September 2014, List 3: Type Specimens A-K
Collinge & Clark
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1.(Alcuin Press) A Series of Specimen Pages ... Illustrating the types in use at the Alcuin Press, with
critical & historical notes and a general introduction on 'The Choice of Type on Book Production'.
11 items, various sizes & dates, printed in black & red, enclosed in a portfolio, 325 X 250mm.,
Alcuin Press, Chipping Campden, [1934].
Quarter linen, blue-grey paper-covered sides, printed label with the Press device superimposed on
the front. Covers a little soiled. A very good copy.
£200
A scarce item, beautifully printed. The most substantial pieces are: (1) A Specimen of Some Printing
Types in Use at the Alcuin Press ... With a note on the Press and its aims; (Demy 8vo, 16pp., 1928).
(2) An Introduction to the Work & Aims of the Alcuin Press together with a select handlist of the
more noteworthy books; (Crown 8vo, 20pp., 1932). (3) A poster on blue paper bearing a linocut by
F.L. Griggs, for an exhibition at the Alcuin Press Gallery, September 1934.
2.(American Book Bindery – Stratford Press) Baskerville and Caslon Old Face in the English
Monotype Cuttings. 8vo, pp.79, American Book Bindery – Stratford Press, New York, n.d. (c.1930).
Light brown paper-covered boards, black cloth back, gilt, black label, gilt. Fine in slipcase.
£30
With a good showing of Monotype borders and ornaments.
3.(American Type Founders Company) Specimens of Printing Types. 8vo, 23.5cm,Frontispiece,
pp. [8],iv,507, [5 advertisements], [14 page numbers repeated, 46 omitted], [Mackellar, Smiths &
Jordan], New York: (1897).
Pictorial frontispiece, ‘art nouveau’ decorative-title page in red black, gold and shades of green,
decorative border and in red and green on following leaf, medallions in red on verso. A very full
book of types, borders and ornaments, many patented. Full green cloth, titled in gilt on the spine
and upper board, floral endpapers. One leaf torn with loss. A very good copy indeed.
£230
The American Type Founders Company was formally incorporated February 8, 1892. It was initially
a combine of twenty-three type foundries then existing, motivated by ruinous competition and, most
particularly, the new Linotype (1886) and Monotype (1887) machines .The central firm was
MacKellar, Smiths & Jordan of Philadelphia, the largest plant in the United States. In 1895 the
Central Type Foundry of St Louis issued first ATF type catalogue. Gradually, the existing firms were
closed and machinery moved to a new plant in Jersey City, built in 1903. Only slightly earlier ATF
books (Collective Books) maintain the addresses and names of contributing foundries, but there is
no mention of these here.
4.(American Type Founders Company) Scheme for 100 Lbs. Music No.4. Broadside
(unexamined out of frame), 37cm, American Type Founders Company, New York: Corner Rose and
Duane Streets, n.d. (1897?).
With a central fold repaired with tapes. Attractively mounted, framed and glazed.
£50
5.(American Type Founders Company) Desk Book of Type Specimens, Borders, Ornaments,
Brass Rules and Cuts. Catalogue of Printing Machinery and Printers’ Supplies. 8vo, 21.5cm, Title,
dedication, pp.[xvi],1168, American Type Founders Co., Baltimore, Md, 1900.
Embossed green and red cloth boards with portrait of Gutenberg., titled in black, original spine laid
down with new endpapers. Divided into 32 parts including Body Letter, Circular Letter, Script Type,
Modern Jobbing Type, Light Weight & Ornamental, Two Color, Antique, Shaded, Borders &
Ornaments, Cuts, Wood Type, etc. Of special interest is the 141pp section on Printer's Machinery &
Supplies. A very good bright copy.
£200
The last ATF specimen book to follow the example of the Collective Specimen Book of 1896,
wherein there are different collations (particularly in this case of brass rules) and title-pages
depending on the location of each branch. After this book of 1900-1, all books carried the address
of Jersey City, N.J., and then Elizabeth, N.J.
6. (American Type Founders Company) Specimen Book of American Line Type Faces:
American Point Line, Point body and Point Set. 4to, 30cm, pp.viii,292 + insert, American Type
Founders Company, 1903.
A specimen book printed in many colours, with many advertisements for display, notably rich in
Lining types. Black cloth, titled in white, decorative endpapers (one loose), boards severely
waterstained, but contents very good and bright.
£180
Jobbing letters include Della Robbia (1902), Grasset (1898), Roycroft. Lining types include: Camelot,
McCullagh, Iriquois, De Vinne, Old style, - and many others.
7.(American Type Founders Company) American Specimen Book of Type Styles. Complete
Catalogue of Printing Machinery and Printing Supplies. 1912. Thick 4to, 27.5cm, pp.1301, American
Type Founders Company, Jersey City, N.J., 1912.
Contains pictures of interior and exterior views of ATF plant and selling offices. Printed in black
with art nouveau display in many colours. Red grained cloth, titled in black on the spine and upper
cover, decorative endpapers. Ex libris Hiram A. Wilson. Boards somewhat soiled, but a very good
copy of the largest book produced by ATF.
£325
Numbered 11250. Index in front, pp.17-32. Includes photo illustrations of the American Type
Founders Company. Filled with hundreds of typeface printing style samples. Also includes section
on typewriter faces, with different paper. Includes type for other languages, for music printers, for
fractions and symbols, decorative initials and borders, holiday ornaments and other decorators. The
back section (pp.1153-1301) is a catalogue of machinery, supplies, equipment, and furniture,
completely illustrated and prices, with detailed specs for every item.
8. (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 fine 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.
