Two volumes (24 cm), I: xxxii, 276 pp., illustrations (some folding). II: xix (1), 308 pp., illustrations (some folding). Uniform publisher’s dark-brown cloth. - First edition, third printing, March 1927 (follows 1922, 1923). ¶ Bindings worn at head and tail of the spines, and most corners. Clean, unmarked copy.
(28.5 cm), vii (5), 107 (1) pp., illustrations. Publisher’s light brown printed wrappers. - A faultless copy of the original edition, limited to 1750 copies on ordinary paper and 75 on special paper, printed by Walter Lewis at the University Press in Cambridge. “This is far more than a bookseller’s catalogue. It was and still is a pioneer disquisition on the history of type-specimens and type-design with valuable historical notes on each example listed. A first-rate reference-work” (E.P. Goldschmidt, in his Catalogue 95, p.63 item 371). A reprint was published at Brighton: Tony Appleton, 1972 (edition of 500 copies). ¶ Loosely inserted is a typed letter from Terry Belanger to Robin Halwas, dated 12 May 1981, with appended Ms note by Esther Potter, dated 3 June 1982, the latter writing: “After Birrell & Garnett was wound up Graham was left with a pile of these catalogues and he occasionally sold the odd copy to the trade. When the pile was exhausted, Tony Appleton, with Graham’s permission produced a facsimile edition. And then Graham, to his great embarrassment found an unopened packet of the originals in the attic at Barton”. In Belanger’s letter, he recounts that Michael Turner (Pollard’s literary executor) had given Belanger four such copies, of which this is one.
London, Bibliographical Society for the Author, 1930
(29 cm),  pp., 98 leaves of plates. Publisher’s buckram-backed boards. - First edition. Illustrated by 98 facsimiles from the works of twenty-six English and six Scottish printers, with a brief discussion of the work and type for each printer. A second volume published in 1932 (not present here) documents English and Scottish types used respectively from 1535-1558 and 1552-1558. ¶ Fine copy.
Three volumes in two (24.5 cm), I: (2) xii, 449 (1) pp. II-III: (2) vii (1), 412 (2) pp.; vi (2), 115 (1) pp. Illustrations (throughout). Publisher’s red cloth. - “The present two-volume edition of A Bibliography of Printing reproduces complete, in enlarged size, the original three-volume edition published in London, 1880-1886” (title-page verso). ¶ Excellent, unmarked copy.
London, Published by James Shand at the Shenval Press for Art and Technics, 1947-1948
Seven volumes (25 cm), three with comb backs and four with printed dust jackets. - Although called a quarterly, publication in fact was irregular: the first issue (not present here) appeared in Spring 1946, then No. 2 (September 1946), No. 3 (December 1946), No. 4 (April 1947), No. 5 (September 1947), No. 6 (January 1948), No. 7 (May 1948), and No. 8 (Winter 1948). Loosely inserted in no. 8 is “Stop Press: a final news sheet” (8 pp.). ISSN 0361-8366. ¶ Lacking no. 1; the upper cover for No. 3 is lost.
(24 cm), vii, 39 pp., engraved title-page by H.K. Wolfenden, collotype portrait frontispiece, 14 engravings by Jossett (tissue guardsheets present). Publisher’s dark grey cloth, with maroon title-label inlaid to upper cover. - The “Housekeeping book” is a small quarto notebook of directions for housemaids, written 1776-1789, by the second wife of the great Kentish papermaker James Whatman (1741-1798). Many of the instructions were designed to preserve furniture and other valuable objects and are of interest to modern museum curators. “250 copies… printed for presentation to the friends of the Printer of the University of Cambridge [Brooke Crutchley] at Christmas, 1952” (p.[v]). Brooke Crutchley, A printer’s Christmas books (Cambridge 1974). A trade edition was issued in 1952; reprinted by the National Trust with an introduction by Christina Hardyment, 1987 (ISBN 9780707803319). ¶ Boards slightly rubbed at head and tail of the spine; otherwise in excellent state of preservation.
Two volumes (39 × 28 cm), I: xxviii, 267 pp. II: (6), pp.379-505 (2), with 67 text illustrations and 291 plates. Errata slip loosely inserted in volume I. Uniform publisher’s leather-backed boards, printed dust jackets. - “Obligatory not only for specialists in Low Countries printing but for all, librarians, scholars, collectors and bookdealers, who have to do with incunabula. In method it will serve as a model and challenge for studies of fifteenth-century printing in Germany, Italy and France – work that will take several lifetimes, but that must be done, and this is how to do it. And there is no single book more fitted to show the general reader what the typographical study of incunabula is about, with its disciplines and techniques, its rigours, difficulties and triumphs; how it finds evidence, and decides what can and can’t be proved by that evidence; and how, which is perhaps the deepest root of its fascination, it has continual reference to human creatures, at work five centuries ago in society and time, and still vividly living through their artefacts” (from a review by George D. Painter, in The Book Collector, Summer 1967, pp.227-230). ¶ Dust jackets lightly soiled; otherwise a very fine, unmarked copy.
