Blue Pencil no. 48—One Hundred Books Famous in Typography, Part 10 [Further Reading, etc.]
Note: When I began this dissection it was intended as a single post—even as it grew much longer than expected. However, I was forced to break it up into smaller chunks when I ran into an unexplained “failure error” when trying to save the draft one day. Rather than try to break up the dissection into equally sized posts based on word counts, I decided instead to make separate posts based on the divisions used in the Grolier Club exhibition for the one hundred books entries; and on divisions in the catalogue for the material that was not part of the exhibition (e.g. foreword, introduction, Fifty Typefaces Famous in Typography, bibliography, etc.).
pp. 315–323
Further Reading
There is no explanation of how books were chosen for further reading. Why does there appears to be a limit of one title for most entries? Why is further reading limited to books? Articles should have been considered as there are many that are more important than the books Kelly has chosen. For instance, for no. 24 Jannon why not include “The ‘Garamond Types‘: Sixteenth & Seventeenth Century Sources Considered” by Paul Beaujon [pseud. Beatrice Warde] in The Fleuron: A Journal of Typography 5 (1926), pp. 131–179)? Some annotations would have helped to clarify the relevance of each book to its associated title in One Hundred Books Famous in Typography. Are these additional books sources for Kelly’s entries or are they suggestions for readers interested in the books, the people, or the typefaces under discussion?
Below, I have copied out Kelly’s full text as it appears in One Hundred Books Famous in Typography. I have restricted myself to noting bibliographical inconsistencies, incompleteness, and errors. For my suggestions of additional or alternate titles, see the other parts of this blog series.
1. Gutenberg
Janet Ing, Johann Gutenberg and His Bible, a historical study. New York: The Typophiles, 1988.
[Exhibition catalogue], Gutenberg: Man of the Millennium. Published by the City of Mainz, 2000.
2. Fust & Schoeffer
Irvine Masson, The Mainz Psalters and Canon Missae, 1457–1459. London: The Bibliographical Society, 1954.
3. Jenson
Henry Lewis Bullen, Nicolas Jenson, Printer of Venice. San Francisco: John Henry Nash, 1926.
4. Ratdolt
Robert Diehl, Erhard Ratdolt. Vienna: Herbert Reichert Verlag, 1933.
• Full title: Erhard Ratdolt: Ein Meisterdrucker des XV und XVI Jahrhunderts.
5. Aldus
Michael S. Macrakis (editor), Greek Letters: From Tablets to Pixels. New castle, DE: Oak Knoll Press, 1996.
6. Aldus
Malcolm Lowry, The World of Aldus Manutius. Ithaca, NY: Cornell University Press, 1979.
• “Malcolm Lowry” should be “Martin Lowry”.
7. Aldus
H. George Fletcher, In Praise of Aldus Manutius: A Quincentenary Exhibition. New York, [sic] Pierpont Morgan Library, and Los Angeles: University of California, 1995.
8. Schönsperger
Hinrich Sieveking, Das Gebetbuch Kaiser Maximilians. Munich: Prestel Verlag, 1987.
9. Schönsperger
Stephan Füssel, The Theuerdank of 1517. Cologne: Taschen, 2003.
Carl Wehmer, “Hans Schönsperger,” in Altmeister der Druckschrift. Frankfurt: D. Stempel A.G., 1940.
10. Colines
Kay Amert (Robert Bringhurst, editor), The Scythe and the Rabbit: Simon de Colines and the Culture of the Book in Renaissance Paris. Rochester, NY: Cary Graphic Arts Press, 2012.
11. Arrighi
A.F. Johnson & Stanley Morison, “The Chancery Types of Italy and France,” in The Fleuron No. III, London: 1924.
• The full journal information should be The Fleuron: A Journal of Typography No. III. London: At the office of The Fleuron, 1924.
12. Tory
Frans A. Janssen, “Champ Fleury revisited.” in Querendo 26, 1996.
• “Querendo” should be “Quaerendo“.
12A. Tory
Joseph Blumenthal, Bruce Rogers: A Life in Letters. Austin, TX: W. Thomas Taylor, 2019.
• The full title is Bruce Rogers: A Life in Letters, 1870–1957; and the publication date should be 1989.
13. Castiglione
Luigi Balsamo & Alberto Tinto, Origini del Corsivo nella Tipografia Italiana del Cinquecento. Milan [sic]: Edizioni il Polifilo, 1967.
14. Garamond
Hendrik D.L. Vervliet, The Paleotypography of the French Renaissance. Leiden: Brill, 2008.
• Full title: The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces.
• “Paleotypography should be “Palaeotypography“.
