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PROVENANCE RESEARCH IN BOOK HISTORY: A HANDBOOK.
Pearson, David
Reprint of the first edition with a new introductory section containing additional references to update the original text. This book has quickly become established as a standard work in a field of rapidly growing interest. At a time when more and more people are studying private book ownership, this handbook offers a compendium of information on the ways of recognizing and identifying marks of ownership, and on placing that knowledge in a wider context. Topics covered include inscriptions; mottoes; bookplates; book labels and book stamps; armorials; sales catalogues; catalogues and lists of private libraries; provenance indices; heraldry and paleography. Co-published with the British Library.
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Books of related interests - -
> Sheppard, Roger (editor), DIRECTORY OF LITERARY SOCIETIES AND AUTHOR COLLECTIONS.
> Ritchie, Ward, OF BOOKMEN & PRINTERS, A GATHERING OF MEMORIES. With a foreword by Lawrence Clark Powell.
> Greenfield, Jane, ABC OF BOOKBINDING, A UNIQUE GLOSSARY WITH OVER 700 ILLUSTRATIONS FOR COLLECTORS AND LIBRARIANS
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E.R. WEISS: THE TYPOGRAPHY OF AN ARTIST
by Cinamon, Gerald
First edition and one of 300 numbered copies. Lovers of beautiful books, elegant design, and clear typography will be thrilled with this new volume about the book artist, Emil Rudolf Weiss.
Weiss stands high in the pantheon of great book artists that includes William Morris, Bruce Rogers and Francis Meynell, among others, but because his work was mostly in Germany, he tends to be less well known in the English speaking world; certainly not much has been written about him or his work in English since the 1930s. Yet he was sufficiently regarded by Stanley Morison to be a guest designer for an issue of The Fleuron; another issue of which included an essay by Morison about Weiss ornaments. His Weiss-Antiqua typeface was particularly popular in the USA, mainly due to the availability for slug casting through Intertype matrices, and the publicity work of the Bauer Type Foundry office in New York. Today, most of us have, perhaps unknowingly, seen the digital version of Weiss roman, if not the original metal version. It remains a popular typeface, particularly in book work where one of its recent outings was on the dust-jacket of the US edition of The Da Vinci Code, and the UK edition of Revenge of the Mooncake Vixen.
Jerry Cinamon studied graphic design at the Yale School of Art & Architecture, and first came across Weiss Initials while working in New York in the early 1960s. He had a long and successful career working at Penguin books, learning German after his retirement to produce his excellent biography of Rudolf Koch (Oak Knoll, 2000). Included are numerious pieces of ephemera and the prospectus.
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