Dwiggins W a Illustrations (10 results)

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Xiii, 377 Pp. Orange Cloth Stamped In Black. First Printing. Book With Light Wear, Beginning To Fray Along Top Edge Of Spine, Clean And Unmarked And Unfaded. Dj With Wear, Trimmed 1/8" So Slightly Shorter Than Book, Small Chips And Tears.

Hardcover. Condition: Very Good. Dust Jacket Condition: No Dust Jacket. Color and b/w Illustrations (illustrator). First Edition. 8vo - over 7¾" - 9¾" In printed blue boards, 8vo, unpag. Illustrated profusely with typographic designs and motifs. (light shelfwear to extremities).

Hardcover. Condition: Fine. Reprint. Xiv, 172; Xiv, 199 Pp. Two Volumes In One (Also Published Separately In Slipcases). Yellow Cloth Stamped In Red And Green. An Excellent Edition, Larger Print, Fine Design, Page Numbers And Outlines To Drawings In Red (Alice) Or Blue (Looking-Glass). . Small Damp Stain Around Spine, Showing Only On The Cloth Boards. No Marks. Dust Jacket Priced $1.95, With Some Wear And Fading, No Loss Of Lettering Or Design.

Hardcover. Condition: As New. No Jacket. WA Dwiggins, Richard Loehle (illustrator). 1st Edition. First printing, 1975. As new & unread with tight-unopened binding. Scarce black genuine leather, all gilt edges, ribbon marker, silk moire endpapers, illustrated. Size: 6.4x9.5". See photos.

Full Leather. Condition: good+. Illustrations By W. A. Dwiggins (illustrator). First Edition Thus. 8vo - over 7¾" - 9¾" In full red leather with gilt spine titling, upper cover stylized "A" to upper cover stamped in blind, 8vo, 280pp. Illustrations By W. A. Dwiggins. (shelfwear and rubbing to spine, upper tip lightly chipped (1/4 inch). Scarce in leather.

Hardcover. Condition: Very Good +. No Jacket. Illustrations In Blue (illustrator). 1st Edition. 100 Pp. Light Blue Cloth Stamped In Brown. First Edition Stated. Slight Usage, But Cloth Browning, Small "5/62" At Bottom F Front Pastedown. Now Quite Scarce, One Of A Limitation Of 1750 Copies Only (Stated In Colophon). A Play: "Suppose That All These Mechanical Slaves Serving Mankind Got Sick Of Their Jobs. Suppose That They Managed, By Means Of Some Unknown Vibration, To Get In Touch With One Another And Pool Their Grudges. They Must Have Grudges . Suppose That The Higher Orders Of The Machine Fraternity, Already Raised To Almost Human Levels In Point Of Automatic Functioning, Should Take The Next Step In Evolution And Emerge As Personalities, With Faculties Of Judgment, Selection, Purpose, Organization, Individual Action . What, Then, Would Be The Position Of Human Kind Upon Earth?" Next Year, In Ten Years, In Twenty Years, A Hundred Years? And What Government Agency, Exactly, Will Care? William Addison Dwiggins (1880 -1956), Was An American Type Designer, Calligrapher, And Book Designer. He Attained Prominence As An Illustrator And Commercial Artist, And He Brought To The Designing Of Type And Books Some Of The Boldness That He Displayed In His Advertising Work. His Work Can Be Described As Ornamented And Geometric, Similar To The Art Moderne And Art Deco Styles Of The Period, Using Oriental Influences And Breaking From The More Antiquarian Styles Of His Colleagues And Mentors Updike, Cleland And Goudy. Dwiggins' Interest In Lettering Led To The Mergenthaler Linotype Company, Sensing Dwiggins' Talent And Knowledge, Hiring Dwiggins In March 1929 As A Consultant To Create A Sans-Serif Typeface, Which Became Metro, In Response To Similar Type Being Sold From European Foundries Such As Erbar, Futura, And Gill Sans, Which Dwiggins Felt Failed In The Lower-Case. Dwiggins Went On To Have A Successful Working Relationship With Chauncey H. Griffith, Linotype's Director Of Typographic Development, And All His Typefaces Were Created For Them. His Most Widely Used Book Typefaces, Electra And Caledonia, Were Specifically Designed For Linotype Composition And Have A Clean Spareness.