9. (American Type Founders Company) A Composite Showing of Goudy Types: A pamphlet
supplementing the specimen book of 1923, showing important additions to the Goudy Family. 4to,
31cm, pp.123 (with fold-out pages),American Type Founders Company, 1927.
Portrait frontispiece, printed in red and black with some especially effective use of larger sizes in red
and black. Grey paper covers. A fine copy.
£180
10. (American Type Founders Company) A Book of Modernage and Classical Type Faces. A
Timely presentation of Original and Distinctive creations in Type Faces and Typographic Material,
all of which will be quickly recognized as most important factors in the achievement of better-class
printing and advertising both here and abroad. 4to, 31cm, pp.[294], American Type Founders
Company, Jersey City, [?1934].
An ‘art deco’ specimen book, printed in black, blue, orange and with much silver on several paper
stocks. Cuts, decorative material and display advertisements. THE VERY LATEST TYPES includes
Keynote (W.T. Sniffin, 1933), Park Avenue (R.E. Smith, 1933), Stymie (originally by Sol Hess, many
ATF variants by Garry Powell 1931 and later)), Raleigh Cursive & initials, Paramount. Sivle and
white paper-covered boards, titled in silver and black, boards somewhat rubbed and soiled, spine
distressed. A good copy of a very attractive specimen book.
£1,100
Extremely rare. This book was issued solely for the use of sale representatives and not for general
distribution. This copy belonged to H.J. Fleming of the Matrix Department. It also bears his
ownership signature.
11.(American Type Founders Company) The five largest sizes (72 to 144 Point) of Stymie Light
... Folio, 4p, 45.5cm, American Type Founders Company, n.d. (c.1936).
Printed in black and peacock blue (with ornaments in peacock blue) and with example of type set
against silver backgrounds. A type specimen in the high ‘art deco’ manner. Folded, near fine. £85
These large sizes of Stymie were done for ATF by Garry Powell. Until about 1927, 144 point was
the largest ATF type size, thereafter a 288 point was cut.
12. (American Type Founders Company) Lydian and Lydian Italic. 4to,26.5cm, 8p, (including
wrappers), American Type Founders, n.p. n.d. (1938).
A lively and attractive specimen printed in pink, light green and black, with much room given over
for display. Self-wrappered. A near fine copy.
£40
Designed by Warren Chappell. Lydian (1938-46) is a pen drawn type without serifs with the bars of
the A and H, the arms of E and F and other strokes being thinner than the main strokes. Ascenders
and descenders are short.
13. (American Type Founders Company) Grayda. 8vo, 26.5cm, pp.12, American Type Founders,
Elizabeth, N.J., (1940).
Done in red, black, blue and white with many advertisements for display. Embossed Cream card
covers cut away to reveal title. Just faintly soiled at rear. Very good indeed.
£40
Designed by F.H. Riley. Grayda (1939) is a script of medium weight with much variation of stress.
In the lower case, especially, the thickest parts of the stroke seem to come from an unnatural place.
14. (American Type Founders Company) Murray Hill Bold. 4to, 28cm, [4]p, American Type
founders, Elizabeth, New Jersey, (1956).
Printed in black, with white reversed out, on a mauve background; many illustrations. A fine copy of
an unusual specimen.
£12
Designed by E.J.Klumpp. An upright script with swash capitals and an informal lower case.
15.(Amsterdam Type Foundry) Letterproef der Lettergieterij "Amsterdam" voorheen
N.Tetterode. Specimen General de la Fonderie "Amsterdam" successeur de N.Tetterode. 4to, 27cm,
pp.xxxii,720, Lettergieterij "Amsterdam" voorheen N. Tetterode, Bilderdijkstraat 163-165
Amsterdam, (c.1916). Handsomely printed in red and black (and occasional other colours) with
advertisements for display, photographic reproductions and a section of exotic types at the rear.
Cream cloth, titled and blocked in gilt. Red decorative endpapers, including the number of this copy
as 5869. Single excision to a page of ornaments. A very good copy.
£500
16. (Amsterdam Type Foundry) Proeven van Oostersche Schriften. 4to, 30cm, pp.133 (versos
blank) + 2 page price list, Lettergieterij “Amsterdam” voorheen N. Tetterode, Bilderdijkstraat
163/165 Amsterdam, 1925.
Tipped-in frontispiece plate; a collection of finely printed Far Eastern and Southeast Asian types in
various sizes done within ornamental borders. Sienna cloth, ruled in gilt, stamped in black and rose,
titled in gilt on the spine and upper cover, decorative endpapers. A fine copy.
£300
With, amongst others, New and Old Javanese, Syriac, Batak, Persian, Greek, Malayan, Hebrew and
Arabic. The Foreword credits J.J. Hoffman, Taco Roorda, H.C. Millies, B.F. Matthes and W. Pleyte
for the production.
17. (Amsterdam Type Foundry) Hercules, striking, strong, clear. 4to, 29.5cm, 8p, Amsterdam
Type Foundry, (c.1926).
Printed in black, orange and aquamarine with advertisements for display. Grey paper covers, titled in
black and green. A very good to fine copy.
£40
Originally a Wagner & Schmidt type first cast around 1905, and formerly known as Stanley, Hercules
is a fat script type with rounded letters and tall ascenders. It was revived by Wagner as Titantypo in
1966.
18.(Armenian Church) Nerses (Shnorhali, Saint, 1102-1173). Preces Sancti Nersetis Clajensis,
Armeniorum Patriarchae, triginta tribus linguis editae [Nerses IV, Catholicos of Armenia]. 12mo,
Engraved title. 560p., portrait frontispiece, 15cm, Venetiis: In Insula S. Lazari, 1862.
