Unlocking The Worth Of Antiquity: Understanding The Value Of Old Shakespeare Books

Old Shakespeare books occupy a rare junction of literature, printing history, and art collecting. Their values range from modest to multimillion, with price driven by edition, completeness, condition, provenance, and demand. This guide translates bibliographic nuance into an appraisal-ready framework for collectors and specialists.

What Collectors Mean by “Old Shakespeare Books”

“Old” in the Shakespeare market spans more than three centuries of printings. Broadly:

• Quartos (late 16th–early 17th century): Individual plays first issued in small quarto format, often during or near Shakespeare’s lifetime. These are among the rarest and most heavily studied Shakespeare printings.
• Folios (17th century): Collected works in large folio format—especially the First Folio (1623)—which organized the plays into Comedies, Histories, and Tragedies and canonized much of the text.
• Notable 18th–19th century editions: Scholarly and illustrated sets (Rowe 1709, Pope 1725, Theobald 1733, Johnson 1765; Boydell Shakespeare 1791–1804; 1821 Variorum; later Cambridge/Globe editions) that shaped modern reading and performance but are common enough to be affordable—unless in exceptional condition, bindings, or with key association provenance.

Understanding where a book falls in this hierarchy is the first step in valuation.

Rarity Hierarchy: Folios, Quartos, and Notable Later Editions

• First Folio (1623)

  • The landmark Mr. William Shakespeares Comedies, Histories, & Tragedies. Printed by William and Isaac Jaggard; the famous Droeshout engraved portrait on the title page is a quick diagnostic.
  • Values: Exceptional copies have realized well into eight figures. Working copies with defects still command seven figures; incomplete or heavily restored examples can reach high six to low seven figures. Single leaves—especially those with celebrated passages—can bring thousands to high five figures.

• Second Folio (1632)

  • Printed by Thomas Cotes, based closely on the First but with numerous corrections and variants. Not as rare as the First, but still a blue-chip collectible.
  • Values: Typically low-to-mid six figures for attractive copies; exceptional association or condition can reach higher. Defective or incomplete examples can be under $100,000.

• Third Folio (1663; 1664 issue adds plays)

  • The 1664 issue added seven plays then attributed to Shakespeare (now largely considered apocryphal except Pericles). Scarcer in part due to losses after the Great Fire of London (1666).
  • Values: Often comparable to or above the Second in similar condition; good copies can range mid-to-high six figures, with notable examples more.

• Fourth Folio (1685)

  • Larger format, different typography, and new prefatory matter. Commonly seen compared to earlier folios, though still a major work.
  • Values: Frequently five to low six figures, higher with fine bindings, provenance, or completeness.

• Quartos (c. 1594–1640)

  • Individual play editions preceding or paralleling folio publication. There are “good” and “bad” quartos (the latter possibly memorial reconstructions or piracies), and many are extremely rare.
  • Values: From mid six figures to multimillion for the rarest and most desirable. Condition, completeness, and play title are decisive.

• Important 18th–19th century editions

  • Rowe (1709, first edited collected edition); Pope (1725); Theobald (1733); Warburton (1747); Johnson (1765); Johnson–Steevens (1773 and later); Malone (1790); the Boydell Shakespeare (1791–1804, with large-format plates); early Variorum editions (notably 1821).
  • Values: Typically hundreds to low five figures per set depending on condition, bindings, and provenance. Johnson’s 1765 can be low-to-mid four figures; Pope 1725 can stretch higher in fine state. Boydell plate books vary widely: incomplete/text-only sets may be modest; complete plate suites and large-paper copies can be high four to five figures.
  • Later 19th-century “library” sets (Cambridge, Globe, Routledge, etc.) are usually accessible—often under $1,000—unless in luxury bindings or with distinguished provenance.

• Fine press and 20th-century limited editions

  • Shakespeare Head Press, Limited Editions Club, and other high-quality sets can command hundreds to a few thousand, more for special states, designer bindings, or signed illustrations.

