Antiquarian, Rare, Collectible and Signed Books
Hi, All... just a quick post to give you some great deals from Albris. I just heard from them and am including coupon codes for you to use. Enjoy!
Find unique gifts for booklovers at Alibris!
I have a few suggestions for gifts for Book Cookectors. These are entirely subjective, being gifts, I would love to recieve. These sorts of lists are by their very nature subjective, however. Hope you enjoy!
At Home With Books
Abe Books lists books for sale by many dealers, so they are a good source when it comes to determining who the most collectible authors are. There is a list of the top 25 most collectible authors since 2003 on the Abe Books website, but it doesn’t give any details. It is just a list of authors. Here are the top authors on the list, along with some details about which books may actually be worth something.
#1) Stephen King – The first edition of Salem’s Lot, published in 1975, is listed on Abe Books for a whopping $90,005. Whether they will get it or not remains to be seen. It’s important to remember when dealing with collectible items that the true value is the amount a willing buyer and a willing seller agree to. Signed first editions of The Plant and the Dark Tower series appear to be the most valuable Stephen King books besides Salem’s Lot, followed by signed first editions of other King books.
#2) J.K. Rowling – Given the popularity of her Harry Potter books, perhaps it is no big surprise that J.K. Rowling has risen to become the second most collectible author on Abe Books. The most expensive Harry Potter book is the 1997 hardback Bloomsbury UK edition of Harry Potter and the Philosopher’s Stone. This is the true first edition and there were only 200 copies printed so it is very desirable. This book is listed for $29,958.97. Signed and unsigned first editions of J.K. Rowling’s Harry Potter series all appear to have value as collectible books.
#3) JRR Tolkien – A copy of The Hobbit, or There and Back Again is currently listed for $175,000. This is a very special copy that is dedicated to Elaine Griffiths. Elaine played a part in getting The Hobbit published by recommending to a publisher friend of hers that she go talk to Tolkien and see if he wouldn’t let her read it. The early editions of both The Hobbit and any of The Lord of the Rings books seem to be highly valued regardless of whether they are signed or not. They do not necessarily need to be true firsts in order to have value. First printings of other editions and second printings of the first edition of The Hobbit are all listed at prices in the thousands.
These are the top three of the most collectible authors on Abe Books. Obviously, there are many other authors whose books are highly collectible. This article merely scratches the surface. If you are beginning a collection, you should remember that as a rule, signed true first editions by collectible authors are the most valuable. However, other editions may be extremely valuable as well, especially if many years have passed since the original publication.
[Top]I have been an avid collector for quite some time now. Many of my most treasured possessions are books signed by my favorite authors. I have several signed, first edition Truman Capote and Tennessee Williams books. A couple of these I found on Ebay and others I found on sites like ABE and Albris. I conducted a search on Albris for signed, first edition Truman Capote books. Here are the results. I thought you might find this interesting.Just click the link below to go to the search results.
Other Voices, Other Rooms, signed, leather
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.
"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)"."
Author's autographs in a book may be considered in various categories, including signed limited editions, signed trade editions, and association copies. We've discussed limited editions elsewhere on the site.
Signed trade editions are copies of the regular trade first edition signed by the author, with or without an inscription. These signed books will usually sell for at least twice as much as an unsigned copy, but the real determinant of price will be the value of the author's signature. Some authors are very generous in signing their books; as a result, their signatures may be worth only $10 or $15, representing the price difference between a signed and an unsigned copy of a first edition, or the price of a signed later printing. On the other hand, some authors very rarely sign a book and their signatures alone may be worth $50 or more; again, this would establish a price. Further, some authors are very free with their signatures but very rarely inscribe copies of their books, and therefore inscribed copies, even if the recipient is unknown, will command a premium.
Value of Signed vs. Inscribed Books
We are often asked about the value of a first edition that is inscribed by the author to another person versus the value of the same book just signed by the author. We understand that if the original recipient of the book is not well known, or of general interest, some collectors prefer the author's signature without the inscription. From our point of view we would always prefer an inscribed copy and think it is worth more than a copy that is just signed by the author. However, we understand that if the author is young and the collector hopes one day to meet the author at a signing, or perhaps send some of his books to get the author to sign, the collector will not want to buy a copy of the book inscribed to some unknown person. From our point of view, we know that after the death of an author, inscribed copies are always worth more than copies that are just signed, Also, from our point of view, the inscription allows us to have more of the author's handwriting to examine to assure ourselves and our customers that it is a genuine author's autograph.
