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GRAPHIC ARTS.

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1 German Fine Printing 1948-1988.
The Grolier Club / Typophiles, New York: 1992. Limited Edition of 1500 copies. 
8vo. stiff paper wrappers. not paginated. A checklist of an exhibition held at The Grolier Club, December 18, 1991 to March 12, 1992, on German printing. It was printed by letterpress from Joseph Blumenthal's Emerson and Hermann Zapf's Hunt roman types at The Stinehour Press. Includes 130 entries and is illustrated. 
Price: 23.75 USD
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2 Ligatures.
Chester Creek Press, Chestertown: 2002. Limitied Letterpress Edition - 12 copies. s New. Typographic Ligature. 
Ligatures is a nonsensical celebration of the beauty of typographic ligatures. Printed with Centaur types and original woodcuts by the printer. Printed letterpress on Domestic Etching paper. Bound in a laminated cover of Lokta and Fabriano Ingres paper. 3-1/4 x 6 inches (22 x 6 inches opened). 
Price: 213.75 USD
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3 The Grolier Club Creates: Book Arts By Club Members.
The Grolier Club, New York: 2009. s Softcover. Brand new book. 
The Grolier Club membership consists of private and institutional collectors; the antiquarian book trade; book scholars; and practitioners in the book arts, both amateurs and professional. No matter the reason for their interest, all Grolier Club members appreciate good design, fine bindings, letterforms, quality paper, and all the other facets of books. This book celebrates the 125th anniversary of the Club by displaying the work of twenty-nine members who are active in the fields of printing, book design, bookbinding, printmaking, illustration, calligraphy, and the production of artists books. The Grolier Club Creates showcases the work of each member, provides a brief description of the work, and a small essay written by the member. It is beautifully illustrated with a photograph or illustration for each entry. 
Price: 11.40 USD
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4 (MERGENTHALER, OTTMAR) New - York Daily Tribune, Saturday, July 3, 1886.
Oak Knoll Press, New Castle: 1988. Facsimile Edition. s Brand new facsimile broadside 17.5 x 23.5 inches, folded broadside. Printed in black on one side only. 
A facsimile of the first newspaper page composed on a commercial Linotype. Although printed by offset lithography, the parts composed by the Linotype can still be visibly distinguished from the hand-set type because of a single wrong-font bold face apostrophe. This appears in only three of the stories (see Schlesinger: Ottmar Mergenthaler, Inventor of the Linotype, pp. 113-116). 
Price: 9.50 USD
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5 ANNENBERG, MAURICE; SAXE, STEPHEN O.; (INTRODUCTION); LIEBERMAN, ELIZABETH K. (INDEX). Type Foundries Of America And Their Catalogs.
Oak Knoll Press, New Castle / The British Library, London: 1994. Reprint of First Edition with additions. h Hardcover with dustjacket. Brand new book. 
Recognized by booksellers, collectors, librarians and bibliographers for its great usefulness as the definitive bibliography of American type specimen books. This edition contains an appendix listing 73 type specimen books unknown at the time of the first edition, more than 10 percent of the former total. Type Foundries contains historical accounts of each foundry, a list of their specimen books with size and number of pages and countless tidbits of fascinating historical and typographical information. Oak Knoll's edition has been updated and amended by the well-known printing historian, Stephen O. Saxe. He has added eight appendixes to the book, as well as a four-page introduction and a biographical sketch of the author. In addition, one new type foundry, Abraham Riggs of New York City, has been discovered and is described in a separate appendix. There are also listings of the complete type specimen holdings of the New York Public Library, the Smithsonian Institution and Stephen O. Saxe's personal collection. The appendixes conclude with a list of errata, omissions and duplications in the first edition; and a select bibliography. Also, of the greatest importance, the much-lamented lack of an index has now been corrected through the efforts of Elizabeth Lieberman. 
Price: 47.69 USD
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6 ANTONOZZI, LEOPARDO. De Caratteri: Characters.
