Finding Aid for the Book Artifacts Collection, circa 2345 B.C.-1993 A.D. (bulk circa 1510-1976)

Regena Rosati
The Bancroft Library
University of California, Berkeley
Berkeley, CA 94720-6000
Phone: (510) 642-6481
Fax: (510) 642-7589
© 2012
The Regents of the University of California. All rights reserved.

Finding Aid for the Book Artifacts Collection, circa 2345 B.C.-1993 A.D. (bulk circa 1510-1976)

Collection number: BART 1

The Bancroft Library

University of California, Berkeley
Berkeley, CA 94720-6000
Phone: (510) 642-6481
Fax: (510) 642-7589
Finding Aid Author(s):
Regena Rosati
Date Completed:
August 2012
Finding Aid Encoded By:
© 2014 The Regents of the University of California. All rights reserved.

Collection Summary

Collection Title: Book Artifacts Collection
Date (inclusive): circa 2345 B.C.-1993 A.D.
Date (bulk): circa 1510-1976
Collection Number: BART 1
Extent: ca. 1360 items (4 selected digital objects)
Repository: The Bancroft Library.
University of California, Berkeley
Berkeley, CA 94720-6000
Phone: (510) 642-6481
Fax: (510) 642-7589
Abstract: The Book Artifacts Collection contains material relating to the development of writing, the history of printing, and the book arts (circa 2345 B.C.-1993 A.D.). This collection of artifacts and other realia illustrates various aspects of book production and design, from early cuneiform clay tablets, papyri, seals, and other writing materials, book curiosities and miniature books to the 20th century book, including printing presses and later 20th century printing devices. The bulk of the collection deals with hand and machine printing and binding. The collection includes specimens of various types of binding, binder's tools and equipment; illustration, relief, photographic and photomechanical processes; paper-making; practical pressroom and composing room equipment and presses; type design, type founding, and type-setting; music engraving; cartography; and specialty printing.
Languages Represented: Collection materials are in Multiple languages
Physical Location: Many of the Bancroft Library collections are stored offsite and advance notice may be required for use. For current information on the location of these materials, please consult the library's online catalog.

Information for Researchers

Access Information

Collection is open for research.

Publication Rights

Materials in this collection may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction of some materials may be restricted by terms of University of California gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of without permission of the copyright owner. Responsibility for any use rests exclusively with the user.
All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Public Services, The Bancroft Library, University of California, Berkeley 94720-6000. See:

Preferred Citation

[Identification of item], The book : artifacts related to the development of writing and the production of books, [ca. 2345 B.C.-ca. 1993 A.D.] (bulk ca. 1510-1976 A.D.), BART 1, The Bancroft Library, University of California, Berkeley

Removed or Separated Material

BART 1 A5087 is located in the Center for Tebtunis Papyri (O.Berkeley 1).
BART 1 A5088 is located in the Center for Tebtunis Papyri (No. 1-30 in O.Tebt (3, 5, 14, 16, and 18 are recorded as missing)).
BART 1 A5P27 is unaccessioned currently but held by the Center for Tebtunis Papyri.
BART 1 A5S86, No. 2 is located in the Center for Tebtunis Papyri (labeled Egyptian Stone Writing).
BART 1 A5W66 is located in the Center for Tebtunis Papyri (T.Tebt. 1).

Indexing Terms

The following terms have been used to index the description of this collection in the library's online public access catalog
Binding finishing hardware
Bookbinding equipment
Cutting tools
Electrotypes (printing plates/blocks)
Galleys (type composition equipment)
Imposition (Printing)
Matrices (copper molds)
Miniature books (Publishing)
Molds (papermaking)
Movable type
Octavo format (Printing)
Papermaking tools and equipment
Photoengravings (prints)
Printers' devices (Printing)
Printing press components
Printing presses
Proofs (Printing)
Quarto format (Printing)
Seals (artifacts)
Stereotypes (printing plates/blocks)
Type specimens
Wood blocks (printing blocks)

Administrative Information

Items from various sources, including gifts to the library.

Scope and Content Note

The Book Artifacts Collection contains material relating to the development of writing, the history of printing, and the book arts (circa 2345 B.C.-1993 A.D.). This collection of artifacts and other realia illustrates various aspects of book production and design, from early cuneiform clay tablets, papyri, seals, and other writing materials, to book curiosities, miniature books, and the 20th century book, including printing presses and later 20th century printing devices. The bulk of the collection consists of hand and machine printing and binding. The collection includes specimens of various types of binding, binder's tools and equipment; illustration, relief, photographic and photomechanical processes; paper-making; practical pressroom and composing room equipment and presses; type design, type founding, and type-setting; music engraving; cartography; and specialty printing.
The collection comprises materials that have come from a variety of sources, mostly through gifts and donations. Leslie Clark, who was in charge of rare books and book artifacts until her death in 1979, devised the original classification scheme, which is composed of nineteen series that are alphanumerically ordered from A5 to Z(0-6). The Guide to the Book Artifacts Collection (Flora Elizabeth Reynolds, 2nd, 1999) (the “Guide”) provides an overview of the collection at a series level and cursory overview at the item level. The series level descriptions from the Guide are included in this finding aid. The Register for the Book Artifacts Collection (the “Register”) is composed of four volumes and provides a complete description of the collection at an item level and detailed subject and name index for the collection circa 1986; the Guide includes additional updates to the collection between 1986-1999. This finding aid references both the Register and the Guide to provide for the most comprehensive and consistent series, sub-series and item level descriptions of the artifacts in the collection. The Register has been transcribed into this finding aid to the extent that it could be copied. Therefore, pages that include decorations or hand-written notes were not transcribed. However, the Register has been digitized and is available in four searchable PDF documents (one PDF document per volume) with this finding aid.
The majority of this collection consists of artifacts that relate to the processes of hand and machine printing and binding. Series B5 and Series B6 include materials relating to case, or commercial bookbinding and the hand binding of books, respectively. Series B6 is a large collection that includes sewing supplies, nipping presses, finishing tools, and illustrations of the hand binding process. Series D4 is the Cheri Archive, which includes Peter Koch’s records and working papers for the production of an English translation of Colette’s novel Cheri. Series F6, Format, Imposition, Register and Folding, includes a series of imposition examples, which represent the important pre-press process of arranging the printed book’s pages on a printer’s sheet to allow for faster printing and easier binding. Series I4 and I5, Design, Decoration, and Illustration, contain artifacts and examples of design, decoration and illustration in books. Series I4, Hand Illumination, includes an example of hand illumination. Series I5, Intaglio and Relief Processes, consists of woodblocks, woodcuts, wood engravings, etching and linocuts. Series I52, Electrotyping and Stereotyping, includes electrotyping and stereotyping plates for the reproduction of illustrations and other printed matter. Series I53, Photographic Processes, consists of halftone photoengravings and lithography. Series I54, Photochemical Processes, relates to photochemical processes such as photopolymer printing. Series I55, Prints, Proofs and Drawings, includes examples of various printing processes such as woodblocks, woodcuts, wood engravings, and photoengravings. Series P2, Papermaking and Trade, Handmade Paper and Machine-Made Paper, includes equipment for papermaking and samples of hand-made and machine-made paper. Series P7, Practical Printing, Pressroom and Composing Equipment, contains printing tools, types and equipment. Many of these items are in the Press Room of The Bancroft Library and are used for demonstrations on the principles of hand printing. Series T8, Typography, consists of specimens of movable type, matrices, punches and counterpunches. Subseries T86, Casting and setting by machine, includes displays that illustrate the principles of casting type by machine, a collection of typecast ornaments from the Merrymount Press and John Henry Nash, assembled matrices and examples of forms on monotype and linotype machines, and, finally, examples of stereotyping plates.
The remaining portion of the collection consists of the following Series: Alphabets, Writing Materials, and Writings in Various Forms (Series A5); Music Engraving (Series V2); Map printing (Series V3); Specialty printing (Series W2); and Supplementary Collections (Series Z). Series A5 includes hieroglyphic inscriptions on a fragment of limestone (ca. 2345-2330 B.C.), Sumerian Cuneiform writing on clay tablets from the third millennium B.C., examples of alphabets and letterforms, pens, and book curiosities such as miniature and microscopic books. The music engraving collection, Series V2, belonged to one of the last music engravers in the United States, Richard B. Pettit. Series W2 includes specialty printing from the Panama-Pacific International Exposition. Series Z includes historical artifacts, the Beulah Mitchell Clute Collection, seals, book arts medals, materials relating to the printing the guide, and commemorative postage stamps.


