Nyhetsbrev 10 - Antikvariat Morris

spencer, herbert (ed.): Typographica. New Series No. 1-16
Lund Humphries, London June 1960 to December 1967.
First editions (new series). A complete set of perfectbound
magazines in stiff printed wrappers with uncoated
dustjackets all printed in one color. None of the dust jackets
are price-clipped and all interiors unmarked and very clean,
with all original inserts present. Overall, a near-fine set
with trivial imperfections. This is a unique opportunity to
acquire a complete set of Spencer’s legendary experimental
typographic journal. Reproduction techniques include
letterpress and offset-lithography. Inks include both spot
colors and metallics. Paper stocks include matte, glossy,
uncoated, rough sugar and wax paper overlays. Custom
Binding includes tipped-in paper inserts; fold-outs and a
bound-in sample of Diter Rot’s Ideograms; a four-page
fold-out; a three-page gatefold; a bound-in photography
insert by Euan Duff; a tipped-in printed vellum fold-out by
Diter Rot, a 48-page booklet by Brownjohn, Chermayeff
and Geismar, and so much more.
Here is a rare opportunity for Graphic Design/modern
typography aficionados to own a complete set of the
legendary Typographica magazine. If you’re reading this,
you probably know that issues of this groundbreaking
magazine seldom surface on the open market.
Typographica was the brainchild of founder, editor,
designer and renowned typographer Herbert Spencer,
and had a brief life, totalling 32 issues published between
1949 and 1967. But its influence stretched and stretches far
beyond its modest distribution and print runs of the time.
For many graphic designers, Typographica is something of
an obsession, to be collected if and when found, savored,
and poured over for designs, and techniques not seen since.
Issue 1 (June 1960: 64-pages) Contents: Wrapper Design
From a photogram by Anne Hickmott. Britain’s Royal
Arms by Charles Hasler. Five Polish Photographers by
Adam Johann. Yosi Bergner’s Drawings to Kafka by Penuel
Peter Kahane. The Work of Franco Grignani by Alan
Bartram. The History of Numerals by Henri Friedlaender.
Photograms by Anne Hickmott. Farewell to Trajan.
Issue 2 (December 1960: 60-pages) Contents: Wrapper
Design based on the detail from the photograph of a
tree trunk by Herbert Spencer. de Jong, Hilversum by B.
Majorick. BCG - The Works of Brownjohn, Chermayeff
and Geismar. The Books of Abram Krol by Sylvio Samama.
The Green Box by Edward Wright (ephemera). Max Huber
in Italy by Antonio Boggeri. A Humanized Alphabet
Issue 3 (June 1961: 76-pages) Contents: Typophoto Ken
Garland. The Books of Dieter Rot by Richard Hamilton
(ephemera). National Zeitung (ephemera). The Drawings
of Alcopley by Herbert Spencer. From Painting to
Photography. Experiments of the 1920’s by Camilla Gray.
Issue 4 (December 1961: 78-pages) Contents: Wrapper
Design Composed of 13 photographs of illuminated letters
by Robert Brownjohn. Mile-A-Minute Typography by
Herbert Spencer. Road Signs in Holland 49 Photographs by
Margaret Wissing. Streetlevel by Robert Brownjohn. The
Civic Trust and Lettering: A Visit to Epping by Nicoleta
4000:-

Gray
Issue 5 (June 1962: 72-pages) Contents:
Reading by machine Alan Bartram. Penguins
on the March by Herbert Spencer. London
Airports looks up. DIN A new, old Cause by
John Tompkins. A case for auto-letterpress? by
Selma Nankivell. Drawing for Illustration (book
review) by Paul Hogarth.
Issue 6 (December 1962: 68-pages) Contents:
Reading by Touch by Donald Bell. Pat
McAuliffe of Listovel by Brian MacMahon.
Lettering in Coventry Cathedral by Nicolette
Gray. Typewriter Type Faces by Alan Bartram.
Penguin Covers- A correction. Watching Words
Move by Brownjohn, Chermayeff and Geismar
(48-page booklet).
Issue 7 (May 1963: 72-pages) Contents:
Typography in Britain. 36 Typographers;
biographical notes. Piet Zwart by Herbert
Spencer. Design Underfoot by Anthony
Robinson. Printed Ephemera reviewed by
Nicholete Gray. Thematic photography by Euan
Duff. Education and the Child by R.B. Lendon.
