One Hundred Books About Bookmaking: A Guide to the Study and Appreciation of Printing 9780231887533

Table of contents :
Contents
Introduction
I. General Works and Origin of the Book
II. Writing and Lettering
III. Printing History and Modem Trends
IV. American Developments
V. Printing Practice
VI. Printing Types and Decoration
VII. Illustration
VIII. Bookbinding and Papermaking
IX. Bookmaking Periodicals. Miscellaneous
A Bibliographical Note about the First Edition of This Checklist
Index

Citation preview

ONE HUNDRED BOOKS ABOUT BOOKMAKING

ONE HUNDRED BOOKS ABOUT BOOKMAKING A GUIDE TO THE STUDY AND OF

APPRECIATION

PRINTING

BY H E L L M U T LEHMANN-HAUPT

N E W YORK : COLUMBIA

1949

UNIVERSITY

PRESS

COPYRIGHT 1 9 4 9 C O L U M B I A UNTVBH8ITY PRESS

First edition, Fifty Books about Bookmaking: first printing, June, 1933; second printing, September, 1933; third printing, December, 1933; fourth printing, 1934. Second edition, Seventy Books about Bookmaking, 1941. Third edition, One Hundred Books about Bookmaking, 1949.

PUBLISHED IN GREAT BRITAIN, CANADA, AND INDIA GEOFFREY

CUMBERLECE,

OXFORD

LONDON, TORONTO, AND

UNIVERSITY

BY

PRESS

BOMBAY

M A N U F A C T U R E D IN THE U N I T E D STATES OF A M E R I C A

CONTENTS Introduction I. II.

General Works and Origin of the Book

ι -8

Writing and Lettering

9-21

III.

Printing History and Modem Trends

2.2-34

IV.

American Developments

35*4°

Printing Practice

41-50

Printing Types and Decoration

51-60

Illustration

61-78

Bookbinding and Papermaking

79-89

V. VI. VII. VIII. IX.

Bookmaking Periodicals. Miscellaneous A Bibliographical Note about the First Edition of This Checklist Index

90-100

INTRODUCTION

Though the title has changed, this is really the third edition, revised and enlarged, of a little volume first called Fifty Books about Book-making and then, in its second edition, Seventy Booh about Bookmaking. The book appeared first on the occasion of the Twelfth Annual Conference on Printing Education, held at Columbia University, June 26 to 28, 1933· It was issued as the catalogue of an exhibition which the Columbia University Library had organized for the benefit of the members of that conference. This catalogue contained a selection of books on printing and the graphic arts which, we felt, would be of permanent value to teachers and students of printing. Appreciation of printing is, of course, based on some real understanding of the technical processes. This understanding can be gained by instruction and by actual workshop practice; individual personal experience is a wonderful eye opener. There are many excellent handbooks that help along the path of practical apprenticeship - the United Typothetae of America's Standard Textbooks on Printing, for instance, and numerous technical periodicals and yearbooks. It is, however, something else that we had in mind in arranging that exhibition and in issuing the catalogue, something which is as important and vital as it is intangible. A program of instruction can be thought of that would have as its result a good practical training in all the mechanics of printing, but that would still miss most of the real values. Exactly beyond the line of pure mechanical com-

petence lies the understanding and mastership of the creative forces which lend character and style to printing - the spirit, in fact, which gives life to the technical accomplishment. This spirit relies upon the mechanics in order to manifest itself, a mutual relationship that is essential to both. Style cannot be taught, nor can it be learned by heart. There has to be at least some native talent; but this talent has to be awakened and developed. It is a slow process, and one that depends on a great variety of experiences - on human relationships, constant contact with good work, learning to see, and learning to read. Books in the field of the graphic arts, as in any other worthwhile realm of human endeavor, bring close contact and companionship with the great masters of the present and the past. Reading is an investment for the long pull, which bears no immediate, practical results, but it brings to the student silently and invisibly an accumulation of intellectual capital. These invisible resources stand behind the work of every great printer of the past and present. It is no mere chance, for instance, that the best contemporary type faces have all been designed by artists who command an intimate knowledge of the traditions of handwriting and the history of type design. I am not suggesting that every printer should be a librarian (incidentally, however, I do believe that every librarian should be a bit of a printer), but the study of a few books is essential to every printer. Possibly the book that contains very little practical advice will in the end be the most useful one, and quite likely the book that is laid down and apparently forgotten will be the most productive in its results, because its message has been absorbed. There has been a broadened understanding, in recent years, of these aspects of printing education both in the industry and

in the library world. It is perhaps not insignificant (and certainly gratifying) that Harry L. Gage in his An Appraisal of Graphic Arts Education, as well as Miss Helen Haines in her Living with Books have quoted passages from the introduction to the first edition of this little guide. One hopeful sign is the ever-growing interest in printing and the graphic arts being shown by colleges and universities. A good many new courses have been established in the past fifteen years, and more will undoubtedly be started. This book, it is hoped, will be found a useful tool for the teachers and students of these courses. The printing industry at large has been slow to recognize the value of these developments. It is true that much of this educational work is carried on with little technical equipment, but not so much because funds are lacking as from deliberate choice. The basic manual processes do not require complicated machinery, but they do, nevertheless, have fundamental training value. Calligraphy, hand composition, the making of linoleum cuts and of woodcuts, of decorative pattern papers, the operation of a hand press, bookbinding by hand, elementary photography, those are the foundations of a creative career in the graphic arts. But even the courses which emphasize appreciation and understanding rather than production are of fundamental value. Their importance lies partly in the training of future professional "consumers" of books and printing in many library schools throughout the country and in a steadily growing number of training courses in bookselling and publishing. Moreover, the study and appreciation of printing is a recognition of the vital function of the graphic arts in our society and our culture. There, once more, lies the value of a carefully selected bookshelf. The literature of the graphic arts is very extensive,

but there are not so very many books that fit a broader purpose. Obviously, such books have to be general, but at the same time substantial and definite. All publications were ruled out which were limited to the work of only one particular period or of one single country, except those pertaining to the United States. "Second best bets" were usually avoided, and as a rule we preferred not to cover a phase of bookmaking at all rather than to include a mediocre treatment of the material. It was not possible to keep the books within a low price range; some of the volumes listed are expensive. Nor was it possible to limit the choice to books in print at the present time. Not all the items listed are readily available on the market; but it should be possible to assemble them, with the exception of a very few, within a reasonable amount of time. Not only the selection but also the arrangement of the books was carefully planned. There is a continuity here which should make it worth while to read through the catalogue. One of the surprising discoveries made fifteen years ago in assembling the original "fifty" was the complete lack of wellwritten, compact volumes on certain specific aspects of bookmaking. Of eight such vacancies mentioned in the introduction to Fifty Books about Bookmaking in 1933, about half had been filled by 1 9 4 1 . Since then most of the remaining gaps have been filled, though not with such finality that there is still not room for a basic volume in English on the history of bookbinding or on the illustration of children's books. There still is no book, in any language, that deals comprehensively with the subject of modern book illustration. The time has also come for the summing up of the international developments in bookmaking and printing since the beginning of the Second World War. With very few exceptions, the good books about bookmaking

aie themselves well-made books, although this unfortunately does not mean that all the well-made ones are good. The raising of the number of items on this list from the original fifty to seventy in the second and to one hundred in this third edition came about naturally and without deliberately holding down or increasing their number for the sake of a convenient tide. I believe this growth can be accepted for what it appears to be — the reflection of a steadily increasing interest in the graphic arts and, with it, greater maturity and competence in writing and publishing books about a form of communication which seems to be holding its own against some very stiff competition. The "Books about Bookmaking" column in Publishers' Weekly, the reviews in Print, and the American Institute of Graphic Arts' Journal were helpful sources of information. A few of the older standard works that were not included in the previous editions of this book have now been added. A word of special thanks is due to several members of the Columbia University community, among the students of the School of Library Service, on the staff of the Library and of the Press, for their substantial assistance in the selection, preparation, and publication of this list. It should be added that the responsibility for the selection is my own. H. L. -H. June ι, 1949

ONE HUNDRED BOOKS ABOUT BOOKMAKING

I. G E N E R A L WORKS A N D ORIGIN OF T H E BOOK

ι F I N E BOOKS By Alfred W. Pollard. London, Methuen, 1912. (331 pages, 40 plates) There is no such thing as the ideal book, either in physical format or by virtue of contents. But, if one had to recommend only a single volume on the subject of books and printing, Alfred Pollard's fine and noble volume would be a safe choice. It has stood the test of time. One need only look up chapters dealing with such controversial subjects as the invention of printing and the rise of book illustration to appreciate the knowledge, taste, and sense of proportion which the British Museum's famed scholar brought to the writing of this book. 2 A N INTRODUCTION TO BIBLIOGRAPHY FOR LITERARY STUDENTS By R. B. McKerrcnv. Oxford, Clarendon Press, 1928 (35p pages, illus.) It is not always easy for a student of the graphic arts to remember that printing is not a means in itself, but that it serves a very definite and important purpose. The consumer of printing, whether the casual reader or the painstaking scholar, is a definite part of the picture. For this reason McKerrow's Bibliography is included in this group of books about

bookmaking. The purpose of McKerrow's study is to acquaint the student of literature with those physical details of book production which have a bearing upon literary criticism, editing, and general bibliographical problems. 3 T H E P R I N T I N G OF BOOKS By Holbrook Jackson, id edition. London, Cassell, 1948 (286 pages, illus.)

Toronto

[etc.],

"Printing for reading" is the credo set forth in this book by Holbrook Jackson, which should be read and enjoyed slowly and a little at a time. It is a collection of essays, loosely built around the central theme, and perhaps most interesting when it shows printing as seen through the eyes of famous authors. The number of important writers, from Robert Burton to Robert Bridges, who have expressed themselves intelligently on the subject of printing is, perhaps, more surprising than the fine quality of their criticism and their understanding of typographic problems. 4 C H R O N O L O G Y OF BOOKS & P R I N T I N G By David Greenhood and Helen Gentry. Rev. edition. York, Macmillan, 1936 f i 8 6 pages)

New

What, to the curious inquirer into the history of bookmaking, could be more natural than a desire to see the tangled and often contradictory mass of old and new information neatly straightened out into the orderly pattern of a chronology? It is hard to imagine how history could be written more accurately and more objectively than in this manner. Yet, experience has

shown that chronologies are subject to the same differences of selection and interpretation as any other form of written history, and many things refuse to be nailed down. David Greenhood and Helen Gentry have coped successfully with these difficulties. Their very careful wording, the reservations which they make, and the frequent inclusion of explanatory notes make their book a valuable and useful tool. 5 B L A C K O N W H I T E : T H E S T O R Y OF BOOKS By M. llin, translated by Beatrice Kincead, illustrated by N. Lapskin. Philadelphia, Lippincott, 1932 (135 pages) The charm of this book lies in its pleasing simplicity - a textbook which reads like a fairy tale. In simple and entertaining words Tlin tells the story of the book, its ancestors, its early forms, and the changes to our modem formats. The book was originally intended for Russian children, workers, and peasants; for their understanding the entire history was dissolved into a loose series of episodes and anecdotes, which, nevertheless, give a complete and essentially true picture. The sketchy little black and white illustrations are informing, witty, and of astonishing variety. 6 GESCHICHTE DES BUCHES By Svend Dahl. 2d, rev. edition. Leipzig, Hiersemann, (253 Vies>

1941

74 M™.)

T h e particular value of this history of the book will be found in its broad scope and the skill with which the individual aspects of the topic have been woven into a generally signif-

icant account. T h e innumerable separate branches of the subject have been treated in just proportion to their general importance. The evolution of manuscript production, of printing, binding, and illustration, has been integrated with the story of the book trades, of book collecting, and the rise of libraries. A vast amount of material has been organized into an intelligendy conceived and broadly presented panorama of the history of the book as part of the growth of our civilization. The book was first published in a Danish edition in Copenhagen in 1927; a German translation was published in 1928. A French translation appeared in Paris (Lamarre, 1 9 3 3 ) under the tide Histoire du livre de l'antiquité à nos jours. 7 THEY WROTE ON CLAY The Babylonian tablets speak today, by Edward Chiera, edited by George G. Cameron. Chicago, University of Chicago Press, 1938 (235 pages, illus.) It may be an open question whether the clay tablets of ancient Babylonia and Assyria can be called "books," but they certainly fulfilled the same functions in their time and place as did books later on. They unquestionably belong to the family tree, even if they seem remote and mysterious to many. Here lies the value of the late Professor Chiera's book. It offers, for the first time, an opportunity for the interested layman to get really close to those amazing old documents and to understand them as fully as anybody could wish to understand them without actually studying the language and the script.

