Category: First Edition

Introduction to Book Collecting AABA

shop-categories-illustrated-books

The mission of the Antiquarian Booksellers' Association of America is to promote ethical standards and professionalism in the antiquarian book trade, to encourage the collecting and preservation of rare and antiquarian books and related materials, to support educational programs and research into the study of rare books, and to facilitate collegial relations between booksellers, librarians, scholars, and collectors.

They have a very useful selection of articles and information about book collecting, book valuation and rare books. The article Introduction to Book Collecting is one such article written by the highly regarded Allen and Patricia Ahearn in 1999. You may find this excellent article HERE. It is well worth the read

The newest satellite show for New York City Rare Book Week

The newest satellite show for New York City Rare Book Week will feature 60 fine book and ephemera dealers with fresh material. Located less than a mile from the NY Antiquarian Book Fair at the Park Ave, Armory.

logo NYC Book Week

Free Shuttle bus drop-off service from this fair to the armory running continuously from 8:15 am - noon.

April 11, 2015
Saturday 8am-4pm
Wallace Hall at St. Ignatius Loyola Church
980 Park AVe. (between 83-84 sts)
New York, New York

Directions
Dealer List
Discount Admission Coupon
Space Rental Inquiry
Purchase your ticket online in advance and save $5 off the admission
Purchase Tickets Here

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Elmore Leonard estate sale includes signed, first edition books

elmoreestate

 

TORONTO — Famed author Elmore Leonard’s personal items are up for grabs this week in Michigan.

The Get Shorty writer died last August at 87.

The estate sale at his home in Bloomfield Hills — about 30 minutes outside Detroit — runs Thursday until Saturday and features first edition and signed books as well as furniture, lamps, linens and rugs.

Photos of what’s available for purchase can be found at estatesales.net.

Many of Leonard’s 45 novels were adapted into movies, including Be Cool, Jackie Brown and the made-in-Toronto Killshot.

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Defaced first edition of ‘Ulysses’ valued at €13,500

Book was defaced by an irate reader who regarded the book as pornographic...

Ulysses defaced

A copy of Ulysses by James Joyce in which a previous reader has written “A Pornographic Bible” under the title. Photograph: Philip Cloherty

Source: The Irish Times
By: Michael Parsons
First published:
Tue, Dec 31, 2013, 01:00

A first-edition copy of James Joyce’s novel Ulysses has been valued at €13,500 despite having been defaced by an irate reader who regarded the book as pornographic.

Galway-based rare book dealer Norman Healy, who acquired the book in London, said a previous owner had defaced the book by writing the comment “a pornographic Bible” on the famous blue paper cover beneath the title. The word “pornographic” is underlined.

Defaced books are often worthless but such is the desirability of first-edition copies of Ulysses it has been catalogued for resale at €13,500. Mr Healy said the book would normally be valued at about €10,500 but he believed the comment, added by “a previous, less than enthusiastic owner”, had enhanced the value.

The identity of the previous owner is not known but the defacement is likely to have occurred long before the book’s importance and financial value became apparent. The comment reflected the view, widely held in the early 20th century, that Ulysses was scandalous.

Ulysses was published in Paris on Joyce’s 40th birthday, February 2nd, 1922, by Sylvia Beach, an American publisher and founder of the Paris bookshop Shakespeare and Company. A thousand numbered copies were printed, clad in soft covers that featured the title and the author’s name in white on a blue background. A copy can be worth tens or hundreds of thousands of euro, depending on the condition and whether or not it was signed or inscribed by Joyce.

For collectors of rare books, Ulysses is said to be the most sought-after and valuable 20th century first edition. The most valuable are those rare examples that still have the fragile dust-jacket wrapper intact and were signed or inscribed by Joyce.

The defaced “pornographic” copy is missing half the dust jacket and was not signed by Joyce.

The highest price achieved to date for a first edition of Ulysses was for a copy, inscribed by Joyce to Henry Kaeser, a Swiss publisher, that was sold in 2002 at Christie’s, New York, to a private collector for $460,500 (€333,600).

Of the 1,000 first-edition copies of Ulysses, 200 are reliably believed lost or destroyed. Of the 800 copies known to be extant, about half are in public collections – including that of the National Library – and the others are privately owned. Copies occasionally turn up at auction or for sale by dealers.

In the 1920s the New York Society for the Suppression of Vice ensured Ulysses was effectively banned in the United Sates and copies sent there were seized and destroyed by the post office. Despite strict censorship during the 20th century, Ulysses was not banned in Ireland but was not imported, for fear of a prosecution.

Even some of Joyce’s literary contemporaries expressed disapproval of the novel. DH Lawrence regarded Molly Bloom’s soliloquy at the end of the novel as “the dirtiest, most indecent, obscene thing ever written” and told his wife: “This Ulysses muck is more disgusting than Casanova.”

Virginia Woolf was shocked by the “obscenity” she encountered in Ulysses.

In 1934, a US court ruled that the book was neither pornographic nor and obscene. Further editions were then published and the novel became available worldwide.

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Bauman Dream Order - The List

I just received the new Bauman Rare Books notice that their new catalog was in. I thought I take a quick look and noticed a "Wish List" button. So I thought, "Here I am, lots of time on my hands. Why don't I just make a Wish List where money is no object. The sky is the limit!" I also thought I'd share that Wish List with yaw'll. These are in no particular order. I will let you know my little "shopping spree" came to $760,750.00 + tax and shipping. If I ever win the lottery, Bauman's is the first place I will go. Period

The List

Fear and Loathing in Las Vegas

Fear and Loathing in Las Vegas

Fear and Loathing in Las Vegas
THOMPSON, Hunter S.
Item ID: 88059
SIGNED BY HUNTER S. THOMPSON

THOMPSON, Hunter S. Fear and Loathing in Las Vegas. New York, 1971. First edition of Thompson’s edgy journey into the American dream, boldly signed by him with his characteristic “H.S. Thompson,” and additionally dated SF/7.18,84” by him. In scarce original dust jacket.
$8,250.00

Alice's Adventures in Wonderland and Through the Looking-Glass
http://www.bookcollecting101.com/wp-content/uploads/2013/07/SIGNED-BY-THE-ORIGINAL-ALICE-LIMITED-EDITIONS-CLUBS-ALICES-ADVENTURES-IN-WONDERLAND-AND-THROUGH-THE-LOOKINGGLASS.jpg

Alice's Adventures in Wonderland and Through the Looking-Glass
CARROLL, Lewis
Item ID: 88337
SIGNED BY THE ORIGINAL ALICE
CARROLL, Lewis. Alice’s Adventures in Wonderland and Through the Looking-Glass. New York, 1932, 1935. Two volumes. Limited editions, each book number 608 of 1500 copies and each signed by Alice Hargreaves née Liddell, for whom Carroll wrote the books. $8500.
Status: Available
$8,500.00