HES & DE GRAAF, Nieuwkoop: 1971. Facsimile of 1638 edition published in Rome. s Softcover. Brand new book. 
Edition limited to 300 handnumbered copies. With numerous calligraphic specimens. Part of the Penman's Paradise series. Typographical design: Aldert Witte. Text is in Italian. 
Price: 95.00 USD
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7 ARNOLD, JOHN. The Fanfrolico Press: Satyrs, Fauns And Fine Books.
Private Libraries Association, Pinner: 2009. First Edition. h Hardcover. Brand new book. 
The book consists of a detailed history of the Press and a full bibliography of its publications and ephemera, tracing the venture from its origins in Sydney, Australia, in the early 1920s, to success in London from 1926, and its final dissolution in 1930. The Press was notable for the literary input of its proprietor Jack Lindsay, working initially with John Kirtley, later with P. R. Stephensen, and finally alone. For the illustrations, it published work by Jack's father, Norman Lindsay, as well as by Edward Bawden, Hal Collins, Lionel Ellis, and others. Jack Lindsay was responsible for the typographical design (initially with Kirtley) that brought a distinctive style to the books of the Press. This book has been designed by Paul W. Nash, printed by Henry Ling, and bound in blue cloth with a design inspired by a Fanfrolico publication. There are 96 illustrations, including reduced facsimiles of the title pages of the forty-six books published by the Press. 
Price: 61.75 USD
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8 AUCHINCLOSS, KENNETH. Magnificent Obsession: The Printing Of The Boswell Papers.
Typophiles, New York: 1995. Limited Edition of 800 copies. s Softcover. Brand new book. 
Typophiles Monograph - New Series Number 13. The story of the printing of the Boswell papers owned by Lt. Colonel Ralph Heyward Isham by Bruce Rogers. Limited to 800 copies printed at The Stinehour Press with design by Abraham Brewster at the Oliphant Press. 
Price: 23.75 USD
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9 BABCOCK, ROBERT G. (EDITOR). Learning From The Greeks: An Exhibition Commemorating The Five-hundredth Anniversary Of The Founding Of The Aldine Press.
Beinecke Rare Book and Manuscript Library at Yale University, New Haven: . s Softcover. Stiff paper wrappers. Brand new book. 
Exhibition Catalogue of the many Greek manuscripts that were on display at the Beinecke Rare Book & Manuscript Library in 1994 and then later at the Grolier Club. The exhibition celebrated the five-hundredth anniversary of the Aldine Press, which was founded in 1494 by the famous Italian printer Aldus Manutius. Manutius wanted to promote the Greek culture in his printings as well as Latin and Italian classics through his publishing. Black and white illustrations. 
Price: 28.50 USD
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10 BAKER, ERIC & BLIK, TYLER; HELLER, STEVEN (INTRODUCTION). Trademarks Of The 40's And 50's.
Chronicle Books, San Francisco: 1988. 087701485X / 9780877014850 First Printing. s Softcover. Very good condition. 
A portfolio of over 450 striking trademarks and logos. Some familiar, all innovative, these designs rflect the tastes and obsessions of postwar America and evidence a growing sophistication in the science of marketing. 
Price: 26.08 USD
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11 BARNHILL, GEORGIA B. (EDITOR). A La Mode Francaise: La Lithographie Aux Etats-unis, 1820-1860.
American Antiquarian Society, Worcester: 2013. s Softcover. Brand new book. 
