great scott tft lcd pricelist

The ViewSonic TD2230 boasts upmarket image quality thanks to its IPS LCD display that provides better color and contrast consistency, regardless of your viewing position, while the 1920 x 1080 screen res is high enough for crisp image clarity when spread across the 21.5-inch panel size. 250 cd/m2 max brightness and a 1000:1 contrast ratio are pretty typical, while HDMI, DisplayPort and analog VGA connectors ensure you"ll be able to hook this monitor to pretty much any computer running Windows 10, Android or Linux.

The Full HD resolution is spread a little thin across a 27-inch display, so images will look slightly pixelated, but this is an unavoidable compromise you have to make if you want a touch screen monitor larger than 24 inches. The PCT2785 does score well in terms of versatility though, as you get a built-in HD webcam and microphone, making it great for homeworking(opens in new tab) and video conferencing.

At 21.5 inches, the Asus VT229H is one of the smaller touch screen monitors on this list, but it still sports the same Full HD (1920 x 1080) resolution as larger 24 and even 27-inch touch screen displays, meaning you get more pixels per inch and slightly crisper image quality. This is also an IPS LCD, with wide 178 x 178-degree viewing angles and reliably consistent color and contrast, regardless of your viewing angle.

Most touch screen monitors are just that: a monitor, with a touch interface. But this 21.5-inch display also adds a pair of 2W stereo speakers for sound output, along with dual-array microphones and a built-in webcam for video conferencing. The IPS LCD display panel ensures decent color and contrast uniformity, while the Full HD 1920 x 1080 resolution is easily enough to for crisp image quality on a screen this size.

It"s not just outright screen resolution where touch screen monitors can fall short of their non-touch alternatives. Top-end screens designed for image and video editing are often factory color calibrated: they use LCD displays that can display a huge range of colors, or feature fast refresh rates for smoother video playback and gaming. However, touch screen monitors aren"t intended for color-critical image or video work: they tend to be all-purpose displays designed for more general applications like web browsing and basic image viewing.

Not all LCD monitors are created equal. LCD displays use three types of construction - IPS (In-Plane Switching), VA (Vertical Alignment), and TN (Twisted Nematic). Each one of these three LCD types exhibits noticeably different image quality characteristics, clearly visible to the average user.

Did Brad Pitt"s head get really wrinkly or is that just your crown molding? If you have a projector but no projector screen, you"re getting subpar picture quality and are wasting a great machine. Even if your wall is a crisp, spotless white, any imperfections will be obvious. But do you get wall-mounted screen or freestanding? Which size and aspect ratio? Manual or motorized? Don"t worry - we"ve got you covered. Below are the best projector screens of this year, no matter your budget. For more background, see our projector screen comparison table and buying advice below the picks.

However, despite the Vamvo Outdoor Indoor claiming that it can be used, well, both indoors and outdoors, the reality is a little more complex. Without a very dark environment, such as a basement with blackout curtains, there is a noticeable degradation and picture quality. And while the screen is easy to build (it will be up and running in minutes) it’s also easy to tip over. Fortunately, a few sturdy weights. This from happening, and we think the great picture quality is enough to mitigate these issues. Vamvo have big shoes to fill, but they’ve done well here. This is an ideal screen if you’re on a budget.

Or at least, that’s the theory. For while this is an absolutely fantastic screen that delivers some genuinely brilliant picture quality, it does have its issues. Chief among these is its inability to deal with fast pans where the footage is bright – something which leaves behind visible artefacts. It’s enough to knock it down the list a little bit, a fact not helped along by that staggering price tag. Ultimately, this is a great screen with a lot of potential, but it isn’t quite there yet.

The Elite Screens Aeon CLR UST 100” is a screen designed for ultra-short-throw projectors – as in, ones that are directly beneath the screen. This model is one of the better ultra-short-throw (UST) screens available, despite not being quite as assured as the Screen Innovations Solo Pro 2, and costs just over a quarter of the price. It offers outstanding picture, especially in rooms which are not perfectly dark. Although the gray shade might not look great when it isn’t being used, it’s able to push back up to 65% off-angle ambient light. That means that you can get away with just closing the curtains without having to worry about stray ambient lighting sneaking in.

