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Book Design - Type Specimens

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Annenberg, Maurice TYPE FOUNDRIES OF AMERICA AND THEIR CATALOGS
With additions and an introduction by Stephen O. Saxe and an index by Elizabeth K. Lieberman. New Castle, Delaware Oak Knoll Press 1994 4to. cloth, dust jacket. xviii, 276 pages.
Reprint of the first edition with an added appendix. Recognized by booksellers, collectors, librarians and bibliographers for its great usefulness as the definitive bibliography of American type specimen books. This edition contains an appendix listing 73 type specimen books unknown at the time of the first edition, more than 10 percent of the former total. TYPE FOUNDRIES contains historical accounts of each foundry, a list of their specimen books with size and number of pages and countless tidbits of fascinating historical and typographical information. Oak Knoll's edition has been updated and amended by the well-known printing historian, Stephen O. Saxe. He has added eight appendixes to the book, as well as a four-page introduction and a biographical sketch of the author. In addition, one new type foundry, Abraham Riggs of New York City, has been discovered and is described in a separate appendix. There are also listings of the complete type specimen holdings of the New York Public Library, the Smithsonian Institution and Stephen O. Saxe's personal collection. The appendixes conclude with a list of errata, omissions and duplications in the first edition; and a select bibliography. Also, of the greatest importance, the much-lamented lack of an index has now been corrected through the efforts of Elizabeth Lieberman.
Price: $ 49.95 other currencies Order nr. 40614

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Bartram, Alan TYPEFORMS: A HISTORY.
New Castle, Delaware and London Oak Knoll Press and The British Library 2007 9.5 x 10 inches cloth, dust jacket 128 pages
First edition. This book is the long-awaited successor to the classic An Atlas of Typeforms, the great visually-led history of type that Alan Bartram and James Sutton produced in 1968. Much has changed in the last 40 years, not least the teaching of typography and the means by which it is created. Because current design methods do not require the drawing and tracing of letterforms in order to produce layouts, we have lost our close connection with them. Few understand their history, their appearance, and how and why they have developed as they have. Nearly 75 different types are shown in their original metal forms, just as they were in the Atlas of Typeforms. But an entirely new feature is the author's attempt to place the types in their historical context. By including photographs of contemporary inscriptions on buildings and monuments, Alan Bartram explores the relationship between printed and architectural letterforms and their parallel course from the Renaissance until Victorian times. The opportunities offered for graphic and type designers in the digital age are greater than ever before. But without an understanding of the visual make-up of letterforms and some knowledge of their fascinating history, designers cannot fully exploit the potential of type. In this book, Alan Bartram educates us in these critical areas. Co-published with The British Library.
Sales rights: North and South America; available elsewhere from The British Library
Price: $ 55.00 other currencies Order nr. 95866

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(Bird & Bull Press) de Nova Villa, Henricus SO LONG, HOT-METAL MEN
The Comprehensive Bird & Bull Type Specimen Book Newtown, PA Bird & Bull Press 2007 small folio quarter morocco, slipcase (x), 117, (3) pages
Limited to an edition of 140 numbered copies. This book represents a full year of daily work creating a type specimen book that not only shows type faces ranging from the very rare to the common but also contains wonderful Henry Morris quotes composed in type. While there are serious entries, many, if not most, exhibit Morris's finely-tuned humor. How often does one get immense reading pleasure, to say nothing of a good laugh, from an exquisitely executed type specimen book? The alphabets shown range from the gargantuan 84-pt. to a miniscule 4-pt. There is ornamental material from the last days of the great German type founders, which is rarely seen in American private presses, much of which was designed by Hermann Zapf and others of equal ability. "I've seen many of the type specimen books of the twentieth century and I believe I have come up with a novel way of doing this. I predict the idea will be copied, but this is the original and no serious collection should be without it." (from the prospectus). Set in numerous types printed on Frankfurt paper.
Price: $ 550.00 other currencies Order nr. 93138

