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Gauntlet Press of Richard Outram and Barbara Howard
 
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41. 1997 (?). COVER HER FACE WITH A BLACK BANDANA, MA 1997 (?). COVER HER FACE WITH A BLACK BANDANA, MA Something is cooking anyways. Always is, I guess One sheet of white cotton paper, 22 x 28 cm. Title of poem is italicized, printed title case, burgundy. Poem is printed in black. The poem's three stanzas are staggered, horizontally, on the page, and each is flanked by a design, inscribed in a square, of a cowboy in a hat looking at a cigarette he is hand-rolling (from the font 'Arts & Crafts Dingbats'). The first instance of this design, flush with the left margin, is blocked in brown/gold; the second and third, flush with the right and left margins, respectively, are blocked in violet. Below poem is: ‘Richard Outram', in burgundy. On the reverse is an excerpt from Frank Kermode's The Sense of an Ending, Oxford 1967. Above the quotation is an elaborate fleuron from the font 'Printer's Ornaments Two', in red. The first two words of the excerpt are capitalized and rubricated; the remainder of the text is in black. The text begins to taper, line by line, nine lines from the end; the final line consists of a single, centred word ('mind'). Below and to either side of this final word another, smaller fleuron appears (also from 'Printer's Ornaments Two'), also in red.

42. 1962. VISION & MYSTERY 1962. VISION & MYSTERY O DARK as honey, as ebony, as hessian or amber One sheet, 26 x 19 cm. The colophon is printed in red.

43. 1996. LUX EST UMBRA DEI 1996. LUX EST UMBRA DEI Or such is our surmise One olive sheet 28 x 22 cm. Poem title is printed in italics in aquamarine; followed by an opening line printed in red; an eight-line stanza in aquamarine; a four-line stanza printed in red; a single line, in red; a four-line stanza, in red; an eight-line stanza, in aquamarine; and a closing single line, in red. At the head and foot of the poem is a motif in gold consisting of a horizontal oblong box with slightly convex sides containing an oblong fillet in relief and, within that, a pattern of four horizontally sequenced sets of three concentric circles, in relief. At each side of the poem is a vertically sequenced set of three stylized seven-petalled flower-heads, each of a different size, in gold. Colophon on the reverse, printed in red and blue: |BARBARA & RICHARD OUTRAM| CHRISTMAS 1996| THE GAUNTLET PRESS| Beneath is a seven-petalled flower head, in gold. Christmas 1996. Floral images taken from the font family Pre-Columbian Ornaments One.

44. 1999. CARESS 1999. CARESS Lifting her gaze, by chance One sheet, 22 x 28 cm. Title of Poem is printed in upper case, in red. Poem is printed in black. Between the two stanzas is printed: 'BARBARA', in upper case, in red. Immediately below the poem is printed 'RICHARD OUTRAM' in upper case, in red. At the head and foot of the poem is an identical elaborate fleuron, in violet. To the left and right of the name BARBARA is the same fleuron but smaller, in violet. The whole is enclosed in a rectangular border made up of alternating abstract four-petalled flower head design alternately couloured in red and in blue. Colophon on verso: GP monogram is printed in black, immediately below which is: | 'Barbara & Richard Outram | Saint Valentine's Day | The Gauntlet Press | 1999' |, in red. The fleurons are from the font family VenusFlytrap-Dingbats; the border is from BeautifulOrnamentsThree.

45. 2000 (?). MIRROR OF MEANING 2000 (?). MIRROR OF MEANING Who among us wanders, yearning One sheet of white, matte-finish paper, 22 x 28 cm. Title of poem is printed in upper case, in blue. Poem is printed in black. Above is an ornament, a double-spiral inscribed in an annulet (from the font 'Spirals'), blocked in red. Below the poem is: 'RICHARD OUTRAM', in violet. On the reverse is a two-paragraph quotation from Northrop Frye's, The Return of Eden, Toronto 1967, printed in black with the citation in violet. At the head of the page is an ornament comprising a series of concentric, often subdivided circles and squares (from the font 'ArtDeco Regular'), blocked in orange. The same ornament is reproduced, slightly smaller, at the foot of the page, in blue.

46. 1998. THAT SOLIPSISM IS THE LAST REFUGE OF THE LOVELESS 1998. THAT SOLIPSISM IS THE LAST REFUGE OF THE LOVELESS They rock all day, out on the front veranda One sheet, 22 x 28 cm. Title of Poem is printed in upper case, in red. Poem is printed in black. Immediately below this is 'RICHARD OUTRAM' in upper case, in red. To the left of the poem is a vertical column of seven figures resembling tortoises as seen from above, the lower six of identical size with grid patterns, in relief, on their carapaces; the topmost, which is larger, its carapace bearing an irregular lozenge with an indented outline, in relief. These are coloured, respectively, from bottom to top: violet; blue; orange; blue; orange; blue; violet. Colophon on verso: GP monogram is printed in red, immediately below which is: 'The Gauntlet Press 1998', in black. The topmost tortoise is from the font family Mimbres Three; the others are from Wildlife.