This is my private World... by Jane Gate. The
Great Experiment reviewed by Jay Leyda.
Issue 8 (December 1963: 70-pages) Contents:
Josua Reichert: typography as visual poetry by
Jasia Reichert. Chance by Barbara Jones, with
17 photographs by Herbert Spencer. Art and
Writing ( an exhibition review) by Nicolete
Gray. The Visual Craft of William Golden
(review). A Rich Man’s Guide to Bingo by
Anthony Clift (fold-out pages). Paul Schuitema
by Benno Wissing (12 pages with many 2-
color reproductions). Concrete Poetry and Ian
Hamilton Finlay by dom Sylvester Houedard
(includes 11 concrete poems by Finley).
British Typography; Piet Zwart; and British
photography (exhibition reviews).
Issue 9 (June 1964: 64-pages) Contents: Avant-
GardeGraphics in Poland between the two
World Wars by Anatol Stern: featuring futurist
and constructivist work by Anatol Stern,
Henryk Berlewi and others. Very cool indeed.
Henryk Berlewi by Eckhard Neuman. Sunday
Photographers by Michael Middleton. Crowns
by Camilla Gray.
Issue 10 (December 1964: 64-pages) Contents:
Newspaper Seals by Alan Hutt. The Compass Rose
by W.E. May. The Emergence of the Printer’s Stock
Block by Charles Hasler. Sex and Typography by
Robert Brownjohn.
Issue 11 (June 1965: 52-pages) Contents: Alexander
Rodchenko: a Constructivist Designer by Camilla
Gray. The inscriptional work of Eric Gill book review
by Nicolette Gray. Poem/Prints. Massinby Germano
Facetti. Herbert Bayer’s Photographic Experiments
by Eckhard Neumann. Words and Images by John
Berger. At Remaurian by John Berger (38-page
booklet).
Issue 12 (December 1965: 76-pages) Contents: The
Nymph and the Grot: the revival of the sans-serif
letter by James Mosley. Fishing Figures by Barbara
Jones. The Living Symbol by Aloisio Magalhaes. Art
on the Assembly Line by Ann Gould. Diter Rot: Book
Review with folding insert. Emphatic fist, informative
arrow by Edward Wright. The Arrow in China by K.
P. Mayer.
Issue 13 (June 1966: 62-pages) Contents: Tombstone
Lettering on Slate by Frederick Burgess. Hong
Kong Signs by Henry Steiner. Aesthetic Pattern
programmes by Eckhard Neumann. Type Size: a
system of dimensdional references by Ernst Hoch
and Maurice Goldring. Of the Just Shaping of Letters
book review by James Sutton.
Issue 14 (December 1966: 58-pages) Contents:
Ideogrammes Lyriques by Stefan Themerson. A
Bookof Matches by Crosby/Fletcher/Forbes. Protest
by Design by Ann Gould. Includes work by Kurt
Schwitters, Jan Tschichold, El Lissitzky, Theo van
Doesburg and many others.
Issue 15 (June 1967: 56-pages) Contents: Paul van
Ostaijen by Edward Wright. Paul van Ostaijen: Lyric
Poetry-- Instructions for Use by Paul Vincent. Objects
Count by Crosby/Fletcher/Forbes. Spanish Street
Lettering by Alan Bartram
Issue 16 (December 1967: 52-pages) Contents:
Typographica 1949-1967 by Herbert Spencer. John
Heartfield by Eckhard Neumann. The Word as Ikon
by Berjouhi Barsamian Bowler. Kurt Schwitters on a
Time-Chart by Stefan Themerson.
[zKc ELaM]: O Almighty God
22 lines calligraphic manuscript on vellum. A
beautiful calligraphic text in black ink with a gilt
initial and decoration in blue and gold. Probably
from the first decade of the 20th century.
Approx. 16 x 12 cm. Framed. 1700:-

paul a. bennett, francis meynell, c. volmer
nordlunde, raul m. rosarivo, maximilien
vox, hermann zapf, bror zachrisson (eds.):
Liber Librorum
perfect, christopher & rookledge, gordon:
Rookledge’s International Typefinder. The Essential Handbook of
Typeface Recognition and Selection
[ernst westerbergs boktryckeri]
Förteckning öfver stilar, ornament m.m.
