john melin and anders österlin were
partners in advertising, described as ‘gurus’ of
the 60s and 70s. Melin became famous for creating the Moderna Museet’s first graphic profile,
which looked Swiss-inspired. The ideas were
John’s, the drawing Anders’s. They co-operated,
and they were actually known as ‘anden’ and
‘handen’ (the spirit and the hand). As directors
at the advertising and design agencies Svenska
Telegrambyrån and Arbman, together they created
brilliant and accurate designs, full of wit! John
Melin’s ability to find new surprising solutions
for commercial as well as everyday projects has
few counterparts within Swedish graphic design.
Under the signature ‘M&Ö’, they designed posters, books, catalogues, cardboard packaging and
paper cartons. The catalogues were for artists
like Jean Tinguely, Niki de Saint-Phalle and Andy
Warhol. For ny moma they made a very special
one, called The Machine, which was a piece of
metal. One poster, made for Stockholm Moderna
Museet, had text printed in moist glue, sprinkled
with cress seeds that sprouted, grew green and
then wilted. As well as all this, Anders is also a
painter, who started a Swedish art group called
Imaginisterna. In 1947 he became involved with
the Cobra group, with Appel, Corneille, Jorn and
Constant.
[melin & österlin] melbi, johan (red.): John Melin till Exempel. En
hyllning till det enkla, vackra, lekfulla, konstnärliga, unika, egensinniga, tidlösa,
moderna, experimentella [=omslagstitel]
Hall & Cederquist/Y&R och Moderna Museet, Stockholm 1999. 172 s.
4:o (28 x 25 cm). Trådhäftad med djupa flikomslag. Mycket fint skick.
Rikt illustrerad i färg och svartvitt. Typografi av Claes-Henrik Engquist.
Förord av Pontus Hultén och texter av Johan Melbi, Ragnar von Holten,
Per Henry Richter, Per Mollerup och Anders Wester.
Svensk Bokkonst 1999:10 “En utställningskatalog med ett bra tryck och
en perfekt färgåtergivning. En enkel och elegant volym med roliga detaljer, titta på pagineringen t.ex.”
Johan Melbis inventering och sammanställning är av största vikt och är ett viktigt
referensverk över en guldålder och ett enastående formgivningsliv.
SEK400 / €47
[melin & österlin] stensman, mailis & högestätt, eje (red.): 12
svenska skulptörer / 12 Swedish Sculptors
Malmö Konsthall, Katalog nr 4, Malmö 1975. 64 s. 4:o (28 x 21,5 cm). Pärmar av wellpapp och ryggen förstärkt med gul isoleringstejp (det ska vara
så!). Två sprickor i ryggtejpen. Fotoillustrerad i svartvitt. Svensk och engelsk
parallelltext. Text in Swedish & English. Typografi av John Melin & Gösta
Svensson. (John Melin till exempel s. 68).
SEK200 / €24
[melin & österlin] hultén, k. g. pontus: The Machine as Seen at the
End of the Mechanical Age
The Museum of Modern Art, New York 1968. (2), 216, (2) pages. Tall
8vo (24,5 x 21,5 cm). Attractive embossed & colour printed metal binding
hinged and pop revied at spine; decorated front cover by Anders Österlin,
after a photo by Alicia Legg. Numerous b/w illustrations and some in blue
& white. Contains work by Calder, Duchamp, Ernst, Feininger, El Lissitzky,
Man Ray, Moholy-Nagy, Picabia, Schwitters, Tatlin, Tinguely and many others. With notes, bibliography, index. Book design by John Melin and Gösta
Svensson.
SEK1500 / €178
[melin & österlin]: Svenskarna sedda av 11 fotografer. Moderna Museet,
december-februari 1962–63
Moderna Museet, Stockholm, 1962. 269 s. Limhäftad med skyddsomslag.
(24 x 22,5 cm). Fotoillustrerad i svartvitt. De 11 fotograferna är: Sten
Didrik Bellander, Jan Delden, Hans Hammarskiöld, Sune Jonsson, Tore
Johnson, Stig T. Karlsson, Lennart Nilsson, Pål-Nils Nilsson, Lennart Olson, Lennart af Petersens och Rolf Winquist. Moderna Museet katalog 25.
Typografi av Melin & Österlin. (John Melin till exempel s. 39).
