Search Results: Authors starting with E from Charles Agvent

Framed Autograph. But for a small nick or two to the frame, Fine. Bold SIGNATURE of Earhart attractively matted and framed to an overall size of 11-3/4" x 16-1/2".

Boston: Little, Brown & Company, (1999). First Edition. Wraps. Fine. Uncorrected Proof/Advance Reading Copy in pictorial wraps of the author's second book and first novel.

Boston: Little, Brown & Co., (1994). First Edition. Hardcover. Fine in a Fine dustwrapper, essentially new. Cloth-backed boards. Author's first book, an impressive collection of stories.

Philadelphia: Lippincott, Grambo & Co., 1852. First Edition. Hardcover. The Presentation plate filled out by the owner in December 1852. Moderate to heavy foxing and staining throughout, the plates darkened a bit but still fairly clean and quite attractive. Overall a Very Good copy with early color plates of Native Americans. Seth Eastman. Octavo (6-1/4" x 9-1/4") bound in the original full embossed burgundy morocco leather with a gilt decorative figure in the center of both covers. Neatly rebacked at a recent date with a new leather spine. Most notable for the color plates of scenes of Native Americans, some of the earliest chromolithographs made. Also with many articles and poems about Native Americans, most (18) by Mary Eastman. Complete with 12 plates--including the often lacking Presentation plate and The Landing of William Penn--as well as the Illuminated Title Page plate, the List of Illustrations plate, and all 8 chromolithographs of Native Americans by P. S. Duval after drawings by Capt.… Read More

Philadelphia: J. B. Lippincott, [1854]. First Edition. Hardcover. Foxing, mostly light and marginal but occasionally in the image. A few pages toward the end partly detached. Some fading and light wear to spine ends. Very Good. Seth Eastman. Quarto (7-1/2" x 10-3/4") bound in the publisher's gilt-decorated gray cloth, all edges gilt. Illustrated with 21 fine steel-engraved plates, mainly of the Sioux and the Pueblo, after Seth Eastman, the author's husband and one of the finest artists of the frontier American West. The Eastmans depict in words and pictures from their own firsthand experiences the life and manners of Native Americans in the 1840s. Howes E18.

Lincoln: Penmaen Press, (1975). First Edition. Hardcover. Fine in torn glassine. Michael McCurdy. Illustrated with wood engravings. One of 300 numbered copies SIGNED by the author and the artist Michael McCurdy of a total edition of 1000. Tributes to Auden, Frost, Stevens, Yeats, and others.

London: Jonathan Cape, (1930). First Edition. hardcover. Very light wear. Near Fine in a lightly soiled, Very Good dustwrapper. Poet's first book, published in England before America. With the errata slip tipped in and the publisher's response card laid in. Especially scarce in dustwrapper.

New York: The Eakins Press, (1967). First Edition. Hardcover. Fine in a Fine unprinted acetate dustwrapper and a Fine slipcase, as issued. Brick cloth. Number 64 of only 99 numbered and SIGNED copies.

Baltimore: Privately Printed, 1937. First Edition. Hardcover. Three small red ink library stamps--half-title page, title page, and rear endpaper with a few pencil notes. Near Fine. Green cloth-backed boards (7-1/2" x 10-3/4"); xi, [iii], 324 pages. Copy #499 of 500 copies. Illustrated with a frontispiece portrait of the subject and with a foreword by him as well. Covers books printed from 1574 to 1935.

Pittsburgh: Slow Loris Press, (1977). First Edition. Wraps. Fine. Printed wraps. One of only 20 numbered and SIGNED copies with an ORIGINAL HANDWRITTEN POEM by Eddy of a total edition of 350. Apparently the poet's first book.

Chapel Hill, NC: Algonquin Press, 1991. First Edition. Wraps. Fine. Advance Copy in pictorial wraps with a card from the publisher laid in. SIGNED by the author on the title page.

Framed Autograph. Not examined out of frame, but appears to be Fine. A 7-1/2" x 10" black-and-white portrait printed on 11-1/2" x 14-1/2" paper with the Pach Bros. 1906 imprint at the bottom right of the image. INSCRIBED and SIGNED "To Thomas Neal./from Thomas A. Edison" below the image. Framed to an overall size of 12" x 15". A fine SIGNED photo portrait of Edison in his prime showing the great inventor and entrepreneur seated in three-quarters profile, wearing a three-piece suit with a carnation in his lapel.

New York: Harper & Brothers, (1911). First Edition. Hardcover. Gilt on spine a little dull, slight rubbing to front cover. Early owner inscription on front free endpaper well below Edison's signature. Near Fine. Publisher's sage green pebble-grain cloth with front cover stamped in blind and lettered in gilt with oval photographic portrait of Edison pasted to center; "Published November, 1911" on the copyright page. Illustrated with 8 photographic plates including a frontispiece portrait of Edison. SIGNED by Thomas Edison with his umbrella signature on the front endpaper.