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(Bird & Bull Press) Hopkins, Richard L. (editor) PRIVATE TYPECASTERS, PRESERVING THE CRAFT OF HOT-METAL TYPE INTO THE TWENTY-FIRST CENTURY.
Newtown, PA Bird & Bull Press 2008 small 4to. quarter morocco with Japanese cloth sides, leather spine label. 194 pages.
First edition, limited to 150 numbered copies. The private press has been with us in one form or another for 200 years or more. The equipment for a small private press was inexpensive, required little space and almost anyone could learn to do basic printing in a short time. Private typecasting is entirely different. A single machine weighs almost a ton and a lot of practice and experience is required in order to decently produce the most basic work. This once-costly equipment came into the hands of printing enthusiasts when hot-metal typesetting was forced into decline by the computer. The members of this hot-metal fraternity comprise a network of small shops using the machines and matrices which once supported the hot-metal letterpress era. They are, in effect, a group of small, working museums. The work of fifteen of these typecasters has been gathered into the pages of this book. Here you will see unknown, newly-created types, ancient types cast from 200-year-old matrices, proprietary types and a beautiful Civilité face designed by Hermann Zapf, which was never released to the commercial market. There are five fold-out pages, two of which open together to make a 32-inch spread. One of the fold-outs is a recreated page from the 36-line Gutenberg Bible with rubrication. It took six months to turn the printed images on the original page into a complete font of hand-fitted metal types. Printed on dampened handmade paper, this leaf required a week's work, and handling it is as close as most of us will get to experiencing the genuine page.
A biographical sketch of each contributor precedes his alphabets and the specimen pages which show the alphabets in use. Produced over a 14-month period, the labor and expense lavished on this work exceeds any previous book from Bird & Bull Press.
The Private Typecasters, a 194-page small folio printed on Zerkall mould-made paper, is beautifully bound in quarter morocco with Japanese cloth sides and leather spine label. The same cloth and spine label are used on the clamshell case which houses the book.
Price: $ 900.00 other currencies Order nr. 100094

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Signed copy available upon request

Clouse, Doug MACKELLAR, SMITHS & JORDAN: TYPOGRAPHIC TASTEMAKERS OF THE LATE NINETEENTH CENTURY.
New Castle, Delaware Oak Knoll Press 2008 8.5 x 11 inches Hardcover, dust jacket. 176 pages
First edition. This is the first full-length study of the leading American type foundry of the nineteenth century. It is an interesting history of the foundry from both a business and a design point of view. The emphasis is on the design of the hundreds of typefaces that were produced by the foundry, from its inception in the 1860s until its merger with most other American foundries at the end of the century. The author describes (with many detailed photographic illustrations) how changing business conditions and technical improvements in typefounding interacted with changes in public taste to modify, over the decades, the appearance of the typefaces that Americans found in their publications. While this is a study of only one of many American foundries, in many ways MacKellar, Smiths & Jordan can stand as an exemplar of all the rest. It was the descendant of the first successful American type foundry, Binny and Ronaldson, started in Philadelphia in 1796. Extensive business records of the firm exist, as do scores of type specimen books and promotional publications of the foundry. All of these have been used extensively by the author. The scores of typefaces illustrated and described are considered as the ever-changing output of a corporation, with lesser emphasis on the individual creators of each typeface. At the turn of the twentieth century, taste turned away from the florid, ornamented style of the earlier decades. Mr. Clouse has shown in this well-written study that the earlier styles were very successful in their own time and should be judged on that basis. A completely illustrated appendix showing MS&J's patented typefaces is extremely helpful.
Price: $ 65.00 other currencies Order nr. 96669

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Coakley, J.F. THE TYPOGRAPHY OF SYRIAC: A HISTORICAL CATALOGUE OF PRINTING TYPES, 1537-1958.
New Castle, Delaware and London Oak Knoll Press and The British Library 2006 7 x 10 inches hardcover 272 pages
Syriac, a dialect of the ancient Aramaic language, has a remarkable Christian literature spanning a thousand years from the fourth to the thirteenth century, including important versions of the Bible. It remains the liturgical language of several churches in the Middle East, India, and the west, and 'Modern Syriac' is a vernacular still in use today. It is no wonder that this language has a long and rich printing history. The challenge of conveying the beautiful cursive Syriac script, in one or another of its three varieties, was taken up by many well-known type-designers in the letterpress era, from Robert Granjon in the sixteenth century to the Monotype and Linotype corporations in the twentieth, as well as by many lesser-known ones. This study records and abundantly illustrates no fewer than 129 different Syriac types, using archival documents, type-specimens, and the often scattered evidence of the print itself. The Typography of Syriac will be of interest not only to scholars of Middle Eastern languages and scripts but also to all historians of type and printing.
J. F. Coakley is Senior Lecturer in the Department of Near Eastern Languages and Civilizations, and on the staff of Houghton Library, at Harvard University. His private press, the Jericho Press, occasionally makes use of Syriac and other exotic types.
Price: $ 75.00 other currencies Order nr. 91843

