America, 1934. One of 1500 copies, 300 of which were destroyed in a bombing raid. John O. McCormick’s copy (1918-2010; American literary scholar and author of American and European Literary Imagination) with his ink ownership inscription to ffep dated 1946. A near fine copy; some very light trouble to top-edge of leaves 29-35. Dust-jacket equally well preserved; spine faded, streaks of sun to front cover, two minor breaks to rear cover and a tiny chip. Gallup A37c.

First edition, sole impression, one of 1012 copies. John O. McCormick’s copy (1918-2010; American literary scholar and author of American and European Literary Imagination) with his ink ownership inscription to ffep dated 1947. A near fine copy with light foxing to pastedowns and end-papers. A very well preserved dust-jacket, faded to spine, with one small chip at bottom of spine and a small tear at top corner of rear cover; price-clipped. Gallup A43a.

First (American) edition, first issue. One of the 331 copies originally published by Farrar & Reinhart before the remaining 419 were acquired and published by New Directions with a cancel title-leaf. One of the most desirable issues of Pound’s Cantos. Dust-jacket with very light tanning to top-edge and a faint crease top-edge of front cover; not price-clipped. Pastedowns browned, and a light stain at inner parting running through the book. Contemporary ink inscription, “John N. Ogden [unidentified] / December 1937” to ffep. Gallup A43b.

First (English) edition, a later impression with the page order of 104-105 fixed, but no impression statement made. With Faber’s usual censorship of this set of Pound’s Cantos. A very good copy, lacking the dust-jacket, spine slightly softened, only one bit of marginalia (two ink scores next to OYTIS of first canto), without foxing etc. A great copy for study. Gallup A60b.

New (offset) edition, fourth printing; the only with the Gaudier-Brzeska device to the front cover, and my favourite. Published sometime later than 1956, date unknown. Yet to contain Index of Titles and First Lines. Clean throughout in slightly grubby boards with a bit of edge-wear; spine faded. This printing not in Gallup, but should be under Gallup A27b.

“A collection of stale creampuffs.”
    — Foreword (San Ambrogio, 19 Ag. ’64), Ezra Pound.

First edition, one of the very first copies issued with the printed label set into the back cover (later copies have a plain back cover). An important republication of Pound’s earliest poems, including A Lume Spento, A Quinzaine for This Yule, and the San Trovaso Notebook. A fine copy in original acetate which has a small break to the back. Gallup A83a.

One of 1000 copies, a reissue of Pound’s translation of the first of the Four Shu. Rarer, variant binding with yellow wrappers and green jacket. Unidentified reference copy with “Shelf Copy” stamped to both covers of jacket, with further pencil scriptions to rear. Jacket lightly browned at edges, otherwise fine throughout. Variant not mentioned, but otherwise detailed under Gallup A28b.

Pound’s promotion of the economic theories of C. H. Douglas and Silvio Gessell; on the nature of money, property, credit, and their impacts. Browned around the staples, light foxing to first and last leaves, and the small stains to front cover. Gallup A40a.

This copy has been digitised for poundian.com and will come with a little card that says so.

A neat leaflet curated by New Directions (presumably James Laughlin?) published for Pound’s 70th birthday, containing a number of statements about Pound and his poetry. With a portrait of Pound by Sheri Martinelli to front cover. Some light wear. Not in Gallup, being secondary.

This copy has been digitised for poundian.com and will come with a little card that says so.

An uncommon leaflet published by New Directions in 1957 “distributed to the friends of New Directions [containing] one poem from six books of poetry published by New Directions in 1956.”

Contents: “On Love” and “Statement” from Poems from the Greek Anthology by Dudley Fitts. “Written on the Wall at Chang’s Hermitage” from One Hundred Poems from the Chinese by Kenneth Rexroth. “Meditation” from In the Rose of Time by Robert Fitzgerald. “The American Century” from In Defense of the Earth by Kenneth Rexroth. “My Little One” from In the Winter of Cities by Tennessee Williams. From Canto 90 of Section: Rock-Drill by Ezra Pound.