Ernst Westerbergs Boktryckeri, Stockholm
[1907]. (4), blad 1-7, 7a-c, 8-49, 49a-x,
50-64, 64a-j, 65-80, 80a-b, 81-85, 85a-b,
86-88, 88a-b, 89-100, 100a-j, 101-115, 115ab,
116-134, 134a-n, 135-137, 137a, 138-141,
141a-d, 142-143, 1 s. innnehållsförteckning.
12 medbundna kompletteringar i mindre
format. Stor 4:o (32 x 26 cm). Mörkblått,
gediget klotband med guldtryckt rygg och
guldlinjerad främre pärm, samtliga snitt
tätfärgade röda. Blad 64h-j med spår efter
klämma eller liknande vid övre marginalen,
annars är provboken i synnerligen gott
skick. Endast tryckt på recto-sidan. Delvis
tryckt i färg. Innehåll: Blad 1-7; Textstilar
med därtill hörande kursiv. Blad 8-49; Rubrik-
och titelstilar. Blad 50-64; Kursivstilar.
Blad 65-80; Götiska- och fantasistilar. Blad
81-85; Skrifstilar. Blad 86-88; Initialer. Blad
89-101; Trästilar. Blad 102-103; Tabellsiffror,
tecken, klammer m.m. Blad 104-105;
Linjer med därtill hörande hörn. Blad 106-
143; Ornament, vignetter m.m.
Published 1955 as a common manifestation on the
part of leading book designers all over the world to
celebrate the 500th anniversary of the Gutenberg
42-line Bible. Each participant has designed and
printed 1500 copies of his individual solution to the
typographic problem of the Bible. Folio (35 x 27,5 cm).
43, all, (even Maximilien Vox’ sample is present, he
missed the deadline) printed specimens from different
printers in 15 countries, from single leaves to 8-p.
pamphlets, 12mo to folio, on varying papers and in assorted
fonts. The catalogue listing the contributors is present as
well. The samples are boxed in a cloth backed portfolio with
decorated paper boards, cover paper composed by Sofia
Widén. Front cover cracked at upper margin. 500 copies
were for sale.
Noteable among the printers and designers are: Viggo
Naae, C. Volmer Nordlunde, Berthold Wolpe, Gotthard de
Beauclair, Hermann Zapf, Richard von Sichowsky, Henri
Friedlaender, Jan van Krimpen, S. H. de Roos, Karl-Erik
Forsberg, Max Caflisch, Jan Tschichold, Joseph Blumenthal,
Hans Schmoller, Grant Dahlstrom, Ward Ritchie, Jack
Werner Stauffacher and Bruce Rogers.
For a review of the project read ”Bogvennen. Aarbog for
bogkunst og boghistorie” 1956, Ejnar Philip pp. 63–81.
1700:-
Sarema Press, London 1990. 279 pages. Small square 4to.
Cloth with dust jacket in protective plastic cover. Fine
copy of this important and excellent typography reference
to the successful method of type identification. The book
includes over 700 illustrated typeface specimens, all fully
cross-referenced to a comprehensive index. Second edition,
revised by Phil Baines.
Each category with
an introduction
by Phil Baines,
examining the
historical background
of typeface design.
The book also
contains a section of
fifty brief biographies
of leading type
designers by Sarh
Rookledge.
450:-
2450:-

[monotype - sarah clutton]: Monotype Ornament
Broadsheet No. 1. The Arabesque
Monotype, Salsford (late 50s). Single broadsheet
printed i red and black. (57 x 44 cm). Pin holes and
slight discoloration from tape in the corners, not affecting
the image. The series of four broadsheets with
ornaments from five centuries published by Monotype
are widely admired. Designed by Sarah Clutton.
The single decorative leaf is a motif which long proceded
the arabesque and is Classical not Islamic
origin. It is used singly, often as a paragraph mark,
whereas in the true arabesque the leaf is combined
cursively into a complex interlaced geometrical pattern.
The leaf and the Arabesque often appear side by
side in books of the late Renaissance.
[monotype - sarah clutton]: Monotype Ornament
Broadsheet No. 2. The Fleuron
Monotype, Salsford (late 50s). Single broadsheet
printed i red and black. (57 x 44 cm). Pin holes in
the corners. The series of five broadsheets with ornaments
from four centuries published by Monotype are
widely admired. Designed by Sarah Clutton.
