Merrymount Press Records: Finding Aid
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 -
NOTA BENE Vol
NOTA BENE Vol. 26 No. 1 News from the Harvard Department of the Classics Academic Year 2020–21 Notes from the Chair by Kathleen Coleman ooking back over my “editorial” in Nota Bene this on Diversity, Inclusion, and Anti-Racism has worked time last year, I seem not to have anticipated that very hard to make us aware of ways in which we can Lnothing much would have changed in our COVID-in- make our discipline and our department welcoming duced working mode in the interim, other than that and inclusive for everyone, regardless of identity, early last summer the Library was able to establish background, and prior familiarity with the study of a system for delivering certain books for pick-up at Greece and Rome; new opportunities for students Lamont Library, which has not replaced our need for from historically underrepresented backgrounds physical access to the stacks and Circulation, but has have been created via summer scholarships and other certainly helped. Apart from that, we have continued initiatives that are described further on in this issue. to teach and learn exclusively on Zoom, and each of In this way we are trying to ensure that Harvard’s us has our own favorite list of what we miss most response to current debates about the place of Classics from the “before times.” But any list of what we have in the United States in the twenty-first century is lost brings home that so much of what we used to timely, sensitive, and constructive. consider indispensable was inessential: thanks to the Finally, pride and congratulations are in order: to electronic age, our educational and research mission our colleagues, graduates, and current students, whose has continued, despite our physical separation from many achievements are described in this issue, and one another. -
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. -
Bats and Their Symbolic Meaning in Moche Iconography
arts Article Inverted Worlds, Nocturnal States and Flying Mammals: Bats and Their Symbolic Meaning in Moche Iconography Aleksa K. Alaica Department of Anthropology, University of Toronto, 19 Ursula Franklin Street, Toronto, ON M5S 2S2, Canada; [email protected] Received: 1 August 2020; Accepted: 10 October 2020; Published: 21 October 2020 Abstract: Bats are depicted in various types of media in Central and South America. The Moche of northern Peru portrayed bats in many figurative ceramic vessels in association with themes of sacrifice, elite status and agricultural fertility. Osseous remains of bats in Moche ceremonial and domestic contexts are rare yet their various representations in visual media highlight Moche fascination with their corporeal form, behaviour and symbolic meaning. By exploring bat imagery in Moche iconography, I argue that the bat formed an important part of Moche categorical schemes of the non-human world. The bat symbolized death and renewal not only for the human body but also for agriculture, society and the cosmos. I contrast folk taxonomies and symbolic classification to interpret the relational role of various species of chiropterans to argue that the nocturnal behaviour of the bat and its symbolic association with the moon and the darkness of the underworld was not a negative sphere to be feared or rejected. Instead, like the representative priestesses of the Late Moche period, bats formed part of a visual repertoire to depict the cycles of destruction and renewal that permitted the cosmological continuation of life within North Coast Moche society. Keywords: bats; non-human animals; Moche; moon imagery; priestess; sacrifice; agriculture; fertility 1. -
Harvard University Fact Book 2004-2005