Today, film has been almost completely replaced by digital-video projectors that are based on one of three imaging technologies: LCD, LCoS, and DLP. All of these technologies offer many advantages over film and CRT projectors—smaller size, lower weight, less heat generation, and more efficient energy usage—and each one has its own strengths and weaknesses for different applications.

The first digital-projection technology was LCD (liquid crystal display). It was conceived by Gene Dolgoff in 1968, but LCD technology was not sufficiently developed to be practical in a projector at the time; that would have to wait until the mid-1980s.

Fig. 1: In many LCD projectors, white light from a lamp is split into its red, green, and blue components using dichroic mirrors. The three colored beams are directed to pass through three LCD panels that form the images associated with each color. Then, the light from the three panels is combined into a full-color image that is projected onto the screen. (Source: Epson)

In some LCD projectors, the light source is a blue laser. With most laser projectors, some of the blue light from the laser hits a spinning wheel coated with phosphor that emits yellow light, which is then split into its red and green components using dichroic mirrors (Fig. 2). The rest of the blue laser light is directed to the blue imager.

Fig. 2: Some LCD projectors use an array of blue lasers as the light source. Some of the blue light is directed to a spinning wheel coated with a phosphor that emits yellow light, which is split into its red and green components. The red, green, and remaining blue-laser light beams are then directed to the LCD imagers. (Source: Epson)

Either way, each beam of red, green, and blue light is directed toward its own LCD imager, which typically measures 0.55-inch to about 1-inch diagonally (Fig. 3) and consists of an array of tiny, transparent cells. These cells are individually and dynamically controlled by electrical signals to allow more or less light to pass through them at any given moment. Each cell can be made transparent, opaque, or translucent in varying degrees based on the signal. As the cells change the amount of light they pass, they form a digital image for each frame in the video signal.

The imager for each color forms a portion of the final image associated with that color, and the image is generally held for each entire frame in the video signal; this process is called sample and hold. Modern LCD imagers can be switched at faster rates—up to 480 times per second—which allows projector designers to implement features such as 3D, frame interpolation, and pixel-shifted UHD (more on that in a moment) instead of holding one image for the entire frame.

The individual cells in an LCD imager measure about 6 to 12 microns across and are surrounded by opaque lines that carry the electrical signals to control each cell"s transparency. These lines occupy a certain percentage of the total area of the imager that can"t be used as part of the image. The percentage of the total area that can be used as part of the image—in other words, the area occupied by the cells themselves—is called the fill factor, which is roughly 80% to 90% for LCD imagers. As a result, it"s possible to see the boundaries around the pixels as you get close to the screen, which is known as the screen-door effect. Some longtime enthusiasts may recall the prominence of screen-door effect in earlier, lower-resolution LCD projectors, though today"s 1080p imagers have greatly reduced its visibility on a typical-size home-theater screen.

Another important characteristic of all digital projection imagers is their inherent or native contrast ratio—that is, the ratio of the most to least light they can pass without enhancements such as a dynamic iris or modulated light source. Epson won"t reveal the native contrast ratio of its LCD imagers, but the company"s UB (Ultra Black) enhancement technology—which incorporates a dynamic iris and light polarization to reduce light scatter in the engine—is known to achieve impressive contrast ratios and black levels when viewed in appropriately dark conditions.

Most modern LCD imagers have resolutions up to 1920x1200 (WUXGA); home-theater models typically use 1920x1080 (1080p) imagers. Higher resolutions are possible but uncommon—I know of only one commercially available projector today that uses LCD imagers with native 3840x2160 (UHD) resolution: the recently introduced Epson Pro L12000QNL, which is designed for large venues such as stadiums and convention halls.

Some home-theater LCD projectors with 1080p imagers simulate UHD resolution with a pixel-shifting technique. The pixel-shifting in Epson"s models is part of a technology suite Epson calls 4K PRO-UHD. In this process, an optical refracting plate oscillates back and forth, shifting the final image diagonally by half a pixel once per frame (Fig. 4). Because the LCD cells can be switched to different levels of transparency much faster than any current frame rate, each set of shifted pixels is independently controllable, doubling the effective number of pixels on the screen. In addition, the pixels overlap, so the pixel grid is more dense, further reducing the screen-door effect.