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Fletcher, H. George (editor) PRINTING FOR KINGDOM, EMPIRE, AND REPUBLIC: TREASURES FROM THE ARCHIVES OF THE IMPRIMERIE NATIONALE.
New York The Grolier Club 2011 8.5 x 11.5 inches hardcover 118 pages
This volume was produced to accompany an exhibition held at the Grolier Club from December 6, 2011 to February 4, 2012, on the history of the French national typographic and printing establishment, the Imprimerie Nationale, arguably the most important printing house in Europe. Drawn from the ancient, vast, and comprehensive archives of the Imprimerie Nationale, Printing for Kingdom, Empire, & Republic documents the significant influence of the press, not only on printing and the book arts, but also on French - and therefore European - literary culture from the mid-sixteenth century to the present day. The exhibition was organized by The Grolier Club and the Groupe Imprimerie Nationale, S.A., with administrative and organizational support from the Institut Mémoires de l'Édition Contemporaine (IMEC), France's largest archive of authorial and publishing materials.

Edited by Grolier Club member H. George Fletcher (former Astor Curator of Printed Books and Bindings at the Morgan Library & Museum, and retired Brooke Russell Astor Director for Special Collections at The New York Public Library), the catalogue tells the story of the Imprimerie Nationale, from the royal printers established by François I in 1538, to the Imprimerie Royale created by Cardinal Richelieu in 1640, through many generations of development, marked often by artistic innovation and wide cultural influence, but sometimes by distress and neglect, to triumphant survival in the present day. It surveys a wealth of objects, all classified as French monuments historiques, and never before seen outside of France, and including artifacts of various printing processes, such as punches, matrices, and typefonts from the days of François I to the present, as well as engraved plates used to produce illustrations for such renowned works as Louis XIV's Medailles and the Description de l'Égypt commissioned by Napoleon. The catalogue also showcases the books produced at the Imprimerie Nationale, from the scholarly products of the Renaissance in France through the royal folios of the Sun King to the culture-changing works of the twentieth century, and thus to the work of postwar and present-day generations of French book artists. In many instances, original manuscripts, documents, and artwork follow the art, craft, and business of book-making from conception to realization.

Printing for Kingdom, Empire, and Republic contains a foreword by Jack Lang, two separate prefaces by Dider Trutt and Eugene S. Flamm, and an Introduction by H. George Fletcher. It includes historical essays by Isabelle de Conihout, Annie Parent-Charon, and James Mosley and discusses topics such as humanism and typography, Pierre Moreau (Master Scribe and Printer), The Romain du Roi (a type made for the Royal Printing-House of Louis XIV) and more. An annotated checklist of the items on display at the exhibition is followed by the essays. Beautifully illustrated, the book contains five pages of color plates, four plates in collotypes, illustrations of typefaces, and more.

The book has been composed in Monotype Garamond for the text and hand-set Garamond, cast from the original matrices, for the display type, at the Imprimerie Nationale's Atalier du Livre d'Art et de l'Estampe, in Ivrey-sur-Seine, France, and printed there letterpress on Arches Expression texture white 120 g. It was designed by Jerry Kelly.
Price: $ 95.00 other currencies Order nr. 108805

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(Hesterberg Press) Hesterberg, William BASKERVILLE, TRANSITIONAL GIANT
Evanston, IL Hesterberg Press 2011 tall 8vo quarter cloth and marbled paper covered boards 23 pages
One of 75 copies. This wonderfully produced book by The Hesterberg Press chronicles the history of Baskerville type, starting with the influence from Caslon type in 1757 to how it has evolved in the present day. Includes tipped in samples, along with a facsimile of an early Baskerville type specimen produced by The Hesterberg Press.
Price: $ 100.00 other currencies Order nr. 108918