Harvard University Fact Book 2004 - 2005 T able of Contents ORGANIZATION Pages Central Administration 2 Faculties and Allied Institutions 3 Research and Academic Centers 4 – 5 PEOPLE Pages Degree Student Enrollment 6 – 9 Degrees Conferred 10 – 13 International Students 14 – 15 Non-Degree Students and Fellowship Programs 16 – 17 Faculty Counts 18 – 19 Staff Counts 20 – 21 RESOURCES Pages Tuition, Fees, and Financial Aid 22 – 25 Sponsored Research 26 – 30 Library 31 – 32 FY2004 Income and Expense 33 – 34 Physical Plant 35 – 36 Endowment 37 – 38 The Harvard University Fact Book is published by: Office of Budgets, Financial Planning and Institutional Research Holyoke Center 780, Cambridge, MA 02138 The address for the electronic version is: http://vpf-web.harvard.edu/factbook/ If you would like more information about data contained in the Fact Book, contact: JASON DEWITT, Data Resource Specialist (617) 495-0591, E-mail: [email protected] RUTH LOESCHER, Institutional Research Coordinator (617) 496-3568, E-mail: [email protected] NINA ZIPSER, Director of Institutional Research (617) 384-9236, E-mail: [email protected] Changes to content after publication are reflected on the web version of the Fact Book. Copyright 2005 by the President and Fellows of Harvard College Central Administration 2 HARVARD CORPORATION PRESIDENT & BOARD OF OVERSEERS PROVOST SECRETARY TREASURER HARVARD MANAGEMENT CO. UNIVERSITY ASSOCIATE VP FOR UNIVERSITY OMBUDS UNIVERSITY UNIVERSITY MEMORIAL AMERCIAN MARSHAL EEO/AA INFORMATION SYSTEMS OFFICE HEALTH -
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. -
To the William Howard Taft Papers. Volume 1
THE L I 13 R A R Y 0 F CO 0.: G R 1 ~ ~ ~ • P R I ~ ~ I I) I ~ \J T ~' PAP E R ~ J N 1) E X ~ E R IE S INDEX TO THE William Howard Taft Papers LIBRARY OF CONGRESS • PRESIDENTS' PAPERS INDEX SERIES INDEX TO THE William Ho-ward Taft Papers VOLUME 1 INTRODUCTION AND PRESIDENTIAL PERIOD SUBJECT TITLES MANUSCRIPT DIVISION • REFERENCE DEPARTMENT LIBRARY OF CONGRESS WASHINGTON : 1972 Library of Congress 'Cataloging in Publication Data United States. Library of Congress. Manuscript Division. Index to the William Howard Taft papers. (Its Presidents' papers index series) 1. Taft, William Howard, Pres. U.S., 1857-1930. Manuscripts-Indexes. I. Title. II. Series. Z6616.T18U6 016.97391'2'0924 70-608096 ISBN 0-8444-0028-9 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 - Price $24 per set. Sold in'sets only. Stock Number 3003-0010 Preface THIS INDEX to the William Howard Taft Papers is a direct result of the wish of the Congress and the President, as expressed by Public Law 85-147 approved August 16, 1957, and amended by Public Laws 87-263 approved September 21, 1961, and 88-299 approved April 27, 1964, to arrange, index, and microfilm the papers of the Presidents in the Library of Congress in order "to preserve their contents against destruction by war or other calamity," to make the Presidential Papers more "readily available for study and research," and to inspire informed patriotism. Presidents whose papers are in the Library are: George Washington James K. -
Number 184 Fall 2012 Visit Printinghistory.Org for the Latest Chapter News
Inside this issue Making Faces 8 Conference Reports 2 Walking Tour of Printer Row 9 Keynote Address 4 New and Returning Members 10 Number 184 Fall 2012 Visit printinghistory.org for the latest chapter news Reports from the 2012 Annual Conference With 127 members attending, the 37th Annual Conference of The American Printing History Association was a rousing success. Hosted by the newly charted Inland Chapter, “At the Crossroads: Living Letterform Traditions,” held October 12–13 at Columbia College Chicago Center for Book and Paper Arts, featured 14 thoughtful presentations, demonstrations in the CBPA print studio, a Book Fair, and Pop-up Museums featuring highlights from the collections of the Hamilton Wood Type Museum, the Newberry Library the Platen Press Museum. Attendees (apprised of events by a hand- some printed program) also toured historic Printer’s Row and were treated to a screening of the film Making Faces. Congratulations to the Inland Chap- ter on a stellar job: Program Committee Co-chairs Celene Aubry, Martha Chiplis and Paul Gehl; Chapter President April Sheridan; Treasurer Greg Prickman and Columbia College Student Board: Hannah King, Kate Morgan, Jenna Rodriguez