Association copies are books that include a signed inscription from the author to another famous personality or someone important within the framework of the particular author's life and work. These will be valued more highly than the normal signed first edition, depending on the importance of the recipient involved.
By: Allen and Pat Ahearn, the authors of Collected Books: The Guide to Values (Putnam: 2002), Book Collecting 2000 (Putnam: 2000) and 174 individual Author Price Guides, all of which require they keep current on the market prices for collectible books and make them uniquely qualified to offer professional appraisal services and to establish fair prices when purchasing books or libraries. We appreciate the articles from the Ahearns.
http://www.qbbooks.com
[Top]
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.
[Top]Book collecting is the collecting of books, including seeking, locating, acquiring, organizing, cataloging, displaying, storing, and maintaining whatever books are of interest to a given individual collector. The love of books is bibliophilia, and someone who loves to read, admire, and collect books is a bibliophile. Bibliophilia is sometimes called bibliomania but should not be confused with the obsessive-compulsive disorder by that name, which involves the excessive accumulation and hoarding of books. The term bookman, which once meant a studious or scholarly man, now means one who writes, edits, publishes, or sells books. A book dealer is one whose profession is the buying and reselling of rare or used books.
True book collecting is distinct from casual book ownership and the accumulation of books for reading. It can probably be said to have begun with the collections of illuminated manuscripts, both commissioned and second-hand, by the elites of Burgundy and France in particular, which became common in the 15th century. Duke Philip the Good of Burgundy appears to have had the largest private collection of his day, with about six hundred volumes. With the advent of printing with movable type books became considerably cheaper, and book collecting received a particular impetus in England and elsewhere during the Reformation when many monastic libraries were broken up, and their contents often destroyed. There was an English antiquarian reaction to Henry VIII's dissolution of the Monasteries. The commissioners of Edward VI plundered and stripped university, college, and monastic libraries, so to save books from being destroyed, those who could began to collect them.
Book collecting can be easy and inexpensive: there are millions of new and used books, and thousands of bookstores, including online booksellers like Abebooks, Alibris, and Amazon. Only the wealthiest book collectors pursue the great rarities: the Gutenberg Bible, and Shakespeare's First Folio, for example, are both famous and extremely valuable. Collectors of average means may collect works by a favorite author, first editions of modern authors, or books on a given subject. Book prices generally depend on the demand for a given book, the number of copies available, and their condition.
Genres, themes, and interests
There are millions of books, so collectors necessarily specialize in one or more genres or sub-genres of literature. A reader of fiction, who enjoys Westerns, might decide to collect first editions of Zane Grey's novels. A lover of modern English poetry might collect the works of Dylan Thomas. A Californian who prefers non-fiction might look for books about the history of the San Francisco Bay Area.
Individual interests may include:
A particular author
A particular genre or field (science, medicine, history, etc)
A particular illustrator
Award winning books
Books as Art
Bindings and/or Book design
Comic books and Graphic novels
Cover or dust jacket art
First editions
Fore-edge paintings
Illustrated books
Incunabula: books printed before 1501
Local/Regional interests
Marginalia
Miniature books
The publisher and/or printer
Fine press books
Private press books
Small presses
Paper, parchment, or vellum
Series
Photoplay editions
Signed books: inscribed/signed by an author or illustrator
Stages of publication: advance review copies, galley proofs
Related collecting interests include collecting autographs, and ephemera.
Virtual Book Collecting
Virtual book collecting can be described as collecting books in a digital format (virtually) on a computer or other electronic device. A bibliophile may acquire ebooks by downloading them, or copying from borrowed media (CDs and DVDs, for example). However, this may violate copyright law, depending on the license which the ebook is released under. Ebooks acquired from Project Gutenberg and many similar free collections are legal as they post books which have either outrun their copyright, are released under the appropriate Creative Commons license, or are in some other form public domain.
Prices
Book prices generally depend on the demand for a given book, the number of copies available for purchase, and the condition of a given copy. As with other collectibles, prices rise and fall with the popularity of a given author, title, or subject.
Because of the huge number of books for sale, there is no single comprehensive price guide for collectible books. The prices of the copies listed for sale at the online bookseller sites provide some indication of their current market values.