LCD imagers for projectors are made by Epson and Sony. Epson is the only major manufacturer of consumer-oriented LCD projectors, though it also makes models for business and educational applications as well as large venues. Sony makes a variety of LCD projectors for the business and education markets, and Panasonic offers models for large-venue and commercial installations. Other companies that make LCD projectors for various applications include Christie, Maxell, NEC, Ricoh, and Sharp.

LCoS (liquid crystal on silicon) is a variation of LCD technology. General Electric first demonstrated a low-resolution LCoS projector in the 1970s, but it wasn"t until 1998 that JVC introduced its first SXGA+ (1400x1050) projector using its implementation of LCoS technology, which the company calls D-ILA (Direct Drive Image Light Amplifier). In 2005, Sony introduced its first 1080p home-theater model, the VPL-VW100 (aka "Ruby"), using its own implementation of LCoS—called SXRD (Silicon X-tal Reflective Display)—which was followed by JVC"s DLA-RS1 in 2007.

Like LCD projectors, LCoS projectors separate light into its red, green, and blue components that are directed to three separate LCD-based imagers. But instead of light simply passing through the LCD cells, it is reflected off a shiny surface directly behind the cell array and passes back through the cells again (Fig. 5).

Fig. 5: An LCoS imager includes a layer of LCD material that lets more or less light through each pixel according to the signal it receives. The light passes through the LCD layer and reflects off a mirror before passing back through the LCD layer a second time. (Source: JVC)

The light source in LCoS projectors is often a white lamp, but some use a blue laser and yellow phosphor wheel as the light source, a technology that JVC calls Blu-Escent and Sony calls Z-Phosphor. Either way, as with LCD projectors, the red, green, and blue light beams are directed to their respective imagers. The reflected light from the three imagers is then combined and projected onto a screen through the main lens (Fig. 6).

LCoS imagers today measure 0.7 to 1.3 inches diagonally (Fig. 7). As with LCD, each imager forms its image and generally holds it for each frame. Modern LCoS imagers can switch at rates up to 120 Hz, which allows things like 3D, frame interpolation, and pixel-shifted UHD. At 120 Hz, however, they can"t do pixel-shifted UHD and 3D at the same time.

Fig. 8: JVC claims to have developed a way to control the LCD molecules in the gaps between cells, greatly reducing the screen-door effect. (Source: JVC)

In any case, red, green, and blue light is directed to DLP imagers, which currently measure from 0.2 inches for small, portable devices to 1.38 inches for digital-cinema projectors; home-theater models today typically use imagers that measure 0.47-inch or 0.66-inch diagonally. However, they work quite differently from LCD or LCoS imagers. Instead of tiny LCD cells, a DLP imager is covered with an array of microscopic mirrors that correspond to the individual pixels (Fig. 10). This type of imager is called a Digital Micromirror Device (DMD).

Each micromirror on modern DMDs measures 5.4 to 10.8 microns square, depending on the size and resolution of the imager, and the fill factor is over 90%. The native contrast of DMDs is generally less than LCoS imagers, though Texas Instruments made claims to contrast improvement through the years in successive generations of its "DarkChip" technology. More recently, however, TI and its supporting DLP projector manufacturing partners have not touted DarkChip much at all in promotion of DLP. As with other technologies, a dynamic iris and/or dynamic illumination modulation can greatly increase the effective contrast of the image on the screen.

As in all LCD and LCoS projectors, some DLP projectors use three DMDs, one each for red, green, and blue. However, these so-called 3-chip models are very expensive. Fortunately for consumers, there"s a less-expensive alternative that uses only one DMD.

By comparison, color brightness (aka color light output or CLO) is calculated by adding the maximum brightness of red, green, and blue. Ideally, white and color brightness should be identical, and for all 3-chip projectors—LCD, LCoS, and 3-chip DLP—they are, since white is simply a combination of red, green, and blue. A standard method for measuring color brightness was introduced by SID (Society for Information Display) in 2012.

In addition, white and color brightness are generally identical for 1-chip DLP projectors with RGBRGB color wheels (though the use of BrilliantColor processing might cause a slight discrepancy). When the color wheel includes other filter colors—especially a clear segment—the white brightness will be greater than the color brightness, which is calculated only from the red, green, and blue colors, leaving the extra colors and white out of the equation. The difference between white and color brightness can be as much as a factor of two or three in 1-chip DLP projectors.

