[melin & Ã¶sterlin] melbi, johan (red.): John Melin ... - Antikvariat Morris

john melin and anders österlin were 

partners in advertising, described as ‘gurus’ of 

the 60s and 70s. Melin became famous for creating 

the Moderna Museet’s first graphic profile, 

which looked Swiss-inspired. The ideas were 

John’s, the drawing Anders’s. They co-operated, 

and they were actually known as ‘anden’ and 

‘handen’ (the spirit and the hand). As directors 

at the advertising and design agencies Svenska 

Telegrambyrån and Arbman, together they created 

brilliant and accurate designs, full of wit! John 

Melin’s ability to find new surprising solutions 

for commercial as well as everyday projects has 

few counterparts within Swedish graphic design. 

Under the signature ‘M&Ö’, they designed posters, 

books, catalogues, cardboard packaging and 

paper cartons. The catalogues were for artists 

like Jean Tinguely, Niki de Saint-Phalle and Andy 

Warhol. For ny moma they made a very special 

one, called The Machine, which was a piece of 

metal. One poster, made for Stockholm Moderna 

Museet, had text printed in moist glue, sprinkled 

with cress seeds that sprouted, grew green and 

then wilted. As well as all this, Anders is also a 

painter, who started a Swedish art group called 

Imaginisterna. In 1947 he became involved with 

the Cobra group, with Appel, Corneille, Jorn and 

Constant. 

[melin & österlin] melbi, johan (red.): John Melin till Exempel. En 

hyllning till det enkla, vackra, lekfulla, konstnärliga, unika, egensinniga, tidlösa, 

moderna, experimentella [=omslagstitel] 

Hall & Cederquist/Y&R och Moderna Museet, Stockholm 1999. 172 s. 

4:o (28 x 25 cm). Trådhäftad med djupa flikomslag. Mycket fint skick. 

Rikt illustrerad i färg och svartvitt. Typografi av Claes-Henrik Engquist. 

Förord av Pontus Hultén och texter av Johan Melbi, Ragnar von Holten, 

Per Henry Richter, Per Mollerup och Anders Wester. 

Svensk Bokkonst 1999:10 “En utställningskatalog med ett bra tryck och 

en perfekt färgåtergivning. En enkel och elegant volym med roliga detaljer, 

titta på pagineringen t.ex.” 

Johan Melbis inventering och sammanställning är av största vikt och är ett viktigt 

referensverk över en guldålder och ett enastående formgivningsliv. 

SEK400 / €47 

[melin & österlin] stensman, mailis & högestätt, eje (red.): 12 

svenska skulptörer / 12 Swedish Sculptors 

Malmö Konsthall, Katalog nr 4, Malmö 1975. 64 s. 4:o (28 x 21,5 cm). Pärmar 

av wellpapp och ryggen förstärkt med gul isoleringstejp (det ska vara 

så!). Två sprickor i ryggtejpen. Fotoillustrerad i svartvitt. Svensk och engelsk 

parallelltext. Text in Swedish & English. Typografi av John Melin & Gösta 

Svensson. (John Melin till exempel s. 68). 

SEK200 / €24

[melin & österlin] hultén, k. g. pontus: The Machine as Seen at the 

End of the Mechanical Age 

The Museum of Modern Art, New York 1968. (2), 216, (2) pages. Tall 

8vo (24,5 x 21,5 cm). Attractive embossed & colour printed metal binding 

hinged and pop revied at spine; decorated front cover by Anders Österlin, 

after a photo by Alicia Legg. Numerous b/w illustrations and some in blue 

& white. Contains work by Calder, Duchamp, Ernst, Feininger, El Lissitzky, 

Man Ray, Moholy-Nagy, Picabia, Schwitters, Tatlin, Tinguely and many others. 

With notes, bibliography, index. Book design by John Melin and Gösta 

Svensson. 

SEK1500 / €178 

[melin & österlin]: Svenskarna sedda av 11 fotografer. Moderna Museet, 

december-februari 1962–63 

Moderna Museet, Stockholm, 1962. 269 s. Limhäftad med skyddsomslag. 

(24 x 22,5 cm). Fotoillustrerad i svartvitt. De 11 fotograferna är: Sten 

Didrik Bellander, Jan Delden, Hans Hammarskiöld, Sune Jonsson, Tore 

Johnson, Stig T. Karlsson, Lennart Nilsson, Pål-Nils Nilsson, Lennart Olson, 

Lennart af Petersens och Rolf Winquist. Moderna Museet katalog 25. 