Rose Tattoo

Rose Tattoo

Rose Tattoo
WILLIAMS, Tennessee
Item ID: 68221
INSCRIBED BY TENNESSEE WILLIAMS

WILLIAMS, Tennessee. The Rose Tattoo. (New York), 1951[ie, 1951]. First edition of Williams’ “celebration of the inebriate god,” inscribed by the playwright to Cheryl Crawford, who produced the play’s first run: “To Cheryl with my heart’s true love—Tennessee.” Laid in is a flyer for Crawford’s 1977 memoir, One Naked Individual: My Fifty Years in the Theatre, with notes on the verso in Crawford’s hand about Camino Real and a prop list for Rose Tattoo.
$9,200.00

Romance of King Arthur

King Arthur - Arthur Rackham

Romance of King Arthur
RACKHAM, Arthur
Item ID: 82872
ARTHUR RACKHAM’S OWN COPY OF HIS ILLUSTRATED KING ARTHUR

MALORY, Sir Thomas. The Romance of King Arthur. London, 1917. Rackham’s own copy of the first trade edition of one of his classic works, signed by him, and with his bookplate and a page of notes in his hand tipped in describing the inspirations for five of the illustrations. With 16 full-page color illustrations, seven full-page black-and white drawings and over 60 in-text illustrations. $10,000.
$10,000.00

Absalom, Absalom!

Absalom, Absalom

Absalom, Absalom!
FAULKNER, William
Item ID: 86960
SIGNED LIMITED FIRST EDITION OF ABSALOM, ABSALOM!

FAULKNER, William. Absalom, Absalom! New York, 1936. Signed limited first edition, number 172 of only 300 copies signed by Faulkner-“the greatest American novel since the turn of the century”—with folding map of Faulkner’s fictional Yoknapatawpha County. $11,000.
$11,000.00

Alice's Adventures in Wonderland

Dali

Alice's Adventures in Wonderland
CARROLL, Lewis
Item ID: 83979
DOWN THE RABBIT HOLE WITH SALVADOR DALÍ

(DALI, Salvador) CARROLL, Lewis. Alice's Adventures in Wonderland. New York, 1969. Beautifully printed limited edition of the brilliant and beloved children’s classic, number 437 of 2500 copies signed by Salvador Dalí on the title page, with an original etching and 12 full-page color photogravures after his paintings—as breathtakingly imaginative as the text they illustrate. $13,000.
$13,000.00

Room of One's Own

A room of one's own

Room of One's Own
WOOLF, Virginia
Item ID: 72408
“A WOMAN MUST HAVE MONEY AND A ROOM OF HER OWN IF SHE IS TO WRITE FICTION”

WOOLF, Virginia. A Room of One’s Own. New York and London, 1929. Signed limited first edition, number 106 of 492 copies distinctively signed on the half title by Woolf in her characteristic purple ink. $15,000.
$15,000.00

Hell's Angels

Hell's Angels

Hell's Angels
THOMPSON, Hunter S.
Item ID: 87782
SIGNED BY HUNTER S. THOMPSON
THOMPSON, Hunter S. Hell's Angels. New York, 1967. First edition of Thompson’s first book, his narrative of California’s infamous biker gangs, boldly signed by the celebrated “gonzo journalist” on the half title. $16,000.

Writings

Writings

Writings
STOWE, Harriet Beecher
Item ID: 68172
HARRIET BEECHER STOWE’S WRITINGS, SIGNED BY THE AUTHOR

STOWE, Harriet Beecher. Writings. Cambridge, 1896, 1897. Together, seventeen volumes. Signed limited large-paper edition, number 246 of only 250 sets signed and dated (“Jany 9th 1896”) by Harriet Beecher Stowe in Volume I, with 33 illustrated frontispieces and title pages, beautifully bound in full morocco-gilt. Autographed on the fly leaf by the author for this edition “a few months before her death.”
$16,000.00

Strength to Love

Martin Luther King Jr.

Strength to Love
KING Jr., Martin Luther
Item ID: 88406
INSCRIBED BY MARTIN LUTHER KING, JR.

KING Jr., Martin Luther. Strength to Love. New York, Evanston, and London, 1963. First edition of Martin Luther King, Jr.’s second book, inscribed by the author and civil rights leader, “Best Wishes, Martin Luther King,” in original dust jacket. An excellent association copy from the library of Transport Workers Union of America co-founder and president Mike Quill.
$16,500.00

Tree Grows in Brooklyn

A Tree Grows in Brooklyn

Tree Grows in Brooklyn
SMITH, Betty
Item ID: 78153
EXTRAORDINARILY RARE INSCRIBED FIRST EDITION OF A TREE GROWS IN BROOKLYN

SMITH, Betty. A Tree Grows in Brooklyn. New York, (1943). First edition of Betty Smith’s scarce first novel, inscribed, “To Bill with love, Betty Smith, June 1960, Chapel Hill, N. Car.”
$16,500.00

Where Do We Go From Here: Chaos or Community?

Where Do We Go From Here

Where Do We Go From Here: Chaos or Community?
KING Jr., Martin Luther
Item ID: 88773
PRESENTATION COPY INSCRIBED BY MARTIN LUTHER KING, JR. TO HIS AUNT AND UNCLE

KING Jr., Martin Luther. Where Do We Go From Here: Chaos or Community? New York, Evanston, and London, 1967. First edition, presentation/association copy, of Dr. King’s last book, published the year before he was assassinated, in scarce original dust jacket, inscribed by him, “To Aunt Woodie and Uncle Jerry, For whom I have great Love and Respect and whose loyal support I cherish very deeply. M.L.” $17,500.00

Works

Oscar Wilde

Works
WILDE, Oscar
Item ID: 82241
FIRST COLLECTED EDITION OF OSCAR WILDE’S WORKS, WITH TYPED LETTER SIGNED FROM HIS LITERARY EXECUTOR ROBERT ROSS TIPPED IN AND WITH A PHOTOGRAPH OF WILDE

WILDE, Oscar. Works. London, 1908. Fourteen volumes. First collected edition of Wilde’s works, one of 80 sets printed on Japanese vellum, bound in publisher’s limp vellum gilt-decorated after designs by Ricketts. With typed letter signed by Wilde’s literary executor Robert Ross and a hand-addressed envelope containing an early print of the famous photograph of Wilde taken two hours after his death tipped in to De Profundis.
$18,500.00

Gone with the Wind

Gone With the Wind

Gone with the Wind
MITCHELL, Margaret
Item ID: 88893
SIGNED BY MARGARET MITCHELL

MITCHELL, Margaret. Gone with the Wind. New York, 1936. First edition, first printing, of this American classic, in original dust jacket, signed by the author..
$20,000.00

Streetcar Named Desire

Streetcar Named Desire

Streetcar Named Desire
WILLIAMS, Tennessee
Item ID: 86964
SIGNED BY TENNESSEE WILLIAMS

WILLIAMS, Tennessee. A Streetcar Named Desire. New York, 1947. First edition of Williams’ first Pulitzer Prize-winning drama, signed by him. A beautiful copy.
$20,000.00

Green Hills of Africa

Green Hills of Africa

Green Hills of Africa
HEMINGWAY, Ernest
Item ID: 88839
“THE MOST LITERARY HUNTING TRIP ON RECORD”