15. Granjon
Harry Carter & H.D.L. Vervliet, Civilité Types. Oxford: The Oxford Bibliographical Society, 1966.
Hendrik D.L. Vervliet, Robert Granjon, letter-cutter; 1513–1590: an oeuvre catalogue. New Castle, DE: Oak Knoll Press, 2018.
16. Garamond
Hendrik D.L. Vervliet, French Renaissance Printing Types: A Conspectus. London: The Bibliographical Society, The Printing Historical Society; New Castle, DE: Oak Knoll Press, 2010.
17. Plantin
Hendrik D.L. Vervliet & Harry Carter, Type Specimen Facsimiles II (16–18). Toronto: University of Toronto Press, 1972.
18. Le Bé
Hendrik D.L. Vervliet, French Renaissance Printing Types: A Conspectus. London: The Bibliographical Society, The Printing Historical Society; New Castle, DE: Oak Knoll Press, 2010.
19. Moxon
Herbert Davis & Harry Carter (editors), Mechanick Exercises on the Whole Art of Printing by Joseph Moxon. London: Oxford University Press, 1958.
20. Grandjean
André Jammes, “Académisme et Typographie: The Making of the Romain du Roi.” in Journal of the Printing Historical Society, vol. 1. London: Printing Historical Society, 1965.
H. George Fletcher, editor, Printing for Kingdom, Empire, and Republic: Treasures from the Archives of the Imprimerie National. New York: The Grolier Club, 2011.
• “National” should be “Nationale”.
21. Fertel
David Pankow, The Printer’s Manual: An Illustrated History. Rochester, NY: RIT Cary Graphic Arts Press, 2005.
22. Vatican
H.D.L. Vervliet (editor and introduction), The Type Specimen of the Vatican Press, 1628. Amsterdam: Menno Hertzberger & Co., 1967.
23. Baskerville
Ralph Straus & Robert K. Dent, John Baskerville: A Memoir. London: Chatto & Windus, 1907.
• The imprint should be: “Cambridge: Printed at the University Press for Chatto and Windus, London, 1907”.
24. Jannon
Les caractères de l’Imprimerie Nationale. Paris: Imprimerie Nationale Éditions, 1990.
• The authors are Louis Martinez and Josseline Rivière.
25. Lamesle
A.F. Johnson, Claude Lamesle: Épreuves générales des caractères. Amsterdam: Menno Hertzberger & Co., 1965.
• Full title: Épreuves Générales Des Caracteres Qui Se Trouvent Chez Claude Lamesle. The Type-specimens of Claude Lamesle. A Facsimile of the First Edition Printed at Paris in 1742, Etc.
• Author information should be “A.F. Johnson (introduction)”.
26. Fournier
Harry Carter & James Mosley, The Manuel Typographique of Pierre-Simon Fournier le jeune. Darmstadt: Technische Hochschule Darmstadt, 1995. 3 volumes.
27. Enschedé
John A. Lane, The Enschedé Type Specimens of 1768 and 1773. Haarlem: Stichting Museum Enschedé, The Enschedé Typefoundry [sic]; Amsterdam: Uitgeverij de Buitenkant, 1993).
• Full title: The Enschedé Type Specimens of 1768 and 1773: A Facsimile
• “The Enschedé Typefoundry” should be “The Enschedé Type Foundry”
28. Delacolonge
Harry Carter, The Type Specimen of Delacolonge. Amsterdam: Van Gendt & Co., 1969.
• Full title: The Type Specimen of Delacolonge: Les caractères et les vignettes de la fonderie du sieur Delacolonge (Lyons, 1773).
• Imprint: “Amsterdam: Van Gendt & Co.; New York: Abner Schram, 1969”.
29. Didot
Stan Knight, Historical Types. New Castle, DE: Oak Knoll Press, 2012
• Full title: Historical Types: From Gutenberg to Ashendene
30. Caslon
Johnson Ball, William Caslon, 1693–1766. Kineton, Warwickshire: Roundwood Press, 1973.
• Full title: William Caslon 1693–1766: The Ancestry, Life, and Connections of England’s Foremost Letter-Engraver and Type-Founder.
30A. [nothing listed]
31. Bulmer
Peter Isaac, William Bulmer: The Fine Printer in Context, 1757–1830. London: Bain & Williams, 1993.
32. Stephenson
James Mosley, introduction, S. & C. Stephenson: A Specimen of Printing Types and Various Ornaments 1796, reproduced together with the Sale catalogue of the British Letter-Foundry, 1797. London: The Printing Historical Society, 1990.
• Elsewhere Kelly encloses “introduction” and “editor” within parentheses (see nos. 5, 10, 19, and 22).
