Typography

London: Longmans, Green & Co, 1901–1902. Limited First Edition. hardcover. Very Good+. 11 5/8" × 8 1/4" (29.5 × 21 cm) . First Thus. Printed by Chiswick Press. Large 4tos. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and paper title label. One of 315 (of which 300 were for sale) copies. Printed on fine, hand-made, W M and floral watermarked paper. Uncut, deckled edges. Colophon. A.o.V. 238; A.I.&W. 163; H&FfA./SoC 106; & O.o.H. 293; R.o.t.M. 284; G.t.S. 177; H.o.t.W. 161 & V.S. 113 pp. A full set of the William Morris series comprising eight large quarto books printed at the Chiswick Press with the Golden type designed by Morris for his Kelmscott Press, 1901–1902. Chapter headings in red and shoulder notes in red in some volumes. Spare labels tipped in. Loose insert from the press in "Hopes and Fears for Art, Sings of Change," that reads: "It has been found advantageous to make one volume instead of two of "Hopes and Fears for Art"… Read More

Charlottesville:: Virginia Center for the Book,, 2017.. Edition of 25. 8.9 x 11"; 112 pages. Printed letterpress on Crane's Lettra paper (300 gsm). Body text in Garamond. Labels in Gill Sans. Boards covered in marbled paper crafted by Lindsey Mears with cloth spine. Numbered. Designer and printer -Lucas Czarnecki. Editor and printer - Kevin McFadden. Master printer - Garrett Queen. Consulting compositors - Bonnie Berstein, Richard Cappuccio, and Aurora Nichols. Virginia Center for the Book, Project Background: "The first pages of this volume were printed more than a decade ago in a daunting attempt to produce a complete reference to the entire collection of the movable type available to VABC printers. "Speaking in Faces, a project begun at VABC in 2004 by Johanna Drucker with VABC artists, is a unique specimen book, a creative resource for exploring letterpress printing, typography, and the treasures of our large and unique moveable type collection. VABC holds cases of… Read More

Parma: Bodoni, 1811 2 volumes 4to, XI, 190 pp; [4], 198 pp. Untrimmed in publisher's orange boards (boards slightly foxed, some foxing inside). Rare Bodoni rendering of Hypnerotomachia, loosely translated by J. G. Legrand (the first edition was printed by Didot in 1804). Limited to 300 copies. Brooks 1103; Brunet IV, 779 (belle édition).

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. hardcover. Near Fine. 5 13/16" × 4 1/16" × 3/8" (14.8 × 10.3 × 1 cm) . Second State. Printed by and sold by William Morris. 16mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 500 [of a total run of 1,500, at two shillings and sixpence] paper copies (plus 45 [at ten and fifteen shillings] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon. [ii], 1 (title), [i], 68, [viii] pp. Printed in black and red throughout in the Golden type designed by Morris for his press. Head-title and shoulder-notes in red. Numerous 6- and 4-line woodblock initial capitals all designed by Morris, engraved by William Harcourt Hooper. Morris used his four-line initials for this first time with this, his first book printed in the 16mo format. This lecture was setup at… Read More

Jules Engel, 1973. 1st Edition . Hardcover. Very Good/No Jacket. Remarkably scarce typographic art book by Engel, hailed as the inventor of modern animation for his work with Disney and UPA. From WorldCat listings, this is the 1973 first edition, predating the Philip Morris Studios imprint by a year. Correctly, according to the listing, it displays no bibliographic information. In VG/near-fine internal condition throughout, crisp, clean and bright on light cream stock. Unpaginated. Landscape 255 x 165mm. One page affected by a small paper fault which has produced a short crease. Bright white endpapers. Clean cream cloth with gilt titling to front. Very lightly bumped to bottom right corners. Additional photographs and as much other information as I have available on request.