SEK275 / €33
sylwan, barbro - hultén, k. g. - melin,
john - österlin, anders (eds.): Hon - en
[katedral] historia
Moderna Museet, Stockholm, 1967. First edition. 208 pages. Folio (37 x 29,5 cm). Stapled.
Spectacular folding pictorial wraps, printed on
newsprint. A little bit wrinkled at head & foot
of spine, a minimal tear at spine’s end otherwise
a really, really nice copy, bright and clean. This
is not the official catalogue from the exhibition
1966, it is the documentation of the exhibition,
it tells the story of the pre-history, the construction diary, the exhibition and the demolition
of Niki Saint-Phalle’s, Jean Tinguely’s and Per Olof Ultvedt’s installation “Hon-En Historia / Hon-en
Katedral. Hon, She, Elle, Sie, Lei, Zij” held at Moderna Museet in Stockholm in 1966. It’s important because of the detailed description of the exhibition and the references to media in Sweden and abroad.
Numerous photos by Hans Hammarskiöld, K. G. Hultén, Magnus Wibom, Lutfi Özkök. Text in English and Swedish. Typography by Melin & Österlin (John Melin till exempel pages 24–29).
SEK1750 / €208 #4665
...another copy
Jacket is a little bit yellowed, shorter tears at top of
spine and with a smaller paper loss, shorter tears at
spine’s end otherwise a nice copy.
SEK900 / €107 #4769
...another copy
Jacket is a little bit yellowed and with a few stains,
shorter tears at top of spine and with a minor paper loss, otherwise a nice copy.
SEK800 / €95 #4770
...last copy
Jacket yellowed, front cover soiled, end of spine
with a three cm tear, otherwise a nice copy.
SEK600 / €71 #4771
[melin & österlin] Personbil 1927 [Däck: Trelleborg ”Ballong” 29x4,75-20]
Trelleborgs Gummifabriks AB, Trelleborg. Litograferad, i färg, vid mitten av 1960-talet. (96,5
x 52,5 cm.) Knappnålshål i hörnen, yttersta övre
vänsta hörnet med liten pappersförlust, mindre
repskada mitt i övre marginalen, svag minimal
fläck på vita ytan. AB Svenska Telegrambyrån,
Malmö hade det reklam-historiskt legendariska
uppdraget för Trelleborgs Gummifabriks AB.
SEK875 / €104
[melin & österlin] Tourist Festival
Restaurang Bill & Bull, Stockholm, utan år (c. 1971–
72). Screentryck på kraftig glanskartong, delvis tryck
med guld och silver. Bladmått h x b: 68,5 x 78,5 cm.
Nedre högra hörn med veck och med mindre marginalbristning. Nedre vänstra hörn med svag antydan
till veck. Övre marginalreva (c. 15 mm). Produktion:
Arbmans, Malmö. Idé, bild och typografi av Melin &
Österlin.
SEK600 / €71
[joh. enschedé en zonen] Proef van nederduitsche letters en Gothische initialen uit de XVde eeuw / Spécimen de caracteres Flamands et d´initiales Gothiques du
XVme siècle / Probe niederdeutscher Schriften und gothischer Initialen aus dem XVten
Jahrhundert / Specimen of Dutch Black-Letters and Gothic Initials of the XVth Century
Joh. Enschedé en Zonen, Collection Typographique, Haarlem, 1925. 51, (3)
pages + a corrigenda slip tipped-in at the rear. 4to (28 x 20 cm). Bound in
patterned marbled paper over boards, end-leaves lightly browned. No spine
or cover title. Corners bumped and head & foot of spine scuffed. Edges
untrimmed. Printed in red & black. Initials drawn by Jan van Krimpen and
printed in red. Text in English, Dutch, German and French. (Lane & Lommen 95).
SEK450 / €53
eksell, olle: Design = Ekonomi
Bonniers, Stockholm 1964. 184 s. 4:o. Svart guldförgyllt klotband med
marginalnött skyddsomslag. Illustrerad med författarens egna teckningar och fotografier av Stig T. Karlsson, Malcolm Smith, Stenbergs,
Erich Hartmann och Lester Beall. Tryckt hos Björkmans Eftr. Typografi, band, omslag och teckningar av författaren. Originalutgåvan.
