JANUARY LIST 2015
Collinge & Clark 13 Leigh Street London WC1H 9EW
0044 (0) 20 7387 7105 http://www.collingeandclark.co.uk [email protected]
1.(Alcuin Press) A Specimen of Some Printing Types in Use at the Alcuin Press, with a note on the press and its aims. 4to, 28.5cm, 15p, The Alcuin Press, Chipping Camden, 1928. Standard copy on mouldmade paper and self-wrappered and sewn. A very good to fine copy. £70 With a T.L.s, 4to, 1st January 1928, from T.A.I. Insoll, Printing Agent, to Richard de la Mare, Faber & Gwyer, extolling the Alcuin Press. "...some of the types in use are Poliphilous [sic], the Blado Italic, Garamond, Caslon, and some Cloister for display purposes. The press has printed books for Ernest Benn Ltd, the Cresset Press and others who are all well pleased both with the typography and press work ..."
2.(Aliquando Press) Majesty, Order and Beauty. Selections from the journals of T.J. Cobden- Sanderson. Edited by William Rueter. Royal 8vo, 274 X 182mm, pp.xiii[1],75[1], colophon + [portrait frontispiece], The Aliquando Press, Dundas, Ontario, December 2007. One of 40 (45) copies handset in Palatino and Sistina types with Primula ornaments and printed in red, black, and olive-green on white Hahnemuhle paper. Wood-engraved fronispiece and 4 other full-page wood engravings in colours on Japon, plus one smaller engraving within the text. Decorative gold paper-covered boards (produced in Amsterdam c.1900 by Georg Rueter the printer's great-uncle), gilt linen spine with red leather label titled in gilt.Card envelope with printed label. A fine copy. £225 The hundredth book of the Aliquando Press.
3.(American Type Founders Company) Specimen Book and Catalogue 1923. Royal 8vo, 26cm, pp.1148, American Type Founders Company, Jersey City, N.J., 1923. One of 60,000 copies printed in black, blue and reddish-brown entirely from type and brass rule; extensive use of ornaments and occasional use of different paper stocks with a great many advertisements, etc. Quarter natural linen with black spine titling, blue paper-covered boards, titled in black, decorative endpapers. A very good copy. £200 ATF’s "Big Blue" is an astonishing achievement by Morris Benton -not so much a type catalogue as "an encyclopaedia of typographic styles". Especially spectacular are displays of Garamond, Goudy, Harris roman, Bodoni. It was the last of the large ATF catalogues. 4.(American Type Founders Company) A Showing of Cleland Ornaments & Borders, with recently added sizes and characters. 4to, 32cm, [20]p American Type Founders Company, For Sale by C.W. Shortt & Co, London, (1923). Pages of ornaments printed in many colours with examples as to their use; Cleland ornament covers, titled in red and green, and endpapers. Slight wear to extremities, but a very good copy indeed. £60
5.(Amsterdam Type Foundry) Egmont: Boek- en Fantasieletter voor het betere werk ontworpen door S.H. De Roos. 4to, 30cm, [32]p, N.V. Lettergietteriij Amsterdam voorheen N. Tetterode, (1936). Printed in red and black with many examples and illustrations within the text. Cream paper wrappers with red printed label superimposed on the front cover. A very good to fine copy. £40 A light roman designed by S.H. De Roos. The type has vertical stress, rather thin flat serifs, extending both ways on top of the ascenders.
6.(Amsterdam Type Foundry) Columbia in vier Serien: gewohnlich & kusiv, fett & fett-kursiv. [Designed by Walter H. Mackay.] 4to,30cm, 20p + specimens in a pocket at the rear, Lettergieterij "Amsterdam", Amsterdam-West, (1956). Specimen printed in blue, reddish-brown and black (with the loose items at the rear in similar colours but on different papers). Many illustrations, some photographic, including a portrait of Walter Mackay. Plum semi stiff wrappers, with device, titled in yellow. A fine copy. £40 Unusually for a type specimen this has a precise date, 56.11.03 (the Columbia series was developed 1956-61). It is a roman which is modern in serif treatment and stress. The Q has its tail entirely outside the bowl, the lower case g is almost entirely an old face letter.
7. Audin (Marius). Histoire de l'Imprimerie par l'Image. 4 vols, square 8vo, 23cm, pp.126, 249 ill; pp.112, 266 ill.; pp.112, 242 ill; pp.13, c.300 ill; Paris: Henri Jonquieres Editeur, 1929. Over 1000 full-page illustrations, some colour, some folding; bound up (with original wrappers) in maroon buckram with gilt leather labels. A fine set. £275
8.(Bauersche Giesserei) The Weiss Family: Bauer Type Foundry, Frankfurt A.M. [cover-title]. Three 4to pamphlets roped together, 26.5cm, together [36]p, Bauer Type Foundry, Framkfurt A.M., 1931. 3 type specimens roped into grey paper wrappers with a blue linen spine, printed label on upper cover. A fine copy. £50 (1) In blue wrappers, Weiss Roman and Italic, printed in red and black; (2)Weiss Types used in fine book printing, printed in reddish-brown and black, illustrated; (3) Weiss Types used for Advertising and in Display, silhoettes and photographic illustration. Designed by Emil Rudolf Weiss (1926). The B is narrow and H wide. M has no top serifs. U has the lower-case design. In the lower case a has the upper story wide open, f is unkerned and w has no middle serif. The italic (1931) is of the Blado school, of very slight inclination and with angular beginning strokes. Most of the capitals are swash varieties.
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9.(Bauersche Giesserei) Bernhard Schonschrift. Royal 8vo, 27cm, 4p + specimens inserted in a pocket at the rear, Bauersche Giesserei, Frankfurt am Main, (1951). Specimen pages of Benhard Crursive and Berhard Cursive Bold and Balle Initials. Elegantly printed samples on different paper stocks at the rear. Sewn into grey paper wrappers, slightly soiled. A very good copy. £50 Bernhard Cursive (Madonna to Stephenson Blake) is unusual insofar as it was designed by Lucien Bernhard before the roman and italic, which it now accompanies. The lower case has very tall ascenders and short descenders, b, d, and l, have no top serifs, but h as a finishing stroke. The capitals are flowing pen forms.