This is a French language edition of With a aFrench Accent: American Lithography to 1860. It explores the impact of French lithography and lithographic practices on American visual culture through five essays from Georgia B. Barnhill, Lauren B. Hewes, Catherine Wilcox-Titus, Marie-Stephanie Delamaire, and Helena E. Wright. This work combines well-informed essays and a great number of striking images to provide a fascinating look at the history of France's influence on American lithography. The five scholars contributing essays to this book took on divergent subject matter, giving the reader windows into several different areas of Franco-American lithography. It begins with Barnhill's examination of the variations in quality among early American lithographs and the work of several academically-trained French lithographic artists working in American cities. Then, Hewes discusses the circulation of French imagery in the United States, which Wilcox-Titus follows with a case study on portraits of Napoleon and Lafayette and their popularity in American culture. Next, Delamaire considers how the American paintings reproduced by Goupil, Vibert and Company led to a transatlantic cultural exchange. Finally, Wright provides thoughts on the afterlife of French lithographs in the Smithsonian National Museum of American History. Illustrated with many black-and-white and color reproductions, this publication is an excellent resource for the study of American prints and the French influence on the development of early lithography in the United States. 
Price: 23.51 USD
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12 BARNHILL, GEORGIA B. (EDITOR). With A French Accent: American Lithography To 1860.
American Antiquarian Society, Worcester: 2012 s Softcover. Brand new book. 
With a French Accent: American Lithography to 1860 from the American Antiquarian Society features five essays from Georgia B. Barnhill, that explore several topics of interest to scholars of American print publishing. Together, the essays examine the impact of French lithographic practice on the American lithographic industry and American visual culture; the circulation of French imagery in the United States with a case study on portraits of Napoleon and Lafayette; Goupil's French lithographs after American genre and history paintings; and the use of French lithographs in didactic displays at the Smithsonian Institution in the late nineteenth century. The book explores the variations in quality among early American lithographs. The first essay by Georgia Barnhill closely looks at this phenomenon and examines the work of several academically-trained French lithographic artists who worked in New Orleans, New York, Philadelphia, and Boston from the mid-1830s to 1860. The essay by Lauren Hewes looks at the circulation of French imagery in the United States. Some lithographs in the American Antiquarian Society collection were published in France for an American market, and there is a selection of sentimental prints and portraits that were printed in the United States, but were French in derivation. The book provides reasoning for why prints of Napoleon and Lafayette were moved into the American culture. Using the paintings and prints of these two political leaders as a case study, Catherine Wilcox-Titus reveals the importance of lithography to the dissemination of fine art to a large mass audience. Next, the essay by Marie-Stphanie Delamaire considers how the American paintings reproduced by Goupil, Vibert and Company led to the transatlantic cultural understanding and exchange. Because Goupil published so many lithographs for American and European audiences, he is an important part of the link between French and American lithography. The last essay by Helena Wright provides thoughts on the afterlife of French lithographs in American culture and the collecting and use of French lithographs in the United States National Museum. Illustrated with black-and-white and color prints, this publication will be an excellent resource for the study of American prints and the French influence on the development of early lithography in the United States. 
Price: 29.21 USD
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13 BARTRAM, ALAN. Typeforms: A History.
Oak Knoll Press, New Castle / The British Library, London: 2007. First Edition. h Hardcover with dustjacket. Brand new book. 
This book is the long-awaited successor to the classic An Atlas of Typeforms, the great visually-led history of type that Alan Bartram and James Sutton produced in 1968. Much has changed in the last 40 years, not least the teaching of typography and the means by which it is created. Because current design methods do not require the drawing and tracing of letterforms in order to produce layouts, we have lost our close connection with them. Few understand their history, their appearance, and how and why they have developed as they have. Nearly 75 different types are shown in their original metal forms, just as they were in the Atlas of Typeforms. But an entirely new feature is the author's attempt to place the types in their historical context. By including photographs of contemporary inscriptions on buildings and monuments, Alan Bartram explores the relationship between printed and architectural letterforms and their parallel course from the Renaissance until Victorian times. The opportunities offered for graphic and type designers in the digital age are greater than ever before. But without an understanding of the visual make-up of letterforms and some knowledge of their fascinating history, designers cannot fully exploit the potential of type. In this book, Alan Bartram educates us in these critical areas. 
Price: 52.01 USD
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14 BAUDIN, FERNAND. From Mechanical To Cybernetic Exercises.
The Typophiles, New York: 1997. Limited edition of 500 copies. s Softcover. Brand new book. 