33. Bodoni
H.C. Brooks, Edizioni Bodoniane. Florence: Tipografia Barbèra, 1927.
Valerie Lester, Giambattista Bodoni: His Life and His World. Boston: David R. Godine, Publisher, 2015.
• Full title: Compendiosa Bibliografia di Edizioni Bodoniane
34. Thomas
Marcus McCorison, editor, The History of Printing in America [third edition]. Barre, MA: Imprint Society, 1970.
• A more accurate entry would be: Isaiah Thomas, (Marcus A. McCorison, editor), The History of Printing in America: With a Biography of Printers & an Account of Newspapers [third edition]. Barre, MA: Imprint Society, 1970.
• Elsewhere Kelly encloses “introduction” and “editor” within parentheses (see nos. 5, 10, 19, and 22).
35. Bodoni
Stephan Füssel, Giambattista Bodoni—manuale tipografico (1818). Köln: Taschen, 2016.
Valerie Lester, Giambattista Bodoni: His Life and His World. Boston: David R. Godine, Publisher, 2015.
36. Bigmore & Wyman
Horace Hart, Bibliotheca Typographica. Rochester, NY: The Printing House of Leo Hart, 1933.
• Full title: Bibliotheca Typographica in Usum Eorum Qui Libros Amant: A List of Books about Books
37. Hansard
David Pankow, The Printer’s Manual: An Illustrated History. Rochester, NY: RIT Cary Graphic Arts Press, 2005.
38. Phemister
Bill Bell, Edinburgh History of the Book in Scotland, Volume 3. Edinburgh: University Press, 2007.
• A more accurate entry would be: Bill Bell (series editor), The Edinburgh History of the Book in Scotland, Volume 3: Ambition and Industry, 1800–1880. Edinburgh: Edinburgh University Press, 2007.
Stan Knight, Historic Types from Gutenberg to Ashendene. New Castle, DE: Oak Knoll Press, 2012
• “Historic” should be “Historical”
39. Johnson
• David Pankow, The Printer’s Manual: An Illustrated History. Rochester, NY: RIT Cary Graphic Arts Press, 2005.
40. Blades
N.F. Blake, Caxton: England’s First Publisher. London: Osprey, 1976.
• Imprint should be: “London: Osprey Publishing Ltd., 1976”.
41. Reed
A.F. Johnson (editor), A History of the Old English Letter Foundries (expanded second edition). London: Faber and Faber, 1952.
• A more accurate entry would be: Talbot Baines Reed, A History of the Old English Letter Foundries; with Notes Historical and Biographical on the Rise of and progress of English Typography. A New Edition Revised and Enlarged by A.F. Johnson. London: Faber and Faber Limited, 1952.
• Earlier Kelly used brackets to indicate a later edition of a book.
42. Page
Esther K. Smith, Specimens of Chromatic Wood Type, Borders, &c. New York: Rizzoli, 2017.
• Full title: Specimens of Chromatic Wood Type, Borders, &c.: The 1874 Masterpiece of Colorful Typography.
43. Morris
William S. Peterson, The Kelmscott Press: A History of William Morris’s Typographical Adventure. Oxford: Oxford University Press, 1991.
• The book was published in the United States by the University of California Press.
44. Cobden-Sanderson & Walker
Marianne Tidcombe, The Doves Press. London: The British Library; New Castle, DE: Oak Knoll press, 2002.
45. Hart
Harry Carter, A History of the Oxford University Press, Volume I: To the Year 1780. Oxford: At the Clarendon Press, 1975.
46. Warde
Judy Slinn, Sebastian Carter & Richard Southall, History of the Monotype Corporation. London: Printing Historical Society / Vanburgh Press, 2014.
• “Van Burgh Press” should be “Vanbrugh Press”.
47. Bradley
Robert Koch, Will H. Bradley: American Artist in Print. New York and Manchester, VT: Hudson Hills Press, 2002.
• Full title: Will H. Bradley: American Artist in Print: A Collector’s Guide.
48. Enschedé
The House of Enschedé: 1703–1953. Haarlem: Joh. Enschedé en Zonen, 1953.
• Full title: The House of Enschedé: 1703–1953: I–Seven Generations of Printers and Typefounders, II–A Short History of the Firm, III–A Six-Century Anthology of the Types. The second part was written by Harry Carter.
48A. Enschedé
Mathieu Lommen (editor), Bram de Does: typographer & type designer. Amsterdam: Uitgeverij De Buitenkant Publishers, 2003.
49. De Vinne
Irene Tichenor, No Art Without Craft. Boston: David R. Godine, Publisher, 2005.
• Full title: No Art Without Craft: The Life of Theodore Low De Vinne
50. Legros & Grant
Mark Argetsinger, A Grammar of Typography. Boston: David R. Godine, Publisher, 2020.
