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Antiquarian (261)

Book Design - Typography

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Book Design - Typography

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Updike, Daniel Berkeley PRINTING TYPES, THEIR HISTORY, FORMS AND USE
2 volumes in one. New Castle, Delaware Oak Knoll Press 2001 6.5 x 9 inches hardcover, dust jacket 1,088 pages
Third edition, reprinted with new introduction by Martin Hutner. This extraordinary work explores the art of typography from the dawn of printing to the twentieth century. By tracing the development of type design, Updike discusses the importance of each historic period and the lessons they contain for today's designers. The original two-volume set has been combined into one book containing the original 367 typographical illustrations selected from rare and beautiful books. Updike's well-written text constitutes a running commentary on the historical and artistic significance of these illustrations, which exemplify the best work of printers and type founders from Gutenberg to Bruce Rogers. In Volume I, Mr. Updike discusses the Latin alphabet, the invention of printing, the cutting and casting of types, fifteenth-century types in Germany, Italy, France, Spain, and England, as well as German, Italian and French types of the sixteenth, seventeenth, and eighteenth centuries. Volume II continues the discussion of types to the beginning of the nineteenth century and then describes American types and nineteenth-century types in general. The closing chapters on choice of type and the industrial conditions of the past and their relationship to problems printers face are very informative. Co-published with The British Library.
Price: $ 85.00 other currencies Order nr. 63429

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Updike, D.B. IN THE DAY'S WORK
Cambridge Harvard University Press 1924 small 8vo. cloth-backed boards, top edge gilt, dust jacket. 70 pages.
First edition. Chapters on planning of printing, style in the use of type, seven champions of typography, etc. Very unusual to find this title in jacket. Jacket is chipped with small holes along front hinge. Ink ownership inscription on free endpaper. Flaps of jacket have foxed endpapers.
Price: $ 50.00 other currencies Order nr. 5089

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Updike, D.B. IN THE DAY'S WORK
Cambridge Harvard University Press 1924 8vo. quarter leather over marbled paper-covered boards. 70, (2) pages.
First edition, one of 260 numbered and signed copies. Discusses the principles of typography. Covers rubbed and wear at spine ends.
Price: $ 65.00 other currencies Order nr. 19622

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Updike, D.B. IN THE DAY'S WORK
Cambridge Harvard University Press 1924 small 8vo. cloth-backed boards, top edge gilt. 70 pages.
First edition. Chapters on planning of printing, style in the use of type, seven champions of typography, etc. No dust jacket.
Price: $ 20.00 other currencies Order nr. 27911

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(Van Krimpen, Jan) AESTHETIC WORLD OF JAN VAN KRIMPEN, BOOK DESIGNER AND TYPOGRAPHER.
Hague Museum of the Book 1995 tall 8vo. stiff paper wrappers. 16 pages.
Preface by Ton Brandenbarg, director, and text by Sjaak Hubregste. Illustrated.
Price: $ 20.00 other currencies Order nr. 100123

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Van Krimpen, Jan A PERSPECTIVE ON TYPE AND TYPOGRAPHY.
N.P. Gallery 303 (1965) 8vo. stiff paper wrappers. (22) pages.
Limited to 300 copies printed by The Stinehour Press to accompany a lecture by John Dreyfus at Gallery 303. First printed in PAGA VII, 1959.
Price: $ 45.00 other currencies Order nr. 22536

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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

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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

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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

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Volk, Kurt H. A SENTIMENTAL JOURNEY THROUGH A TYPOGRAPHIC JUNGLE.
(New York) Kurt H. Volk, Typographer n.d. tall 12mo. printed brochure with 16 broadsides loosely inserted along with a four page folder listing type faces available from Volk.
A folder containing displays of his typographic skills printed in different colors. Inserted is a four page list of type faces and sizes available. Small tear at spine ends of brochure.
Price: $ 65.00 other currencies Order nr. 91398

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Warde, Beatrice SELECTIONS FROM THE ADDRESSES AND ESSAYS OF BW COMMEMORATING MRS. WARDE'S VISIT TO THE U.S. IN APRIL, 1967.
Jackson Heights, NY Frank E. Powers 1967 8vo. paper wrappers. (12) pages.
Well preserved copy.
Price: $ 20.00 other currencies Order nr. 35437