During the eighteenth century the prevailing style of
decoration in architecture, furniture, porcelain and
textiles was reflected in printing by the apparance a
of a new kind of type ornament capable of being built
up into Rococo designs. The development of this style
was centred in France, where its leading exponent was
the typefounder Pierre Simon Fournier (1712-1768).
[monotype - sarah clutton]: Monotype Ornament
Broadsheet No. 3. The Border
Monotype, Salsford (late 50s). Single broadsheet
printed i blue and black. (57 x 44 cm). Pin holes in
the corners. The series of five broadsheets with ornaments
from four centuries published by Monotype are
widely admired. Designed by Sarah Clutton.
Classical key-patterns, twining garlands, diamonds
and combinations of triangles, mainly intended to
be used as borders or strips, gave a new look to typographical
decoration at the time that the modern face
was emerging. The English typefounders such as Figgins
and Fry were among the most inventive designers
of these new decorative units.
400:-
400:-
400:-

[monotype - sarah clutton]: Monotype Ornament
Broadsheet No. 4. The Nineteenth Century Ornament
Monotype, Salsford (late 50s). Single broadsheet printed
i dark red and black. (57 x 44 cm). Pin holes in the
corners. The series of five broadsheets with ornaments
from four centuries published by Monotype are widely
admired. Designed by Sarah Clutton.
Of the many styles assumed during a period of extravagant
ornamentation it was perhaps the Gothic which
the nineteenth-century designers made most truly
their own. The type-founders took particular delight
in building up eloborate architectural edifices as specimens
of their extensive range of border material.
[monotype - sarah clutton]: Monotype Ornament
Broadsheet No. 5. Type Flowers in the Twentieth Century
Monotype, Salsford (late 50s). Single broadsheet printed
i yellow and black. (57 x 44 cm). Pin holes in the
corners, two short tears, not affecting the image. The
series of five broadsheets with ornaments from four
centuries published by Monotype are widely admired.
Designed by Sarah Clutton.
The type flowers of both past and present have been
put to new uses in the twentieth century. A much
richer use of colour and the use of border units to build
up all-over patterns are typical developments.
jaspert, w. pincus - berry, w. turner - johnson,
a. f.: The Encyclopaedia of Type Faces
Blandford Press, London 1970. xvi, 420 pages. 4to
(30,5 x 21 cm). Black blindstamped cloth with spine
title in silver. Top edge black. Dust jacket with short
tears and small paper loss at the front edge. With list of
literature, list of typefounders, index to type designers,
index to type faces. Fourth, and best, edition, entirely
restyled and greatly enlarged.
The standard typography desktop reference. Nearly
2000 typefaces illustrated. Each typeface is arranged
alphabetically, with roman and italic, usually in upper
and lower case alphabets and numerals.
frutiger, adrian: Type, Sign, Symbol
400:-
400:-
900:-
ABC Verlag, Zurich 1980. 151 pages. Small 4to (25,5 x
26 cm). Black spine with white laminated boards. Dust

cohen, arthur a.: Herbert Bayer. The Complete Work
Reinhold Publishing, New York 1967. 211 pages. 4to (29 x 24 cm). Blue
cloth binding, blind stamped on front panel. Dust jacket soiled and
with tears. Profusely illustrated in b/w and a few colour plates. First
edition.
This is a most extraordinary book reflecting a long period of kinetic
achievements by a progressive pathfinder in art, architecture, and the
graphic arts. It is not only a complete and chronological retrospective
compilation of the author’s prolific accomplishments, but also contains
his findings and conclusions in a series of analytical and introspective
articles.
tracy, walter: Letters of Credit. A View of Type Design
950:-
Gordon Fraser, London 1986. 223 pages. Small 4to (25,3 x 18 cm).
Dark blue cloth stamped in blind with gilt decoration to spine. A fine
copy in like dust jacket. Numerous letter
sample illustrations. First edition.
Divided in two sections; ”Aspects of
type design” is about the anatomy of
the letter in aesthetic and practical aspects.
A very important text for all type
designers.
”Some designers and their types”, Walter
Tracy analyze famous type designers
and their type faces: Jan van Krimpen,
Frederic Goudy, Rudolf Koch, W. A.
Dwiggins and Stanley Morisons Times
Roman.