HEMINGWAY, Ernest. Green Hills of Africa. New York, 1935. First edition of Hemingway’s gripping account of big game hunting, inscribed by the author, “Very truly, Ernest Hemingway.”
$22,000.00

Ravenna

Oscar Wilde

Ravenna
WILDE, Oscar
Item ID: 82478
EXTREMELY RARE PRESENTATION COPY OF RAVENNA, INSCRIBED BY OSCAR WILDE
WILDE, Oscar. Ravenna. Oxford, 1878. Rare first edition, presentation copy, of Oscar Wilde’s first book, one of only 168 copies published, inscribed by Wilde across the front wrapper: “E.B. Benson with best wishes from the author.”
$22,000.00

Farewell to Arms

Farewell to Arms

Farewell to Arms
HEMINGWAY, Ernest
Item ID: 88837
“THAT MUSICAL CRYSTAL-CLEAR STYLE, BLOWN LIKE GLASS FROM THE WHITE-HEAT OF VIOLENCE”

HEMINGWAY, Ernest. A Farewell to Arms. New York, 1929. Signed limited first edition of Hemingway’s “consummate masterpiece,” number 326 of only 510 copies signed by him, in scarce original slipcase.
$22,500.00

Document signed

Abraham Lincoln

Document signed
CIVIL WAR
Item ID: 89168
SIGNED BY ABRAHAM LINCOLN, RARE OFFICIAL PRESIDENTIAL DOCUMENT DATED JULY 9, 1863, ONLY DAYS AFTER GETTYSBURG AND VICKSBURG

LINCOLN, Abraham. Document signed. City of Washington, July 9, 1863. Fine July 9, 1863 official presidential order signed by Lincoln shortly after the Union’s powerful but costly victories at Gettysburg and Vicksburg, here calling for Maine to draft thousands of men under the controversial March 3, 1863 Conscription Act, a law that would provoke the bloody New York draft riots that erupted only six days after the date of this rare Civil War signed document.
$22,500.00

Portfolio I

Folio

Portfolio I
JACOBI, Lotte
Item ID: 58801
EXCEPTIONALLY RARE PORTFOLIO COLLECTION OF LOTTE JACOBI’S MOST MEMORABLE PORTRAITS, ONE OF ONLY FIVE FOLIO COPIES, FEATURING TEN ORIGINAL PHOTOGRAPHS SIGNED AND NUMBERED BY JACOBI

JACOBI, Lotte. Portfolio I. Deering, New Hampshire, 1978. Limited artist’s proof portfolio, number four of only five copies, a rare self-published edition containing ten original silver gelatin hors commerce proofs, each signed and numbered in pencil by Jacobi on the lower corner of the image, featuring some of her finest portraiture from before 1940, including her trademark Self-Portrait, her famous image of Einstein in a leather jacket and portraits of leading Weimar figures such as Lotte Lenya, Peter Lorre and Kurt Weill.
$28,000.00

Happy Prince and Other Tales

Happy Prince

Happy Prince and Other Tales
WILDE, Oscar
Item ID: 85909
INSCRIBED BY OSCAR WILDE

WILDE, Oscar. The Happy Prince and Other Tales. London, 1888. Rare first trade edition, one of 1000 copies printed, in original Japanese vellum pictorial boards, with three plates by illustrator Walter Crane, inscribed in the year of publication, “Edith Cones from her sincere friend the author. Oscar Wilde, June, 88.” A fine, exceptional copy.
$42,000.00

Tender is the Night

Tender is the Night

Tender is the Night
FITZGERALD, F. Scott
Item ID: 68091
INSCRIBED BY F. SCOTT FITZGERALD

FITZGERALD, F. Scott. Tender is the Night. New York, 1934. First edition, third printing (only one month after the first), in scarce original first-issue dust jacket, boldly inscribed by the author: “Souvenir of Wilmington from F. Scott Fitzgerald to J. Stuart Groves.”.
$46,000.00

This Side of Paradise

This Side of Paradise

This Side of Paradise
FITZGERALD, F. Scott
Item ID: 75461

F. SCOTT FITZGERALD’S FIRST BOOK, THIS SIDE OF PARADISE, INSCRIBED BY HIM ONE DAY AFTER PUBLICATION

FITZGERALD, F. Scott. This Side of Paradise. New York, 1920. First edition, first printing of Fitzgerald’s first novel, inscribed one day after publication, “For Pete Compton, A wild man if there ever was one — F. Scott Fitzgerald, Princeton, NJ, March 27th 1920.”
$63,000.00

Catcher in the Rye

Catcher in the Rye

Catcher in the Rye
SALINGER, J.D.
Item ID: 87077
INSCRIBED BY J.D. SALINGER

SALINGER, J.D. The Catcher in the Rye. Boston, 1952. First edition, early issue, of Salinger’s first book—“a 20th-century classic”—an exceedingly rare copy inscribed and dated by him within months of publication, “New York, N.Y. March 15, 1952 With best wishes, J.D. Salinger.”
$65,000.00

Beautiful and Damned

Beautiful and the Damned

Beautiful and Damned
FITZGERALD, F. Scott
Item ID: 75463
INSCRIBED BY F. SCOTT FITZGERALD IN THE YEAR OF PUBLICATION
FITZGERALD, F. Scott. The Beautiful and Damned. New York, 1922. First edition, first issue, an exceptional presentation copy whimsically inscribed in the year of publication by Fitzgerald, “For Wilbur Judd, Parisien [sic], Critic, Playrite [sic], Bibliophile, Drunkard and Good Egg, From F. Scott Fitzgerald, St. Paul 1922,” in scarce second-issue dust jacket (issued within months of the first-issue jacket).
$75,000.00

Call of the Wild

Call of the Wild

Call of the Wild
LONDON, Jack
Item ID: 81588
“YOU HAVE ALWAYS LOVED YOUR SON AND THINGS WITH US ALWAYS WILL BE WELL…”
LONDON, Jack. The Call of the Wild. New York and London, 1903. First edition, first printing, of one of the most desirable copies in American literature, inscribed from Jack London to his mother within four days of publication, one of the earliest known inscriptions: “Dear Mother, You have always loved your son, and things with us always will be well. Jack. July 22, 1903,” in scarce original dust jacket.
$125,000.00

Memoirs

Memoires

Memoirs
WILLIAMS, Tennessee
Item ID: 88999
SIGNED BY TENNESSEE WILLIAMS
WILLIAMS, Tennessee. Memoirs. Garden City, New York, 1975. First trade edition of Williams’ critically-praised autobiography, signed by him.
$750.00

Vision of Hell

Dante

Vision of Hell
DORE, Gustave
Item ID: 89102
“TORMENTS SHOWN WITH MINUTE AND SOMETIMES SHOCKING FIDELITY”
(DORÉ, Gustave) DANTE. The Vision of Hell. London and New York, circa 1870. Handsome folio edition, circa 1870, of one of Gustave Doré’s most famous illustrated works—The Vision of Hell of Dante Alighieri—his depiction of Dante’s horrific circles of Hell, with frontispiece portrait of the poet and 75 full-page wood-engravings, scarce in contemporary morocco.
$2500.