A very good copy, with light creasing and a little smudging to rear; staples have left marks at middle parting. Not in Gallup.

An unusual Italian review “born as a result of the firm will of certain young university students who felt the acute need for establishing some means of bringing their ideas into contact with those of others, and for participating in the inevitable rebirth of culture after the scourge of war shall have passed.” This issue contains a poem of Pound’s, The Gipsy (first appearing in Lustra, 1916), with an unrecorded translation by Napoleone Colajanni (1847-1921), a leftist Italian political writer.
  An essay of Colajanni’s, L’ideale europeo di “Giustizia e Libertà,” appeared in Accademia 1. It is unclear the source of these texts; I have been able to find no trace of Colajanni’s Lo Zingaro [The Gypsy] elsewhere. Certainly not in Gallup.
  A good copy with a large, repaired tear to back cover, passing into the subscription blank attached inside rear (unrepaired). Small tear to front cover, and a few brief flicks of ink. Notice inside front cover promises contributions from Archie MacLeish and Mark “Vun” Doren in the next issue.

A catalogue of Scheiwiller publications in honour of 40 years of publications from Giovanni Scheiwiller and son Vanni. With an energetic essay by Ezra Pound in praise of “Scheiwiller, who led, in his own way, the battle against superstitious greed of the 19th c.” (so good I shall reproduce it below) at a time of minimal output from Pound. Arranged throughout by series, with format, year, and price where applicable. With a single, thin leaf of 32 Litografie di Giueseppe Viviani (list and prices) laid-in. Circa 5 pages with items marked (unobtrusively) in felt-tip, and a further page towards the back with notes, in the same unknown hand. One of 5000 copies standard copies, yet rare. Ex-libris Libreria Scienza e Lettere, Roma stamp to front cover. Light wear and one water mark to wraps; speckling to edge of pages throughout, but all very nice. Not in Gallup.

Nuova Economia Editoriale

  Scheiwiller collaborò al movimento della Nuova Economia senza sapelo e col suo coraggio si oppose alla cupidità mondana. Decise di pubblicare letterature, prima che il pubblico domandasse la letteratura di domani, o una letteratura che s’indirizzava a pochi lettori d’un gusto e d’una intelligenza superiori. Egli concepí un sistema, che recava una perdita piccola, ma assoluta all’editore.

  Cosí entrò nel mondo di C. H. Douglas, nel quale le supersitizioni monetarie cedono alla vita stessa.
  Come un paladino medioevale, egli mosse contro un dragone, contro un mostro.
  In queste pagine non si tratta d’economia. Ma si può, e forse si deve, trattara della funzione del letterato nella società d’oggi e di domani, della sua funzione eterna, cioè quella di mantenere una nomenclatura, una terminologia chiara ed onesta.

  Quando gli scrittori non vanno nel profondo alla ricerca d’una tale terminologia onesta, la letteratura, anche romantica e metafisica, si sciupa e decade.
  Non entro io in economia, dicendo che un uomo che non cura la sua terminologia è illetterato. Certe dissociazioni d’idee sono necessarie. Quello che non ne vede la necessità, è meno d’un uomo.
  Differente è
una divisione (dei frutti della terra, o di un’industria fra i produttori
da
una tassa, una multa, un’imposta che prende da me o da te senza produrre.
  Differente è
la proprietà (cioè una casa, un terreno, una sedia), dal capitale (cioè un’ipoteca).
  Differente è un mandato o una promessa,
da
un titolo (purtroppo legale) a prendere usura.
  Differente fu il Monte dei Paschi, dove il credito si basò sull’abbondanza della natura e la responsibilità di tutto il popolo di Siena;
dal
Banco S. Giorgio, groviglio di strozzini, determinati succhiare il sangue di Genova, fin che la città rimase a secco.
  Queste differenze s’impongono alla comprensione dell’uomo vivo, oggi.
  Si sono imposte ai grandi intelletti e filosofi nei tempi passati, a Sant’Ambrogio ed a S. Antonino, ed uno scrittore ovvero un artista che cerca di sottrarsi alla responsabilità di pensare, non merita la stima di nessuno.
  Lo Stato ha credito, non ha bisogno di chiederlo dai privati. Le tasse sono una superstizione.