8 BOOKS A N D READERS IN A N C I E N T GREECE AND ROME By F. G. Kenyon. Oxford, Clarendon Press, 1932 (136 pages, illus., fiâtes, facsitn.) What Chiera's book accomplishes in the realm of ancient Babylonian and Assyrian tablets, Kenyon's volume does for the book rolls of Greece and Rome, those less remote ancestors of the medieval codex and of our modern volumes. Kenyon's account, the outcome of three lectures given at the University of London, is a compact and readable summing-up of the older literature, which, unfortunately for English-Leaking readers, is mosdy in German. A new book on the subject by H. L. Pinner, entitled The World of Books in Classical Antiquity, appeared in Leiden, Sijthoff, in 1948. It is a good general introduction.

II. WRITING AND LETTERING

9 T H E STORY OF WRITING Prepared under the auspices of the Committee on Materials of Instruction of the American Council on Education. Washington, D. C., American Council on Education, 1932 (64 pages, illus.) "Achievements of Civilization." No. 1. The one fundamental graphic art is the art of writing. It is the basis of all recorded communication from individual to

individual and from the past to the present. The origin of writing and the formation of the alphabet have been told often and in many forms. This little pamphlet of the American Council on Education has an importance of its own as an attractive and intelligent presentation of the whole story of the origin and early growth of writing. io T H E ABC OF OUR ALPHABET By Tommy Thompson. 2d edition. London & New York, Studio, 1945 (64 pages, illus.) The development of our alphabet is a story which will never cease to hold a special interest. Tommy Thompson's account of what he calls the highest attainment of the human mind is a simple one. He uses plain language and a series of uncomplicated, eloquent diagrams which accompany the text continually, often on all four margins, not infrequendy intruding upon the type area. There is a slight loss in readability, to be sure, but it is compensated for by the narrative value of the illustrations and the fresh approach and directness which characterize the whole book. H T H E ALPHABET: A KEY T O T H E HISTORY OF M A N K I N D By David Diringer. London & New York, Hutchinson, 1948 (607 pages, 256 illus.) While The Story of Writing could be used as an elementary primer and The ABC of Our Alphabet as a good general introduction, Dr. Diringer's work is for the serious student of the history of books and writing. The first of its two parts

deals with the non-alphabetic systems of writing, whenever and wherever they appeared on the surface of the earth. The second traces the origin of the alphabet and its adaptation and use throughout the world —a broad presentation on a generously conceived plan, carried through with thoroughness and precision. ANCIENT W R I T I N G AND ITS INFLUENCE By B. L. Oilman. New York, Longmans, Green, 1932 (234 ;pages, illus., 16 plates incl. facsim.) "OUT Debt to Greece and Rome." No. 38. Professor Ullman's book takes up the story of writing from the establishment of a definite alphabet, recording the changes of our letter forms through the Middle Ages and to the invention of printing. It clearly shows the evolution of our modem alphabet as the source of inspiration for the first European printers. AN I N T R O D U C T I O N TO GREEK AND LATIN PALAEOGRAPHY By Sir Edward M. Thompson. Oxford, Clarendon ÏÇÏZ (600 pages, 250 facsim.)

Press,

This book covers approximately the same material as Ullman's volume, but in much greater detail. It also describes the various materials used in early writing and the different early forms of the book. It is definitely a book by a scholar for scholars and serious students. It is written with the warmth of intímate knowledge and the delicacy of a highly developed taste.

14 L E T T E R I N G A series of 2.40 plates illustrating modes of writing in western Europe from antiquity to the end of the i8tk century; introduction by Hermann Degering. London, Benn, 1929. It should be said that the 240 specimens of writing and lettering, which are excellent reproductions in every way, form the most important part of this volume. The wealth of styles, the differences in technique, and the variety of materials are well represented, and the volume will be of permanent value as an inspiration to any serious student of lettering. The book appeared originally in German, under the title Die Schrift, Berlin, Wasmuth; there is also a French edition, L'Ecriture, Paris, Librairie des Arts Décoratifs. Some critics have said that the introduction has suffered from having been translated; the plates, however, are equally well reproduced in all three editions, and any one of them will serve the main purpose of the volume. 15 T H E E N G L I S H WRITING-MASTERS A N D THEIR COPY-BOOKS, 1 5 7 0 - 1 8 0 0 A Biographical Dictionary and a Bibliography by Ambrose Heal, with an introduction on the development of handwriting by Stanley Morison. Illustrated with portraits of the masters and specimens of their hand. Cambridge, University Press, 1931 (225 pages, 80 plates) Although limited to one country and primarily a bibliography, this splendid volume is listed here because of the information it contains on the development of calligraphy in the important period between the end of the Middle Ages

and the beginning of the industrial revolution, the two centuries when the art of writing had to be redefined, and defended, and was given important new responsibilities. 16 W R I T I N G & I L L U M I N A T I N G & L E T T E R I N G By Edward jJohnston; with diagrams and illustrations by the author and Noel Rooke. 21 st impression. London and New York, Pitman, 194s (500 pages, illus., plates, facúm.) The foundation of modern artistic writing and the bible of many a successful letter artist. First published in 1906, it has lost none of its freshness of inspiration in more than forty years of service. For technical details, such as writing tools and materials, and for aesthetic standards, nothing better can be recommended, although the quality of the plates in recent impressions leaves something to be desired. For those who wish to complete their working library with a more recent work of English origin, a volume by one of Johnston's most talented pupils should be mentioned. It is Graily Hewitt's Lettering for Students and Craftsmen, London, Seeley, Service and Co., 1930. 17 T H E E L E M E N T S OF L E T T E R I N G By ). H. Benson and A. G. Carey. Newport, Rhode Island, ]ohn Stevens, 1940 (125 pages, illus. incl. facsim.) A really sound American handbook on modern lettering has long been needed. Warren Chappell's The Anatomy of Lettering, published in 1935, was the first creative approach by one of Rudolf Koch's gifted American students. The Ele-

ments of Lettering by Benson and Carey is a treatise of unusual psychological (one is almost tempted to say philosophical) depth-not, however, at the expense of practical information or of emphasis on creative freedom. It is a fine, sincere piece of work, recommended to all those interested in seeing better work done, in doing it, and in teaching and learning how to do it. 18 A N A L P H A B E T S O U R C E BOOK By Oscar Ogg. Reprinted. 1947 (i99

New York, Dover

Publications,

fges)

An inspirational copy book by a master and teacher who can be counted among the most able and versatile lettering artists of the present time. 19 L E T T E R I N G OF TO-DAY Edited by C. G. Holme. Revised edition. London, Studio, Limited; New York, Studio Publications, 1941 •pages, incl. plates)

The (144

Three things make this a worthwhile book to own: the wealth and quality of illustrations by many artists in many countries and in a great variety of media; the organization of the text into separate units, assigned to authors particularly competent to speak on such aspects as the basic principles of lettering, the reform of handwriting, lettering in book production, in architecture, and in advertising; and, last but not least, the integrity of judgment and the adherence to high standards throughout the volume.

A HANDWRITING MANUAL By Alfred ]. Fairbank. 2d edition. London, Dryad Press, 1947 (40 pages, illus.) This little volume aims at a reform of our everyday handwriting. Many people today regret the influence that the very slanting, flourishing hand of the nineteenth century brought into our schools. While not a universal remedy, this book deserves attention and study because it is deliberate and consistent. It shows how clarity and beauty in writing can be developed by patient practice and study. CALLIGRAPHY'S FLOWERING, DECAY & RESTAURATION With hints for its wider use today by Paul Standard. Chicago, Society of Typographic Arts, 1947 (36 pages, illus., map, facsim.) Paul Standard's friendly little volume is perhaps best described as a first attempt to take stock of just how far the current renaissance of artistic handwriting has carried, how much territory has been touched by it, and what new worlds still lie ahead to be conquered.

III. P R I N T I N G H I S T O R Y A N D M O D E R N T R E N D S

22 A H I S T O R Y OF T H E P R I N T E D BOOK Being the third number of The Dolphin, edited by Lawrence C. Wroth. New York, The Limited Editions Club, 1938 (507 pages, illus., facsim.) The Dolphin history, through the skillful editorship of Lawrence C. Wroth and a co-operative plan of authorship, has achieved the very difficult and very important task of presenting a satisfactory general history of the printed book, considering all branches of production and all important centers of activity throughout the five centuries since Gutenberg. A History of the Printed Book can be recommended without reservation. 23 T H E BOOK The Story of Printing & Bookmaking by Douglas C. McMurtrie. 3d edition revised under present title. New York, Oxford University Press, 1943 (677 pages, illus.) Too well known to need either introduction or special recommendation, McMurtrie's The Book is the most successful history of printing hitherto attempted by a single author. Its weaknesses, largely resulting from repeated reliance on secondary sources, have not interfered with the usefulness which this book has demonstrated throughout many years of service and in several revisions and new editions.

24 A V E N T U R U N D

KUNST

Eine Chronik des Buchdruckergewerbes von der Erfindung der beweglichen Letter bis zur Gegenwart. By Konrad F. Bauer. Frankfurt, Bauer Type Foundry, 1940 (437 pages, illus., facsim.) The contribution of the Bauer Type Foundry to the Gutenberg celebration of 1940, this work is a year-by-year chronology of the art of printing, arranged by periods, one section for each of the five centuries since the invention of movable type and each preceded by a brief general summary of outstanding developments. Both the summaries and the chronological entries abound in rich and varied information. This is a brilliant piece of typographic research, presented in a quiet and straight-forward manner, in which a sense of humor and tolerance of quaint eccentricities are not altogether lacking. T h e development of the art of typecutting and typefounding is, perhaps, the most consistently cultivated single theme, and although it is international in scope, developments in Germany are treated with somewhat greater intimacy than are the contributions of other countries. The volume is illustrated with some of the most excellent reproductions of masterpieces of printing ever produced. 25 T H E I N V E N T I O N OF P R I N T I N G I N C H I N A A N D ITS SPREAD W E S T W A R D By Thomas F. Carter. Rev. edition. New York, Columbia University Press, 1 9 3 1 (282 pages, illus., plates incl. facsim., table) For at least a century and a half students of printing have

been somewhat vaguely aware of the existence of a far older knowledge of printing in the Far East; but there was a good deal of reluctance to face the facts. The publication of Carter's book in 1925 had an immediate and profound effect. Skillfully and beautifully written, it clearly defined the nature of Far Eastern printing, traced its gradual infiltration into the western world and showed what Gutenberg did leam, or could have learned, from his Chinese ancestors. Carter's early death made it impossible for him to carry on, but in spite of much recent work by others his book still occupies a central position. 26 J O H A N N E S G U T E N B E R G : SEIN L E B E N UND SEIN WERK By Aloys Ruppel. 2d edition. Berlin, Gebr. Mann, 1947 (230 pages, 26 facsim. incl. 3 in color in end pocket) This is undeniably a very complete and a very careful study of Gutenberg and the European invention of printing, by the director of the Gutenberg Society in Mainz on the Rhine. Dr. Ruppel, historian and archivist by training, has conscientiously consulted all the reliable sources of information and has cautiously and skillfully interpreted them. He gives a clear rehearsal of the indisputable facts, neatly set off against the many assumptions and the contradictory conclusions drawn by previous authors. His own solutions are never offered as anything more than suggestions. The most reliable books in English are Otto W. Fuhrmann's Gutenberg and the Strasbourg Documents of 1439, New York, Press of the Woolly Whale, 1940, and Douglas McMurtrie's The Gutenberg Documents, with translations of the texts

into English, backed with authority on the compilation by Dr. Karl Schorbach, New York, Oxford University Press, 1941. 27 P R I N T I N G IN T H E F I F T E E N T H C E N T U R Y By George Parker Winship. Philadelphia, University of Pennsylvania Press, 1940 (158 pages, illus.) It would be rather difficult to recommend from the vast available literature a single volume on fifteenth-century printing-if we did not have these Rosenbach Fellowship lectures of Mr. Winship to turn to. He knows how to recreate, with most economic means, the whys and wherefores which caused these books and pamphlets to be sent to press some five hundred years ago. This book is a genuine pleasure to read, because its learning is carried so lightly and is measured with such experience and skill against the interests and horizons of his listeners and readers. 28 DEVICES OF T H E EARLY PRINTERS