10.(Bauersche Giesserei) Futura. Anwendungen. Folder, 27.5cm, specimen sheets, Bauersche Giesserei, Frankfurt am Main, n.d. (c 1952). Decorative folder , titled in black, containing upwards of twenty very handsomely printed samples and demonstrations of Futura in commercial work, different paper stocks, colours, illustration, etc.. Internally in fine condition. Edges of folder worn. Internally fine. £45 Designed by Paul Renner (1927-30) and one of the popular German sans. The M is splayed, the Q has a straight tail starting inside the bowl, the T is narrow but less so than in Erbar. The a is one- storeyed, g has the usual open tail, t is square across the top, and u has the design of the upper case. There are six weights, a condensed in three weights, and an inline.
11.(Bauersche Giesserei) Quick. 4to, 27.5cm, 4p + folder, Bauersche Giesserei, Frankfurt am Main, n.d. (c 1952). The first four specimen pages printed in light blue and black; the following loose specimen sheets in many colours (many illustrated) and on different sizes of paper. Green piscatorial covers titled in black. A fine copy of an unusual specimen. £45 Designed by H.A. Trafton and known as Trafton Script, 1933. This is a light script with freely drawn capitals. The lower case has long ascenders and descenders and the descenders are looped. There is considerable gradation of colour, but he vertical strokes are of uniform width. In Germany he type is called Quick and in France Etoile.
12.(Bauersche Giesserei) Maxim. Folder, 27.5cm, specimen sheets, Bauersche Giesserei, Frankfurt am Main, n.d. (1955). Pictorial folder , titled in red, containing upwards of twenty very handsomely printed samples and demonstrations of Maxim in commercial work, different paper stocks, colours, illustration, etc.. Internally in fine condition.. £45 Designed by Peter Schneidler. A heavy informal script of the brush variety. The inclination is extreme, some letters appear to be toppling over. The irregularity adds to the informal character of the design.
13.(Bauersche Giesserei) Amalthea. 4to, 27.5cm, folder, Bauersche Giesserei, Frankfurt am Main, n.d. (1957). Decorative folder , containing upwards of twenty handsomely printed samples and type specimen sheets. Fine condition. £30 Designed by F.H.E. Schneidler. Amalthea is an italic companion design to Schneidler Old Style.
14.(Bauersche Giesserei) Papageno. Single sheet folded, printed on both sides, Bauersche Giesserei. Frankfurt A.M., (1958). Done in black, red, green and blue. A fine copy. £12 Designed by Richard Weber. A heavy brush script, without serifs.
15.(Berthold) Post-Antiqua und Post-Fraktur. 4to, 30cm, 28p + loose 12p leaflet, H.Berthold, Messinglinienfabrik und Schriftgiesserei AG, Berlin (c.1938). Exquisitely printed in reddish-brown and black (will illustrations and other paper stocks in different colours); tipped-in leaflet at the rear, plus another 3 tipped-in illustrations; overlapping cream handmade paper wrapers, titled in black and reddish-browm. 12p leaflet loosely inserted, header Post-Antiqua, Nach Entwurfen von Herbert Post. Probe Nr 347. (Printed in black only). A near fine copy. £75 Designed by Herbert Post. Post-Antiqua is a display roman with slight variation of colour. The capitals are without serifs and most of them are wide. The lower case has small, strong, horizontal serifs
16.Bewick (Thomas), illus. My Best ABC Book, by S. Pickett. 4to, [15] p. (includes cover and lining paper) : chiefly ill. ; 30 cm., London New York : Macmillan ; St. Martin's Press, 1963. 23 reproductions of wood-engravingings by Bewick against vital coloured backgrounds (magenta, puce, etc). A fine copy. £40
17.(Birmingham Printers Ltd) Specimen Book: Showing a series of types displayed in a riot of variety to afford inspiration to those desiring arrestive & artistic productions. 4to, 25.5cm, 92 leaves (versos blank), The Birmingham Printers Limited, Hill Street and Station Street, Birmingham, n.d. (1937). Many colours, borders, ornaments, different repructive media; semi-stiff manilla covers comb- bound with green plastic, titled in brown on the front. Looks dull from the outside, but internally the work is amazingly good. £80
18.Burch (R.M.) Colour Printing and Colour Printers. With a Chapter on modern processes by W. Gamble. 8vo, pp.xviii,281 + inserted colour plates, London: Sir Isaac Pitman and Sons, 1910. 22 inserted colour printed, some tipped-in; 8 half-tone illustrations. Title-page in red and black, opening initial in red. Maroon cloth titled in gilt on the spine and upper board, t.e.g. a near fine copy of this classic work. £95
19.(Michael Caine) Lorca (Federico Garcia). Lament for Ignacio Sanchez Mejias. Translated from the Spanish by A.L. Lloyd. With seven linocuts by Michael Caine. Folio, 350 X 250mm, pp.[iv],18, colophon, French-folded, Atelier de la Cersaie, Paris, October 1995, by Michael Caine and Rachida Zerroudi. Handset in 24-point Romulus and printed on Zerkall paper. Number 77 of 80 copies. Illustrated with 7 outsize linocuts printed in colours. Sewn into plain card covers. Grey Ingres paper dust- jacket, titled in black on the front. A fine copy. £100 20.(Michael Caine) Mariot (Laurent). Un ange est sans memoire. Broderie Michele Gleizer. Small 4to, 203 X 225mm, [20]pp, Conception graphique - composition manuelle et impression de Michael Caine a l'Atelier de la Cerisaie, Paris, 2002. One of a total of 91 copies set in Paganini (Nebiolo Torino) - of which this is one of 15 printer's copies - done in red, blue, yellow, and black on Rves paper. Signed by Michael Caine on the colophon leaf. Loose leaves with red hand-made paper wrappers, titled in black on the front. A fine copy. £80 A very attractive abcedaire done for the occasion of the exposition: 'Pour un sourire a Monsieur Mustafa' at the Swiss Cultural Centre, Paris.
