Search Results: Fine Printing from Charles Agvent

New Rochelle: The Elizabeth Press, (1976). First Edition. boards. Hint of sunning to spine. Fine, lacking the slipcase. Green printed boards. One of 400 copies printed by Martino Mardersteig at the Stamperia Valdonega in Italy of this posthumous collection of poems.

Boston: Printed for The Commission (by D. B. Updike at The Merrymount Press), 1928 (1930). First Edition. Hardcover. A title notorious for wear and weak hinges, this is a tight, Near Fine copy with light edgewear and minor marks to the spine and front cover. Thick folio (9-3/4" x 13-3/4") in publisher's oxblood pigskin leather stamped in black, top edge gilt; xli, 611 pages. Beautifully printed in black and red on English hand-made rag paper by D. B. Updike in an edition of 500 copies of which only 250 were for sale at the cost of one hundred and fifty dollars in 1930. Updike's magnum opus and one of the most beautifully designed American books of the twentieth century. Printed for the Joint Commission on the Revision and Enrichment of THE BOOK OF COMMON PRAYER and financed by the banker J.P.Morgan, Updike was well-suited to printing the work being a staunch Episcopalian and familiar with the text; it took two years to produce. This copy was presented to the Archbishop of Nova Scotia with a partly… Read More

[London]: [The Sign of the Dolphin], [1938]. First Edition. Hardcover. Contents Fine; covers with some soiling and mild dampstaining. Overall Very Good. Tall quarto (8-1/2" x 11-1/4") bound in half cream canvas and decorated gray boards, a similar style to the Chaucer titles Jones printed for the LImited Editions Club. Printed for private circulation and illustrated throughout with samples from his work. An Ode by E.M. Rudland "To George W. Jones Master Printer" is bound in. The colophon states that this book is the last printed by Jones at The Sign of the Dolphin. This copy INSCRIBED and SIGNED by the printer on a front blank, possibly to a relative. This was actually the Second Catalogue of Jones's library, as designated on the spine of the book and in his preface. His first library was at Monksbarn and was sold by Sotheby's in 1936.

New York: Limited Editions Club, 1932. Hardcover. Fine in a soiled, Very Good slipcase with some splitting but intact. Folio (8" x 12-3/4") bound in full cloth specially woven in rose and buff by Fortuny of Venice with a gold- stamped linen spine label. Translated and annotated by Melville Best Anderson with an introduction by Arthur Livingston. Designed, printed on rag mould-made paper, and bound by Hans Mardersteig at the Officina Bodoni in Verona, Italy. Copy #623 of 1500 SIGNED by the designer on the colophon page. Handsome book, beautifully printed.

New York: Random House, Inc., 1930. Hardcover. About ten pages with a small, dark stain at the very top margin, far from the text; light rubbing to the raised bands at the edge of the spine which is a bit sunned. Near Fine. Valenti Angelo. Folio (9-3/4" x 14-1/2") in original red half-morocco and bevel-edged Philippine mahogany boards with the publisher's device engraved on the front board, five raised bands on the spine where the title is stamped in black. Illustrated with 37 woodcuts by Valenti Angelo. Copy #198 of 400 copies printed by Edwin and Robert Grabhorn in handset Goudy New Style type on unbleached Arnold paper. The finest printing of LEAVES OF GRASS and a masterpiece of the Grabhorn Press, taking over a year to print.

[New York]: Limited Editions Club, (1987). Hardcover. Some light staining to the vellum. Near Fine in a Fine slipcase. Lovely edition of this important novel. Large octavo (7-1/2" x 10-1/4") bound in white vellum with gilt lettering. In the definitive translation by Stephen Mitchell. Copy #323 of 800 copies set in monotype didot and printed at Stamperia Valdonega in Verona, Italy, and bound by Recalcati in Milan. Issued unsigned.