Texts in thirty-three different languages; contemporary red quarter morocco, gilt, a.e.g., generally
some wear to edges of boards, but a crisp clean copy of a scarce title.
£225
Issued by the Mekhitharist Congregation in Venice. The editions of 1823 and 1837 were both in 24
languages, the edition of 1886 is in 36 languages.
19. (Barnhart Bros. & Spindler) Barnhart’s Big Blue Book containing Specimens of Superior
Copper-Mixed Type, Border, Ornaments, Rule, Etc. 4to, 29cm, pp.324,The Great Western Type
Foundry, Barnhart Bros. & Spindler, 183 to 187 Monroe Street, Chicago, Ill., [1896].
Many types and ornaments, printed in colours. Blue grained cloth titled in blind and gilt. ATF
Library book label. A fine copy.
£495
One of the finest American specimen books of the period.
20. (Barnhart Brothers & Spindler) Specimen Book of Type: Comprising a large variety of
superior copper-mixed types, rules, borders, printing presses, paper and card cutters, wood goods,
bookbinding machinery, etc, together with valuable information to the craft. Thick 4to, 23.5cm,
pp.[viii],879+, Barnhart Bros. & Spindler, Chicago, Illinois, 1900.
An attractive specimen book, printed in black only, and –if not quite the height of art nouveau –
then a very much of its period. Red cloth, new spine, titled in black, original covers laid down, new
endpapers, a little chipped and soiled at the rear. A good copy.
£225
21. (Barnhart Brothers & Spindler) Book of Type Specimens: Comprising a large variety of
superior copper-mixed types. Specimen book No.9**. Thick 4to, pp.vi,1000, Barnhart Bros. and
Spindler, Chicago, Illinois, (c.1907).
£220
Rebound in full maroon cloth with new endpapers and black spine titling, original cloth laid down
on the front board and partially so on the rear. A few leaves slightly waterstained, but a very good
Impressive work, variant of the first collective type-specimen book of the newly-formed group of 11
independent foundries. Although founded earlier, BBS (1868-1929) was incorporated under that
name in 1883. The phrase “Copper-Mixed Type”, although copied by others, was of BBS origin.
During the firm’s lifetime it produced about a hundred new typefaces. For a long while they resisted
the ATF combination, but eventually sold out in 1911, under the proviso that they kept their own
individuality for twenty years. Their most famous catalogue is the ‘25’ (from 1925).
22. (Barnhart Brothers & Spindler)Preferred Type Faces. Book Number 10. Oblong 4to, 23cm,
pp.172, Barnhart Bros. and Spindler, Chicago, (c.1913).
Original dark-green cloth with titling reversed out of lime-green, decorative endpapers. Inner hinges
a little strengthened, but a very bright clean copy.
£135
Slender by comparison to No.9, in its way this is just as – if not more – impressive. It is an attempt
to produce an up-to-the-minute streamlined type specimen book: it is strictly typographical, shows
only Modern types, only Point set type, a narrow range of display types, and (being BB &S) all types
are made of superior copper-mixed metal.
23. (Barnhart Brothers & Spindler) Catalog 25: Type Faces, Border Designs, Typecast
Ornaments, Brass Rule. Superior Specialities, Machines and Materials, Cabinet Equipment. Royal
8vo, 28cm, pp.708 + 11p index, Barnhart Brothers & Spindler, Type Founders, Manufacturers and
Merchants to Printers, Chicago, (1925).
Printed in black with much use of colour especially with the ornaments; black imitation leather,
embossed and titled in blind, grey endpapers, front inner hinge starting, order form and 12p price
list tipped in at the front. Ownership signature of John and Mary Williams, Washington and New
York City. A very good copy.
£135
Known as the ‘25’ from the year in which it was produced, this is the finest specimen book ever
done by BBS. It was produced under the general direction of Richard N. McArthur (formerly of the
Keystone Type Foundry) who commissioned outside designers such as Will Ransom, Oswald
Cooper, Carl S. Junge, George F. Trenholme and Ethel G. Hoyle to create new type faces and
ornaments. The highlight of the catalogue is the first showing of Munder Venezian and Munder
Bold, named in honour of Norman Munder of Baltimore, Dean of Printers of America during the
1910-1930 period.
24. (Bauer Type Foundry) Flott. [Designed by William S. Gillies.] 8vo, 26.5cm, [16]p, Bauersche
Giesserei, Frankfurt A.M., (1935).
Printed in yellow and black (with other colours), with illustrations (many photographic). Handsome
photographic wrappers with original glassine. A fine copy.
£70
A script monotone in colour with flowing capitals and a more rigid lower case. Also known as
Gillies Gothic.
25. (Bauer Type Foundry) Corvinus. Designed by Imre Reiner. 8vo, 27cm, pp[8] specimen + 23
examples on, or mounted on separate sheets, Bauer Type Foundry, Frankfurt A.M., Sole
Distributors Soldands Limited, London (c.1935). A particularly attractive specimen printed in many
weights and colours with attractive examples; printed folder in red and black, slightly soiled. A very
good copy.
£60
Ascenders are short. The condensation of letters is achieved by flattening the sides of the round
letters. Serifs are very thin.
26. (Bauer Type Foundry) Cartoon. [Designed by H.A. Trafton.] 8vo, 26.5cm, [12]p, Soldans
Limited, London, (1936).
Printed in red and black (with other colours), many illustrations and decorations. Black and red
wrappers with cartoon design, original glassine. A fine copy.
£60
A series of freely-drawn capitals and figures. Serifs are almost entirely lacking.
27. (Bauer Type Foundry) Legend. Designed by F.H. Ernst Schneidler. 8vo, 26cm, [8]p, Soldans
Limited, London (1937).
