Books for Sale
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Inland Foundry
Inland Type Foundry Die Firma wurde 1894 in St. Louis gegründet durch die Söhne (William, Oswald und Carl jr.) von Carl Schraub- stadter, Teilhaber der Central Type Foundry, die 1892 zur American Type Founders kam. Das erste Musterbuch erschien 1895. In dieser Firma wurde die American Standard Line von Nicholas Joseph Werner entwickelt. Sie bildete das Vorbild für die Deutsche Normal- Schriftlinie, die durch Genzsch & Heyse in Deutschland eingeführt wurde. Im Jahre 1911 wurde die Firma von der American Type Founders Comp. übernommen. Einige Schriften kamen zu Barnhart Bros. & Spindler, Chicago, die sie teilweise um- benannten, um sie dann in ihr Schriftprogramm aufzunehmen. Alfred 1909 Avil 1904 Becker 1899 Nicholas J. Werner Blair 1900 Blair Condensed Blanchard Series 1899 Blanchard Italic 1900 Blanchard Light Face 1901 Blanchard Condensed 1901 Brandon 1898 Nicholas J. Werner Linotype (Engravers Bold Face) Brandon Gothic Bruce Title 1896 Nicholas J. Werner Cardinal Cardinal Italic Caslon Heavy 1906 Caslon Condensed 1907 Comstock 1902 Comstock Condensed 1905 Corbitt Condensed 1902 Corbitt Series 1900 Nicholas J. Werner Cosmopolitan 1896 Courts Series 1900 http://www.klingspor-museum.de Dorsey Series 1904 Dorsey Light Dorsey Light Italic 1910 Dorsey Condensed 1910 Dorsey Extra Condensed 1910 Drew Series 1910 Edwards Series vor 1899 Faust 1899 Foster 1905 William A. Schraubstadter Foster Condensed 1908 Francis 1904 Gothic No. 8 vor 1900 Nicholas J. Werner Haight 1902 A. V. Haight Havens Series 1902 Hearst 1902 Solotype Hearst Italic 1903 -
Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
IBM Selectric IT, with Manual, Ribbon, and Correction Tape
BART Q2B2 No. 1-2 Typewriters. No.1 Manual typewriter: Remington, 1965 with library keyboard. 23 x 36 x 49 em. No. 2 Electric typewriter: IBM Selectric IT, with manual, ribbon, and correction tape. 19 X 39 X 52 Cffi., in box, 32 X 46 X 66 CIDo BART Q2C3 No.1 Computers No. la Apple lie computer, CPU with drives 1 and 2, and cable connections No. lal Owner's manual No. la2 Installation manual No. la3 DOS User's manual No. la4 DOS Programmer's manual No. laS Appleworks Tutorial No. la6 80-Column Text card manual No. la7 Extended SO-Column Text and supplement No. laS Applesoft Tutorial No. la9 Appleworks startup training discs No. lalO Screenwriter II word processing manual No. lall Hayes Micro-modem lie manual No. 1b Apple Monitor ill No. lbl Owner's manual No. lc Daisy wheel printer: Brother HR 15, with tractor feed, cable, and ribbons No. lcl Instruction manual No. lc2 Instruction manual model HR 15 No. lc3 User's manual No. lc4 Tractor Feeder instruction manual I ART c No. la- lb in box, 54x49x56 em. Q2(il3 No. le in box, 19x39x48 em. No.1 Gift ofRiehard Ogar. BART Q2C34 No.1 Computer software manuals. No.1 WordPerfect. No.la Reference version 5.2 No.lb Shared applications version 1.3 No.lc Workbook for Windows version 5.2 No. ld Program discs In box, 23 x 10 x 20 em. BART Q2S2 No.1 Supplies. No.1 Carbon paper, black, standard weight and size, 8 x 11 inches/Middletown, CT.: Remington Rand, 1960? On manufacturer's box: reproduction in blue of seal bearing legend: THE UNNERSITY OF CALIFORNIA 1868 LET THERE BE LIGHT. -
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS 310 Delaware Street, New Castle, DE 19720
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books has handled many examples of type specimen catalogues over the years. One would think that interest in old books showing type faces would have gone by the wayside long ago but nothing could be further from the truth. I was recently give a book by Tony Cox, a bookseller friend of mine, for bedside reading while I was visiting him in England and found the stories of type and their development fascinating (Simon Garfield. Just My Type). For those of you who have seen the film Helvetica you can relate to the impact type faces have on our lives. We are now offering you a selection of interesting specimen books and booklets that might inspire those of you doing design work or educate those of you that are doing research. And go back and reread McGrew’s American Metal Type Faces of the 20th Century and Annenberg’s Type Foundries of America and Their Catalogues (both Oak Knoll Press publications) for their invaluable information (see last page of our catalogue for more details). Happy hunting! Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. -