Typophile Monograph New Series - Number 14. Limited to 500 copies designed, printed and bound by Dan Carr & Julia Ferrari at Golgonooza Letter Foundry & Press. Preface by Theo Rehak. 
Price: 23.75 USD
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15 BRACAVAL, BERTRAND. Le Livre, L'objet, Le Sens.
Petit Vehicule, Nantes: 2012. First Edition. s Stiff paper wrappers. Brand new book. 
Translated as The Book, the Purpose, the Purpose. Bertrand Bracaval discusses the history of his press, Pre Nian Editions, as well as his inspiration behind all of his books. 
Price: 23.75 USD
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16 BRANDT, WILLIAM H. Interpretive Wood-engraving: The Story Of The Society Of American Wood-engravers.
Oak Knoll Press, New Castle: 2009. h Hardcover with dustjacket. Brand new book. 
In the late nineteenth century, wood-engraving was the principle medium of illustration employed by publishers. From this beginning, print collector Bill Brandt goes on to recount the story of the Society of American Wood-Engravers. He reveals the medium's intricacies, the controversies sparked between traditional wood-engravers and America's New School, and the international acclaim rightly bestowed on these innovative American artists. The lost art of interpretive wood-engraving comes to life in Brandt's detailed account. Using tools the size of dental instruments, the movement's talented and resourceful men and women engraved award-winning works of art - both interpretations of famous masterpieces and striking original works. The fifty prints reproduced on these pages, scanned from Brandt's extensive collection with most produced at full size, highlight the astonishing skill and painstaking craftsmanship required of a wood-engraving artist of the golden age. The author profiles many leading personalities on the American wood-engraving scene, including Alexander Anderson, a New York doctor who became the father of American wood-engraving; William J. Linton, a talented English wood-engraver who led the Old School's relentless but unsuccessful charge against New School engraving techniques; Anna Botsford Comstock, who created hundreds of original wood-engraved book illustrations from nature; General Rush C. Hawkins, a Civil War figure who, as U.S. Commissioner on Art, secured the prominent display of American wood-engravings at the 1889 Exposition Universelle in Paris; Timothy Cole, who traveled through Europe creating wood-engraved interpretations of paintings by the old masters; and Elbridge Kingsley, whose revolutionary direct-from-nature wood-engravings were created in rural New England from his horse-drawn sketching car. Includes over eighty illustrations, and printed in an edition of 600 numbered books. Brandt tells how the Society of American Wood-Engravers burned brightly for almost twenty years, and then faded away in the early days of photoreproductions. Readers, glimpsing the warm glow of a remarkable era, will take pride in this little-known period of American art history. Bill Brandt has served on the boards of directors of the American Historical Print Collectors Society, the Northwest Print Council, and the Friends of the Vivian and Gordon Gilkey Center for Graphic Arts at the Portland Art Museum. 
Price: 80.75 USD
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17 BRINGHURST, ROBERT. Why There Are Pages And Why They Must Turn.
CODEX Foundation, Berkeley: 2008. Number one of the CODE(X) Monograph Series. s Softcover. Brand new book. 
Adapted from The Surface of Meaning: Books and Book Design in Canada, published in fall 2008 by CCSP Press at Simon Fraser University, Vancouver. Robert Bringhurst's essay talks about book design and typography, as well as the future of the book. This book was designed and printed in an edition of 500 copies on a Heidelberg cylinder press by Peter Koch, assisted by Jonathan Gerken and Shanna Mahan for the CODEX Foundation. The cover was printed from antique wood and metal types in the Koch collection. Robert Bringhurst is a philosopher, poet, linguist, and typographer living in British Columbia. 
Price: 23.28 USD
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18 BULLEN, HENRY LEWIS (HISTORICAL NOTES & COMMENTS); YALE, RICHARD B. (INTRODUCTION). Duplicates Of Type Specimen Books, Etc., United States And Foreign, For Sale By The Typographic Library Of The American Type Founders Company.