47. 1999 (?). GLENN'S RIFFS 1999 (?). GLENN'S RIFFS SWEET vertigo, I love you! One sheet of speckled beige paper, 22 x 28 cm. Title of poem is printed in title case, in aquamarine. Poem is printed in black, with the exception of the first word, which is capitalized and rubricated. At the foot of the poem is a red fleuron (from the font 'Venus Flytrap Dingbats'). Below it is the handwritten signature 'Richard Outram', in black ballpoint ink.

48. 1997 (?). VIRUS 1997 (?). VIRUS Beyond the vicious surf, the scrub foreshore One sheet of white paper, 22 x 28 cm. Title of poem is printed in upper case Lithos, in violet. Immediately above the title is an ornament made up of discontinuous diagonal lines describing the outline of a saltire, in rose. Poem is printed in black. Below is: 'RICHARD OUTRAM', in violet. Immediately beneath is a smaller version of the saltire ornament, in rose.

49. 1998. STRING FIGURES 1998. STRING FIGURES In Povungnituk, and Masset One sheet 28 x 22 cm. Poem's title is printed in upper case, in blue, followed by 'FOR CAMILLA', in red; then by the poem, printed in italics, in indigo; and finally by the poet's name printed in upper case, in blue. Above the poem's title is the outline of an animal with antlers, in red. Around the whole is a rectangular border composed of a sequence of seven different endless knot designs, in gold. Colophon on the reverse, consisting of GP monogram, in red; and beneath it: | 'The Gauntlet Press |1998' | in black. The antlered creature is from the font family CavePaintingDingbats; the knots are from VTCelticKnots.

50. 2001. MIDSUMMER LOVERS 2001. MIDSUMMER LOVERS What is it in the fountained elm One sheet 28 x 22 cm. Poem's title is printed in upper case, in burgundy. The poem is printed in black, superimposed on a background of a swirling foliage 11.5 x 5.5 cm, in green. Colophon, immediately below: | Barbara and Richard Outram | The Gauntlet Press | CHRISTMAS | 2001 | , in burgundy except for the word CHRISTMAS, in green. Around the whole is a triple-fillet rectangular border 2.8 x 19.4 cm, consisting of an inner and outer fillet, both in aquamarine, and between them a fillet in blue. The foliage is generic and taken from the font family VenusFlytrap-Dingbats.

51. 1965. OPHELIA ILLUMINED 1965. OPHELIA ILLUMINED SIR, she is crouched One sheet, 38 x 16 cm, with single folds above and below the poem, as issued. With two wood engravings, in red; three fish circling a flaming sun with cruciform, above the poem; a stylized phoenix, below the poem. The colophon is printed in red. Christmas 1965.

52. 2000 (?). AT CLOSE OF EVE 2000 (?). AT CLOSE OF EVE Titania dreams: I tiptoe down before the winter dawn. One sheet of mottled grey paper, 22 x 28 cm. Title of poem is printed in upper case, in blue. Below the poem is: 'Richard Outram', in red. On the reverse, printed in black, is a couplet from William Blake's Auguries of Innocence; the title of Blake's poem, in the citation, is printed in red.

53. 2000 (?). SOULS ON A BUS STATION BENCH 2000 (?). SOULS ON A BUS STATION BENCH What, fifteen, sixteen? Huddled, asleep and crumpled together One sheet of hot rose paper, 22 x 28 cm. Title of poem is printed in title case Oxford, in burgundy. Below the title, in black, is a quotation from Malory's Le Morte D'Arthur. Poem is printed in black. Below the poem is: 'Richard Outram'in Oxford, burgundy. To the left of the poem, arranged vertically, are three ornaments: two identical drop-shaped ornaments, blocked in blue, each inscribed with five hatched lines terminating in a spiral (from the font 'Pre-Columbian Ornaments Two'); and, between them, a stylized bird (from the font 'Cave Painting Dingbats'), blocked in dark green. To the right of the poem, this pattern of ornaments is repeated, but with a different stylized bird (from the font 'Wildlife'), this one also blocked in dark green.

54. 2000 (?). FIT TO BE TIED 2000 (?). FIT TO BE TIED Here is a truth, if understood One sheet of grey-green laid paper, 22 x 28 cm. Title of poem is printed in upper case, in red. Immediately below the title is a horizontal undulating scroll, consisting of three bands, in violet. Poem is printed in black. Between the two stanzas of the poem are two knot figures - the uppermost a Bourchier knot, the lower a figure-eight endless knot - in red. Separating these two figures is a sequence of five horizontal undulating scrolls, in violet. A single undulating scroll, also in violet, appears beneath the poem. Below that is: 'Richard Outram', in red. (The scroll design, and both knot designs, are from the font 'African Ornaments One'.)