Note: These ranges are indicative, reflecting typical market behavior under normal conditions. Exact valuation depends on copy-specific attributes.

The Appraiser’s Framework: Factors That Drive Value

• Edition, issue, and state

  • Establish precisely what the book is. A 1663 Third Folio differs materially from the 1664 issue; a Pope 1725 first impression differs from later corrected states. Quartos are often studied line-by-line to distinguish issues.

• Completeness and collation

  • Missing leaves (especially title page, portrait, dedication, last leaf) reduce value substantially. “Made-up” copies with leaves supplied from other copies or facsimiles are common—disclose clearly.
  • For folios, confirm all prelims and the full roster of plays; note cancels and known variants.

• Condition

  • Look for trimming (loss of headlines/margins), washing/bleaching, pressing, repairs, worming, dampstains, and offsetting. Honest wear in a period binding is generally preferable to heavy restoration.
  • The engraved Droeshout portrait leaf is frequently supplied or reproduced; original impressions show plate marks and characteristic ink tone.

• Binding and format

  • Contemporary or near-contemporary bindings in sound state boost appeal. Later fine bindings by renowned binderies (Riviere, Zaehnsdorf, Bayntun) can enhance desirability. Overly tight modern rebindings can impair value, especially if text has been aggressively trimmed.

• Provenance and association

  • Ownership by notable actors (Garrick, Kean), editors (Johnson, Malone), authors, or prominent collectors can significantly increase value. Institutional stamps usually depress value unless they certify legitimate deaccession.
  • Marginalia matters—scholarly, theatrical prompt notes, or early performance-related annotations can elevate a copy; random 19th-century doodles rarely do.

• Bibliographic control

  • Reference to standard bibliographies (e.g., STC/Wing, ESTC, Greg, Jaggard) and collation against accepted copies supports authenticity and valuation. Include a collation statement in professional appraisals.

• Market context

  • Recent auction comparables and private dealer sales within the last 3–5 years guide fair market value. Currency fluctuations, headline sales, and institutional acquisitions can shift demand quickly.

Identification Pointers: Is It What You Think It Is?

• Format and measurement

  • Folio leaves are large, typically around 30–33 cm tall when untrimmed, with vertical chainlines; quartos are smaller with horizontal chainlines. Measure the leaf, not the binding.

• Title page diagnostics

  • First Folio: Droeshout portrait with “To the Reader” poem on the verso; title reads “Mr. William Shakespeares Comedies, Histories, & Tragedies.”
  • Second Folio: 1632 date; printer Thomas Cotes. Variants exist—note imprint details.
  • Third Folio: 1663 title; the 1664 issue adds plays and bears that date.
  • Fourth Folio: 1685 date; imprint of Herringman and partners.

• Collation and catchwords

  • Early books use signatures (A, A2, etc.) and catchwords at the bottom of pages. Confirm signature sequences and compare against standard collations. Irregularities may indicate cancels, supplied leaves, or facsimiles.

• Paper and printing clues

  • Look for watermarks, laid paper with visible chainlines, and letterpress impressions you can feel lightly with fingertips. Engraved portraits should show plate impressions; lithographic or photogravure replacements often lack them.

• Common pitfalls

  • Facsimile leaves inserted where original leaves were lost; entire facsimile editions bound to look old; “married” volumes assembled from multiple defective copies. Always state suspected facsimiles or supplied leaves in condition notes.

If in doubt, high-resolution images of the title page, portrait, colophon (if any), signatures, and problem areas enable preliminary remote assessments by specialists.

Market Realities: Price Ranges and Selling Paths

• Indicative price tiers

  • First Folio: mid-seven figures to eight figures for strong copies; incomplete or defective can still be high six to seven figures; single leaves range widely based on content.
  • Second/Third/Fourth Folios: low six to high six figures depending on completeness, condition, and association; defective examples can fall below $100,000.
  • Quartos: mid six figures to multimillion; unique or exceptionally important plays drive top prices.
  • 18th-century edited sets: typically low four to low five figures; exceptional bindings, large-paper copies, or major provenance bring more.
  • 19th-century illustrated sets: hundreds to a few thousand; top-tier plate suites and deluxe papers can be higher.
  • 20th-century fine press: hundreds to low thousands; peaks for special issues, artist-signed suites, or designer bindings.