Condition
As with other collectibles, the value of a book ultimately depends on its physical condition. Years of handling, moving, and storage take their toll on the dust jacket, cover, pages, and binding. Books are subject to damage from sunlight, moisture, and insects. Acid from the papermaking process can cause the pages to develop brown spots, called foxing; gradually turn brown, called tanning; and ultimately crumble.
Common defects include general wear; jacket/cover edge wear, scratches, and tears; the previous owner's written name, bookplate, or label; soil and stains; dogeared pages; underlining, highlighting, and marginalia; water damage; torn hinges, endpapers and pages; and pages, illustrations, or whole signatures free of the binding, or missing entirely.
A book in good condition should be a rectangular solid when at rest, whether upright or on its back, with the covers at right angles to the spine. If a book is out of square, usually from resting crooked on a shelf, or leans to the right or left when on its back, it is cocked, or shelf-cocked. If the covers bend in or flare out, usually from rapid humidity changes, a book is bowed (bent like a drawn bow). Thick hardbound books also tend to have their pages sag downward in the middle even if they are sitting level on a shelf.
Sources
New books are readily available from bookstores and online. Many bookstores specialize in out-of-print, used, antiquarian, rare and collectible books. Online booksellers, including Abebooks, Alibris, and Amazon, encourage other stores and individuals to sell books through their websites, and charge a commission.
Antique and collectible stores may have a few books for sale. Major auction houses sell quality collectible books, and local auction houses may sell books by the carton. Thrift shops and second-hand stores commonly have book sections. Other sources include estate, yard, garage, or rummage sales; and charity fund-raisers.
Antiquarian Book Collecting
Antiquarian book collecting may be roughly defined as an interest in books printed prior to 1900 and can encompass interest in 19th, 18th, 17th, 16th, and 15th-century books. Antiquarian book collectors are not exclusively interested in first editions and first printings, although they can be. European books created before 1455 are all hand-written and are therefore one-of-a-kind historical artifacts in which the idea of "edition" and "printing" is irrelevant. There is also an interest among antiquarians for books beautifully made with fine bindings and high quality paper. For many books printed before about 1770, the first edition is not always obtainable, either because of price and/or availability. Later editions/printings from an era of interest are still often desirable to the antiquarian collector as they are also artifacts.
The beginning of Paradise Lost from a 1720 illustrated edition. Not a first edition but desirable among antiquarians.For example, a first edition of Paradise Lost (1667) by John Milton can fetch equivalent to a down payment on a house. However, the first illustrated folio edition of 1688, technically a later edition, is worth a fraction of the first edition, but still fetches in the thousands of dollars as an illustrated book from the era in which Milton lived.
There were many editions of Alexander Pope's translation of The Iliad and The Odyssey. The first edition of 1715-1720 is worth a small fortune whereas slightly later 18th-century editions are a lot less expensive but still garner premium prices. The John Ogilby 17th-century translations of Homer's The Iliad and The Odyssey garner hefty prices, but not as much as the first edition of the Pope translation. This may be in part due to a significant number of copies of Ogilby's first edition probably perished in the Great Fire of London of 1666. The first English movable-type printer was Caxton in the late 15th century. Editions of his books from the 1400s are virtually unobtainable. Occasionally, 16th-century editions similar to Caxton's books appear among antiquarian book dealers and auctions, often fetching very high prices. The last Shakespeare First Folio of 1623 (first edition of the collected works of William Shakespeare) garnered a record-breaking 5.5 million in 2006. Later 17th-century folios of William Shakespeare's works can still fetch about the price of a small house but are more readily available and relatively obtainable, whereas almost all extant copies of the First Folio are owned by libraries, museums or universities and thus are unlikely to appear on the market. For the antiquarian collector, how a particular book's production fits into a larger historical context can be as important as the edition, even if it may not be a first edition.
Also of interest are books previously owned by famous persons, or personages of high stature, such as someone from royalty or the nobility. Tracing the history of an antiquarian book's possession history, referred to as "provenance", can markedly affect the value of a book, even if it is not a first edition per se. For example, a copy of a less-important 18th-century book known to have been owned by Voltaire would achieve a value many times its stand-alone market value, simply because it was once in Voltaire's possession. Previous owners of books often signed their copies, and it is often not difficult to identify a prominent previous owner if the provenance is well documented. Provenance is the same term used for the possession history of other kinds of older collectible items, such as paintings and furniture.