The Guide of the Book Artifacts Collection, by Flora Elizabeth Reynolds is located in the Main (Gardner) Stacks and in The Bancroft Library Reference Collection under the call number Z116.A3 R49 1999. The Register and Index to the BART Collection is located in The Bancroft Library reference desk under the call number E13.B23 R44 1986.


The book : artifacts related to the development of writing and the production of books : register and index. 1986 E13.B23 R44 1986

Physical Description: 4 volumes

The book : artifacts related to the development of writing and the production of books : register and index (Volume 1) 1986 E13.B23 R44 1986 v. 1

Creator/Collector: Flora Elizabeth Reynolds Bancroft Library
Physical Description: 388 pages
Language of Material: English

Indexing Terms

Book design -- Library resources
Graphic arts -- Library resources
Printing -- Library resources
Writing -- Library resources


The book : artifacts related to the development of writing and the production of books : register and index (Volume 2) 1986 E13.B23 R44 1986 v. 2

Creator/Collector: Flora Elizabeth Reynolds Bancroft Library
Physical Description: 336 pages
Language of Material: English

Indexing Terms

Book design -- Library resources
Graphic arts -- Library resources
Printing -- Library resources
Writing -- Library resources


The book : artifacts related to the development of writing and the production of books : register and index (Volume 3) 1986 E13.B23 R44 1986 v. 3

Creator/Collector: Flora Elizabeth Reynolds Bancroft Library
Physical Description: 204 pages
Language of Material: English

Indexing Terms

Book design -- Library resources
Graphic arts -- Library resources
Printing -- Library resources
Writing -- Library resources


The book : artifacts related to the development of writing and the production of books : register and index (Volume 4) 1986 E13.B23 R44 1986 v. 4

Creator/Collector: Flora Elizabeth Reynolds Bancroft Library
Physical Description: 267 pages
Language of Material: English

Indexing Terms

Book design -- Library resources
Graphic arts -- Library resources
Printing -- Library resources
Writing -- Library resources


Alphabets, Writing Materials, and Writings in Various Forms A5


Internal Classification System

Scope and Content Note

One of the most striking examples of ancient writing in The Bancroft Library is a hieroglyphic inscription (ca. 2345-2330 B.C.) that includes the cartouche of the Pharaoh Teti and part of an offering-list of clothes and oils. The inscription is in sunken relief on a fragment of limestone, probably from a false door in the tomb of a court official at Saqqara. Over the centuries Egyptian hieroglyphics changed greatly, eventually becoming conventionalized in the demotic script shown on the ostracon, or pottery fragment, of the 1st century B.C. It contains a list of the work-days of a man and oxen and a report of food and compensation for the oxen.
Cuneiform, or wedge-shaped, writing of the third millennium B.C. appears on three clay tablets from Sumer: one, given in memory of Regent Theodore R. Meyer, has been described in Bancroftiana, No. 59 (Oct. 1974); another given by Dr. and Mrs. John Barr Tompkins, records a consignment of wine, bread, and oil in the city of Nippur; and a third, notes the issue of bread and beer to an individual in the city of Umma. A fourth tablet, also in Sumerian characters, belongs to the second millennium B.C. and celebrates the building of the palace of King Sin-Kashid, “The Mighty Governor-King of Uruk.” The last two tablets as well as the limestone fragment and the ostracon described earlier are the gift of Charlotte and Norman H. Strouse.
The runic alphabet used among the Germanic peoples of the Christian era is represented by a facsimile of the 10th century stone on which the Danish King Harold Bluetooth honored his father and mother. Nearer our own time are a 19th century parchment phylactery fragment and an early 20th century Chinese chop, the latter probably a date stamp used in a business office.
Distinguished English letterforms may be seen on a facsimile, prepared by Adrian Wilson, of the slate on which John Baskerville, 18th century “writing master,” offers “to cut grave stones in any hand” (original in Birmingham, England). And a printing plate handcut in relief by August Rosenberger reproduces an alphabet of rustic capitals designed by the modern calligrapher and type designer Hermann Zapf.
Pens include a goose quill of the kind used during the American Revolution, several 19th century pens, the gold pen with which President Taft signed the Congressional resolution permitting him to invite foreign countries to participate in the Panama-Pacific International Exposition, and the wooden pen President Coolidge used to sign the Boulder Dam authorization.
Among book curiosities are a few examples of miniature and microscopic books, chiefly religious texts.

Alphabets: Letterforms A5A57


Baskerville slate (facsimile) A5A57, No. 1


Hermann Zapf plate: alphabet in rustic capitals A5A57, No. 2


Cuneiform Writing on Clay A5C53


Sumerian [ca. 2028 B.C.] A5C53, No. 1


Sumerian [ca. 2300-2100 B.C.] A5C53, No. 2


Sumerian [ca. 2033 B.C.] A5C53, No. 3


Sumerian [ca. 1860-1830 B.C.] A5C53, No. 4


Sumerian [ca. 2038-2030 B.C.] A5C53, No. 5


Ink A5I35


Iron gall ink (modern recreation) A5I35, No. 1


Book Curiosities: Microscopic and Miniature Books A5M53


Ostracon A5087


Demotic hierogylphic [Egyptian] inscription [75-100 B.C.] A5087, No. 1


Ostraca A5088


Varied Pieces A5088, No. 1-26


Papyrus A5P27


Fragments (for students to touch) A5P27, No. 1


Modern examples A5P27, No. 2-3


Parchment A5P28


Phylactery fragment A5P28, No. 1


Sample A5P28, No. 2


Pens A5P36


Goose quill A5P36, No. 1


Pen-holder and pen: red wood and steel-plated brass [188?] A5P36, No. 2


Pen-holder and pen: mother-of-pearl inlay A5P36, No. 3


President Coolidge Boulder Dam pen A5P36, No. 4


Seals A5S39

Scope and Content Note

See also BART Z2 and BART Z3

Chinese [1910] A5S39, No. 1


Stone A5S86


Rune stone: Harald Bluetooth, ca. 950 A.D. (facsimile) A5S86, No. 1


Limestone fragment: [Egyptian] hieroglyphic inscription [ca. 2345-2330 B.C.] A5S86, No. 2


Vellum A5V35


Samples A5V35, No. 1-3


Wax A5W28


Roman tablet (facsimile) A5W28, No. 1


Wood A5W66


Mummy docket [ca. 200 B.C.-200 A.D.] A5W66, No. 1


Bookbinding Equipment: Case Binding B5


Internal Classification System

Scope and Content Note

The bookbinding collection in two main divisions: B5, Case, or Commercial, Binding: and B6, Hand Binding. Case binding procedures are shown in bookbinders’ dummies, paste-ups, press proof, and several bindings in progressive states of manufacture. Finished cases typify ornate 19th century commercial styles.

[Case binding (miscellaneous)] B5C2


Cased book in component parts B5C2, No. 1


Case binding with unsewn signatures B5C2, No. 2


Cased book partially dissected to show details of construction B5C2, No. 3


Book in parts, with illustrations tipped-in B5C2, No. 4


Advance sheets folded and collated for publisher's approval B5C2, No. 5


Unbound signatures with prospectus B5C2, No. 6


Book ready for case B5C2, No. 7


Unbound signatures: Cowan's Bibliography of California B5C2, No. 8


Unbound signature: Grabhorn King Lear B5C2, No. 9


Cases: specimens B5C3


Embroidered B5C3, No. 1


Wood: carved B5C3, No. 2


Calf: tooled B5C3, No. 3


Cloth B5C3, No. 4


Calf: tooled B5C3, No. 5


Pigskin: Byzantine style B5C3, No. 6


Pigskin: blind stamp B5C3, No. 7


Calf: Mottled B5C3, No. 8


Bookbinders' dummies B5D8


Oregon Historical Society, Portland B5D8, No. 1


Cross, Ralph Herbert B5D8, No. 2


Shirk, David Lawson B5D8, No. 3


Cloth binding: title-label pasteup and press proof B5E2


Godfrey, Edward Settle B5E2, No. 1


Electrotypes, Bookbinder's B5E5


Tommasini, Amadee R. B5E5, No. 1


Merrymount Press Collection B5E5 M38


[Bookbinding equipment miscellaneous] B5E6


Brass Die B5E6, No. 1


Merrymount Press Collection B5E6 M38


Bookbinding Equipment: Hand Binding B6


Internal Classification System

Scope and Content Note

The second division of the Bookbinding Equipment collection is Hand Binding (B6). The handing binding collection, far larger and more complex than the Case Binding collection (B5), would supply a very complete shop. Much of it came to the University from the Blake House, now the President’s residence, formerly the home of Anita D. S. Blake (Mrs. Anson Blake), an amateur binder. There are all kinds of sewing supplies, a sewing stick, a sewing frame, and an array of such necessities as backing boards, hammers, pressing tins, weights, stoves, glue pots, paring knives, skiving blades, polishing irons, and burnishing tools. One of the nipping presses belonged to Frederick Folger Thomas, Jr.; the other Valenti Angelo constructed for his own use. The lying press, with two handmade ploughs, and the tall standing press were made in France, as were many of the tools. For finishing, or decorating book covers, brass fillets, pallets, tools, and stamps, mounted in handles, offer curves, lines, hearts, stars, circles, and fleurs-de-lys, virtually limitless in design possibilities. Sets of alphabets and numerals, also mounted in handles, and a bookbinder’s cabinet of binder’s type afford a choice of letterform styles for titles.
Examples of materials include modern pulp-board, marbled paper swatches, booklets of cloth and cover-board samples, a series of carefully labeled leather samples, the last assembled and given by Stephen Gale Herrick.
The whole process of hand binding is illustrated in a series of laminated panels prepared by the distinguished binder Stella Patri for exhibition at the Golden Gate International Exposition in San Francisco in 1939.

