John Howell for Books
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. -
The Graphie Latine Movement and the French Typography Manuel Sesma Prieto
UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) UNE ÉMERGENCE DU DESIGN FRANCE, 20e SIÈCLE Sous la direction de Stéphane Laurent Université Paris 1 Panthéon-Sorbonne THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Pour citer cet article Manuel Sesma Prieto, « The Graphie Latine Movement and the French Typogra- phy », dans Stéphane Laurent (dir.), Une émergence du design. France 20e siècle, Paris, site de l’HiCSA, mis en ligne en octobre 2019, p. 126-143. THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Associate professor, Facultad de Bellas Artes, Universidad Complutense de Madrid Introduction Most works dealing with the history of typography, many of Anglo-Saxon authors, reflect the period covered by the two decades after World War II practically dominated by neogrotesque typefaces. However, there were some reactions against this predominance, mainly from traditionalist positions that are rarely studied. The main objective of this research is thus to reveal the particular case of France, where there was widespread opposition to linear typefaces, which results into different manifestations in the field of national typography. This research wants therefore to situate the French typographical thought (which partially reflected the traditionalism of British typographical reformism led by Stanley Morison 1) within the history of European typography, and in a context dominated by the modern proposals arising mainly from Switzerland. This French thought is mostly shown in a considerable number of articles published in various specialist and professional press media, which perfectly reflected the general French atmosphere. -
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. -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts. -
The Story of Perpetua
The Story of Perpetua 3 Tiffany Wardle March 10, 2000 2 4 Essay submitted in partial fulfillment of the requirements for the Master of Arts in Theory and History of Typography and Graphic Communication, University of Reading, 2000. This essay relates the origins of the typeface Perpetua and Felicity italic which were designed by Eric Gill and produced byThe Monotype Corporation.Although the type and the collaborators are well known, the story has had to be pieced together from a variety of sources—Gill’s and Morison’s own writings and biographical accounts.There are accounts similar to this, but none could be found that either takes this point of view, or goes into as great detail. In 1924, an essay directed towards the printers and type founders was calling for a new type for their time. Entitled ‘Towards An Ideal Type,’ Stanley Morison wrote it for the second volume of The Fleuron. In the closing statement there is an appeal for “some modern designer who knows his way along the old paths to fashion a fount of maximum homogeneity, that is to say, a type in which the uppercase, in spite of its much greater angularity and rigidity, accords with the great fellowship of colour and form with the rounder and more vivacious lowercase.”1 Two years later, in 1926, again Morison is requesting a “typography based not upon the needs and conventions of renaissance society but upon those of modern England.”2 Only two years previous had the Monotype Corporation assigned Stanley Morison as their Typographical Advisor. Once assigned he pursued what he later came to call his “programme of typographical design”3 with renewed vigour. -
An Introduction to the New Testament Manuscripts and Their Texts