51. Rogers
Jerry Kelly & Misha Beletsky, The Noblest Roman: A History of the Centaur Types of Bruce Rogers. Boston: David, R. Godine, Publisher, 2015.
• The date should be 2016. The Book Club of California limited edition was published in 2015.
52. Klingspor
Hans Rudolf Halbey, Klingspor: Leben und Werk. Offenbach am Main: Freunde des Klingspor Museums, 1991.
• Full title: Klingspor: Leben und Werk: ein Beitrag zur Geschichte der deutschen Schriftkunst und des Schriftgiessereiwesens im 20. Jahrhundert
• Publisher should be Vereinigung Freunde des Klingspor-Museums.
53. Updike
George Parker Winship, Daniel Berkeley Updike and The Merrymount Press of Boston. Rochester, NY: The Printing House of Leo Hart, 1947.
54. Orcutt & Bartlett
Frank Romano, History of the Linotype Company. Rochester, NY: RIT Press, 2014.
55. ATF
• “ATF” should be “American Type Founders”.
David Pankow (editor), The Rise and Fall of ATF. Volumes 43/44 of Printing History: The Journal of the American Printing History Association. New York: APHA, 2002.
• A more accurate entry would be: David Pankow (editor), “The Rise and Fall of ATF” in Printing History: The Journal of the American Printing History Association 43/44 (Volume 22, Nos. 1 and 2). New York: APHA, 2002.
56. Morison
Francis Meynell, The Fleuron Anthology. London: Ernest Benn Limited; Toronto: University of Toronto Press; Boston: David R. Godine, Publisher, 1973.
• Herbert Simon was the co-author.
• The Godine edition is 1979.
57. Morison
Tony Appleton, compiler, The Writings of Stanley Morison. Brighton, Sussex: Tony Appleton, 1976.
• “compiler” should be in parentheses.
57A. Morison
Herbert Jones, Stanley Morison Displayed. London: Frederick Muller Limited, 1976.
• Full title: Stanley Morison Displayed: An Examination of His Early Typographic Work
58. Goudy
Frederic W. Goudy, A Half-century of Type Design and Typography. New York: The Typophiles, 1946.
• Full title: A Half–Century of Type Design and Typography: 1895–1945
• Two volumes.
59. Tschichold
Christopher Burke, Active Literature: Jan Tschichold and New Typography. London: Hyphen Press, 2007.
60. Proctor
Victor Scholderer, Greek Printing Types, 1465–1927. London: King’s Library of the British Museum, 1927.
61. Berry & Turner
• “Berry & Turner” should be “Berry & Johnson”.
[Graham Pollard], Catalogue of I: Typefounders’ Specimens; II: Books Printed in Founts of Historic Importance; III: Works on Typefounding Printing & Bibliography. London: Birrell & Garnett, Ltd, 1928.
62. Renner
Petra Eisele, Annette Ludwig & Isabel Naegele, editors, Futura: The Typeface. London: Laurence King Publishing Ltd, 2017.
• “editors” should be in parentheses.
63. Dwiggins
Bruce Kennett, W.A. Dwiggins: A Life in Design. San Francisco: Letterform Archive, 2017.
64. Cassandre
Henri Mouron, A.M. Cassandre: affiches, arts graphiques, théâtre. Geneva: Skira, 1985.
• The American edition was published by Rizzoli International Publications Inc.
65. Johnson
A.F. Johnson, Selected Essays on Books and Printing. Amsterdam: Van Gendt & Co., 1970.
• Percy H. Muir should have been included as editor.
66. Morison & Dreyfus
[Graham Pollard], Catalogue of I: Typefounders’ Specimens; II: Books Printed in Founts of Historic Importance; III: Works on Typefounding Printing & Bibliography. London: Birrell & Garnett, Ltd, 1928.
66A. Vervliet & Carter
Colin Clair, Christopher Plantin. London: Cassell & Company Ltd., 1960.
67. Gill
Fiona McCarthy, Eric Gill: A Lover’s Quest for Art and God. New York: E.P. Dutton, 1989.
68. Goudy
D.J.R. Bruckner, Frederic Goudy. New York: Harry N. Abrams, Inc., 1990.
69. Morison
Mark Argetsinger, A Legacy of Letters: An Assessment of Stanley Morison’s Monotype ‘Programme of Typographical Design’. Skaneateles, NY: Michael & Winifred Bixler, 2008.
70. Tschichold
Ruari Mclean, Jan Tschichold: a life in typography. New York, [sic] Princeton Architectural Press, 1997.