Opening of the Wisdom-Eye

Dalai Lama

Opening of the Wisdom-Eye
DALAI LAMA
Item ID: 89187
SIGNED BY THE DALAI LAMA
DALAI LAMA Tenzin Gyatso. The Opening of the Wisdom-Eye. Wheaton, Illinois, 1972. First American edition, signed on the title page by the winner of the 1989 Nobel Peace Prize, His Holiness, the 14th Dalai Lama of Tibet.
$4000.

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First Edition Identification by Publisher

Allen Ahearn has very kindly given his permission to reprint his article on the identification of first edition books by publisher. The Quill & Brush, the Ahearn's bookstore was established in 1976 as an outgrowth of a part-time business run by Allen and Patricia Ahearn who started collecting and cataloging books in the early 1960s. The Ahearns have over 45 years of experience in the field. At present the Quill & Brush is operated by Allen and Pat and their two daughters, Beth Fisher and Sue Regan. Their website is: http://www.qbbooks.com. They are very well known and respected authors in the area of book collecting.

  • "In the case of titles published before 1900, the key to first-edition identification is often the date on the title page. The vast majority of first editions published before 1900 had the year of publication on the title page (this is true for fiction and nonfiction titles). The presence of a date on the title page alone may identify books published prior to the mid-1800s as first editions. A matching date on the copyright page (or the back of the title page) often identifies a book published in the mid- to late 1800s as a first edition. After 1900, a number of publishers did not or currently do not put the date on the title page of their first editions.
    In the early 1900s, many publishers began to identify the first edition on the copyright page. A variety of statements have been used and continue to be used to denote a first edition, such as "First Edition," "First Printing," "First Impression," "First published (Year, or Month and Year)," or simply "Published (Year, or Month and Year)." A few publishers have placed or place their logo, colophon, or a code (generally "1" or "A") on the copyright page of the first edition. Publishers who did not or do not use a first-edition statement, in most cases, note subsequent printings on the copyright page. For these publishers, the absence of a later printing statement is the key to identifying the first edition.
    Books with "First and Second Printings before Publication" are second printings.
    Over the past few decades, the majority of publishers have used a number row on the copyright page to identify a book's printing and occasionally the date of publication. Sometimes the number row is accompanied by a first-edition statement (often it is not). It is important to note that regardless of the order of the numbers in the row, the lowest number indicates the printing. The presence of the number "1" (with few exceptions) indicates a first printing. Some examples follow:
    "1 2 3 4 5 6 7 8 9 10"
    "10 9 8 7 6 5 4 3 2 1"and
    "1 3 5 7 9 10 8 6 4 2"
    all indicate a first edition

    "76 77 78 79 80 10 9 8 7 6 5 4 3 2"
    indicates a second printing published in 1976

    "3 4 5 6 7 8 9 10 90 89 88 87 86"
    indicates a third printing published in 1986

    "1 3 5 7 9 11 13 15 17 19 H/C 20 18 16 14 12 10 8 6 4 2"
    indicates a first printing, manufactured by "H" in a cloth binding
    (used by Scribners)

    Unfortunately, publishers sometimes fail to omit a first-edition statement from subsequent printings:

    First Edition
    3 4 5 6 7 8 9 10

    and

    First Printing
    10 9 8 7 6 5 4 3 90 89 88 87 86 85 84

    are both third printings.
    The list below provides at-a-glance information for first-edition identification by publisher. For more detailed information on identifying first editions by a wide range of publishers, we recommend the 1995 edition of Edward N. Zempel and Linda A. Verkler's First Editions: A Guide to Identification (The Spoon River Press, 2319-C West Rohmann Avenue, Peoria, IL 61604). This superb reference provides publishers' verbatim statements, collected over nearly 70 years, on their practices for identifying first editions and later printings. In addition, we highly recommend the occasional series "A Collector's Guide to Publishers" featured in the monthly magazine for book collectors Firsts (4493 N. Camino Gacela, Tucson, AZ 85718. Telephone: 520-529-5847). This interesting and informative series provides a history, some notable writers and books published, and standard practices for first-edition identification (and, in some cases, notable exceptions), for the publishers profiled over 30 major publishers to date. We used our experience over the last 30 years, our stock, and both of the above-mentioned references to compile the list below.
    A final, important note: It is always prudent to consult a bibliography for conclusive first-edition identification. We have a rather extensive list of author and other bibliographies on this site http://www.qbbooks.com for information.


    D. Appleton & Co. Used a numerical identification, in parentheses or brackets, at the foot of the last page: "(1)" = first printing, "(2)" = second printing, etc. (May have occasionally used a "first edition" statement instead of the numerical identification.)
    D. Appleton-Century Co. Prior to the 1980s, used a numerical identification, in parentheses or brackets, at the foot of the last page: "(1)" = first printing, "(2)" = second printing, etc. (May have occasionally used a "first edition" statement instead of the numerical identification.) Since the 1980s, have used a number row to indicate year of publication and printing.


    Arkham House / Arkham House Publishers, Inc. With the exception of collected works of H. P. Lovecraft, did not reprint titles and, as late as the 1980s, always included a colophon at the back of each book (reprints would be noted there). According to the publisher, began using a first-edition statement and noting later printings on the copyright page sometime in the late 1970s to early 1980s.
    Atheneum. States first edition on copyright page. Began using a number row in the mid-1980s.


    Atlantic Monthly Press. Prior to 1925, did not use a first edition statement (or put the publication date on the title page of first editions as was the case for many publishers in the late -1800s to early 1900s, and did not consistently list later printings on the copyright page. See Little, Brown for books published after 1925 (Little, Brown began publishing the Atlantic Monthly Books in 1925 and using their methods for first-edition identification).


    Avalon Books. Does not normally reprint books, but according to the publisher, later printings would be noted.
    Ballantine Books. In general, hardcover editions stated "First edition (Month, Year)" or "First printing (Month, Year)"; paperback originals carried no statement on the copyright page for first printings; later printings were noted.


    Robert A. Ballou. No consistent practice.


    A. S. Barnes. According to the publisher, have noted later printings on the copyright page since at least 1976. Prior to this, designation of later printings was erratic. (Does not use a first-edition statement.)


    Ernest Benn. States "First published in (Year)" on the copyright page of first editions; or sometimes omits the "first published" statement and puts the year of publication on the title page with their imprint to designate a first edition. In either case, subsequent printings are noted.


    William Blackwood. No statement on first editions, but subsequent printings noted. (According to the publisher, in the early 1900s may have designated some first editions "second edition" as a marketing tool.)


    Blakison. Reprint publisher.


    Bobbs-Merrill. Prior to the 1920s, sometimes used a bow-and-arrow design on the copyright page of their first editions; after 1920, generally stated "First edition" or "First printing" (but not consistent in either practice).


    Bodley Head. States "First published 19.." or "First published in Great Britain 19.."; subsequent printings would presumably be noted.


    Albert & Charles Boni. No statement on first editions, but subsequent printings noted.


    Boni & Liveright. May have occasionally stated first edition, but in general, the absence of a later printing statement indicates a first edition.


    Book Supply Co. Uses a first edition statement; subsequent printings presumably noted.