(31 cm), xxv, 376 pp., 267 illustrations. Publisher’s cloth, pictorial dust jacket. - A book of great value to students of type design, to those concerned with types in relation to history or to the transmission of texts, and to anyone required to identify and catalogue books. Vervliet describes and illustrates 154 types made in the Low Countries in the 16th century, names the punch-cutters responsible for the majority of them (86), and cites the earliest appearance he has been able to trace for each type. He documents their use outside the Low Countries (23 were used in books printed in England or Scotland) and longevity (some types remained in use until the end of the 17th century). Vervliet shows that the method developed by Haebler and later incunabulists, which seeks to identify different types with individual printers, is inapplicable for the 16th century, by which time several printers had acquired identical types, either in the form of matrices or castings. No assumptions can be made from ownership of a particular typeface; in the later period, what is important is the peculiar combination of typefaces: if a printer makes use of as many as four distinct typefaces, then conclusions can be drawn about his identity. Among the personalities to emerge in this work is the punch-cutter Henrik van den Keere, of Ghent, who in a short life – ended after a leg injury in his early forties – cut twelve gothics, one rotunda, one civilité, two uncials, nine roman and seven music types. Vervliet considers him as the link between the French school of punch cutters, which dominated the 16th century, and the Dutch school, which led Europe in the 17th century. Reviewed by Nicolas Barker, in The Book Collector, Winter 1968, pp.495-506; and by John Dreyfus, in The Times Literary Supplement, 5 September 1968, p.952. ¶ As new.
[Philadelphia], [The Free Library of Philadelphia], 1968
(25 cm), 23 (1) pp. Publisher’s yellow printed wrappers (saddle-stapled). - The catalogue describes 75 landmark books on papermaking, of which seven are from the collection of the Free Library of Philadelphia, and one loaned by the Chiswick Bookshop. This copy is from the issue on unwatermarked wove paper; another issue, printed by Henry Morris at his Bird & Bull Press, is on a Barcham Green paper watermarked “Bird & Bull”, and has a colophon including statement of limitation (300 copies) on the last page. Cf. W. Thomas Taylor & Henry Morris, Twenty-one years of Bird & Bull: a bibliography, 1958-1979 ([Austin, TX & North Hills, PA] 1980), no. B1. ¶ Very good, unmarked copy.
(24.5 cm), 566 pp., 16 p. of plates. Publisher’s red cloth, dust jacket. - The first full-scale biography. Tony Appleton, The writings of Stanley Morison: a handlist (Brighton 1976), no. 380. ¶ Superior copy in new condition.
(25.5 cm), 61 (1) pp. Publisher’s printed wrappers. - “Catalogue discusses aesthetic roles played by the papers used for fine prints, both separate prints and book illustrations, throughout the history of western printmaking, 15th-20th cs. Primary sections consider surface qualities of different papers, color variations of papers, and factors of size, especially in the size of blank paper or margins beyond the image. Throughout is an attempt to correlate the aesthetic effects of paper with their underlying technical causes or means, leading to newly proposed distinctions and dates” (author’s abstract). 148 works shown. ¶ Few light marks on wrappers.
(25.5 cm), 61 (1) pp. Publisher’s printed wrappers. - “Catalogue discusses aesthetic roles played by the papers used for fine prints, both separate prints and book illustrations, throughout the history of western printmaking, 15th-20th cs. Primary sections consider surface qualities of different papers, color variations of papers, and factors of size, especially in the size of blank paper or margins beyond the image. Throughout is an attempt to correlate the aesthetic effects of paper with their underlying technical causes or means, leading to newly proposed distinctions and dates” (author’s abstract). 148 works shown. ¶ Ownership inscription in ink on endpaper, few marks and annotations in margins
Berkeley & Los Angeles, University of California Press, 1978
(25.5 cm), (4) 263 (1) pp.  p. of plates. Publisher’s pictorial wrappers. - Classic account of the development of the relief printing press. First paperback edition, a reprint of the previous edition (London & Berkeley 1973). ¶ Corner of wrapper creased. Good copy.
(32 cm), 154 pp., 533 plates. Publisher’s black cloth binding (no dust jacket issued). - Reproductions of 4078 watermarks. Offset reprint of the 1969 reprint (in turn an offset reprint, corrected but not revised, of the original of 1950). ¶ Fine, unmarked copy.
(27 cm), xiv, 210 pp., 65 illustrations. Publisher’s printed wrappers. - A bibliographical catalogue of founders’ specimens. Photolithograph facsimile of the edition Paris 1934, joined with Howe’s “French type specimen books” (reprinted from The Library, fifth series, volume 6, 1951-1952, pp.28-41). ¶ Superior copy in new condition.
(30 cm), 49 (1) pp., 104 reproductions of watermarks. Publisher’s printed wrappers. - An examination of the majority of Michelangelo’s drawings (558 of 633 sheets), letters and ricordi, resulting in the identification of 360 watermarks, here organised in 36 categories and 104 types. ¶ Pencil mark on upper wrapper; otherwise a very good, clean copy.
(16.5 × 12 cm),  pp., illustrations. Printed in two colours. Original printed wrappers. - “This book has been designed and printed by Cosmo Barker at the Stinehour Press using a Heidelberg cylinder press and rag paper”. ¶ Copy numbered in pencil “8/67”. Very good copy.
(25 cm), 204 pp., 335 illustrations. Publisher’s laminated pictorial boards. - An invaluable tool for dating the paper on which maps, prints, and books were printed. Presents over three-hundred photographic images of watermarks, selected from some 1200 beta-radiographs of watermarks gathered by the author from maps issued mostly in composite atlases printed in Venice and Rome between 1540 and 1600. Graphic Index (pp.195-204). ¶ Fine, unmarked copy.