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THE ADAGIO PRESS.
Bahr, Leonard F.
Ornaments and type faces offered by the Adagio Press. Includes designs by Will Bradley (American Type Founders), D. Stempel, Imre Reiner and Jose Mendoza y Almeida (Typefoundry Amsterdam), Alessandro Butti and Aldo Novarese, G.C. Lange (H. Berthold), American Type Founders, Monotype, Georg Trump, Konrad Bauer and Walter Baum, designers for Bauersche Giesserei, Hermann Zapf, Jan van Krimpen and others. Illustrations of all type faces and ornaments.
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> TYPE SPECIMENS, TWENTY-FIRST CENTURY
> ADAGIO PRESS
> PRINTING HISTORY, TWENTIETH CENTURY
> ORNAMENT
> STEMPEL AG
> AMERICAN TYPE FOUNDERS COMPANY
> BERTHOLD TYPE FOUNDRY
> BAUER TYPE FOUNDRY, INC.
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Runs of two 19th-century periodicals: FIGARO IN LONDON & ...
Two runs of early nineteenth-century periodical bound together. #1-62 ; #1-45 issues. The first is the well-known Figaro in London , with a title page Volume 1 for the year 1832. No. 1 is dated Saturday, December 10, 1831, followed by a complete run through No. 62 dated Saturday, February 9, 1832 (which should be 1833). No. 61 is correctly dated as Saturday, February 2, 1833. (Union List of Serials, 1558).There is no title page for Volume 2, although the run certainly goes well into it. Figaro in London was published by William Strange, edited by Gilbert á Beckett and illustrated by Robert Seymour. Strange was a bookseller in London who carried many of the popular papers of the day. á Beckett went on to greater fame as one of the editors of Punch, of which Figaro in London was a precursor. Seymour, gifted illustrator and caricaturist, was well known. He committed suicide while illustrating the Pickwick Papers.
This is a complete run of The Literary Guardian andSpectator of Books, Science , Fine Arts, Etc.
(Union List of Serials , 2438). They have been bound somewhat in reverse. #28-45 precede #1-27 . The publisher was William Tindall. It may be noted that this paper could be purchased weekly at William Strange's bookshop. There are few illustrations, mostly those of a scientific nature. Per OCLC, while a number of libraries have The Literary Guardian on microfiche, very few have actual copies.
The spine cloth is separating, some of the signatures have come loose, and the boards are very worn. The pages are surprisingly good, although some of them are tattered at the edges.
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