71. Zapf
Jerry Kelly, Hermann Zapf and the World He Designed. New York: The Grolier Club, 2019.
• Are there two editions of this book? My copy has The Kelly-Winterton Press listed as the publisher.
71A. Zapf
Hermann Zapf, ABC…XYZapf. London: The Wynkyn de Worde Society, 1989.
72. Stauffacher
Horst Heiderhoff, Die Original-Janson-Antiqua. Zur Rehabilitierung des Nikolaus Kis. Porträt einer Schrift 1683–1983. Neu-Isenburg: Edition Tiessen, 1983.
73. Van Krimpen
John Dreyfus, The Work of Jan van Krimpen. London: Sylvan Press, 1952.
• Full title: The Work of Jan van Krimpen: A Record in Honour of his Sixtieth Birthday
• The original publisher was Haarlem/Utrecht: Joh. Enschedé en Zonen/W. de Haan, 1952.
74. Sohn Pow Key
Lucien Febvre, The Coming of the Book. London: Verso, 1976.
• Full title: The Coming of the Book: The Impact of Printing 1450–1800
• The authors are Lucien Febvre and Henri-Jean Martin.
75. Dowding
Mark Argetsinger, A Grammar of Typography. Boston: David R. Godine, Publisher, 2020.
76. Carter, Francis & Morison
John Dreyfus, “Recollections of the Gutenberg Quincentenary celebration in Cambridge 1940 and its Connexton [sic] with Printing and the Mind of Man.” Printing Historical Society Bulletin, nos. 28–29 (Autumn/Winter), 1990.
77. Trump
Philip Luidl, editor, Georg Trump: Maler, Schriftkünstler, Grafiker. Munich: Münchner Stadtmuseum & Typographische Gesellschaft München, 1981.
• “Philip Luidl” should be “Philipp Luidl”
• “editor” should be in parentheses.
78. Morison
Nicolas Barker, Stanley Morison. Cambridge, MA: Harvard University Press, 1972.
Martyn Ould, Stanley Morison & ‘John Fell.’ Bath: The Old School Press, 2003.
• Full title: Stanley Morison & ‘John Fell’: The Story of the Writing and Printing of Stanley Morison’s Book John Fell, the University Press and the ‘Fell’ Types
79. Carter
Martyn [C.] Thomas, John A. Lane & Anne Rogers, Harry Carter: Typographer. Bath: The Old School Press, 2005.
• Full title: Harry Carter: Typographer: A Biographical Sketch and Bibliography.
80. Mardersteig
Hans Schmoller, The Officina Bodoni. Verona: Edizioni Valdonega, 1980.
• A more accurate entry is: Hans Schmoller (editor and translator), The Officina Bodoni. An Account of the Work of a Hand Press 1923–1977. Verona: Edizioni Valdonega, 1980.
81. Blumenthal
Joseph Blumenthal, Typographic Years. New York: Frederic C. Beil, 1983.
• Full title: Typographic Years: A Printer’s Journey Through a Half-Century, 1925–1975
82. ITC
• “ITC” Should be “International Typeface Corporation”.
Edward Rondthaler, Life with Letters—as they turned photogenic. New York: Hastings House Publishers, 1981.
82A. ITC
• “ITC” Should be “International Typeface Corporation”.
John D. Berry, U&lc: Influencing Design & Typography. West New York, NJ: Mark Batty Publisher, 2005.
83. Randle
David Butcher, The Whittington Press: A Bibliography 1982–93. With an introduction and notes by John Randle. Risbury, Herefordshire: The Whittington Press, 1996.
• This is the first time that Kelly has noted an introduction or other text not by the author or editor.
84. Adobe
Tamye Riggs, The Adobe Originals Silver Anniversary Story. San Jose, CA: Adobe Systems Incorporated, 2014.
85. Haiman
Harry Carter & George Buday, “Nicholas Kis and the Janson Types.” In Gutenberg Jahrbuch. Mainz: Gutenberg Gesellschaft, 1957.
• The missing page references are pp. 207–212.
86. Carter
Neil Macmillan, A–Z of Type Designers. London: Laurence King, 2006.
• Full title: An A–Z of Type Designers.
• The American edition was published by Yale University Press.
87. Pankow
Susan Otis Thompson, American Book Design and William Morris. New York & London: R.R. Bowker Company, 1977.
88. Randle
David Butcher, The Whittington Press: A Bibliography 1982–93. With an introduction and notes by John Randle. Risbury, Herefordshire: The Whittington Press, 1996.
89. Karow
Yannis Harabambous, Fonts & Encoding. Sebastopol, CA: O’Reilly Media, 2007.
• Full title: Fonts and Encoding: From Advanced Typography to Unicode and Everything in Between.