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Hudson, Graham THE DESIGN AND PRINTING OF EPHEMERA IN BRITAIN AND AMERICA, 1720-1920.
New Castle, Delaware and London Oak Knoll Press and The British Library 2008 8.5 x 11 inches Hardcover, dust jacket 160 pages
First edition. Ephemera has been collected for many years, but only recently has it become widely accepted as material for academic study. This is the first book to discuss ephemera as an aspect of design history, showing how function, production process and period have affected the changing appearance of billheads, trade cards, flyers, playbills and other ephemera. This book explores the closely interwoven printing histories of Britain and America. American colonial printers and engravers imported British type and equipment, took instruction from the same manuals and were guided by the same exemplars as their British counterparts, a relationship that continued through the first half of the nineteenth century. Following the Civil War, American graphic design and typography began to establish distinctive identities, with developments in color printing bringing an efflorescence of color-rich trade cards, cigar-box labels and other chromolithographed ephemera that was essentially American. Nevertheless, ideas continued to be shared across the Atlantic. American foundries devised entirely original typefaces that were imported into Britain, yet the development of expertise in designing with these new faces depended on printers learning from one another, and the scheme of specimen exchange that successfully achieved this was wholly devised and administered from London. Richly illustrated with letterforms, engravings, drawings and the reproduction of over 200 items of ephemera, many in full color, this is a book for collectors, students, design historians and all with an interest in the visual arts. Graham Hudson is secretary and a founding member of the Ephemera Society and a member of the Ephemera Society of America. His published articles on aspects of ephemeral printing include contributions to the Journal of the Printing Historical Society, Art Libraries Journal, the Journal of the Writing Equipment Society, Industrial Archaeology and numerous articles in The Ephemerist..

Sales rights: North and South America; available elsewhere from The British Library
Price: $ 65.00 other currencies Order nr. 95868

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Janssen, Frans A. TECHNIQUE & DESIGN IN THE HISTORY OF PRINTING.
`t Goy-Houten HES & DE GRAAF 2004 7 x 9.75 inches hardcover, dust jacket 380 pages
Containing 26 selected and thoroughly rewritten essays and articles (all written by Janssen and published previously between 1976 and 2002 in yearbooks and periodicals) all dedicated to the history of printing and book production, this work draws systematically attention to the typographical design of the book. The articles are mainly divided into two fields of attention: the analytical bibliography of the printed book (book production, studies of the technical aspects of type-setting and printing, type founding, printing presses, paper etc.) and the typographical design of books (its functions and its influence on how texts are read). With illustrations. Cover design, typography, and lay-out by Bram de Does.

Sales rights: Available outside North America from HES & DE GRAAF Publishers.
Price: $ 220.00 other currencies Order nr. 103672

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Johnson, A.F. SELECTED ESSAYS ON BOOKS AND PRINTING. EDITED BY PERCY H. MUIR.
Amsterdam HES & DE GRAAF 1970 small folio cloth xi, 489 pages.
Forty extensive essays on the history of printing, publishing, typefounding, type design, etc. Emphasis is on the sixteenth century. A very beautifully produced book: Designed by Giovanni Mardersteig and printed at the Stamperia Valdonega, Verona. With numerous plates and illustrations.

Sales rights: Available outside North America from HES & DE GRAAF Publishers.
Price: $ 340.00 other currencies Order nr. 103257

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Johnston, Alastair ALPHABETS TO ORDER: LITERATURE OF 19TH-CENTURY TYPEFOUNDERS' SPECIMENS
New Castle Oak Knoll Press 2000 small 4to. cloth, dust jacket. 222 pages.
First edition. This work explores the literature of nineteenth century typefounders Catalogues. Combining typographic scholarship and literary criticism, Alastair Johnston presents and discusses hundreds of examples of texts that show British and North American founders' interests and preoccupations with letter forms. Co-published with The British Library. Illustrated with hundreds of type specimens.
Price: $ 39.95 other currencies Order nr. 60132

