Search Results: Classics from Charles Agvent

New York: Greenway Publishing Company, 1932. Reprint. Hardcover. Minor wear, spine sunned and a bit marked. Very Good. Octavo (5-1/4" x 8") bound in 3/4 blue polished leather and blue boards, a gilt-decorated and lettered spine, top edge gilt, patterned endpapers; [iv], 506 pages. The English translation is uncredited.

New York: Hermitage House, 1949. First Edition. Fine in close to Fine slipcase. Sydney Joseph. Decorated boards. Voltaire's classic with mildly erotic illustrations by Sydney Joseph. One of 1500 copies, this copy not numbered as apparently many were not.

Boston: Ticknor & Fields, 1858. First Edition. Hardcover. Pencil signature of Virginia Beasley dated 1858 on the first blank. Touch of wear to spine tips, light spotting of covers. Near Fine. Original brown cloth with brown endpapers. BAL 12122. First Printing with the October catalogue and "treacherous" for "ruddy" on line 3 of page 124. One of the copies with the inserted ad for Ticknor & Field's edition of the Waverley Novels at the front endpaper.

New York: Limited Editions Club, 1960. Hardcover. Fine in worn glassine and a close to Fine slipcase. Marcel Vertes. Large quarto (9- 1/8" x 12-1/4") bound in imported gold-toned Shiki silk, bearing on the front cover a drawing by Vertes, with a matching linen spine stamped in gold. Translated by Charles Stuart Calverley with an introduction by Moses Hadas. Copy #120 of 1500 designed by George Salter with 25 color illustrations by Marcel Vertes and SIGNED by the artist on the colophon page.

New York: Limited Editions Club, 1960. Hardcover. Fine in lightly worn glassine and a Fine slipcase. Marcel Vertes. Large quarto (9- 1/8" x 12-1/4") bound in imported gold-toned Shiki silk, bearing on the front cover a drawing by Vertes, with a matching linen spine stamped in gold. Translated by Charles Stuart Calverley with an introduction by Moses Hadas. Copy #1087 of 1500 designed by George Salter with 25 color illustrations by Marcel Vertes and SIGNED by the artist on the colophon page. Monthly Letter laid in.

New York: Limited Editions Club, 1946. Hardcover. Mild rubbing to the spine tips of a few volumes, the leather supple and bright. Near Fine example of a title usually found with much wear. The slipcase, usually lacking, is present and in Good condition, mostly intact with splitting and wear to the top edge. Gian Battista Piranesi. Seven quarto (6-5/8" x 10") volumes bound in half black morocco leather stamped in gold with a design by Clarence Pearson Hornung and printed marbled paper sides. Edited with an introduction and index by J. B. Bury. Illustrated with reproductions of views of Rome etched by Gian Battista Piranesi. Issued unsigned. Of a total edition of 1500 copies, this is one of only 15 Presentation Copies with the publisher's blindstamp attesting to such on the colophon page where instead of a number the words "Office Copy" are handwritten along with the initials "G.C." Acquired directly from the publisher's files, this copy belonged to Gordon Carroll who was in charge of the club's… Read More

London: A. Millar, 1749. Second Edition. Hardcover. Light, scattered foxing. Rubbing to joints, covers firm. Near Fine in a handsome Charles Lewis binding. Six volumes bound in early full paneled calf leather with gilt-decorated boards and elaborately gilt-decorated spines with contrasting morocco spine labels: lxiii, [i], 214; [2] 324; [2] 370; [2] 312; [2] 294; [2] 304 pages. Binding with the small leather label on the front pastedown of Charles Lewis, one of the best bookbinders of the early 19th century and employer of Francis Bedford, who took over Lewis's shop after his death. Considered to be the first true novel in English. Second edition, printed from reset type of the first edition, correcting a number of minor mistakes. Cross III, pages 316-317. Often mistakenly referred to as the second issue of the first edition. Probably printed on 13 April 1749, the first edition having been printed only about a month prior, with the errata corrected and the table of contents for all six volumes… Read More

Haarlem: Limited Editions Club, 1931. Hardcover. Small owner name on front endpaper, hinges intact; spine lightly soiled and faded, as usual. Very Good or better in an intact, lightly soiled Very Good yellow slipcase. Tall quarto (8" x 12") bound in full red linen, gold-stamped. Translated with an introduction by Alexander Pope. Copy #594 of 1500 printed by Joh. Enschede and designed by Jan van Krimpen and SIGNED by the designer on the colophon page. Both this title and THE ODYSSEY were not illustrated due to George Macy's opinion that these works were "beyond the power of any modern illustrator, and that this work most definitely demands the simple dignity of a non-illustrated edition."

Lugduni [Lyons]: Apud Seb. Gryphium, 1554. Early Edition. Hardcover. Lacks original endpapers and final two blanks; slight aging of text, faint water stains to margins of some pages at end. Near Fine. Small octavo (2-7/8" x 5") in 19th century vellum-backed and cornered marbled boards, gilt-ruled spine, gilt-lettered morocco spine label, all edges gilt; woodcut on title page and two woodcut initials, all pages ruled in red; 112 pages; a-g8 h5. Adams, F 654. Part of Florus's work on LivyÂ’s history of Rome.