1457-1560

Their history and development, with a chapter on portrait figures of printers by Hugh William Davies. London, Grafton, 1935 (708 pages, illus.) Printers' marks have greater general significance than it might seem on the surface. These signposts of the early presses deserve special attention. The book by Davies is a most useful "attempt to eliminate some of the aridity that often prevails in the regions of bibliography." Another recent publication on the same subject, Edwin Eliott Willoughby's Fifty Printers Marks, published in 1947

by the Book Arts Club of the University of California, will be found a pleasant and handsomely presented discussion. FOUR C E N T U R I E S OF FINE P R I N T I N G Upwards of six hundred examples of the work of presses established during the years 1500 to 1914, with an introductory text and indexes by Stanley Morison. London, Benn, 1924 (243 pages, incl. illus.) Revised edition in smaller format. New York, Ferrer, Straus & Co., 1949 (272 full-page illus.) Stanley Morison's many contributions to the literature of printing are remarkable for their broadness of scope, their literary quality and good taste, and the direct effect which they have had upon practical printing and type designing. Four Centuries of Fine Printing is an excellent series of facsimiles illustrating the art of the printer from 1500 to 1914, expanded to 1465 - 1924 in the revised edition. The foreword is a short oudine of printing history told in terms of the development of the Roman letter. MODERN FINE PRINTING An exhibit of printing issued in England, the United States of America, France, Germany, Italy, Switzerland, Czechoslovakia, Holland and Sweden during the twentieth century and with few exceptions since the outbreak of the war, by Stanley Morison. London, Benn, 1925 (152 pages, illus.) This companion volume to Four Centuries of Printing, devoted to European and American printing from 1914 ta

i925> sets forth the contention that modem fine printing should not be left to the private press of the amateur - that it should be viewed, not as a result obtained with costly raw materials and processes, but as an artistic production of creative intelligence and care. P R I V A T E P R E S S E S A N D T H E I R BOOKS By Will Ransom. New York, R. R. Bowker, 1929 (493 pages, illus. incl. facsim.) This book aims to give complete information on the various private presses and their output. While the second part, which contains almost 300 pages of book tides, is most useful to the collector and the librarian, it is the first 200 pages that are recommended here. They contain a critical review of private presses, mostly English and American, treated in connection with the general revival of the graphic arts. T w o supplements have been compiled by Irvin Haas, Bibliography of Modem American Presses, 1935, and A Bibliography of Material Relating to Private Presses, 1937. Since 1945 Will Ransom has been issuing periodically Selective Check Lists of Press Books, which are being published in New York by Philip C . Duschnes. T H E A R T OF T H E BOOK By Bernard H. Newdigate. London, The Studio, Limited; New York, Studio Publications, 1938 (104 pages, illus., facsim.) Special autumn number of The Studio, 1938. One might wish that the many illustrations, liberally and

informally distributed throughout this book, might have been tied in a little more closely, by numbers or placement, with the text. But they do make for variety and fresh interest from page to page. Perhaps the main virtue of the book is that it ranges freely over the typographic map of Europe and America, supplying a good general survey of conditions before the outbreak of the second World War. 33 B U C H K U N S T : B E I T R A E G E Z U R E N T W I C K L U N G DER GRAPHISCHEN KUENSTE U N D DER K U N S T IM B U C H E Published by the Staatl. Akademie fuer Graphische Kuenste und Buchgewerbe, Leipzig (2 volumes, 1931 and 1935, illus., plates, facsim.) Published with a four-year interval between them, these two volumes of Buchkunst are almost exclusively devoted to twentieth-century aspects of printing and the graphic arts. International in scope, they contain first-hand information on valuable, creative developments of the graphic arts in Europe between the wars. Published by the State Academy of Graphic Arts in Leipzig, the volumes are in themselves masterpieces of bookmaking. 34 G R A F I K A Modern Design for Advertising and Printing by Imre Reiner. New York, Paul A. Struck, 1947 (120 pages, illus.) It is too early to expect a definitive and objective summary of the evolution of modem typographic style during and after the second World War, if indeed there was any general

advance. The best available sources are statements of outstanding individual progressives. Imre Reiner's volume is such a statement, fascinating and stimulating in its quite individualistic approach. One of America's most articulate reformers in the field of book design is Merle Armitage, whose Notes on Modern Printing, New York, Rudge, 1945, is a good exposition of the point of view of a man who believes in injecting modern design into book production rather than to let it evolve from within.

IV. AMERICAN DEVELOPMENTS

35 T H E COLONIAL PRINTER By Lawrence C. Wroth. 2d edition, rev. and enl. Portland, Maine, Southworth-Anthoensen Press, 1938 (368 fages, illus., facsim., diagrams) This book was first published in 1931 as a limited edition of the Grolier Club. This 2d edition has brought it within reach of many who wanted and needed it. A classic in the literature of printing and bookmaking, it needs no recommendation. For the benefit of the uninitiated it should be explained that it reviews the activities of the printer in colonial America; it reconstructs his workshop and early equipment, describes the conditions of work in it, the remuneration and the hardships. Colonial typography has had a deep influence upon twentieth-century American

printing, possibly too much so. One great value of Mr. Wroth's book is to help distinguish the permanent elements of our tradition from those which are incidental and ephemeral. A detailed study of the earliest colonial printing is George Parker Winship's The Cambridge Press 1638 - 1692, Philadelphia, University of Pennsylvania Press, 1945. 36 T H E BOOK I N A M E R I C A A history of the making, the selling, and the collecting of books in the United States, by Hellmut Lehmann-Haupt in collaboration with Ruth S. Granniss and Lawrence C. Wroth. New York, R. R. Bowker, 1939 (453 pages) This one-volume account of book production and book distribution in the United States is not intended as a definitive history of printing in the United States. The aim of the work is to present a brief and straightforward survey of printing and the allied crafts, of publishing and bookselling, and of book collecting and the creation of libraries, from colonial beginnings to the present. The various aspects are treated in separate, clearly divided chapters, so that the student of any particular subject can easily find his way. The book also contains an extensive list of references. 37 N O T E S ON T H E M E R R Y M O U N T P R E S S & ITS WORK By D. B. Updike, with a bibliographical list of books printed at the press, 1893 - 1933, by Julian P. Smith. Cambridge, Harvard University Press, 1934 (279 pages, plates)

With an introduction from the pen of D. B. Updike, this book is not merely a list of Merrymount Press imprints but also an authentic, evaluating account of its work and of Mr. Updike's professional achievement as printer and scholar. In this manner it presents an important chapter of twentiethcentury American printing history. With it could be read Some Aspects of Printing Old and New, the last book from Mr. Updike's pen, published in 1941 by William Edwin Rudge, in New Haven. What leading printers, authors, and booklovers have had to say about this great personality will be found in two parallel volumes, one by George Parker Winship, entitled Daniel Berkeley Updike and the Merrymount Press (Vol. I in "The Printers' Valhalla"), Rochester, Leo Hart, 1947; the other one Updike: American Printer and His Merrymount Press, New York, American Institute of Graphic Arts, 1947. 38 T H E W O R K OF B R U C E R O G E R S , J A C K OF A L L T R A D E S , M A S T E R OF O N E A catalogue of an exhibition arranged by the American Institute of Graphic Arts and the Grolier Club of New York, with an introduction by D. B. Updike, a letter from )ohn T. McCutcheon and an address by Mr. Rogers. New York, Oxford University Press, 1939 (127 pages, plates, facsim.) This is a complete record of the work in printing of a great American. It includes not only his books and pamphlets but also studies and drawings, layouts and sketches, and all manner of ephemeral printing and designing-an astonishingly complete listing of a single printer's varied activities. With the warm sincerity of its introduction, the book is an

impressive testimony to the influence of the great printer in our times. 39 G O U D Y , M A S T E R OF L E T T E R S By Vrest Orton, with an introduction by Frederic W. Goudy. Chicago, The Black Cat Press, 1939 (101 pages, fiâtes, facsim.) Vrest Orton has done Frederic Goudy a real favor by not using superlatives and by avoiding the kind of blind devotion which it must have been difficult to accept graciously. It is Goudy's idealism, his refusal to accept things as he found them, his restless, ingenious struggle to beat the machine age with its own weapons which Vrest Orton has portrayed with striking likeness. This and the wealth of factual information lend distinction to this volume. 40 T H E A N N U A L OF B O O K M A K I N G New York, The Colophon,

1927-1937

1938.

A good survey of American bookmaking in the interwar period, built up from a series of brief monographs of outstanding personalities and organizations, presses, publishing firms, and machine composition houses. The signatures of the book are in themselves examples of careful designing and printing, each of them produced independently from the others and printed by a different firm or individual.

V. P R I N T I N G P R A C T I C E

41 FIRST P R I N C I P L E S OF T Y P O G R A P H Y By Stanley Morison. New York, Macmillan, 1936 (29 pages) Stanley Morison is perhaps the ideal combination of a practical typographer and a student of the printing craft. His First Principles of Typography is valuable as a simple and clear statement of how to use type. He has succeeded in the very difficult task of presenting in short form the few rules that are permanently valid. Also, he tells enough about the reasons for these rules to make clear when they are not needed — an excellent thing to know. 42 A N E S S A Y O N T Y P O G R A P H Y By Eric Gill. 2d edition. New York, Sheed and Ward, 1936 ('33 pages, Mus.) The creative artist is not infrequently under a serious handicap when writing about his own art. Eric Gill, sculptor, wood engraver, and type designer, is certainly a creative artist. And his Essay certainly does suffer from the author's strong personal bias against the modem machine system. But his convictions are strong, and he has expressed here some unusual and even provocative ideas about typography, which continue to provide ample material for thought and consideration. Among the illustrations some enlightening

comparisons of good and bad letter forms are of particular interest and value. PARAGRAPHS ON P R I N T I N G Elicited from Bruce Rogers in talks with James Hendrickson on the functions of the Book Designer. New York, William E. Rudge, 1943 (187 pages, facsimile reproductions) Its directness of purpose is one of the most winning qualities of these Paragraphs. Bruce Rogers had only one thing in mind when he allowed these seemingly casual remarks to be elicited from him. He wanted to help the young book designers. There is a most refreshing absence of the high-flung gesture and the noble generalization. Instead, there is sound, practical advice on how to get beyond the purely practical performance. In teaching how to build a book you also teach how to judge and appreciate a job of book making. For this reason the Paragraphs can be recommended to a wide circle of readers. The book should have had an index and text and reproductions could have been coordinated more closely. M S S BY W A D Being a collection of the writings of Dwiggins on various subjects, some critical, some philosophical, some whimsical. New York, The Typophiles, 1947 (152 pages, illus.) This is probably as good as any other place on this list to include the delightful collection of essays by America's foremost bookdesigner of the middle generation, who is also the

country's leading type designer and one of its most sensitively competent illustrators. 45 I N T R O D U C T I O N T O T Y P O G R A P H Y By Oliver Simon. 2d impression. London, Faber and Vaber, 1946 (137 Vaèes> 77 Mus.) Typography in what might he called the classic sense of the word is the subject of this first-rate book, in which the skill and taste of the director of England's famous Curwen Press are blended in an atmosphere of lucidity and vigor. It is hard to believe that this book was written on spare Saturday mornings of a war in the course of which the Curwen Press was repeatedly bombed out. 46 A N I N T R O D U C T I O N T O T Y P O G R A P H Y By Philip Van Doren Stern. New York, Harper, 1932 (214 pages, illus.) Rather unconventional and imaginative in its manner of presentation, this is nevertheless a very reliable handbook. It avoids the dogmatic stiffness with which so many books on the mechanics of printing are written. It is cleverly illustrated, the photographic chapter headings being particularly informative and attractive. A "Bibliography" in the back recommends books about the various specialized aspects of printing technique and typographical problems. This bibliography is a useful supplement to the books mentioned in this section of our list, which, obviously, cannot cover all technical aspects.