Why is this important? If a projector"s color brightness is much less than its white brightness, images with saturated colors can appear noticeably dimmer and duller than they would from a projector with equal white and color brightness. You might think this means it is always preferable to have a 3-chip projector that delivers equal white and color brightness, and since all LCD and LCoS projectors are 3-chip designs, you should automatically select one of those. However, depending on the projector, its brightness rating, and the content, ProjectorCentral"s tests suggest there can be trade-offs in perceived contrast or color accuracy that may come into play with 3-chip LCD projectors. ProjectorCentral"s investigation "ANSI Lumens vs Color Light Output: The Debate between LCD and DLP" takes a close look at this subject. There are also many other factors to consider when selecting a projector, such as the quality of signal processing and optics, and the overall cost just to name a few.

LCD can exhibit excellent blacks and contrast with enhancement techniques such as a dynamic iris and/or dynamic lamp or laser modulation. In particular, Epson"s UB (Ultra Black) technology is effective at improving the level of deep black and boosting contrast by using polarized filters to reduce the amount of stray light inside the light engine that would otherwise make its way to the screen.

By comparison, many of the 1-chip DLP projectors I"ve reviewed over the years have had black levels and contrast that lagged well behind the best LCoS and LCD projectors. Of course, this doesn"t mean that DLP projectors always have worse or poor contrast. A projector"s overall brightness rating also has an effect on contrast (brighter projectors typically have higher black levels), and as with LCD and LCoS, enhancements like a dynamic iris and/or dynamic light modulation can help a lot. Still, ProjectorCentral"s comparison reviews, which directly face-off similar, calibrated home-theater projectors in the same environment, often report better contrast in dark images with LCD and LCoS models compared to single-chip DLP projectors.

Along with inherently better contrast, another advantage of LCoS among the three technologies is the availability and relative affordability of native-4K resolution. JVC and Sony both offer LCoS projectors with native 4K (4096x2160) resolution for as little as $5,000 to $6,000. DLP with native-4K resolution is available only in digital-cinema and other super-high-end projectors, which run well into six figures, and LCD projectors are not available with native 4K or UHD resolution at all as of this writing (except for the one large-venue model from Epson mentioned earlier).

Some Epson LCD and JVC LCoS models offer two-phase pixel shifting with native 1080p (1920x1080) imagers, which puts 4.15 million pixels on the screen. This is not true UHD, which would require 8.3 million pixels to be delivered to the screen for each frame. However, many respected reviewers have reported that the image from these projectors is subjectively sharper than true 1080p, and that the difference between double-pixel-shifted 1080p and true UHD is minimal. Of course, here again, other factors, including the quality of the image processing and the lens optics, also come into play in these comparisons.

Many LCD, LCoS, and 3-chip DLP projectors offer a pixel-alignment function that lets users shift the red, green, and/or blue pixels by tiny amounts to correct an imperfect factory alignment. In some cases, you can even shift different zones within the image by different amounts.

Whether you"re shopping for a budget model for a dedicated home theater or an expensive state-of-the-art projector for a large-venue installation, cost is almost always a factor. The most expensive projectors today tend to be ultra-high-brightness LCD or 3-chip DLP, while LCD and 1-chip DLP tend to be the least-expensive options among digital projectors, with prices today starting as low as $250. However, the resolution of these models is typically less than 1080p, or they feature low-light LED engines, making them unsuitable for serious home theater.

Today, decent 1080p home-theater projectors typically start around $450 and go up from there. If you search by resolution and price in ProjectorCentral"s Find a Projector Database (which lists more than 11,000 current and past projectors), home-theater projectors in the $450 to $1,000 range are almost entirely dominated by 1-chip DLP models from several major brands, including BenQ, Optoma, ViewSonic, Acer, Vivitek, and others. Epson—the only major brand selling LCD projectors for home theater, is represented by a trio of Home Cinema series models in this price range starting at $649.

The lowest-cost UHD models are found in the $1,000 to $2,000 range and include both 1-chip DLP projectors with full UHD resolution (achieved with pixel-shifting) and 3-chip LCD projectors (the latter only from Epson) that have native 1080p imagers but are UHD-compliant and apply pixel-shifting to enhance apparent resolution. Here again, the vast majority are single-chip DLP models. Of course, there are much more expensive—and higher performance—1-chip DLP projectors in the marketplace that utilize the same pixel-shifting XPR technology found in the budget DLP models, though brighter projectors often feature the larger 0.66-inch DMD with native 2716x1528 resolution, which uses only two-phase TRP pixel-shifting instead of the four-phase XPR quadrupling required for the 0.47-inch, native-1080p DMD.