Typografi av Melin & Österlin. (John Melin till exempel s. 39). 

SEK275 / €33 

sylwan, barbro - hultén, k. g. - melin, 

john - österlin, anders (eds.): Hon - en 

[katedral] historia 

Moderna Museet, Stockholm, 1967. First edition. 

208 pages. Folio (37 x 29,5 cm). Stapled. 

Spectacular folding pictorial wraps, printed on 

newsprint. A little bit wrinkled at head & foot 

of spine, a minimal tear at spine’s end otherwise 

a really, really nice copy, bright and clean. This 

is not the official catalogue from the exhibition 

1966, it is the documentation of the exhibition, 

it tells the story of the pre-history, the construction 

diary, the exhibition and the demolition 

of Niki Saint-Phalle’s, Jean Tinguely’s and Per Olof Ultvedt’s installation “Hon-En Historia / Hon-en 

Katedral. Hon, She, Elle, Sie, Lei, Zij” held at Moderna Museet in Stockholm in 1966. It’s important because 

of the detailed description of the exhibition and the references to media in Sweden and abroad. 

Numerous photos by Hans Hammarskiöld, K. G. Hultén, Magnus Wibom, Lutfi Özkök. Text in English 

and Swedish. Typography by Melin & Österlin (John Melin till exempel pages 24–29). 

SEK1750 / €208 #4665

...another copy 

Jacket is a little bit yellowed, shorter tears at top of 

spine and with a smaller paper loss, shorter tears at 

spine’s end otherwise a nice copy. 

SEK900 / €107 #4769 

...another copy 

Jacket is a little bit yellowed and with a few stains, 

shorter tears at top of spine and with a minor paper 

loss, otherwise a nice copy. 

SEK800 / €95 #4770 

...last copy 

Jacket yellowed, front cover soiled, end of spine 

with a three cm tear, otherwise a nice copy. 

SEK600 / €71 #4771 

[melin & österlin] Personbil 1927 [Däck: Trelleborg 

”Ballong” 29x4,75-20] 

Trelleborgs Gummifabriks AB, Trelleborg. Litograferad, 

i färg, vid mitten av 1960-talet. (96,5 

x 52,5 cm.) Knappnålshål i hörnen, yttersta övre 

vänsta hörnet med liten pappersförlust, mindre 

repskada mitt i övre marginalen, svag minimal 

fläck på vita ytan. AB Svenska Telegrambyrån, 

Malmö hade det reklam-historiskt legendariska 

uppdraget för Trelleborgs Gummifabriks AB. 

SEK875 / €104

[melin & österlin] Tourist Festival 

Restaurang Bill & Bull, Stockholm, utan år (c. 1971– 

72). Screentryck på kraftig glanskartong, delvis tryck 

med guld och silver. Bladmått h x b: 68,5 x 78,5 cm. 

Nedre högra hörn med veck och med mindre marginalbristning. 

Nedre vänstra hörn med svag antydan 

till veck. Övre marginalreva (c. 15 mm). Produktion: 

Arbmans, Malmö. Idé, bild och typografi av Melin & 

Österlin. 

SEK600 / €71 

[joh. enschedé en zonen] Proef van nederduitsche letters en Gothische initialen 

uit de XVde eeuw / Spécimen de caracteres Flamands et d´initiales Gothiques du 

XVme siècle / Probe niederdeutscher Schriften und gothischer Initialen aus dem XVten 

Jahrhundert / Specimen of Dutch Black-Letters and Gothic Initials of the XVth Century 

Joh. Enschedé en Zonen, Collection Typographique, Haarlem, 1925. 51, (3) 

pages + a corrigenda slip tipped-in at the rear. 4to (28 x 20 cm). Bound in 

patterned marbled paper over boards, end-leaves lightly browned. No spine 

or cover title. Corners bumped and head & foot of spine scuffed. Edges 

untrimmed. Printed in red & black. Initials drawn by Jan van Krimpen and 

printed in red. Text in English, Dutch, German and French. (Lane & Lommen 

95). 

SEK450 / €53 

eksell, olle: Design = Ekonomi 

Bonniers, Stockholm 1964. 184 s. 4:o. Svart guldförgyllt klotband med 

marginalnött skyddsomslag. Illustrerad med författarens egna teckningar 

och fotografier av Stig T. Karlsson, Malcolm Smith, Stenbergs, 

Erich Hartmann och Lester Beall. Tryckt hos Björkmans Eftr. Typografi, 

band, omslag och teckningar av författaren. Originalutgåvan. 

