New York: Doubleday, Page & Co., 1926. 8vo. printed paper-covered boards, slipcase. 23 pages. With the following as part of the title page "One hundred copies printed for Stanley Morison at the press of Doubleday, Page & Co." "Morison spent a month and a half in America. He got the 'The Influence of the Audience' printed, a neat plain little book set in Caslon, with capitals two sizes smaller than the lower-case letters" - (Barker... READ MORE about THE INFLUENCE OF THE AUDIENCE. CONSIDERATIONS PRELIMINARY TO THE PSYCHOLOGICAL ANALYSIS OF...
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London, England, and Paris, France: Ernest Benn and Éditions Albert Lévy, n.d. folio. cloth. xl, plates. Text in French. This French edition limited to 200 numbered copies. Table of contents, acknowledgments. 212 specimens of modern typography from England, the United States, France, Italy, Germany, Czechoslovakia, Holland, and Sweden since the commencement of the 20th century, with descriptive information. Scattered spots on covers..Covers lightly worn at edges and at extremities of spine. READ MORE about LES PLUS BELLES PAGES DE LA TYPOGRAPHIE MODERNE
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... READ MORE about AMERICAN PROPRIETARY TYPEFACES
(New York): American Printing History Association, (1998). 8vo. cloth. 176, (4) pages followed by 38 plates. First edition, limited to 720 copies. Set in Monotype Centaur and Bembo by Michael and Winifred Bixler with text printed letterpress and the illustrations printed by offset lithography at The Stinehour Press. Designed by Jerry Kelly. A study of type faces developed in America after 1892 and intended for composition in metal for the use of an individual or... READ MORE about AMERICAN PROPRIETARY TYPEFACES
(Washington): International Typographic Compostion Association, 1977-1985. 4to. self paper wrappers. unpaginated. 24 issues. Total of 24 issues. Promoted as a source of ideas, information, and information by the ITCA. An array of articles on typography, including historical items and book reviews. Table of contents. Includes Volume 1, Number 1 (title was IDEAS, INFORMATION, INSPIRATION), Vol. 4, No.1,2,3,; Vol. 6, No.1,2,3; Vol. 8, No.4; Vol. 9, No. 1; Vol. 10, No. 2,3; Vol. 11, No. 1,2,4; Vol. 12, No. 3; Vol. 13, No.1,2; Vol. 14, Nos. 1, 3; Vol. 15, No.1; Vol. 17, Nos. 1,4. READ MORE about TYPOGRAPHIC
N.P.: The Pickering Press, n.d. small 8vo. (2) french fold leaves.
N.P.: The Pickering Press, n.d. small 8vo. (2) french fold leaves. A brief history of the printer/typographer accompanied by a wood engraving by John DePol. Printed by John Anderson at The Pickering Press for Lanston Monotype Company. READ MORE about A PORTRAIT OF WILLIAM BULMER PRINTED FROM AN ENGRAVING BY JOHN DEPOL
Berkeley (CA): Poltroon Press, 1986. cards (approx. 5.5 x 3.875 in. / 14 x 9.8 cm.) in a folder with flaps. First Series. Revised and expanded. Eleven "typost" cards (like postcards) with a text on the reverse side describing a typeface and printed in that face. READ MORE about THE DEVELOPMENT OF BOOK TYPES, ILLUSTRATED IN COMPOSITIONS FROM THE CASES AT THE POLTROON PRESS
(St. Paul, MN): Minnesota Historical Society Press, 2003. 4to. stiff paper wrappers. 42, (2) pages. Version .02. Prepared for TypeCon 2003. A discussion of old and new type faces. Illustrations. READ MORE about NEW TYPES FOR NEW BOOKS: WHAT WE HAVE; WHAT WE NEED
(St. Paul, MN): Minnesota Historical Society Press, 2003. 4to. stiff paper wrappers. 60, (2) pages. Version .03, Prepared for the 2003 Midwest University Presses meeting, Iowa City, Iowa. Table of contents, appendix. READ MORE about NEW TYPES FOR NEW BOOKS: WHAT WE HAVE; WHAT WE NEED
New York, NY: Jack Rau, 1959. 8vo. self paper wrappers. (4) pages. Type faces offered by the press, its first publication. READ MORE about THE PRE-COLUMBIAN PRESS PRESENTS ITS FIRST PUBLICATION, BEING A LIST OF TYPES IN STOCK
Long Island City, NY: American Printing Equipment & Supply Co., 1976. 4to. stiff paper wrappers. 332 pages. The "Bicentennial Edition" of the company's catalogue. Organized by type of equipment, including type specimens. Index of products available. "Prices Void" stamped on front wrapper. Wrappers slightly bent at edges. Back wrapper and spine soiled. READ MORE about AMERICAN PRINTING EQUIPMENT & SUPPLY CO. 1976-1977 CATALOG. BICENNTENNIAL EDITION
Meriden, CT: The Kelsey Press Company, n.d. (circa 1925). 8vo. self paper wrappers. unpaginated. Catalogue of products offered by the Kelsey Press Company. Introduction of the company on inside front wrapper. Includes equipment, type faces, borders, ornaments, and other items. READ MORE about DO YOUR OWN PRINTING
N.P. n.p., n.d. 4to. paper-covered boards, loose leaf bound. variously paginated. Handwritten information about dashes, advertising dashes, and piece accents. Includes catalogue from Lanston Monotype Machine Co., of Philadelphia. Covers rubbed and scuffed. Many pages soiled. READ MORE about CASTING ROOM MATRIX RECORD
Albany: Delmar, 1955. 4to. pictorial paper-covered boards. vi, 201+(1) pages. Textbook designed to teach the basics of printing design and layout. Boards are worn at the extremities, with a dark smudge on the rear board. READ MORE about PRINTING LAYOUT AND DESIGN
N.P. The Linotype Corporation, n.d. 4to. stiff paper wrappers. unpaginated. Comments by Hayworth Campbell, Points about the advantages of Linotype presses. Specimens included. Black and white illustrations. READ MORE about MODEL 8 LINOTYPE FOR STRAIGHT-MATTER COMPOSITION, OR FOR STRAIGHT-MATT ER ALTERNATING WITH DISPLAY
New Haven: Yale University Press, 1985. small 4to. cloth, dust jacket. xiv, 239 pages. First edition. A collection of articles taken from a variety of design magazines and journals. Most have been edited and updated. Well illustrated. Well preserved copy. READ MORE about PAUL RAND: A DESIGNER'S ART
With a foreword by John Dreyfus.