21.(Cloister Press) The Forum Capitals. Folio, 33cm, 4p, French-folded, The Cloister Press, Heaton Mersey, 1921-22. Designed and arranged by Stanley Morison, with illustrations in blue and black by Horace Taylor. Forum Caps in 36pt in blue and black printed on Abbey Mills Greenfield paper. A near fine copy, folded once. £50 Appleton 8 lists this as number 4 of the eight Cloister Press type specimen sheets.
22.(Cloister Press) Typographical Decoration & Illustration. [By Stanley Morison?] Folio, 33cm, 4p, French-folded, The Cloister Press, Heaton Mersey, 1921-22. Designed and arranged by Stanley Morison, with illustrations in black and colours by Horace Taylor. Displays Cloister Press initial letters. Printed on Abbey Mills Greenfield paper. A fine copy, folded once. £75 Appleton 8 lists this as number 5 of the eight Cloister Press type specimen sheets.
23.Cowell, (W.S.), designers, and printers. 12 Suffolk Identities. 12 cards 11 X 21cm, W.S. Cowell, Butter Market, Ipswich, 1962. Each card printed in blue and black with some letterpress text about Suffolk history with an accompanying PlastoCowell illustrations by Michael Forman, Colin Threadgall, Denzil Reeves, Pam Watson, Michael Simpkin, John Addyman, John O'Conner [sic], Anthony Atkinson, Ian Hay, Max Brooker, Lawrence Self & Warwick Hutton. Protective card folder with Cowell's ‘sea-horse’ device on the front. A fine copy of a scarce item. £60
24.Crawhall (Joseph). Chap-Book Chaplets. Royal 4to, 290 X 220mm, pp.[268], Ye Leadenhalle Presse, London, by Field & Tuer, Simpkin, Marshall [etc.], 1883. [The Scolar Press , 1976 facsimile.] Approximately 220 hand-coloured woodcut illustrations by Joseph Crawhall, reproduced by lithography. Linen-backed pictorial boards with cellophane wrapper. A fine copy £40
25.Crosby (Theo) & others. Pentagram: the work of five designers; l'oeuvre de cinq designers; funf Designer und ihre Arbeiten. Square 8vo, [214]pp., Pentagram Design Partership, Published by Lund Humphries, London, 1972. Text in English French and German; profusely illustrated with both black-and-white and colour plates, some double-page, many full-page, including design work for Cunard, Pirelli, Xerox, Reuters, Roche, Kenwood, Kodak and Ronson. Orange wrappers, titled in black on the spine and font. A fine copy. £110 Featuring the work of Theo Crosby, architect; Alan Fletcher, Colin Forbes, Mervyn Kurlansky, graphic designers; and Kenneth Grange, industrial designer.
26.(Daily Telegraph) Specimen Daily Telegraph Type Faces: For Use in Advertisements. Imperial 8vo, 30cm, [52]p, Published by The Daily Telegraph, Fleet Street, London, 1930. Handsomely printed in red and black on wove paper with border surrounds. Screw binding (lacking one screw), buckram back with green paper-covered sides and printed label. Book label: "This type specimen book is registered in the name of H. Walter and is presented with the compliments of the Daily Telegraph No.101." A very good clean copy and a splendid period piece of design. £90 A quite exceptional book of display faces well and fully presented. The book features (in various weights): Basuto, Bodoni, Cable Shaded, Caslon, Cheltenham, Clear Face, Flemish Old Style, Garamond, Goudy, Granjon, Lining Dominus, Plantin, Neuland, Nicolas Cochin, Clear Cut Initials, Advertising Brackets,Linotype borders, Brass Combination Borders, Paragraph Marks.
27.(Dodman/West Meadow Press) Solos: a jazz anthology with five wood-engravings by Wesley W. Bates. 8vo, 20.5cm, [20]p, Dodman/West Meadow Press, Hitchin & Hamilton, Ontario, 1986. One of 100 copies illustrated with 7 wood-engravings in colours; sewn into pale blue printed wrappers. A fine copy with a compliments slip from Roger Burford Mason. £25 The authors include: John Cotton, John Lucas, George Szirtes and John Gohorry.
28.(Double Crown Club) - Starter pack: A collection of menus, invitations and occasional windfalls. Mostly 8vo, 4p.upwards of 50 items, various presses, Double Crown Club, 1929- 2004. Upwards of 50 menus,(no duplicates) plus some invitations and desirable occasional windfalls. All in fine condition. £300 The earliest menu is the twenty-second, Kettner's, 1929, the last 327, The Arts Club, 1994. Windfalls include: An Introduction to Desktop Printing, , by Robert Norton, Holbrook Jackso, an address, by Nicolas Barker, Harold Curwen , by Herbert Simon. A few lists of members are also included.
29.(Double Crown Club) Fishenden (R.B). An Evaluation of Illustration Processes. 12mo, 154 X 103mm, pp.28, Printed by the Shenval Press presented to the Double Crown Club, by the courtesy of the author and Mr James Shand, [1946]. Printed on Spicer's Mouldmade Antique Laid paper. Light brown cloth with gilt spine titling. A fine copy. £75 A paper read at the 85th dinner, 30th April, 1946.
30.(Double Crown Club) Nordlunde (C. Volmer). Sir Emery Walker and the Revival of Printing. [Translated by Betty J. Klitgaard.] 8vo, pp.25 + colophon [+ 8pp loose insert], Printed by Bogtrykkeri, Copenhagen, 1959. Number 70 of 79 (125) copies reserved for the Double Crown Club; portrait photograph of Emery Walker, opening initial in red, special paper-covered boards by Mrs Birgitte Cramer. A near fine copy. £120 The eight-page insert is specifically addressed 'To the Members of the Double Crown Club' and signed by hand by the author.