Bandet bland 25 utvalda förlagsband 1964. Design=Ekonomi intog 

hedersplatsen på bokmässan i Frankfurt 1965. “Under årens lopp har 

många frågat efter den (Design=Ekonomi) men den har varit svår att 

hitta. Ett fåtal har lyckats på antikvariat. När den gavs ut betraktade 

jag den som en form av manifest med de överdrifter som alltid är nödvändiga 

för att väcka hösäckar.” Olle Eksell i Platina nr 6, 1996. 

SEK450 / €53

schmid, helmut: Calendar 1980 

Helmut Schmid, [Osaka (?)], 1980. Front cover followed by six 

leafs with two months and an illustration on each page, hold 

together by a grey metal rail at top. (37,4 x 36,4 cm). Weak 

tendency of a dog ear at lower right corner. The illustrations, 

or rather pictures, are bus-, train- and subway tickets, from 

Paris, Colombo, New York, Osaka, London, Warsaw. 

helmut schmid – born 1942 in Austria as a German citizen. 

Studies in Switzerland at the Basel School of Design under 

Emil Ruder, Kurt Hauert and Robert Buchler. Works in West 

Berlin and Stockholm (covers for Grafisk Revy). After Montreal 

(Ernst Roch Design) and Vancouver he works in Osaka 

for nia (for Taiho Pharmaceutical and Sanyo). 1973–76 at are 

in Dusseldorf he designs publicity material for the German 

government and the chancellors Willy Brandt and Helmut Schmidt. 1976 election campaign symbol 

for the spd. 1978 exhibition of his politypographien at the Print Gallery in Amsterdam. Independent 

designer in Osaka since 1981. Member of agi (Alliance Graphique Internationale) since 1988. 

SEK500 / €59 

[gill, eric] MacCarthy, Fiona: Eric Gill 

SEK200 / €24 

Faber and Faber, London, 1990. xiv, 338 pages. + 129 photos on 64 pages of plates. 

Tall 8vo. 58 text-illustrations + plates. First paperback-edition. Former owner’s 

signature on first end paper. Nice and unopened copy. The biography of one of the 

1900s most interesting and ingenious artists. The book caused a stir when it came 

out because Fiona MacCarthy not refrained for less known or recognized sides of 

Eric Gill, but necessary to get an overall picture of this complexed man, or as Eric 

Gill said in one of his many proverbs; “It all goes together”. (Gill, Corey & Mackenzie 

636.135). 

[melbert b. cary, jr. graphic arts collection] A Specimen 

Portfolio of Wood Type in the Cary Collection 

rit Cary Graphic Arts Press, 2010. xx, 305 pages. 4to (28 x 22 cm). 

Spiral bound. Includes an introduction and classification system 

used by permission of David P. Wall. Foreword by R. Roger Remington. 

New copy. 

Wood type in myriad designs—from stark condensed sans serifs to 

bizarre ornamental scripts—created variety in commercial advertising 

more than 180 years ago, and continues today to influence modern 

signs, posters, and billboards. The Melbert B. Cary, Jr. Graphic 

Arts Collection at rit maintains an impressive collection of wood 

type, numbering over 300 fonts. This book showcases over 250 of 

our best wood type specimens, including many complete fonts and 

samples from unusual designs. All specimen reproductions were 

painstakingly printed from the original wood type blocks, some distressed 

with 100 years of use and abuse. The resulting compendium is a rich typographic resource sure 

to delight any designer, scholar, collector and student of graphic arts history. 

SEK225 / €27

[nitsche, erik] 

1. Skepp och sjöfart 2. Luftfart 3. Astronomi 4. Elektricitet 5. 

Hjulet 6. Medicin 7. Raketer och rymdfart 8. Kemi 9. Vapen 

10. Ord, bild och massmedia 11. Maskinen 12. Fysik 

W & W, Stockholm, 1965-66. 120, 120, 112, 112, 

112, 112, 112, 112, 112, 112, 112, 112 pages. 4to (27 x 

17,5 cm). Printed laminated card covers. 12 volumes, 

complete, in good condition. Illustrated in colour and 

black and white throughout. Production and typography 

by Erik Nitsche. Printed in Switzerland. Text in 

Swedish. 

