specimen book (9 Ergebnisse)

Softcover. 35 pp.; 12" x 5"; green wrappers. Light soil. Near fine condition.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. South Hadley Falls, MA: Hampshire Paper Company, 1930. Paper specimen book, ca. 1930, for Dartford Bond papers manufactured by Hampahire Paper Company (trademark for this paper was taken over by Byron Weston Co. of Dalton, MA in 1949. Illustrated hardcover, 10.75" tall, about thirty samples plus title page and introduction, plain glassine dustjacket. Looks and feels new and unused, no names or other markings, some age-darkening and minor edge chips to glassine dustjacket. First Edition. Hard Cover. Very Good/Very Good. 4to - over 9¾" - 12" tall.

Hardcover. Zustand: Good. First Edition. Boston: Machine Composition Company: The Composing Room of New England, 1941. 1941 type specimen book in blue cloth lettered in gilt, tabbed sections separated by color dividers, 11" tall. Pockets inside front and rear covers are empty. Soem rubbing to the extremities, good hinges, sound text block, clean pages with no names or other markings. First Edition. Hard Cover. Good. 4to - over 9¾" - 12" tall.

Wrappers. Zustand: Very Good. [n.p, n.d., ca. 1900?] [33 p.], original wrappers, cover-title, 2 tipped in specimens of letter sheets with Japanese print borders in colour, one of which is stamped, "Jin & Tamura, 72 Cordova St., Vancouver, B.C." Some damp staining, generally very good. The blank fly-leaf is stamped, "Compliments of J.S. Miller, M.P.P." An unusual artifact.

Soft cover. Zustand: Near Fine. 1st Edition. 46 leaves of type specimens, done in large sizes, mostly grotesques. 80 leaves of blocks, some full-page, some colour. The block feature various patterns, fruit, fish, shoes, fashion, cakes, dogs, etc). Grey card wrappers, titled in plum, stud-bound. Rare. A near fine copy. Not listed on COPAC. The types - mostly Stephenson Blake - include many showings of Granby, Glenmoy (1931), Scarab (1937), Thorowgood (1953), Thorne (1940s), Chisel (1940s).

Hardcover. Zustand: Very Good. 1st Edition. Livre pour un petit garçon bien sage, imprimé par Jules Didot aîné, en trente caractères; depuis les plus gros et les plus simples, jusqu'aux plus petits et aux plus compliqués, orné de douze estampes coloriées par Mr et Me Colin, et Mr Aubry, et d'une grande quantité de politypages. Ouvrage spécialement consacré à perfectionner les enfants dans la lecture, et à leur inspirer le goût du dessin. - Oblong 12°. (4 l), (1 p), 79 p; 12 non-paginated lithographic plates bound in-between the pages. Plates and pages partly handcoloured. paper-covered cardboard binding, back damaged and plates with a horizontal crease each. Pages foxed, in parts heavily. Overall very good condition for a children's book - Unique and very rare combination of a specimen book of Jules Didot's characters and a children's book designed to habituer les enfants à lire toutes sortes de caractères, depuis le romain et l'italique, employés généralement pour l'impression de tous les livres, jusqu'aux caractères d'écriture, en anglaise, en ronde et en gothique. - The only other copy I could trace on the market was sold at auction by Pierre Bergé in 2018 at 6.015.-.

Hardcover. Zustand: Very Good. First Edition. Philadelphia, New York, Boston: Dill & Collins Co. Paper Makers, 1918. First edition, 1918. Book of graphic art by American designers as printed on specimens of Dill & Collins papers. Beautiful presentation, with full page color plates, tipped on samples, decorative initials, etc., with brief biographies of the artists. Includes list of artists and list of papers used at the front. Decorative hardcover, just over 11 inches tall. Covers have edgewear, small chip to spine head , good hinges, sound text block, clean pages, no names or other markings. Designers include: Bruce Rogers, Louis Fancher, W. P. Schoonmaker, Edward Penfield, Louise Ames Norman, Frederic W. Goudy, Ralph Fletcher Seymour and many others. First Edition. Hard Cover. Very Good. 4to - over 9¾" - 12" tall.

28pp., landscape 12mo, printed on rectos only of 28 leaves. Dimensions 21 x 15 cm. In brown card wraps with brown cloth tape spine over staples. In fair condition, on aged thick paper, with foxing to title leaf, and damp staining at foot of first and last few pages. Printed decorative border on front cover, with same border in black ink on title page, enclosing the title in block capitals in red ink: 'SPÉCIMEN | DE | CARACTÈRES, VIGNETTES | & FILETS | LINOTYPE'. Subtitle also in red ink in smaller font size in bottom right-hand corner: 'ENTIÈREMENT EXÉCUTÉ | SUR MACHINES | A COMPOSER LINOTYPE'. Title and page of 'CALIBRAGE' followed by twelve pages printed in black within red decorative borders; then six pages (plus page with section title) of 'Nos Séries de Caractères linotype pour Annoces et Titres'; then three pages (plus page with section title) of 'VIGNETTES | & FILETS | LINOTYPE'; then two pages of 'COMBINAISONS OBTENUS AVEC NOS FILETS ET VIGNETTES LINOTYPE'; and a last page explaining a 'Quadrillé fondu sur Linotype'. Specimens containing dates 1922, 1932 and 1932. Scarce: no record on COPAC or WorldCat, and none in catalogue of the Bibliothèque Nationale.

Bennekom/ Amsterdam, G. Schreuders, n.d. (1907), (4) text-pages and 54 coloured, monochrome and b/w specimen-plates designed by K. van Leeuwen, lithography by "Typ. Amst. Boek- en Steendrukkerij v/h Ellerman, Harms & Co., loose as issued in original clothbacked board portfolio with cloth ties, decorated in red, yellow and brown by K. van Leeuwen, oblong folio (28,6 x 37,8 cm.). = Lommen, Theosophy and Lettering Klaas van Leeuwen's Letterboek voor den teekenaar en ambachtsman, 1907 (2025), p.6-7: "In the explantory notes, Van Leeuwen sets out his principles and describes the numbered sheets individually. With this publication, he aims to 'provide letter examples for those who have to use letters in their trade, either by executing them directly or providing a drawing for them. After all, the various ways in which letters can be applied in the former - painted, carved, engraved, or cut in stone - all rely on hand lettering, which is why it has been treated exclusively in this book. As opposed to the printing letter, we could therefore speak of the drawn letter here. Van Leeuwen also took geometrical constructions as a basis in his lettering: 'To (.) obtain unity of form in analphabet in the easiest way, it is necessary to draw the letters on simple basic forms, which for our alphabet are the square and the circle. From the circle and square with its diagonals and centre lines, the core shapes of our letters are developed.' Most of the designs are presented in a series of three sheets, successively depicting the construction, a letter overview/ alphabet and a fictional application, with room for minor variations. Each sheet is surrounded by an ornamental border."In 1988 a monograph on the designer was published on occasion of a large memorial exhibition by Margriet Knol: Klaas van Leeuwen 1867-1935 (Assen: Drents Museum). Stamp on title-page and inside portfolio. (Ambachtsschool Amsterdam). Backstrip partly worn.