31.Enschede (Charles). Fonderies de Caracteres et Leur Materiel dans Les Pays-Bas Du Xve au XIXe Siecle. Notice Historique principalement d'apres les donnes de la collection typographique de Joh. Enshede en Zonen a Haarlem. Folio, pp.xxxiv,404, 370 X 280mm., Haarlem, De Erven F. Bohn, 1908. Finely printed on antique laid paper; upwards of 500 illustrations within the text. Original beige cloth, elaborately blocked in gilt on the spine and upper board, the same pattern repeated in blind on the lower cover. A fine copy. £850 The first edition of one of the great books of research into the history of typefounding. Rare.
32.(Enschede en Zonen) Specimen des characteres de la fonderie de N.P. Gando a Paris et de son fils Th. S. Gando a Bruxelles. 8vo, [180]p. : ill. ; 23cm., Haarlem : Joh. Enschede en Zonen 1917. Decorative semi-stiff wrappers with printed wrappers. Ownership signature of Sem Hartz and with a short Als, dated 1858, from Sem Hartz to Walter Tiemann saying what an appalling bore Frank Overton is. A very good to fine copy. £120 A beautifully printed specimen, with many ornaments, strips and unusual faces.
33.(Eragny Press) Moore (Thomas Sturge). A Brief Account of the Origin of the Eragny Press & A Note on the Relation of the Printed Book as a Work of Art to Life. A Bibliographical List of the Eragny books printed in the Vale Type by Esther & Lucien Pissarro on their Press at Epping, Bedford Park, and The Brook, Chiswick, in the order in which they were issued. Large post 8vo, Title, pp.52[2], colophon, press-mark, The Eragny Press, The Brook, Hammersmith, June 1903. One of 235 (241) copies printed on Arches hand-made paper. Illustrated with 15 woodcuts by Lucien Pissarro reprinted from the original Eragny Press blocks. Warm grey paper-covered back, stamped in gilt on the front cover, special sides, Daisies, red and white on green. Endpapers browned, light spotting to the spine area not affecting the pattern paper. Generally very crisp and clean. Frederick W. Huth bookplate loosely inserted. A very good copy. £900 The first book printed in Lucien Pissarro's 'Brook' fount, cut by E.P. Prince.
34.(Greenboathousepress) The letterforms of Felice Feliciano c.1460, Verona. With a Foreword by Paul F. Gehl and an Afterword by Jason Dewinetz. 8vo, 198 X 150mm, 78p., colophon, (Jason Dewinetz) Greenboathouse Press, Vernon, British Columbia, 2010 (2011). Text set in ATF Cloister Old Style and Monotype Cloister and printed on Magnani paper; the letterforms of Feliciano, redrawn by Jason Dewinetz and printed from polymer plates in 17 colours. Number 19 of 115 copies. Endsheets and semi-stiff grey printed wrappers handmade by Reg Lissel. A new copy. £220
35.Guilmain (Rene). Technologie du Papier: La Fabrication du Papier de ses Origines au XIXe Siecle. Tome:1. 5 v. : ill. ; 4to, 34.5cm, [Paris] : [s.n.], [1926-1929]. Maroon paper covers, many illustrations; printed on various paper stocks. A near fine copy. £200 Fasc. 1. Types d'appareils primitifs utilise s en Asies aux origines de la fabrication du papier en Asie; fasc. 2. La fabrication en Asie ; fasc. 3-4. La fabrication en Europe; fasc. 5. Le mate riel me canique de papeterie au de but du XIXe sie cle, pre ce de de quelques notes sur le papyrus et le parchemin.
36.Hart (Horace). Bibliotheca Typographica: In usum eorum qui Libros amant: A List of Books About Books. With an Introduction by George Parker Winship. 8vo, 21.5cm, xi[1],142p, Rochester, New York: The Printing House of Leo Hart, 1933. Special edition, being number 53 of 250 copies signed by Horace Hart. Bound in quarter morocco with gilt spine titling, top edge gilt, bevelled linen sides. Original card slipcase slightly damaged. A fine copy. £275
37.Hupp (Otto), designer. Münchener Kalender 1901. Imperial 8vo, 32 X 16cm, [34]p, München u. Regensburg: Druck und Verlag der Nationalen Verlagsanstalt Buch u. Kunstdruckerei AG, 1901. Printed on stiff laid paper in vermillion and black, decorated with flamboyant full-page, or near full- page, heraldic designs in many colours.Slightly chipped at edges. A very good copy. £30
38.Hupp (Otto), designer. Münchener Kalender 1902.. Slight loss to paper at the top of spine. A very good copy. £30
39.Hupp (Otto), designer. Münchener Kalender 1903. Slight loss to paper at the top of spine. A very good copy. £30 Otto Hupp is particularly famous for his heraldic designs, which are here boldly displayed in a variety of combinations of colours.
40.(Incline Press) Randall Davies and his Books of Nonsense. With a Learned introduction by Dr Paul Nash of the Bodleian Library, Oxford. 8vo, 23cm, xvi, Title,140p, (including colophon), Incline Press, Oldham, 2014. The Introduction set in Monotype Garamond with the limericks handset in 18pt Garamond Italic, with ligatures and swash, and printed on light green Wookey Hole mould made paper (the title-page in reddish-brown and black). Every limerick page reproducing a woodcut illustration at least 300 years old. Edition of 315 copies, of which this is one of the first 175 bound by the printer (and signed by him) in green cloth with decorated paper sides designed by Meg Held. Highly recommended. A fine copy. £75 The Cayme Press, founded and run by Philip Sainsbury in the 1920s, had a fondness for the folk ar qualities of old woodcuts and used some as illustration in two books of limericks by Randall Davies. The first was in 1923, 'A little more nonsense', actually a sequel to Davies' 1912 Macmillan publication, 'A lyttel book of nonsense'. The second volume was so popular that in 1925 Cayme republished the first, but with some alterations. The Incline Press edition includes cuts and limericks from all three books, and there is a welcome and scholarly introduction from Paul Nash to make sense of it all, particularly the antiquarian woodcuts that are so much of the humour. .
