Nijhof & Lee have been very fortunate to have acquired a limited number of copies of the first edition of this sought after work which was published on the occasion of the award to Karel Martens of the Dr. A.H.Heineken Prize for Art in 1996.

The work of Karel Martens occupies an intriguing place in the present European art & design landscape. Martens can be placed in the tradition of Dutch modernism - in the line of figures such as Piet Zwart, H.N.Werkman and Willem Sandberg. His work is both personal and experimental; at the same time it is publicly answerable. Over the 36 years of his design practice Martens has been a prolific designer of books and he has made significant contributions in the areas of postage stamps, coins, and building signage. Intimately connected with this design work has been his practice as a free styled artist.
This book looks for new ways to show and discuss the work of a designer and artist, and is offered in the same spirit of experiment and dialogue that characterizes the work that it presents.

A collectors item!

ANTIQ.# 5915: First edition of Tschichold's famous collection of 400 years of calligraphic masterpieces.

ANTIQ.# 12814. One of the great classic typography texts of the twentieth century, Tschichold's 'Die Neue Typographie' solidified a movement in typography which has had it's reflections in the decades that followed. It established the importance of asymmetric typographic principles and was the spring board toward various modernist movements in communication.

ANTIQ.# 14072: Scarce, complete set of these educational brochures about letter & type forms which where created by Tschichold to be used at the Design School in Basel. 6 brochures: 1.Druckschriften-Erste Serie; 2.Druckschriften-Zweite Serie; 3.Für Inschriften und Aufschriften; 4.Handschriften des spätern Mittelalters und der Renaissance; 5.Druckschriften-Dritte Serie; 6.Alte Schreibvorlage und eine neue.

Antiq.# 14237; Mouron p.94: "The quest for a spare and elegant style is reflected in Cassandre's studies for two new alphabets - especially that for his third alphabet, which was specifically designed for book work. After designing 'Arcier'...Cassandre began working, probably in 1933 or 1934 on a new type called 'Peignot' which appeared in print for the first time on Feb. 12, 1937. His intention was to create an all-purpose typeface including, of course, in three weights of type, display letters, upper and lower case..."

ANTIQ.# 14074: Scarce study of the history of punch cutting and type founding in Switzerland. The author has given much attention to type-founding in Basel and especially the history of the Haas'schen Schriftgiesserei and the family Haas.

ANTIQ.# 4364: First edition of the very authoritative study of the history of changing type forms over the last 500 years.
From the authors introduction: "This atlas is an attempt to show by illustration, rather than by explaining in words, the main changes in type forms over 500 years of printing. We have enlarged many of the most important types in the history of printing so that their shapes can be seen clearly and compared. We also show, either actual size or only slightly reduced, an original use of the type, which further demonstrates its qualities; then follow enlarged letters and full alphabets of currently available types derived from or in the manner of the same historical original."

ANTIQ.# 14063: This is one of Zapf's finest publications and it's single-page quotations on typography are high points of 20th century lettering and book design.
This is an entirely new publication and not a reprint of the 1954 edition with the same title. The english translations have been done by Paul Standard.

ANTIQ.# 13696: Since 1948 Hermann Zapf has designed 175 alphabets for handcomposition, for the Linotype typesetting machine, and for photocomposition and digital laser systems. These alphabets are shown with illustrations in this very elegant book.
Born in 1918 in Nuremberg,Germany, Zapf is internationally known as typeface designer, calligrapher, book designer, and educator. Self-taught, emerging at the end of the 1930s as a master caftsman with a sophisticated understanding of the principles of good design he went on to be involved with many of the leading international type composition organizations such as Stempel AG & Mergenthaler Linotype. He has been awarded the F.W.Goudy Award and the Gutenberg Prize and has held a number of senior teaching posts in the United States and Germany.

ANTIQ.# 14066: 11.Band der Monographien künstlerischer Schrift. Zum 50. Todestag von William Morris.
Zapf's short, well designed, & very well illustrated essay about the life and work of William Morris in celebration of the 50th. anniversary of his death. The portrait of Morris used for the frontispiece and the dust-wrapper is reprinted from an engraving by Hermann Zapf. See:"Zapf & His Design Philosophy" p. 221 & 252.

ANTIQ.# 14042: Very scarce typespecimen containing 74 letter types which Schlesinger choose to represent what he considered to be the most practical and usable types for commercial lettering and advertising.
This copy contains a loosely inserted invitation card to an memorial exhibition of Schlesinger's work held at the Lettergieterij "Amsterdam" on 1 June 1946.

ANTIQ.# 13916: Complete copies in acceptable condition have become extremely rare. This copy has been the property of Stanley Morison and it was fire damaged in World War II when Monotype was bombed in London at Lindgate Circus. Plate nr. 127 which was missing from this copy has been loosely inserted by the later owner(David Quay) who found a loose copy at a print dealers.
The author, George Bickham (1684-1769) was renowned as an engraver with an extraordinary talent. The first leaves of this book were issued from about 1733 throughout 1741. The complete series of 212 engravings required 8 years to be completed, despite the claims of the publisher to be able to deliver an issue of 4 leaves for every week in one year. From the graphic point of view this book is an extraordinary example of typographic virtuosity, comprising not only samples of every type of writing in use in England at that time but also some 120 vignettes and several engraved tail-pieces depicting genre-scenes, and ornamental borders. The whole second part (plates 113-212) contains examples of commercial letters describing all sorts of products from various types of merchants and includes bills of exchange, receipts, purchase orders, banker's scripts and even samples of Oriental characters. The Universal Penman is the most important calligraphic book of the 18th. Century.