47 L ' I M P R I M E R I E E T L E S M E T I E R S G R A P H I Q U E S Edited by Marcel Valotaire. Paris, Arts et Métiers Graftques, 1947 This is probably the best photographic documentation of all important current bookmaking processes ever assembled in a single volume. The pictures are so well selected and so skillfully arranged that they tell a complete story even without reference to the French text. Each important operation is first shown in its simple, easily comprehended manual stage, and then its mechanical counterpart is explained. The study of these pages therefore constitutes an excellendy co-ordinated survey for anyone who has acquired a knowledge of some of the individual steps and operations and wants to see the picture as a whole. 48 G E N E R A L P R I N T I N G By Glen U. Cleeton and Charles W. Pitkin. Bloomington, III., McKnight & McKnight, 1941 (167 pages, 109 groups of illus.) This practical textbook for printing students, prepared by two faculty members of the Carnegie Institute, is recommended like the preceding tide for its highly instructive photographic illustrations. They follow the operations step by step at such close intervals that the reading of the pictures approaches the visual impact of a documentary motion picture. It is a great pity that typography, cover design, and other physical features of the book itself are so needlessly unattractive, so uncompromisingly utilitarian.

49 A PRIMER IN BOOK PRODUCTION By Frank B. Myrick. zd printing. New York, Bookbinding & Book Production, 1946 (95 pages) A good brief word picture of current book manufacturing procedure from the estimating of copy to the inspection and shipping of the finished bound volumes. Readers in search of more detailed information on the planning and production of all kinds of printing and near printing practiced today should consult Daniel Melcher's and Nancy Larrick's Printing and Promotion Handbook, published by McGraw-Hill in 1949. 50 M A N U S C R I P T A N D PROOF The preparation of manuscript for the printer and the handling of the proofs, by John Benbow. New York, Oxford University Press, 1938 (118 pages) Accurately described by its title, this is one of the most reliable treatments of an essential topic about which a great deal has been written and printed.

VI. PRINTING TYPES AND DECORATION

PRINTING TYPES: THEIR HISTORY, FORMS, AND USE A study in survivals, by D. B. Updike. 2d edition. Cambridge, Harvard University Press, 1 9 3 7 (2 volumes, 292 and 326 pages, illus.)

"The standard historical work on type. A masterpiece of scholarship and research — perhaps the greatest contribution of our times to the study of typography." - Philip Van Doren Stem. TYPE DESIGNS: THEIR HISTORY & DEVELOPMENT By A. F. Johnson. facsim.)

London,

Grafton,

1934 (232

pages,

This book illustrates that there is room for more than one good thing at a time. W e have no more thorough book on printing types than the two volumes by D. B. Updike. However, there are occasions when one needs something on a less ambitious scale, something by way of an introduction, easily read and understood. This is exactly where A. F. Johnson's book fits in, a skillful piece of condensation and sympathetic treatment by an experienced author.

FOURNIER ON T Y P E F O U N D I N G The text of the Manuel Typographique (1764 - 1766), translated into English and edited with notes by Harry Carter. London, Soncino Press, 1930 (323 pages, illus.) Apart from the much older Mechanick Exercises, by the ingenious Moxon, this is the best book to consult on punchcutting and typecasting before the industrial revolution. For accuracy of detail and clearness of presentation Fournier's book has not yet been surpassed. Harry Carter's translation, with its wonderful reproductions of the original copperplates, is, therefore, a key to an understanding of the printing arts of today in the light of yesterday's achievements. The modem counterpart to Fournier is Lucien Alphonse Legros' and John Cameron Grant's Typographical Printing-Surfaces, the Technology and Mechanism of Their Production, London, Longmans, Green, 1 9 1 6 . It is a careful technological explanation of type designing, cutting, casting, and setting, both by hand and by machine. DECORATIVE INITIAL

LETTERS

Collected and arranged with an introduction by A. F. Johnson. London, Cresset Press, 1 9 3 1 (247 pages itici. 1 2 2 plates, facsitn.) Decorative initial letters used in a book are only one small detail of its production, yet they can influence greatly the typographic success or failure of that book. This volume by A. F. Johnson shows the entire history of initial letters from the beginning of printing to our times. They are reproduced

in complete alphabets, with detailed notes about each plate and a general introduction at the beginning. There is a great wealth of forms, and the ever-changing solutions of one and the same problem of design make a fascinating and informative study. 55 A SPECIMEN BOOK OF TYPES A N D ORNAMENTS In use at the Curwen Press, Plaistow, London. The Fleuron, Limited, 1928 (229 pages, fiate)

London,

A typefounder's specimen book is made to sell type to printers; a printer's specimen book, to sell his services to his customers. One often finds in such books pages that are as beautiful and as unreal as a dream. In them types have not been chosen to fit the text; rather, the text has been written to fit the type. These books are, nevertheless, of great value, because they demonstrate the best possible results obtainable from various printing types under the most favorable circumstances. Typefounders' specimens are too numerous for inclusion in this list. It is to printers' specimen books that we must turn. The type display book of the Curwen Press is a particularly valuable and beautiful example of some of the best printing between the two world wars. It is dignified without being too conservative, decorative but not facetious, and colorful without being either naïve or commercial. 56 PROBEN VON SCHRIFTEN MIT A N W E N D U N G E N By Gebr. Fretz AG., Zürich, 192y(?) (179 pages)

One of the most beautiful and outstanding printer's specimen books that has been produced by any typographer of our time. Although printed in the twenties, both this and the Curwen Press book show excellent examples of truly modern typographic ornaments and ingenious and discreet use of color. 57 T Y P E S , BORDERS A N D M I S C E L L A N Y OF T A Y L O R & T A Y L O R With historical brevities on their derivation and use. San Francisco, Taylor & Taylor, 1939 (563 'pages, illus.) This is a type specimen book of great merit. It shows a wellbalanced assortment of traditional and modern type faces, borders, and initials, temptingly presented in beautiful composition and presswork. Moreover, this is one of a very few, perhaps the only type specimen book which can profitably be read from cover to cover. Instead of the usual endless repetition of some irrelevant passage, Edward DeWitt Taylor has written, as an interesting text for the display of each type face, the story of that particular type face, its creation, introduction and u s e - a n idea so clever that one wonders why it has, apparendy, never been used before. 58 A H A L F - C E N T U R Y OF T Y P E D E S I G N A N D TYPOGRAPHY 1 8 9 5 - 1 9 4 5 By Frederic W. Goudy. ζ vols. New York, The 1946

Typophiles,

This might appropriately be called an autobiographical type

specimen book. It is the definitive record of the life's work of America's most beloved and most honored creator of printing type. 59 T Y P E FOR P R I N T Or, What the beginner should know about typefounding, letter-design, and type faces: with a synopsis of the best faces now available shown family by family for the convenience of users of print, by David Thomas. 2d edition, revised and reprinted. London, ]. Whitaker, 1947 (144 pages, illus.) One hesitates to add much about a book so well described in its tide, except, perhaps, to say that this description is accurate and that the author fully achieved what he hoped he would when he wrote this book.

60 T Y P E A selection of type by Rudolf Hostettler. St. Gall and London, Hostettler, Kopley and Strehler, 1949 (hi pages) A useful and attractively presented stock taking of the most distinguished type faces for book and display work currendy available at European type foundries. Specimen lines in French, English, German, Latin, Italian, Dutch, and Swedish are followed by an interesting "Table of Origin," which gives such data as the serial numbers, the names, founders, and designers of each type, the first printers to use it, holders of the original punches, recutting data, and existing sizes.

VII. I L L U S T R A T I O N

61 I L L U M I N A T E D M A N U S C R I P T S By }. A. Herbert. 2d edition. London, Methuen, 1 9 1 2 (135 pages, 51 plates) It would not be fair to demand too much from a one-volume history of such a difficult and many-sided subject as illuminated manuscripts. These hand-painted illustrations in medieval volumes have a remote and strange beauty all their own. They are the pictorial ancestors of all printed illustration, and their importance in the history of painting cannot be overemphasized. Herbert's book is well informed and readably written, even if it is at times a little casual and summary. 62 I L L U S T R A T I O N S I N ROLL A N D CODEX A study of the origin and method of text illustration, hy Kurt Weitzmann. Princeton, Princeton University Press, 1947 (zig pages, 205 illus.) This book clarifies and greatly broadens our understanding of the role of book illustration as a highly significant vehicle of literature. It is also a major contribution to our knowledge of the physical form of the book and its illustration at the turning point from classical antiquity to the Christian Middle Ages. It presents challenging, even radical, new

views on the roots and the evolution of the illuminated codex, demonstrated in a much more tangible manner than hitherto attempted by anyone. Definitely in the class of scholarly specialization, this is, however, not a book that should be used by the beginner in search of general, introductory information. 63 T H E PIERPONT MORGAN LIBRARY EXHIBITION OF ILLUMINATED MANUSCRIPTS Held at the New York Public Library; introduction by Charles Rufus Morey, catalogue of the manuscripts by Belle da Costa Green and Meta P. Hansen. New York, November 1933 to April 1934 (85 pages, plates, facsim.) The Morgan Library catalogue is also a much more scholarly undertaking than Herbert's volume. Professor Charles Rufus Morey of Princeton University, who wrote the introduction, could, of course, afford to be more thorough, because he had a definite selection of manuscripts to work on. He succeeded however in expanding his essay into a really representative treatment of medieval illumination. 64 T H E I L L U S T R A T E D BOOK By Frank Weitenkampf. Cambridge, Harvard University Press, 1938 (314 pages, illus. plates, facsim.) We had to wait a long time for a real book on the whole of printed illustration, because it was such a difficult book to write. The former curator of the New York Public Library's Print Room brought long years of service and many

varied experiences to the difficult task of filling this need. His book is a seemingly inexhaustible reservoir of information. It not only surveys the important illustrated books of the various periods and countries but also somehow manages to tell at a glance what other authorities have said or written about them. The book is a grand Baedeker not only of book illustration but also of the literature of illustration. There is only one weakness, the illustrations are very inadequate.

65 T H E ORIGINS OF P R I N T I N G A N D E N G R A V I N G By André Blum, translated from the French by Harry Miller Lydenberg. New York, Scribner, 1940 (226 pages, illus. inch facsim., double plate) This book contains, of course, much useful information on the invention of printing. However, it is included at this place on our list because of the light which it throws on the European beginnings of the basic pictoral processes, woodcut making, relief metal engraving, and intaglio engraving. These are the chapters of particular interest, they contain carefully considered information not easily found elsewhere.

