This volume was Aldington’s first solo publication and was published by Harold Monro (1879 -1932) through his Poetry Bookshop. The cover reproduces a drawing by John Nash, the younger brother of Paul Nash, and is hand-colored.
Richard Aldington
Images of Desire
London, Elkin Mathews, 1919
These poems were written during World War I and reflect his affair with Dorothy (“Arabella”) Yorke. The poems were included in War and Love (1915-1918), the U.S. edition of the poems he wrote during the war.
Richard Aldington
The Berkshire Kennet
London, Holbrook Jackson, 1923
The Berkshire Kennet first appeared in the September 1923 issue of To-Day, a British monthly edited by Holbrook Jackson, subsequently author of The Anatomy of Bibliomania. Jackson had it reprinted by the Curwen Press in an edition of 50 copies. It was later included in Aldington’s Life Quest. Malthouse Cottage in Padworth, then Aldington’s home, overlooked the River Kennet.
This is a proof copy in a batik paper wrapper signed by Aldington and signed to John Arlott, cricket commentator and bibliophile by Holbrook Jackson. It bears the bookplate of Anne Powell, the bookseller.
Richard Aldington
A Fool I’ the Forest: A Phantasmagoria
London, Allen & Unwin, 1924
This narrative poem is the first of Aldington’s five long poems. It has been compared to The Waste Land, published in 1922 by Aldington’s friend, T.S. Eliot. This copy is inscribed by Aldington to Bruce Richmond, editor of The Times Literary Supplement, for which Aldington was then reviewer of French books.
Richard Aldington
The Eaten Heart
Chapelle-Réanville, France, Hours Press, 1929
This retelling of a medieval French tale was the fourth
publication of Nancy Cunard’s Hours Press. It was republished in the U.K. by Chatto & Windus in 1933. Limited to 200 numbered copies signed by Aldington.
This copy is inscribed to Sidney Schiff. Bookplate of Boston bibliophile Albert Sperisen. Previously exhibited by the Book Club of California.
Richard Aldington
Life Quest
Typescript
Richard Aldington, 1935
Near final version of Life Quest, Aldington’s fourth long poem. The pencil corrections may have been made by Aldington’s publisher.
By kind permission of the Estate of Richard Aldington, c/o Rosica Colin Limited, London.
Richard Aldington
No name but wild flowers
Typescript, 1935
A near final typescript of an unpublished poem. This poem was included with the near final draft of Life Quest in the lot sold by Pat Frere, widow of Aldington’s publisher, at Christie’s in 1985.
By kind permission of the Estate of Richard Aldington, c/o Rosica Colin Limited, London.
Richard Aldington
Love and the Luxembourg
New York, Covici Friede, 1930
The first publication of Aldington’s highly successful romantic long poem. It was written in 1928, and was dedicated to “B.”, Valentine Dobrée (1893-1974), a painter with whom Aldington had become infatuated. The poem was published in the U.K. in the same year under a new title, A Dream in the Luxembourg, in both a limited and an unlimited edition, by Chatto & Windus. Edition limited to 475 copies signed by Aldington and Frederic Warde, the designer.
Richard Aldington
A Dream in the Luxembourg
Stamford, CT Overbrook Press, 1935
Limited to 165 copies. In a letter dated June 20, 1935, Aldington tells Frank Altschul, proprietor of the Overbrook Press that he preferred this edition to the Covici, Friede edition, which he mistakenly remembered as having been designed by Bruce Rogers rather than Frederic Warde.
Richard Aldington
Collected Poems
New York, Covici, Friede, 1928
This copy contains a long inscription entitled Madrigal to Nancy Cunard dated 3/15/1929 from Aldington.
By kind permission of the Estate of Richard Aldington, c/o Rosica Colin Limited, London.
Richard Aldington
The Complete Poems of Richard Aldington
London, Allan Wingate, 1948
In his work The Poetry of Richard Aldington; A Critical Evaluation and an Anthology of Uncollected Poems, Norman Gates identified 216 poems as not being included in this compilation. It is, nonetheless, the standard edition of Aldington’s poems. This copy is inscribed by Aldington to the poet Rachel Anand Taylor (1876-1960), who had been included in Aldington’s The Religion of Beauty: Selections from the Aesthetes in 1950.