The Building of a Book
•^. f. THE BUILDING OF A BOOK THE BUILDING OF A BOOK A SEKIES OF PRACTICAL ARTI- CLES WRITTEN BY EXPERTS IN THE VARIOUS DEPARTMENTS OF BOOK MAKING AND DISTRIBUTING WITH AN INTRODUCTION BY THEODORE L. DE VINNE EDITED BY FREDERICK H. HITCHCOCK THE GRAITON PRESS PUBLISHERS NEW YORK COPTEIGHT, 1906, Bt the GRAFTON PRESS. Published December, 1906. ©etiicatctj TO RE.VDERS AND LOVERS OF BOOKS THROUGHOUT THE COUNTRY FOREWORD " The Building of a Book " had its origin in the wish to give practical, non-technical infor- mation to readers and lovers of books. I hope it will also be interesting and valuable to those persons who are actually engaged in book mak- ing and selUng. All of the contributors are experts in thoir respective departments, and hence write with authority. I am exceedingly grateful to them for their very generous efforts to make the book a success. THE EDITOR. vU ARTICLES AND CONTRIBUTORS Introduction 1 By Theodore L. De Vinne, of Theodore L. De Vinne & Company, Printers, New York. The Author 4 By George W. Cable, Author of " Grandissimes," "The Cavalier," and other books. Resident of Northampton, Massachusetts. The Literary Agent 9 By Paul R. Reynolds, Literary Agent, New York, representing several English publishing houses and American authors. The Literary Adviser 16 By Francis W. Halsey, formerly Editor of the Nexo York Times Saturday Itevieio of Books, and literary adviser for D. Appleton & Company. Now literary adviser for Funk & Wagnalls Company, New York. The Manufacturing Department ... 25 By Lawton L. Walton, in charge of the manu- facturing department of The Macmillan Company, Publishers, New York. -
Progress in Printing and the Graphic Arts During the Victorian
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor. -
Print Magazine: February 2012 Documenting the Twitter of 1886
32 PRINT 66.1 FEBRUARY 2012 DIALOGUE DOCUMENTING THE TWITTER OF 1886 Douglas Wilson is a 29-year-old Why a film on Linotype? Did you have any pre- a computer but completely mechanical. graphic designer and letterpress vious connection to printing or typesetting? Mergenthaler approached the problem of printer by trade, and Linotype: The I taught myself letterpress printing as part mechanizing typesetting from a different Film, a documentary about the of my B.F.A. senior-thesis project. During angle from anyone else. Once he solved it, amazing Linotype machine, is his that time, I visited a local letterpress trade a syndicate of newspaper owners tried to first movie. For the last year and shop and encountered my first Linotype. I remove him from his own company. a half, he and two friends have was instantly hooked. been researching the history of The more I researched the Linotype, the That sounds familiar. What was your goal in the Linotype, traveling from rural more I realized how very little information making this film? I felt the story needed to Iowa to the modern headquarters was out there. For such a common machine be told. For a machine that was as ubiqui- of the manufacturer, in Germany. that was once in every city in the world, tous as the Linotype, very few people know The result is a rich study of Ottmar the Linotype didn't have much written about it. As I further studied the invention Mergenthaler’s contraption, or recorded about it. It was as if everyone of the Linotype, I found a story as capti- whose importance is next to that became so wrapped up in the newer type- vating as Citizen Kane. -
Machine for Outting Or Shortening Linotype Slugs. Application Filed Feb, 15, 1906