and Claire Sammons. Thanks also to APHA VP for programs Kitty Maryatt. This issue of theNewsletter features reports on the conference events written by APHA members. The APHA Trustee Richard Kegler, loot in hand, talks with Inland Chapter member David Peat at the Conference Book Fair. Photo: Erin Beckloff. editor thanks them for their excellent work. Panel One and identification. To catalog the Peat’s Press Col- collection in 1965, 300 years after the original cast- David Peat “Just My Type: Unusual 19th Century Types” lection, from 1963–78 he printed a One Line Speci- ing. -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
The Foreign Service Journal, May 1930
AMERICAN FOREIGN SERVICE JOURNAL Photo by Harris & Ewing. HOMER M. BYINGTON (See page 181) MAY, 1930 BANKING AND INVESTMENT SERVICE THROUGHOUT THE WORLD The National City Bank of New York and Affiliated Institutions THE NATIONAL CITY BANK OF NEW YORK CAPITAL, SURPLUS AND UNDIVIDED PROFITS $242,409,425.19 (AS OF MARCH 27, 1930) HEAD OFFICE FORTY ONE BRANCHES IN 55 WALL STREET. NEW YORK GREATER NEW YORK Foreign Branches in ARGENTINA . BELGIUM . BRAZIL . CHILE . CHINA . COLOMBIA . CUBA DOMINICAN REPUBLIC . ENGLAND . INDIA . ITALY . JAPAN . MEXICO . PERU . PHILIPPINE ISLANDS . PORTO RICO . REPUBLIC OF PANAMA . STRAITS SETTLEMENTS . URUGUAY . VENEZUELA. THE NATIONAL CITY BANK OF NEW YORK (FRANCE) S. A. Paris 41 BOULEVARD HAUSSMANN 44 AVENUE DES CHAMPS ELYSEES Nice: 6 JARDIN du Roi ALBERT ler INTERNATIONAL BANKING CORPORATION (OWNED BY THE NATIONAL CITY BANK OF NEW YORK) Head Office: 55 WALL STREET, NEW YORK Foreign and Domestic Branches in UNITED STATES . SPAIN . ENGLAND and Representatives in The National City Bank Chinese Branches BANQUE NATIONALE DE LA REPUBLIQUE D’HAITI (AFFILIATED WITH THE NATIONAL CITY BANK OF NEW YORK) Head Office: PORT AU-PRINCE, HAITI CITY BANK FARMERS TRUST COMPANY (AFFILIATED WITH THE NATIONAL CITY BANK OF NEW YORK) Head Office: 22 WILLIAM STREET, NEW YORK Temporary Headquarters: 43 EXCHANGE PLACE THE FOREIGN S JOURNAL PUBLISHED MONTHLY BY THE AMERICAN FOREIGN SERVICE ASSOCIATION VOL. VII, No. 5 WASHINGTON, D. C. MAY, 1930 A Pilgrim’s Sea Shell By AUGUSTIN \Y. PERU IN, Consul, Department MANY persons in the Department have fortunately discovered that the body of St. James asked me why I wear a clamshell in my the Apostle was interred at Compostela in Spain. -
The Bookcollection of C.F. Hultenheim, Camera Antiqua, in Selection from Ca 4000 Volumes
THE BOOKCOLLECTION OF C.F. HULTENHEIM, CAMERA ANTIQUA, IN SELECTION FROM CA 4000 VOLUMES Books and prints numbered 1 to 113 was exhibited on The Royal Library´s ”Typographia” sept 10,2000-jan 10,2003. An Exhibition of 20 th Century Typography and Graphic Design Compiled and Edited by C.F. Hultenheim. Litterature: “Typographica, 1900-2000”, Exhibition Catalogue No. 138 The Royal Library Stockholm 2002 1 DANIEL BERKERLY UPDIKE (1860-1941). Printing types, their history, forms and use. A study in survivals. I-II. Full cloth binding. Harvard and Oxford. Printed by the Merrymount Press, Boston 1922. (2). 2 DANIEL BERKERLY UPDIKE (1860-1941). Advertising card for a Boston tea merchant, “The Cup of Human Enjoyment”. Elihu White Foundry New York. In a frame, 15 x 8,5 cm. 4 BRUCE ROGERS ( 1870-1957). Bookplate ”Anne Lyon Haight”. In a frame, 5,5 x 5 cm. 11 JOHN S. FASS (1890-1973). The Hammer Creek Press type specimen book. Number 22 of 100 copies. Paper binding. New York 1954. 12 SAMUEL A. JACOBS (1891-1971). Christmas Tree, E.E. Cummings. Half cloth binding. Published and printed by S.A. Jacobs, New York 1928. 17 RAY NASH (1905-1982). PaGA, Printing & Graphic Arts, 1953-1965. The Stinehour Press, Luneburg. Unbound in box. 22 LEO LIONNI (1910-1999). World Geo-Graphic Atlas. Full cloth binding. CCA, Chicago 1953. 34 THE STINEHOUR PRESS. Goodspeed´s Book Shop, Catalogue 500. Paper binding. Boston 1961. 58 FRANCIS MEYNELL (1891-1975). Ten poems, Alice Meynell 1913-1915. One of 50 copies. Full vellum binding. The Romney Street Press 1915. -
„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.