Sales catalogue 448: Maggs Bros

Date:
1924
Reference:
WA/HMM/CM/Sal/13/27
Catalogue details

Licence: Public Domain Mark

Credit: Sales catalogue 448: Maggs Bros. Source: Wellcome Collection.

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    302 LAMESLE (Claude). Epreuves Générales des Caractéres qui se trouvent chez Claude Lamesle, Fondeur de Caractéres d’ Imprimerie. omall ato, oldjcalt. - Paris, 1742. £15 15s The book contains numerous specimens of uncommon types, vignettes, etc., and several pages of old music-type specimens. Updike, in his ‘‘ Printing Types,”’’ reproduces some illustrations from this book, and says: ‘‘ Lamesle issued in 1742 an extremely handsome and dignified specimen called ‘ Epreuves Générales des Caractéres qui se trouvent chez Claude Lamesle.’ This book, both in type and ornaments, I think, presents better than any other the output of French foundries during the last quarter of the seventeenth and the first half of the eighteenth century. The collection of types is remarkably fine. They are purely old style. . . . Here and there one finds characters reminiscent of Dutch fonts of the period. . . . Titling letters, in roman, italic, and Greek, and some beautiful civilité, are worth looking at. . . . For the student of French type-forms of the earlier part of the eighteenth century there is scarcely a better book.”’ Catalogued in Bigmore and Wyman’s Bibliography of Printing, Vol. I., p. 419. 303 MOZET (Claude, of Nantes). Epreuves des Caractéres de la Fonderie de Claude Mozet, Fondeur et graveur de Caractéres d’Imprimerie. With four folding plates, and a hundred pages of type specimens. ovo,old calis Nantes, 175 4: (SEE, ILLUSERATION; <PLATE No, 1f.). £15 15s 304 FOURNIER (le Jeune). Les Caracteres de Imprimerie par Fournier le Jeune. With four folding plates and 160 pp. of specimen-types of characters, vignettes, music, etc. 8vo, boards, morocco back. Paris, 1764. (SEE JLLUSTRATION, PLATE No. III.). £15 15s Rare. Not listed in Updike. Catalogued in Bigmore and Wyman, Vol. I., p. 227. In addition to numerous charming designs for vignettes and fleurons, there are some fine examples of music-types. Updike says of him, apropos of this: ‘‘ His part in the improvement of music types (which I do not touch upon), in which composers like Rameau supported him, was very considerable, and in spite of bitter opposition by the Ballard family, who held a sort of monopoly as music- printers, the King named him, in 1762, his supernumerary printer for music.”