No, 823,788, PATENTED JUNE 19, 1906. R., F. JACOBS, MACHINE FOR OUTTING OR SHORTENING LINOTYPE SLUGS. APPLICATION FILED FEB, 15, 1906. 2 SHEETS-SHEET , Rew. s. GRAA co, roto-irilogRAPHERS, WASklog, c. No. 823,788, w PATENTED JUNE 19, 1906. R. F. JACOBS, MACHINE FOR OUTTING OR SHORTENING LINOTYPE SLUGS, APPLICATION FILED FEB, 15, 1906. 2 SHEETS-SHEET 2. N . <Z% E. I t a - NS s % s seass Es 9s 3 see . NSbNN (s Sse 2x ae SNN a ity al SAzeSF'ss eae Elektklubs N2S es 2 a e. N s SNSS1 a a Y FOSS al X S 24% s : X- itsa a D - - - - - - E e O se/ RSSŠ sae w Š5 NS ASSs es s N f N s Š 8wewtot le-- Aa e g s . too es SR SS 3 6%a24. (22.22% Q4 2-z, / al?y %Coorg, UNITED STATES PATENT OFFICE. ROBERT F. JACOBS, OF BALTIMORE, MARYLAND, ASSIGNOR OF ONE-HALF TO CHARLES F. WALTHER, OF HOWARDWILLE, MARYLAND. MACHINE FOR cutting OR SHORTENING LINotype-slugs. No. 828,788. Specification of Letters Patent. Patented June 19, 1906. Application filed February 15, 1906, Serial No. 301,184, To all whom it may concern: provide a slug-cutting machine with a limit 55 Be it known that I, ROBERT F. JACOBs, a ed number of attached but movable spacers citizen of the United States, residing at Bal of varying widths, the variations being ac timore, in the State of Maryland, have in cording to the point system so that one or vented certain new and useful Improvements several spacers may be quickly moved into in Machines for Cutting or Shortening Lino position, and thereby locate a stop or abut type-Slugs, of which the following is a specifi ment where it will accurately represent a cation. -
Black Arts, Printer's Devil and a Hellbox
Black Arts, Printer’s Devil and a Hellbox January 2015 Black Arts, Printer’s Devil and a Hellbox Volume 12 – Issue 1 By Dick Fox (Compiled from multiple internet sources, and personal experiences) By Dick Fox (Compiled from multiple internet sources, and personal experiences) The definition of a Printer’s devil – than apprentice in a printing It is our mission to identify, preserve accompanied me as we attended the 6 Annual Printer’s Fair at th and promote the historic establishment who performed a number of tasks, such as mixing tubs of legacy of the Temecula Valley and ink, fetching type, cleaning up after the journeymen (Continued printers, on or page attending 2) to educate the public about its to any other needed task. A number of famous men served as printers’ historical significance. devils in their youth, including Ben Franklin, Thomas Jefferson, Walt _____ Whitman, Mark Twain, Warren Harding, and Lyndon Johnson. 2015 Officers The origin of the term printer’s devil is not known with certainty. President Dick Fox Many theories exist of the phrases origin, such as: Printer’s devil may Vice President Rebecca Farnbach have come from the fact that areas of a printer’s apprentices’ skin Secretary Lisa Woodward Treasurer Roger Cudé inevitably would become stained black by the ink used in printing, and Past President Bonnie Martland black was associated with the “black arts”, the apprentice came to be Directors know as a devil. Cheryl Cady Lynn Cudé Another origin idea is tied to the fanciful belief among printers of Elaine Culverhouse old, that a special devil (the typographical personification of Titivillus) Elaine Eshom Jeffrey Harmon Bonnie Reed haunted every print shop, performing mischief such as inverting type, Myra Masiel-Zamora misspelling words or removing entire lines of completed work. -
Lahor and Technology in the Book Trades
