Oak Knoll Books & Oak Knoll Press



Advanced Search >>

	Bibliography
	Book Collecting
	Book Design
	Book Illustration
	Book Selling
	Bookbinding
	Bookplates
	Cartography
	Children's Books
	Delaware Books
	Fine Press Books
	Forgery
	Graphic Design
	Images & Broadsides
	Libraries
	Literary Criticism
	Miniature Books
	Papermaking
	Printing History
	Publishing
	Typography
	Writing & Calligraphy

Search Result

Displaying 1-7 of 7

Author=Vervliet, Hendrik D.L.


Sort By :

Vervliet, Hendrik D.L. ABHB, ANNUAL BIBLIOGRAPHY OF THE PRINTED BOOK AND LIBRARIES.
11 volumes. Volumes 1-7 (1970-76), + volumes 13, 14, 16, 17, 23 The Hague Martinus Nijhoff 1973-1993 8vo. vols. 1-7 stiff paper wrappers, 13-17, 23 cloth. Average 300 pages each.
An international bibliography whose aim is to record all books and articles of scholarly value that relate to the history of the printed book, its art, crafts, techniques and equipment, and the economic and cultural environment involved in its production, distribution, and conservation. With chapters on paper, inks, calligraphy, type design, printing, bookbinding, illustration, publishing, etc.
Price: $ 100.00 other currencies Order nr. 70334

READ MORE...

Vervliet, Hendrik D.L. FRENCH RENAISSANCE PRINTING TYPES: A CONSPECTUS
New Castle, Delaware, and London Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010 8.5 x 11.5 inches Hardcover 472 pages
A majority of today's Western text types, whether Roman, Italic, Greek, or Hebrew, derive from type designs conceived or perfected in sixteenth-century France. They became available all over Europe from the 1540s onwards. Their design, often going by the name of Garamont, remained unchanged for two centuries. Their pleasant serenity and excellent readability triggered a revival from the 1850s onwards.

This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence.

The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.

Author Henrik D.L. Vervliet was previously Librarian at the University of Antwerp and a professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history.

Available in the UK from The Bibliographical Society.
Price: $ 120.00 other currencies Order nr. 103920

READ MORE...

Vervliet, Hendrik D.L. FRENCH RENAISSANCE PRINTING TYPES: A CONSPECTUS
New Castle, Delaware, and London Oak Knoll Press, The Bibliographical Society, and The Printing Historical Society 2010 8.5 x 11.5 inches Hardcover 472 pages
A majority of today's Western text types, whether Roman, Italic, Greek, or Hebrew, derive from type designs conceived or perfected in sixteenth-century France. They became available all over Europe from the 1540s onwards. Their design, often going by the name of Garamont, remained unchanged for two centuries. Their pleasant serenity and excellent readability triggered a revival from the 1850s onwards.

This conspectus aims at surveying exhaustively and regardless of aesthetics, all Roman, Italic, Greek, Hebrew, and Arabic typefaces made in France during the sixteenth century. Such a survey will be of interest to historians, bibliographers, and philologists wishing to identify the types used in the imprints they are investigating, as well as to type historians or type designers wishing to base their attributions on documentary evidence.

The conspectus consists of introductory chapters on the sources available, the evolution of sixteenth-century type-casting and letter-engraving, biographical notices of 17 punchcutters (both famous ones, such as Colines, Garamont, Granjon, and lesser known ones, such as Vatel, Gryphius, or Du Boys) and the methodology used. The main part of the book consists of the facsimiles of 409 typefaces (216 Romans, 88 Italics, 61 Greeks, 41 Hebrews, 2 Arabics, and one phonetic) each with a short identifying notice, describing their letter family, size, punchcutter (or eponym), their first appearance in books or type-specimens, the surviving materials such as punches or matrices, and finally (for about two-thirds of them), the recent literature. Every typeface has been illustrated, several with multiple examples of their use.

Author Henrik D.L. Vervliet was previously Librarian at the University of Antwerp and a professor at the University of Amsterdam. His work includes bibliography and books on humanism and book history.

Corners bumped.
Price: $ 100.00 other currencies Order nr. 114966

READ MORE...