90. Brody & Wozencroft
Laurel Harper, Radical graphics / graphic radicals. San Francisco: Chronicle Books, 1999.
91. Lawson
Ron Eason & Sarah Rookledge, Rookledge’s International Handbook of Type Designers: A Biographical Directory. Surrey: Sarema Press, 1991.
• Full publishing credits are: “edited by Phil Baines and Gordon Rookledge (Carshalton Beeches, Surrey: Sarema Press (Publishers) Ltd., 1991)”
92. Bringhurst
Robert Bringhurst, What Is Reading For? Rochester, NY: RIT Cary Graphic Arts Press, 2011.
93. Spiekermann & Ginger
Steven Heller, Faces on the Edge: Type in the Digital Age. New York: Van Nostrand Reinhold, 1997.
• Co-author was Anne Fink.
94. Dreyfus
David R. Godine, Fifty Years of David R. Godine, Publisher. Boston: David R. Godine, Publisher, forthcoming.
• The published book is: David R. Godine, Godine at Fifty: A Retrospective of Five Decades in the Life of an Independent Publisher. Boston: David R. Godine, Publisher, 2021.
95. Marshall
Edward Rondthaler, Life with Letters—as they turned photogenic. New York: Hastings House Publishers, 1981.
96. Morris
Cees W. de Jong, Alston W. Purvis & Jan Tholenaar, editors, Type, A Visual History of Typefaces and Visual Styles. Volume 2. Cologne: Taschen, 2010.
• The correct title is: Type: A Visual History of Typefaces and Graphic Styles. Volume 2: 1901–1938.
96A. [nothing listed]
97. Vervliet
Hendrik D.L. Vervliet, French Renaissance Printing Types: A Conspectus. London: The Bibliographical Society, The Printing Historical Society; New Castle, DE: Oak Knoll Press, 2010.
98. Heller & Fili
Steven Heller & Louise Fili, Design Connoisseur. New York: Allworth Press, 2000.
• Full title: Design Connoisseur: An Eclectic Collection of Imagery and Type.
99. Frutiger
Adrian Frutiger, Type Sign Symbol. Zurich: ABC Verlag, 1980.
100. Argetsinger
David R. Godine, Fifty Years of David R. Godine, Publisher. Boston: David R. Godine, Publisher, forthcoming.
• The published book is: David R. Godine, Godine at Fifty: A Retrospective of Five Decades in the Life of an Independent Publisher. Boston: David R. Godine, Publisher, 2021.
p. 324
Selected Bibliography of General Works on Typography
“In general, the first edition is listed, except in cases where a later edition is significantly improved. Some titles are currently available, published under a different imprint.” p. 324
This is the entire text explaining Kelly’s selected bibliography. The choice of books is bewildering in that some are essential, some are useful but not important enough to make such a restricted list, and a few are of questionable value in relation to the One Hundred Books Famous in Typography project. Furthermore, of the nineteen titles, one book is part of the One Hundred Books Famous in Typography and four others are already listed under Further Reading. Those books that I believe are the most valuable I have marked with a red asterisk. More importantly, numerous books that I would deem indispensable for a study of typography (e.g. American Wood Type, 1828–1900 by Rob Roy Kelly [New York: Van Nostrand Reinhold, 1969] and Mackellar, Smiths & Jordan: Typographic Tastemakers of the Late Nineteenth Century by Doug Clouse [New Castle, Delaware: Oak Knoll Press, 2008]) are missing.
Paul Bennett (editor), Books and Printing: A Treasury for Typophiles. Cleveland: World Publishing Company, 1951.
*W. Berry, A.F. Johnson & W.P. Jaspert, The Encyclopedia of Typefaces, fourth edition, [sic] London: Blanford Press, 1983.
• “W. Berry” should be “W. Turner Berry”
• “Blanford” should be “Blandford”.
*Max Caflisch, Schriftanalysen. St. Gallen: Typotron, 2003. Two volumes.
• Full title: Schriftanalysen: Untersuchungen zur Geschichte typographischer Schriften.
*Geoffrey Dowding, An Introduction to the History of Printing Types from 1440 up to the Present Day. London: Wace, 1961.
• “Wace” should be “Wace & Company”.
Ron Eason & Sarah Rookledge, Rookledge’s International Handbook of Type Designers: A Biographical Directory. Surrey: Sarema Press, 1991.
• Full publishing credits are: “edited by Phil Baines and Gordon Rookledge (Carshalton Beeches, Surrey: Sarema Press (Publishers) Ltd., 1991)”
Friedrich Friedl, Philipp Luidl, Nicolaus Ott & Bernard Stein, Typography: wann, wer, wie / quand, qui, comment /when, who, how. Cologne: Könemann, 1998.
