There are few phases of typography open to the charge of being neglected. An unquestionable exception occurs, however, in relation to Printers\u2019 Marks.<\/p>\n
This subject is in many respects one of the most interesting in connection with the early printers, who, using devices at first purely as trade marks for the protection of their books against the pirate, soon began to discern their ornamental value, and, consequently, employed the best available artists to design them. Many of these examples are of the greatest bibliographical and general interest, as well as of considerable value in supplementing an important class of illustrations to the printed books, and showing the origin of several typical classes of Book-plates (Ex-Libris). The present Handbook has been written with a view to supplying a readable but accurate account of this neglected chapter in the history of art and bibliography; and it appeals with equal force to the artist or collector. Only one book on the subject, Berjeau\u2019s \u201cEarly Dutch, German, and English Printers\u2019 Marks,\u201d has appeared in this viii country, and this, besides being out of print and expensive, is destitute of descriptive letterpress. The principle which determined the selection of the illustrations is of a threefold character: first, the importance of the printer; secondly, the artistic value or interest of the Mark itself; and thirdly, the geographical importance of the city or town in which the Mark first appeared.<\/p>\n
Since the text of this book was printed, however, two additions have been made to the literature of its subject: Dr. Paul Kristeller\u2019s \u201cDie Italienischen Buchdrucker- und Verlegerzeichen, bis 1525,\u201d a\u00a0very handsome work, worthy to rank with the \u201cEls\u00e4ssische B\u00fcchermarken bis Anfang des 18. Jahrhunderts\u201d of Herr Paul Heitz and Dr. Karl A.\u00a0Barack (to whom I am indebted for much valuable information as well as for nearly thirty illustrations in the chapter on German Printers\u2019 Marks); and Mr. Alfred Pollard\u2019s \u201cEarly Illustrated Books,\u201d an admirable volume which, however, only deals incidentally with the Printer\u2019s Mark as a side issue in the history of the decoration and illustration of books in the fifteenth and sixteenth centuries. Mr. Pollard reproduces seven blocks from Dr. Kristeller\u2019s monograph on the Devices of the Italian Printers. In reference to the statement on p.\u00a0116 of this volume that the Mark of Bade \u201cis the earliest picture of a printing press,\u201d Mr. Pollard refers to an unique copy of an edition of the \u201cDanse Macabre\u201d printed anonymously at Lyons in February, 1499, eight years earlier, which contains cuts of the shops of a printer and a bookseller.<\/p>\n
ix That this volume has considerably exceeded its intended limit must be my excuse for not including, with a very few exceptions, any modern examples from the Continent. Nearly every French printer and publisher of any note indulges in the luxury of a Mark of some sort, and an interesting volume might be written concerning modern continental examples. The practice of using a Printer\u2019s Mark is an extremely commendable one, not merely as a relic of antiquity, but from an \u00e6sthetic point of view. Nearly every tradesman of importance in this country has some sort of trade mark; but most printers agree in regarding it as a wholly unnecessary superfluity. As the few exceptions indicated in the last chapter prove that the fashion has an artistic as well as a utilitarian side, I\u00a0hope that it will again become more general as time goes\u00a0on.<\/p>\n
As regards my authorities: I have freely availed myself of nearly all the works named in the \u201cBibliography\u201d at the end, besides such invaluable works as Brunet\u2019s \u201cManual,\u201d Mr. Quaritch\u2019s Catalogues, and the monographs on the various printers, Plantin, Elzevir, Aldus, and the rest. From Messrs. Dickson and Edmonds\u2019 \u201cAnnals of Scottish Printing\u201d I\u00a0have obtained not only some useful information regarding the Printer\u2019s Mark in Scotland, but, through the courtesy of Messrs. Macmillan and Bowes of Cambridge, the loan of several blocks from the foregoing work, as well as that of John Siberch, the first Cambridge printer. I\u00a0have also to thank M.\u00a0Martinus Nijhoff, of the Hague, Herr Karl W.\u00a0Hiersemann, of Leipzig, Herr J.\u00a0H. x Ed. Heitz, Strassburg, Mr. Elliot Stock, Mr. Robert Hilton, Editor of the \u201cBritish Printer,\u201d and the Editor of the \u201cAmerican Bookmaker,\u201d for the loan either of blocks or of original examples of Printers\u2019 Marks; and Mr. C.\u00a0T.\u00a0Jacobi for several useful works on typography. Mr. G.\u00a0P.\u00a0Johnston, of Edinburgh, kindly lent me the reduced facsimile on p.\u00a0252, which arrived too late to be included in its proper place. The publishers whose Marks are included in the chapter on \u201cModern Examples\u201d are also thanked for the courtesy and readiness with which they placed electros at my disposal.<\/p>\n
The original idea of this book is due to my friend, Mr. Gleeson White, the general editor of the series in which it appears; but my thanks are especially due to Mr. G.\u00a0R.\u00a0Dennis for the great care with which he has gone through the whole work.<\/p>\n","protected":false},"excerpt":{"rendered":"
There are few phases of typography open to the charge of being neglected. An unquestionable exception occurs, however, in relation to Printers\u2019 Marks. This subject is in many respects one of the most interesting in connection with the… Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":1192,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8],"tags":[16,92,51,93],"class_list":["post-1112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-design","tag-marks","tag-print","tag-typography"],"jetpack_featured_media_url":"https:\/\/organicthemes.com\/demo\/structure\/files\/2017\/03\/tattooaremedgirl.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/posts\/1112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/comments?post=1112"}],"version-history":[{"count":1,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/posts\/1112\/revisions"}],"predecessor-version":[{"id":1233,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/posts\/1112\/revisions\/1233"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/media\/1192"}],"wp:attachment":[{"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/media?parent=1112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/categories?post=1112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/organicthemes.com\/demo\/structure\/wp-json\/wp\/v2\/tags?post=1112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}