[Display of Hand Binding Process by Stella Patri] B6A5


Display Set: Stella Patri B6A5, No. 1-16


Gluing Equipment B6B24


Double iron glue pot B6B24, No. 1


Glue B6B24, No. 2


Patterns and examples of trial tooling B6D3


Patterns B6D3, No. 1


Patterns B6D3, No. 2


Trial tooling with black morocco B6D3, No. 3


Trial tooling on brown calf B6D3, No. 4


Trial tooling on blue morocco B6D3, No. 5


Trial tooling on blue morocco B6D3, No. 6


Forwarding and finishing equipment B6F5


Burnishing tools B6F51, No. 1-3


Gilding Material B6F512


Gilding Boards B6F513, No. 1-3


Letterforms (alphabets) mounted in handles B6F52, No. 1-8


Gouges (curved lines) mounted in handles B6F54, No. 1-5


Line pallets mounted in handles B6F55, No. 1-4


Numerals and punctuation marks mounted in handles B6F56, No. 1-8


Ornaments mounted in handles B6F57, No. 1-8


Merrymount Press B6F575, M1-M24


Fillets (rolls) mounted in handles B6F58, No. 1-5


Fillets (rolls) with special designs mounted in handles B6F582, No. 1-5


Handles B6F59, No. 1-37


Edging knives B6F61, No. 1-3


Paring knives B6F612, No. 1-3


Pointes B6F613, No. 1-3


Skiving blade mounted in Stanley holder B5F614, No. 1


Polishing irons B6F62, No. 1-2


Finishing boards B6F64, No. 1-2


Gas tooling stoves B6F65, No. 1-3


Polishing sheets B6F67, No. 1-9


Backing boards B6F71, No. 1


Hammers B6F73, No. 1-2


Binder's types in binder's cabinet B6F85


Lettering pallets B6F853, No. 1-6


Transfer materials B6F854, No. 1-3


Paring stones B6L5


Lithograph stone B6L5, No. 1


Lithograph stone B6L5, No. 2


Granite stone: rectangular, with bale handle B6L5, No. 3


Binder's materials B6M3


19th C. materials B6M32, No. 1-4


Leather samples B6M33, No. 1-22


Cover board samples B6M34, No. 1


Cloth sample books and price lists B6M35, No. 1-5


Mull (muslim) samples B6M355


Metal accesories: bosses, clasps, nails and brads B6M36, No. 1-5


Paper samples B6M37, No. 1-7


Marbled paper samples B6M372, No. 1-5


Dealers' sample booklets, marbled and decorated papers B6M374, No. 1-8


Binder's presses B6P7


Standing Press, French B6P7, No. 1


Nipping Press B6P7, No. 2


Lying Press, French B6P7, No. 3


Nipping press (small, homemade standing press) B6P7, No. 4


Pressing boards B6P71, No. 1-16


Ploughs and blades B6P72, No. 1-3


Extra Blades B6P721, No. 1-2


Cutting boards B6P73, No. 1-6


Pressing tins B6P74, No. 1-6


Trindles B6P77, No. 1-3


Weights B6P78, No. 1-10


[Miscellaneous sewing equipment] B6S3


Sewing frame B6S3, No. 1


Sewing supplies: threads, cords, tapes, and needles B6S35


Sewing stick B6S38


General equipment, tools and supplies B6T7


Mixing tray B6T7, No. 1


Cup: metal B6T7, No. 2


File: metal B6T7, No. 3


Metal polish B6T7, No. 4


Almond Oil B6T7, No. 5


Coconut Oil B6T7, No. 6


Gum arabic B6T7, No. 7


Punches B6T7, No. 8


Dye: red B6T7, No. 9


Straight edge: metal B6T7, No. 10


T-square: metal B6T7, No. 11


Design and Production of Books D4


Internal Classification System

Scope and Content Note

The Cheri archive contains Peter Koch’s records and working papers for the production of Janet Flanner’s English translation of Colette’s novel Cheri (San Francisco, George F. Ritchie, 1983). They comprise estimates of the number of lines, pages, and forms for printing; calculations of the paper supply needed; trial layouts and design proofs; printing procedures; binding possibilities; and notes of costs and payments.

Peter Koch: Cheri archive D4K6


Introductory papers D4K6, No. 1


Character count D4K6, No. 2


Selecting paper and figuring quantity D4K6, No. 3


Title-page design D4K6, No. 4


Title design proofs D4K6, No. 5


Page design D4K6, No. 6


Printing procedures D4K6, No. 7


Binding D4K6, No. 8


Spine label D4K6, No. 9


Brochure D4K6, No. 10


Costs D4K6, No. 11


Format, Imposition, Register and Folding F6


Internal Classification System

Scope and Content Note

The major part of this section is a series of imposition examples, printed sheets and blank sheets, numbered to correspond to the illustrations (pp. 88-105) in Philip Gaskell's New Introduction to Bibliography (Oxford: Claredon Press, 1972).

Imposition examples: printed sheets F67 G46-60

Additional Note

"G" numbers refer also to illustrations [pp. 88-105] in Gaskell, Phillip. New Introductions to Bibliography. Oxford: Clarendon Press, 1972 (Ref. Z1001 G2)

Early 19th C. printed sheet F67, No. 1


Folio: outer and inner forms in sixes F67 G46


Quarto: outer form F67 G47, No. 1


Quarto: outer form F67 G47, No. 2


Quarto: outer and inner forms with three varients. Unbound book: Pallsay, Bernard. A Delectable Garden F67 G47, No. 3


Quarto: outer and inner forms of two half-sheets worked together F67 G48


Quarto: outer and inner forms imposed for work-and-turn F67 G49


Octavo: outer and inner forms F67 G50, No. 1


Octavo: outer and inner forms with tipped-on end sheets F67 G50, No. 2


Octavo: outer form F67 G50, No. 3


Octavo: outer and inner forms, except last gathering, which has folio tipped-on end sheet. Dishbound book: Ruiz, Juan. The Book of Good Love F67 G50, No. 4


Sextodecimo: outer and inner forms of two half-sheets worked together before cutting F67 G60


Imposition examples: blank sheets F672, G1-G60

Additional Note

"G" numbers refer also to illustrations [pp. 88-105] in Gaskell, Phillip. New Introductions to Bibliography. Oxford: Clarendon Press, 1972 (Ref. Z1001 G2);

Broadside. Discussed in Gaskell, p. 81. [Not illustrated in Gaskell] F672 G1


Folio F672 G46, No. 1


Folio: three sheets of folio quired in sixes F672 G46, No. 2


Quarto F672 G47, No. 1


Quarto, quired. Discussed in Gaskell, p. 82 F672 G47, No. 2


Octavo, common. F672 G50, No. 1


Octavo, common. F672 G50 No. 2


Octavo, quired. Discussed in Gaskell, p. 82 F672 G50, No. 3


Octavo with cancels. Discussed in Gaskell, p. 134-135, 351 F672 G50, No. 4


Long duedecimo, folded F672 G54


Duedecimo, common, cut. F672 G55, No. 1


Duedecimo, common, cut. F672 G55, No. 2


Sextedecimo in two half-sheets worked together in two signatures F672 G60 No. 1


Sextedecimo in one sheet with one signature F672 G60, No. 2


Sextedecimo in two half-sheets worked together, cut and quired F672 Go 60, No. 3


Register F673


Signatures with faculty register F673, No. 1


Signatures F674


[Blank Signatures] F674


Folding tools F678


Brown plastic F678, No. 1


Bone F678, No. 2


Design, Decoration, and Illustration: Hand Illumination I4


Internal Classification System

Scope and Content Note

During the Middle Age books were written by hand and were produced primarily for the aristocracy and the clergy. Leaves or pages of the books were decorated with gold or silver leaf, which created an illuminated effect. An example of hand illumination in red, blue and gold on vellum leaves from the Book of Hours ca. 1510 is included in the collection.