LCoS is generally more expensive than consumer-oriented LCD and 1-chip DLP, and as noted earlier, the home-theater market for this technology is dominated by just two manufacturers, JVC and Sony. The lowest-cost LCoS projector in the ProjectorCentral database is a Sony model with 1080p resolution that costs $1,999. JVC"s current LCoS models start with the $3,999 DLA-X790/RS540 model mentioned earlier (until it is phased out), which uses a 1080p imager with e-Shift dual pixel-shifting. Beyond these are native-4K models from both manufacturers, starting at $4,999 for Sony and $5,999 for JVC. Wolf Cinema also offers its own LCoS projectors based on JVC chassis, including native 4K models, starting at $15,000.

Projectors have come a long way since their hand-cranked beginnings. Today"s digital-video projectors render spectacular moving images with greater resolution, higher brightness, more contrast, and a wider range of colors than ever before. Even better, most of those gains are available at lower cost to more consumers, businesses, schools, museums, and houses of worship, bringing more impact to a wider audience. Of course, the highest possible quality remains very expensive, but it"s amazing how well even the least-expensive modern projectors perform.

@Rob Sabin My pricing example was indeed a bit off. I think the €3000 to €6000 price range is becoming more important for consumers who are upgrading from the €1500 to €3000 price range. Although Epson did showcase their first 1.64 inch (HTPS) TFT 4096 x 2169 panel back in 2009, this market segment hasn’t really changed for true native 4K projector’s since the release of the Sony VPL285ES back in 2017. And it’s successor is also still priced at €4999. With the upcoming release of Epson’s new EB-L12000Q it is highly unlikely that the UB series are getting this kind of 4K panel or a scaled down version of it. I am waiting to see the next generation of Epson’s UB series with a higher resolution or sharpness, to fill the gap between the LCD forefront and the LCOS forefront currently dominated by JVC and Sony (for the consumer market).

Samsung 32-inch 4K Smart Monitor TV:$699$449 @ Amazon(opens in new tab)Save $250 on the Samsung 4K 32-inch Smart Monitor with Streaming TV. It"s a wise choice if you want a 4K laptop monitor that doubles as a smart TV. Great for minimalists or small spaces, the Samsung 4K Smart Monitor with streaming TV affords you the best of both worlds.

Buy a 4K monitor if you can afford to splurge.Although 1080p monitors offer a great viewing experience, 2160p content is becoming the new norm. If you have room in your budget to spend upwards of $250, go for the 1440p or 4K monitor.

The OnePlus Nord N20 5G is more powerful than Samsung’s budget phones, and its 1080p OLED screen is sharper than those of other phones in this price range, which typically have lower-resolution LCDs with worse contrast. The N20 5G even offers an in-display fingerprint sensor, a rare feature on budget phones. Though it runs Android 11 out of the box, it’s slated to get Android 12, along with three years’ worth of security updates (through spring 2025). However, it doesn’t function on Verizon’s network.

Like Google’s past budget-phone options, the Google Pixel 6a has great software—but it adds more powerful hardware. The Pixel 6a beats the budget competition in almost every way, and that makes it a terrific choice, provided you can spend a little more money. For $450, the Pixel 6a offers one of the best cameras on any smartphone, including phones that cost more than twice as much. In addition, the software experience is smoother and more pleasant than what you can find on OnePlus or Samsung phones, and the Pixel 6a has the same powerful Tensor processor as the more expensive Pixel phones do. Google guarantees security updates until summer 2027, as well. However, the Pixel 6a falls short of our other picks in battery life, and it has no headphone jack.

As with First Class tickets, Delta One tickets have dynamic pricing. Overall, Delta One is usually more expensive than First Class, as it’s a superior product. An international flight in Delta One can be $4,000-$6,000 roundtrip. Though at Scott’s Cheap Flights, we’ve found our members deals as low as $1,800 roundtrip.

Before booking a First Class or Delta One ticket on Delta, check out the aircraft first, then look at the pricing. Some seats are definitely worth more than others, but with dynamic pricing, you never know when you might land a great deal.