Printed in blue and black with illustrations in the text; printed wrappers. A very good copy.
£25
A script of some distinction: the capitals are flowing, some letters are derived from gothic scripts.
28. (Bauer Type Foundry) Bernhard Types. Folder, 27cm, containing 22 broardside specimens,,
The Bauer Type Foundry Inc., New York, 239 West 43rd Street, (1937).
Advertising broadsides printed mostly to a uniform size with the folder in red and black on cream
wove but with a few other colours. Contents fine, but folder a little soiled.
£45
Designed by Lucien Bernhard as a text and display type. Distinguishing marks are the cross-ver W
and tilted O.
29. (Bauer Type Foundry) Bauer Text. Bauer Text Initials. Designed by Prof. F.H. Ernst
Schneidler. 8vo, 26cm, [8]p, Soldans Limited, London (1938).
Printed in grey and red with illustrations. Grey paper wrappers, sewn. A fine copy.
£30
30. (Bauer Type Foundry) Imprimatur Schmalfett. 4to, 27.5cm, folder, Bauersche Giesserei,
Frankfurt am Main, n.d. (1950s).
Folder , titled in red and pale blue, containing upwards of twenty very handsomely printed samples
and type specimen sheets. In fine condition.
£20
Imprimatur was designed by K.F. Bauer and Walter Braun. It is a narrow roman combining several
older alphabets in its design. The letters, with not very pronounced serifs, come to give an even grey
when formed into words. L, P. E, B, and S are very narrow.
31. (Bauer Type Foundry) Imprimatur halbfett. 4to, 27cm, [32]p, folder, Bauersche Giesserei,
Frankfurt am Main, n.d. (1950s).
Folder, titled in blue and black, containing some tweny most handsome specimen sheets on various
papers. A very good to fine copy.
£15
32. (Bauer Type Foundry) Alpha [und] Beta. 4to, folder, 27cm, Bauersche Giesserei, Franfurt am
Main, 1954.
Some 20 separate advertisements and full-page specimen leaves handsomely printed in colours and
contained within a decorated folded. A very good to fine copy.
£25
Alpha and Beta was designed by K.F. Bauer and Walter Baum. It is an italic of heavy weight with
stubby serifs. There are two lower cases. Hence the two names. The first is an inclined roman, the
second a script of the brush variety.
33. (Benton, Waldo & Co.) Portable Book of Specimens from Benton, Waldo & Co. Type
Founders. Patentees and Manufacturers of Benton’s Self Spacing Type. 8vo, 23cm, [192]p, Benton,
Waldo & Company, Milwaukee, Wis. St. Paul, Minn, (c.1884).
Many ornamental borders, initials and cuts. Dark-green pebbled cloth, titled in gilt on the front
board. A very good copy indeed.
£585
Founded as Benton & Cramer in 1873, Benton, Waldo & Co was formed in 1882, being subsumed
within ATF in 1892. Although Linn Boyd Benton had no technical training, he registered over
twenty patents, including the “self-spacing” measuring system that reduced the number of 190
widths of type to eight or nine. All widths of his new method of casting type were in exact
subdivisions of a 12-point em and thus, whilst not particularly attractive, was a rapid method of
typesetting. It was however his punchcutter, patented in 1885, that really made his name. In 1892,
Benton was made director of manufacturing for the entire ATF, and with the advice of Theodore
Low de Vinne he cut the punches for the type known as Century Roman. He then adapted his
machine to the direct engraving of matrices.
34. (Berkeley Press) Berkeley Types: A practical showing of types domestic and imported that are
available for your use. Thick 4to, pp.xviii,278+, The Berkeley Press, Boston, Massachusetts, (c.1935).
Number 37 (of a limited edition) printed with just occasional use of colour. Not exciting in terms of
presentation, but a splendid range of faces. Black ring-bound folder. Very good condition.
£50
Unusual faces include Adornado, Girder Heavy, Huxley and Keystone Gothic.
35. (H.Berthold) A Selection of Modern Types. [Cover title: Nova, Flamingo, Radio Type, Fanfare,
Jacobea, Advertisement Grotesque, Cleveland Script, Vesta.] 4to, 29.5cm, 28p., H.Berthold AG,
Berlin, Sole distributors John Meerloo (Printing Material), London, (1929).
Printed in black and other colours and illustrated throughout. Orange paper wrappers, sewn, printed
in black and blue. A near fine copy.
£50
36. (H. Berthold) Ariston Light | Medium | Bold. 4to, 29.5, 16pp + 4pp insert, H.Berthold AG,
Berlin, Type founders and Brass Rule Manufacturers, (1936).
A colourful specimen with a good deal of pictorial advertising, printed in black, red and green.
Covers a bit soiled. A very good copy.
£45
37. (H. Berthold) Elizabeth Roman and Italic. [Designed by Elizabeth Friedlander.] 8vo, 26cm,
[8]p, Soldans Limited, London, (1937).
Handsomely printed in red and black. A near fine copy.
£40
A roman almost monotone in colour, with small serifs and short descenders.
38. (H. Berthold) Four small folding type specimens. 8vo, H.Berthold AG, Berlin, 1931-1939.
Very good to fine copies.
£50
Vienna Grotesque, designed by Rudolf Geyer; Post-Roman, designed by Herbert Post (1939), City
Compact, designed by Georg Trump (1930), Signal, designed by W.Wege (1931).
39. (Broadwater Press) Printing types: A Handlist of those in use at the Broadwater Press with
specimen alphabets and a selection of typographical ornaments. 8vo, 23cm, 16p, The Broadwater
Press, Welwyn Garden City, (late 1930s)
Printed in black and reddish brown; decorative covers. A fine copy with a type compliments slip
from W.H. Crouch, Sales manager to Stuart Rose.