Prominent book collectors
John Roland Abbey
Clifton Waller Barrett
Chester Beatty
William Beckford
Martin Bodmer
Anthony Collins
Robert Bruce Cotton
John Evelyn
Henry Clay Folger
George III
Robert Harley, Earl of Oxford
Rush Hawkins
Richard Heber
Henry II of France
Harrison D. Horblit
Arthur A. Houghton
Henry E. Huntington
Thomas Jefferson
Jerome Kern
Geoffrey Keynes
John Maynard Keynes
Aleksey Khludov
Josiah K. Lilly, Jr.
Antonio Magliabechi
H. Bradley Martin
Wolfgang Menzel
Dewitt Miller
J. Pierpont Morgan
A. Edward Newton
Samuel Pepys
Charles Dyson Perrins
Sir Thomas Phillipps
Abraham Rosenbach
Lessing J. Rosenwald
Adam Smith
Thomas W. Streeter
Andrew Dickson White
Book collecting in China
The history of book collecting in China dates back over two millennia. An important effort to collect books in China was made during the early Han Dynasty by the government, as many important books were burned during the Qin Dynasty. From then on, book collecting began to flourish in China, particularly after the invention of block printing during the early Tang Dynasty, with both imperial and private collections blooming throughout the country. However, the systematic study of book collecting began only during the Qing Dynasty.
Terminology
Cangshulou (Chinese: 藏書樓 "book collecting tower"): library, such as the private Tianyige (天一閣) in Ningbo, the earliest surviving library in China, or the imperial Wenyuange (文淵閣), where the works collected in Siku Quanshu were reposited
Jinxiangben (巾箱本 "headscarf box edition"): ancient pocket edition
Jiupingzhuang (舊平裝 "old paperback") or Jiushu (舊書 "old books"): old books published after 1911, when the Qing Dynasty was overthrown
Maobianben (毛邊本 "hairy-side edition"): uncut editions
Songben (宋本 "Song edition") or Songban (宋版 "Song edition"): block printed books published during the Song Dynasty, highly valued by collectors
Xianzhuangshu (線裝書 "thread-bound book"): thread-bound books, usually referred to those published before 1911
See also
Antiquarian book trade in the United States
Book
Bookbinding
Book design
Edition
Imprint
Manuscript
Text
References
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (February 2008)
Ahearn, Allen and Patricia. Book Collecting: A Comprehensive Guide. New York: Putnam, 1995 ISBN 0-399-14049-2
Ahearn, Allen and Patricia. Collected Books : The Guide to Values. New York: Putnam, 2001 ISBN 0-399-14781-0
American Book Prices Current (Annual, 1894/1895 onwards)
Carter, John.
ABC for Book Collectors. 8th ed. edited by Nicolas Barker. New Castle, DE: Oak Knoll; London: British Library, 2004 ISBN 0-7123-4822-0 (British Library)
ISBN 1-58456-112-2 (Oak Knoll) - a classic, first published in 1952.
Carter, John. Taste and Technique in Book-collecting, with an Epilogue. Pinner, Middlesex: Private Libraries Association, 1970 (The Sandars Lectures in Bibliography, 1947) ISBN 0-900002-30-1
Greenfield, Jane. The Care of Fine Books. New York: Lyons & Burford, 1988. ISBN 1-55821-003-2
McBride, Bill. Book Collecting for Fun and Profit. Hartford, CT: McBride/Publisher, 1997. ISBN 0-930313-05-4
McBride, Bill. A Pocket Guide to the Identification of First Editions. Sixth ed. Hartford, CT: McBride/Publisher, 2000. ISBN 0-930313-06-2
McBride, Bill. Points of Issue. Third ed. [Hartford, CT]: McBride/Publisher, 1996. ISBN 0-930313-04-6
Peters, Jean (Editor). Book Collecting: A Modern Guide. New York and London: R.R. Bowker and Company, 1977. ISBN 0-8352-0985-7
Rees-Mogg, William . How to Buy Rare Books: A Practical Guide to the Antiquarian Book Market. Oxford: Phaidon, 1985 (Christie's collectors guides) ISBN 0-7148-8019-1
Wilson, Robert A. Modern Book Collecting. New York: Lyons & Burford, 1992 ISBN 1-55821-179-9
Zempel, Edward N. and Verkler, Linda (Editors). First Editions: A Guide to Identification. Fourth ed. Peoria, IL: The Spoon River Press, 2001. ISBN 0-930358-18-X
Further reading
Forbes article on book collecting by Finn-Olaf Jones, December 12, 2005
W. C. Hazlitt: The Book Collector: A general survey of the pursuit and of those who have engaged in it at home and abroad from the earliest period to the present ... . London: J. Grant, 1904 - published over a century ago, but still worth dipping into.