    Brentano's. Prior to 1928, no statement on first editions; subsequent printings noted. In 1928, began stating "First printed 19.." on copyright page of first editions and continued noting subsequent printings.


    Edgar Rice Burroughs, Inc. Published only the books of Edgar Rice Burroughs. No statement on books published prior to 1933; began using a first edition statement sometime in 1933. (Although both were published in 1933, there is no statement on the first edition of Apache Devil but Tarzan and the City of Gold states first edition on the copyright page.)


    A. L. Burt. Primarily a reprint publisher, but published the first U.S. edition of P. G. Wodehouse's Man with Two Left Feet (states first edition on the copyright page). For those authors whose first editions have become very high-priced, A. L. Burt reprints in dust jackets closely matching the first editions are sometimes desirable.
    Calder & Boyars. States "First published (Year)" or "First published in Great Britain (Year)"; subsequent printings would presumably be noted.


    Jonathan Cape & Harrison Smith. States "First published (Year)" or "First published in America (Year)"; subsequent printings would presumably be noted.


    Jonathan Cape. States "First published (Year)" or "First published in Great Britain (Year)" on copyright page of first editions; subsequent printings noted.


    Cassell & Co. Prior to the early 1920s, put the year of publication on the title page of the first edition and left the copyright page blank; subsequent printings would presumably be noted or carry a later date on the copyright page. In the early 1920s, began stating "First published (Year)" or "First published in Great Britain (Year)" on copyright page of first editions; subsequent printings noted.


    Caxton Printers. No statement on first editions, but subsequent printings noted.
    Century Co. No consistent practice.


    Chapman & Hall. Either stated "First published (Year)" or made no statement on first editions; subsequent printings noted.


    Chatto & Windus. In general, no statement on first editions, although sometimes states "Published by Chatto & Windus" (without a date); subsequent printings noted. May have added a number row in the early 1990s.


    Clarke, Irwin. No statement on the first edition; subsequent printings presumably noted.


    Collier. In our limited experience with this publisher, no statement on the first edition; subsequent printings presumably noted.


    Collins (U.K.). No statement on the first edition; presumably subsequent printings would be noted (with either a statement, or a date subsequent to the copyright date).


    Contact Editions. Limited editions included a colophon page. Did not generally use a first edition statement on trade editions, but subsequent printings would presumably be noted.


    Pascal Covici. May have occasionally stated first edition, but in general the absence of a later printing statement indicates a first edition.


    Covici-Friede. No statement on first editions, but subsequent printings noted.


    Covici McGee. No statement on the first edition, but presumably later printings would be noted.


    Coward-McCann. Not consistent in their practices for identifying first editions, but in general subsequent printings noted. (Until mid-1930s, usually placed a colophon with a torch design on the copyright page of first editions and removed the torch portion of the colophon on subsequent printings. After 1935, stated "first American edition" on the copyright page of books first published outside the United States, but made no statement on books first published in the United States.)


    Coward, McCann and Geoghehan. No statement on first editions, but subsequent printings noted.


    Creative Age. No statement on first editions, but subsequent printings noted.


    Crime Club (U.K.). See Collins.


    Crime Club (U.S.). See Doubleday, Doran & Co.


    Thomas Y. Crowell. No statement on first editions, but subsequent printings noted. May have used a number row to indicate printings as early as the 1940s.


    Crown Publishers. Prior to the 1970s, no statement on first editions, but subsequent printings noted. Began using a number row and first-edition statement in the 1970s.


    John Day Co. / John Day in association with Reynal and Hitchcock [1935-38] / John Day & Co. First few years (beginning in 1928) may have stated "First Published (Month, Year)" on first editions and noted later printings. In the 1930s, switched to designating only later printings (no statement on first editions). In the 1970s, began using a number row. (In the late 1970s, may have added a first-edition statement to the number row.)


    Delacorte Press / Seymour Lawrence. Presently uses a number row; previously stated "first printing" or "first American printing." Devin-Adair. Although may have consistently stated "First Edition" in recent years, in general first editions can be identified by the absence of a later printing statement.


    Dial Press. Although occasionally stated "First Printing" prior to the mid-1960s, did not list subsequent printings. In general, first editions published prior to the mid-1960s can be identified by the presence of the same date on the title page and the copyright page (also true for books published before the mid-1930s with the imprint "Lincoln MacVeagh / The Dial Press"). In the late 1960s, began stating "First Printing (Year)" on first editions and noting subsequent printings. Currently uses a number row.


    Dillingham. In our limited experience with this publisher, no statement on the first edition; subsequent printings would presumably be noted.


    Dodd, Mead. Prior to 1976, no statement on first editions, and often subsequent printings were not noted. In late 1976, added a number row to most titles (occasionally deleting the row from subsequent printings and replacing it with a later printing statement). Note: According to Firsts magazine, in the 1970s first-printing dustwrappers of some mystery titles were issued without a price on the flap, making them appear to be book-club editions.


    George H. Doran. Generally placed a colophon with the initials "GHD" on the copyright page of the first edition (but not consistently until the early 1920s). Occasionally, stated "first printing." Merged with Doubleday in 1927.


    Doubleday & Co. States "first edition" on copyright page; no statement on later printings.


    Doubleday, Doran & Co. States "first edition" on copyright page; no statement on later printings.


    Doubleday & McClure Co. In general, the date on the title page should match last date on the copyright page of a first edition.


    Doubleday, Page & Co. Before the early 1920s, no statement on the first edition. In early 1920s, began stating "first edition," but may not have used any statement on books first published outside the U.S. (no statement on later printings).


    Duell, Sloan and Pearce. In general, either stated "First Edition" or placed a Roman numeral "I" on the copyright page of first editions. Later printings were usually denoted similarly - e.g., "Second Printing" or "II."


    E. P. Dutton. Prior to 1929, the date on the title page should match the last date on the copyright page of a first edition. In the 1930s, began stating "First edition" or "First printing." In recent years, added a number row (they adjust the numbers for subsequent printings, but often fail to remove the first edition statement).
    Editions Poetry. States "First published...(Year)" on the copyright page of the first edition; subsequent printings would presumably be noted.


    Egoist Press. Limited editions included a colophon page. Did not generally use a first-edition statement on trade editions, but subsequent printings would presumably be noted.


    Eyre & Spottiswoode. Either printed the year of publication under their name at the bottom of the title page of first editions, or stated "This book, first published 19.., is printed..." on the copyright page; subsequent printings were noted.


    Faber & Faber, Ltd. States "First Published (Month, Year)" on copyright page and notes subsequent printings. Prior to 1968, the year of publication was in Roman numerals; beginning in 1968, switched to Arabic numerals. Since World War II, the month has generally been omitted from the first-edition statement. Recently added a number row to most publications.


    Faber & Gwyer, Ltd. Stated "First published by Faber & Gwyer in (Month, Year)" on copyright page of first editions; noted subsequent printings.


    Fantasy Press. States "First Edition" on copyright page; may have occasionally left "First Edition" statement of original publisher on offset reprints with their imprint.