£20
40. (Bruce’s New York Type-Foundry) An Abridged Specimen of Printing Types, made at
Bruce’s New-York Type-Foundry. 4to, 30cm, pp.168, xiv ads, French-folded, No.13 Chambers
street, New York: George Bruce’s Son, & Co., 1869.
134 pages of type, plus many electrotype ornaments – for which this firm was famous. Rebound in
full purple cloth, section of the original lavender cloth gilt-blocked with the title, laid down on the
upper board. Some occasional foxing, but a very good copy of a rare item.
£1,400
Annenberg records: “this type foundry is another example of the tail wagging the dog; stereotyping
was prior to type founding”. David & George Bruce turned full-time to type founding and
stereotyping in 1816, when they issued their first specimen of 11 leaves. George Bruce is credited
with being the first in America to attempt standardization of sizes in the manufacture of type, he
died in 1865 and the age of 85 – still cutting punches. David Wolfe Bruce, his son, took over
management in 1866. He incorporated Theodore Low De Vinne’s book The Invention of Printing,
into the specimens of 1878 and 1882. In 1892 the firm refused to join the American Type Founders
Company, but were purchased by it in 1900.
41. (H.W. Caslon & Co. Ltd.) Specimens of Types & Borders and Illustrated Catalogue of
Printers’ Joinery and Materials. 4to, 28cm, Portrait frontispiece, pp.[viii], 660 + 126+ Brass Rules &
Index, H.W. Caslon & Co., Chiswell Street, London, And at Manchester, 1918.
Printed in black, with many other colours for decoration and displaying electrotype ornaments.
Brown cloth with bevelled edges, spine stamped in gilt, upper board titled and decorated in black.
Black endpapers, inner hinges strengthened. Book label of the Typographic library and Museum of
the American Type Founders Company. Apparently lacking pp.117-124, otherwise a very good
bright copy of a scarce specimen book.
£700
42. (H.W. Caslon & Co. Ltd.) Caslon Old Face, roman and italic, cast entirely from matrices
produced from the original punches engraved in the early part of the eighteenth century in Chiswell
Street, London, by William Caslon. Demy 4to, pp.64, Printed by George W. Jones at the Sign of the
Dolphin, London, for H.W. Caslon, 1924.
Illustrations, many in more than one colour. Grey printed paper covers with grey endpapers with
typographic ornament in green. Half-title a little browned. A very good to fine copy.
£40
43. (A.Colish) Types Available. 8vo, 27.5cm, [20]p, A.Colish Inc., 40 Harford Avenue, Mount
Vernon, New York, n.d. (?1965). Printed in brown and black in an extraordinary variety of
Monotype and foundry types; grey paper wrappers titled in white, decorated in blind. A near fine
copy of an excellent printers’ specimen.
£25
44. (W.S. Cowell). A Book of Typefaces. With some illustrated examples of text and display setting.
[Illustrations after Eduardo Paolozzi, Frederick Gore, Rudolf Koch, Edward Bawden, Barnett
Freedman and others.] Medium 4to, pp.vi,74, W.S. Cowell Ltd, Butter Market, Ipswich, Suffolk,
1952.
Printed in several colours, typefaces usually being shown in the 30pt size. Ring-bound decorative
printed cloth. Dust-jacket just slightly chipped at head of spine. A near fine copy.
£40
Designed by John Lewis. The covers printed by offset lithography on white book cloth from
seahorse designs drawn on Plastocowell.
45. (Curwen Press) Types in use at the Curwen Press. Crown 4to, 8 pages (including covers), The
Curwen Press, Plaistow, London, 1941.
Printed in mauve and black on Baingwerk Parchment with pictorial covers by Edward Bawden. A
fine copy.
£60
46. (Dale Guild Type Foundry) Ratdolt Titling: A Victor Hammer Font comes to Fruition. [With
a recollection by Robert Haas.] 4to, 27cm, pp.[8], Dale Guild Type Foundry, Howell, 1997.
One of 150 (160) copies printed on Lana laid and rubricated in tempera. Text handset in Cloister
Old Style No.2 with an initial adapted from an early German woodcut. 24-point specimen printed in
gold. Overlapping brown printed paper wrappers. A fine copy.
£35
47. (Enschede en Zonen) Proef van Nederduitsche Letters en Gothische Initialen uit de XVde
Eeuw | Specimen of Dutch Black-Letters and Gothic Initials of the XVth Century. Crown 4to,
27.5cm, pp.52, corrigenda, Collection Typographique, Joh. Enschede en Zonen, Haarlem, 1925.
Printed on Pannekoek paper in black and red. Fine in marbled paper-covered boards.
£75
48. (Enschede en Zonen) A Selection of Types from Six Centuries in use at the Office of Joh.
Enschede en Zonen at Haarlem, Holland, dedicated to the friends of the house. [Latin texts of
Ecclesiastes, Cantica Canticorum, Liber Sapientiae, and the Greek text of the Epistle of St Jude.]
8vo, 102, [8]p., 20cm, Haarlem, Joh. Enschede en Zonen, 1930.
One of 20 (60) ad personem copies, this with Frederic Warde's name printed upon the colophon;
done in black and red on Japanese paper. Full niger morocco with gilt spine titling, upper board
blocked in gilt, t.e.g., others uncut. Boards darkened on spine and a little elsewhere. Book label of
Anne Lyon Haight. A very good copy indeed.
£500
Loosely inserted is the card of N.Steggerda, representative of Enschede in New York, on the verso
of which has been written: "Dear Mr Warde, Mr Van Krimpen asks me to hand you your copy of
the enclosed type book. Kindly acknowledge receipt, and oblige. Yours truly, N.Steggerda." An
exquisite specimen book, particularly strong in types designed by Didot l'Aine, J.M. Fleischman, J.
van Krimpen and Jacques Francois Rosart.