Early printed texts: sample pages I4A5


Book of Hours, France, ca. 1510 I4A5, No. 1


Design, Decoration, and Illustration: Intaglio and relief processes I5


Internal Classification System

Scope and Content Note

In China woodblocks were used for text and illustration centuries before the development of printing in the West. Most of the Oriental woodblocks in the collection date from the 19th, or possibly the 18th, century. There are prayer boards from Peking, Lhasa, Jehol, and Lama Gagen, a Japanese novel illustration, and the text of an old-style Chinese classical examination.
In the west early printed books were often illustrated with wood-cuts. Technically described, these of relief prints made from flat-grained wooden block on which the design is cut with the grain by a knife. An Italian block cut in this way to illustrate Vergil’s Aeneid may date from the early 16th century. Modern blocks cut in this way are: Ray Boynton’s fishermen drawing in nets, published in hesperian (Winter issue, 1930) and Walt Whitman’s The World Below the Brine (Berkeley: The Hart Press, 1940); Rich Barton’s pear-wood block for Musical Instruments, a portfolio printed by Henry Evans (San Francisco: The Porpoise Bookshop, 1958); and Valenti Angelo’s “Song of the Rolling Earth,” the only block remaining from the Grabhorn edition of Walt Whitman’s Leaves of Grass (New York: Random House, 1930).
The art of working with engraving tools such as a burin or graver on the end-grain of dense woods (usually boxwood), a relief technique called wood engraving or white-line engraving, was perfected by Thomas Bewick. He and other 19th century artists working in a similar style are represented by many wood engravings as well as by electrotypes and zinc photoengravings, some of which were made from engravings in the collection. Almost all were once the property of the Merrymount Press in Boston; they came to The Bancroft from Daniel Berkeley Bianchi, whose father was a partner of the proprietor, Daniel Berkeley Updike. The entire gift, some 700 items, was carefully proofed for identification purposes on the Berkeley Albion Press by the fine printer and former printing instructor Roger Levenson. He and the author of the Guide to the collection held a fellowship at the Huntington Library (which owns Updike’s papers and a comprehensive Collection of his publications) to study and identify as many of the artifacts as possible. The results of their work are recorded in volumes 3 and 4 of the BART Register.
In the early 20th century, the Ashendene Press in England made extensive use of wood engravings, particularly in their famous editions of Dante, Sir Thomas Malory, and Saint Francis of Assisi. A complete collection of the original block for these publications along with Louise Powell’s initial letters for Don Quixote and an engraving of the first home of the press, are the gift of Charlotte and Norman H. Strouse.
The work of other 20th century artists, notably Thomas Maitland Cleland, Rudolph Ruzicka, and Herman P. Horne, is shown in engravings, electrotypes, and photoengravings from the Merrymount Press. A separate item belonging to an early period in California is Charles Nahl’s celebrated drawing “The Idle Miner’s Death”, as engraved by Thomas Armstrong for publication in Alonzo Delanos The Idle and Industrious Miner (Sacramento: James Armstrong and Co., 1854).
French wood engravings include a 17th century style book illustration. Renaissance-style initials, and paneled pages, all done in the 19th century.
Etching, the art of drawing with a need on a treated metal surface and exposing the lines to acid, is shown in three plates, all cancelled, that were designed and etched by Roi Partridge. He also worked in drypoint, which consists in scratching an intaglio design into copper with a pointed steel needle that disturbs the surface, but, unlike the engraver’s burin, does not remove it deeply. In additional to a Partridge drypoint plate, again cancelled, there are plates, both etched and drypoint, for bookplates made early in his career by the writer and art critic Sheldon Cheney. Among them is the copperplate etching for the bookplate of the famous Califorian botanist Willis Linn Jepson.
Many small press books are illustrated or decorated with linocuts, for example the ornaments Mary Fabilli designed and cut for the Equinox Press of William Everson, also known as Brother Antonious. During the 1950’s Rick Barton, Mark Luca, and Robert Quick did many linocuts for the publications of the Porpoise Bookshop and Peregrine Press of Henry Evans. Two artists in the Evans group, Mel Fowler and Partricia Evans Carpenter, engraved their designs on “Ti-Pi” rubber plates. The amateur printer Frederick Folger Thomas, Jr. used the same medium for decorating his periodical Far Afield.

Dealers' catalogs I5A5


Boulevard du Montparnasse, by H. Calmels-paris XIV I5A5, No. 1


Reduced Prices on Tools of Craftsmanship, by Arthur A Crafts & Co., Inc I5A5, No. 2


Diamonds used in Tools, by Arthur A. Crafts & Co., Inc I5A5, No. 3


Price List Catalogue Supplement, by Arthur A. Crafts & Co. , Inc. I5A5, No. 4


Print Maker's Materials, Graphic Chemical & Ink Co. I5A5, No. 5


Printmaker's Materials, by Graphic Chemical Ink & Co. I5A5, No. 6


Etching Materials, by Graphic Chemical & Ink Co. I5A5, No. 7


Haddon's List of Litho Materials, by John Haddon & Co. I5A5, No. 8


Etching and Plate Printing Materials, Tools and C. by John Haddon & Co. I5A5, No. 9


310 Copper plates, by John Haddon & Co. I5A5, No. 10


Catalog Number 1 of Etcher's Materials, by Johnson-King Co. I5A5, No. 11


Abridged Artist's Nett Price List, by WIlfred C. Kimber I5A5, No. 12


The Etcher's Store, by Wilfred C. Kimber I5A5, No. 13


Price List of Second-Hand Copper Plate Presses, by Wilfred C. Kimber I5A5, No. 14


Arts Decoratifs, by Lefranc I5A5, No. 15


Sierra Brand Copper and Zinc, by Pacific Sheet and Copper Plate Co. I5A5, No. 16


Graphic Arts Equipment and Supplies, by Rembrandt Graphic Arts Co., Inc. I5A5, No. 17


Graphic Arts Equipment and Supplies, by Rembrandt Graphic Arts Co., Inc. I5A5, No. 18


Equipment I5A6


Various Instruments and tools I5A6, No. 1-27


[Miscellaneous supplies for intaglio and relief processes] I5A7


Supplies I5A7, No. 1-11


Brass engravings I5B6


Monogram printing plate I5B6, No. 1


Copperplate etchings, U.S. I5C6


Blank plates, commercially prepared I5C6, No. 1-5


Etched plate: landscape, unsigned I5C6, No. 6


Trial etching with ground I5C6, No. 7


Plates (chiefly for bookplates) designed and etched by Sheldon Cheney I5C6 C3, No. 1-14


Plates designed and etched by Roi Partridge I5C6 P2, No. 1-3


Copperplate drypoint, U.S. I5C7


Plate: head of unidentified woman, designed and executed by Sheldon Cheney I5C7, No. 1