66 T H E A R T I S T A N D T H E F I F T E E N T H CENTURY PRINTER By William M. Ivins, Jr. New York, The Typophiles, (78 pages) Reprinted from the Papers of the Bibliographical

1940

Society,

where it had already made its mark, this small volume is without question the most instructive and informative brief discussion of the first fifty years of printed book illustration that one could recommend.

67 A N I N T R O D U C T I O N T O A H I S T O R Y OF W O O D C U T With a detailed survey of work done in the fifteenth century, hy Arthur M. Hind. London, Constable; Boston and New York, Houghton Mifflin, 1935 (2 vols., 838 pages, illus.) A monumental work by the British Museum's Keeper of Prints and Drawings and the most comprehensive and detailed study of the early woodcut yet undertaken. There are occasional errors and omissions.

68 A H I S T O R Y OF W O O D - E N G R A V I N G By Douglas Percy Bliss, with 120 illustrations. London and Toronto, ). M. Dent; New York, Dutton, 2928 (256 pages, illus., facsim.) The story of the woodcut as a universal, permanent medium of expression is the one told in this volume. It is the woodcut's popular, democratic quality, its appeal to children and to the uneducated, which is told by Douglas Percy Bliss, and which makes the book so instructive, so refreshing, and so charming. Imre Reiner's Woodcut — Wood Engraving, St. Gall, Zolli-

kofer, 1947, a highly skillful and attractive selection from five centuries, beautifully printed and with a short introduction, is recommended as a supplementary pictorial adas. 69 M O D E R N P A I N T E R S A N D S C U L P T O R S AS I L L U S T R A T O R S Edited by Monroe Wheeler. New York, The Museum of Modern Art, 1936 ( 1 1 6 pages, illus. and plates) This fine catalogue of a lovely exhibition goes a long way towards filling a still existing major gap in the literature of bookmaking: a comprehensive survey of twentieth century book illustration. The introductory pages of the catalogue International Book Illustration 1935 - 1945, which are based on summaries submitted by authorities in nearly thirty different countries for an exhibition held by the American Institute of Graphic Arts in 1946, will also be found useful as a brief general survey of the period covered by this exhibition. 70 FORM L E T T E R S : I L L U S T R A T O R T O A U T H O R By W. A. Dwiggins, New York, Rudge, 1930 (16 pages) This imaginary correspondence of a sensitive artist with his author gives excellent insight into what illustration ought and ought not to be these days. It might be added that, as with most good letters, it is important to read between the lines of the four epistles that make up the book. The text of this volume will also be found in M S S by W A D , No. 44 on this list.

71 G R A V E N

IMAGE

An autobiographical textbook by John Farleigh. New Macmillan, 1940 (388 pages, illus.)

York,

This volume presents the point of view, the aesthetic credo, and the practical experiences of one of the most talented and original masters of the contemporary English school of wood engravers. 72 I L L U S T R A T O R S OF C H I L D R E N ' S 1 7 4 4 - 1945

BOOKS,

Compiled by Bertha Mahoney, Louise Payson Latimer and Beulah Folmsbee. Boston, The Horn Book, 1Ç47 (527 pages, illus.) There is a very great need, among all those concerned with children's reading, for information and guidance on the exceedingly delicate question of their illustrations. Parents, teachers, and librarians have long hoped for a book that would help to separate the good and the bad and to answer the manifold questions about the merits and accomplishments of the innumerable artists in the field, the historic evolution, and the modern trends, printing and reproduction methods, and many other aspects of this special subject. This book, published by the Horn Book, is a courageous and conscientious effort to provide such a work, and it is only fair that it should be recognized for its many distinctly valuable contributions. However, fairness makes it also necessary to state that not all the challenging problems presented to such an enterprise have been met with equal success.

73 WOODCUTS & WOOD ENGRAVINGS: HOW I MAKE T H E M By Hans Alexander Mueller. New York, Ρynson Printers, 1939 (187 pages, illus., plates) No other process has shown such vitality and adaptability in modem illustration as has the woodcut. In this book speaks one of the masters of the craft, who has had wide experience in practicing and teaching the art for many years. He deals squarely and thoughtfully with the many technical and aesthetic questions that are likely to face the student of illustration. The artist has restated his experiences and recommendations in a smaller book, How I Make Woodcuts and Wood Engravings, New York, American Artists Group, 1945. Clare Leighton's Wood-Engraving and Woodcuts, in the London Studio's "How to Do It" series, should also be mentioned here. 74 MAKING A LITHOGRAPH By Stow Wengenroth. London & New York, The Studio, 1936 (79 Va&es> illus·) Lithography, next to the woodcut and to wood engraving, is probably the manual illustration process of greatest vitality today. Stow Wengenroth's book is a good introduction to both technique and style of lithographic work, while David Cumming's Handbook of Lithography, London, A. & C . Black, 193z, is a more thoroughgoing technical treatment. Levon West's Making an Etching, 1932, and Ashley Havinden's Line DravHng for Reproduction, 1933, both in the

Studio's "How to Do It" seríes are other volumes which can be recommended as valuable approaches to the technique of book illustration. 75 P R O C E S S E S OF G R A P H I C IN P R I N T I N G

REPRODUCTION

By Harold Cururen. London, Faber and Faber; 2d. edition. New York, Oxford University Press, 1947 (143 pages, illus., plates) This book is to be recommended for the fair treatment of both the traditional hand methods, such as woodcutting and engraving, and the full run of the photomechanical processes, including color printing. Moreover, it is a definite attempt to evaluate each process not only in its technical function but also in its characteristic aesthetic possibilities. The consistent effort to detect the creative possibilities of each process puts this book in a class by itself. 76 M O D E R N I L L U S T R A T I O N

PROCESSES

An introductory textbook for all students of printing methods, by Charles W. Gamble. 2d edition. London, Pitman, '947 (49° pages, illus.) This book, exclusively devoted to the modem photomechanical methods, is probably the most authoritative treatment of the subject in the English language. T h e author combines knowledge and practical experience with a real understanding of the necessities of teaching. He understands that a book upon so practical a subject as his nevertheless has a chance to give all the fundamentals and all the principles that workshop practice does not necessarily include.

77 A SERIES OF M O N O G R A P H S ON COLOR By the Research Laboratories of the International Printing Ink Corporation and Subsidiary Companies. New York, 1935 (3 volumes, illus., colored plates, diagrams) Color is a basic element in illustration but it means many different things to many different people. These three monographs go a long way towards reconciling varying viewpoints and towards laying the foundations of a more general understanding. They deal, first, with the chemist's point of view; secondly, with the physicist's approach. The third monograph — a gratifying synthesis and application - presents the artist's point of view, and beyond that gives helpful advice to all users of color. These monographs are the result of co-operative authorship, held together and made more eloquent by Rudolf Ruzicka's skillful designing of the volumes and by beautiful reproductions of his work. 78 A N I N T R O D U C T I O N T O COLOR By Ralph M. Evans. New York, John Wiley, pages, illus. and plates)

1Ç48 (340

Like the previous item on this list, this is not a book about color in book illustration, nor yet about the use of color in printing. This work of the head of the Color Control Department of the Eastman Kodak Company is a detailed study of color in its physical, psychophysical, and psychological aspects and (if quoting from the jacket may for once be permitted) "the first work to cover the combined effects of the properties of colored light, the properties of vision, and

the action of the mind in interpreting color. Those who work with color must know the subject from all these angles, and furthermore must understand the interrelationships among these three aspects of color."

VIII. BOOKBINDING AND PAPERMAKING

79 DER BUCHEINBAND VON SEINEN ANFAENGEN BIS ZUM ENDE DES 18. JAHRHUNDERTS By Hans Louhier. 2d edition, with 232 illustrations. Leipzig, Klinkhardt & Biertnann, 1926 (272 pages, illus.) While there are many books in English on individual aspects of bookbinding, there is no one English-language history of really general scope that has been fully accepted by both the critics and the students. Hans Loubier's book, the one recommended here, while it does not touch much on technical questions, is the only internationally minded history of bookbinding throughout the centuries. It is so well illustrated that the book can be consulted even without much knowledge of German. 80 GOTHIC & RENAISSANCE BOOKBINDINGS Exemplified and illustrated from the author's collection by Ernest Philip Goldschmidt. London, Benn; Boston and New

York, Houghton Mifflin, 1928 (2 volumes; Vol. 1, 369 pages; Vol. 2, no plates) The only fault to find with this excellent work of the wellknown London book dealer and collector is that it stops with the end of the Renaissance. It is the most authentic and complete history of bookbinding in the first two centuries of binding. 81 B O O K B I N D I N G A N D T H E C A R E OF BOOKS A handbook for bookbinders and librarians, by Douglas Cockerell, with drawings by Noel Rooke and other illustrations. 4th edition. London, Pitman, 1948 (342 pages, illus.) In bookbinding, Cockerell's work, first published in England in 1 9 0 1 , has much the same place as Johnston's Writing & Illuminating & Lettering in the field of calligraphy, or Walter Crane's Of the Decorative Illustration of Books in illustration. These books were the immediate, tangible results of the arts and crafts movement, which brought a resurgence of life and vigor to these ancient crafts. Though obsolete in the particular kind of ornamentation which his book recommends, Cockerell's work on bookbinding is more than the literary record of an artistic movement. It is still the most valuable manual of the technique of hand binding which exists today. A good current treatise on the technique of hand binding will be found in the second volume of Edith Diehl's Bookbinding, Its Background and Technique, New York, Rinehart & Co., 1946.

82 T H E C A R E A N D R E P A I R OF BOOKS By Harry Miller Lydenherg and John Archer. 3 d and revised edition. New York, R. R. Bowker, 1945 (127 pages) Much experience in the handling of books and a great love of them are behind this volume, which is the joint product of the New York Public Library's former director and the superintendent of its Printing Office and Bindery. There is not much information on methods of care and repair, on the materials to use, and about the tools to do it with which this book does not contain. The important imponderabilia of rebinding, the ethics and aesthetics of book conservation, are the subject of an essay "On the Rebinding of Old Books," by the author of this bibliography. This is the third and last of the contributions assembled by him in a volume entitled Bookbinding in America, Portland, Southworth-Anthoensen, 1 9 4 1 , which also contains Hannah Dustin French's "Early American Bookbinding by Hand," and "The Rise of American Edition Binding," by Joseph W . Rogers. 83 M O D E R N BOOKBINDING A survey and a prospect by Douglas Leighton. New York, Oxford University Press, 1935. The Fifth "Dent Memorial Lecture." Next to Joseph W . Rogers' essay, mentioned in the preceding entry, this is the only good treatment of the evolution and current practices of bookbinding by machine that can be recommended for orientational reading.

8 4 DECORATED BOOK PAPERS Being an account of their design and fashions by Rosamond B. Loring. Cambridge, Department of Printing and Graphic Arts, Harvard College Library, 1942 (171 pages, 25 examples of pattern papers) Decorated pattern papers have played a much more important role in the history of the book arts than is generally recognized, and, like handbinding, calligraphy, and other creative manual processes, they are experiencing a distinct revival today. Mrs. Loring's book is the first serious attempt to collect into a continuous, reasoned account technical and historical information on the many different kinds of pattern papers known to have been produced. She also shows, by instruction and through some fine original examples and facsimile reproductions, how marble papers, paste papers, and printed pattern papers can be made today. 85 HAND DECORATED P A T T E R N E D PAPERS FOR BOOK C R A F T A collection of Oryad Leaflets, revised and edited by Geoffrey Peach [Dryad Handicrafts], with an additional section on oil marbling, by J. Halliday. Leicester and London, Dryad Press, 1931 (43 pages, illus., 7 plates) The designing of pattern papers is an excellent school subject, because it reveals native ability, exercises manual dexterity, and develops good taste and a sense of color. Here is a good litde volume which demonstrates what charming re-

suits are possible by the use of decorated papers in book-

86 ON T H E ORIGIN OF PAPER By André Blum, translated from the French by Harry Miller Lydenberg. New York, R. R. Bowker, 1934 (79 pages) On the Origin of Paper has the merit of really containing the information which the title promises. It is a short, yet comprehensive, statement of what is known today about the invention, or, rather, the origin of paper in the Far East, its spread to the Near East, its first importation and use on European soil, and, finally, the beginnings of actual papermaking in Spain, Italy, France, and Germany. The book tells not only what we know, but also how we came to know it, and it lays many a ghost of popular superstition about the origin of paper.

