1958. 12mo, unpaged. The book is a collection of six essays about Bertha Goudy, preceded by a foreword by Peter Beilenson. Each essay is a separate signature, written by a different friend and printed at a different press. Of an edition of 200 copies, this is number 196. Typographers and presses include Bruce Rogers, Mabel Dwiggins, Paul A. Bennett, George Macy, F.W. Goudy, the Thistle Press, the Peter Pauper Press, Jane Grabhorn, Joseph Blumenthal at the Spiral Press, the Marchbanks Press and the Pickering Press. Internally fine in edge-worn marbled paper on boards, black cloth spine.
Cambridge, MA: Houghton Library, 1982(1771). 12mo, xii, 56,(5)pp. This is a facsimile of Bodoni's first type specimen book, produced in Parma in 1771, containing both type faces and ornaments. An edition of 1,500 copies -- including 200 as a keepsake for members of the class of 1937 as a remembrance of their reunion tea at Houghton Library on Commencement Day,1982, and 400 copies for the Friends of the Harvard College Library. There is an explanatory text by Eleanor M. Garvey, Curator of Printing. The facsimile was printed from one of two copies in their original wrappers given to the Department of Printing by William Bentinck-Smith, of the class of1937. Fine in heavy buff wrappers and really inspiring.
Los Angeles: Book Arts Program, Occidental College, 1990. Octavo, 37 pages of well-written reminiscences about these three California printers and their presses, with 16 pages of color and b/w illustrations of title pages and photographs of the printers, plus a bibliography. The book was originally an illustrated talk given at Occidental College in 1989. A very fine copy in heavy buff wrappers.
Austin, Texas: W. Thomas Taylor, 1983. Folio, xviii + 67 + (3) pages, with descriptions of 41 American presses, featuring 100 books, and illustrated with photographs plus tipped-in examples of the work of several presses, including the Allen, Arion, Bird & Bull, Cummington and others. The selection of books and press histories was done by Fine and Matheson; the bibliographical descriptions and notes by W. Thomas Taylor. This is number 277 of 325 copies, designed and printed by David Holman at the Wind River Press on Rives Heavyweight paper, and bound in tri-color cloth deepening from beige to warm tan. The 8-page prospectus is laid in. Fine.
Aurora, New York: Wells College Press, 1993. 9 1/4" x 6 1/8", 37 pages, with a preface by Bruce Bennett and Robert Doherty, both of Wells College, an essay by Carolyn Hammer, "The Stamperia derl Santuccio", 4 typographic illustrations printed in red and black, a full-color original photograph of Victor Hammer tipped in as frontispiece, and a bibliography of Hammer's Aurora years. The colophon notes that this is an edition of 500 copies, "printed in homage by Michael and Winifred Bixler, Skaneateles, New York. The book is sewn into white wrappers and a deep blue dustjacket with Hammer's Uncial initials in gilt. Fine.
Branford, Connecticut: The Penny-Whistle Press, 1983. first edition. Octavo, (9 3/8" x 6", 23.5cm x 15.5cm), 36 pages. This is an edition of 100 copies, designed and printed by John O.C. McCrillis, a typographer for the Yale University Press as well as the owner and printer of Penny-Whistle, on Mohawk Superfine Text, with linocuts from 19th century illustrations. The two stories are from Irving's "Sketch Book" and were produced to commemorate the 200th anniversary of Irving's birth. The book is sewn into Mohawk ivory cover stock, with a cover illustration printed in deep pink. This copy bears the signature of Joseph Francis Weiler, typographer, on the front endpaper. Fine.
New York: The Typophiles, 1993. 8 3/4" x 5 1/2", (16 pages). This is Typophile Monograph, new series, number 10, printed in an edition of 800 copies at The Stinehour Press, in the summer of 1963, with an additional 100 Typophile copies reprinted in December 1963, of which this is one. There are two typgraphic illustrations, one from the bibliography itself. This booklet covers the practical details of designing the biblioraphy, and is a well-written and interesting read. Fine in grey wrappers.