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(Kat Ran Press) Hidy, Lance. LANCE HIDY: DESIGNING THE MENTORING STAMP
An artist's commentary on theory, gesture, photography, compostition, color, light , and the typeface Penumbra (Florence MA) Kat Ran Press 2007 8vo. stiff paper wrappers 60 pages
Part of the Kat Ran Essays in Philatelics. First edition. Hidy describes the entire process and evolution of the stamp. This stamp is believed to be, by the post office, the only U.S. stamp with the artwork and typeface designed by the same individual. Many color illustrations, mostly Hidy's work but some of earlier stamps. A very interesting book for those interested in stamp collecting or in graphic design in general.
Price: $ 45.00 other currencies Order nr. 99451

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(Kelly-Winterton) Rilke, Rainer Maria DUINO ELEGIES.
Translated by A.S. Kline N.P. n.p. (but Kelly-Winterton) 2006 4to. marbled paper-covered boards, paper spine label 43+(1) pages
Limited to an edition of 99 copies, this is the first book printed in a new typeface designed by Jerry Kelly named 'Rilke' after this publication. A long, complex, poem in ten sections. "Into the Elegies Rilke packed - so tightly that no joins are visible anywhere - the entire spiritual existence of his life, using as pegs those aspects of which he had felt as the most important to him - mother, early childhood, animals, love. All these are seen through the prism of a profound religious temperament." (from the introduction).
Price: $ 125.00 other currencies Order nr. 100303

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Knight, Stan HISTORICAL TYPES FROM GUTENBERG TO ASHENDENE.
New Castle, Delaware Oak Knoll Press 2012 9 x 12 inches hardcover with dust jacket 104 pages
Historical Types begins in 1454 with Gutenberg's experiments with moveable type and reaches as far as the Fine Press movement at the beginning of the twentieth century. Every historical example shown in the survey is the result of hand-engraved punches, hand-set type, and pages hand-printed sheet by sheet. The book explores every major development in the design of type and includes some (previously) lesser-known designers whose type designs made significant contributions to the craft. The material is divided into sections by historical period and assigned category numbers for easy reference.

The text of the book provides an excellent historical background to the study of type history, but the primary value of this book is its illustrations. Each entry consists of a double-page spread showing three-fold photographic reproductions of the relevant types - a whole page of the book to show context, an actual-size sample to show scale, and a detailed enlargement to show a closer view of the type. All of the digital photographs for Historical Types have been specially commissioned (with special lighting) to show the type samples in a totally new way, with a size, detail, and clarity not seen before. Each set of illustrations is accompanied by a detailed but concise written commentary. The book also includes an extended introduction describing the book and dealing with significant material outside the scope of the commentaries.

Historical Types stands a step above other books on the history of type because of the size and quality of its reproductions and its straightforward and clear exposition. For these reasons, it should soon become a favorite text for teachers and students of type design, as well as anyone interested in the history of the book.
Price: $ 39.95 other currencies Order nr. 105522

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Lieberman, J. Ben TYPE AND TYPEFACES
New Rochelle The Myriade Press (1978) 4to. cloth, dust jacket. 142 pages.
This is the second edition of a good introductory, practical, and comprehensive book for beginners who want to learn about the history of type, typefounding and typefaces. Twenty-five chapters cover subjects such as how and why typefaces are different, fifteen great inventions behind typefaces, classifying type, choosing type, and the practical problems of identifying type plus what to do when you have become familiar with type. This work is a great place to begin when one wants to start studying the printed word and working with printing and type.
Lieberman also includes informative and interesting historical
information covering the more specific aspects of the printed word in "The 15 Great Inventions Behind Our Typefaces," which describe the inventions of the book, small letters, silent reading, printing, typefaces, roman type, true type design, numbers, mechanized type production, the type family, evocative printing, the Typorama, cold type, and the possible reinvention of the alphabet. Distributed by Oak Knoll Press.
Price: $ 30.00 other currencies Order nr. 47017

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Loy, William E. (edited by Alastair M. Johnston and Stephen O. Saxe) NINETEENTH-CENTURY AMERICAN DESIGNERS AND ENGRAVERS OF TYPE.
New Castle, Delaware Oak Knoll Press 2009 9 x 12 inches hardcover, dust jacket 164 pages
New technology, such as electrotyping, the pantograph and router, introduced in the middle of the nineteenth century, combined with the expansion of commerce as America moved westward, created a great outpouring of exuberantly ornamented typefaces. Though these "Victorian" faces have moved in and out of favor, many of them have great charm and usefulness. They were produced in conditions of a commercial free-for-all, even outright piracy, not unlike the "desktop font" boom of the 1990s. While many Victorian types have been revived by digital foundries, their sheer number has intimidated historians unable to establish their true origins.

