Search Results: Victorian Literature from Charles Agvent

London: Smith, Elder and Co., 1862. First Edition. Hardcover. All hinges are cracked to varying degrees with several covers loose but all attached. Uncommon in original cloth. But for the cracked hinges, this would be a Near Fine set. Three volumes in the Second Issue binding (Sadleir 3186) of brown morocco cloth with more conventional blocking than the first issue. According to Carter (BINDING VARIANTS, pages 158-159), 1520 copies were printed.

[1853]. Manuscript. Light creases from folding; writing dark and clear. About Fine and uncommon. HOLOGRAPH MANUSCRIPT completely in Carlyle's hand but not signed of @250 words on the verso of a letter (8" x 9-7/8") addressed to the writer notifying him of his election to the Atheneum. Mostly in ink with additions in pencil, the notes appear to be historical and biographical research in preparation for the writing of his biography of Frederick the Great. The notes spill over to the bottom of the letter.

Holmwood, November 14. Letter. Creases from mailing. Near Fine. A two-page AUTOGRAPH LETTER SIGNED "A. C. Swinburne" on two adjoining 4-1/2" x 7" sheets to composer Theo Marzials. In large part: "I am afraid I did not answer your note yesterday, & today it rises on my sight like an avenging ghost. As a rule I find it necessary to leave such matters as the publishing of my songs with music wholly in the hands of the publishers, who have their own tariff fixed for the license; but of course I reserve my right to dispense with this in the case of friends, & was never more glad to make use of it than in yours." Marzials created a musical version of Swinburne's poem "Ask Nothing More of Me, Sweet," which became one of the most popular ballads of the 1880s.

n.p., n.d. Manuscript. Some edgewear to the paper with a small piece, containing part of the title, detached but present. Paper somewhat fragile but still Very Good. HOLOGRAPH MANUSCRIPT Poem in Swinburne's hand of 25 lines titled "After Sunset" on two sides of a 5-3/8" x 11-3/4" sheet of plain paper. The poem is identical to the version published in Swinburne's collection TRISTRAM OF LYONESSE AND OTHER POEMS, but for one word which is crossed out with the published version above it and the omission here of the last three lines of the poem.

London: Bankside Press, (1900). Hardcover. Some soiling. Very Good copy of this nicely printed edition. Blanche McManus. Gilt-stamped white cloth. Copy #104 of 500 printed in orange and black with rubricated intials from designs by Blanche McManus. Given in honor of a young man who died at the age of 24 in 1900 as noted on the half-title page.

(Mansfield): Maurizio Martino, [1993]. Reprint. Hardcover. Fine. Five volumes bound in two green buckram volumes, as issued. Limited to 325 copies, this facsimile reprint in a smaller format contains the full catalogue of one of the great collections of Victorian fiction. Over 1400 pages of valuable information illustrated with facsimiles and plates.

New York: Henry Holt and Company, 1873. First American Edition. Hardcover. Fraying to spine tips. The light-colored cloth is foxed and soiled. The first sentence of most of the chapters have a pencil notation that seems to be the reader's response to the chapter titles. Very Good and quite uncommon. Issued in the Leisure Hour Series. Publisher's decorated cloth with the ads dated 4 October 1873. Hardy's third novel and the first published under his own name.

London: John Camden Hotten, 1867. First Edition. Hardcover. Fine, bright copy, entirely unopened. In chemise and attractive slipcase. In the remainder binding of blue cloth with the date at the heel of the spine; 8 pages of ads bound at the front between the endpaper and the half-title page and 16 pages at the rear. Housed in a cloth chemise and gilt-lettered and decorated quarter blue morocco slipcase.

Some soiling in margin, Near Fine. 6-1/2" x 8-1/2" with wide margins & printed signature. A pensive portrait drawn by G. F. Watts & engraved by J. Stephenson.. Image size: 6-1/2" x 8-1/2" with wide margins & printed signature. A pensive portrait drawn by G. F. Watts & engraved by J. Stephenson.

London: Smith, Elder and Co., 1874. New Edition. Hardcover. Contents fresh and clean; hinges sound, tightly bound. Cloth also bright and clean with some fraying along spine edges and tips. Near Fine set and increasingly uncommon as such. John Ruskin. Three large octavo (7" x 10-1/4") volumes in the publisher's brown blindstamped and gilt-decorated cloth. One of 1500 copies SIGNED by the author at the end of the preface. Illustrated with 62 plates, many in color, and drawings in the text by the author. First published about 20 years before this attractive, SIGNED edition, it is one of the key texts of the aesthetic movement. Early bookplate of American architect Joseph Prince Loud, Architect (1865-1942) on the front pastedown of each volume.

London: Edward Moxon & Co./Day & Son, 1863. First Edition. Wraps. The illuminated version is disbound and has a faint running stain in the lower left corner almost entirely in the margin. The signature is a bit faded with mounting traces on the verso of the letter. Near Fine. Included are a first issue copy (with the solid diamond and rule ornament on the title) of the 4-page leaflet (4-1/4" x 6-3/4") published by Edward Moxon & Co. and the version illuminated by Owen Jones (8-1/4" x 11-1/2") and published by Day & Son Lithographers to the Queen. Both are housed in a cloth slipcase with a leather label. Accompanying the two texts is a one-page AUTOGRAPH LETTER SIGNED (ALS) completely in Tennyson's hand dated 30 March 1863, addressed to "Gentlemen" and obviously directed to Day & Son. In full: "Accept my best thanks for your kindness. I think you made very beautiful use of my words and I do not wonder at the applause illicited [sic] by your illumination. Believe me. Your very obedient servant. A.… Read More