  Viva Scheiwiller, che ha condotto a modo suo la battaglia contro la cupidità supersitizione dell’Ottocento.

EZRA POUND

Orientamenti, a selection of Pound’s contributions to the Meridiano di Roma from 1939-1942, is regarded as a sort of devil’s bible. Of the articles Pound published in the Meridiano, Orientamenti contains those which emphasise “race as prime determinant, the denunciation of gold as a kind of ‘fetish’, the curious presentation of the American South as initially a gold-free ‘utopia’, the betrayal of the American nation in 1863 by Rothschild and co., and the presentation of the ‘people’ endlessly torn between taxation demands made on them by the state and the interest extracted from them by the usurocracy.” (Peter Nicholls, Ezra Pound’s Lost Book: Orientamenti).
  Orientamenti omits the Meridiano articles concerned with European myth, and shows an even greater deviation from Fascist mentality (Pound’s Meridiano articles were generally totally ignored). Pound’s fascism soon revealed itself as the “enormous dream” admitted in The Pisan Cantos.

The original publication of Orientamenti, printed in the Salò Republic in September 1944, was destroyed by the publishers by the end of the month on Ally occupation. A few review copies were supposed to have been distributed. Pound’s was seized by the FBI who translated the work in preparation for Pound’s trial, and presumably returned (Gallup notes a copy at Brunnenburg in 1961). This here is the Pirated Edition, effectively the sole obtainable edition, published in 1978 by a now-defunct press in Calabria which was likely an outlet for neo-fascist publications in the seventies.

This copy particularly clean & straight, a touch of staining on side and back, and light foxing to first two leaves. Gallup A55b

Another of the same. This copy a little used, wraps lifting with a crease bottom right corner of front cover; small stains to fore-edge, top-edge and top of spine not affecting pages; two price stickers attached to back; a few ink marginal highlights not affecting the text. Gallup A55b

Paige’s attempt to document Pound as the seminal modernist whose exchanged letters with the most influential and successful artists of his day, often aiding in their success. First edition, American. A clean, sound, and uninscribed copy, lacking the dust-jacket; some sunning to cloth and softening top and tail of spine. Gallup A64a.

Letters and diary entries between EP and DS from their meeting to their marriage. First English edition, following the American by one year, review copy with the publisher’s slip laid-in. All very good or better, dust-jacket with a little rubbing to rear and a little creasing to front.

A heavy compendium of twentieth century authors, containing an entry on Pound (printed during the war years) reproducing a letter to the editors from 1939 criticising the “betrayal of the American people” by the Bank Act of February 25, 1863, Wilson and Roosevelt. The editors go on to publish, at Pound’s request, Pound’s Introductory Text-Book; “If you can’t print [it] then your profession of wanting an authentic record is mere bunk.” Followed then by the usual biographical comment that all authors receive. First edition, second printing (after 1942). Spine softened as one would expect from laying this book out. Spine a little faded, boards lightly rubbed and corners bumped. Gallup B47.

A collection of thirty-six articles by friends of Auden offering insights into the many stages of his life. First American edition. Sympathetic annotation in pencil throughout; dust-jacket edge-worn.

“Which brings us to this book, the longest, fullest, most devoted picture of Ezra Pound in his great days that we are likely to have. The Pound I first met in 1948 was a prisoner who’d been through something resembling shell-shock. But the Pound James Laughlin had known a dozen years earlier—! Well, read about him.”
  — Introduction, Hugh Kenner.