Joseph Connolly: Collecting Modern First Editions (1977).
For more modern accounts, see the series of books on book-collectors, book-collecting and "bibliomania" by Nicholas A. Basbanes: A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. New York: Holt, 1999 ISBN 0-8050-6176-2
Patience & Fortitude: A Roving Chronicle of Book People, Book Places, and Book Culture. New York: HarperCollins, 2001 ISBN 0-06-019695-5
Among the Gently Mad: Perspectives and Strategies for the Book Hunter in the 21st Century. New York: Holt, 2002 ISBN 0-8050-5159-7
A Splendor of Letters : The Permanence of Books in an Impermanent World. New York: HarperCollins, 2003 ISBN 0-06-008287-9
Every Book Its Reader : The Power of the Printed Word to Stir the World. New York: HarperCollins, 2005 ISBN 0-06-059323-7
Follow husband and wife team Lawrence & Nancy Goldstone as they search for rare and collectible volumes, and explore real mysteries in the rare-book world, in: Used And Rare: Travels In The Book World. New York: St. Martin's Press, 1997 ISBN 0-312-15682-0
Slightly Chipped: Footnotes in Booklore. New York: St. Martin's Press, 1999 ISBN 0-312-20587-2
Warmly Inscribed: The New England Forger and Other Book Tales. New York: St. Martin's Press, 2001 ISBN 0-312-26268-X
Out of the Flames: The Remarkable Story of a Fearless Scholar, a Fatal Heresy, and One of the Rarest Books in the World. New York: Broadway, 2002 ISBN 0-7679-0836-8
The Friar and the Cipher : Roger Bacon and the Unsolved Mystery of the Most Unusual Manuscript in the World. New York: Broadway, 2005 ISBN 0-7679-1473-2
For book collecting in China, see:
(Chinese) 傅璇琮、谢灼华主编，《中國藏書通史》，宁波：宁波出版社，2001
(Chinese) 焦树安，《中囯藏书史话》，北京：商务印书館，1997
(Chinese) 任繼愈主編，《中國藏書樓》，沈阳：辽宁人民出版社，2001
(Chinese) 黄燕生，《天祿琳琅：古代藏書和藏書樓 》，台北：萬卷樓圖書有限公司，2000
(Chinese) 徐凌志主编，《中国历代藏书史》，南昌：江西人民出版社，2004
External links
Alcuin Society A voluntary association of people who care about the past, present and future of fine books
Antiquarian Booksellers Association of America An association of rare book sellers in the United States
Collecting Books and Magazines: Authors and Artists Resource material for collectors of children's books and magazines
Collegiate Book Collecting Championship Annual collegiate book collecting contest, promoting book collecting to the next generation
Bookbinding and the Conservation of Books A Dictionary of Descriptive Terminology, by Matt T. Roberts and Don Etherington
Books and Book Collecting Information and resources for book collectors
The conservation of books and documents: ten frequently asked questions At the National Library of the Netherlands
Conservation OnLine: Resources for Conservation Professionals A project of the Preservation Department of Stanford University Libraries
Digital Librarian A librarian's choice of the best Web resources for book collectors
"Terms of the Trade" from the Antiquarian Booksellers Association
Useful Guides for Book Collectors from Vintage Paperbacks blog
Infography about Book Collecting A book collector's choice of the best books, articles, and online resources
Retrieved from "http://en.wikipedia.org/wiki/Book_collecting"Categories: Book collecting
[Top]
Vince Lombardi was talking about football, but book collectors could well rephrase his famous quote. The condition of a first edition or any collectible book is the major determinant of its value. There is no doubt that certain collectors might pay two or perhaps even three times this amount for an absolutely mint copy of a book.
First-edition collectors are by nature very hard to please. They would like each of their first editions to look new, and they will pay for such copies. The reverse is also true - a book in poor condition is very difficult to sell. Books valued at $100 in fine condition are practically valueless in very poor condition. If the book is rare, it will of course have some value whatever its condition, but only a fraction of what it would be worth if it were a fine to mint copy.