Bandet bland 25 utvalda förlagsband 1964. Design=Ekonomi intog
hedersplatsen på bokmässan i Frankfurt 1965. “Under årens lopp har
många frågat efter den (Design=Ekonomi) men den har varit svår att
hitta. Ett fåtal har lyckats på antikvariat. När den gavs ut betraktade
jag den som en form av manifest med de överdrifter som alltid är nödvändiga för att väcka hösäckar.” Olle Eksell i Platina nr 6, 1996.
SEK450 / €53
schmid, helmut: Calendar 1980
Helmut Schmid, [Osaka (?)], 1980. Front cover followed by six
leafs with two months and an illustration on each page, hold
together by a grey metal rail at top. (37,4 x 36,4 cm). Weak
tendency of a dog ear at lower right corner. The illustrations,
or rather pictures, are bus-, train- and subway tickets, from
Paris, Colombo, New York, Osaka, London, Warsaw.
helmut schmid – born 1942 in Austria as a German citizen.
Studies in Switzerland at the Basel School of Design under
Emil Ruder, Kurt Hauert and Robert Buchler. Works in West
Berlin and Stockholm (covers for Grafisk Revy). After Montreal (Ernst Roch Design) and Vancouver he works in Osaka
for nia (for Taiho Pharmaceutical and Sanyo). 1973–76 at are
in Dusseldorf he designs publicity material for the German
government and the chancellors Willy Brandt and Helmut Schmidt. 1976 election campaign symbol
for the spd. 1978 exhibition of his politypographien at the Print Gallery in Amsterdam. Independent
designer in Osaka since 1981. Member of agi (Alliance Graphique Internationale) since 1988.
SEK500 / €59
[gill, eric] MacCarthy, Fiona: Eric Gill
Faber and Faber, London, 1990. xiv, 338 pages. + 129 photos on 64 pages of plates.
Tall 8vo. 58 text-illustrations + plates. First paperback-edition. Former owner’s
signature on first end paper. Nice and unopened copy. The biography of one of the
1900s most interesting and ingenious artists. The book caused a stir when it came
out because Fiona MacCarthy not refrained for less known or recognized sides of
Eric Gill, but necessary to get an overall picture of this complexed man, or as Eric
Gill said in one of his many proverbs; “It all goes together”. (Gill, Corey & Mackenzie 636.135).
SEK200 / €24
[melbert b. cary, jr. graphic arts collection] A Specimen
Portfolio of Wood Type in the Cary Collection
rit Cary Graphic Arts Press, 2010. xx, 305 pages. 4to (28 x 22 cm).
Spiral bound. Includes an introduction and classification system
used by permission of David P. Wall. Foreword by R. Roger Remington. New copy.
Wood type in myriad designs—from stark condensed sans serifs to
bizarre ornamental scripts—created variety in commercial advertising more than 180 years ago, and continues today to influence modern signs, posters, and billboards. The Melbert B. Cary, Jr. Graphic
Arts Collection at rit maintains an impressive collection of wood
type, numbering over 300 fonts. This book showcases over 250 of
our best wood type specimens, including many complete fonts and
samples from unusual designs. All specimen reproductions were
painstakingly printed from the original wood type blocks, some distressed with 100 years of use and abuse. The resulting compendium is a rich typographic resource sure
to delight any designer, scholar, collector and student of graphic arts history.
SEK225 / €27
[nitsche, erik]
1. Skepp och sjöfart 2. Luftfart 3. Astronomi 4. Elektricitet 5.
Hjulet 6. Medicin 7. Raketer och rymdfart 8. Kemi 9. Vapen
10. Ord, bild och massmedia 11. Maskinen 12. Fysik
W & W, Stockholm, 1965-66. 120, 120, 112, 112,
112, 112, 112, 112, 112, 112, 112, 112 pages. 4to (27 x
17,5 cm). Printed laminated card covers. 12 volumes,
complete, in good condition. Illustrated in colour and
black and white throughout. Production and typography by Erik Nitsche. Printed in Switzerland. Text in
Swedish.
”Nitsche helped pioneer the concept of design authorship – and not just the navel-gazing books about and
for designers (he never published a monograph) – but
books that had broad audiences. Of course design was
endemic to every subject he covered and his books
were designed in an elegant contemporary manner.