87 PAPER MAKING The history and technique of an ancient craft, by Dard Hunter. 2d edition, revised and enlarged. New York, Alfred Knopf, 1947 (611, xxxvii pages, 3 1 7 illus., map) Only a few years old, this is the book on the long list of Mr. Hunter's distinguished contributions which shows greatest promise of becoming a classic, not only in the literature of papermaking but also among the general records of human achievement.

88 PAPER An historical account of its making by hand from the earliest times down to the present day, by R. H. Clapperton. Oxford, Shakespeare Head Press, 1934 (158 pages, Mus., plates, facsint.) Comparable in scope to Dard Hunter's famous studies, R. H· Clapperton's book is a veritable picture bible of papermaking by hand. It contains copious reproductions of old paper specimens, brilliant photomicrographs of paper fibers, illustrations of older European and Oriental processes, reproductions and actual examples of watermarks, and striking photographs of present-day papermaking in Kashmir and India. The book, however, is not only a handsome piece of bookmaking in the grand manner, but a well-thought-out and clearly organized presentation. 89 MODERN PAPER M A K I N G By Robert Henderson Clapperton and William Henderson. 3d edition. Oxford, Basil Blackwell, 1947 (380 pages, 157 illus.) From its first appearance in 1929 this thoroughgoing and well-documented study of present-day papermaking methods has been gready in demand, both in the country of its origin and abroad. The second edition of 1941 was practically rewritten in the light of fresh experience and new procedures.

IX. BOOKMAKING PERIODICALS.

MISCELLANEOUS

90 T H E FLEURON: A J O U R N A L OF TYPOGRAPHY Edited by Oliver Simon ( 1 9 2 3 - 2 5 ) and Stanley Morison ( 1 9 2 6 - 3 0 ) . 7 numbers. Cambridge, The University Press; New York, Doubleday, Page, 1923 — 3o (illus., plates) The Fleuron had a single aim and a definite audience. It was meant for the practical printer, and it envisioned a normally high standard of craftsmanship in printing. Its sincere, matter of fact, and inspiring attitude towards printing made it one of the leading forces in interwar typography. Its influence has by no means ceased with the completion of the final volume in 1930. The Fleuron represents a complete record of the forces behind the contemporary picture of the graphic arts. Thanks to an excellent index at the end of the seventh volume, the contents of the entire set are readily available. 91

GUTENBERG-JAHRBUCH Edited by Aloys Ruppel. Published since 1926 by the Gutenberg-Gesellschaft, Mainz (illus., plates) Since 1926, this yearbook has developed into a truly international platform for the discussion of printing history, as well as of modem bookmaking. There is an astonishing variety of subjects treated every year, from a dozen different

countries. One issue often comprises articles in five languages, English contributions taking a prominent part, both in number and in importance. The Yearbook is the official organ of the Gutenberg Society and the Gutenberg Museum in Mainz. The expansion of this yearbook into a more general publication of broad, international scope is due to the vision and foresight of Dr. Aloys Ruppel, the editor and director of the society. The yearbook continued to appear until 1943, but the volumes produced during the war reflect inevitably narrowing horizons. Publication was resumed in 1949. 92 T H E D O L P H I N : A J O U R N A L OF T H E M A K I N G OF BOOKS New York, The Limited Editions Club. No. 1, 1933; No. 1 9 3 5 ; No. 3, 1938; No. 4, part 1-3, 1940-41 plates, facsim.)

{illus.,

The Dolphin can be called, in a sense, the American successor to The Fleuron, although it addresses itself more to the consumer of fine printing than to the producer. It appeared at irregular intervals and changed from a yearbook to a magazine, with a changed subtitle reading: "A periodical for all people who find pleasure in fine books" —indicating a broadened interest in bibliophilie and literary matters. Volume I contains articles on fundamental aspects, emphasizing the manual processes of type design, presswork, papermaking, and bookbinding. Volume II describes the corresponding machine processes. Volume III, A History of the Printed Book, is described as No. 22 of this list.

ARCHIV F U E R B U C H G E W E R B E U N D GEBRAUCHS-GRAPHIK Published monthly 1864—1941 by the Deutsche Buchgewerbeverein, Leipzig (illus., plates) Monthly periodicals, even more than yearbooks, have a special function. They are younger than books, because they reflect events and conditions more promptly, but they also grow old more quickly. They are read less carefully, but handled more frequently. They cannot take the place of books, but without them a study collection lacks that definite connection with present-day life which is essential. The present-day life of three quarters of a century is mirrored in the pages of this graphic arts "Archive," which is interested as much in book illustration and book design as in printing for commerce and advertising, poster design, and photography. Those who know how to read between the lines can learn much in the latter volumes about the place of the graphic arts in the totalitarian state. ARTS E T M E T I E R S GRAPHIQUES Published bi-monthly from 1927 to 1939, Nos. 1-68, by the Arts de Métiers Graphiques, Paris (illus., plates) Broadminded, sophisticated, and with a special taste for the "modem" as found in prehistoric stone carving as well as in Leonardo and in Steichen, the Arts et Métiers have thrived under the brilliant direction of Charles Peignot, the typefounder. Publication was interrupted by the outbreak of the second World War.

95 P R I N T : A QUARTERLY J O U R N A L OF T H E GRAPHIC A R T S Published since 194.0 first in New Haven, Conn., and then in Woodstock, Vt., by William Edwin Rudge. In nine years Print has grown rapidly from experimental beginnings to a mature publication which reflects faithfully significant events, trends and thinking in the steadily growing graphic arts community of America. The new Journal of the American Institute of Graphic Aits, which replaced its sporadically published Newsletter in 1947 is coming to be recognized as an excellent source of information for current events, who's who, what courses are given, round tables and meetings held, book reviews and similar items.

96 S I G N A T U R E : A QUADRIMESTRIAL OF TYPOGRAPHY A N D GRAPHIC A R T S Edited by Oliver Simon. 15 issues published 1935 - 1 9 4 0 . New Series since 1946. The Curwen Press, London (illus., plates, portraits, facsim.) This magazine keeps up through the years a high editorial standard and a typographic level that is exclusive without being snobbish. It is straightforward and matter of fact in its devoted interest to the worthwhile things in the graphic arts, be they modern or historical, foreign or domestic, of popular appeal or quite specialized. The editorial policy is free from any painful efforts to appear low-brow at all

costs and amusing at all times - a refreshing contrast to some of the periodicals published in recent years. 97 A L P H A B E T & I M A G E Edited by Robert Hurling, published by James Shand. don, Shenval Press, 1946 -48.

Lon-

The graphic arts journal of the younger postwar generation in Britain, it has shown lively taste and skillful blending, in a consistendy bookish style, of Victorian reminiscences and observations and comments on important contemporary developments. With the year 1949 the magazine split in two, Alphabet becoming the tide of an annual to be concerned with typographic matters, Image, a quarterly, to remain concerned with the pictorial arts and more general artistic expression of today.

98 L E C O U R R I E R G R A P H I Q U E Revue de bibliophilie, des arts grafiques et des industries qui s'y rattachent. Published monthly in Paris, Nos. 1-26 from 1936 — 1939; resumed publication in 1946 vñth No. 27. A well-informed and carefully edited monthly revue of the French graphic arts picture, its attention carefully divided between the old and the new. Similar in scope, but more elegant in format and more expensively gotten up is Le Portique, published three times a year since 1946 under the direction of Eric de Grolier, Paris, Editions Rombaldi.

99 LEXIKON DES GESAMTEN BUCHWESENS Edited by Karl Loefßer and Joachim Kirchner, assisted by Wilhelm Olbrich. 3 volumes. Leipzig, Hiersemann, 1 9 3 5 1937· For many years talked about, hoped for, and planned, this encyclopedic dictionary was completed shortly before the second World War. With its straight alphabetic listing of historic and current names and places, tides of books, presses and firms, institutions and organizations, processes and inventions, historic concepts and technical terms, all of them re-enforced by lists of further sources of information, this is a unique working tool, equally useful for quick orientation and helpful in the developing of long-range research projects. 100 T H E PRINTER'S TERMS By Rudolf Hostettler. St. Gall and London, Hostettler, Kopley & Strehler, 1949 (204 pages, specimens, diagrams and illustrations) With international co-operation in printing and publishing growing at an increasing rate since the end of the second World War, there is a distinct place for this brave litde international dictionary of printing terms. All entries are in English, French, German, Italian, and Dutch, and they are coordinated and indexed in a unique system of cross references by numbers.

A BIBLIOGRAPHICAL NOTE ABOUT THE FIRST EDITION OF THIS CHECKLIST The study of the history and the art of printing and the pursuit of bibliographical information are closely related, but they are by no means identical. The bibliographer wants to know why and when what was printed where and by whom. The student of printing is concerned mainly with how it was printed. It is primarily for his benefit, and for the benefit of his fellow students, that this list of books about bookmaking was issued. However, we would like to think that the bibliographer too might find it worth his while to check up, by means of the foregoing pages, on his knowledge of the contemporary literature of bookmaking. As a matter of fact, we should like to invite him to assist in clearing up a slight bibliographical problem with regard to the publication of the original F i f t y Books about Bookmaking. If you look carefully at a number of copies of that publication, you will find that they differ considerably as to tide page, colophon, and in certain other minor details. What is the reason for these variations? In what order were the copies which contain these variations issued? How can you tell in what form the little book was first brought out? Questions such as these are the delight of the true bibliographer, first, because they may be of considerable literary importance, and, second, because they are often very difficult, if not impossible, to answer. I have no illusions whatsoever about the literary importance of the F i f t y Books. But it so happens that in this case the bibliographical

questions can be fully answered and explained. And that, I believe, is definitely of some interest - largely because it shows how such variations come into existence, and why, in many cases, it is impossible, after a lapse of time, to explain them. Ronald B. McKerrow's Introduction to Bibliography for Literary Students (Item No. 2 in this book) is the basic grammar of bibliographical distinction and description. He explains in his third chapter that "In modern times we can define 'edition' as the whole number of copies of a book printed at any time or times from one setting-up of type (including copies printed from the stereotype or electrotype plates made from that setting-up of type), and 'impression' as the whole number of copies printed at one time, i.e., in ordinary circumstances the total number of copies without removing the type or plates from the press." According to these definitions it would seem that all copies of Fifty Books about Bookmaking belong to the first "edition," and, at the same time, to one of four successive "impressions." First Impression The little catalogue was planned for a definite occasion, with no other thought than to serve as a guide to an exhibition, and, thereafter, as a reading list for printing teachers attending an educational convention on the campus of Columbia University. It was issued with the following tide page: BOOKS A B O U T BOOKMAKING | Exhibition Prepared by Columbia University Library | for the Twelfth Annual Conference on Printing Education, | June 26, 27, 28, 1933 | New York · Columbia University Press