Plate: country scene, designed and executed by Roi Partridge I5C7, No. 2


Copperplate engraving, U.S. I5C8


Plate: visiting card I5C8, No. 1


Plate: wedding invitation insertion I5C8, No. 2


Plate: bookplate, designed and engraved by Sheldon Cheney I5C8, No. 3


Linocut blocks, U.S. I5L48


Barton, Rick I5L48 B2, No. 1-94


Fabilli, Mary I5L48 F3, No. 1-18


Fowler, Mel I5L48 F7, No. 1-18


Grabhorn Press artist I5L48 G7, No. 1


Hoff, Lloyd I5L48 H6, No. 1


Luca, Mark I5L48 L8, No. 1-2


Quick, Robert I5L48 Q4, No. 1-5


Robertson, Mark I5L48 R72, No. 1-5


Thomas, Fredrick Folger, Jr. I5L48 T5, No. 1-5


War Relocation Center artist I5L48 W4, No. 1-5


Rubber engravings, U.S. I5R82


Evans, Patricia Healy I5R82 E8, No. 1-8


Fowler, Mel I5R82 F7, No. 1-13


Thomas, Fredrick Folger, Jr. I5R82 T5, No. 1-19


Purcell, William Gray, designer; F.F. Thomas, Jr. engraver I5R82 T5, No. 20-21


"Ti-Pi" rubber engraving tools I5R821, No. 1


Steel engravings, European I5S83


Plate: portrait of Joseph Steffens, engraved by John ? of Sheffield I5S83, No. 1


Steel engravings, U.S. 15S88


Die: Sutro Library stamp 15S88, No. 1


Monogram printing plate 15S88, No. 2


Dies: Kaiser Company 15S88, No. 3-10


Woodcut blocks, European I5W66


Illustration from Italian Edition of Vergil's Aeneid I5W66, No. 1


Woodcut blocks, Oriental I5W67


Text of Chinese classical examination, 1909 I5W67, No. 1


Illustration for Japanese novel, 19th century I5W67, No. 2


Block in Japanese style from Grabhorn shop I5W67, No. 3


Tibetan prayer board from Lama Temple, Peking I5W67, No. 4


Tibetan prayer board from Lhasa, Tibet I5W67, No. 5


Manchurian block used at Jehol for the sacred books of the Lamas I5W67, No. 6


Mongolian prayer board from Lama Gagen I5W67, No. 7


Kim, Hui-jui I5W67 K6, No. 1


Masanobu, Okamura I5W67 M2, No. 1-2


Shigemasa I5W67 S4, No. 1


Woodcut blocks, U.S. I5W68


Representation of an angel by an unknown artist I5W68, No. 1


Angelo, Valenti I5W68 A63, No. 1


Barton, Rick I5W68 B2, No. 1


Boynton, Ray I5W68 B6, No. 1


Dean, Mallette I5W68 D32, No. 1


Everson, William I5W68 E75, No. 1-7


Wood engravings, English I5W73


Bewick, Thomas (see also Merrymount Press Collection) I5W73 B38, No. 1-2


Catterson-Smith, Robert (Ashendene Dante) I5W73 C22, No. 1-43


Gere, Charles (Ashendene Dante, Malory, St. Francis) I5W73 G43, No. 1-40


Maynard, R.A. (First Home of the Ashendene Press) I5W73 M26, No. 1


Powell, Louise (Initial letters for Ashendene Don Quixote) I5W73 P52, No. 1-9


Wood engravings, French I5W74


Paneled pages, Renaissance style I5W74, No. 1-2


Initial letters, Renaissance style I5W74, No. 3-8


Book illustration: L'Impromptu de Conde I5W74, No. 9


Wood engravings, U.S. I5W78


Blank end-grain boxwood block I5W78, No. 1


Wood engraving preparation I5W78, No. 2-4


Adams, Tate I5W78 A32, No. 1-11


Berkeley Albion Press mark I5W78 C2, No. 1


Cheney, Sheldon I5W78 C3, No. 1-9


[Hopson, William Fowler] I5W78 H6, No. 1


Merrymount Press Collection I5W78 M38


Nahl, Charles Christian I5W78 N3, No. 1


San Francisco Call artists I5W78 S26, No. 1-3


Wood engravings, country unknown I5W80


Hart Collection I5W80 H37, No. 1-40


Zinc etchings, U.S. I5Z4


Hagedorn, Edward I5Z4 H24, No. 1-2


Zinc engravings, U.S. I5Z6


Trial engraving on photoengraver's plate I5Z6, No. 1


Design, Decoration and Illustration: Electrotyping and Stereotyping I52


Internal Classification System

Scope and Content Note

Of the two kinds of plates developed during the 19th century for the reproduction of illustrations and printed matter, the stereotype is the older. It is cast in type metal from a matrix, or mold, of plaster of Paris or paper pulp. Two examples of such matrices, or flongs, were intended for newspaper publication, the most common use of stereotyping. There is also a group of stereotypes of wood engravings from the estate of James D. Hart, who purchased them in Mexico City, apparently for his own use. Electrotype plates are made from wax molds on which a metal coating has been deposited by an electroplating process. Twelve plates in the collection were made for the four-color printing of a picture of the Tiffany window placed in the American Typefounders Company Library and Museum I 1931 to honor John Henry Nash. A great number of the electrotyped plates came in the Bianchi gift from the Merrymount Press. The best known designs that have been identified, by no means the majority, are by Cleland, Horne, and Ruzicka.

Electrotyping: procedural materials I52E4


Foundry photoengraving: "Micro-metal" (zinc) I52E4, No. 1a


Bakelite mold for color process printing: yellow I52E4, No. 1b


Foundry photoengraving: with removeable sections for two colors I52E4, No. 2


Bakelite mold for color process printing: blue I52E4, No. 3a


Bakelite mold for color process printing: red I52E4, No. 3b


Electrotypes I52E5


Berkeley Albion Press mark I52E5, No. 1


Sheldon and Maud Cheney bookplate I52E5, No. 2


Merrymount Press Collection I52E5 M38


Halftone plates: Tiffany windows honoring J.H. Nash I52E5 T4


Stereotypes I52P68


Halftone photoengravings with matrices (flongs) for newspaper portrait of unidentified man I52P683


Halftone plate cast from matrix (flong) for newspaper portrait of leaders of California Republican Party in 1906 I52P684


Stereotypes of wood engravings I52P685


Hart Collection I52P685 H37, No. 1-7


Design, Decoration, and Illustration: Photographic Processes I53


Internal Classification System

Scope and Content Note

In halftone photoengravings, regularly spaced dots of varying size reproduce grays, blacks, and color gradations. Several metals may be used, e.g. copper for the photoengravings of Diego Rivera’s portrait of Peter Stackpole, and for the four-color printing of bird paintings by the naturalist Andrew Jack Grayson; magnesium for the portrait of the pioneer printed Charles Murdock of San Francisco; zinc for Robert Louis Stevenson’s wood engraving “Lord Nelson and the Tar”, for drawings by the balletomane Paget-Fredericks, and for the drawings Victor Anderson did for booklets printed by James D. Hart as Christmas greetings.
The 19th century brought the invention of lithography, the process of printing from smooth, porous limestones, like those entered as part of the binding collection because they were used by binders as paring stones. A much smaller limestone came with the tools of the 20th century lithographer George Raymond Noonan and still bears the print of the last image reproduced on it. Plates for photo-offset lithography include a stage set by Henry May for Andrew Imbrie’s opera Three Against Christmas. They could be attached to a cylinder, transferred to a blanket cylinder, and thence to the printing paper carried on an impression cylinder.

Brass photoengravings I53B5


Advertising plates for Kaiser Company I53B5, No. 1-2


Copper photoengravings I53C6


Halftone portrait: Joseph Winfred Spenceley I53C6, No. 1


Halftone portrait: William Fowler Hopson I53C6, No. 2


Halftone manuscript page: Obregon's History of the 16th Century Explorations...,ed. by G.P. Hammond & A. Rey. Los Angeles: Wetzel, 1928 I53C6, No. 3


Halftones for four-color process printing of bird paintings by Andrew Jackson Grayson I53C6 G7, No. 1-60


Norman H. Strouse, Silverado Press Bookplates, by W. O. Holt I53C6 H4, No. 1-2


Merritt, Warren Chase I53C6 M4, No. 1-8


Portrait of Peter Stackpole by Diego Rivera I53C6 P6, No. 1


Norman H. Strouse, Silverado Press mark, by Leo Wyatt I53C6 W8, No. 1-3


Magnesium photoengravings I53M68


Blank plate I53M68, No. 1


Halftone illustrations: Harding, George. Charles A. Murdock. (Berkeley: Tamalpais Press, 1973) I53M68 M8, No. 1-7


Line and halftone illustration: Home and Vegetable Garden (U.C. Agricultural Extension Service Circular No. 26) I53M68 T46, No. 1


Photographic negatives I53N64


Negative for photoengraving or photo-offset plate I53N64, No. 1


Photogravure I53P54


Plate: Rouget de Lisle singing "La Marseillaise" I53P54, No. 1


Stone Lithography I53P55


Transfer stone I53P55, No. 1


Tools I53P55, No. 2-25


Zincography I53P56


Lithographic plate I53P56, No. 1


Photo-offset lithography (planography) I53P57


Photo-offset plate: railroad collision I53P57, No. 1


Negative and plate of stage set designed by Henry May I53P57 M2, No. 1-2


Zinc photoengravings I53Z4


Halftone: cuneiform tablet (BART A5C53 No. 1) I53Z4, No. 1


In line: map, Northwestern New Spain, 1583 I53Z4, No. 2


Halftone: Portrait of Robert Frost I53Z4, No. 3


1952-76 In line: drawings by Victor R. Anderson I53Z4 A52


In line: from proof to linocut by Rick Barton I53Z4 B2, No. 1


In line: bookplates designed by Sheldon Cheney I53Z4 C3, No. 1-10


In line: Crown Zellerbach Building I53Z4 C4, No. 1


In line: endpapers designed by Robert Eustachy I53Z4 E8, No. 1


In line: Stockton Boyhood drawings by C.E. Grunsky I53Z4 G86, No. 1-12


In line: Hart Collection I53Z4 H37, No. 1-2


In line: drawings by Lloyd Hoff I53Z4 H62, No. 1 and 1942-51


In line: Abe Martin caricatures by Frank McKinney Hubbard I53Z4 H82, No. 1-2


In line: portrait of William F. Knowland I53Z4 K5, No. 1


In line: drawings by Lois Lenski I53Z4 L35, No. 1-3


In line: pages from The Lark (with negative) I53Z4 M8, No. 1-2


Merrymount Press Collection I53Z4 M38


In line: John Henry Nash initials I53Z4 N27, No. 1


Halftone: Aerial view of Yosemite Valley I53Z4 035


In line: drawings by Joseph Paget-Fredricks I53Z4 P24 No. 1-3


In line: Christmas cards by Ernest C. Peixotto I53Z4 P37, No. 1-4


In line: Platen Press mark (Ted Freedman) I53Z4 P52, No. 1-3


In line: traditional Spanish images I53Z4 S3, No. 1-6


In line: "Lord Nelson and the Tar" by R.L. Stevenson I53Z4 S6, No. 1


In line: Aundo Press marks by WIlliam Gray Purcell and Fredrick Folger Thomas, Jr. (No. 11 Amateur Journals of the Past logo) I53Z4 T5, No. 1-11