First English edition. Tales of EP by James Laughlin, founder of the New Directions publishing house which kept Pound on the shelves for years. Contemporary ink ownership inscription to ffep; mostly fine throughout.

Volume 32, Numbers 3 and 4; Spring/Summer 1995. A special double issue of Robert Spoo’s James Joyce Quarterly, containing, expectedly, scholarship on Joyce but which includes two Poundian items, being Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce by Robert Spoo, and Ezra Pound’s Censorship of Ulysses by Paul Vanderham. With a brilliant photo by an unknown photographer of Pound playing hide and seek to front cover. Good copy; front cover a little creased.

An exploration of Pound’s controversy by Hugh Kenner and Alfred Kazin, featuring contributions by Olga Rudge, Mary de Rachewiltz, James Laughlin, and others, as well as numerous recordings of Pound reciting his poetry. Full VHS edition, untested. Light wear to edges of slipcase. Available on YouTube.

Programme for the first (and only?) production of Bernard Kops’ Ezra, at the New Half Moon Theatre in East London, May 8th 1981, in which Pound was played by Ian McDiarmid. Reproduces a letter or note of Pound’s written from the “Dungeon” (St. Elizabeths) reading, “mental torture / constitution a religion / a world lost / grey mist barrier impasible…” and signed “aiuto.” Very good; a little creased at top and bottom but nice & clean.

Together with a copy of the play, published 1999 by Oberon Books, London, as Plays One (containing Playing Sinatra and The Hamlet of Stepney Green as well). Ezra tells of Pound’s arrest, his time in the cage and induced mania, his trial & internment at St. Elizabeths in brief, and his return to Italy; surrounded all the while by the ghosts of Vivaldi, Mussolini and Clara. The usual crap, so far from the fact in every way yet mostly voice, but good entertainment and of genuine interest for the idea of Pound.

The programme for the first production of Pound and Fleming’s Elektra, a collection of adverts in which is gathered a few articles and titles for the play. Together with two card flyers featuring same cover design and information on the play; two ticket stubs (pink card) for the Tuesday evening performance, November 17 1987, priced $18; Notes from the Director, an 8pp. photocopy on two leaves, folded and loosely gathered, a great brief piece on the simultaneity of Pound & Sophocles, Elektra and Pound, the House of Atreus and St. Elizabeths; finally, a promotional poster for the CSC’s 1987/88 season, the first play listed being Elektra, printed in orange and blue and folded to square format. All fine enough.

Exhibition catalogue for the symposium, Make It New: Translation and Metrical Innovations, Aspects of Ezra Pound’s Work, The University of Texas, March 15-17, 1967. One of 3000 copies, listing an array of historical, rare and unique items, from first editions to typescripts, letters, photos and drawings; a total of 154 items. Containing 15 plates illustrating exhibition items and further illustrations. Top edge slightly folded and creased, spine a little worn, but nice, with a few small pencil inscriptions by an interested party, translating the ideograms. Gallup B87.

A collection of essays and illustrations (from Schifanoia to Whistler) to accompany Pound’s Artists, an exhibition in collaboration between the Tate Gallery and Kettle’s Yard in celebration of the centenary of Pound’s birth. This copy with contemporary pencil gift inscription signed Peter [Robinson, who contributes Ezra Pound and Italian Art]. Slight forward lean and bump to bottom corner.

A postcard book containing 18 postcards of works at the Wild Thing Exhibition, Royal Academy of Arts 2009-2010. A selection from Jacob Epstein, Henri Gaudier-Brzeska (numerous of Pound), and Eric Gill. A little browning to top edge and half inch at top of fore-edge.