49. (Finn Typographic Service) Trajanus: A showing of the alphabet in various sizes of the
typeface available ... 8vo, 21cm, [16]p, Finn Typographic Service, Riverside, Conn., n.d. (1950).
Printed in black in sizes from 12 to 54-point.Decorative overlapping covers by Warren Chappell. A
fine copy of an immaculate specimen.
£20
A Stempel face designed by warren Chappell in 1940. The B,E,F and P are narrow the M has no top
serifs. The U has the lower-case design.
50. (Finn Typographic Service) A Type Specimen of Palatino. 8vo, 20.5cm [16]p, Finn
Typographic Service, Riverside, Connecticut, n.d. (1950).
Printed in black and reddish-brown in a variety of sizes. Pale blue pictorial wrappers. Fine.
Designed by Herman Zapf.
£20
51. Fry (Edmund). Pantographia; Containing accurate copies of all the known alphabets in the
world; together with an English explanation of the peculiar force or power of each letter: to which
are added, specimens of all well-authenticated oral languages; forming a comprehensive digest of
phonology. Royal 8vo, [title, dedication and errata leaf; preface 36pp.; text 320pp.]. Printed by
Cooper and Wilson, for John and Arthur Arch, London, 1799.
Engraved vignettes within the text, specimens of upwards of 200 alphabets. First edition, list of
subscribers, fine late nineteenth-century blue half-morocco with gilt panelled spine, pages a little
trimmed, but most attractive. . A very good copy indeed.
£385
The first edition of this classic work written by the most eminent typefounder of his day. Much of
the type for this book was cut by Edmund Fry, but some of it came from the James Foundry.
52. (Garratt & Atkinson) Atkinson Stock Blocks. No.8. 4to, 28cm, upwards of 250pp, Garratt &
Atkinson Photo-Engravers, Warwick Works, Ealing, London,(c.1925).
Attractively printed in colours, but with many sheets loose. Spotting to wrappers, spine with loss and
coming away. A fair copy of a fragile item.
£60
53. (David D. Grunhut) A Variety of Stock Cuts to meet Every Requirement. Small folio, 30.5cm,
pp.78[2], David D. Grunhut, New York City, nd. (1920s).
Printed throughout in soft light blue ink so as to prevent reproduction. Contains approximately 500
cuts. Brown printed wrappers, strengthened with linen along the spine. A very good copy.
£180
54. (H.C. Hansen Type Foundry) A Book of Types, Borders, Ornaments, Brass Rule, Printing
Materials and the Like for Printerdom. Folio, 30cm, pp.384, The H.C. Hansen Type Foundry,
Boston, Mass., 1909.
Printed in black and other colours, with many cuts, rules, ornaments and other decorations. Red
cloth, titled and decorated in black, marked, but internally a very good bright copy.
£370
Copy No.659, date 1st January 1909, addressed on the book label to J.W. Streider Cigar Box Co, 178
Buggles Street, Boston. Annenberg states the 1909 type catalogue of The Hansen Type Foundry
(1872-c.1922) to be one of the best ever produced, comparable to the American Type Founders and
Barnhart Brothers & Spindler. In this catalogue they were still exclaiming that “this type foundry is
absolutely independent and is not controlled by any combination or trust”.
55. (H.C. Hansen Type Foundry) Hansen’s Brass Rules: Graytone Rules, High Art Rules,
Halftone Rules, Labor-Saving rules, Head Rules, Column Rules, Odd Designs, Circles, Ovals,
Diamonds, Dashes, Braces, Brass Corners, etc. Greatest Variety and Most Exclusive Design Ever
Produced. 4to, 29.5cm, pp.80,The H.C. Hansen Type Foundry, Boston, 1916.
Limp cloth covers, titled in green, inner hinges strengthened. Small library label at the foot of the
spine. A very good bright copy.
£150
56. (Harrild & Sons) Specimens of Printing Types, Borders, Ornaments, &c. 8vo, 21.5cm, 140
leaves, printed on the rectos only, Harrild & Sons, “Fleet Works”, 25 Farringdon Street, London,
E.C., (c.1888).
Brown grained cloth, spine rebacked with original strip laid down, new endpapers, upper board
titled in gilt ‘Selected Specimens of Modern Printing Types’ and gilt-blocked with a device, all edges
tinted. A very attractive copy of a rare specimen book.
£460
With a good selection of ornamented founts and initials and some especially attractive borders and
ornaments showing the influence of American ‘artistic printing’.
57. (Henderson and Spalding) Other Types: being a supplement to Good Printing with additional
specimens of type faces. Square 8vo, 20cm, 32p, Issued by Henderson & Spalding, Sylvan Grove,
n.d. (c.1932). Specimens of 15 typefaces in 67 sizes, together with various ornaments and some
colour printing at the rear. Chiefly done in blue and black. Blue paper covers with damage to foot of
spine, printed label. A good copy.
£15
58. Hewitt (Graily). The Pen and Type-Design; The Treyford Type; Italics. Royal 8vo, pp.[viii],48,
John Johnson at the University Press, Oxford, for The First Edition Club, London, 1928.
One of 250 copies printed in Graily Hewitt's 'Treyford' type on Barcham Green hand-made paper. 9
figures within the text. Bound in full red niger morocco decorated in gold, gilt top, other edges
uncut. A near fine copy.