French bee is France’s first low-cost, long-haul airline. Based out of Paris Orly Airport (ORY), the airline is great for travelers with a focus on value, as ticket prices are low, add-on prices are reasonable, and their discount prices don’t mean poor service. The Paris-based crews are a competent bunch with a can-do attitude. Add in tasty onboard dining and a personal screen with an array entertainment choices and French bee passes our Bestie Test with flying colors.

Screen: Get an IPS LCD display. There are still a few low-end models out there with crappier TN LCD displays, and you should avoid those. Your pixel resolution depends on the size of the screen. I have used (and recommend) some 11-inch Chromebooks that have 720p displays. Because those screens are squeezed into a small form factor, I find them acceptably sharp, but a 1080p screen will be much nicer.

Lenovo has updated its ThinkPad X1 line. Three models—the Carbon, Yoga, and Nano—all get new 12th-generation Intel chips, as well as RAM and storage upgrades. I"m especially excited to see that there are upgraded Full HD webcams as well. As much as I like ThinkPads, previous models" webcams were seriously lacking in today"s world. Hopefully these new cameras, which have much bigger sensors, will be a big step up. The Yoga and Carbon will also be available with OLED displays, 4K for the Yoga and 2.8K for the Carbon. The Nano, which was my favorite laptop I tested last year, does not get OLED unfortunately. —Scott Gilbertson

I have a lovely book I cannot find reference to anywhere. It is a version of The Poems of Henry Wadsworth Longfellow with a biographical sketch by Nathan Haskell Dole and published by Thomas Y. Crowell & Co, 1901. What makes it unusual is the cover. It is tightly bound in brown suede and has two multicolored leaves that look and feel handpainted onto the sued. the front cover above the leaves and the spine are both stamped or painted with a gold script “Longfellow”. the letters feel pressed into the suede. the page edges are gilt and red. It belonged to my great grandfather, who was born in 1870s.

Thanks for the great info. I have an 1856 edition of Kit Bam’s Adventures; or The Yarns of an Old Mariner by Mary Cowden Clarke. I believe this is the first American printing. The book is is in good condition with some wear at the top and bottom of the spine. Is this book of value on the antique book market? Thanks.

It was given to my great uncle by a friend in 1895 as is inscribed. I can’t find any information about its value. Any information you could give me is appreciated, thank you for your time.

I have a copy of A Greek-English Lexicon by Henry George Liddle and Robert Scott second edition. It is an A4 size book. I am wondering what this may be valued at?

Hello- I purchased a copy of ‘The Lady of the Lake’ , by Sir Walter Scott yesterday at a sale containing many nice / unusual items. It is leather bound, with five raised edges on the spine, gold gilt edges, and quite a bit of embossing on the covers. It was published by Porter & Coates in Philadelphia and is undated, but clearly old. I have not looked at each page, as the binding is tight and I don’t want to do damage, but an inside page makes reference to ‘The most notable John James, Marquis of Abercorn’. Also, there are numerous engravings in the book, some with tissue between the pages. I know that this is a famous book that has been printed many times in the past 200 years, but I can’t find any reference to this edition. Any insight as to value that you could provide would be greatly appreciated.

I have a copy of Alice in Wonderland with 48 Coloured Plates by Margaret W Tarrant published by Wardlock & Co Ltd. It has the dust cover , although there is no print date it was probably purchased by a great aunt in the late 1800’s, does this book have any value? Thank you for a very informative site!

Great information. I have looked on a few websites for pricing on two old books but without any luck. These are Volumes 1 & 2 of Walks in London by August JC Hare. Published 1878 by Daldly, Isbister & Co. Paper page edges are gold color gilded. Spines are gone but boards & pages are good. Any assistenace would be appreciated.

I have a book titled “The Autobiography of a Newspaper Girl” by Elizabeth L. Banks in 1902. Inside is an inscription from the author saying “To my good friend and Editor, Mr. Scott C. Bone, who will find full particulars of himself in the dedication of this book! s/Elizabeth L. Banks London, November, 1902”

I have beee trying to find information online about the pubplication date or possible worth of a book but I am unable to find any on the particular edition that I have. It is The Poetical Works of Longfellow (Including Recent Poems). There is no publication date, but teh Publisher is Peacock and Mansfield & Co., Ltd. and it was presented to my great grandfather in 1911. It is a Blue cloth covered with 640 numbered pages. Do you have any information about this book?