John D. Williams(1829-1871) was one of the finest Offhand Flourishing penmen of his day. This famous writing manual contains a 72 line system of practical penmanship, examples of commercial forms and accountancy, Off-hand Flourishings, decorative alphabets and pen drawings.

A fine, impeccable copy of the first edition of this famous, sumptuously illustrated and learned history of types and vignettes used in the Netherlands from the 15th up to the end of the 19th century.
Charles Enschedé (1855-1919) became director of the Enschedé foundry in 1887; he took a great historical interest in the typefounding trade, and it was he who laid the foundations for the current Museum Enschedé.
McMurtrie:924. Lane/Lommen:page 64-65.

A handsome example of modern printing, and a valuable resource for the history of typography. Designed by Bram de Does, composed by hand in the Romanée, printed by letterpress on laid, mould-made paper.

Lane/Lommen:56-II. The second volume of the impressive, large size, 5 volume typespecimen of 1889-1897. Each volume stands alone, this one contains the fantasy letters of the Enschedé foundry.

Lane/Lommen:172. The Pica Roman No.6 designed by Pieter Schoeffer appearing in this specimen is one of the oldest types in the Enschede Collection.

Lane/Lommen:98. Enschedé bought all of the type matieral from the Brussels' foundry of Didot in 1850. First issued in 1914 this specimen contains the preface from the original specimen of 1819 by Pierre Didot.

Lane/Lommen:96a. Specimen of the "Charactères de Civilité" in the collection of Enschedé; these 'Lettres Françoises' also know as "Letters of the State" where first cut and used by Robert Granjon in 1557.

Lane/Lommen:93. Containing the collection of 'Black Letter' type held by the Enschedé Foundry.

Antiq. # 12407; Very good copy of this scarce specimen of the foundry's middle-eastern and asian letter types in the beautiful De Roos binding. Lane/Lommen: 1285

A fine facsimile of this intriguing 19th century French typespecimen, accompanied by a lengthy essay in which its links with Balzac are traced and a great deal of new information is provided about the activities of the Gillé typefoundry, most of which was acquired by Balzac and Laurent.

The Aldine Press revolutionized the production, accessibility, and use of the book. Founded by Aldus Manutius (ca 1452-1515), the press introduced a number of innovations that helped shape the development of the modern book, including italic type and the smaller, pocket-sized volume. By putting the Greek and Latin classics in a form that everyone could afford, it revolutionized scholarship; the uniform Aldine texts made comparison and collation universally available, and editions were used extensively in schools.
This catalogue is the result of 40 years of scholarship started by Franklin Murphy in 1961 when the UCLA Library bought the Elmer Belt's collection of Vinciana. It is one of the most ambitious descriptive catalogues ever undertaken of the books printed by Aldus the Elder, and his heirs Paulus Manutius and Aldus the Younger. The book is set in Manutius, a digital typeface specially adapted for this project by Matthew Carter of Carter & Cone, Type Inc. from beta versions of his Miller Text and Wilson Greek. Typographic design and composition were provided by Gerald Lange of the Bieler Press in Marina del Rey, California.

Collecting some 41 of Alfred Forbes Johnson's excellent and highly respected papers on the history of printing and book publishing. Good copy of this important work.

The Dutch edition of this extensive bibliographical catalogue published on the occasion of an exhibition at the Royal Library 'Albert I' in Brussel in 1973 celebrating the five hundred year anniversary of printing in the Netherlands. Each printer in the area discussed is represented by at least one work.

The French edition of an extensive bibliographical catalogue published on the occasion of an exhibition at the Royal Library 'Albert I' in Brussel in 1973 celebrating the five hundred year anniversary of printing in the Low Countries.

Fine copy of this sought after work which brings together a selection of title and text pages from the best work of all periods, including the 20th century, and thus illustrating the development of the art of fine printing through the five centuries that have elapsed since the production of books by movable types was invented.

The orig. Dutch edition of a symposium bringing together distinguished European and American book historians resulting in a readable history of 150 years of book typography. The contributors include: Fernand Baudin, Gerard Blanchard, Maximilien Vox, Georg Kurt Schauer, P.M.Handover, Franco Riva, G.W.Ovink, Willy Rotzler and James Wells.

This work was originally published in Dutch in 1965 with the title "Anderhalve Eeuw Boektypografie 1815-1965", edited by G.W. Ovink. It is a symposium bringing together distinguished European and American book historians resulting in a readable history of 150 years of book typography. The contributors include: Fernand Baudin, Gerard Blanchard, Maximilien Vox, Georg Kurt Schauer, P.M.Handover, Franco Riva, G.W.Ovink, Willy Rotzler and James Wells.

Published on the occasion of the fiftieth anniversary of the Society of Typographic Designers this book traces not only the history of this key society but is a guide to the general tendencies in typography and printing since 1920.

Printed Ephemera covers a wide variety of material and reveals a series of fascinating and little-explored fields for the collector. Apart from a brief look at the earliest of all ephemeral printing, the Papal Indulgences of the fifteenth century and the sixthteenth century proclamations and decrees, and a slightly longer look at engraved billheads and trade cards of the eighteenth century, Mr. Lewis is mainly concerned with letterpress printers jobbing work. He traces the development of ephemera from the vivid typographic vernacular developed in the first half of the nineteenth century, through its decline in both England and America during the next hundred years or so, to its sudden flowering again today.