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Warde, Beatrice. SOME NOTES ON THE BRITISH TYPOGRAPHICAL REFORMATION, 1919-1939.
Leamington Spa Heart of England Newspapers Ltd. 1971 4to. stiff paper wrappers, cord-tied. (15) pages.
Offprint from the Printing Review, 1946 in which Beatrice Ward writes her views on the changes in the printing industry. Illustrated with title pages, advertisements and other examples of typography. Slight wear along edges.
Price: $ 35.00 other currencies Order nr. 57518

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White, Lewis F. THE ART OF THE BOOK.
New York The L.F. White Company 1951 12mo. paper wrappers. 20 pages.
A talk given by White to the Type Directors Club.
Price: $ 7.50 other currencies Order nr. 10840

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(Whittington Press) MATRIX 28
(Lower Marston Farm, Risbury Whittington Press 2009) 4to. half leather, slipcase (vi), 180, (2) pages plus portfolio of photographs
One of 70 copies of the deluxe version bound thus. The separately issued portfolio contains a suite of photographs by Janet Stone of Myfanwy Piper, Lord David Cecil, Geoffrey Keynes, Sylvia Townsend Warner, Julian Huxley, Doublas Cleverdon, L.P. Hartley & Laurence Whistler. Matrix is the longest surviving and probably the last typographical journal to be printed by letterpress. It is an eclectic mix of fine printing, type design, and small press lore, forming a record of events and personalities whose memory would otherwise have died with their recorders. It is no exaggeration to say that in the future it will be impossible to research fine printing without reference to Matrix. This issue contains essays by Alan Powers on The Curwen Story, Andrew Anderson on Eric Gill, Humphrey Stone on the photographers, Janet Stone, David Hughes on the Baynard Press, James Fergusson on The Amate Press, Michael Harvey on Janet the Typeface, Hal Bishop on Ronald Salmond, John Randle on The Offizin Haag-Drugulin, Jerry Cinamon on Leipzig rambling, Andrew Dolinski on Poltawski, Barbara Henry on producing the Vandercook Book, Katherine McCanless-Ruffin on The Shinola Vandercook, and many more. Illustrated throughout with many tipped-in specimens on special paper, engravings, photographs. color plates, etc. Card regarding Matrix 29 loosely laid-in.
Price: $ 605.00 other currencies Order nr. 103108

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Wilson, Adrian THE DESIGN OF BOOKS.
New York Reinhold Publishing Corp. (1967) 4to. cloth, dust jacket. 160 pages.
First edition. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc.
Price: $ 25.00 other currencies Order nr. 8130

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Wilson, Adrian THE DESIGN OF BOOKS.
Salt Lake City Peregrine Smith Books (1974) 4to. stiff paper wrappers. 160 pages.
Reprint edition. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc. Four page prospectus loosely inserted. This copy has been signed and dated by Wilson on the half-title.
Price: $ 35.00 other currencies Order nr. 19285

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Wilson, Adrian THE DESIGN OF BOOKS.
New York Reinhold Publishing Corp. (1967) 4to. cloth, dust jacket. 160 pages.
First edition. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc. Presentation on half-title "For David Belch, on the occasion of a delightful Books & Authors program, Adrian Wilson, November 20, 1968." Small spot along edge of back cover of jacket.
Price: $ 75.00 other currencies Order nr. 43422

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Wilson, Adrian THE DESIGN OF BOOKS.
Salt Lake City Peregrine Smith Books (1979) 4to. stiff paper wrappers. 160 pages.
Reprint edition. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc.
Price: $ 10.00 other currencies Order nr. 78136

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Wilson, Adrian THE DESIGN OF BOOKS.
New York Reinhold Publishing Corp. (1967) 4to. cloth. 160 pages.
First edition. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc. Lacks dust jacket.
Price: $ 15.00 other currencies Order nr. 114283

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Wilson, Adrian THE DESIGN OF BOOKS.
San Francisco Chronicle Books (1993) 4to. stiff paper wrappers. 160 pages.
Reprint edition but containing a new foreword by Sumner Stone. Profusely illustrated. Chapters on typography, printing, paper, binding, dust jackets, etc.
Price: $ 14.95 other currencies Order nr. 37352