An Italian translation of Pound’s Gaudier: A Postscript and Vortex (omitting the last two paras) by Mary de Rachewiltz. Printed for the exhibition of Gaudier-Brzeska’s work at the Galleria Apollinaire, Milan, December 1957. With 13 illustrations of Gaudier’s work, and a brief Gaudier-centric bibliography at the back. No. 91 of 500 copies. A beautiful copy. Gallup D67.

Another of the same. Wraps lightly faded; sticker for 400 lire to rear cover, pencil inscription to last page with the same; 2cm split at bottom of spine; dog-ear to illus. 8, printer’s fault. No. 251 of 500 copies. Gallup D67.

Jack Coulthard (1930-2016) was a deeply praised but much overlooked British artist whose paintings display a wealth of mythology and research. His later paintings seem composed much in the same manner as The Cantos, crowded with characters each carrying their own complex (to borrow an imagist term), often psychological or mystical. Ezra Pound was a recurring motif for Coulthard throughout his career. In his complete catalogue which details over 800 works, the first being dated 1967-1968, we find,

  4a. Ezra Pound (Screenprint, 1969)
  12. Pound at Pisa (Acrylic, 1970)
  28. Ezra Pound at Rapallo (Drawing, 1971)
  41. Pound at the Temple of Cybele (Acrylic, 1972)
  71. Unwobbling Pivot (Acrylic, 1973)
  80. Pound and Olga Rudge (Acrylic, 1973)
  90. Pound’s Dream (Acrylic, 1974)

This painting, No. 80, depicts an elderly Pound resting his head on Olga Rudge’s bosom, with the Pisan Battistero di San Giovanni in centre, which reoccurs in Coulthard’s 1985 World on a Plate (No. 242), which may be a further study of Pound’s mind at Pisa. The moon, which defines a very fine perspective, reveals a damaged Pound to be sheltering behind Olga, his figure almost lost to the background. The brushwork, especially that of the Battistero, matches the skill and clarity for which Coulthard was renowned. Coulthard paints the first ‘frame’ onto the board, giving the inner composition at 84 x 88 cm. The remainder is a dark grey margin until the metal true frame.
  This is a large painting wanting a significant wall-space. But it is also one scene in a world of Coulthard’s creation; a world in which EP is a predominant figure — the above list is certainly non-exhaustive, e.g. The Victims (2003). The full extent of Coulthard’s creation, and his depictions of Pound, is rife for study.

From the collection at Brook House, Ongar, residence of Gillian Raffles (1930-2021), pioneering gallerist of British post-war art and director of The Mercury Gallery, London and Edinburgh.

A great coffee table book featuring large photos of Pound in Italy, mostly Venice, and photos of Italian artwork, sculpture, landscapes referenced by Pound in his Pisan Cantos. With fascimile of the quotes used in Pound’s hand, an introduction by Pound, and notes by Olga Rudge. Small split in fpd; some wear along top and bottom edge of the jacket. American edition, Gallup B100c.

A collection of Pound’s music reviews, including his fortnightly column written for The New Age under the pseudonym William Atheling; Pound paid his rent on such work while living in London, and many of the reviews contained within are written regarding concerts at the Aeolian, now Wigmore Hall. With further articles from periodicals, concert programmes, and essays such as that on Absolute Rhythm and Great Bass. Touch of sunning to back of jacket, otherwise fine. Gallup A99b.

Ezra Pound / Haily, Idaho, 30.X.1885 - Venezia, 1.XI.1972

The notice issued for Pound’s funeral to be held in the Benedictine Abbey on the Venetian island of San Giorgio Maggiore, before Pound would have been rowed (as illustrated) to the Isola di San Michele, Venice’s principal cemetary, for interment. The funeral rites took place on November 3, only two days after Pound’s death, making this production quite surprising. Reproduces Henri Gaudier-Brzeska’s pen and ink profile of Pound, a quote from Night Litany (A Quinzane for this Yule, 1908) and, to front, an illustration of S. Giorgio Maggiore from a 17th century engraving by Vincenzo Coronelli.