    Farrar, Rinehart. Publisher's logo appears on the copyright page of first editions; no statement on subsequent printings. Very rarely stated "first edition" (in place of the logo).


    Farrar, Straus. Publisher's stylized initials (FS) appear on the copyright page of first editions; no statement on subsequent printings.


    Farrar, Straus & Cudahy. States either "First published (Year)" or "First printing" on the copyright page of first editions.


    Farrar, Straus & Giroux. States either "First published (Year)," "First printing (Year)," or "First edition (Year)" on the copyright page of first editions.


    Farrar, Straus & Young. Used either a first-edition statement or a colophon on the copyright page of first editions.


    Fawcett. Uses a number row to designate printings.


    Four Seas. In general, no statement on first editions, but subsequent printings noted.


    Funk & Wagnalls. Used a Roman numeral "1" (I) on the copyright page of first editions. According to the publisher's statements, beginning in 1929, stated "First published (Month, Year)" on first editions and noted subsequent printings (presumably no statement on first editions published prior to 1929). But the first edition of John Cheever's The Enormous Radio, published in 1953, has the Roman numeral "1" and does not have a first edition statement.


    Lee Furman. Made no attempt to identify first editions or subsequent printings.


    Gambit, Inc. States "First printing" on the copyright page of first editions; subsequent printings are noted.


    Gnome Press. States "First Edition" on copyright page; may have occasionally left "First Edition" statement of original publisher on offset reprints with their imprint.


    Victor Gollancz, Ltd. Prior to 1984, no statement on first editions, but subsequent printings noted [e.g., "First published (Year) | Second impression (Year)"]. In 1984, began stating "First published in..." on the copyright page of first editions.
    Grosset & Dunlap. Primarily a reprint house, but some notable first editions have been published by Grosset & Dunlap: King Kong (photoplay); Nancy Drew and Hardy Boys series; Fran Striker's "Lone Ranger" series; and Zane Grey's The Redheaded Outfield and Other Stories. In addition, Grosset & Dunlap's "photoplay" editions (illustrated with stills from motion pictures) are collectible. In our experience, there is no statement of edition or printing on Grossett & Dunlap publications. It is, however, possible to eliminate obvious later printings by checking the list of other books published in the series. A later printing would probably list titles that were published after the book in hand. (Note: For those authors whose first editions have become very high-priced, Grosset & Dunlap reprints in dust jackets closely matching the first edition's are sometimes desirable.)
    Grove Press. First editions and subsequent printings are always noted on the copyright page; currently uses a number row. Later-printing dustwrappers are identifiable by small letter code on the rear panel (e.g., "ii" designates a second printing dustwrapper).


    Robert Hale. Prior to 1958, either no statement on first editions or stated "First published (Year)," but in both cases subsequent printings were noted. Beginning in 1958, stated "First published in Great Britain in (Year)" on first editions; continued to identify subsequent printings. According to the publisher, a number row was adopted in 1994 for nonfiction titles only.


    Hamish Hamilton. States "First published (Year)" or "First published in Great Britain in (Year)" on copyright page; notes subsequent printings. Added a number row in 1988.


    Harcourt, Brace & Co. (1921-1960.) From 1921 to 1931 did not state on first printings. In about 1931 it started putting "First Edition" or First American Edition" on the copyright page. In many instances, it did not state later printings but took the first-edition statement off after the first printing. Occasionally, through the 1940s, it would use a "1" on the first printing. The "1" was removed for later printings.


    Harcourt, Brace & Howe. (1919-1921.) Usually placed the number "1" on the copyright page of first printings, "2" on second printings, etc. May have occasionally stated "Published (Month) (Year)" on the copyright page of first printings and noted later printings.


    Harcourt, Brace & World. (1960-1970.) States "first edition" or "first American edition" on the copyright page. Succeeded by Harcourt Brace Jovanovich in 1970.
    Harcourt Brace Jovanovich. (Established in 1970.) States "first edition" or "first American edition" on the copyright page, or, placed "First Edition/ABCDE" on the copyright page of first editions except during the years 1973 to 1983, when they did not use the "A" but used "First Edition/BCDE." In both cases they dropped "First Edition" and the appropriate letter(s) on later printings.


    Harper & Brothers. Prior to 1912, the date on the title page should match the last date on the copyright page. Began stating "First Edition" on the copyright page in 1922. A letter code for the month and year the book was printed, which would actually be earlier than the official publication date, was introduced in 1912. In most cases for first editions published between 1912 and 1922, the letter code for the year on the copyright page should match (or precede) the date on the title page.

    Months
    (the letter "J" was not used)
    A=January D=April G=July K=October
    B=February E=May H=August L=November
    C=March F=June I=September M=December

    Years
    (the letter "J" was not used)
    M=1912 B=1927 R=1942 G=1957
    N=1913 C=1928 S=1943 H=1958
    O=1914 D=1929 T=1944 I=1959
    P=1915 E=1930 U=1945 K=1960
    Q=1916 F=1931 V=1946 L=1961
    R=1917 G=1932 W=1947 M=1962
    S=1918 H=1933 X=1948 N=1963
    T=1919 I=1934 Y=1949 O=1964
    U=1920 K=1935 Z=1950 P=1965
    V=1921 L=1936 A=1951 Q=1966
    W=1922 M=1937 B=1952 R=1967
    X=1923 N=1938 C=1953 S=1968
    Y=1924 O=1939 D=1954
    Z=1925 P=1940 E=1955
    A=1926 Q=1941 F=1956

    HarperCollins. [Harper & Row changed its name to HarperCollins in 1990].States "First Edition" and uses a number row which indicates the year of publication and printing (may sometimes fail to remove the "First Edition" statement from later printings).


    Harper & Row. States "First Edition" on the copyright page (also see month and date code above). In 1969, added a number row to the bottom of the last page (directly before the rear free endpaper) but often failed to remove the "First Edition" statement from later printings. By 1975, the number row was usually placed on the copyright page (still often failed to remove "First Edition" statement from later printings).


    Hart-Davis, MacGibbon Limited. States "Published... (Year)" on first editions; subsequent printings are noted.


    Rupert Hart-Davis. Although usually stated "First published (Year)" on copyright page of first editions, sometimes placed the publication date on the title page of first editions (with no statement on the copyright page); in both cases, subsequent printings were noted.


    Harvard University Press. Places the year of publication on the title page of first editions, removing it from subsequent printings and adding a notice to the copyright page. In addition, may have used a number row in the 1980s.


    W. Heinemann, Ltd. / William Heinemann, Ltd. / William Heinemann. From 1890 to 1921, placed the year of publication on the title page of first editions, removing it from subsequent printings and adding a notice to the copyright page (very occasionally, books reprinted in the year of initial publication may not have a notice on the copyright page). In the 1920s, began stating "First published (Year)" or "First published in Great Britain (Year)" on copyright page of first editions; continued to note subsequent printings.


    Heritage Press. Publishes reprints or "trade editions" of the Limited Editions Club.