£180
Treyford (1928) was designed by Graily Hewitt in accordance with the principles laid down in The
Pen and Type-Design. It has the qualities of a script. Serifs are very small, there is little
differentiation of colour and the capitals are toned down. In the lower case ascenders are shorter
than descenders, v and w are given cursive forms and y a vertical stroke. The italic is slightly
inclined. The matrices were cut by the Monotype Corporation.
59. (Imprimerie Nationale) Caracteres de l’Imprimerie Nationale. [Introduction by Roland Fiszel.
Square 4to, 26cm, pp.331[5], L’Imprimerie Nationale, Paris, 1990.
Exceptional type specimen book, particularly so in the field of Far Eastern types, etc. Stiff paper
wrappers, decorative slipcase. A fine unopened copy.
£50
60. (Inland Type Foundry) Specimen Book and Catalog. A Price List of Printers’ Supplies, Type,
Rules and Accessories of the Very Latest Designs which facilitate the economical production of
Superior Printing. A Notable Improvement is the Casting of all Type on Standard Line & Unit Sets.
8vo, 23.5cm, pp.243, Inland Type Foundry, Saint Louis, Chicago, New York, 1907.
A superb and interesting specimen books containing many original type designs, plus pages of
ornaments, initials and borders. Red cloth, titled in black on the spine and reading ‘Pony Specimen
Book’ on the upper board. A very good to fine copy.
£370
The idea behind Inland Type Foundry, St Louis, (1895-1912), was moneymaking competition with
the American Type Founders group. It is especially noted for the introduction of the Standard
Alignment proposition, first recommended by N.J. Werner, which was applied to all their typefaces
and which was soon accepted throughout the industry. They created about thirty new type series, in
1906 introducing Kenilworth as a similar face to Cheltenham and also started selling the original
Caslon Old Face by agreement. Inland’s notable success led to its buyout by ATF in 1911.
Annenberg claims that the McNally Series only appears in the 1910 specimen book, but it appears
here under the correct patent number. Other patented series include: Inland French Script, New
Caslon, Havens, Condensed Macfarland, Woodward, Condensed Matthews, various Condensed
Gothics, Comstock, Hearst and Avil.
61. (International Typeface Corporation). The following specimens, whilst attractive, possess
sufficient uniformity to require no more than the designer’s name, number of pages and date.
Otherwise all are tall 8vo, 30.5cm, various decorative wrappers, uniformly fine. EACH is
£10
ITC Bookman. Designer Ed Benguiat, 1976, 48p. ITC Caslon No.224.Designer Ed Benguiat, 1983,
36p.ITC Cheltenham., Designer Tony Stan, 1978.76p. ITC elan, . Designer Albert Boton, 1985; ITC
Eras. Designer Albert Boton with Albert Holloenstein., 1976. 32p; ITC Fenice. Designer Aldo
Novarese, 1980. 36p; ITC Gamma. Designer Jovica Veljovic., 1986. 36p; ITC Isbell. Designers Dick
Isbell & Jerry Campbell, 1980. 36p ; ITC Italia. Designer Colin Brignall. Licensed by Letraset. 1977.
16p ; ITC Korinna. Designer Ed Beguiat after H.Berthold’s drwings of 1904, 1977. 36p; ITC
Leawood. Designer Les Usherwood, 1985, 36p; ITC Slimbach: Designer Robert Slimbach, 1987,
36p;
62. (Intertype) The Book of Intertype Faces. 4to, 27cm, pp.viii,505 + Additions, Intertype
Corporation, Brooklyn, New York, (1934).
Done on pale blue and cream paper stocks; ring-bound into a blue cloth folder titled in gilt. Displays
a large selection of advertising and commercial faces. A very good copy.
£40
63. (Keystone Type Foundry) Specimen Book of Type made from Nickel-Alloy Metal by the
Keystone Type Foundry containing, also, a Catalogue of Printers’ Supplies, For sale by the Foundry.
12mo, 19.5cm, pp.408 + New Type Faces: Addendum to Keystone type Foundry Specimen Book,
Keystone Type Foundry, Philadelphia, 1899 (1890).
Black leatherette with silver titling and titling on spine reversed out. A fine copy.
£235
The Keystone Type Foundry (1888-1919), was founded by the advertising agent N.W. Ayer, under
the management of Rudolph Gnichwitz, formerly superintendent of the mechanical department of
MacKellar, Smiths & Jordan. Rather surprisingly, it prospered immensely over a thirty year span.
64. (Keystone Type Foundry) Keystone Book of Display Faces. Small folio, 30cm, pp.182,
Keystone Type Foundry, Philadelphia, “The Keystone Type Foundry is now twenty-five years old”)
(c.1913). An enjoyable specimen book printed entirely in black on standard paper. Notable patented
Keystone types shown are: John Hancock (1905), Powell, Vanden Houten, Ayer, Girard and Caslon
Adbold. Stiff brown card wrappers with decorative endpapers. Foot of spine chipped, library label
on spine, covers a little rubbed. A very good copy.
£250
‘The Keystone is not out for all the business going. It is not the whole thing or the big thing. It is
trying to get bigger. So are you. It has no grouch against those who have got there first or may have
got the most. Neither have you. It expects to grow only by hard work, fair prices and a chronic
desire to please. How about you?’ (Preface)
65. (Keystone Type Foundry) Borders: A Complete Assortment of useful and decorative Designs
Shown Herein [&] Cuts, Ornaments, Initials. 4to,30.5, pp.36 & pp.60. Keystone Type Foundry,
Philadelphia, Ninth and Spruce Streets [i.e. 1910 or later].
A very attractive book of art nouveau ornaments and borders, the electrotyped cuts (done mostly in
red and black) being particularly outstanding. Decorative green paper wrappers, titled in black within
a green cloth folder titled ‘Keystone Type Foundry Supply House’. A very good copy.