• The American edition was published by Black Dog & Leventhal.
Steven Heller & Jason Godfrey, 100 Classic Graphic Design Journals. London: Laurence King Publishing, 2014.
*Steven Heller & Philip Meggs (editors), Texts on Type: Critical Writings on Typography. New York: Allworth Press, 2001.
Frans A. Janssen, Technique and Design in the History of Printing. ‘t Goy-Houten: Hes & De Graaf, 2004
A.F. Johnson (Percy H. Muir, editor), Selected Essays on Books and Printing. Amsterdam: Van Gendt & Co., 1970.
*Stan Knight, Historic Types from Gutenberg to Ashendene. New Castle, DE: Oak Knoll Press, 2012
• “Historic” should be “Historical”
Jennifer B. Lee & David Pankow (editors), Printing History, Volume XXII, Numbers 1 & 2 (The ATF Issue). New York: The American Printing History Association, 2002.
• This is the same item, in a different typographic configuration, as that listed with no. 55 under Further Reading.
Mathieu Lommen (editor), The Book of Books: 500 Years of Graphic Design. London: Thames & Hudson, 2012.
Simon Loxley, The Secret History of Letters. London: I.B. Tauris, 2004.
• Full title: Type: The Secret History of Letters.
• The full imprint is “London: I.B. Tauris & Company, Limited, 2004”.
*Paul McNeil, A Visual History of Type. London: Laurence King Publishing Ltd, 2017.
*Stanley Morison, Selected Essays on the History of Letterforms in Manuscript and Printing. Cambridge: Cambridge University Press, 1981
• Full credits should include: “edited by David McKitterick (Cambridge and New York: Cambridge University Press, 1981), 2 vols.”
[Graham Pollard], Catalogue of I: Typefounders’ Specimens; II: Books Printed in Founts of Historic Importance; III: Works on Typefounding Printing & Bibliography. London: Birrell & Garnett, Ltd, 1928.
*S.H. Steinberg, Five Hundred Years of Printing. Middlesex: Penguin Books, 1955.
• Kelly should have used Five Hundred Years of Printing by S.H. Steinberg; revised by John Trevitt (London: British Library and New Castle, Delaware; Oak Knoll Press, 1996), 4th ed.
*Daniel Berkeley Updike, Printing Types: Their History, Forms, and Use. Cambridge, MA: Harvard University Press, 1922. Second revised edition, 1937.
pp. 325–333
Index
p. 325—why is “Sabon (type)” listed under “Adobe Systems”?
p. 325, p. 328, and p. 329—”Hypnerotochia Poliphili” should be “Hypnerotomachia Poliphili”
p. 325—”American Chapbook” should be “American Chap-Book”
p. 325 and p. 328—”Goudy Old Style” should be “Goudy Oldstyle”
p. 325—”Bildungsverband der Deutsche Buchdrucker” should be “Verlag des Bildungsverbandes der Deutschen Buchdrucker”
p. 326 and p. 330—”California Old Style” should be “California Oldstyle”
p. 326, p. 327 and p. 333—”Cancelleresca Bastarda” should be “Cancellaresca Bastarda”
p. 326—”Carnegie Mellon Institute” should be “Carnegie Institute of Technology”
p. 326—”Cary, Melbert B.” should be “Cary, Melbert B., Jr.”
p. 326—”Columbia University Rare Books and Manuscripts Library” should be “Columbia University Rare Book & Manuscript Library”
p. 327 [twice] and p. 330—”Meridien” should be “Méridien”
p. 327—”[Didot] François-Ambrose” should be “[Didot] François-Ambroise”
p. 327—”Foto-Auge” should be italicized.
p. 327—”Frank Holme School” should be “Frank Holme School of Illustration”
p. 327—”Futura: The Type of Today… And Tomorrow” should be “Futura: The Type of Today and Tomorrow”
p. 328—”Simonici Garamond (type)” should be “Simoncini Garamond (type)”
p. 328 and p. 329—there is no such typeface as “ITC Californian”; it should be “ITC Berkeley Oldstyle”
p. 328 and p. 329—”Kennerley Old Style” should be “Kennerley Oldstyle”
p. 328—”Phillippe Grandjean” should be “Philippe Grandjean”
p. 328—”Hautlin, Jerome” should be “Haultin, Pierre”
p. 328 [twice]—”Hoefler Typefoundry Historical Allsorts” should be “Hoefler Type Foundry Historical Allsorts”
p. 329—Selected Essays on Books and Printing is not listed under “Johnson, Alfred Forbes” even though it is recommended as further reading for item no. 65 and included in the Selected Bibliography.