    Hodder & Stoughton Ltd. Prior to the 1940s, had no consistent practice for identifying first editions or later printings. In the 1940s, may have begun to state "First Printed (Year)" on first editions and to note subsequent printings. By 1976, were consistent in stating "First published in (Year)" on first editions and noting subsequent printings. Hogarth Press. No statement on first editions; subsequent printings are identified on the title page and/or copyright page. Currently use a number row.


    Henry Holt. Prior to 1945, first editions can generally be identified by the lack of a later printing statement on the copyright page. Beginning in 1945, usually placed a first-edition statement on the copyright page of books produced in the United States (no statement on books produced outside the United States). After 1985, began using a first-edition statement and number row.


    Holt, Rinehart & Winston. Prior to the 1970s, may have used a first-edition statement (with the exception of books produced outside the United States). Presumably in the 1970s began using a first-edition statement and number row.


    Houghton, Mifflin. Almost invariably places the date, in Arabic numerals, on the title page of first printings, removing it on subsequent printings. Additionally, in the late 1950s, began consistently placing a "first printing" statement on the copyright page. In the early 1970s, replaced the "first printing" statement with a number row, which includes a manufacturer code.


    B. W. Huebsch. No statement on first editions; subsequent printings noted.
    Hurst. Reprint publisher.


    Hutchinson & Co. States "First published (Year)" or "First published in Great Britain (Year)" on copyright page of first editions. (May be no statement on books published early in this century).


    Michael Joseph Ltd. Since at least the mid-1930s, have stated "First published ... (Month, Year)" on copyright page of first editions, and noted subsequent printings. In the late 1980s and early 1990s, a number row was added to the printing statement.


    Alfred A. Knopf. Until 1933-1934, sometimes stated "Published (Month or Year)" on the copyright page of first editions; later printings were noted. Since 1933-1934 have consistently stated "First Edition" (with the possible exception of children's books). Books with "First and second printings before publication" on the copyright page are second printings (e.g., booksellers' demand warranted a second printing prior to the publication date).


    John Lane. Prior to 1925, no statement on first editions, but subsequent printings were noted. Since 1925, have stated "First Published in (Year, or Month and Year)" on first editions and continued to note subsequent printings.


    Limited Editions Club. Does not reprint titles (see Heritage Press for "trade" editions), and always includes a colophon at the back of each book. In general, limited to 1,500 copies; issued in fine bindings and slipcases or boxes. Nearly all the titles are signed by the illustrator, and occasionally by the author or others.


    J. B. Lippincott. Beginning in roughly 1925, sometimes placed a first-edition statement on the copyright page but always indicated later printings (or "impressions"). In the mid-1970s, added a number row to the first-edition statement.


    Lippincott and Crowell. States "First Edition" and uses a number row.
    Little, Brown. Prior to the early 1930s, no statement on first editions, but subsequent printings noted. In the 1930s, stated "Published (Month) (Year)" on the copyright page of first editions; later printings were normally indicated. Since 1940, have stated "First Edition" or "First Printing," and added a number row in the late 1970s.


    Horace Liveright, Inc. / Liveright Publishing Corp. Prior to the 1970s, in general, no statement on first editions, but subsequent printings noted (may have occasionally used a first-edition statement). In recent years, may have used a number row in addition to stating "First Edition."


    John Long. No statement on first editions, but subsequent printings noted.
    Longmans, Green Co. (U.K.) Prior to the late 1920s, no statement on the first edition, but subsequent printings noted. Since the late 1920s, have stated "First Published (Year)" on the copyright page of first editions; subsequent printings are noted.


    Longmans, Green Co. (U.S.) Prior to the late 1920s, no statement on the first edition; subsequent printings are presumably noted or carry a date on the copyright page later than the date on the title page. Since the late 1920s, have stated "First Edition" on the copyright page and noted subsequent printings.


    The Macaulay Co. No statement on first editions; subsequent printings generally noted.


    The Macmillan Co. / Macmillan Publishing Co., Inc. (U.K.) Prior to the mid-1920s, no statement on the first edition, but subsequent printings noted. Since the mid-1920s, have stated "First Published (Year)" on the copyright page of first editions.


    The Macmillan Co. / Macmillan Publishing Co., Inc. (U.S.) Prior to the late 1800s, the date on the title page should match the last date on the copyright page for first editions (did not always designate later printings, but did change the date on the copyright page). Also, beginning sometime in the late 1800s, usually placed the statement "Set up and electrotyped. Published (Month, Year)" on first editions, and generally indicated subsequent printings. Mid-year 1936, began stating "First printing" on the copyright page; added a number row in the 1970s.


    Macmillan of Canada. Does not designate first editions.


    Robert M. McBride. Stated "First Published (Month, Year)," "Published (Month, Year)" or more recently "First Edition" on the copyright page of first editions; subsequent printings were noted.


    McClure, Phillips. Either no statement or "Published (Month, Year, occasionally followed by a letter code)" on the copyright page of the first edition; subsequent printings presumably noted with either a statement or a later date.


    A. C. McClurg. Stated "Published in (Year)" on the first edition, but may have failed to change this notice on later printings.


    McDowell, Obolensky. No statement on the first edition or sometimes stated "First printing"; subsequent printings would presumably be noted.


    McGraw-Hill. Until 1956, may not have used a first-edition statement. Since 1956, have used a first-edition statement and noted subsequent printings.


    Methuen & Co. Since 1905, have stated "First published in (Year)" or "First published in Great Britain (Year)" on the copyright page of first editions, and noted subsequent printings. Prior to 1905, no statement on first editions, but subsequent printings noted (sometimes with a "thousands" statement on the title page such as "43rd Thousand").


    Metropolitan Books. No statement on the first edition; subsequent printings presumably noted.


    Modern Library. Reprint series published by Random House (prior to 1925 published by Boni & Liveright). Early titles in the series, especially in dust jacket, "Modern Library Giants," and titles with new forewords by the author or original publisher are collectible. Since 1925, have stated "First Modern Library Edition" on the copyright page of the first edition (only haphazardly prior to 1925); occasionally left the first-edition statement on subsequent printings, but the presence of later-published titles within the book in hand will often identify it as a later edition. Note: Later-issue dust jackets are often found on the first editions.


    William Morrow. Prior to 1973, only sometimes placed "First Printing (Month, Year)" on the copyright page but always indicated later printings. Since 1973, have used a number row and sometimes a first-edition statement (occasionally fail to remove first-edition statement from later printings).


    Museum of Modern Art. No statement on first editions, but subsequent printings are noted.


    Mycroft & Moran. See Arkham House.


    New American Library. Uses a first-edition statement and number row.


    New Directions. Not consistent in using a first-edition statement or identifying subsequent printings, and often bound up first-edition sheets later, so binding variations are important in first-edition identification.


    New English Library. States "First published by New English Library in (Year)" or "First published in Great Britain (Year)" on the copyright page of first editions. In general, the year in the "first published" notice should match the copyright year.


    George Newnes. No statement on first editions.


    W. W. Norton. In past years, usually used a first-edition statement, but did not indicate later printings. Currently uses a first-edition statement and number row, but occasionally fails to remove the first-edition statement from subsequent printings.


    Peter Owen. States "First published by Peter Owen (Year)" on the copyright page of first editions and notes subsequent printings.