New York: International Typeface Corporation, 1993. first edition. Octavo, 64 pages, with a foreword by Mark Batty, president of ITC, an introduction by Jerry Kelly, who curated the exhibit as well as designed the book, and two essays,"The Twentieth Century Type Specimen" and "Type Specimens in a Century of Typographical Change. The rest of the book is given to illustrations, printed in red and black, and a checklist of the exhibition. Fine and as new in heavy white wrappers with a dustjacket of Mohawk Ticonderoga Peach. The book was designed by Jerry Kelly and printed and bound at the Stinehour Press in Lunenberg, Vermont in an edition of 1,100 copies -- 500 for ITC, 100 for the Rochester Institute of Technology, and 500 given to The Typophiles as Monograph New Series Number 9. Laid in is an address label from the Stinehour Press addressed to a printer in Connecticut, with a handwritten note from Roderick Stinehour on a Stinehour alphabet card thanking the printer in Connecticut for information and material sent to him, and mentioning the typographic workshop Stinehour taught at Dartmouth. Undated, but the mailing label has a pencilled 1993 date on it.
New York: The Composing Room, December, 1961. George Salter. Narrow octavo, 24pp., being the catalogue for an exhibition, which showed 34 years of Salter's graphic work, at Gallery 303. An essay by Salter is followed by many examples of his work, including dustjackets, for both German and American books, as well as company logos and calligraphy. The booklet, which was printed by the Thistle Press in sepia and black, was selected by the Typophiles as a members' keepsake. Fine in paper wrapped in terracotta cloth,with a single word, "Salter", on the cover. A note presening the booklet to "Tom" (Bevans, from whose estate this came) and signed "E" is enclosed.
Austin, Texas: W. Thomas Taylor, 1991-1995. A complete run of 16 issues of this superlative periodical, starting with Volume I, Number 1, for October, 1991, through Summer of 1995. Numbers 13-14 and 15-16 are double issues bound as one, for a total of 14 separate quarto volumes in beautifully printed heavy wrappers. Fine as issued.
Pasadena, California: Grant Dahlstrom, 1967. First Edition. 9 1/2 x 6 1/4", 24cm x 15.5cm,16 pages, with a photograph by Ward Ritchie of Stanley Morison in Los Angeles in1962 as frontispiece. This was issued after Morison's death in that year, and was meant for his friends and admirers. An edition of 500 copies, bound in doubled blue paper wrappers. Fine, as issued.
New York: The Typophiles, 1960. first edition. 7 1/8" x 4 1/2", 18cm x 11.4cm. 118 pages. There is a preface by Paul Standard, who translated the book from German, Hermann Zapf's text, starting with his "born in Nurnberg on 8 November 1918...", with a portrait frontispiece, calligraphic broadsides and type specimens and a terminal essay by Paul A. Bennett on the background of the book. The book, 37th in the Typophile Chap Book series, was designed by the author, set in linotype Optima and printed in Frankfurt by Ludwig Oehms. This edition comprises 400 copies for Typophile subscribers and contributors, and 300 copies for general sale, each numbered and signed. This is copy number 159, and bears Zapf's elegant signature on the colophon page. The spine is lightly worn at the ends and is a shade or two darkened and with a slightly rubbed leather label. The book is otherwise very good to fine in blue cloth. typ.
Cincinnati, Ohio: Contemporary Arts Center, 1960. First edition. A travelling exhibit arranged by the Contemporary Arts Center at the Cincinnati Art Museum. 12mo, unpaged (62)pages, with a photograph of Zapf as frontispiece, an introduction by Noel Martin, descriptions of 170 exhibits and reproductions of many of them in black and red inks, plus a list of Zapf's typefaces and a brief chronology. The booklet is set in Linotype Optima and was printed at the Stempel foundry in Frankfurt am Main. Text paper age-toned at the edges else about fine in grey-green wrappers, spine slightly browned, with a narrow paper spine label, also age-toned.
New York: Champion Papers, 1978. 11" x 8 1/2", 36 pages. This issue was designed by Hermann Zapf, and is full of his quotes, typefaces, calligraphy and posters, many being full-page and in color. An internally fine -- and indisputably elegant -- copy in mildly rubbed and faded heavy blue wrappers. Text and cover papers are by Champion. A very good copy.
Los Angeles: 1953. Small octavo, unpaged (12 pages). This is an edition of 500 copies printed by Wm. M. Cheney, that is, as noted, the text of a broadcast heard in January 1954 on the Ed Murrow weekly program of the same title, and here privately published for distribution to friends. To quote Zeitlin: "The written and printed word survives persecution, book burning, censorship and fashions. When I sell a man a good book I am the happy transmitter of a precious thing and I feel I have justly earned my profit." Faint vertical crease near the outer edge, else a fine copy in faintly worn buff wrappers.