p. 329–”Tiemann Gottisch” should be “Tiemann Gotisch”
p. 329—”Gerald Lang” should be “Gerald Lange”
p. 329—”Frutiger Sans (type)” should be “Frutiger (type)”
p. 330—”MacKail, J.W.” should be “J.W. Mackail”
p. 330—”Merganthaler Linotype Company” should be “Mergenthaler Linotype Company”
p. 330—”Miedenger, Max” should be “Miedinger, Max”
p. 330—”Moholy-Nagy, Lázló” should be “Moholy-Nagy, László”
p. 330—”More, Rowe” should be “Mores, Rowe”
p. 330—”ITC Golden (type)” should be “ITC Golden Type”
p. 331—”New Graphic Series” should be “The Colophon, New Graphic Series”
p. 331—”Out of Sorts Letter Foundry” should be “Out of Sorts Letter Foundery”
p. 331—”P-22 Type Foundry” should be “P22 Type Foundry”
p. 331 and p. 333—”The Paleotypography of the French Renaissance” should be “The Palaeotypography of the French Renaissance”
p. 331—”Jean Palliard” should be “Jean Paillard”
p. 331—”Piciardi, Father Paolo Maria 101″ should be “Paciaudi, Father Paolo Maria 104″
p. 331—”Postcript” should be “PostScript”
p. 331—”Radisch, P.H.” should be “Rädisch, P.H.”
p. 332—”Simonici” should be “Simoncini”
p. 333—”Van Dijck, Cristoffel” should be “Van Dijck, Christoffel”
p. 333—”Mediëval” should be “Trump Mediëval”
p. 333—”Angelo Vergetiuss” should be “Angelo Vergecio”
Colophon
The colophon is meager, presumably so that its text could be shaped to form a neat descending diagonal right edge.
“ONE HUNDRED BOOKS FAMOUS IN TYPOGRAPHY / has been typeset in Palatino nova types designed by Hermann Zapf. / Seven hundred and fifty copies printed on Cougar Opaque paper, / of which twenty-six copies are specially bound and signed / by the author. Design & typography by Jerry Kelly.” p. [334]
There is no mention of the printer, the total print run, the binder of the ordinary copies (and did Kelly, not known as a bookbinder, actually bind the special copies himself?), or that the Palatino nova types were co-designed by Akira Kobayashi. Furthermore, in a book about type, it is strange that Kelly did not avail himself of the opportunity to provide a “Note on the Type in Which This Book Is Set” in the manner of Alfred A. Knopf, Inc.
Some Concluding Remarks
Many of the problems cited in this multi-part dissection of One Hundred Books Famous in Typography could have been easily avoided if Kelly had exercised honesty, transparency, and some humility.
• proper headers, captions, source notes
• image and item disclaimers re: availability, conservation concerns, imaging difficulties
• a less grandiose and more accurate title
• more originality—less following Grolier Club tradition, Morison, Blumenthal, etc.
• better proofreading and editorial feedback
Thanks
For help with questions, research, images, etc. in producing this dissection my thanks go to Mark Argetsinger, Michael Babcock, Paul Barnes, Didier Barrière (Atelier du Livre d’Art et de l’Estampe, Bibliothèque de l’Imprimerie Nationale), John D. Berry, Nico De Brabander (the Plantin-Moretus Museum), Christopher Burke, Meghan Constantinou (the Grolier Club), Greg D’Onofrio, Charles Doran (Special Collections, Princeton University), Scott Ellwood (the Grolier Club), Paul Gehl (Newberry Library), E.M. Ginger, Sophie Hawkey-Edwards (St. Bride Library), Melinda Hayes (Special Collections, the University of Southern California), Lance Hidy, Ann Marie Holland (Special Collections, McGill University), Marc Kopylov, Indra Kupferschmid, Jennifer B. Lee (Rare Book & Manuscript Library, Columbia University), Grendl Löfkvist (Letterform Archive), Nilda Lopez (Cooper Hewitt Smithsonian Design Museum), Shane MacDonald (Catholic University), Paul McNeil, Ernie March (Adobe Systems), Sébastien Morlighem, R. Arvid Nelsen (Bridwell Library, Southern Methodist University), Riccardo Olocco, Dan Reynolds, Bob Richardson (St. Bride Library), Frank Romano (The Museum of Printing), Michael Russem, David Shields, Jane Siegel (Rare Book & Manuscript Library, Columbia University), Laurie Szujewska, Alex Tochilovsky (Herb Lubalin Study Center of Design & Typography, Cooper Union), Ferdinand Ulrich, Emily Walhout (Houghton Library at Harvard University), and Nikolaus Weichelsbaumer.
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