London: Macmillan and Co., Limited, 1924. First Edition. hardcover. Fine. 9 3/8" × 6 1/8" × 1" (23.8 × 15.6 × 2.5 cm) . First Printing. Printed by R. & R. Clark, Limited, Edinburgh. Tall 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and paper title label. Uncut, deckled edges. [ix], [1], 176, [4] pp. Photogravure frontispiece portrait of Morris engraved by Emery Walker from a photograph by Sparling, with tissue guard present. Includes 16 plates and examples of types and illustrations from the Kelmscott Press. Henry Halliday Sparling (1860–1924) provides an informative history of William Morris's Press. Sparling was a former Kelmscott Press employee and as the husband of Morris's daughter, May Morris, from 1890–1898, was keenly familiar with Morris and his Press. Sparling provides a clear account of the day-to-day workings of the Press, as well as a close examination of Morris's intentions and printing achievements. Includes… Read More

Verona: Editiones Officinae Bodoni, 1952. Book. Near Fine. Hardcover. 1st Edition. Quarter vellum over patterned paper-covered boards; vellum ruled in gilt with gilt lettering at spine. Top edge trimmed and gilt, other edges untrimmed. Housed in cream paper-covered slipcase. Special edition printed by hand-press in Griffo type on hand-made Fabriano paper, limited to 225 numbered copies, of which this is 106. Octavo. xi, [1, blank], 127, [1, colophon] pages. Illustrated with in-text woodcuts, made by Bartolommeo di Giovanni for a lost quattrocento edition, which were used to illustrate various later texts and have now been reassembled and recut. One full-page facsimile from the English version printed in 1597. Slightest toning and shelf wear to binding and slipcase. About fine. .

Engraved title-vignette, 5 unnumb. leaves, 71, (3), 361, (3) pages ; engraved title vignette, 2 unnumb. leaves, 284 (2) pages. Cont. green half morocco, flat spine richly gilt with gilt stamped title. Covers lined with shell marbled paper, endpapers lined with an unusual pattern of multiple coloured shell marbled paper. All edges yellow. 4to (290 x 210 mm). Extremeties rubbed. Brooks, 361 ; Weiss 101. "Edizione sorvegliata da Bodoni e ben lo scorge chi ne esamina i pregi tipografici" (De Lama II, p. 53). A fine copy broadmargined and fresh inside.

E Typographeo Clarendoniano. Sumptibus Academiae. Oxonii. 1763. FIRST BASKERVILLE EDITION. 4to in 2's. (12.2 x 9.7 inches). Half title, Title page, 415pp. One of 500 copies printed, using the fine Baskerville Greek type. A clean and crisp copy in a very good contemporary leather binding of full diced dark brown calf boards, with floral gilt roll borders. Professionally re-spined at a later date with a matching coloured Morocco spine, ruled, decorated and lettered in gilt. Board edges ruled in gilt. Marbled endpapers. Gilt inner dentelles. All edges marbled. A small patch of rubbing to the front free endpaper and some rubbing and bumping to the edges but overall a very good copy of this beautifully printed book in an attractive 18th century binding.

Basle: Henricum Petri, 1563. Quarto, pp [22], 559, (21), the title page with an engraved woodut printer's device is slightly creased and is lightly marked and toned with two slight rust stains and the remains of two small labels - the one on the recto in red and partially removed, the second probably on the verso and completely removed but both have left the paper very thin at these points; otherwise the text is remarkably clean and without any major marks or stains. The date appears on the printer's colophon at the rear, and the verso has another version of the woodcut printer's device. Recently bound in full panelled speckled calf, with simple gilt decoration, the spine with plain raised bands and a morocco label, plain endpapers. RARE. [Lucius Caecilius Firmianus signo Lactantius (c. 250 - c. 325) was an early North African Christian author who became an advisor to Roman emperor, Constantine I, guiding his Christian religious policy in its initial stages of emergence, and a tutor to… Read More

