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January List 2015 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. 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).
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