Nothing quite like this is listed in Annenberg,
£375
66. (Gebr. Klingspor) Antiqua und Unziale. Nach Zeichnung Prof. Otto Hupp. 4to, 28cm, pp.54,
Ausgefurht von der Schriftgiesserei Gebr. Klingspor, Offenbach am Main, (1910).
Printed in reddish-brown, black and grey (with some illustrations in blue), this contain a full range of
borders, strips and initials, as well as many advertisements for display. Grey wrappers, titled in black,
ornamented in green. A fine copy.
£150
67. (Gebr. Klingspor) Fraktur nach Zeichnungen von Otto Hupp. 4to, 28cm, pp.54, Ausgefurht
von der Schriftgiesserei Gebr. Klingspor, Offenbach am Main, (1910).
Printed in reddish-brown, black and grey (with some illustrations in blue), this contain a full range of
borders, strips and initials, as well as many advertisements for display. Grey wrappers, titled in black,
ornamented in green. A fine copy.
£90
68. (Gebr. Klingspor) Fichte Fraktur: Fetter Schnitt und schmaler halbfetter Schnitt nach
Zeichnung von Walter Tiemann. 8vo, 26cm, 20p, Geschnitten und gegossen von Gebr. Klingspor,
Offenbach a.M., (c.1930).
Attractively printed in colours, though with the central leaf loose. Titled in black and red. A very
good copy.
£25
69. (Gebr. Klingspor) Fette Haenel-Fraktur aus neuen, nach den Originalschnitten hergestellten
Matern gegossen. Wide 8vo, 26.5cm, pp.20, Schriftgiesserei Gebr. Klingspor, Offenbach am Main,
(1934). Printed in black and reddish-brown, illustrations in colour. Sewn into card covers. Fine £50
70. (Gebr. Klingspor) Maximilian. Gezeichnet von Rudolf Koch. 4to, 26cm, pp.20, Geschnitten
und herausgegeben von Gebr. Klingspor, Offenbach a.M., n.d. (1934).
Immaculately printed in reddish-brown and black with extensive use of borders and advertisements
for display. Overlapping cream paper wrappers, titled in black and reddish-brown. A fine copy £70
Originally designed by Rudolf Koch in 1914, Maximilian is a shaded series of capitals with ranging
figures.
71. (Gebr Klingspor) Locarno Series: designed by Rudolf Koch. 8vo, 26.5cm, 16p., Soldans
Limited, London, n.d (?1935).
Printed in red and black with many illustrations; sewn into brown paper wrappers with black and
reddish-brown titling. A fine copy.
£50
First shown in 1922, this is an unusual but popular roman with tapering vertical strokes, very small
serifs with a shaded upper case italic.
72. (Gebr. Klingspor) Cable Series: designed by Rudolf Koch. 8vo, 26.5cm, 16p., Soldans Limited,
London, n.d (?1935).
Printed in red and black with many illustrations; sewn into brown paper wrappers with black and
reddish-brown titling. A fine copy.
£50
In some ways resembling Locarno, for example in the varying width of the capitals. Four weights are
shown, plus Cable Condensed, italic ,shaded and initials. Also shown is Prisma (1931) – an inline
version made by three parallel white lines.
73.(Gebr. Klingspor) Offenbach: mager und halbfett. 4to, 26cm, pp.36, Gebr. Klingspor,
Offenbach A.M., (1936).
Printed in black and reddish-brown on cream wove paper. Many illustrations in colour (several
featuring the Berlin Olympics) and two-tipped-in specimens on different paper stocks. Grey semistiff covers printed in brown. A fine copy of a beautiful specimen.
£120
Designed by Rudolf Koch. Offenbach (c.1935) is a set of capitals without serifs but not monotone.
They have the appearance of having been drawn with a quill pen. The ends of arms and verticals are
cut off obliquely.
74. (Gebr. Klingspor) Fichte Fraktur: Fetter Schnitt und schmaler halbfetter Schnitt nach
Zeichnung von Walter Tiemann. 8vo, 20pp, Gebr. Klingspor, Offenbach a.M. (?1936).
Printed in red and black (with illustrations in colours). Stapled into wrappers printed in black and
reddish-brown, a trifle soiled on the rear cover. A very good to fine copy.
£25
75. (Gebr. Klingspor) Schonheit im Buchdruck.1. Leiten und Enfassungen nach zeichnungen von
Willi Harwerth. 8vo, 26cm, 78p, Geschnitten und herausgegeben von Gebr. Klingspor, Offenbach
A.M. (1938).
Decorative ornaments, for the most part printed in reddish-brown and black, but also coloured in
ping and green. Decorative (integral) printed wrappers. A fine copy of a very ‘Klngspor’ piece. £75
76. (Gebr. Klingspor) Steel. [Designed by Rudolf Koch (capitals) and Hans Kuehne (lowercase).]
8vo, 26cm, 14p, Gebr. Klingspor, Offenbach A.M., (1939).
Printed in red and black with advertisements in colours as display. Decorative wrappers with title
reversed out. A fine copy with a loose T.Ls regarding the type from Soldans Ltd.
£45
A pen-drawn roman without serifs but not monotone. The capitals are derived from Koch’s
‘Offenbach’
77. (Gebr. Klingspor) Schonheit im Buchdruck. 2. Vignetten und Zierstude nach Zeichnungen von
Willi Harwerth. 8vo, 26cm, 32p, Herausgegeben von Gebr. Klingspor, Offenbach a. M., (1940).
Done in black and red. Decorative floral wrappers in pink and green, titled in black. Fine.
£60
A charming specimen of over 200 vignettes and ornaments designed by Willi Harwerth.