    Oxford University Press. (New York and U. K.) Until the late 1980s, no statement on first editions, but subsequent printings noted. Started using a number row in the late 1980s.


    Pantheon Books, Inc. Until 1964, no statement on first editions, but subsequent printings noted (may have occasionally stated "First Printing"). Since 1964, have stated "First Edition." May have begun using a number row, in addition to the first-edition statement, in the late 1980s.


    Payson & Clarke. No statement on first editions, but subsequent printings noted.
    G. P. Putnam's Sons. Prior to 1985, no statement on first editions, but subsequent printings noted. Since 1985, have used a number row.


    Random House. States "First Edition" on the first printing; does not indicate subsequent printings. In recent years, added a number row beginning or ending with "2," i.e., "First Edition/23456789," to first editions, and removed the first edition statement from subsequent printings (e.g., "23456789" without a first edition statement would indicate a second printing).


    Rapp & Whiting. Generally stated "First published (Year)" on the copyright page of the first edition.


    Reynal & Hitchcock. Until 1947, no statement on first editions, but subsequent printings noted. For books published after 1947, see Harcourt, Brace & Co.


    Grant Richards. No statement on the first edition.


    Rinehart & Co. Placed an "R" in a circle on first editions and removed from subsequent printings (subsequent printings not otherwise noted).


    St. Martin's Press. Until the early 1980s, no first-edition statement, but subsequent printings noted. Since the early 1980s, have used a number row and a first-edition statement.


    Scribners. Until 1930, the Scribners seal and the date of publication (month and year) generally appeared on first editions, and subsequent printings were usually noted (although did not strictly adhered to either practice). Since 1930, have used an "A" on the copyright page to denote the first edition, sometimes with the Scribner seal, and sometimes with a code representing the month and year of publication and the book's manufacturer (later printings were either not noted, or indicated with a "B," etc.). In the 1970s, added a number row, which includes a letter code for the manufacturer and type of binding (at the center).


    Martin Secker, Ltd. / Secker & Warburg. Prior to the 1940s, no statement on first editions or occasionally stated "First Published in ...(Year)"; subsequent printings noted. In the 1940s, began stating "First published in ...(Year)" on the copyright page of first editions; continued noting subsequent printings.


    Simon & Schuster. Until 1952, no statement on first editions, but subsequent printings noted (possibly with symbols as, reportedly, a few titles in the 1930s carried a series of dots or asterisks on the copyright page to indicate additional printings). In 1952, began using a first-edition statement. In the early 1970s, began using a number row (occasionally with a first edition statement).


    William Sloane Associates. States "First Printing" on the copyright page of first editions, and notes subsequent printings.


    Small, Maynard. No statement on the first edition.


    Smith, Elder. No statement on the first edition.


    Harrison Smith & Robert Haas. Not consistent in use of a first-edition statement, but subsequent printings noted.


    Stanton & Lee. See Arkham House.


    Frederick A. Stokes Co. No statement on first editions, but subsequent printings noted.


    Sun Dial. Reprint publisher.


    Alan Swallow. No statement on the first edition; subsequent printings presumably noted.


    Tower Books. See World Publishing Co.


    Time Inc. / Time-Life Books. Until 1976, used a small hourglass design on the last page to designate the printing (i.e., one hourglass for the first printing, two for the second, etc.); since 1976, have stated the printing on the copyright page.


    Triangle. Reprint publisher.


    Trident Press. In our limited experience with this publisher, no statement on the first edition; subsequent printings presumably noted.


    United Book. In our limited experience with this publisher, no statement on the first edition; subsequent printings presumably noted.


    T. Fisher Unwin. Prior to 1914, no statement on the first edition. Since 1914, states "First published in (Year)" on the copyright page of the first edition.


    Vanguard. No statement on first editions, and sometimes failed to note subsequent printings. In the 1970s, instituted a number row (but may have abandoned it in the mid-1980s).


    Viking Press. Until the late 1930s, no first edition statement, but subsequent printings noted. In 1937, began stating "First Published by Viking in (Year)" or "Published by Viking in (Year)" on first editions, and continued the practice of noting subsequent printings. In the 1980s, added a number row to later printings only.


    Villard Books. See Random House.


    Vintage Books. See Random House.


    Walker and Co. States "First Published ... (Year)" on first editions, and uses a number row to indicate subsequent printings.


    Ward, Lock. Prior to the 1930s, generally placed the year of publication on the title page of first editions and removed it from subsequent printings. Beginning in the mid-1930s, generally stated "First published in..." on the copyright page of first editions.


    Weidenfeld & Nicolson. Either states "First published in..." or no statement on first editions, but subsequent printings are generally noted.


    Wesleyan University. States "First Edition" or ""First Printing" on first editions, and notes subsequent printings.


    John Wiley & Sons. Prior to 1969, no statement on first editions, but subsequent printings noted. Have used a number row since 1969.


    John C. Winston. Until the 1940s, no statement on either first editions or subsequent printings. Started stating the printing some time in the 1940s.


    World Publishing Co. States "First Edition" or "First Printing" on the copyright page of the first edition. Note: World's "Tower Books" are reprints, with the exception of two Raymond Chandler first editions: Red Wind and Spanish Blood (both state "First Printing (Month, Year)"."

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  • A Guide to First Edition Books

    books award

    What is a first edition? Well, it depends on who you ask. If you ask a bibliographer, a first edition is every copy of a book that is printed without significant changes to the copy, regardless of when they were printed. That is not the definition that book collectors use, however. When a collector refers to a first edition, he is talking about the first print run of the first edition.

    First edition books, by the collector’s definition, may or may not be valuable. The value of a book depends on a lot of variables. The number of copies of the book that were printed, the popularity of the book, the condition of the copy in question and many other factors contribute to the pricing of collectible books. The must important of which, of course, is whether there is a demand for it. If no one wants the book, it is worthless.

    How do you even know if a book is a first edition? It is often necessary to research the publication history of the book, because the information printed on the copyright page by the publisher can be confusing or even misleading. Some books say that they are first editions when they are not really a true first but merely the first edition published in that format or by that publisher. Other books may not say anything about being a first edition even though they are.

    A publisher may leave the words “first edition” in place for subsequent printings if the content of the book has not changed, rather than considering the second printing a second edition. Sometimes the copyright page will contain clues that the book is not a true first edition. For example, if the words ‘second printing’ appear, you know that it is definitely not a true first. Also, if there are mentions of previous publications by another publisher or in another format, then the book is not a true first.

    Another way to recognize subsequent print runs is to look at the sequence of numbers included on the copyright page. Usually, the numbers start from 10 and go down to 1, like this: 10 9 8 7 6 5 4 3 2 1. At least, that is how they appear on the first print run. The publisher usually covers up the 1 for the second print run so that 2 is the last number showing. With each subsequent print run, another number is removed from the countdown.

    If a book is collectible, a true first edition is usually more valuable than other editions in the same condition. As you can see from this article, determining whether a book is a first edition or not can be tricky. If you are planning on buying or selling collectible books, you will need to be able to accurately identify true first edition books.

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