500:-
jacket with tears. Extensively illustrated in b/w and some in colour.
With contributions by Maurice Besset, Emil Ruder and Hans Rudolf
Schneebeli. Text in English, French, German.
For Frutiger, lettering and type are not merely an aid to reading but
a universal means of perception which accompanies mankind everywhere.
Type design leads to the sign. the logotype and the symbol.
Anyone concerned with problems of design will find in this book a host
of ideas and practical examples.
2200:-
mit Press, Cambridge, ma, usa1984. 429 pages. 4to (29 x 24 cm).
Softcover. Lavishly illustrated with 43 colour and 350 black-and-white
plates, many of which come from Bayer´s own archive and have never
before appeared in print. In accordanc with Mr. Bayer´s 60-year committment
to the use of the lower case alphabet, all 32 of his essays are
set in miniscules.
This is the first book to present a comprehensive survey of Bayer´s
enormous oeuvre.
750:-
bayer, herbert: Herbert Bayer. Painter, Designer, Architect. [Visual
Communication, Architecture, Painting]

zapf, hermann: Manuale Typographicum
Georg Kurt Schauer, Frankfurt am Main 1954. (4),
1-100 (leaves), (5) pages. Oblong 4to (23 x 31 cm).
Bound in quarter vellum with gilt spine titling and
blind stamped front board. Spine age darkened. Slipcase
slightly damaged. Beautifully printed in a limited
edition of 1000 copies at the House Printing-Office of
D. Stempel AG with Stempel’s and Heinrich Egenolf’s
printing types in two colours on Hahnemühle Büttenpapier.
Leaflet of 50 pages with texts and translations
in German insert in pocket at the rear. Typographic
specimens, printed on the recto only, with quotations
from the past and present on types and printing in
sixteen different languages on 100 sheets numbered in blind. Dedication: ”Erik
Lindegren herzlichst gewidmet von Hermann Zapf in Frankfurt am Main 16
Juni 1955”. Erik Lindegren was a famous Swedish typographic designer and an
author of for example ”ABC of Lettering and Printing Typefaces”.
Dieses Manuale wurde in 16 Sprachen gesetzt aus Schriften der D.Stempel AG
Frankfurt am Main unter Verwendung einiger historischer Typen aus deren
Archiv und von Heinrich Egenolf 1954 in der Hausdruckerei gedruckt in einer
einmaligen Auflage von 1000 Exemplaren.
(Hermann Zapf & His Design Philosophy page 113).
lindegren, erik: Våra bokstäver. A. Skrift, B. Trycktyper,
C. En historisk översikt
Erik Lindegren, 1964-65 Askim. 160 + 336 +136 s.
Tvär 4:o (18 x 25,5 cm) Vita klotband med pärmtryck i
silk-screen. Ovanligt vita och välbevarade skyddsomslag,
jämngulnade ryggar. Löst bifogat medföljer ett
korrespondenskort från Erik Lindegren med vacker
piktur: ”Med vänliga hälsningar! Din tillgivne vän Erik
Lindegren”. Välillustrerade, delvis i färg. Tre volymer i
mycket fint skick.
Detta är en utvidgad upplaga av ‘Våra bokstäver’ som utkom i ett band 1959-60.
Vid sidan av Valter Falks ‘Bokstavsformer och typsnitt genom tiderna’ är denna
bok en svensk höjdpunkt om våra bokstäver, på sitt både strama som lekfulla
utförande.
melin & österlin: Svensk Form Design Centre: M & Ö (John Melin och Anders
Österlin) visar bruksgrafik 23/11-9/12 1962
[melin & österlin] 3 års inköp. Moderna Museet. April-juni 1963
3500:-
1500:-
Svensk Form Design Centre, 1962. Inbjudningskort. Tvåfalsat ark med presentation
av M&Ö på vänstersidan och en text av VD:n i Svenska Telegrambyrån,
Göran Tamm, på högersidan. Tvärformat (15 x 19 cm).
400:-
Moderna Museet, Stockholm 1963. 19 s. Klammerhäftad med styva tryckta
omslag. Högsmalt format (24 x 11 cm). Förord av K. G. Hultén. Tryckt i rött.
Formgivet av M&Ö. Tryck: M & Ö/STM/Zanco.
Moderna Museets utställningskatalog Nr 29
425:-