Memorial University DAI: Gauntlet Press of Richard Outram and Barbara Howard


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	Title By Year:	First Line:	Subject:	Description:

61.	2002 (?). AFTERNOON ON THE LAKE	LIGHT as the effortless light honed on the water, a just		One sheet of white paper, 22 x 28 cm. Title of poem is printed in upper case, in aquamarine. Poem is printed in black, save the first word, which is capitalized and rubricated. Above the title is a double-scroll shaped printer's ornament (from the font 'Beautiful Ornaments Three'), in violet. Below the poem is: 'Richard Outram', in aquamarine. Immediately below is the same printer's ornament, but smaller, in red. At the foot of the page is a note about the poem's previous publication in Toronto Life, in violet.

62.	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'.

63.	1973. CAT BASKING	MORTAL nevertheless	Cats--Poetry	One sheet, folded once, 18 x 13 cm. A single rule, in red, is printed under the title on the title page and under the title of the poem. A dot, in red, is printed below the poem. Bound in green marbled wrappers. Indigo pastedowns with gold free endpapers. This copy has one of three variant bindings, the other two being: gold-flecked coral marbled wrappers; and brown- and silver-flecked red wrappers. Fifty copies.

64.	1971. INVOCATION	Nameless Angel of rough flames		One sheet, 41 x 15 cm, with single folds between the upper engraving and the poem, as issued. With two wood engravings: a fiery sphere in orange, between the title and the poem, and an abstract swirl, in purple, below the poem. The title and the colophon are printed in purple. Christmas 1971.

65.	1997 (?). SEAT OF THE BUDDHA	No one seen on the empty mountains		One sheet of sandy brown paper, 22 x 28 cm. Title of poem is printed upper case in Delphian (Open), in black. Above the title is a simple annulet, in red. Poem is printed in black. On the reverse, printed in black italics with the initial word rubricated, are three paragraphs by Richard Outram on the book Nineteen Ways of Looking at Wang Wei / How a Chinese poem is translated (Mt. Kisko: Moyer Bell; 1987). (The poem 'Seat of the Buddha' is Outram's own English version of Wang Wei's poem.) At the base of the page is: 'Richard Outram', in black. Above the first of the paragraphs, centred, is an ornament of a stylized pine cone, blocked in relief, within a square blocked in red; after the first and second paragraphs, lattice ornaments appear, the first blocked in indigo, the second in red; after the final paragraph, just above Outram's name, the stylized pine cone appears again, this time blocked in indigo, without the enclosing square. Both of these ornaments are from the font 'Arts and Crafts Dingbats'; they appear in other Gauntlet Press broadsides (cf. 'Ms Cassie and Lantern', 'Ms Cassie's Autumn at the White Cottage', and 'Tundra Swans').

66.	1976. SHINER	NOW on black sand a dented		One sheet, 26 x 15 cm. With two wood engravings: a fish, in deep turquoise, between the title and the poem; an abstract swirl, in olive, between the poem and the colophon. The title and colophon are printed in indigo. Christmas 1976.

67.	1985. ECLIPSE	O brought to bear defaced by night		One sheet, 25 x 16 cm. With one wood engraving of a sun in eclipse, in red, ringed by uneven horizontal and vertical lines, in black. The text of the poem and the colophon are printed in red. Christmas 1985 & The New Year 1986.

68.	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.

69.	1988. O NOR SHALL DEATH'S TEXT	O Nor shall death's text ever skew present rubric to prove you	Death--Poetry	One sheet, 26 x 13 cm. The title is printed, in red, in a circle around a wood engraving of the tail of a humpback whale protruding from waves. Christmas 1988 & The New Year 1989.

70.	1980. A DEFENCE OF POETRY	ONE does not scry		One sheet, folded twice, printed on double leaves, 14 x 12 cm, uncut and untrimmed. With one wood engraving, in red, of a swirl, on the leaf opposite the poem. The half title, title and colophon are printed in red. Bound in green, gold and red marbled wrappers. Olive pastedown with indigo free endpapers. Seventy-six copies, of which forty were bound. Christmas 1980.

71.	1975. PSYCHE TO EROS	OR AFTER, in the brilliant, silenced host		One sheet, 40 x 15 cm, with one fold below the poem, as issued. With one wood engraving of a dahlia, in gold, between the title and the poem. The title, poem, and colophon are printed in red. Saint Valentine's Day 1975.

72.	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.

73.	1997 (?). ECLIPSE	Over and over and over it takes		One sheet of cream paper, 22 x 28 cm. Title of poem is printed in title case italics, in aquamarine. Immediately above title is a design of a stylized face or mask, from the font 'Pre-Columbian Ornaments Two', blocked in purple. To the left and right of the title are two different stylized face/mask designs, both in profile, in red. Poem is printed in black. Below poem is: 'Richard Outram', in aquamarine. Below this is an abstract ornament, an irregular oval divided into four hatched quarters; the oval is blocked in red, the hatching in relief (from the font 'Pre-Columbian Ornaments One'). The whole is enclosed by a rectangular double fillet, in indigo.

74.	1969. PETITION TO EROS	PERMIT, SIR, this identity	Love poetry	One sheet 35 x 20 cm, untrimmed, with single folds above the title and between the first engraving and second stanza, and between the final stanza and the ornament, as issued. With two wood engravings, in vermilion: two lovers entwined, between the first and second and the second and third stanzas. A small ornament with rules on either side, all in vermilion, is printed below the poem. The colophon is printed in vermilion. Saint Valentine's Day 1969.

75.	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.

76.	1970. UNDER OTHER MOONS	SAID Cecropia		One sheet, 36 x 16 cm, with one fold between the engraving and the poem, as issued. With one wood engraving of a Cecropia moth and two moons, in olive, between the title and the poem. The title and colophon are printed in indigo. Christmas 1970.

77.	1958. YOUNG PINE	Should suns descend		One sheet folded once, the upper fold covering half the lower fold. 15 x 19 cm. The upper fold has a wood engraving of a small pine tree with the topmost frond dissolving into an abstract spiral pattern. The uncovered portion of the lower fold has the title 'YOUNG PINE' and the poem in red. The initials 'BH' are in the lower left-hand corner of the engraving.

78.	1957. CAROL	Sing barren tree		One sheet, 13 x 23 cm. Printed on beige card. Two indented vertical lines divide the document into three equal panels. In the right-hand panel is the poem 'Carol'. The left and middle panels are occupied by a stylized tree motif against the background of a stylized sun. The design includes the outlines of two indeterminate winged figures. Above the design is the title 'Carol'.

79.	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.

80.	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.

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