”Nitsche helped pioneer the concept of design authorship 

– and not just the navel-gazing books about and 

for designers (he never published a monograph) – but 

books that had broad audiences. Of course design was 

endemic to every subject he covered and his books 

were designed in an elegant contemporary manner. 

Design was but a frame with which he presented 

unique themes. Nitsche’s goal with, for example, The 

New Illustrated Library of Science and Invention, 

was to avail the reader of fascinating, subjects, like 

“A History of Ships and Seafaring” and “A History of 

Archaelogical Discoveries.” Through accessible formats 

these books were (and still are) “reader friendly” 

because the typographic and graphic entry-points 

were conceived to provide unique sensory experiences. 

This may sound a bit pretentious, but Nitsche’s books 

were anything but. Instead their elegance was a point 

of pride and a selling point for the reader. Another 

way to describe them is “generous:” Nitsche was 

indeed generous with white space and pictures alike. 

Whether addressing physics, occult sciences, fashion, 

or social progress, each 112-page volume generously 

presented a wealth of material in a sophisticated but 

not haughty manner. He was passionate for images, which he personally selected for every book to 

heighten understanding and provide rational narrative flow. The type - he was compulsive about finding 

the perfect cuts of the quintessential faces - was classic, always justified, but routinely with a modern 

tweak in the column width and leading. Every book also contained a handsome timeline (he was 

truly the master of timelines) as a contextual signpost. /.../ After moving to Geneva in the early 1960s 

Nitsche Founded eni, s.a. (Erik Nitsche International) to produce some of the finest illustrated history 

books ever designed. The first series, a twelve volume The New Illustrated Library of Science and 

Invention, with a multilingual print run of over two million copies, covered the histories of communication, 

transport, photography, architecture, astronomy, and the machine, and flight. Like Dynamic 

America, the pictures drove the text (although the text was written by esteemed authors). Nitsche dove 

headlong into the research himself and unearthed thousands of rare and never-before-seen archival images. 

In his mind’s eye he saw precisely how each image in concert with the next would tell the story.” 

Steven Heller. See also Eye No. 27, Vol. 7, Spring 1998 pp. 64–77. 

SEK975 / €116

vignelli, massimo & lella: Design is One 

Images Publishing Group, Mulgrave, Victoria, 2004. 228 pages. Laminated 

boards. Extensively illustrated in colour. New copy. Vignelli is a powerful name 

in graphic design. Images’ Hands On series is greatly enhanced by this wonderful 

book by Lella and Massimo Vignelli. Massimo learnt early in his career that 

a designer should be able to design everything, hence, “design is one”. Lella 

and Massimo Vignelli prove that design should be semantically correct, syntactically 

correct, and pragmatically understandable, but also visually powerful, 

intellectually elegant and timeless. The book shows that real meaning must be 

researched and consistent throughout a design, and that the final result must be 

understandable. Design as a complete, or perfect statement is paramount in the philosophy of these 

modern designers. This is borne out in the featured designs for corporate identity, packaging, post 

design, interior design, architectural graphics, book and magazine design, furniture design and product 

design, many with instant global recognition. 

SEK250 / €30 

vignelli, massimo & lella: Vignelli: From A to Z 

Images Publishing Group, Mulgrave, Victoria, 2007. 194 pages. (22,5 x 17 

cm). Laminated boards. Extensively illustrated in colour. New copy. 

This superbly presented volume is a treasure trove of the thoughts of 

internationally acclaimed designers Lella and Massimo Vignelli. For the 

past ten years, Massimo Vignelli has taught a summer course at the School 

of Design and Architecture at Harvard on subjects that were initially alphabetised 

for convenience, but now form the basis of this unprecedented 

and highly entertaining publication. Beginning with the intriguing “A for 

Ambiguity”, it continues through the alphabet, describing their approach 

to subjects as diverse as book design, discipline, furniture, garment design, 

interior design and lighting, newspapers, packaging and typography; each 

subject is discussed in detail and accompanied by numerous illustrations that complement the text. It 

offers a rare insight into the minds of two exceptional modernist designers. 

SEK500 / €59 

[vignelli] lloyd, peter b. & ovenden, mark: Vignelli Transit 

Maps 

rit Cary Graphic Arts Press, 2012. 130 pages. 4to (30,5 x 23 cm). Stiff 

paper wrappers with folding flaps. Illustrations in colour and b/w. New 

copy. Table of contents: Foreword, Acknowledgments, Introduction. 