One thing that should be remembered, in spite of the Lombardi restatement, is that lesser copies (unless they are really dogs) will probably increase in value at the same rate as fine copies, except that the starting base is significantly lower.
Unless one is a book collector, dealer, or book scout, it is difficult to understand how to describe the condition of a book. Even within this group there can be wide differences of opinion, which only confirms the fact that condition descriptions are somewhat subjective.
Many people believe that if a book is twenty or thirty years old, it is in very good condition if the covers are still attached, and if the book is one hundred years old, one should not downgrade it just because the covers are no longer attached ("What do you expect, it's one hundred years old!"). We're sympathetic with their confusion, but we're not interested in buying their books.
The following general gradings are used by book dealers:
VERY FINE/NEW: As new, unread.
FINE: Close to new, showing slight signs of age but without any defects.
VERY GOOD: A used book that shows some sign of wear but still has no defects.
GOOD: A book that shows normal wear and aging, still complete and with no major defects.
FAIR: A worn and used copy, probably with cover tears and other defects.
READING COPY: A poor copy with text complete but not much else.
As a guide to condition we have included pictures of the book and dustwrapper of Charles Fort's first book, The Outcast Manufacturers, which was published in 1909, just to show what a ninety-five-year-old book can look like.
We were called by a family who had been left a copy of Thomas Paine's famous pamphlet published in January of 1776, in which he appealed to the common man to declare his independence. This is a rare and fragile item, having been handed out in the streets during winter, and few have survived intact. Needless to say, we were very excited about the possibility of acquiring this pamphlet. Sad to say, the copy was missing the very last page, on which there was a half page of text. We advised the family to consign it to an auction house. It fetched $8,500 at auction, and later sold with a facsimile page and some cover restoration for about $20,000. Had it been complete, it would probably have sold for $75,000 to $100,000 at the time.
By: Allen and Pat Ahearn, the authors of Collected Books: The Guide to Values (Putnam: 2002), Book Collecting 2000 (Putnam: 2000) and 174 individual Author Price Guides, all of which require they keep current on the market prices for collectible books and make them uniquely qualified to offer professional appraisal services and to establish fair prices when purchasing books or libraries.
http://www.qbbooks.com
[Top]
Banned Books Week is celebrated during the last week of September by booksellers, librarians, authors, readers, students and other friends of free expression.
Banned Books Week was started in 1982 by the American Library Association, the American Booksellers Association, the Association of American Publishers and the National Association of College Stores to raise awareness of censorship problems in the United States and abroad. For the past 25 years, it has remained the only national celebration of the freedom to read.
Book censorship of all kinds – even book-burning – continues today. Challenges may come from parents, teachers, clergy members, elected officials, or organized groups, and arise due to objections to language, violence, sexual or racial themes, or religious viewpoint, to name just a few. In 2008, the ALA counted 513 challenges. Many other cases go unreported. One high school principle recently tore pages out of a book of poetry! An organization in Fayetteville, Arkansas is trying to ban 55 books - primarily on religious grounds. This one hits close to home for me as I attended vollege at the University of Arkansas at Fayetteville and lived in that lovely Ozark town for a number of years.
The following is a list of some recent authors and books which have been the subject of banning or attempted banning. This is going on TODAY folks!