Hardcover. Condition: Very Good +. Dust Jacket Condition: Good. Illustrations In Blue (illustrator). 1st Edition. 100 Pp. Light Blue Cloth Stamped In Brown. First Edition Stated. Slight Usage, But Cloth Browning. Dust Jacket With Stamped Price $2.00 Net (Not Present On Some Copies), Wear, Small Losses And Short Tears And Creases At Edges But No Loss Of Lettering Or Design. Quite Scarce, One Of A Limitation Of 1750 Copies Only (Stated In Colophon). A Play: "Suppose That All These Mechanical Slaves Serving Mankind Got Sick Of Their Jobs. Suppose That They Managed, By Means Of Some Unknown Vibration, To Get In Touch With One Another And Pool Their Grudges. They Must Have Grudges . Suppose That The Higher Orders Of Th Machine Fraternity, Already Raised To Almost Human Levels In Point Of Automatic Functioning, Should Take The Next Step In Evolution And Emerge As Personalities, With Faculties Of Judgment, Selection, Purpose, Organization, Individual Action . What, Then, Would Be The Position Of Human Kind Upon Earth?" Next Year, In Ten Years, In Twenty Years, A Hundred Years? And What Government Agency, Exactly, Will Care? William Addison Dwiggins (1880 -1956), Was An American Type Designer, Calligrapher, And Book Designer. He Attained Prominence As An Illustrator And Commercial Artist, And He Brought To The Designing Of Type And Books Some Of The Boldness That He Displayed In His Advertising Work. His Work Can Be Described As Ornamented And Geometric, Similar To The Art Moderne And Art Deco Styles Of The Period, Using Oriental Influences And Breaking From The More Antiquarian Styles Of His Colleagues And Mentors Updike, Cleland And Goudy. Dwiggins' Interest In Lettering Led To The Mergenthaler Linotype Company, Sensing Dwiggins' Talent And Knowledge, Hiring Dwiggins In March 1929 As A Consultant To Create A Sans-Serif Typeface, Which Became Metro, In Response To Similar Type Being Sold From European Foundries Such As Erbar, Futura, And Gill Sans, Which Dwiggins Felt Failed In The Lower-Case. Dwiggins Went On To Have A Successful Working Relationship With Chauncey H. Griffith, Linotype's Director Of Typographic Development, And All His Typefaces Were Created For Them. His Most Widely Used Book Typefaces, Electra And Caledonia, Were Specifically Designed For Linotype Composition And Have A Clean Spareness.