In line: United Nations emblem I53Z4 U6, No. 1


White Labor League Boot & Shoe Makers logo I53Z4 W44, No. 1


Design, Decoration and Illustration: Photochemical processes I54


Internal Classification System

Scope and Content Note

Photopolymer printing plates are used to print magazines and books. The plate contains polymeric material that is ultraviolet photosensitive and produces an image when exposed to light. A specimen of photopolymer printing plates is the “Scanagraph” plate of a locomotive and freight cars on a trestle from The Los Gatos Times-Observer.

Photopolymer printing plates for relief printing I54P52


"Scanagraph" plate: 80-line screen for newspaper illustration I54P52, No. 1


Design, Decoration, and Illustration: Prints, Proofs and Drawings I55


Internal Classification System

Scope and Content Note

This section contains a few drawings, notably Henry Evans’ press mark, drawn by Mel Fowler, and Henry May’s pen and ink sketch of the stage set for Three Against Christmas. Among many proofs are a full set of trial ink proofs showing the four-color process printing of Robert Quick’s Portfolio of Fish (San Francisco: Henry Evans, 1959) and photo-offset progressive proofs of the photograph Jack Cannon took for the dust jack of Ruth Newhall’s book The Enchanted Palace (Berkeley: Howell North, 1967).

Copper Engravings I55C6 G7


Four color proof: copper halftone photoengraving of a bird watercolor by Andrew Jackson Grayson I55C6 G7, No. 1


[Paste-up] I55D7 A7


Paste-up combining printed name "Alcuin Press" and original drawing of press mark of Frederick Folger Thomas, Jr. I55D7 A7, No. 1


[Drawing] I55D7 F7


Drawing of press mark for Henry Evan's Peregrine Press by Mel Fowler 155D7 F7, No. 1


[Letterpress] I55L2 C3


Bookplate designed by Sheldon Cheney and printed from zinc photoengraving in BART collection I55L2 G3, No. 1


[Letterpress] I55L2 G7


Progressive ink proofs: four-color halftone of printing of bird watercolor by Andrew Jackson Grayson I55L2 G7, No. 1-8


[Proof] I55L2 H37


Proof: routes to home of J.D. Hart I55L2 H37, No. 1


[Photo-offset proofs] I55 P37


Photo-offset proofs: dust jacket for San Francisco's Enchanted Palace I55 P37, No. 1-7


[Photo-offset proofs] I55 P57


Photo-offset proofs: stage sets by Henry May I55 P57, No. 1-2


[Proof: Orientalia] I55W67


Proof: Tibetan prayer board I55W67, No. 1


[Proofs: Orientalia] I55W67 M2


woodcut by Masanobu, 1693-1798. Proof on Japanese paper of woodcut of representation of Tenjin with pine and plus I55W67 M2, No. 1


woodcut by Masanobu, 1693-1798. Proof on Japanese paper of woodcut I55W67 M2, No. 2


[Proofs: Orientalia] I55W67 S4


Proof: woodcut by Shigemasa I55W67 S4, No. 1


[Proof] I55W68


Proof: "angel" woodcut by anonymous artist I55W68, No. 1


[Drawings and trial ink proofs] I55W68 Q4


Drawings and trial ink proofs: four-color printing of linocuts by Robert Quick I55W68 Q4, No. 1-42


[Proof] I55W68 R84


Proof: bookplate by Rudolph Ruzicka I55W68 R84, No. 1


[Proofs] I55W68 S3


Proofs: traditional Spanish images I55W68 S3, No. 1-6


[Proofs] I55W73 C22


Proofs: wood engravings by Robert Catterson-Smith for Ashendene Dante I55W73 C22, No. 3, 4, 13, 26, 28, 33, 35, 37, 38, 40, A1-A43


[Proofs] I55W73 G43


Proofs: wood engravings by C.M. Gere for Ashendene St. Francis, Morte Darthur I55W73 G43, No. 1-31, 33


[Proof] I55W78 N3


Proof: wood engraving by Charles Christian Nahl I55W78 N3, No. 1


[Proof] I55W78 S26


Proof: wood engraving for San Francisco Call masthead I55W78 S26, No. 1


Paper-making and Trade, Handmade Paper, and Machine-Made Paper P2

Physical Description: ca. 1360 items
Language of Material: Multiple languages

Scope and Content Note

The process of papermaking may be demonstrated with equipment originally acquired for the School of Library and Information Science by Roger Levenson. While an instructor in printing, he studied the craft of papermaking in order to demonstrate its main principles and give students a hands-on experience. When the School was disbanded the BART collection acquired the personal manual Levenson developed and a small electric-powered Hollander beater.
Among earlier acquisitions are examples of two objects crucial to paper production: the mold and the deckle. The mold is a shallow, wooden frame with a wire-screen bottom, finely meshed to produce wove paper (in which gauze-like marks may be visible), or more coarsely meshed to produce laid paper (think, vertical chain lines are visible when the paper is held against the light). Either kind of screen may bear a projecting design, which will leave a watermark in the paper. Two laid-paper molds from the print shop of John Henry Nash carry his watermark; only one has its deckle, a wooden frame that fits over the mold to contain the pulp when the mold is dipped into the vat.
From the commercial manufacture of paper there are several wove screens (illustrating a variety of watermark techniques) cut from the dandy roll (a cylinder) of Fourdrinier paper-making machine, the modern descendent of the first paper-making machine built in England in 1810 by Henry Fourdrinier.
Handmade paper samples in the collection date from the 18th century. Twentieth century samples come from several mills, notable Fabriano in Italy, John Mason’s Twelve-by-Eight mill at the College of Art in Leicester, England, and the Twinrocker Paper Mill, formerly of San Francisco, now of Brookstone, Indiana. A few undistinguished papers are retained to show imperfections caused by careless couching or faulty shakings.
Manufactured paper samples of the Dutch firm of Van Gelder Zonen are from the collection of their customer John Henry Nash. Watermarks by A. Kolitsch of Appleton, Wisconsin, are the feature of another large group of modern samples.

Manual P23E5


Roger Levenson P23E5, No. 1


Machinery P23M4


Hollander beater P23M4, No. 1


Molds. Accessories P23M6


Laid paper mold (without deckle); 2 samples P23M6, No. 1


Wove paper mold (without deckle); 2 samples P23M6, No. 2


Laid paper mold with deckle; sample P23M6, No. 3


Deckle for No. 1 and No. 2 P23M6, No. 4


Wover paper mold without deckle P23M6, No. 5


Mold for patching paper P23M6, No. 6


Laid paper mold with deckle P23M6, No. 7


Couching tray P23M6, No. 8


Wove screens from Fourdrinier papermaking machine P23M62


Watermark: "Carnation Milk" P23M62, No. 1


Watermark: "Memorial Bond" P23M62, No. 2


Watermark: unidentified building P23M62, No. 3


Watermark: Great Seal of the State of California P23M62, No. 4


Watermark: "A K" on shield P23M62, No. 5


Section of felt from Foundrinier paper-making machine P23M62, No. 6


Supplies P23M8


Felts P23M8, No. 1


Blotters P23M8, No. 2


Paper samples: before 1800 P23S22


Laid paper: Holland, 1709 P23S22, No. 1


Laid paper: Holland, 1787 P23S22, No. 2


Paper samples: 1800-to-date P23S23


De Luxe Handmade Papers. Bergisch Gladbach, Germany: J.W. Zanders P23S23, No. 1


Wove handmade P23S23, No. 2


Tovil laid handmade. Maidstond, England: Barcham Green P23S23, No. 3


Laid handmade. Maidstone, England: Barcham Green P23S23, No. 4


Laid handmade. Maidstone, England: Barcham Green P23S23, No. 5


Wove rag (machine made) ledger bond: early 19th C. P23S23, No. 6


Japanese mending paper (2 pieces) P23S23, No. 7


Wove handmade, with unbeaten fibers added. San Francisco: Twinrocker Paper Mill, 1971-72 (Howard and Katherine Clark) P23S23, No. 8