Banned Books Week - September 26 - October 3, 2009
Alphabetical by Author
A
Paula by Isabel Allende
How the Garcia Girls Lost Their Accents by Julia Alvarez
Go Ask Alice by Anonymous
The Inferno by Dante Alighieri
Bless Me Ultima by Rudolfo Anaya
I Know Why the Caged Bird Sing by Maya Angelou
B
One More River by Lynne Reid Banks
Am I Blue? Coming Out from the Silence? By Marion Diane Bauer
Arming America: The Origins of a National Gun Cultureby Michael A. Bellesiles
Girl Goddess, #9, I Was a Teenage Fairy and Weetzie Bat by Francesca Lia Block
Deenie and Forever by Judy Blume
Doing It by Melvin Burgess
Family Values: Two Moms and Their Son by Phyllis Burke
Tarzan by Edgar Rice Burroughs
C
My Father’s Scar by Michael Cart
The Homo Handbook--Getting in Touch With Your Inner Homo by Judy Carter
Stonewall: The Riots That Sparked the Gay Revolution by David Carter
Dance on My Grave by Aidan Chambers
Postcards from No Man’s Land by Aidan Chambers
The Perks of Being a Wallflower by Stephen Chbosky
The Awakening by Kate Chopin
Ricochet River by Robin Cody
Lords of Discipline by Pat Conroy
The Chocolate War by Robert Cormier
I am the Cheese by Robert Cormier
We All Fall Down by Robert Cormier
Skull of Truth by Bruce Coville
Stuck Rubber Baby by Howard Cruse
Athletic Shorts and Ironman by Chris Crutcher
Stotan! by Chris Crutcher
Whale Talk by Chris Crutcher
D
Krik? Krak! by Edwidge Dandicat
The Teenage Guy’s Survival Guide by Jeremy Daldry
My Brother Has AIDS by Deborah Davis
Lost Prophet: The Life of Bayard Rustin by John D'emilio
Between Lovers, Cheaters and The Other Woman by Eric Jerome Dickey
Deal With It! by Esther Drill
Daughters of Eve by Lois Duncan
E
Like Water for Chocolate by Laura Esquivel
F
Eight Seconds by Jean Ferris
The Sissy Duckling by Harvey Fierstein
Life is Funny by E.R. Frank
The Trouble With Babies by Martha Freeman
My Heartbeat by Garret Freymann-Weyr
G
Good Moon Rising and Holly’s Secret by Nancy Garden
Grendel by John Gardener
Julie of the Wolves by Jean Craighead George
The Drowning of Stephan Jones by Bette Greene
H
King & King by Lindade Haan and Stern Nijland
Don't You Dare Read This, Mrs. Hunphrey by Margaret Peterson Haddix
Speak by Laurie Halse Anderson
It's Perfectly Normal by Robie Harris
Hey, Dollface by Deborah Hautzig
The Misfits by James Howe
GLBTQ: The Survival Guide for Queer and Questioning Teens by Kelly Huegel
J
How to Make Love Like a Porn Star: A Cautionary Tale by Jenna Jameson
Breaking Boxes by A.M. Jenkins
K
Pinkerton, Behave! by Steven Kellogg
One Flew Over the Cuckoo's Nest by Ken Kesey
Animal Dreams by Barbara Kingsolver
The Bean Trees by Barbara Kingsolver
L
What I Know Now by Rodger Larson
To Kill a Mockingbird by Harper Lee
One Fat Summer by Robert Lipsyte
Anastasia Again by Lois Lowry
The Giver by Lois Lowry
Extreme Elvin by Chris Lynch
M
All the Pretty Horses by Cormac McCarthy
Bringing Down the House by Ben Mezrich
Gays/justice: A Study of Ethics, Society, and Law by Richard D. Mohr
Beloved, The Bluest Eye, and Song of Solomon by Toni Morrison
Fallen Angels by Walter Dean Myers
Monster by Walter Dean Myers
N
The Alice Series by Phyllis Reynolds Naylor
P
Choke by Chuck Palanuik
Mick Harte was Here by Barbara Park
Bridge to Terabithia by Katherine Paterson
Captain Underpants by Dav Pilky
Hot Zone by Richard Preston
R
On the Bright Side, I'm Now the Girlfriend of a Sex God by Louise Rennison
Coming Out in College: The Struggle for a Queer Identity by Robert A. Rhoads
Freaky Friday by Mary Rodgers
Running: La Vida Loca: Gang Days in L.A. by Luis J. Rodriguez
Harry Potter series by J.K. Rowling
S
The Catcher in the Rye by J.D. Salinger
Rainbow Boys and Rainbow High by Alex Sanchez
Push! by Sapphire
Shadow Club by Neil Shusterman
Balzac and the Little Chinese Seamstress by Dai Sijie
What My Mother Doesn't Know by Sonya Sones
Of Mice and Men by John Steinbeck
America (The Book) by Jon Stewart
Double Date by R.L. Stine
Sophie's Choice by William Styron
T
The Joy Luck Club by Amy Tan
Roll of Thunder Hear My Cry by Mildred D. Taylor
Stuck in Neutral by Terry Trueman
The Adventures of Huckleberry Finn by Mark Twain
V
My Two Uncles by Judith Vigna
W
Peter by Kate Walker
Montana 1948 by Larry Watson
This Boy's Life by Tobias Wolff
Black Boy by Richard Wright
[Top]