Austin, TX: W. Thomas Taylor, (1989). small 4to. cloth. xvii, 215 pages. With a foreword by John Dreyfus. First edition, limited to 2000 copies. A biography of Rogers by an acknowledged expert in the field. Designed and printed at the press of W. Thomas Taylor with plates produced at The Press of A. Colish. Has 57 plates printed with a number in two colors. READ MORE about BRUCE ROGERS, A LIFE IN LETTERS 1870-1957
With a foreword by John Dreyfus.
Austin: W. Thomas Taylor, (1989). small 4to. quarter black leather with patterned paper-covered boards, red leather spine label. xvii, 215 pages. With a foreword by John Dreyfus. First edition, limited to 2125 copies, of which this is one the 125 specially bound copies signed by the author. A biography of Rogers by an acknowledged expert in the field. Designed and printed at the press of W. Thomas Taylor with plates produced at The Press of... READ MORE about BRUCE ROGERS, A LIFE IN LETTERS 1870-1957
High Wycomb: University Microfilms Limited, (1965). large 8vo. stiff paper wrappers with a paper cover label. vii, 101 pages. A dissertation reproduced from microfilm by Georgia Mansbridge, friend of Bruce Rogers. She writes about his career and personal life from the eighteen hundreds till his death in 1957. READ MORE about BRUCE ROGERS, AMERICAN TYPOGRAPHER
New York, NY: The Stone House Press, (1997). 8vo. self paper wrappers. (4) pages. Prospectus announcing publication of Bruce Rogers: American Typographer. Folded. READ MORE about Prospectus for BRUCE ROGERS AMERICAN TYPOGRAPHER
New York: JCH Graphics, (1986). 4to. heavy paper covers, plastic spiral binding. unpaginated. Second edition. Type faces offered by JCH. Introduction, copyfitting chart and reference guide. Arranged alphabetically. READ MORE about THE TYPE REFERENCE GUIDE
Chicago: The Caxton Club, 2003. small 4to. stiff paper wrappers, smythsewn: drawn-on, hinge-scored cover; trimmed flush. 40 pages. Full color catalogue written for the Caxton Club exhibition Inland Printers: The Fine-Press Movement in Chicago, 1920-45, held at Columbia College in Chicago, January 15, 2003. Features writings of 12 Caxtonians including: John P. Chalmers, Robert A. Cotner, Kim Coventry, Celia Hilliard, Thomas J. Joyce, Arthur H. Miller, Frank J. Piehl, Susan F. Rossen, Michael Thompson, and... READ MORE about INLAND PRINTERS: THE FINE-PRESS MOVEMENT IN CHICAGO, 1920-1945
Chicago: The Caxton Club, 2003. small 4to. stiff paper wrappers, smythsewn: drawn-on, hinge-scored cover; trimmed flush. 40 pages. Full color catalogue written for the Caxton Club exhibition: Inland Printers: The Fine-Press Movement in Chicago, 1920-45 ; at Columbia College in Chicago; held January 15, 2003. Features writings of 12 Caxtonians including: John P. Chalmers, Robert A. Cotner, Kim Coventry, Celia Hilliard, Thomas J. Joyce, Arthur H. Miller, Frank J. Piehl, Susan F. Rossen, Michael Thompson... READ MORE about INLAND PRINTERS: THE FINE-PRESS MOVEMENT IN CHICAGO, 1920-45
New York: The American Institute of Graphic Arts, 1939. 8vo. boards, (iv), 7 pages. First edition. Ruzicka did the colored woodcut and Bruce Rogers did the type arrangement. Presentation on frot free endpaper in pencil "To Dr. Archibald Mallock, with warm regards of R. Ruzicka. Dobbs Ferry, June 1939." Small split in front hinge at top. READ MORE about ON THE AESTHETIC VALUES THAT ARE TO BE FOUND IN THE PRINTED WORK OF BRUCE ROGERS
Chicago: Sherwin Beach Press, 2011. 4to. black cloth boards with illustrated vertical paper title band; exposed sewn spine binding. vi, 58 pages. Limited to 75 numbered copies. Signed by the author on colophon page. A study of Morris Fuller Benton (1872-1948), chief type designer of the American Type Founders Company, focusing on analysis of the typefaces he designed as a means of understanding his work and life. Frontispiece wood engraving of Benton by Carl Montford... READ MORE about SEARCHING FOR MORRIS FULLER BENTON: DISCOVERING THE DESIGNER THROUGH HIS TYPEFACES