Wove (machine made): Strathmore text P23S23, No. 9


Laid (machine made): Curtis Tweedweave text P23S23, No. 10


Magnolia Editions Stock paper. --Oakland, Calif.: "Magnolia Editions" P23S23, No. 11


"Making Paper from Mitnan" / by Joyce Schmidt and Meyer Bar-Ad. --Beer-Sheva, Israel: Visual Art Centre, 1980? P23S23, No. 12


Straw paper keepsake / by Joseph E. Brown. --Rochester, N.Y.: Rochester Institute of Technology, 1980 P23S23, No. 13


Tissue for the conservation and book arts trade / by Timothy D. Barrett.--Kalamazoo, Michigan: Kalamazoo Handmade Papers, 1980? P23S23, No. 14


"Making Paper by Hand in Korea" / by Yeong-Yon Kim. --Seoul, Korea: 1980 P23S23, No. 15


Price lists from Asao Shimura.--Ibaragi-Ken, Japan: Cannabis pressm 1980 [?] P23S23, No.16


Sample papers / by Elaine Koretsky.--Carriage house Handmade Paper Works, 1980 [?] P23S23, No. 17


Paper samples: dealers' booklets P23S24


European and Oriental Printing, Art and Parchment Papers. Andrews/Nelson/Whitehead P23S24, No. 1


3M Printing and Art Papers. Andrews/Nelson/Whitehead P23S24, No. 2


Hakone Colored Tissue. Andrews/Nelson/Whitehead P23S24, No. 3


Oriental Printing and Art Paper. Andrews/Nelson/Whitehead P23S24, No. 4


Fabriano Cover. Andrews/Nelson/Whitehead P23S24, No. 5


Paper samples: John Mason's Twelve by Eight Mill P23S25


Wove rag writing paper. Watermark: "John Mason" portrait in vignette P23S25, No. 1


Wove rag writing paper with a leaf integral with the sheet P23S25, No. 2


Wove paper with two leaves integral with the sheet P23S25, No. 3


Wove experimental printing papers, formed from man-made or synthetic fibers P23S25, No. 4-14


Paper samples: Van Gelder Zonen P23S28


Booklets P23S281


Stationary in various sizes P23S282


Full size sheets P23S283


Paper samples: watermarks (Countermarks not differentiated) P23W2


"John Henry Nash" (2), "VGZ" (2), Unicorn (2), in laid paper P23W2, No. 1


"VGZ" (2) "Hearst", "Nash", Unicorns (2), in laid paper P23W2, No. 2


"VGZ", Unicorn, in laid paper P23W2, No. 3


"JHN" (2), Unicorns (2) in laid paper P23W2, No. 4


"1885 Stork All linen" is a single sheet of all linen P23W2, No. 5


"John Henry Nash San Francisco," Greek fret in wove bond P23W2, No. 6a-6c


"JHN", "John Henry Nash" in laid bond P23W2, No. 7a-7d


"John Henry Nash" (2), "VGZ" (2), Unicorn (2), in laid paper P23W2, No. 8


"Libby Owens Ford Trademark" in wove tissue P23W2, No. 9


Wood grain (2), Free form (2), in wove paper P23W2, No. 10


"International Brotherhood of Papermarks 241 Made" in wove paper P23W2, No. 11


Watermaking Dandy Rolls "Progress Jos.J.Plank & Co. Appleton Wis" Scene in light and shade technique in wove paper P23W2, No. 12


"R.L.R. Professional Parchment Rag Content" in wove bond P23W2, No. 13


"Lions International" logo in cockled wove bond P23W2, No. 14


"Voucher Bond A Butler Paper Rag Content", in wove bond P23W2, No. 15


"CSC", in wove bond P23W2, No. 16


"Shlitz Beer Trademark", in wove bond P23W2, No. 17


"CO-OP" in cockled wove bond P23W2, No. 18


"Parchment Script" in wove bond in folio P23W2, No. 19


"Wausautone", in lightweight yellow wove cover stock P23W2, No. 20


"Airdale Bond Rag Content", in cockled wove bond P23W2, No. 21


"Minute man Letter Rag Content", Minute man in vignette with check pattern in wove bond P23W2, No. 22a


"Minute Man Letter Rag Content", Minute man in outline with check pattern wove bond P23W2, No. 22b


Minute man with check pattern in wove board P23W2, No. 22c


"Tesoro Nacional de Bolivia Papel Valorado", with coat of arms in white wove bond P23W2, No. 23


"Man of the Hour General MacArthur N JIP", Profile in light and shade in white wove text paper P23W2, No. 24


"Nation Wide Mimeo" in green wove mimeograph paper P23W2, No. 25


"Nation Wide Mimeo" in buff wove mimeograph paper P23W2, No. 26


"Nation Wide Mimeo" in white wove mimeograph paper P23W2, No. 27


"Montags Extra 100 Rag" in striped pattern blue bond P23W2, No. 28


"Jos.J.Plank & Co. Appleton Wisconsin", in blue wove-paper P23W2, No. 29a


"Jos.J.Plank & Co. Appletone Wisconsin", in think blue wove-paper P23W2, No. 29b


House and cloud scend in light-and-shade in buff wove-paper P23W2, No. 30


"Hand Made in USA" in grey laid bond P23W2, No. 31


Galleon in shadow in white wove bond P23W2, No. 32


"Greetings from Appleton" in airplane in cream wove bond P23W2, No. 33


"Made with hand mold" in laid sheet P23W2, No. 34


"Jos.J.Plank & Co. Appleton, Wisconsin". Three Wise Men in light-and-shade, in folded Christmas card, pebble-finished text paper. "A Merry Christmas Happy New Year 1940" in Christmas tree cut out fold P23W2, No. 35


"Mr. & Mrs. A. Kolitsch Appleton WIs." in grey patterned bond P23W2, No. 36


"Made with hand mould by A.K. in Appleton" in gray bond P23W2, No. 37


"A. Kolitsch, Appleton Wis" in lined gray bond P23W2, No. 38


Waves in striped ivory bond P23W2, No. 39


Herald in laid bond P23W2, No. 40


"The best papers are made from rags", set within triangle reading, "Use better papers for durability and impressiveness", in gray wove-bond P23W2, No. 41


"American Legion", logo in beige wove-bond P23W2, No. 42


"Republica El Salvador en La America Central", coat of arms in white wove-bond P23W2, No. 43


"Republica Argentine Ley de Selios", coat of arms (2) in gray wove bond P23W2, No. 44


"Lincoln Letter". Lincoln in vignette on cream wove-bond P23W2, No. 45


"Made with hand mold" in gray laid bond with diagonal chain lines P23W2, No. 46


"Spend Your Vacation in Wisconsin Land O'Lakes with map of state in buff wove-bond P23W2, No. 47


Wood textured watermark in ivory bond cut to fold into envelope P23W2, No. 48


Flower textured watermark in ivory bond cut to fold into envelope P23W2, No. 49


"Peace on Earth Good Will to Men" with manger scene and soldier and sailor in relief in ivory wove-bond P23W2, No. 50