FIFTY

The back of the title page reads at the top: Copyright 1933, Columbia University Press and below: Printed in the United States of America The colophon of this first impression reads as follows: This catalogue, designed by Gustav Stresow, has been made possible by the generous cooperation of the Bauer Type Foundry for furnishing the Weiss Types used for the text, the Japan Paper Company for supplying the Unbleached Arnold and Fabriano Cover Papers, and the George Grady Press for hand composition, presswork and binding. The first impression is also distinguished by the presence of a number of embarrassing printer's errors, the most painful of which occurs on the last page of the "Introduction," lines 13/14, which read "European inven- | of printing" instead of "European inven- | tion of printing." The term "printer's error" is sometimes very unjust, as in this particular instance, where not the printer but the author is to blame. The book did not actually go to press until the very night before the day of its appearance at the conference. The unfortunate author had promised to be on hand for a final reading of the press sheets. These final sheets were delayed, and the author fell asleep on a bundle of old burlap sacking, where he was rudely awakened at 2 A.M. to perform his task. Hence the errors. Second Impression The copies of the first impression, printer's errors and all, were duly delivered the next morning to the members of the conference. One of the visitors, who shall remain anonymous, was observed abstracting a not inconsiderable number of copies,

hidden under his coat, from the conference room, for the benefit of a well-known downtown typographic Wednesday luncheontable, which shall also remain unnamed. This was the first indication that the catalogue might be of some interest beyond the immediate use for which it was planned. Other requests were received, and it was decided by those concerned with the production to go to press a second time and print another lot of copies as a keepsake for the members of the American Institute of Graphic Arts. This, then, is the second impression, made in September, 1933. It differs from the first as follows: The title page is simplified and reads: BOOKS A B O U T BOO K M A x i N c | New York · Columbia University Press The back of the title page is unaltered from the first impression. The colophon is revised to read: FIFTY

This is the record of an exhibition which was prepared by the Columbia University Library on the occasion of the Twelfth Annual Conference on Printing Education, held at Columbia University, June 26, 27, 28, 1933. This catalogue, which was given to members of the Conference, has been made possible by the generous cooperation of Gustav Stresow, who designed the book, the Bauer Type Foundry for furnishing the Weiss Types used for the text, the Japan Paper Company for supplying the Unbleached Arnold and Fabriano Cover Papers, and the George Grady Press for hand composition, presswork, and binding. By arrangement with the donors, a special edition of the catalogue has been printed for the members of the American Institute of Graphic Arts as Keepsake No. 48. The errors were, of course, corrected for this second printing.

Third Impression Contrary to everybody's expectation, there were still not enough copies to go around, and orders came in from libraries and schools, some of them marked "rush." So the Columbia University Press decided to put the item on its regular list of publications, priced at one dollar. The type was still standing, and the third impression was ordered and made in December, 1933. Half title, title page, back of title page, and the text pages read as in the second impression. The colophon was changed from the second impression and restored to the form used in the first impression. This is the form in which the book was chosen as one of the "Fifty Books of the Year" by a jury composed of Joseph Blumenthal, William A. Kittredge, and Carl Purington Rollins. It is listed in the 1934 Catalogue of the American Institute of Graphic Arts, Twelfth Annual Exhibition as Item No. 4. Fourth Impression This fourth impression, at the same time the second commercial printing, was made the following summer, in August, 1934. While its title page is unchanged from the form used in the previous two impressions, the back of the title page appears in the following form: Above: Copyright 1933, Columbia University Press First Printing, June, 1933 Second Printing, September, 1933 Third Printing, December, 1933 Fourth Printing, August, 1934

Below: Printed in the United States of America George Grady Press : New York There is no colophon whatsoever to this fourth and last impression of the first edition. The second edition, revised and enlarged, was published under the tide Seventy Books about Bookmaking, by the Columbia University Press in 1 9 4 1 . The introduction is dated November 15, 1940. The edition was designed by Melvin Loos and printed, as was its predecessor, at the George Grady Press in New York. Cataloguers will be unhappy over the fact that this present, third edition bears a title that differs from those of the first and second editions. We humbly beg that they will forgive us !

INDEX

ABC of Our Alphabet, The (Thompson), 10; mentioned, 11 "Achievements of Civilization, No. ι , " 9 Alphabet, The (Diringer), 1 1 Alphabet & Image (Harling, ed.)» 97 Alphabet Source Book, An (Ogg), 18 American Council on Education, The Story of Writing, 9; mentioned, 1 1 "American Edition Binding, The Rise o f (Rogers), mentioned, 82 American Institute of Graphic Arts, International Book Illustration, 1935—1945, mentioned, 69; Journal, mentioned, 95; Updike, mentioned, 37 American Institute of Graphic Arts and the Grolier Club of New York, The Work of Bruce Rogers, 38

Anatomy of Lettering, The (Chappell), 17 Ancient Writing and Its Influence (Ullman), 12 Annual of Bookmaking, The, 40 Archer, John (jt. auth.), The Care and Repair of Books, 82 Archiv fuer Buchgewerbe und Gebrauchs-Graphik, 93 Armitage, Merle, Notes on Modern Printing, mentioned, 34 Artist and the Fifteenth Century Printer, The (Ivins), 66 Art of the Book, The (Newdigate), 32 Arts et Métiers Graphiques, 94 Aventur und Kunst (Bauer), M Bauer, Konrad F., und Kunst, 24

Aventur

Benbow, John, Manuscript and Proof, 50 Benson, J. H., and A. G. Carey, The Elements of Lettering, 17 Bibliography for Literary Students, An Introduction to (McKerrow), 2 Bibliography of Material Relating to Private Presses, A (Haas), mentioned, 31 Bibliography of Modern American Presses (Haas), mentioned, 31 Black on White (llin), 5 Bliss, Douglas Percy, A History of Wood-Engraving, 68 Blum, André, On the Origin of Paper, 86; The Origins of Printing and Engraving, 65 Book, The (McMurtrie), 23 Bookbinding (Diehl), mentioned, 81 Bookbinding and the Care of Books (Cockerell), 81 Book in America, The (Lehmann-Haupt, Granniss, and Wroth), 36 Bookmaktng, The Annual of, 40

Book Production, A Printer in (Myrick), 49 Books and Readers in Ancient Greece and Rome (Kenyon), 8 Bucheinband von seinen Anfaengen bis zum Ende des 18. Jahrhunderts, Der (Loubier), 79 Buchkunst (Staatliche Akademie fuer graphische Kuenste und Buchgewerbe), 32

Calligraphy's Flowering, Decay & Restauration (Standard), 21 Cambridge Press, The (Winship) 35 Cameron, George G. (ed.), They Wrote on Clay, 7 Care and Repair of Books, The (Lydenberg and Archer), 82 Carter, Harry (tr. and ed.). Fournier on Typefounding, 53

Carter, Thomas F., The Invention of Printing in China and Its Spread Westward, 25

Chappell, Warren, The Anatomy of Lettering, mentioned, 17 Chiera, Edward, They Wrote on Clay, 7 Chronology of Books & Printing (Greenhood and Gentry), 3 Clapperton, Robert Henderson, Paper, 88 Clapperton, Robert Henderson, and William Henderson, Modern Paper Making, 89 Cleeton, Glen U., and Charles W. Pitkin, General Printing, 48 Cockerell, Douglas, Bookbinding and the Care of Books, 81 Colonial Printer, The (Wroth), 35 Colophon Annual of Bookmaking, The, 40 Color, An Introduction to (Evans), 78 Color, A Series of Monographs on (International Printing Ink Corporation), 77

Courrier Graphique, Le, 98

Crane, Walter, Of the Decorative Illustration of Books, mentioned, 81 Cumming, David, Handbook of Lithography, mentioned, 74

Curwen, Harold, Processes of Graphic Reproduction in Printing, 75 Curwen Press, A Specimen Book of Types and Ornaments, 55 Dahl, Svend, Geschichte des Buches, 6 Davies, Hugh W., Devices of the Early Printers, 28 Decorated Book Papers (Loring), 84 Decorative Illustration of Books, Of the (Crane), mentioned, 81 Decorative Initial Letters (Johnson), 54 Degering, Hermann, Lettering, M Devices of the Early Printers (Davies), 28 Diehl, Edith, Bookbinding, Its Background and Technique, mentioned, 81

Diringer, David, The Alphabet, II Dolphin, The: A Journal of the Making of Books, 22, 92 Dryad Leaflets, 85 Dwiggins, W. Α., Form Letters, 70; MSS by WAD, 44; mentioned, 70 "Early American Bookbinding by Hand" (French), mentioned, 82 Ecriture, L', 14 Elements of Lettering, The (Benson and Carey), 17 English Writing-Masters and Their Copy-Books, ¡5701800, The, with Introduction by Stanley Morison, 15 Essay on Typography, An (Gill), 42 Etching, Milking an (West), mentioned, 74 Evans, Ralph M., An Introduction to Color, 78 Fairbank, Alfred J., A Handwriting Manual, 20 Farleigh, John, Graven Image, 71

Fine Books (Pollard), 1 First Principles of Typography (Morison), 41 Fleuron, The (Simon and Morison), 90; mentioned, 92 Folmsbee, Beulah (jt. auth.). Illustrators of Children's Books, 1744-1945, 72 Form Letters (Dwiggins), 70 F our Centuries of Fine Printing (Morison), 29; mentioned, 30 Fournier on Typefounding (Carter, tr. and ed.), 53 French, Hannah Dustin, "Early American Bookbinding by Hand," mentioned, 82 Fuhrmann, Otto W., Gutenberg and the Strasbourg Documents of 1439, mentioned, 26 Gamble, Charles W., Modern Illustration Processes, 76 General Printing (Cleeton and Pitkin), 48 Gentry, Helen, Chronology of Books & Printing, 4 Geschichte des Buches (Dahl), 6

Gill, Eric, An Essay on Typography, 4 2 Goldschmidt, Ernest Philip, Gothic & Renaissance Bookbindings, 80 Gothic & Renaissance Bookhindings (Goldschmidt), 80 Goudy, Frederic W., A HalfCentury of Type Design and Typography, 1895 ι945> 58 Goudy, Master of Letters (Orton), 39 Grafika (Reiner), 34 Granniss, Ruth S. (jt. auth.), The Book in America, 36 Grant, John Cameron (jt. auth.), Typographical Printing Surfaces, mentioned, 53 Graphic Reproduction in Printing, Processes of (Curwen), 75 Graven Image (Farleigh), 71 Greek and Latin Palaeography, An Introduction to (Thompson), 13 Greene, Belle da Costa, and Meta P. Harrsen (comps. of catalogue), in Pierpont Morgan Library, Exhibition of Illuminated Manuscripts, 63

Greenhood, David, and Helen Gentry, Chronology of Books & Printing, 4 Grolier Club of New York, The Work of Bruce Rogers, 38 Gutenberg, Johannes; sein Leben und sein Werk (Ruppel), 26 Gutenberg and the Strasbourg Documents of 1439 (Fuhrmann), mentioned, 26 Gutenberg Documents, The (McMurtrie), mentioned, 26 Gutenberg Jahrbuch (Ruppel, ed.), 91 Gutenberg Museum, Mainz, mentioned, 91 Gutenberg Society, mentioned, 91

Haas, Irvin, A Bibliography of Material Relating to Private Presses, mentioned, 31 Haas, Irvin, Bibliography of Modern American Presses, mentioned, 31

Half-Century of Type Design and Typography, 189 5 I945> A (Goudy), 58 Halliday,J.,"Oil Marbling,"85 Handbook of Lithography ((Humming), mentioned, 74 Hand Decorated Patterned Papers for Book Craft (Peach, ed.), 85 Handwriting Manual, A (Fairbank), 20 Harling, Robert (ed.), Alphabet & Image, 97 Harrsen, Meta P. (jt. comp, of catalogue), in Pierpont Morgan Library, Exhibition of Illuminated Manuscripts, 63 Havinden, Ashley, Line Drawing for Reproduction, mentioned, 74 Henderson, William (jt. auth.), Modern Paper Making, 89 Hendrickson, James (jt. auth.), Paragraphs on Printing, 43 Hewitt, Graily, Lettering for Students and Craftsmen, mentioned, 16 Herbert, J. Α., Illuminated Manuscripts, 61