Hardcover. Condition: Fine. Dust Jacket Condition: Near Fine. Illustrations In Blue (illustrator). 1st Edition. 100 Pp. Light Blue Cloth Stamped In Brown. First Edition Stated. Slight Usage, No Cloth Browning. Dust Jacket Unpriced (A $2.00 Net Price Was Stamped On Some Jackets), Slight Wear, Near Fine. Once Readily Available, Quite Scarce Now That Ai Intrudes Everywhere And Is Now Conceivably Able To Connect Everywhere, One Of A Limitation Of 1750 Copies Only (Stated In Colophon). A Play: "Suppose That All These Mechanical Slaves Serving Mankind Got Sick Of Their Jobs. Suppose That They Managed, By Means Of Some Unknown Vibration, To Get In Touch With One Another And Pool Their Grudges. They Must Have Grudges . Suppose That The Higher Orders Of Th Machine Fraternity, Already Raised To Almost Human Levels In Point Of Automatic Functioning, Should Take The Next Step In Evolution And Emerge As Personalities, With Faculties Of Judgment, Selection, Purpose, Organization, Individual Action . What, Then, Would Be The Position Of Human Kind Upon Earth?" Next Year, In Ten Years, In Twenty Years, A Hundred Years? And What Government Agency, Exactly, Will Care? William Addison Dwiggins (1880 -1956), Was An American Type Designer, Calligrapher, And Book Designer. He Attained Prominence As An Illustrator And Commercial Artist, And He Brought To The Designing Of Type And Books Some Of The Boldness That He Displayed In His Advertising Work. His Work Can Be Described As Ornamented And Geometric, Similar To The Art Moderne And Art Deco Styles Of The Period, Using Oriental Influences And Breaking From The More Antiquarian Styles Of His Colleagues And Mentors Updike, Cleland And Goudy. Dwiggins' Interest In Lettering Led To The Mergenthaler Linotype Company, Sensing Dwiggins' Talent And Knowledge, Hiring Dwiggins In March 1929 As A Consultant To Create A Sans-Serif Typeface, Which Became Metro, In Response To Similar Type Being Sold From European Foundries Such As Erbar, Futura, And Gill Sans, Which Dwiggins Felt Failed In The Lower-Case. Dwiggins Went On To Have A Successful Working Relationship With Chauncey H. Griffith, Linotype's Director Of Typographic Development, And All His Typefaces Were Created For Them. His Most Widely Used Book Typefaces, Electra And Caledonia, Were Specifically Designed For Linotype Composition And Have A Clean Spareness.

Hardcover. Condition: Fine. Dust Jacket Condition: near fine. Dwiggins, W.A. (illustrator). Limited Edition. One of 1500 copies, sixmo size, 303 pp., signed by W.A. Dwiggins, in glassine wrappers and with slipcase. The LEC publication of this novel (originallly published in 1872) is graced by having been both designed by W.A. Dwiggins, as well as containing his illustrations (line drawings). William Addison Dwiggins (1880-1956) was a man of many talents: he became known first for his work as an illustrator and a commercial artist, and then entering into type and book design. "His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Updike, Cleland and Goudy" (n.b., quote from Wiki). ___DESCRIPTION: Two volumes (complete), bound in decorated paper (also designed by Dwiggins) over boards with a black cloth shelfback, the spines richly decorated and lettered in gilt, fore- and bottom edges uncut, the line drawings by Dwiggins throughout; monotype Baskerville on Praga handmade paper (Czechoslovakia), sixmo size (6 1/8" by 4 1/2"), pagination: Vol. I, [i-iv] v-xxv [3] [1-2] 3-96; Vol. II, [i-iv] [97-98] 99-263 [3] [1, colophon] [1, blank] [3, list of LEC publications to date]; limited edition of 1500 sets, this no. 499, signed by Dwiggins at the colophon. With the publisher's scarce glassine wrappers and the original box, the box covered in light red laid paper with a paper spine label with light red lettering, limitation number written at the tail of the spine. ___CONDITION: Volumes fine overall, the spines unworn and the gilt lettering and decorations exceptionally bright, with clean boards, straight corners without rubbing, strong, square text blocks with solid hinges, the interiors clean and bright; both volumes very slightly cocked, on the front free endpaper of both volumes are the remnants of a small label (likely an Ex-Libris). The glassine wrappers near fine, clean and with only minor edgewear; the slipcase better than very good, strong and sturdy, without splits or tears and free of edgewear; minor overall dustiness and sunning to the box and the label. ___CITATION: LEC Bibliography, no. 9. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

First thus, 162pp, illustrations, facsimile of author's manuscript tipped in (as called for), black boards, cloth spine. A bookplate and a name to the front flyleaf, the 'R J S' initials to the front board partailly worn through to the cloth beneath, the boards a little marked and worn. From a limited edition of 1200 copies, this one numbered 98 and signed by Dwiggins.