London: Johannes Pine, 1733. [1733-1737]. Two volumes, large octavo, pp [15], 264; [20], 191, [15], light occasional foxing, otherwise clean and sound internally, in a fine later Victorian binding by Francis Bedford, red crushed morocco, covers with triple lines, ornate gilt decorated spines, inner dentelles gilt, marbled endpapers, all edges gilt, very slightly marked, very slight rubbing, the spines a little faded. A beautiful set of "Pines Horace ". There are two states of this edition - this is the first issue, which seems to be scarcer. It is identified by the misprint 'post est' in the medallion of Caesar on p. 108 in Volume II. [John Pine (1690-1756) was an English designer, engraver, and cartographer notable for his artistic contribution to the Augustan style and Newtonian scientific paradigm that flourished during the British Enlightenment. PRINTING AND THE MIND OF MAN 620: "This edition of Horace was printed wholly from copper plates engraved by John Pine. The text was… Read More

First Edition. New. One of 26 Lettered copies. Signed by the printer and the illustrator. The Lettered Deluxe issue, printed on Crisbrook Waterleaf handmade paper, is in loose imperial quartos, with hand-marbled paper-wrappers and presented in a cloth-covered slip-case. The first-ever appearance in print of James Joyce's story for children, The Cats of Copenhagen, in a special edition of 200 copies, limited to 26 Lettered copies, 170 Numbered copies & 4 copies Hors Commerce.Exquisite, surprising, and with a keen, almost anarchic subtext, The Cats of Copenhagen is a slightly younger twin sister to The Cat and the Devil, the only other known example of James Joyce writing a story for young children. Both works, penned within a few weeks of each other in 1936, are in letters posted to his only grandchild, Stephen James Joyce. Michael Caine has printed this large-format letterpress edition with virtuoso skill, setting the text in a wondrously expressive array of original, early twentieth-century hand-cut… Read More

[Sedro-Woolley, Washington:: Street of Crocodiles Printery,, 1995.. Edition of 195. 6.25 x 8"; 253 unnumbered pages. Front and back matter set in Bodoni Book and printed by Jules Remedios Faye on a Vandercook 4 Proof Press. Type cast by Jim Rimmer at his Pie Tree Press & Type Foundry. Case bound in Japanese cloth over boards. Black pastedowns and endpapers. Some prints signed by the artists. Jules Remedios Faye, Preface: "I sent out an invitation which offered to document present printing history by publishing a sampler of women's work in the relief printing, private press and book arts fields. … Not only was I interested in collecting the work of this disparate group, I also wanted to investigate why they became printers, why they chose letterpress. "The order in which the signatures in this book are placed is entirely a subjective arrangement based on a visual sense of harmony rather than groupings based on thematic content, or arranged alphabetically, for… Read More

Washington DC:: Abstract Orange,, 2024.. Edition of 20 . 7 x 11"; 12 leaves (Title page plus 11 loose leaves). Text printed in dark green ink on lightweight chipboard. Page number printed in bright orange lower right of each card. Housed in wrap around jacket of neon green paper with title printed on cover in dark green. Velcro closure. Signed and numbered on the back by the artist. This piece is printed and designed by Lauren Emeritz and is based on the United States Civil Rights Act of 1964 (Title VII). This federal law prohibits discrimination on the basis of race, color, national origin, sex, and religion in employment, education, and access to public facilities and public accommodations. Each sheet has brief text or "sound bites" addressing the provisions within the Civil Rights act - Equal Voting Rights; Equal Access to Public Accomodations; Access to Public Facilities; Access to Public Education; Expand Civil Rights Commission; Equal Access to Federal Programs; Equal Employment… Read More

Washington DC:: Abstract Orange,, 2024.. Edition of 20 variants.. 7 x 11"; 48 pages. Letterpress printed on handmade paper. Bound in paper covered hard boards. Signed and numbered by the artist. Designed and printed by the Lauren Emeritz. Lauren Emeritz: "Following my 'Earth' book, I decided to make a book about another classic element: water. I learned paper-making, a process that uses a lot of water, so the book would use water as the previous book used UV light. The primary blue text in the book follows the flow of water in nature, from raindrops to streams, to rivers, to oceans, and back to the shore. That text overlaps distorted orange type representing other negative aspects of water, such as floods, acidity, disease, and drought. The work is meant to evoke the beauty of water, problems that arise from water, and how these things shape our lives. "The book … uses mineral spirits to dilute the orange ink, creating a painterly effect (inspired by the work… Read More