Frontier Publishing Co., San Diego: 1972. Revised from the 1934 First Edition. h Hardcover, no dustjacket (as issued). Brand new book. 
53 leaves printed on one side. Reprinted in typescript from the 1934 first edition and containing some additional matter. Compiled by H.L. Bullen, librarian of the ATF Company, to eliminate duplicates from the library and raise money. Excellent bibliographical tool in the study of these specimen books as Bullen has added comments to the descriptions. 
Price: 19.00 USD
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19 CAUSLEY, MONROE S. Arthur W. Rushmore & The Golden Hind Press.
Oak Knoll Press, New Castle / The British Library, London: 1584561416 / 9781584561415 First edition, limited to 200 numbered copies (although colophon states 170), each one signed by author. This important edition is quarter-leather bo h Hardcover. Brand new book. Signed by the author. 
A short biography of Arthur Rushmore and a comprehensive bibliography of his works set by hand for Harper & Brothers and his own Golden Hind Press. This edition was hand set in Monotype and printed on an old Heidelberg press. Tipped in are examples of the unique paste papers produced by the Golden Hind Press along with actual pages from the press' numerous works. The bibliography covers all known works designed and/or printed by Rushmore from his early days at Harper & Brothers (1927) to his death in 1955 and a few titles printed by his wife shortly thereafter. This special edition on Rushmore and his place in the American fine press tradition will be appreciated by all enthusiasts of this important genre. 
Price: 95.00 USD
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20 CHANDLER, ROBERT J.; MOORE, SHIRLEY ANN WILSON (AFTERWORD); TYLER, RON (FOREWORD). San Francisco Lithographer: African American Artist Grafton Tyler Brown.
University of Oklahoma Press, Norman. 2014. Volume 14 in Charles M. Russell Center Series on Art and Photography of the American West. h Hardcover with dustjacket. Brand new book. 
A lavishly illustrated biography of an often overlooked artist and his work --Grafton Tyler Brown—whose heritage was likely one-eighth African American—finessed his way through San Francisco society by passing for white. Working in an environment hostile to African American achievement, Brown became a successful commercial artist and businessman in the rough-and-tumble gold rush era and the years after the Civil War. Best known for his bird's-eye cityscapes, he also produced and published maps, charts, and business documents, and he illustrated books, sheet music, advertisements, and labels for cans and other packaging. This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Grafton Tyler Brown's lithography and his life in nineteenth-century San Francisco, Robert J. Chandler offers a study equally fascinating as a business and cultural history and as an introduction to Brown the artist. Chandler's contextualization of Brown's career goes beyond the issue of race. Showing how Brown survived and flourished as a businessman, Chandler offers unique insight into the growth of printing and publishing in California and the West. He examines the rise of lithography, its commercial and cultural importance, and the competition among lithographic companies. He also analyzes Brown's work and style, comparing it to the products of rival firms. Brown was not respected as a fine artist until after his death. Collectors of western art and Americana now recognize the importance of Californiana and of Brown's work, some of which depicts Portland and the Pacific Northwest, and they will find Chandler's checklist, descriptions, and reproductions of Brown's ephemera—including billheads and maps—as uniquely valuable as Chandler's contribution to the cultural and commercial history of California. In an afterword, historian Shirley Ann Wilson Moore discusses the circumstances and significance of passing in nineteenth-century America. 20 black and white and 125 color Illustrations. Robert J. Chandler, retired as a historian for Wells Fargo Bank, is the author of numerous articles and books on California history, including California: An Illustrated History and California and the Civil War, 1861-1865. Ron Tyler is the retired director of the Amon Carter Museum of American Art. He is former professor of history at the University of Texas at Austin and former director of the Texas State Historical Association. Shirley Ann Wilson Moore, Professor Emerita of History, California State University, Sacramento, is the author of To Place Our Deeds: The African American Community in Richmond, California, 1910-1963. 
Price: 35.10 USD
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