Design was but a frame with which he presented
unique themes. Nitsche’s goal with, for example, The
New Illustrated Library of Science and Invention,
was to avail the reader of fascinating, subjects, like
“A History of Ships and Seafaring” and “A History of
Archaelogical Discoveries.” Through accessible formats these books were (and still are) “reader friendly”
because the typographic and graphic entry-points
were conceived to provide unique sensory experiences.
This may sound a bit pretentious, but Nitsche’s books
were anything but. Instead their elegance was a point
of pride and a selling point for the reader. Another
way to describe them is “generous:” Nitsche was
indeed generous with white space and pictures alike.
Whether addressing physics, occult sciences, fashion,
or social progress, each 112-page volume generously
presented a wealth of material in a sophisticated but
not haughty manner. He was passionate for images, which he personally selected for every book to
heighten understanding and provide rational narrative flow. The type - he was compulsive about finding the perfect cuts of the quintessential faces - was classic, always justified, but routinely with a modern tweak in the column width and leading. Every book also contained a handsome timeline (he was
truly the master of timelines) as a contextual signpost. /.../ After moving to Geneva in the early 1960s
Nitsche Founded eni, s.a. (Erik Nitsche International) to produce some of the finest illustrated history books ever designed. The first series, a twelve volume The New Illustrated Library of Science and
Invention, with a multilingual print run of over two million copies, covered the histories of communication, transport, photography, architecture, astronomy, and the machine, and flight. Like Dynamic
America, the pictures drove the text (although the text was written by esteemed authors). Nitsche dove
headlong into the research himself and unearthed thousands of rare and never-before-seen archival images. In his mind’s eye he saw precisely how each image in concert with the next would tell the story.”
Steven Heller. See also Eye No. 27, Vol. 7, Spring 1998 pp. 64–77.
SEK975 / €116
vignelli, massimo & lella: Design is One
Images Publishing Group, Mulgrave, Victoria, 2004. 228 pages. Laminated
boards. Extensively illustrated in colour. New copy. Vignelli is a powerful name
in graphic design. Images’ Hands On series is greatly enhanced by this wonderful book by Lella and Massimo Vignelli. Massimo learnt early in his career that
a designer should be able to design everything, hence, “design is one”. Lella
and Massimo Vignelli prove that design should be semantically correct, syntactically correct, and pragmatically understandable, but also visually powerful,
intellectually elegant and timeless. The book shows that real meaning must be
researched and consistent throughout a design, and that the final result must be
understandable. Design as a complete, or perfect statement is paramount in the philosophy of these
modern designers. This is borne out in the featured designs for corporate identity, packaging, post
design, interior design, architectural graphics, book and magazine design, furniture design and product
design, many with instant global recognition.
SEK250 / €30
vignelli, massimo & lella: Vignelli: From A to Z
Images Publishing Group, Mulgrave, Victoria, 2007. 194 pages. (22,5 x 17
cm). Laminated boards. Extensively illustrated in colour. New copy.
This superbly presented volume is a treasure trove of the thoughts of
internationally acclaimed designers Lella and Massimo Vignelli. For the
past ten years, Massimo Vignelli has taught a summer course at the School
of Design and Architecture at Harvard on subjects that were initially alphabetised for convenience, but now form the basis of this unprecedented
and highly entertaining publication. Beginning with the intriguing “A for
Ambiguity”, it continues through the alphabet, describing their approach
to subjects as diverse as book design, discipline, furniture, garment design,
interior design and lighting, newspapers, packaging and typography; each
subject is discussed in detail and accompanied by numerous illustrations that complement the text. It
offers a rare insight into the minds of two exceptional modernist designers.
SEK500 / €59
[vignelli] lloyd, peter b. & ovenden, mark: Vignelli Transit
Maps
rit Cary Graphic Arts Press, 2012. 130 pages. 4to (30,5 x 23 cm). Stiff
paper wrappers with folding flaps. Illustrations in colour and b/w. New
copy. Table of contents: Foreword, Acknowledgments, Introduction.
1. Transit Mapping and Modernism. 2. Washington: The Lost Transit Map. 3. New York: Mapping the Labyrinth. 4. New York: Birth of
the Subway Map. 5. New York: Life and Death of the Subway Map.