In 1896 William E. Loy, a San Francisco printing equipment salesman and scholar, had the idea of writing a series of profiles of type designers. Loy took a long view of history, and realized that it was important to document the men in the background who created the nineteenth century's fanciful types, even as the furiously competing type foundries got the credit for introducing them to the printing trade. His work was serialized in The Inland Printer over the next three years and included biographies, photographs of the artists, and lists of the type they had designed or cut, which Loy had painstakingly compiled through correspondence with the type founders and other craftsmen. Unfortunately, due to the technical limitations of a monthly periodical, it was not possible to show the typefaces mentioned. Finally here is the work as Loy envisioned it, with over 800 illustrations of typefaces designed by the craftsmen he discusses.

Here, written by a man who knew many of the designers and engravers, is the behind-the-scenes story: biographies of men - artists, sportsmen, blacksmiths, soldiers, even a game warden - who were the creators of these innovative types. Loy traces their personal stories adding much incidental detail about the politics & business practices of the time and the innovations of each of these thirty men. Now, a century later, typographical historians Alastair Johnston and Stephen Saxe have realized Loy's vision, fully illustrated and annotated. This is one of the first reference books on nineteenth-century American type design, and as such is an important addition to typographical history.

William E. Loy (1847-1906) grew up in the Midwest and moved to California in 1874. He worked as a newspaperman, printer and printing equipment salesman. He was associated with Nelson Crocker Hawks at the Pacific Type Foundry in San Francisco, before branching out on his own. His vast typographical library formed the core of the Kemble Collection now at the California Historical Society.

Stephen O. Saxe is the author of American Iron Hand Presses (Oak Knoll & The British Library, 1995); he annotated the revised edition of Annenberg's Typefoundries of America and their Catalogs (Oak Knoll & The British Library, 2000). A graduate of Harvard and Yale, he was a stage and television scenic designer before he became interested in printing history. Alastair Johnston is the author of Alphabets to Order: the Literature of Nineteenth-Century Typefounders' Specimens (Oak Knoll & The British Library, 2000). A co-founder of Poltroon Press, he has taught at the University of California since 1979. He also teaches book arts in public elementary schools. He is currently writing a biography of Richard Austin, the English type cutter, and his son the wood-engraver.
Price: $ 59.95 other currencies Order nr. 96679

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McGrew, Mac AMERICAN METAL TYPEFACES OF THE TWENTIETH CENTURY.
New Castle, Delaware Oak Knoll Press 1993 9 x 12 inches paperback 398 pages
Reprint of the second, revised edition. Discover 1,600 classical as well as bizarre typefaces in one of the most massive tributes to the history of printing and metal types. This edition of American Metal Typefaces of the Twentieth Century contains 300 more typefaces in a clean, attractive format. This well-organized work captures the rapidly disappearing traditions and legacy that metal-type printing has left behind. Much of this information has been lost by the passage of time, and its preservation in this book is essential for anyone studying typefaces, typography, and its history.

Structured by alphabetically-listed type families, these typefaces and their variant forms are shown in full alphabets - upper and lower case with numerals and punctuation. The specimens themselves are cleanly reproduced from metal types for maximum clarity. The text is detailed and informative, not only identifying the designer, foundry, and date of issue but also the range of sizes and closely similar designs by other founders. The history, aims, and purpose behind many of these typefaces are also described, along with production problems encountered and individual characteristics. Additional information includes extensive appendices listing common pseudonyms, popular imports, and antique faces, plus American Typefounders, Monotype, and Ludlow series numbers. The indexes provide easy access to typeface names as well as names of designers, punch cutters, matrix engravers, and other tradesman.