41.(Incline Press) George (Carole). Layers of Concord: The Creation of the Landscape Garden at Le Berceau. Introduction by Reuben M. Rainey. Illustrated with photographs by Eduardo Galliani. [With a map and cartouche by Abigail Rorer.] Large 4to, 33cm, p.69[1], colophon, Incline Press, Oldham, 2014. Set in 16pt Centaur and printed on Zerkall paper. One of 170 numbered copies, signed by the binder. 1 full- and 7 hall-page black-and-white photographs done by Adrian Lack at Senecio Press. Quarter blue buckram, with moss-green and pale-green particololoured paper-covered boards, titled in blue. A fine copy with matching slipcase. £170 A luxurious book, beautifully printed and bound with superb photographs. Prospectus available on request.
42.(Incline Press) Stevenson (Robert Louis). The Long Journey: Poems selected from A Child's Garden of Verses; Songs of travel; Ballads and Underwoods. With wood engravings by Robin Mackenzie. Set in Monotype Lutetia and printed on a special making of Zerkall paper with the title- page in reddish-brown and black. Illustrated with 7 lemon wood engravings (some colour). One of 40 (180) special copies, signed by the illustrator and printer/binder with a matching portfolio of black prints of the wood-engravings housed in a slipcase. Quarter maroon buckram, original Sarah Nechamkin Curwen Press decorated paper-covered sides with printed label. Matching slipcase and folder.A fine copy. £100
43.(Incline Press) Standard copy. One of 140 (180) standard copies, signed by the illustrator and printer/binder. Quarter maroon buckram, original Sarah Nechamkin Curwen Press decorated paper-covered sides with printed label. A fine copy £55 Robin Mackenzie's first illustrated book. We may be hearing a lot more from him. Prospectus on request.
44.(Incline Press) Cinamon (Gerald). E.R. Weiss: The Typography of an Artist. Super royal 4to, 35cm, pp.178, colophon, [+ booklet], Incline Press, Oldham, 2012. One of 250 copies set in Monotype Sabon and printed in black (the tipped-in illustrations in many colours) on Magnani paper and Zerkall and Hahnemuhle for the reproductions. Studio portrait frontispiece and 125 other illustrations, nearly all tipped-in, many in colour, folding, or inserted and of several pages. Quarter vellum with grey paper-covered boards, ERW inititals holding a quill in reddish-brown on the front cover. Canvas-backed slipcase with printed label. A new copy of an absolute howling bargain. £330 Emild Rudolf Weiss (1875-1942) was influenced by the the new art stye of his time, jugendstil or art nouveau. He was a painter, illustrator, wood engraver, graphic designer and calligrapher. He designed wallpapers, fabrics, furniture, stained-glass windows, company logos, ceramics and was a muralist for ocean liners. He designed books and magazines - the typographic arrangement of the pages, and if required, the binding, the dust-jacket, endpapers, title-page; if an opening initial was needed he drew it, cut it in wood or engraved it. His work came to the attention of the Bauer Typefoundry who commissioned him to design ornaments to be cast in typemetal. These were so successful that he designed three major faces for text setting and three sets of display initials. The final section of this sumptuous book is of Weiss types in use today. The roman and italics have been digitized and are popular. 45.Kindersley (David). Twelve Alphabetik Images in Colour. 12 loose folio leaves, 445 X 345mm, Published by the Chilford Hall Press & David Kindersley's Workshop, 1983. One of 150 sets of experimental alphabets printed in a great variety of colours on mould-made paper, with each sheet initialled and numbered by David Kindersley. Small chip at the head of the title-page extending to the following leaf. Otherwise, a fine clean set of one of Kindersley's most ambitious attempts at alphabet-making. £500
46.(Gebr. Klingspor) Marathon created by Rudolf Koch. Tall 8vo, 26cm, [12] p. : ill., port. ; 26 cm., Grebr Klingspor, Offenbach A.M., Published by Soldans Ltd, London, n.d. (c.1935). Portrait of Rudolf Koch pasted in, set and printed reddish-brown and black in Marathon type by Gebr. Klingspor; illustrations in colours within the text. Black paper wrappers, titled in white. A very good to fine copy. £40 The text is both undated and anonymous, but in it Rudolf Koch is spoken of in the past tense. As he died in April 1934, I suggest that the black wrappers are significant. Klingspor's first official Marathon specimen was not until 1938.
47.(Gebr. Klingspor) Soldans Introduce Variante to the British Printer | Variante. Initials of Charm and Grace. [Designed by Joachim Romann.] 8vo, 21cm, 15 loosely inserted specimens of varying size, Gebr. Klingspor, Offenbach am Main, (1951). Attractively printed in black with light blue and pink as extra colours, demonstrating use either as a commercial or text type. Photomontage covers. A near fine copy. £50 Several letters of this script, with no lower case, resemble the same founder's Gavotte. The weight, however , is heavier, and the contrast between thick and thin strokes stronger.
48.Lalande (Joseph Jerome le Francais de). Art de Faire le Papier. Par M. de la Lande. Royal 4to, 150p, plates (including one folding) ; 42 cm. [Menston?] : Scolar Press, For Private Distribution Only, [1973]. Facsimile of original ed.: Paris: Saillant et Nyon, 1761, printed on Amalfi hand-made paper. 14 full- page plates with versos blank at rear. Semi-stiff green card wrappers, printed label superimposed at the front, a little unevenly faded. A very good copy indeed. £95 An excellent text. Half-title inscribed: 'Edward Mills = Works Manager, Scolar Press, 1973. Best wishes to Shirley Sed. [sic] 1980.'