6. Influence of the Vignelli Subway Map. 7. New York: Rebirth of the
Subway Map. Biography of Massimo Vignelli, Bibliography, New York
Subway Map Timeline, Index.
Vignelli Transit Maps describes the history of the New York subway maps and
follows this city’s transportation growth from separate, independent lines to one
large system. Peter Lloyd uncovers the history of the Vignelli map that includes the legacy of the people who created
and promoted this New York icon—as well as those who hastened its demise. The book includes a first glimpse at
original, early development sketches of the famed map and of its recent successors.
SEK350 / €42
[vignelli] design:Vignelli tote bag
Durable cotton tote bag with red design:Vignelli logo.
SEK50 / €6
“Printing History”, the biannual journal of the American Printing History Association, publishes
scholarly articles on the history of printing, publishing, books, type, typography, paper and related
industries. Befitting a publication devoted to this subject it is beautifully designed, printed and illustrated of course.
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 26–27, Volume XIII, No. 2 and Volume
XIV No. 1, 1991–1992
The American Printing History Association, New York, 1992. 112 pages.
Double issue. Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black and white. Printed at the Stinehour Press. New copy.
Table of contents: Matthew Carter: Theories of Letterform Construction.
Part 1. Kay Amert: Origins of the French Old-Style; The Roman and Italic
Types of Simon de Colines. Maxwell Whiteman: The Introduction and Spread
of Hebrew Type in the United States. Alastair Johnston: “Guard the Mysteries! Constantly Reveal Them!” The History of Printing as Shown in Type Specimens. Mark Argetsinger: Adobe Garamond: A Review. Jerry Kelly: Adobe
Garamond: A New Adaptation of a Sixteenth-Century Type. reviews: John
Bidwell (reviewer), Martin Hutner: The Making of the Book of Common Prayer of 1928. Peter Van Wingen (reviewer), John Dreyfus: A Typographical Masterpiece; An
Account of... the Golden Cockerel Press Edition of “The Four Gospels” in 1931.
SEK150 / €18
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 29, Volume 15, No. 1, 1993
The American Printing History Association, New York, 1993. 48 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black
and white. Printed at the Stinehour Press. New copy. Table of contents:
Sandra J. Markham: Memento Mori on Silk and Stone; Reuben Manley,
Printer, 1818–42. David A. Hanson: Baron Frederick Wilhelm von Egloffstein: Inventor of the First Commercial Halftone Process in America. Stephen
O. Saxe: The Landis Valley Museum Ramage Press. Alastair Johnston:
Reflections on the Centenary of the Merrymount Press. Megan L. Benton: C.
Volmer Nordlunde: The “Grand Old Man” of Modern Danish Printing. reviews: Lowell Bodger (reviewer), George Sadek and Maxim Zhukov:
Typography: Polyglot. A Comparative Study in Multilingual Typesetting. Sidney E. Berger (reviewer), William Blades: Numismata Typographica; or the Medallic History of Printing. John Dreyfus (reviewer), John Rathé: Bibliography of
the Typophile Chap Books, 1935–1992.
SEK75 / €9
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 30, Volume 15, No. 2, 1993
The American Printing History Association, New York, 1995. 48 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black
and white. Printed at the Stinehour Press. New copy.
Table of contents: H. George Fletcher: The Ideal of the Humanist Scholar-Printer: Aldus in Venice. Paul A. Cyr: Joel Munsell, Aldus’s Disciple in
Albany. Martin W. Hutner: Daniel Berkeley Updike: Humanist, Scholar,
Printer. Timothy Barrett: Fifteenth-Century Papermaking. Elizabeth Harris: The Rail Presses.
SEK75 / €9
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 31–32, Volume 16, No. 1–2, 1994
The American Printing History Association, New York, 1995. 112 pages.
+ Errata and addenda sheet laid in. Double issue. Tall 8vo. Sewn with
printed stiff paper wrappers. Illustrations in black and white. Printed at
the Stinehour Press. New copy.