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WORTE WERDEN BILDER.
Cologne Wallraf-Richartz-Muzeum 1972 12mo foldout 30 pages
Text in German. Words Become Pictures, exhibition at the Wallraf-Richartz Museum, Cologne, October-November 1972. Foreword. Exhibition of the use of words to form pictures. Explores topography, politics, poetry, among other fields. Illustrations, including a foldout (in French) "Prose du Transsibérian et de la Petite Jehanne de France."
Price: $ 15.00 other currencies Order nr. 108190

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Wroth, Lawrence C TYPOGRAPHIC HERITAGE, SELECTED ESSAYS
New York The Typophiles 1949 12mo. cloth-backed boards, paper cover label. viii, 162, (4) pages.
First edition, limited to 625 copies. Five chapters by Wroth and a chapter on the author by Armitage. Chapbook no.20.
Price: $ 25.00 other currencies Order nr. 10984

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Wyse, Henry T. MODERN TYPE DISPLAY AND THE USE OF TYPE ORNAMENT
Edinburgh Henry T. Wyse 1911 4to. cloth 104 pages.
First edition. (Appleton p.74). With 40 full-page plates printed on different kinds of paper in different colors. The author's purpose in this book was to demonstrate modern type display and its value over older systems. He first describes the ancient methods and then shows by example the modern systems. Excellent book. Wear at spine ends and tips.
Price: $ 45.00 other currencies Order nr. 5140

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Wyse, Henry T. MODERN TYPE DISPLAY AND THE USE OF TYPE ORNAMENT
Edinburgh Henry T. Wyse 1911 4to. cloth-backed boards. 104 pages.
First edition. (Appleton p.74). With 40 full-page plates printed on different kinds of paper in different colors. The author's purpose in this book was to demonstrate modern type display and its value over older systems. He first describes the ancient methods and then shows by example the modern systems. Excellent book. well-preserved copy.
Price: $ 65.00 other currencies Order nr. 54286

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Signed copy available upon request

Young, Matthew McLennan THE RISE AND FALL OF THE PRINTERS' INTERNATIONAL SPECIMEN EXCHANGE.
New Castle, Delaware Oak Knoll Press 2012 8.5 x 11 inches hardcover, dust jacket 160 pages
The Rise and Fall of the Printers' International Specimen Exchange is the first in-depth study of an institution whose goal was nothing less than a renaissance of fine printing at a time when quantity mattered far more than quality. The Printers' International Specimen Exchange was founded in 1880, first and foremost as a means to encourage British printers to improve their technical and artistic skills, which lagged far behind those of their American and European counterparts. It came to be a far more international and influential institution than its originators imagined, its 16 volumes including the work of more than 1,000 printing establishments (several times that number of contributors, including employees and apprentices) from 28 different nations.

The story of the Specimen Exchange involves the development of new machinery and processes, "Old Style" vs. "Artistic" printing, the histories of the two innovative printing houses that managed the Exchange, cooperation and conflict among outsize personalities, and the extraordinary efforts of a few talented and dedicated people. The history of the Specimen Exchange also involves a Victorian-style hostile takeover and a separate breach-of-contract court case.

The Specimen Exchange is a record of a remarkable period in letterpress and lithographic printing. As a subscription publication distributed primarily to contributors, only a few hundred copies of each volume were issued, and many of the specimens were produced expressly for the Exchange. Consequently, some of the examples reproduced in this book have not been seen before outside the original volumes, and the selection presented here should delight any printing historian or admirer of good graphic design. This book includes 81 full-page reproductions of some of the best examples, in a wide range of styles and from many countries.

Matthew McLennan Young is a practicing graphic designer and book collector, and the author of a previous study, Field & Tuer, the Leadenhall Press, (Oak Knoll Press and the British Library, 2010) that earned positive reviews in the TLS, the Book Collector and elsewhere. He has presented papers on the Printers' International Specimen Exchange, the Caxton Celebration of 1877, and the Leadenhall Press at various conferences. He and his wife, Valerie, live in Hopewell, New Jersey.
Price: $ 59.95 other currencies Order nr. 108704

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