I have a first edition of “The Secret Garden” by Frances Hodgson Burnett(New York: Frederick A. Stokes, 1911) great condition, blue cloth lining – no illustration or design embossed on the cover – simply the title. One of the early pages has “From May, December 25, 1911” written in it.

I have a Les Miserables by Victor Hugo, printed by A L Burt publishing company in New York. I can’t find a publishing date or any other notes on illustrations to go by. It is a hard back in fairly good shape, has all the pages and a library stamp on the first blank pages. I have been quoted various prices from various people, few of whom i actually feel have any clue about what they are talking about. Is it an actual first edition? also i have only volume 1 of a two volume series. Any info or recommendations would be greatly appreciated. many thanks!

I have a copy of Old Testament Stories Comically Illustrated, by Watson Heston, that I am contemplating selling. The cover is not in great shape, and the binding is very loose. While there are a few pages that are soiled by time, the illustrations show very little signs of fading and are in overall great shape. The book was a gift from the first dean of the Duke Law School, and has an inscription from him(not sure if this hurts the value or not).

I have an antique book Love-songs of childhood by eugene field copyright 1894 and one hundred narrative poems by scott, foresome and company copyright 1918 and some other antique books in very good condition im curious of the worth

i have the book in darkest africa by h.m.stanley 1890 i think it is the trade version of volume 1 on the spine it says division 1 it has an introduction by j.scott.keltie librarian to the royal geographical society it is titled mr stanleys africa career and has charles scribners sons..onthe cover is stanley standing up being saluted by a half naked native the first normaly blank page says this leaf not tobe bound with the volume .half way down says conditions of pubpication and this edition, specially prepared for subscription only.will be compleated in twenty two parts,at 2/s. each or insixdivisions .cloth bound ,at 9/s.each and is not obtainable from ordinary booksellers. next page si stanlsys portrait a woodcut and face on can you help please

I have a not great condition book (some of the binding at the bottom is torn off and pages very yellowed) Arlington Edition of David Copperfield. Cover is hard and intact but a 1 cm gash and edges worn. Published New York; Hurst and Co. but no date written. Inside Back cover has an ad for Sohmer and Co. pianos. Worth keeping or selling I`m wondering.

hi. I have 3 books handed down from great grandma: 1)one thousand and one nights: or, the Arabian nights’ entertainments. advance edition Donohue, henneberry & co. 2) last days of Pompeii geo. m. hill co. no copyright 3)tale of two cities 1914. thank you for your time. didn’t know where to start.

Hi…Wonderful Site. I have found a book from my Great grandfathers collection which I find interesting. The book is: Burns Poems by Robert Burns, It’s a hardcover book- made of Red plaid tartan silk, dated 1906 (MCMVI). Each page has a red, thin lined border around it. It also has gold Guilded page edges. It says Printed at Glasgow University Press by Robert Maclehose. It also lists this information: David Bryce & son,NY:Frederick A Stokes Company… Can you tell me if this book has any value. Thank You…

I recently picked up a manuscript titled Autobiography of Erastus Johnson (later published in 1938 Autobiography of Erastus Johnson a chronicle of pioneer life on the east coast and the west coast). The manuscript is in great condition and has pencil corrections throughout and author notes (typed) making reference to a second manuscript printed for the authors daughter however after contacting a descendant and learning what she had found in her genealogy research and the interest herself and members of the society bearing the families name had for obtaining the 1938 editions I need to seek a professional opinion. It is believed that this manuscript predates the 1938 edition by at least 22 years given the watermark Tyrone Linen on the cover page and it’s trademark registration by Graham Paper Co. St Louis Mo. (The author mentions his last visit to his family in St. Louis Mo.) Where many of his immediate family are laid to rest. Many questions and mystery surround the author of this book and the origins of it’s penning. The University of Berkeley in California has the manuscript from 1938 and Edward Copenhagen of Harvard special collections showed some interest in obtaining it. I know that it is probably only valuable to a descendant however there is definitely an interest. Thank you!