1. Transit Mapping and Modernism. 2. Washington: The Lost Transit 

Map. 3. New York: Mapping the Labyrinth. 4. New York: Birth of 

the Subway Map. 5. New York: Life and Death of the Subway Map. 

6. Influence of the Vignelli Subway Map. 7. New York: Rebirth of the 

Subway Map. Biography of Massimo Vignelli, Bibliography, New York 

Subway Map Timeline, Index. 

Vignelli Transit Maps describes the history of the New York subway maps and 

follows this city’s transportation growth from separate, independent lines to one 

large system. Peter Lloyd uncovers the history of the Vignelli map that includes the legacy of the people who created 

and promoted this New York icon—as well as those who hastened its demise. The book includes a first glimpse at 

original, early development sketches of the famed map and of its recent successors. 

SEK350 / €42

[vignelli] design:Vignelli tote bag 

Durable cotton tote bag with red design:Vignelli logo. 

SEK50 / €6 

“Printing History”, the biannual journal of the American Printing History Association, publishes 

scholarly articles on the history of printing, publishing, books, type, typography, paper and related 

industries. Befitting a publication devoted to this subject it is beautifully designed, printed and illustrated 

of course. 

pankow, david (ed.): Printing History. The Journal of the American 

Printing History Association. Number 26–27, Volume XIII, No. 2 and Volume 

XIV No. 1, 1991–1992 

The American Printing History Association, New York, 1992. 112 pages. 

Double issue. Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations 

in black and white. Printed at the Stinehour Press. New copy. 

Table of contents: Matthew Carter: Theories of Letterform Construction. 

Part 1. Kay Amert: Origins of the French Old-Style; The Roman and Italic 

Types of Simon de Colines. Maxwell Whiteman: The Introduction and Spread 

of Hebrew Type in the United States. Alastair Johnston: “Guard the Mysteries! 

Constantly Reveal Them!” The History of Printing as Shown in Type Specimens. 

Mark Argetsinger: Adobe Garamond: A Review. Jerry Kelly: Adobe 

Garamond: A New Adaptation of a Sixteenth-Century Type. reviews: John 

Bidwell (reviewer), Martin Hutner: The Making of the Book of Common 

Prayer of 1928. Peter Van Wingen (reviewer), John Dreyfus: A Typographical Masterpiece; An 

Account of... the Golden Cockerel Press Edition of “The Four Gospels” in 1931. 

SEK150 / €18 


Printing History Association. Number 29, Volume 15, No. 1, 1993 


Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in black 

and white. Printed at the Stinehour Press. New copy. Table of contents: 

Sandra J. Markham: Memento Mori on Silk and Stone; Reuben Manley, 

Printer, 1818–42. David A. Hanson: Baron Frederick Wilhelm von Egloffstein: 

Inventor of the First Commercial Halftone Process in America. Stephen 

O. Saxe: The Landis Valley Museum Ramage Press. Alastair Johnston: 

Reflections on the Centenary of the Merrymount Press. Megan L. Benton: C. 

Volmer Nordlunde: The “Grand Old Man” of Modern Danish Printing. reviews: 

Lowell Bodger (reviewer), George Sadek and Maxim Zhukov: 

Typography: Polyglot. A Comparative Study in Multilingual Typesetting. 

Sidney E. Berger (reviewer), William Blades: Numismata Typographica; 

or the Medallic History of Printing. John Dreyfus (reviewer), John Rathé: Bibliography of 

the Typophile Chap Books, 1935–1992. 

SEK75 / €9


Printing History Association. Number 30, Volume 15, No. 2, 1993 



and white. Printed at the Stinehour Press. New copy. 

Table of contents: H. George Fletcher: The Ideal of the Humanist Scholar-Printer: 

Aldus in Venice. Paul A. Cyr: Joel Munsell, Aldus’s Disciple in 

Albany. Martin W. Hutner: Daniel Berkeley Updike: Humanist, Scholar, 

Printer. Timothy Barrett: Fifteenth-Century Papermaking. Elizabeth Harris: 

The Rail Presses. 

SEK75 / €9 


Printing History Association. Number 31–32, Volume 16, No. 1–2, 1994 


+ Errata and addenda sheet laid in. Double issue. Tall 8vo. Sewn with 

printed stiff paper wrappers. Illustrations in black and white. Printed at 

the Stinehour Press. New copy. 