(Oxford): Clarendon Press, 1906. Facsimile Edition. Hardcover. Light soiling to covers. Very Good. Parchment over boards imitating vellum. Part of the Tudor and Stuart Library. Originally published in 1690, this edition has an introduction by Tanner.

Cambridge, MA, 4 March 1935. Letter. Creases from mailing. Near Fine. A 1-1/2-page TYPED LETTER SIGNED on two sheets of 8-1/2" x 11" paper to a teacher, Carlton F. Wells, replying to his letter about a story he has written: "It is a comforting thing to know that someone has liked a story enough to go on reading it or using it in some way.... MY LADY'S TEA was the third story I ever sold, and was written the year after I graduated from College; and it seems to me that it has a vitality and freshness that has gone. But since then I have been learning the trade ... and I hope some of the eagerness will come back. The trouble with writing is that you have to produce more than your quality will allow, to make a living. And if you make money at some other job, the quality suffers. And almost no writer has the nerve to spend time on one thing to make it perfect as he can. Of course if you have genius the troubles mentioned do not count. But I feel this very keenly now when for two years I have been trying… Read More

Haarlem: Limited Editions Club, 1958. Hardcover. Spine of the book sunned but less than normally found. Near Fine in a complete but broken slipcase. Edward Bawden. Thick octavo (5-7/8" x 9-1/2") bound in dark brown buckram over beveled boards with a cameo portrait of Herodotus embossed in ivory linen on the front cover and an ivory linen label stamped in gold on the spine. Illustrated by Edward Bawden with 10 double-page color spreads and numerous pen-and-ink drawings. Copy #160 of 1500 SIGNED by the artist on the colophon page.

Boston: Draper & Folsom, 1782. First American Edition. Hardcover. Early ink name scratched out at top of title page; one leaf with short tear with no loss; lacks front endpaper, otherwise complete with the Advertisement leaf and blank at the end; occasional pencil notes, early ink stamp of John Clark on recto of rear endpaper, text evenly browned. Binding rubbed with slight loss of leather and mild wear at the spine tips. Very Good. Small quarto (5" x 8") in contemporary sheep; v, [2], vii-viii, 6-296 [i.e. 6-298], [2] pages. First published posthumously in Edinburgh in 1774, this first publication in America is very scarce. Here Edwards attempts to establish a theology in the form of history to show how events were adapted to promote the work of redemption. The DICTIONARY OF AMERICAN BIOGRAPHY describes Edwards as "the first great philosophic intelligence in American history."

New York: Limited Editions Club, 1981. First Edition. Hardcover. Fine in a Fine clamshell box. Fritz Eichenberg. Copy #12 of only 20 portfolios (out of a total edition of 50) with 18 final proofs on Torinoko handmade paper and 18 first proofs on Mohawk Superfine paper, each SIGNED by the artist and numbered. Each print is loose in a plain paper portfolio; the set is accompanied with a folded folio sheet of text (text leaf and portfolio sheets are 16-3/4" x 22"), first proof sheets on Mohawk Superfine (14" x 18-1/4"), final proof sheets on Torinoko (16-1/2" x 21-3/4"). Based on the woodblock illustrations done by Eichenberg for the Limited Editions Club book of the same title, also published in 1981. Housed in publisher's full tan cloth clamshell case, front cover lettered in blind.

[New York]: [Limited Editions Club], [1982]. Hardcover. Fine in a Fine case. Fritz Eichenberg. Complete collection of 10 SIGNED wood engravings (7-3/4" x 11-3/4") by Fritz Eichenberg used to illustrate the Limited Editions Club edition of Dostoevsky's THE HOUSE OF THE DEAD, here presented as loose engravings individually SIGNED and numbered 7 of only 25 sets produced. Laid into a black cloth-backed folder with marbled boards and gilt lettering on the spine. Though there is no indication of such, this came from the artist's estate.

[New York]: [Spiral Press], [1954]. Hardcover. One engraving, “And in Her Mouth Was an Olive Leaf," with crease down left margin. About Fine in a Near Fine case. Fritz Eichenberg. Portfolio of 10 SIGNED wood engravings (9-1/4" x 16") by Fritz Eichenberg contained in 3 paper folders, all housed in a stiff board folder with title and list of contents pasted on the front. Not issued with a title page or text, this set contains a subscription slip as well as the four-page prospectus which describes the work. Each engraving is titled, numbered 33/200, and SIGNED in pencil by the artist. Includes “The First Seven Days," “And Their Eyes Were Opened," “And in Her Mouth Was an Olive Leaf," “And She Became a Pillar of Salt," “The Lamentations of Jeremiah," “The Book of Job,” “The Book of Jonah,” “The Peaceable Kingdom,” “And David Took a Harp,” “And His Strength Went from Him.”