• Selling channels

  • Auction: Transparent and potentially competitive; requires lead time, seller’s commission, photography, reserve strategy, and a condition report. Strong for high-end folios, quartos, or notable provenances.
  • Specialist rare book dealers: Pre-qualified buyers, curated placement, often better confidentiality and after-sale support; pricing may target retail levels; consignment terms vary.
  • Private treaty via advisors: Useful for museum or major private placements; emphasizes discretion and fit.
  • Caution with quick-sale avenues: Underperforms for serious material; documentation and guarantees may be weak.

• Timing and presentation

  • Seasonality and headline results influence momentum. A well-documented, conservatively but completely described copy, with clear images and provenance, consistently outperforms a hastily offered one.

Preservation and Handling Essentials

• Store at stable room temperature with moderate humidity; avoid attics and basements.
• Keep books upright and supported; do not force open tightly bound volumes.
• Use clean, dry hands; gloves can reduce tactile control and may snag paper fibers.
• Avoid tape and pressure-sensitive adhesives. Do not attempt amateur “bleaching” or washing.
• Use custom enclosures or phase boxes for fragile copies; consult a qualified conservator for any treatment.

Practical Appraisal Checklist

• Identify the work:
  • Title page date, imprint, format (folio/quarto), edition/issue/state.
• Measure and collate:
  • Leaf size, signature collation, presence of portrait/prelims, page count per play or volume.
• Evaluate condition:
  • Trimming, tears, repairs, stains, worming, washed/pressed leaves, replaced/facsimile leaves.
• Inspect binding:
  • Period vs later; structural soundness; evidence of rebacking or rehinging; notable binder marks.
• Document provenance:
  • Inscriptions, bookplates, auction/dealer records, institutional stamps (with deaccession proof).
• Photograph:
  • Title page (recto/verso), portrait (detail of plate mark), signatures, watermarks if visible, defects, binding exterior/interior.
• Research comparables:
  • Recent auction prices and dealer offerings for the exact edition/state and a similar condition profile.
• Decide the purpose of value:
  • Fair market value (sale) vs replacement value (insurance), and adjust methodology accordingly.

FAQ

Q: How can I tell if my copy is a First Folio? A: Check for the folio format, the 1623 date, and the Droeshout engraved portrait with Ben Jonson’s “To the Reader” on its verso. Confirm title wording (“Mr. William Shakespeares Comedies, Histories, & Tragedies”) and collate the prelims. Many copies are incomplete or have supplied leaves—verification by a specialist is advised.

Q: Do owner signatures or notes increase value? A: Yes, if the signer is significant (actors like Garrick, editors like Malone, famous authors, or notable collectors). Theatrical prompt annotations can be valuable. Ordinary ownership marks or later notes typically do not help and may reduce appeal if messy.

Q: My set is beautifully bound from the 19th century. Does that guarantee high value? A: Fine bindings can lift a copy above the average, but textual importance, edition, condition, and completeness still dominate. A luxury binding on a common late edition is worth a premium, not a transformation.

Q: Are facsimiles worth anything? A: Facsimile folios and quartos have scholarly and decorative value but are not rare-book equivalents. They may sell in the tens to low hundreds of dollars, more if a notable fine press production.

Q: Should I restore a damaged Shakespeare volume before selling? A: Not without professional guidance. Inappropriate restoration can reduce value. Obtain a condition assessment and, if warranted, a conservator’s treatment proposal that prioritizes reversibility and documentation.

By understanding the bibliographic landscape, applying a rigorous condition and collation review, and aligning selling strategy with market realities, you can unlock the true worth of old Shakespeare books—ethically, accurately, and to best advantage.