London: Constable & Co. Ltd., (1917). First Trade Edition. Hardcover. Scattered foxing and soiling internally, text mostly clean and plates fine; 1976 owner inscription; spine is a bit rubbed with a few tears along the edge and wear to the head. Very Good. Arthur Rackham. Large octavo (7-3/4" x 10-1/4") in publisher's decorated cloth. Illustrated with 12 full-page tipped-in color plates by Arthur Rackham, all but one with tissue guards, as well as a number of black-and-white drawings, many also full-page.

New York: Limited Editions Club, 1961. Hardcover. Essentially New in torn glassine, lacking the folio facsimile volume and the slipcase. One of two volumes in octavo (5" x 7-1/4") bound in half buckram with highly distinctive hand-marbled paper sides by Putois Freres of Paris. The smaller of the two volumes, printed in red and black, consists of the original Latin odes with English translations on facing pages selected and edited by Louis Untermeyer with no less than 45 translators represented. The larger volume (not present here) consists of facsimile pages, in the same size as the originals, of 39 pages from 23 various volumes of Horace dating from 1482 to 1910. Issued unsigned. Of a total edition of 1500 copies, this copy, not numbered, is an apparent overrun and was still in the original 1961 publisher's container.

New York: Limited Editions Club, 1954. Hardcover. Spine slightly darkened. Near Fine in a Very Good slipcase with slight loss of paper on the top edge. Octavo (6-1/4" x 9-3/8") bound in full green, hand-crushed and rolled Florentine morocco leather with gilt stamping on the spine and a gilt-stamped fleuron pattern on the covers copying the design of a book in the library of Lorenzo the Magnificent. Translated from the Italian by Hill Thompson with a new preface by Irwin Edman. Copy #844 of 1500, issued unsigned.

New York: Limited Editions Club, 1954. Hardcover. Fine, bright copy in a Near Fine slipcase. Octavo (6-1/4" x 9-3/8") bound in full green, hand-crushed and rolled Florentine morocco leather with gilt stamping on the spine and a gilt-stamped fleuron pattern on the covers copying the design of a book in the library of Lorenzo the Magnificent. Translated from the Italian by Hill Thompson with a new preface by Irwin Edman. Copy #740 of 1500, issued unsigned. Monthly Letter laid in as well as something we've not encountered before: a broadsheet titled "How to Tell Gold from Shoddy," a translation taken from the MANUALE TYPOGRAFICA printed in 1788 by Giambattista Bodoni.

New York: Limited Editions Club, 1964. Hardcover. Bookplate on the front pastedown. Fine in a close to Fine slipcase. Antonio Sotomayor. Quarto (7-1/8" x 11") bound in vellum-backed red cloth with a gilt-stamped satyr design on the front cover and the spine stamped in gilt. Printed at the Press of A. Colish. William Burnaby's translation of the classic satire of life in ancient Rome revised by Gilbert Bagnani. Illustrated by Antonio Sotomayor with two double-page and eight full-page illustrations drawn in wash, and forty text drawings in line. Copy #39 of 1500 SIGNED by the illustrator on the colophon page. Monthly Letter laid in.

New York: Limited Editions Club, 1964. Hardcover. Fine in a Near Fine slipcase. Antonio Sotomayor. Quarto (7-1/8" x 11") bound in vellum-backed red cloth with a gilt-stamped satyr design on the front cover and the spine stamped in gilt. Printed at the Press of A. Colish. William Burnaby's translation of the classic satire of life in ancient Rome revised by Gilbert Bagnani. Illustrated by Antonio Sotomayor with two double-page and eight full-page illustrations drawn in wash, and forty text drawings in line. Copy #894 of 1500 SIGNED by the illustrator on the colophon page.

New York: Limited Editions Club, 1964. Hardcover. Fine in a Fine slipcase. Antonio Sotomayor. Quarto (7-1/8" x 11") bound in vellum-backed red cloth with a gilt-stamped satyr design on the front cover and the spine stamped in gilt. Printed at the Press of A. Colish. William Burnaby's translation of the classic satire of life in ancient Rome revised by Gilbert Bagnani. Illustrated by Antonio Sotomayor with two double-page and eight full-page illustrations drawn in wash, and forty text drawings in line. Of a total of 1500 copies SIGNED by the artist on the colophon page, this copy is not numbered (in place of the number is written in ink "Office Copy") and bears the Club's blindstamp stating it is one of 15 presentation copies.

Philadelphia & London: J. B. Lippincott Company & William Heinemann, 1918. First Trade Edition. Hardcover. Small calling card with gift inscription pasted to the front endpaper. Near Fine. Arthur Rackham. Large octavo (7-1/4" x 10") in publisher's gilt-lettered cloth. Illustrated with 8 full-page color plates by Arthur Rackham, all with captioned tissue guards, as well as a number of black-and-white drawings in the text.