49. (Latin Press) Blackett (Sir Basil Phillott), K.C.B. Translations from the Greek of Saint Gregory Nazianzen, and the Latin of Aurelius Prudentius Clemens, Hildebert of Le Mans, and St. Peter Diamiani, Cardinal-Bishop of Ostia. [With original texts and an introduction by Helen Waddell.] Demy 8vo, pp.viii,31, Printed at the Latin Press by Guido Morris, London, 1937. One of about 200 copies printed in Bembo on F.J. Head hand-made paper. Blue paper-covered boards titled in black on the front cover. Endpapers just a little spotted. A very good copy indeed. £85 Instructive on the problems of printing parallel English and Latin texts. 50.(Maximilian-Gesellschaft) Goethes Englische Werke. 8vo, 26cm, 20p, Printed at the Westerham Press, Kent, 1961. Text set in Monotype Bulmer and printed in red and black on grey Arnold & Foster paper. One of 500 copies designed by Hans Schmoller for the 50th anniversary of the Maximillian-Gesellschaft, Gold paper covers (a little rubbed) with printed label and original envelope. A very good copy. £40 With a short TLs from Hans Schmoller at Penguin Books to 'Dear Mrs Crittall, Great Eason, etc' thanking her for the use of the gold paper for the covers.
51.(Miniature Press) Ryder (John). Flower Matrices Available at the Miniature Press. Gatefold, 6p, 22 X 9.5cm, (Jon Ryder) The Miniature Press, Richmond, n.d. (c.1960). Done on yellow Abbey Mills hand-made paper, slightly soiled. A very good copy. £25
52.(Monotype Corporation) Pages from Books. Arranged by Gerard T. Meynell. Royal 4to, 31cm, pp.x,92, Lanston Monotype Corporation, London, 1927. Special copy printed on handmade paper, specially bound.; 92 specimens of books printed on the 'Monotype' at various presses. Attractive use of frames and fleurons. Half vellum, ruled and titled in gilt, blue buckram with sides with upper board stamped in gilt. Printed dust-jacket. Patterned paper slipcase distressed at bottom edge. A fine copy. £170 Printed at the Westminster Press.
53.(Morison) - A Selection of Types produced by the Monotype Corporation under the Guidance of Stanley Morison. 8vo, 23cm, 12p, Cambridge: Printed at the University Press, [1949]. Printed on Basingwerk Parchment, tied with white silk cord. A fine copy. £45 (Appleton 315) Quite scarce. Privately printed at Cambridge for Morison's sixtieth birthday.
54.Nicholson (William). The Book of Blokes. First edition, slim 12mo, 187 X 130mm, Dedication + ff.[29], [London:} Faber & Faber, [1929]. 29 differently coloured chalk drawings of men in hats. Orange pictorial boards with an additional design, cream paper spine, slightly rubbed and torn. Endpapers very lightly browned, but otherwise a very good bright copy. £275 Drawings originally made to entertain the artist's daughter Liza.
55.(Pickering Press) Types. A specimen showing of three type faces: Village No.2, Goudy Bible and Goudy Thirty designed by Mr Frederic W. Goudy and now made available to printers and typographers by Lanston Monotype Machine company of Philadelphia, Pennsylvania, February 1956. 8vo, 23cm, 4p, Printed by John Anderson, The Pickering Press, 1952. Printed in black and crimson with a small wood-engraving by John De Pol in the same colour and two large in yellow. Stapled into grey paper wrappers. A near fine copy. £25
56.(Pop--Over Press) Miller (Matthew). Printer's Pi. 8vo, 21.5cm, 15 leaves printed on the rectos only, (Matthew Miller) Pop-Over Press, 1967. One of just 25 copies printed in whatever types the printer had on a variety of papers (some very handsome) in many colours of ink. Stitched Japanese-style into brown paper wrappers, titled in black. A fine copy. £90 Presentation copy to John [Buford] Mason 'a bountiful source of inspiration, Mathew Miller, prop.' I suspect this to be the only production of the Press.
57.(Potryck Press) Wakely (Gerald). Unwanted. 20pp., 95 X 220mm (folded horizontally) Potryck Press, Auckland, New Zealand, 1965. Handset in a dozen or so different typefaces. Number 244 of 375 copies printed in brown and red on cream wove paper. Stapled into thin vegetable parchment paper covers, titled on the front. A fine copy. £30 Expressionistic typography employed in support of a diatribe against overpopulation. The front cover is loosely stuck down onto the first page of text and through can be seen the words, I AM, in large red grot capitals.
58.(Reading Room Press) An Advertiser’s Alphabet, by A.S.J. Tessimond and Ceri Richards. 8vo, 25cm, [61]p, The Reading Room Press, Quenington, 2014. One of 150 copies set in Lutetia and Romulus open and printed in red and black (the illustrations in many colours) on BFK Rives paper. 25 vignettes in colours by Ceri Richards reproduduced by Adrian Lack at the Senecio Press. Quarter scarlet cloth, gilt-blocked down the spine, black cloth boards with decorative label on the upper cover (from a design thought to be by Ceri Richards). A new copy. £60 Lying in Tessimond’s archive, not much more than a cardboard-box, has been a stapled booklet signed by both Tessimond and Richards on the first page and dated 1930. Tessimond appears to have entered alphabetically, words relating to his trade as an advertising copywriter such as ‘Brand Name’, ‘Habit’, and ‘Psychology’. Richards has painted 25 (there is no ‘A’) delightful gouache vignettes while Tessimond has added his own interpretaion of the art and guile of the advertising business. A delightful book – which to many will be reminiscent of High Street. Snap it up.
59.Reed (Talbot Baines). A History of the Old English Letter Foundries. With notes historical and bibliographical on the rise and progress of English typography. A new edition revised and enlarged by A.F. Johnson. New edition, revised and enlarged, 4to, pp.xiv,400 [+ folding frontispiece], Faber and Faber, London, 1952. Printed in Bell type on fine wove paper at Oxford University Press. 95 illustrations within the text. Blue-green buckram, titled in gilt on the spine. Lacks dust-jacket. A very good copy. £45
60.Savage (William). A Dictionary of the Art of Printing. 8vo, pp.[iv-viii],815, London: Longman, Brown, Green, and Longmans, 1841. Original green cloth, decorated in blind, complete with half-title, spine gilt. Book label of John Waynflete Carter. A fine copy. £280 First edition. Described by Bigmore & Wymam as one of the standard English works on printing - a purely practical work - particularly valuable for its content on electrotyping.