Vervliet, Hendrik D.L. LIBER LIBRORUM, 5,000 JAHRE BUCHKUNST.
Eine geschichtliche Übersicht. Geneva Weber Verlag 1973 square 4to. cloth, dust jacket, cloth-covered slipcase. 545, (3) pages.
German translation of this work, first published in 1972. Twenty-four contributions or chapters by 24 scholars and experts: P. Culot, K. Gardner, A. Gaur, R. McLean, H.D.L. Vervliet et al., with 264 illustrations, color or black-and-white. In four sections: early history of books and writing, books in the orient, western manuscript books, and the printed western book (beginning with block books). Much attention is paid to illumination and illustration, with due notice of binding. A useful general work, particularly for the history of books before printing. Bibliographies at ends of chapters, list of illustrations at end. Shaken, covers almost detached from block at back hinge. Jacket lightly chipped at top and bottom edges. Slipcase somewhat soiled, lightly worn, bumped on three of the back corners.
Price: $ 250.00 other currencies Order nr. 53854

READ MORE...

Vervliet, Hendrik D.L. POST-INCUNABULA AND THEIR PUBLISHERS IN THE LOW COUNTRIES A SELECTION BASED ON WOUTER NIJHOFF'S L'ART TYPOGRAPHIQUE.
The Hague Martinus Nijhoff 1978 4to. cloth. xiii, 205 pages.
Extracted from the first edition of 1903-1935. Well-illustrated bibliography of books printed during the period 1500 to 1540 in the low Countries. Ex-library copy with markings.
Price: $ 55.00 other currencies Order nr. 16479

READ MORE...

Vervliet, Hendrik D.L. VINE LEAF ORNAMENTS IN RENAISSANCE TYPOGRAPHY: A SURVEY.
New Castle, Delaware Oak Knoll Press and HES & DE GRAAF Publishers 2012 5 x 7 inches hardcover 416 pages
This new study from respected typographical scholar Hendrik Vervliet is the first published history of the sixteenth-century vine leaf as a typographical ornament. Not only is it an important contribution to typographical history, but it also provides a useful tool for identifying and dating books without an imprint.

In the course of the early sixteenth century, decoration of the printed book underwent a double metamorphosis. Previous medieval floral embellishments, commonly copied from Islamic and Byzantine sources, were replaced by new motifs including strapwork, interlacing, scrolls, and denaturalized leaves and stems. At the same time, there was a gradual inclusion of cast ornaments into the printers bills-of-fount, replacing the prestigious and time-consuming hand-painted illumination and decoration, and the sometimes crude woodcut techniques.

This new survey deals with the birth and early history of the typographical ornament commonly known as a vine leaf or Aldine leaf. Starting in 1505, the introduction sketches the fleurons beginnings in handwritten form onwards to printed epigraphical handbooks. These small ornaments originated as type-cast sorts in the first decade of the sixteenth century in Augsburg and Basle at presses that attended to the interests of a humanist reading public. From the 1520s onwards, the design evolved into an all-purpose decorative motif fitting for any publication. Venice and Paris designers, such as Garamont and Granjon, cut new designs that can still be found in most digital fonts today.

The main part of this book is a comprehensive catalogue of all sixteenth-century type-cast vine leaf designs. It provides a descriptive notice of each fleuron, irrespective of its aesthetic merit or country of origin. Illustrated with leaves throughout, the book details punchcutter, size, first and early appearances, and notes. A list of leaves in order of ascending width and a list by punchcutter or eponym are also included. These concluding lists are intended to assist in bibliographical research and provide inspiration for designers. In addition, through the examination of these typographic ornaments, this book provides a methodology for dating and locating books without an imprint.

Hendrik D.L. Vervliet has published books on humanism, bibliography, and book history. In 2011, the American Printing Historical Society presented him with its Annual Award for a distinguished contribution to the study of printing history.

Available in Europe from HES & DE GRAAF Publishers.
Price: $ 49.95 other currencies Order nr. 108912

READ MORE...

E-mail/Export ?

Refine Result
Within This List:

New search of entire database?

	Include		Exclude
Author		Author
Title		Title
Keyword		Keyword

Clear all entries and click "Go" button to return to original search result.

Technology by Rockingstone
Viewed best in Internet Explorer 7