Table of contents: Walter Tracy: Why Egyptian? Lawrence W. Wallis: 

Type Designs by George W. Jones for the Linotype Machine. Stephen O. Saxe: 

“A Small Old Printing Press.” Patricia A. Cost: Linn Boyd Benton, Morris 

Fuller Benton, and Typemaking at ATF. Dermot McGuinne: Victor Hammer-An 

Irish Connection. Mike Parker: W. Starling Burgess, Type Designer? 

review: Dan Carr (reviewer), Theo Rehak: Practical Typecasting. 

read the obscure story by Mike Parker where he claims that 

Times New Roman was designed by a yacht builder, Starling Burgess, 

1904. See even the reply in Printing History No. 37 by harold berliner, nicolas barker, jim 

rimmer, & john dreyfus: Starling Burgess, No Type Designer: A Rebuttal of Some Allegations and Suppositions 

Made by Mike Parker in his Article “Starling Burgess, Type Designer?” in Printing History 31/32 (1994). 

SEK150 / €18 


Printing History Association. Number 41, Volume 21, No. 1 


Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in colour 

and b/w. New copy. 

Table of contents: Kenneth Auchincloss: The Second Revival; Fine Printing 

Since World War II. Martino Mardersteig: The Cento Amici del Libro. 

Carol Grossman: The Trianon Press’s William Blake´s Water-colour Designs 

for the Poems of Thomas Gray. Sebastian Carter: The Rampant Lions Press- 

Retrospectus and Prospectus. 

SEK75 / €9





and white. Printed at the Stinehour Press. New copy. 

Table of contents: Harold Berliner, Nicolas Barker, Jim Rimmer, & 

John Dreyfus: Starling Burgess, No Type Designer: A Rebuttal of Some Allegations 

and Suppositions Made by Mike Parker in his Article “Starling Burgess, 

Type Designer?” in Printing History 31/32 (1994). David Pankow: A Face 

by Any Other Name is Still My Face: A Tale of Type Piracy. review: G. 

Thomas Tanselle (reviewer), William Tomlinson and Richard Masters: 

Bookcloth 1823–1980. 

Here comes the long-awaited rebuttal to Mike Parker’s attack on Stanley 

Morison. 

SEK75 / €9 

pankow, david (ed.): 

Printing History. The Journal of the American Printing History Association. 

Number 42, Volume 21, No. 2 



and white. New copy. 

Table of contents: Joseph A. Dane: The Huntington Apocalypse Blockbook 

(Schreiber Editions IV/V) with a Note on Terminology. Kay Amert: A Renaissance 

Font: Paris, 1516. Peter K. Fallon: Why the Irish Speak English: 

The Consequences of One Culture’s Resistance to Technological Change. Philip 

J. Weimerskirch: The Rev. Abraham O. Stansbury and the Stansbury Press. 

Gerald Lange: Fraternal Offspring: Matthew Carter’s Manutius/Miller. 

SEK75 / €9 

pankow, david (ed.): 

Printing History. The Journal of the American Printing History Association. 

Number 43–44, Volume 22, No. 1–2 


Double issue. Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations 

in black and white. New copy. 

Table of contents: David Pankow: Editor´s Introduction: The Rise and Fall 

of atf. Jennifer B. Lee: Introduction to the Exhibition. Type to Print: The 

Book & The Type Specimen Book. Jennifer B. Lee, editor: The Bullen Letters. 

Special double issue devoted to the American Type Founders Company (atf) 

and its typographic library and librarian Henry Lewis Bullen. 

SEK150 / €18





and white. New copy. 

Table of contents: Peter Holliday: Edward Johnston & Robert Bridges, 

1901–1926: A Phonetic Alphabet in the Half Uncial Script. Robert D. Harlan: 

Seven Letters from C. H. St. John Hornby to John Henry Nash. review: Jerry 

Kelly (reviewer), Marianne Tidcombe: The Doves Press. 

SEK75 / €9 




Tall 8vo. Sewn with printed stiff paper wrappers. Illustrations in colour 

and b/w. New copy. 

Table of contents: Charles Creesy: Monticello; The History of a Typeface. 

Amelia Hugill-Fontanel: Arts et Métiers Graphiques; The Graphic Magazine 

of the Deberny et Peignot Type Foundry. Ellen Mazur Thomson: The Graphic 

Forms Lectures. 

SEK75 / €9

[melin & Ã¶sterlin] melbi, johan (red.): John Melin ... - Antikvariat Morris

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