61.(Schelter & Giesecke) Messinglinien mit Kreuzungsecken. 4to, 28.5cm, [16]p (including wrappers), J.G. Schelter & Giesecke, Leipzig, 1930. Very handsomely printed in blue, black and grey. A very good to fine copy. £40 62.Sherbow (Benjamin). Making Type Work. First edition, 18.5cm, pp.[vi],129 + ad, The Century Co., New York, 1916. Over 100 illustrations. Blue buckram, spine and upper board gilt, printed dust-jacket slightly yellowed. A near fine copy. £25
63.(Stanbrook Abbey Press) Robertson (Alec). In the Little Things: An Act of Worship for Radio. With a Tribute by Gerald Moore. Narrow crown 8vo, 35 leaves, French-folded, printed on one side only, Stanbrook Abbey Press, Worcester, 1969. Handset in van Krimpen Romanee. Number 69 of 235 (300) copies printed in black, orange and green on cream Kozu-shi Japanese paper. Decorated with 2 devices and 12 borders (most used more than once, or reversed) by Margaret Adams. Bound by George Percival in green Japanese Shiki silk, blocked with a device by Margaret Adams, spine gilt, acetate dust-jacket, a fine copy. £165
64.(Stanbrook Abbey Press) The Sign, verses by D.S.H. [Dame Scholastica Hebgin]. With a device by S.H.C. [Dame Hildelith Cumming]. 12mo, 155 X 155mm., 7pp., Stanbrook Abbey Press, Worcester, April 1971. Hand set in Worell Uncial. One of 200 copies printed in purple on Abbey Mills paper. Sewn into overlapping Barcham Green 'Goldflick' (light green) hand-made paper, printed on the front with the title-page device. A fine copy. £65 Printed for a monastic double Golden Jubilee. The wrapper had flecks of gold randomly scattered on its surface while the paper was still wet. The 'Worrell Uncial' was given to Stanbrook by Mr Schuyler Watts in 1964, but seldom used - it is an ugly face. (Butcher A26)
65.(Stephenson Blake) Perpetua: A Notable Type Face. Cut for Progressive Book and General Printers in Eight Sizes, 10 pt to 48 pt. By arrangement with the Monotype Corporation. Designed by Eric Gill. 8vo, 22.5cm, [4]p, French-folded, Manufactured by Stephenson, Blake & Co, Ltd, Sheffield and London, n.d. [1932]. Printed in red and black on antique laid paper. Sewn into overlapping paper wrappers. A fine copy. £60 Perpetua was and is Gill's most popular roman. First used in a privately printed translation made by Walter Shewring The Passion of Perpetua and Felicity. The roman was named Perpetua and the italic, cut quite a while late, Felicity. The serifs are small, sharply cut and horizontal. The titling of the same design is widely used. Stephenson Blake’s foundry type is somewhat different to the original design.
66.(Stephenson Blake) Francesca: a new ronde. Square 8vo, 18cm, [8]p, Stephenson Blake, Sheffield, (1951). Printed mostly in blue and black, but with use of other colour; sewn into grey card wrappers titled in red and black. A fine copy. £25 An informal script of medium weight and little variation in colour. The type has a slight but irregular inclination, some letters being upright. JPJ gives its approximate date as 1948, a printing sample in this specimen is for ' Hogarth Press Autumn List 1951'. 67.(Stourton Press) Hall (Fairfax). Bitter Memory. Square 12mo, pp.19[1], colophon, Stourton Press, Dacre Street, Westminster, August 1934. One of 50 copies set in Eric Gill's 10-point 'Aries' type, printed on specially watermarked hand- made paper, not for sale. Quarter linen with gilt spine lettering, Cockerell marbled paper-covered sides, predominantly buff, grey and black. Endpapers a little yellowed. A near fine copy. £70 Rare. A verse-tale in which the story turns upon a record of Schumann's 'Romance in A'.
68.(Edition Tiessen) Buber (Martin). Geschichten von Rabbi Bunam. Mit neunzehn farbigen Original-Holzschnitten von Wilhem Neufeld. Small folio,32cm, [31]p + extra print, Edition Tiessen, Neu-Isenburg, 1988. Handset in Janson Antiqua and printed in black (the illustrations in many colours) on Velin d’Arches paper and signed by the artist upon the colophon. Number XLII of 45 copies numbered in roman with and additional signed print in a pocket at the rear. Decorative floral boards, printed label to spine. Fine in slipcase. Breathtaking woodcuts. £250
69.Timperley (C.H.). Encyclopaedia of Literary and Typographical Anecdote; being a chronological digest of the most interesting facts illustrative of the history of literature and printing from the earliest period to the present time. Interspersed with biographical sketches,…bibliographical and descriptive accounts of their principal productions. Including curious particulars of the first introduction of Printing. An account of the origin and progress of language, writing and writing materials, the invention of paper, use of paper marks, etc. Compiled and condensed from Nichols Literary Anecdotes, and numerous other authorities. Second edition, to which are added, a continuation to the present time, comprising recent biographies, chiefly of booksellers, and a Practical Manual of Printing. Super Royal 8vo, 25cm, pp.vi,996 + 11 inserted plates, Printed at Manchester with additional 12pp. Printed at London, Henry G. Bohn, London, 1842. 2 vols. (continuously paginated); Illustrations in text and 11 wood- and steel-engraved plates. Original pink cloth elaborately decorated in blind and gilt, edges untrimmed, tail of spine a little worn. A very good to fine copy. £400 "This is, in reality, the Dictionary of Printers and Printing [London, 1839] , with another title, the quire-stock, or remainder having been bought by Mr H.G. Bohn, who gave the book a new title- page, and added the twelve pages at the end, which contains some meagre particulars of printers and booksellers from 1839 to 1842. The book was issued with the Printers Manual [London, 1838] interpolated bodily between pages 32 and 33." (Bigmore & Wyman). Pagination: pp.vi (Preface) + 32 (Introduction) + 116 (The Printers' Manual) + pp.33-996 (Dictionary) + 32 (Dictionary, contd.) + 11 plates. It is rare to find it in the original cloth.