AN INTRODUCTION TO THE NEW TESTAMENT MANUSCRIPTS AND THEIR TEXTS This is the first major English-language introduction to the earliest manuscripts of the New Testament to appear for over forty years. An essential handbook for scholars and students, it provides a thorough grounding in the study and editing of the New Testament text combined with an emphasis on dramatic current developments in the field. Covering ancient sources in Greek, Syriac, Latin and Coptic, it * describes the manuscripts and other ancient textual evidence, and the tools needed to study them * deals with textual criticism and textual editing, describing modern approaches and techniques, with guidance on the use of editions * introduces the witnesses and textual study of each of the main sections of the New Testament, discussing typical variants and their significance. A companion website with full-colour images provides generous amounts of illustrative material, bringing the subject alive for the reader. d. c. parker is Edward Cadbury Professor of Theology in the Department of Theology and Religion and a Director of the Institute for Textual Scholarship and Electronic Editing, University of Birmingham. His publications include The Living Text of the Gospels (1997) and Codex Bezae: an Early Christian Manuscript and its Text (1992). AN INTRODUCTION TO THE NEW TESTAMENT MANUSCRIPTS AND THEIR TEXTS D. C. PARKER University of Birmingham CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521895538 © D. -
TRENDS in STUDIES REGARDING the TWO SLAVONIC ALPHABETS DURING the TWENTIETH CENTURY in ENGLISH, FRENCH, and GERMAN SCHOLARLY WORKS by Bohdan Medwidsky
10 UNIVERSITE D'OTTAWA ECOLE DES GRADUES TRENDS IN STUDIES REGARDING THE TWO SLAVONIC ALPHABETS DURING THE TWENTIETH CENTURY IN ENGLISH, FRENCH, AND GERMAN SCHOLARLY WORKS by Bohdan Medwidsky ,;-,"> ^k, , UBRARtCS » Thesis presented to the Department of Slavic Studies in the Faculty of Arts of the University of Ottawa as partial fulfillment of the require ments for the degree of Master of Arts ^r Ottawa, Canada, 1966 UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STU Dl ES UMI Number: EC56138 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform EC56138 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UNIVERSITE D'OTTAWA ECOLE DES GRADUES ACKNOWLEDGMENT This thesis was prepared under the supervision of Professor Constantine Bida, Ph.D., Head of the Department of Slavic Studies in the Faculty of Arts of the University of Ottawa. My gratitude is hereby expressed for his help ful advice and recommendations. ii UNIVERSITY OF OTTAWA SCHOOL OF GRADUATE STUDIES UNIVERSITE D'OTTAWA ECOLE DES GRADUES CURRICULUM STUDIORUM Bohdan Medwidsky was born September 14, 1936 in Stanislaviv, Ukraine. -
Fonts for Greek Paleography
FONTS FOR GREEK PALEOGRAPHY ANGULAR UNCIAL, BIBLICAL UNCIAL, COPTIC UNCIAL, PAPYRUS UNCIAL, ROUND UNCIAL, SLAVONIC UNCIAL, SLOPING UNCIAL, MINUSCULE IX, MINUSCULE XI and MINUSCULE XV User’s manual 3rd edition February 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC LATIN fonts http://guindo.pntic.mec.es/jmag0042/palefont.html PALEOGRAPHIC GREEK fonts http://guindo.pntic.mec.es/jmag0042/palegreek.html TABLE OF CONTENTS Page INTRODUCTION: FONTS FOR GREEK PALEOGRAPHY (3-6) Font package for Greek Paleography 3 Characteristics of the fonts 5 Price of the palaeographic set of fonts 6 Methods of payment 6 Suggestions and queries 6 FIRST PART: A BRIEF OVERVIEW ON GREEK PALEOGRAPHY (7-60) Preliminary advice 8 Styles of Greek handwriting 8 The papyrus period (Uncials) 10 • Ptolemaic period 11 • Roman period 15 • Byzantine period 19 The vellum period (Uncials) 22 • Biblical Uncial 23 • Sloping Uncial 31 • Coptic Uncial 33 • Slavonic Uncial 36 The minuscule handwriting (Minuscules) 39 • Codices Vetustissimi 42 • Codices Vetusti 46 • Codices Recentiores 49 • Codices Novelli 53 SECOND PART: TECHNICAL INFORMATION (61-71) Unicode-encoded fonts 62 Private Use Areas 63 OpenType 64 • Introduction 64 • Mac and PC compatible 64 • What is inside? 65 • How to enable OpenType features in applications 66 • OpenType features in Microsoft Word 67 • OpenType features in Adobe InDesign 68 • OpenType features in QuarkXPress 70 Paleographic fonts for Greek script 2 Juan-José Marcos [email protected] FONT PACKAGE FOR GREEK PALEOGRAPHY The font package termed "Fonts for Greek Paleography" is a font package which contains a total of 10 typefaces named ANGULAR UNCIAL, BIBLICAL UNCIAL, SLOPING UNCIAL, COPTIC UNCIAL, PAPYRUS UNCIAL, ROUND UNCIAL, SLAVONIC UNCIAL, MINUSCULE IX, MINUSCULE XI and MINUSCULE XV respectively. -