The Quest for Autonomy and Discipline: Lahor and Technology in the Book Trades WILLIAM S. PRETZER JLHERE IS MUCH to be learned about the history of labor and technology in the book trades. There is also much to be learned/rom the history of labor and technology in the book trades. Understanding the production of printed goods and their components will not only help us understand the changing nature of demand, distribution, circulation, and impact of print, but these investigations will also increase our knowledge of general aspects of the American Industrial Revolution. Indeed, the history of the book trades should be seen as part of the larger history of American labor and technology. Much of this larger history is composed of the evolving character of conflict and conciliation in the workplace. And while the role of the plebeian classes as participants in the cul- ture of the printed word is a topic well worth exploring, the focus here is on the role of the producers of printed culture. Continuing through the third quarter of the nineteenth century, two themes stand out in this history. First is the quest for autonomy pursued by master artisans and capitalist employers in terms of their control over raw materials, product markets. This is a revised version of a paper presented at a needs-and-opportunities conference on the history of the book in American culture held at the American Antiquarian Society, November 1-3, 1984. I am grateful to Rollo G. Silver and Steven Rosswurm for their comments and to Kevin S. Baldwin for his research assistance. -
John Howell for Books
John Howell for Books Muir Dawson’s Personal Library August 2013 John Howell for Books John Howell, member ABAA, ILAB, IOBA 5205 ½ Village Green, Los Angeles, CA 90016-5207 310 367-9720 www.johnhowellforbooks.com [email protected] THE FINE PRINT: All items offered subject to prior sale. Call or e-mail to reserve, or visit us at www.johnhowellforbooks.com. Check and PayPal payments preferred; credit cards accepted. Make checks payable to John Howell for Books. Paypal payments to: [email protected]. All items are guaranteed as described. Items may be returned within 10 days of receipt for any reason with prior notice to me. Prices quoted are in US Dollars. California residents will be charged applicable sales taxes. We request prepayment by new customers. Institutional requirements can be accomodated. Inquire for trade courtesies. Shipping and handling additional. All items shipped via insured USPS Mail. Expedited shipping available upon request at cost. Standard domestic shipping $ 5.00 for a typical octavo volume; additional items $ 2.00 each. Large or heavy items may require additional postage. We actively solitcit offers of books and ephemera to purchase, including estates, collections and consignments. Please inquire. A selection of books from Muir Dawson’s library. BOOK FAIRS: I will be showing at the following book fairs; passes available upon request: September 14, 2013 - Sacramento Antiquarian Book Fair October 5, 2013 - Los Angeles Printer’s Fair, Torrance CA October 12 and 13, 2013 - Seattle Antiquarian Book Fair John Howell for Books 3 1 AARON, William Metcalf. Italic Writing: A Concise Guide. New York: Transatlantic Arts, 1971. -
Arabic Hot Metal: the Origins of the Mechanisation of Arabic Typography
Arabic hot metal: the origins of the mechanisation of Arabic typography Article Accepted Version Nemeth, T. (2018) Arabic hot metal: the origins of the mechanisation of Arabic typography. Philological Encounters, 3 (4). pp. 496-523. ISSN 2451-9197 doi: https://doi.org/10.1163/24519197-12340052 Available at http://centaur.reading.ac.uk/87152/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.1163/24519197-12340052 To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340052 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Arabic Hot Metal The origins of the mechanisation of Arabic typography In the 1870s, Ottmar Mergenthaler (1854–1899), a German émigré to the United States, began to investigate and develop machines to facilitate typographic composition and justification – a goal that was pursued with mixed results by inventors for most of the nineteenth century.1 After a prolonged phase of trial and error, by 1886 the first functional machine was put to use at the New York Tribune newspaper, heralding the era of mechanised typesetting.2 The machine Mer- genthaler had developed, and its revolutionary concepts, transformed the practice of typogra- phy.