I have several books I got from my grandmother’s estate. The most interesting to me is a copy of Pilgrim’s Progress, dark red, from A.L. Burt Company, publisher. I can’t find the copyright, but it is inscribed with my Great Aunt’s name and address with the date, Dec. 16 -22. It also has a small pink receipt tucked in the cover; bearing “memorandum of purchase” from Carson, Pirie, Scott and Co, Chicago with the date Dec. 16 – 22, in the amount of 1.00. Another is a hardcover “Rollo on the Rhine by Abbott, copyright 1858. There are a few others that may be of value but these struck me as the most likely. Any thoughts?

I have an 1829 copy of Sir Walter Scott’s Rob Roy, hardcover, illustrated, dust jacket not applicable, in excellent shape. (Date is referenced in Introduction). I’ve seen 1829 version in on-line searches, but not from this publisher. It’s marked M.M. Caldwell Co. Publishers, New York and Boston, and is printed with Berkeley Library on the cover page. The cover is red cloth with lovely gold detail, and is embossed over the front and spine with the letter “B”. Thank you!

Also, Memoirs of Maxillian de Bethune, Duke of Sully, Prime Minister to Henry the Great, London, 1761, Volumes II & III. They belonged to Latisha Beauchamp Proctor (there is a bookplate), signed 1763.

i have inherited some hard covered books that was given to my great grandmother in 1867 . Dickens WorksIllustratedOLiver Twist. and about 20 others,They also say Riverside Editionstereotyped and printed by H..O. Houghton and company. Can you give any kind of info.?

The second one is Catherine The Great by Katherine Scherman, it’s the First print copyright date 1957. The book is a hardback book in excellent condition with a book jacket that has wear and tear.

I can only find a few references to it and it seems to have been a very early translation from 1846. It’s not in great condition but it has me curious as to its rarity. Any ideas?

I have a second edition copy from New York 1881 Jane Eyre. It is my favorite thing regardless of value. Beautiful green and black cover, great smell and feel of the pages. How would I find out what the value is?

I came across the book The Lady of the Lake by Sir Walter Scott. It’s copyright is Thomas Y. Crowell & Co. 1883 & 1888. It has a green cover with gold lettering & detail. All the pages are there. It’s well worn & has been written on inside. I can’t seem to find much information on this particular version. Might it be worth anything? Or do you have any info on why this version seems more rare than others? (It looks like this: http://bit.ly/1f4n4YB – but the one I have is very worn & used)

I have a manuscript that is signed and dated by Pat Conroy for the Great Santini. It is dated Feb, 23 ’03 Columbia S.C. It has notes throughout the manuscript and is signed. I have pictures that I can send. Does anyone have a rough estimate of what the value of this piece would be? Please contact me at my e mail address. Thank you!

One is Herrick’s Poems (Hesperides: Poems by robert Herrick edited with notes by Herbert P Horne and with introduction by Ernest Rhys. Published in London by Walter Scott publisher. I cannot find a date of publication. it is small and leather bound with gold scrols on the front.

I have a 1878 the pearl of great price in real good condition the cover has water spots. Pages are all good no tears of serious folds. The binding has is well intact. Could you give me an idea on what it could be worth? Thank you

I have all 12 volumes in hardback in great condition but have been unable to locate them with the correct publisher listed. Can you give me an idea of their worth?

I have a copy of Scott’s Poetical Works (full title: The Complete Poetical and Dramatic Works of Walter Scott) that was published by Routeledge when they were still at Broome St. This particular edition was printed by Woodfall and Kinder in the UK though. The book is 640 pages long, with the text in double rows and a red line bordering each page. The cover is a red cloth binding with a black and gold art nouveau design, and it is also blind tooled on the back and has gilt edges. Could you tell me when this book was printed? And roughly how much it might be worth?

Hello I have a Book I found when cleaning out a house its copyright is 1928 BY D. Appleton and Company and the Book is Number Six Joy Street. I have been looking all over the internet to try to find out about what it is worth the cover is a form of cloth the ink on the pages is slightly raised the pictures in the book look great one page though has come loose from the binding. please any help would be appreciated

I have a 10-volume set of the works of Sir Walter Scott, copyright 1834. The covers are all intact. Any ideas on worth and advice on how to sell? My husband recently died, and I am moving into a much smaller space and must part with most of my books.

Great post thanks! Love my old books and have been an avid collector for years. Please tell me that I am not the only one that loves the smell of old books? lol The older the better in my book…sorry bad joke