Merrymount Press Records: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8j96csq No online items Merrymount Press Records: Finding Aid Finding aid prepared by Diann Benti and Kate Peck. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © January 2020 The Huntington Library. All rights reserved. Merrymount Press Records: mssMerrymount 1 Finding Aid Overview of the Collection Title: Merrymount Press Records Dates (inclusive): 1893-1950 Collection Number: mssMerrymount Creator: Merrymount Press Extent: 364 boxes and 236 volumes (439.92 linear feet) Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of the business records of the Merrymount Press of Boston, Massachusetts, and papers of its owner Daniel Berkeley Updike (1860-1941). The Press, which operated for 45 years, was known for its excellence in typography and design, especially in the field of decorative printing and bookmaking. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. Preferred Citation [Identification of item]. Merrymount Press Records, The Huntington Library, San Marino, California. -
Manuscript 2193 and Its Text of the Gospel According to John
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Master of Sacred Theology Thesis Concordia Seminary Scholarship 5-1-2013 Manuscript 2193 and its Text of the Gospel According to John Timothy Koch Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/stm Part of the Biblical Studies Commons Recommended Citation Koch, Timothy, "Manuscript 2193 and its Text of the Gospel According to John" (2013). Master of Sacred Theology Thesis. 27. https://scholar.csl.edu/stm/27 This Thesis is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Master of Sacred Theology Thesis by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. © 2013 by Timothy A. Koch. All rights reserved. CONTENTS ILLUSTRATIONS v ACKNOWLEDGEMENTS vi ABSTRACT vii Chapter 1. INTRODUCTION 1 2. MANUSCRIPT 2193 7 Description of the Manuscript 7 Abbreviations and Contractions 8 Ligatures 11 Spacing 12 Classification of 2193's Minuscule Script 12 Nomina Sacra 24 Punctuation 27 The Corrector(s) 30 3. FAMILY 1 36 Family 1 introduction 36 Kirsopp Lake and the Beginnings of the Family 1 Label 37 Current Status of Disparities of Family 1 Members 42 Inherent Problems with Family 1 Label: A Case Study of Manuscript 565 46 Manuscript 2193 and Family 1 51 4. THE TEXT OF THE GOSPEL ACCORDING TO JOHN IN MANUSCRIPT 2193 53 Grouping manuscripts based on their texts 53 iii Family 1 Readings 56 Singular Readings 68 Other Textual Features 69 5. -
Transcribing Greek Minuscule Manuscripts
Transcribing Greek Minuscule Manuscripts 1 Chapter 1: Getting Started This is the first page of the Gospel of John in a twelfth century minuscule manuscript called Peckover Greek 7, or G/A 713 (It is also called Algerina Peckover 561). It is part of the Mingana Collection of manuscripts held at The University of Birmingham, UK, see http://vmr.bham.ac.uk/Collections/Mingana/Peckover_Greek_7/ Features of the Page • At the top of the page is a chapter or section heading, written in gold ink and called a kephalaion. • In the top right hand corner is the folio number, written in pencil. • Underneath is a decorative header, often found at the beginning of a new book, particularly a new gospel. • Underneath the decorative header is the book heading, written in gold ink. • The text begins with an enlarged, illuminated initial letter Ε. • In the left hand margin are the Eusebian canon numbers. 2 Reading the minuscule hand The earliest biblical manuscripts were written in majuscule hands, a style of writing that is the source of modern Greek capital letters. An increase in demand for books in the Byzantine empire during the course of the tenth century led to the abandonment of this style of writing in favour of a more compact and economical style, known as minuscule, sometimes called cursive, or running script. Minuscule manuscripts account for the vast bulk of extant biblical Greek manuscripts and can take a while to get used to as, over time, more and more abbreviations and ligatures are included as the need for copies of the bible increases.