The history of metal types and printing, now forever preserved, has long affected the spread of human civilization. Oak Knoll Press is proud to offer this work to generations of graphic designers, typographers, printing and graphic arts enthusiasts all over the world.
Price: $ 65.00 other currencies Order nr. 34980

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McGuinne, Dermot. IRISH TYPE DESIGN: A HISTORY OF PRINTING TYPES IN THE IRISH CHARACTER.
with a foreword by Hendrik D.L. Vervliet Dublin National Print Museum 2010 7.5 x 9.5 inches hardcover, dust jacket 236 pages
Second edition. The designing of special type for printing Irish language texts began in the late sixteenth century and lasted into our own day, attracting the attention of many leading political and religious figures -Elizabeth I; Irish Franciscans in exile on the Continent; and at one point even Napoleon I - as well as scholars such as John O'Donovan, Eugene Curry, George Petri and John Henry Newman. More recently, internationally renowned designers Stanley Morison, Victor Hammer, and Eric Gill have made significant contributions to Irish type design.

Irish typography came after the demise of the late Graceo-Roman uncials and semi-uncials, preceded by late Gothic, Roman, Italic, and Greek types. It was considered a 'sacred' script for the purpose of studying Scripture.

Dermot McGuinne's book is the most comprehensive published on this subject and has become a standard work of reference. It contains more than 150 illustrations of Irish types spanning over four centuries. McGuinne covers Irish types including Queen Elizabeth's Irish type, the Rome Irish type, the Paris and Parker types, and others. Throughout eleven chapters, McGuinne provides a comprehensive account of every Irish font in its cultural, religious, and political context. This expanded second edition also includes a new foreword by Hendrik D.L. Vervliet and a new chapter on Louvain Irish type.

Dermot McGuinne gained his primary degree and early experience as a graphic designer in the United States where he later held the position of Art Director at the University of Iowa Press before returning to Ireland. He was awarded his doctorate from Trinity College Dublin for work completed on the subject of the "Irish Character in Print" and is the author of various articles on the topic. He has been the head of the departments of Visual Communication and of Fine Arts at the Dublin Institute of Technology.

Available outside North and South America from the National Print Museum, Dublin.
Price: $ 55.00 other currencies Order nr. 104562

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McGuinne, Dermot. IRISH TYPE DESIGN: A HISTORY OF PRINTING TYPES IN THE IRISH CHARACTER.
with a foreword by Hendrik D.L. Vervliet Dublin National Print Museum 2010 7.5 x 9.5 inches paperback 236 pages
Second edition. The designing of special type for printing Irish language texts began in the late sixteenth century and lasted into our own day, attracting the attention of many leading political and religious figures -Elizabeth I; Irish Franciscans in exile on the Continent; and at one point even Napoleon I - as well as scholars such as John O'Donovan, Eugene Curry, George Petri and John Henry Newman. More recently, internationally renowned designers Stanley Morison, Victor Hammer, and Eric Gill have made significant contributions to Irish type design.

Irish typography came after the demise of the late Graceo-Roman uncials and semi-uncials, preceded by late Gothic, Roman, Italic, and Greek types. It was considered a 'sacred' script for the purpose of studying Scripture.

Dermot McGuinne's book is the most comprehensive published on this subject and has become a standard work of reference. It contains more than 150 illustrations of Irish types spanning over four centuries. McGuinne covers Irish types including Queen Elizabeth's Irish type, the Rome Irish type, the Paris and Parker types, and others. Throughout eleven chapters, McGuinne provides a comprehensive account of every Irish font in its cultural, religious, and political context. This expanded second edition also includes a new foreword by Hendrik D.L. Vervliet and a new chapter on Louvain Irish type.

Dermot McGuinne gained his primary degree and early experience as a graphic designer in the United States where he later held the position of Art Director at the University of Iowa Press before returning to Ireland. He was awarded his doctorate from Trinity College Dublin for work completed on the subject of the "Irish Character in Print" and is the author of various articles on the topic. He has been the head of the departments of Visual Communication and of Fine Arts at the Dublin Institute of Technology.