70.(Tipografia Moderna) Catalogo de Tipos. 4to, 27.5cm, 58 leaves printed upon one side only, Tipografia Moderna, Valencia, 1957. Attractive selection of handset and machine-set types with printer's ornaments; light green cloth, titled in dark green. Inner hinge split, otherwise very good. £25
71.Tschan (Andre). William Morris (1834-1896): Poete, Ecrivain, Esthe, Renovateur de l'Art du Livre, Tribun Politique et Imprimeur. 8vo, 37 p. : mounted port., facsims. ; 23 cm.,Berne : The Monotype Corporation Ltd. 1962. Set in 16-point Monotype Centaur with Arrighi and printed in red and black; portrait frontispiece, inserted plates, reproductions of Kelmscott types and Burne-Jones woodcuts. Sewn into blue printed wrappers, titled and decorated in red. A fine copy. £20 Designed by Max Caflisch,
72.Tschichold (Jan). Asymmetric Typography. A translation br Ruari McLean of the contemporary typography classic Typographische Gestaltung, Basle, 1935. 8vo, pp.94 + folding plate, Faber & Faber, London, in co-operation with Cooper & Beatty, Toronto, 1967. Frontispiece portrait, illustrations within the text (some colour) and one folding plate. Black cloth, titled in silver down the spine. Printed dust-jacket in red and black. A very good to fine copy. £90
73.(Tschichold) Jan Tschichold: an exhibition at the St Bride Printing Library 9 April - 30 May 1975. [Foreword by James Mosley.] 4to, 23p, St Bride Printing Library, London, 1975. Cyc lostyled sheets; illustrations within the text. A fine copy. £45
74.(Whittington Press) Crow (Barbara). An Acrobatic Alphabet; twenty-six wood-engravings by Barbara Crow. 8vo, 29 double leaves folded at the fore-edges, 185 X 165mm, The Whittington Press, Manor Farm, Andoversford, 1986. 26 wood-engravings and a line-block reproduction of title lettering by Barbara Crow. Set in 18-point Caslon and printed in black (title and engravings) and red (text) on Zerkall Ingress & mould-made papers. Number xiv of xxxv (335) copies hand-coloured by Sylvia Stokeld, bound in silk, signed by the artist upon the colophon and with a separate set of proofs on Hosho paper signed by the artist in a pocket at the rear. Bound Japanese-style with orange Indian silk boards laced at the spine. Printed label inset on upper cover. Fine in slipcase. £475 Prospectus loosely inserted. The first book of wood-engravings by Barbara Crow. The engravings each show a figure twisting itself around or through a letter of the alphabet. Each is accompanied by a single word or phrase on the verso opposite. The single sheet of engravings on Hosho paper was printed in an edition of fifty copies, the balance of which was issued as posters.
75.(Whittington Press) Hanscomb (Brian). Cornwall: an interior vision. [9] Copper engravings & texts. Royal 4to, 12 double leaves folded at the fore-edges + separate folder, Whittington Press, Risbury, 1992. Handset in SB Caslon and printed on F.J. Head hand-made paper, signed by the artist upon the colophon. Number XXXIII of XXXV (135) special copies with the copper engravings INDIVIDUALLY SIGNED BY THE ARTIST and with a separate SET OF SIGNED ENGRAVINGS IN A FOLDER. Bound Japanese-style, laced with black ribbon, in light blue paper covers, printed label inset on the front, matching slipcase with printed spine label. A fine copy. £450
76.(Whittingtonton Press) Randle (Rose). Rose's Aga Recipes, compiled by Rosalind Randle, illustrated with linocuts by Judith Verity. Fifth edition, Imperial 12mo, [48]pp, The Whittington Press, Lower Marston Farm, Rsibury, 1995 (2009). 950 copies of this edition were printed in 11-point Bell type on Zerkall Silurial mould-made paper. This, number 9 of 30 special copies with the 6 linocuts by Judith Verity hand-coloured by her (in the manner of the first edition of 1984), the colophon signed by the author and the artist, and specially bound in colourful American cotton (this in blue) at Ludlow Bookbinders with gilt leather labels, a solander box and a gilt top. As new copy. £85 This book had been assumed to be out of print, but when the Fine Bindery closed down in 2008, they found several packets of unbound sheets of Rose's Aga Recipes. It was decided to bind up thirty of these (twenty in red, ten in blue) in the style of the specials of the first edition of 1984.
77.Wilson (Adrian) - A small bundle of Adrian Wilson ephemera from the collection of Hans Schmoller, inculding prospectuses, news cuttings, and typed letters. Various postcards, T.Ls., printed ephemera, Press of Tuscany Alley, 1960s & 1970s. Postcard from Sally Humphries, 5.3,68; T/L/s to Hans Schmoller from Dr F.X. Proll, regarding AW's 'Design of Books'; good T.L.s from Adrian Wilson to Hans Schmoller about his application for a Guggenheim Fellowship (October 22, 1968). T.L.s from Dr D.Kuhrman to Hans Schmoller regarding the Nurnberger Manuskript All in very good condition. £150 Adrian Wilson was author of 'The Making of the Nuremberg Chronicle' (1976). Sebastian Carter's obituary of him in the Independent is included.
78. (Workshop Press) Arman (Mark). Patterns in Print. A Workshop experiment using a small Albion and a Model 4, both presses of 19th century design. Foolscap 4to, pp.vi,45, (Mark Arman), Workshop Press, Hanna's, Thaxted, 1984. Number 60 of 85 copies handset in Perpetua, printed on St Cuthbert paper and signed by the author. Illustrated with three wood-engravings of the school of Thomas Bewick and three wood- engravings by the author. Examples of type arrangements, flowers and fleurons in various colours. Quarter grey cloth with Cockerell marbled paper-covered boards, printed labels on spine and front cover. A fine copy. £80