Hind, Arthur M., An Introduction to a History of Woodcut, 67 Histoire du livre de l'antiquité à nos jours (Dahl), 6 History of the Printed Book, A (Wroth, ed.), 22; mentioned, 92 History of Wood-Engraving, A (Bliss), 68 Holme, C. G. (ed.), Lettering of To-Day, 19 Hostettler, Rudolf, The Printer's Terms, 100; Type, 60 How 1 Make Woodcuts and Wood Engravings (Mueller), mentioned, 73 "How to Do It" series, mentioned, 73, 74 Hunter, Dard, Paper Making, 87 Din, M., Black on White, 5 lll-iminated Manuscripts (Herbert), 61 Illuminated Manuscripts, Exhibition of (Pierpont Morgan Library), 63 Illuminating & Lettering, Writing & (Johnston), 16; mentioned, 81

Illustrated Book, The (Weitenkampf), 64 Illustrations in Roll and Codex (Weitzmann), 62 Illustrators of Children's Books, 1744— 1945 (Mahoney, Latimer, and Folmsbee, comps.), 72 Image, mentioned, 97 Imprimerie et les Métiers Graphiques, L' (Valotaire, ed.), 47 International Book Illustration, 1935-1945 (American Institute of Graphie Arts), mentioned, 69 International Printing Ink Corporation, A Series of Monographs on Color, 77 Introduction to a History of Woodcut, An (Hind), 67 Introduction to Bibliography for Literary Students, An (McKerrow), 2 Introduction to Color, An (Evans), 78 Introduction to Greek and Latin Palaeography, An (Thompson), 13 Introduction to Typography (Simon), 45

Introduction to Typography, An ( S t e m ) , 46 Invention of Printing in China and Its Spread Westward, The (Carter), 25 Ivins, William M., jr., The Artist and the Fifteenth Century Printer, 66 Jackson, Holbrook, The Printing of Books, 3 Johannes Gutenberg (Ruppel), 26 Johnson, A. F., Decorative Initial Letters, 54; Type Designs, 52 Johnston, Edward, Writing & Illuminating & Lettering, 16; mentioned, 81 Kenyon, F. G., Books and Readers in Ancient Greece and Rome, 8 Kincead, Beatrice (tr.), Black on White, 5 Kirchner, Joachim (jt. ed.)> Lexikon des gesamten Buchwesens, 99 Lapshin, Ν. (illus.), Black on White, 5

Larrick, Nancy Çjt. auth.), Printing and Promotion Handbook, 49 Latimer, Louise Payson (jt. auth.), Illustrators of Children's Books, 17441945, 72 Legros, Lucien Alphonse, and John Cameron Grant, Typographical Printing Surfaces, mentioned, 53 Lehmann-Haupt, Hellmut, "On the. Rebinding of Old Books," mentioned, 82 Lehmann-Haupt, Hellmut, Ruth S. Crannis, and Lawrence C. Wroth, Τ he Book in America, 36 Leighton, Clare, Wood-Engraving and Woodcuts, mentioned, 73 Leighton, Douglas, Modern Bookbinding, 83 Lettering (Degering), 14 Lettering, The Elements of (Benson and Carey), 17 Lettering for Students and Craftsmen (Hewitt), mentioned, 16 Lettering of To-Day (Holme, ed.), 19

Lettering, Writing & Illuminating & (Johnston), 16; mentioned, 81 Lexikon des gesamten Buchwesens (Loeffler and Kirchner, eds.), 99 Line Drawing for Reproduction (Havinden), mentioned, 74 Lithograph, Making a (Wengenroth), 74 Lithography, Handbook of (Cumming), mentioned, 74 Loeffler, Karl, and Joachim Kirchner (eds.), Lexikon des gesamten Buchwesens, 99 Loring, Rosamond B., Decorated Book Papers, 84 Loubier, Hans, Der Bucheinband von seinen Anfaengen bis zum Ende des 18. Jahrhunderts, 79 Lydenberg, Harry Miller, and John Archer, The Care and Repair of Books, 82 Lydenberg, Harry Miller (tr.), The Origins of Printing and Engraving, 65 McCutcheon, John T., Letter, 38

McKerrow, R. Β., An Introduction to Bibliography for Literary Students, 2 McMurtrie, Douglas C., The Book, 23; The Gutenberg Documents, mentioned, 26 Mahoney, Bertha, Louise Payson Latimer, and Beulah Folmsbee (comps.). Illustrators of Children's Books, 1744 - ι 945, 7* Making a Lithograph (Wengenroth), 74 Making an Etching (West), mentioned, 74 Manuel Typographique, 53 Manuscript and Proof (Benbow), 50 Mechanick Exercises (Moxon), 53 Melcher, Daniel, and Nancy Larrick, Printing and Promotion Handbook, mentioned, 49 Merrymount Press & Its Work, Notes on (Updike), 37 Modern American Presses, Bibliography of (Haas), mentioned, 31 Modern Bookbinding (Leighton), 83

Modern Fine Printing (Morison), 30 Modern Illustration Processes (Gamble), 76 Modern Painters and Sculptors as Illustrators (Wheeler), 69 Modern Printing, Notes on (Armitage), mentioned, 34 Morey, Charles Rufus, 63 Morgan Library, see Pierpont Morgan Library Morison, Stanley, First Principles of Typography, 41; Four Centuries of Fine Printing, 29; mentioned, 30; "Introduction," in English Writing-Masters and Their Copy Books, 15; Modern Fine Printing, 30 Morison, Stanley (jt. auth.), The Fleuron, 90 Moxon, Joseph, Mechanick Exercises, mentioned 53 MSS

by WAD

(Dwiggins),

44 Mueller, Hans Alexander, How I Make Woodcuts and Wood Engravings, mentioned, 73; Woodcuts & Wood Engravings, 73

Myrick, Frank Β., A Primer in Book Production, 49 Newdigate, Bernard H., The Art of the Book, 32 Notes on Modern Printing (Armitage), mentioned, 34 Notes on the Merry-mount Press & Its Work (Updike), 37 Of the Decorative Illustration of Books (Crane), mentioned, 81 Ogg, Oscar, An Alphabet Source Book, 18 Olbrich, Wilhelm (jt. ed.), Lexikon des gesamten Buchwesens, 99 On the Origin of Paper (Blum), 86 "On the Rebinding of Old Books" (Lehmann-Haupt), mentioned, 82 Origin of Paper, On the (Blum), 86 Origins of Printing and Engraving, The (Blum), 65 Orton, Vrest, Goudy, Master of Letters, 39

"Our Debt to Greece and Rome," No. 38, 1 2 Paper (Clapperton), 88 Paper, On the Origin of (Blum), 86 Paper Making (Hunter), 87 Paper Making, Modern (Henderson), 89 Paragraphs on Printing (Rogers and Hendrickson), 43 Peach, Geoffrey (ed.), Hand Decorated Patterned Papers for Book Craft, 85 Peignot, Charles, 94 Pierpont Morgan Library, Exhibition of Illuminated Manuscripts, 63 Pitkin, Charles W. (jt. auth.), General Printing, 48 Pollard, Alfred W., Fine Books, ι Primer in Book Production, A (Myrick), 49 Print: a Quarterly Journal of the Graphic Arts, 95 Printer s Terms, The (Hostettler), 100 Printing and Promotion Handbook (Melcher and Larrick), mentioned, 49

Printing in the Fifteenth Century (Winship), 27 Printing of Books, The (Jackson), 3 Printing Types (Updike), 51 Private Presses, A Bibliography of Material Relating to (Haas), mentioned, 31 Private Presses and Their Books (Ransom), 31 Proben von Schriften, 56 Processes of Graphic Reproduction in Printing (Curwen), 75 Ransom, Will, Private Presses and Their Books, 31 ; Selective Check Lists of Press Books, mentioned, 31 "Rebinding of Old Books, On the" (Lehmann-Haupt), mentioned, 82 Reiner, Imre, Grafika, 34; Woodcut-Wood Engraving, mentioned, 68 "Rise of American Edition Binding, The" (Rogers), mentioned, 82 Rogers, Bruce, Paragraphs on Printing, 43; The Work of Bruce Rogers, 38

Rogers, Joseph W., "The Rise of American Edition Binding," mentioned, 82 Ruppel, Aloys, johrtannes Gutenberg, 26 Ruppel, Aloys (ed.)» Gutenberg Jahrbuch, 91 Ruzicka, Rudolph, mentioned, 77

Schrift, Die, 11 Selective Check Lists of Press Books (Ransom), mentioned, 31 Series of Monographs on Color, A (International Printing Ink Corporation), 77 Signature: a Quadrimestrial of Typography and Graphic Arts (Simon, ed.)> 96 Simon, Oliver, Introduction to Typography, 45 Simon, Oliver (ed.)» Signature: a Quadrimestrial of Typography and Graphic Arts, 96 Simon, Oliver, and Stanley Morison (eds.), The Fleuron, 90 Smith, Julian P., 37

Some Aspects of Printing (Updike), mentioned, 37 Specimen Book of Types and Ornaments, A (Curwen Press), 55 Staatliche Akademie fuer graphische Kuenste und Buchgewerbe, Buchkunst, 33 Standard, Paul, Calligraphy's Flowering, Decay & Restauration, 21 Stern, Philip Van Doren, An Introduction to Typography, 46 Story of Writing, The (American Council on Education), 9; mentioned, 1 1 Taylor & Taylor, Types, Borders and Miscellany, 57 They Wrote on Clay (Chiera), 7 Thomas, David, Type for Print, 59 Thompson, Sir Edward M., An Introduction to Greek and Latin Palaeography, 13 Thompson, Tommy, The ABC of Our Alphabet, 10; mentioned, 1 1 Type (Hostettler), 60

Type Designs (Johnson), 52 Type for Print (Thomas), 59 Typefounding, Fournier on (Carter, tr. and ed.), 53 Types and Ornaments, . A Specimen Book of (Curwen Press), 55 Types, Borders and Miscellany of Taylor & Taylor, 57 Typographical Printing Surfaces (Legros and Grant), mentioned, 53 Typography, First Principles of (Morison), 41 Typography, Introduction to (Simon), 45 Typography, An Introduction to (Stern), 46

Ullman, B. L., Ancient Writing and Its Influence, 12 Updike, D. B., Notes on the Merrymount Press & Its Work, 37; Printing Types, 51; Some Aspects of Printing, mentioned, 37 Updike: American Printer and His Merrymount Press (American Institute of Graphic Arts),mentioned, 37

Valotaire, Marcel, ed., L' Imprimerie et les métiers graphiques, 47 Weitenkampf, Frank, The Illustrated Book, 64 Weitzmann, Kurt, Illustrations in Roll and Codex, 62 Wengenroth, Stow, Making a Lithograph, 74 West, Levon, Making an Etching, mentioned, 74 Wheeler, Monroe (ed.), Modern Painters and Sculptors as Illustrators, 69 Winship, George Parker, The Cambridge Press, mentioned, 35; Daniel Berkeley Updike and the Merrymount Press, mentioned, 37; Printing in the Fifteenth Century, 27 Woodcut, An Introduction to a History of (Hind), 67 Woodcuts, Wood-Engraving and (Leighton), mentioned, 73 Woodcuts & Wood Engravings (Mueller), 73

Woodcuts and Wood Engravings, How I Make (Mueller), mentioned 73 W oodcut-Wood Engraving (Reiner), mentioned, 68 Wood-Engraving, A History of (Bliss), 68 Wood-Engraving and Woodcuts (Leighton), mentioned, 73 Wood Engravings, How I Make Woodcuts and (Mueller), mentioned, 73 Work of Bruce Rogers, The (A.I.G.A. and the Grolier Club of New York), 38 Writing, The Story of (American Council on Education), 9; mentioned, 11 Writing & . Illuminating & Lettering (Johnston), 16; mentioned, 81 Wroth, Lawrence C., The Colonial Printer, 35 Wroth, Lawrence C. (jt. auth.), The Book in America, 36 Wroth, Lawrence C. (ed.), A History of the Printed Book, 22; mentioned, 92