Table of contents: Walter Tracy: Why Egyptian? Lawrence W. Wallis:
Type Designs by George W. Jones for the Linotype Machine. Stephen O. Saxe:
“A Small Old Printing Press.” Patricia A. Cost: Linn Boyd Benton, Morris
Fuller Benton, and Typemaking at ATF. Dermot McGuinne: Victor Hammer-An Irish Connection. Mike Parker: W. Starling Burgess, Type Designer?
review: Dan Carr (reviewer), Theo Rehak: Practical Typecasting.
read the obscure story by Mike Parker where he claims that
Times New Roman was designed by a yacht builder, Starling Burgess,
1904. See even the reply in Printing History No. 37 by harold berliner, nicolas barker, jim
rimmer, & john dreyfus: Starling Burgess, No Type Designer: A Rebuttal of Some Allegations and Suppositions Made by Mike Parker in his Article “Starling Burgess, Type Designer?” in Printing History 31/32 (1994).
SEK150 / €18
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 41, Volume 21, No. 1
The American Printing History Association, New York, 2001. 44 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in colour
and b/w. New copy.
Table of contents: Kenneth Auchincloss: The Second Revival; Fine Printing Since World War II. Martino Mardersteig: The Cento Amici del Libro.
Carol Grossman: The Trianon Press’s William Blake´s Water-colour Designs
for the Poems of Thomas Gray. Sebastian Carter: The Rampant Lions PressRetrospectus and Prospectus.
SEK75 / €9
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 37, Volume 19, No. 1
The American Printing History Association, New York, 1998. 40 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black
and white. Printed at the Stinehour Press. New copy.
Table of contents: Harold Berliner, Nicolas Barker, Jim Rimmer, &
John Dreyfus: Starling Burgess, No Type Designer: A Rebuttal of Some Allegations and Suppositions Made by Mike Parker in his Article “Starling Burgess,
Type Designer?” in Printing History 31/32 (1994). David Pankow: A Face
by Any Other Name is Still My Face: A Tale of Type Piracy. review: G.
Thomas Tanselle (reviewer), William Tomlinson and Richard Masters:
Bookcloth 1823–1980.
Here comes the long-awaited rebuttal to Mike Parker’s attack on Stanley
Morison.
SEK75 / €9
pankow, david (ed.):
Printing History. The Journal of the American Printing History Association.
Number 42, Volume 21, No. 2
The American Printing History Association, New York, 2001. 64 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black
and white. New copy.
Table of contents: Joseph A. Dane: The Huntington Apocalypse Blockbook
(Schreiber Editions IV/V) with a Note on Terminology. Kay Amert: A Renaissance Font: Paris, 1516. Peter K. Fallon: Why the Irish Speak English:
The Consequences of One Culture’s Resistance to Technological Change. Philip
J. Weimerskirch: The Rev. Abraham O. Stansbury and the Stansbury Press.
Gerald Lange: Fraternal Offspring: Matthew Carter’s Manutius/Miller.
SEK75 / €9
pankow, david (ed.):
Printing History. The Journal of the American Printing History Association.
Number 43–44, Volume 22, No. 1–2
The American Printing History Association, New York, 2002. 94 pages.
Double issue. Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black and white. New copy.
Table of contents: David Pankow: Editor´s Introduction: The Rise and Fall
of atf. Jennifer B. Lee: Introduction to the Exhibition. Type to Print: The
Book & The Type Specimen Book. Jennifer B. Lee, editor: The Bullen Letters.
Special double issue devoted to the American Type Founders Company (atf)
and its typographic library and librarian Henry Lewis Bullen.
SEK150 / €18
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 47, Volume 24, No. 1
The American Printing History Association, New York, 2004. 40 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black
and white. New copy.
Table of contents: Peter Holliday: Edward Johnston & Robert Bridges,
1901–1926: A Phonetic Alphabet in the Half Uncial Script. Robert D. Harlan:
Seven Letters from C. H. St. John Hornby to John Henry Nash. review: Jerry
Kelly (reviewer), Marianne Tidcombe: The Doves Press.
SEK75 / €9
pankow, david (ed.): Printing History. The Journal of the American
Printing History Association. Number 49, Volume 25, No. 1
The American Printing History Association, New York, 2006. 56 pages.
Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in colour
and b/w. New copy.
Table of contents: Charles Creesy: Monticello; The History of a Typeface.
Amelia Hugill-Fontanel: Arts et Métiers Graphiques; The Graphic Magazine
of the Deberny et Peignot Type Foundry. Ellen Mazur Thomson: The Graphic
Forms Lectures.
SEK75 / €9