55. 1995 (?). SOCIAL GRACES 1995 (?). SOCIAL GRACES Found, blowing in the gutter One sheet of chartreuse paper, 22 x 28 cm. Title of poem is upper case Zapf Chancery, printed in rose. Poem is printed in black, also in Zapf Chancery. Beneath the poem is a printer's ornament in rose, under which is: 'Richard Outram', in Oxford, purple. Above the poem's title is an ornament of an eagle with wings extended standing on top of a sphere; it is printed in purple. The whole is surrounded by a rectangular double border consisting of an outer band 9.5 cm by 15.2 cm, in purple, and an inner Celtic fretwork band, 8 cm by 14 cm, in turquoise. Both of the ornaments are from the font 'Printer's Ornaments Two'.

56. 2001. LIGHTFALL 2001. LIGHTFALL Inkjet-printed book, 18 unfolded sheets gathered making 36 pages, 26 x 18 cm. Limited edition of 40 copies of which this is copy 20. With 26 poems: 'Seldom,' 'Morning star,' 'Amanda Immortal,' 'Goneril backstage,' 'The beauty of Lear’s daughters,' 'A prayer to Aphrodite Pandemos,' 'The accuser as entropy,' 'Torture,' 'Lions on the horizon,' 'Quicksilver,' 'Triptych,' 'Catch,' 'Seadog dead sober,' 'Phoenix in ashes,' 'Riddle of Wound,' 'And prevailed not,' 'Wormwood,' 'Amanda cast vestal,' 'Amanda off-book,' 'Amanda, and cello, distant,' 'Amanda abed,' 'That night in the field,' 'A particular grace,' 'Carnal,' 'The angel of glass bevel,' 'Mirror of meaning.' Title page has the title ‘LIGHTFALL’ in red, below it a single horizontal line in red and below that ‘RICHARD OUTRAM’ in aquamarine. Beneath that is a vertical sequence of three spiral designs, the largest, in gold, at the top, the second largest, in blue, below it; and the smallest, in red, at the bottom of the sequence. At the foot of the page is: ‘THE GAUNTLET PRESS’ in aquamarine, below which is ‘TORONTO’ in aquamarine and below that: ‘MMI’ in red. The titles of the poems are each printed in red. A number of poems also have subtitles in aquamarine. Below each poem is a spiral design similar to those on the title page. These are coloured variously in blue, purple, pink, saffron, red, green, yellow or aquamarine. Binding is of handmade Japanese paper decorated with a sequence of overlapping multicoloured undulations composed of thin bands of red, pale blue, pink, black and purple. The colours are outlined and flecked with gold.

57. 1996 (?). BEHOLDER 1996 (?). BEHOLDER Look! Into the shuddered sun One sheet of white paper, 22 x 28 cm. Title of poem is printed in upper case, in burgundy. Poem is printed in black. Beneath poem is: 'Richard Outram', in burgundy. The whole is set against a background of two annulets, the larger, enveloping the title and first stanza, overlaid at its base by the smaller, both in red. Likewise overlaid by the smaller annulet, below 'Richard Outram', is an abstract design of three vertically bisected semi-circles one on top of another, the topmost bisected also by a horizontal mark; all are blocked in relief, within a circle which is blocked in gold. To each side of the poem's text is a stylized floral figure, in green. Both the floral figure and the circular ornament are from the font 'Arts and Crafts Dingbats'.

58. 2001 (?). CAPTAIN AMALGAM 2001 (?). CAPTAIN AMALGAM Captain Amalgam maintains, that God is an unstoppered bottle One sheet of white paper, 22 x 28 cm. Title of poem is printed in upper case Oxford, in black. Poem is printed in black. Below the title is a sequence of four seven-petalled flower-head ornaments (from the font 'Pre-Columbian Ornaments One'), of increasing size from left to right; they are blocked in rose, except for the last and largest of them, which is in red. Below this sequence is a mottled turquoise rule, 12.2 cm long. Below it is another sequence of ornaments (from the font 'Woodcut Ornaments'), four sailing vessels arranged in descending order of size from left to right, printed in purple (the largest) and pale violet (the rest) (cf. the sailing-ship ornaments on the Gauntlet-Press broadside 'Of Fiction and Fact'). At the foot of the poem is another seven-petalled flower-head ornament, blocked in red. Below that is another mottled turquoise rule, 5.5 cm long, and beneath that is: 'Richard Outram' in Oxford, black.

59. 1994. PERIPATETICS: some annotations, glosses, and divers comments upon Around & about the Toronto Islands 1994. PERIPATETICS: some annotations, glosses, and divers comments upon Around & about the Toronto Islands 37 p., 25 x 18 cm. With a colour laser copy of a photograph of a boardwalk bound in before page 5. With three compass roses on the title page, and above the colophon. Bound in green handmade Japanese paper, with a five-hole Japanese-style red silk thread binding. Brown free endpapers. Forty-five numbered copies of which this is number 44.

60. 1963. LOW VOICE AT THE WATER'S EDGE 1963. LOW VOICE AT THE WATER'S EDGE RARE tinder here One sheet, folded twice, printed on double leaves, 14 x 21 cm, uncut and untrimmed. With one wood engraving of a fish, in indigo, to the right of the poem. Christmas 1963.
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results 41-60 of 103 item(s)  page 3 of 6 : ( <<  1  2  3  4  5  6  >> ) :: previous : next