Available outside North and South America from the National Print Museum, Dublin.
Price: $ 35.00 other currencies Order nr. 104563

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(MERGENTHALER, OTTMAR) NEW-YORK DAILY TRIBUNE, SATURDAY, JULY 3, 1886.
New Castle, DE Oak Knoll Books 1988 17.5 x 23.5 inches. folded broadsheet Printed in black on one side only.
A facsimile of the first newspaper page composed on a commercial Linotype. Although printed by offset lithography, the parts composed by the Linotype can still be visibly distinguished from the hand-set type because of a single wrong-font bold face apostrophe. This appears in only three of the stories (see Schlesinger: Ottmar Mergenthaler, Inventor of the Linotype, pp. 113-116).
Price: $ 10.00 other currencies Order nr. 24085

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Moran, Bill, Robert Style, Dennis Ichiyama, and Richard Zauft HAMILTON WOOD TYPE: A HISTORY IN HEADLINES
St Paul, MS Blinc Publishing 2004 8.5 x 8.5 stiff paper wrappers 65 pages
Hamilton began producing type in 1880 and within 20 years became the largest provider in the United States. The Hamilton Wood Type and Printing Museum is the only museum dedicated to the preservation, study, production and printing of wood type. With 1.5 million pieces of wood type and more than 1,000 styles and sizes of patterns, Hamilton's collection is one of the premier wood type collections in the world. In honor of the Museum's fifth anniversary, Blinc Publishing was commissioned to produce a 65 page book outlining the history of the Hamilton Wood Type Company, the importance of wood type to the growth of printing world-wide, and the role the Museum plays in the education of today's design professionals. The book includes a foreword by Jim Sherraden and five chapters on the history of Hamilton as a company and a museum. Well illustrated in full color. Cover is letterpress printed. Distributed for the Hamilton Wood Type and Printing Museum.
Price: $ 20.00 other currencies Order nr. 99663

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(Old School Press) Thomas, Martyn, John A. Lane and Anne Rogers HARRY CARTER, TYPOGRAPHER
Bath The Old School Press 2004 small 4to. cloth, dust jacket 120 pages
Printed in an edition limited to 240 copies. The bibliography lists over 200 written works by Harry Carter. He wrote primarily about the history of typography, publishing and associated crafts. He began his career as a lawyer but is remembered as "one of the least-known best-known men in the world of books." The voice of this leading typographer and typefounder is a highly respected in his field. This invaluable resource make his authoritative and concise writings available to a new generation of scholars, with location details for rarer items. This deluxe copy includes a volume of hitherto unpublished writings by Carter, including sections he drafted for the putative second volume of his history of Oxford University Press. Includes 11 tipped-in photographs of Carter, a sample of the original Curwen paper that he designed, a self-portrait when aged 13, a triple wood-engraving portrait of him by George Buday and a setting using his 'Emerald' Bible typeface. Dust jacket made of green Huhnemühle Bugra Bütten carrying a line-drawing portrait of Carter by John Watts. To be publisged Spring 2005.
Price: $ 165.00 other currencies Order nr. 78577

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Pankow, David (Editor) AMERICAN PROPRIETARY TYPEFACES
New York American Printing History Association 1998 8vo. cloth 176, (4) pages followed by 38 plates.
This book is a fascinating survey of typefaces developed in America after 1892 and intended for composition in metal for the use of an individual or press. It includes essays by the following: Susan Otis Thompson on American Arts & Crafts typefaces, Martin Hutner on the Merrymount Press, Herbert Johnson on Bruce Rogers's Centaur type, Cathleen Baker on Dard Hunter's typefaces, Mark Argetsinger on Frederic Warde, Stanley Morison, and the Arrighi type, Jerry Kelly on Joseph Blumenthal's Spiral (Emerson) type, Dwight Anger on Frederic Goudy's Kaatskill type, W. Gay Reading on Victor Hammer's Uncial Types, John Kristensen on experimental types of W.A. Dwiggins, and Paul Hayden Duensing on contemporary private types. Limited to 600 regular edition copies set in Monotype Centaur and Bembo with text printed letterpress and the illustrations printed by offset lithography at The Stinehour Press. Designed by Jerry Kelly. Includes 66 illustrations at the end of the book.
Price: $ 50.00 other currencies Order nr. 97457

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(Poltroon Press) Butler, Frances and Alastair Johnston PSHAW! 1975 - 2005
30 years of Poltroonery N.P. (but Berkeley CA) Poltroon Press n.d.(but 2006) folio quarter cloth, paper-covered boards not paginated (but 44 pages)
100 copies letterpress on Hahnemühle paper. The paper is in three colors. Far more than a simple bibliography, there are eight pochoir plates by Frances Butler and 28 tipped-in facsimiles and recreations of Poltroon ephemera.
Price: $ 500.00 other currencies Order nr. 91656

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