"US 1941" in blue bond No. 10 envelope P23W2, No. 51


"US 1945" in white bond No. 10 envelope P23W2, No. 52


"US 1929" in white bond No. 10 envelope P23W2, No. 53


"Clover linen bond" with bird in light and shate in pink wove-bond P23W2, No. 54


Practical Printing, Pressroom and Composing Room Equipment P7


Internal Classification System

Scope and Content Note

The Press Room of The Bancroft Library was established to provide for the demonstrations and teaching of the principles of hand printing. Most of the tools, type and other equipment recorded in this section are in the room and available for immediate use.
Important type faces at hand include: Arrighi, Baskerville roman, Bodoni roman and italic, Cloister Old Style roman, italic and small capitals, Cloister Lightface roman, italic and small capitals, Oxford roman and italic, Union Pearl, and F.W. Goudy’s Berkeley Old Style.
Type is stored in California Job Cases, Yankee Job Cases, Double-Yankee Job Cases and upper and lower cases that came from Jeff Craemer and from the Merrymount Press of Daniel B. Updike, the Arundo Press of Frederick Folger Thomas, Jr., and the University of California Printing Department.
When the printer starts work, his first task is to set type in a composing stick. Then he moves the assembled type to a galley, an open-ended metal storage tray in which he makes up one page, which he ultimately transfers to a chase that holds all of the pages to be printed at one time. He fills the blank spaces in the chase with metal or wooden furniture, the latter selected from the complete font in its special cabinet given by Jeff Craemer. Finally he locks the whole in place with quoins. Throughout the entire process he has access to the Press Room to a large assortment of composing-room and general tools.
Early Printers often made corrections at various times during a press run. This practice resulted, especially during the 17th century, in important works with textual differences that still baffle scholars. A half-scale replica of an English wooden press was built in 1976 by Richard Hicks according to Joseph Moxon’s description in Mechanick Exercises (London 1685). Since the form is twice the area of the platen, a full-size sheet is printed by two pulls of the bar. The ink block holds four ink balls; the chase is accompanied by a special hook, brass shooting stick, wooden mallet, platen bearers, press points, and quoins, all the gift of Roger Levenson.
The Berkeley Albion Press is a Super-Royal Albion handpress made in London before 1856 S & T Sharwood. It has its own special chases and ink roller; printing is accomplished by pulling a level called the toggle which moves the platen into the form. This press is also the gift of Roger Levenson, who purchased it in 1953 from Leonard Hyman, an English dealer in rare music and rare music books. Previously it had been rehabilitated to appear in an English motion picture.
An American press built on the same general principle is the Reliance, a Washington-style handpress purchased many years ago from Jane Grabhorn by James D. Hart for personal use in his home. On his death, it came to The Bancroft Library.
A table-model Royal Octavo Albion handpress bearing the service plate of Hughes & Kimber, Ltd. Of Longon is named the Valenti Angelo Press for its last owner. Earlier owners were Emery Walker, Bruce Rogers and John Fass (Hammer Creek Press). Midway in size between the Berkeley Albion and the Valenti Angelo Press is a third Albion, a “crown broadside” press, made in London by H. W. Caslon in 1861. It formerly belonged to the School of Library and Information Science, where it was part of the equipment of the old South Hall Press.
Small jobbing, or platen, presses that reproduce the entire printing surface at one pull are an Exclesior Platen Job Press, a gift of John Barr Tompkins, a side-lever platen job press from the Beulah Mitchell Clute Collection, the gift of Mrs. Herbert Blasdale, and a Chandler and Price Pilot Press, the gift of Mrs. Frederick Folger Thomas, Jr., who also donated the Nolan Proof Press.
Most of the presses in the Bancroft collection print from raised letters, or are, in other words, letterpress. Intaglio, or printing from a plate that has been etched or engraved, the lines filled with ink and then wiped clean, may be done on the small etching press manufactured by N. N. Kelton in New York City during the 1890s. It could also be used to produce embossed cards. The press was given by Karl Kasten, Professor Emeritus of Art, on behalf of the California Printmakers Society.

Brackets P7B7


Set of iron brackets for upper and lower case P7B7, No. 1


Case cabinets and case stands P7C2


Oak case stand: standard size P7C2, No. 1


Oak case cabinet: standard size, stained black P7C2, No. 2


Oak bookbinder's dust-proof type cabinet. Two Rivers, Wisc: Hamilton P7C2, No. 3


Oak dust-proof case cabinet. Two Rivers, Wisc.: Hamilton P7C2, No. 4


Oak foundry-type cabinet P7C2, No., 5


Oak case cabinet P7C2, No. 6


Oak case stand P7C2, No. 7


Oak case cabinet: two-thirds size. Ludington, Mich.: The Tubbs Mfg. Co. P7C2, No. 8


Type Storage: Cases P7C23


Upper case P7C23, No. 1


Upper case P7C23, No. 2


Lower case P7C23, No. 3


Lower case P7C23, No. 4


Upper case P7C23, No. 5


Standard lower case P7C23, No. 6


Standard lower case P7C23, No. 7


Standard Upper case P7C23, No. 8


Standard lower case P7C23, No. 9


Upper case P7C23, No. 10


Lower case P7C23, No. 11


Upper case P7C23, No. 12


Lower case P7C23, No. 13


Upper case P7C23, No. 14


Upper case P7C23, No. 15


Blank case P7C23, No. 16


Blank case P7C23, No. 17


Upper case P7C23, No. 18


Lower case P7C23, No. 19


Upper case P7C23, No. 20


Upper case P7C23, No. 21


Lower case P7C23, No. 22


Lower case P7C23, No. 23


Lower case P7C23, No. 24


Lower case P7C23, No. 25


Lower case P7C23, No. 26


Lower case P7C23, No. 27


Lower case P7C23, No. 28


Lower case P7C23, No. 29


Blank case P7C23, No. 30


Double Yankee Job case P7C23, No. 34


California Job case P7C23, No. 35


California Job case P7C23, No. 36


California Job case P7C23, No. 37


California Job case P7C23, No. 38


California Job case P7C23, No. 39


California Job case P7C23, No. 40


Upper case P7C23, No. 41


California Job case P7C23, No. 42


Upper case P7C23, No. 43


Upper case P7C23, No. 44


California Job case P7C23, No. 45


California Job case P7C23, No. 46


California Job case P7C23, No. 47


California Job case P7C23, No. 48


California Job case P7C23, No. 49


Blank case P7C23, No. 50


Lower case P7C23, No. 51


California Job case P7C23, No. 52


Lower case P7C23, No. 53


Triple Capital case P7C23, No. 54


Triple Capital case P7C23, No. 55


Yankee Job case P7C23, No. 56


California Job case P7C23, No. 57


Triple Capital case P7C23, No. 58


Upper case P7C23, No. 59


Upper case P7C23, No. 60


Lower case P7C23, No. 61


Blank case P7C23, No. 62


Blank case P7C23, No. 63


Lower case P7C23, No. 64


California Job case P7C23, No. 65


Double Yankee Job case P7C23, No. 66


California Job case P7C23, No. 67


California Job case P7C23, No. 68


California Job case P7C23, No. 69


California Job case P7C23, No. 70


Lower case P7C23, No. 71


California Job case P7C23, No. 72


California Job case P7C23, No. 73


California Job case P7C23, No. 74


California Job case P7C23, No. 75


Lower case P7C23, No. 76


Lower case P7C23, No. 77


Quadruple Capital case P7C23, No. 78


California Job case P7C23, No. 79


California Job case P7C23, No. 80


Two-thirds accent case P7C23, No. 81


Two-thirds upper case P7C23, No. 82


Quarter sorts case P7C23, No. 83


Two-thirds accent case P7C23, No. 84


Space case P7C23, No. 85


Space case P7C23, No. 86


Space case P7C23, No. 87


Space box with handle P7C23, No. 88


Bookbinder's one-half capital case P7C23, No. 89


Bookbinder's one-half capital case P7C23, No. 90


Bookbinder's one-half capital case P7C23, No. 91


Bookbinder's one-half capital case P7C23, No. 92


Bookbinder's one-half capital case P7C23, No. 93


Bookbinder's one-half capital case P7C23, No. 94


Bookbinder's one-half capital case P7C23, No. 95


Bookbinder's one-half capital case P7C23, No. 96


Bookbinder's one-half capital case P7C23, No. 97


Bookbinder's one-half capital case P7C23, No. 98


Space case P7C23, No. 99


Lead and slug case P7C23, No. 100


Yankee Job case P7C23, No. 101


Yankee Job case P7C23, No. 102


Yankee Job case P7C23, No. 103


Yankee Job case P7C23, No. 104


Yankee Job case P7C23, No. 105


Yankee Job case P7C23, No. 106


Yankee Job case P7C23, No. 107


Yankee Job case P7C23, No. 108


Yankee Job case P7C23, No. 109


Yankee Job case P7C23, No. 110


Yankee Job case P7C23, No. 111


Yankee Job case P7C23, No. 112


Yankee Job case P7C23, No. 113


Yankee Job case P7C23, No. 114


Yankee Job case P7C23, No. 115


Yankee Job case P7C23, No. 116


Yankee Job case P7C23, No. 117


Yankee Job case P7C23, No. 118


Yankee Job case P7C23, No. 119


Yankee Job case P7C23, No. 120


Chases P7C4


Chase (No. 197570) P7C4, No. 1


Chase P7C4, No. 2


Chase P7C4, No. 3


Chase (No. 236880) P7C4, No. 4


Chase (No. 228) P7C4, No. 5


Chase (No. 228) P7C4, No. 6


Chase (No. 39002): with two cross-bars and two rollers P7C4, No. 7


Chase: in four places P7C4, No. 8


Chase: 17th C. replica. Cedar Crest, New Mexico: Richard Hicks, 1976 P7C4, No. 9


Chase P7C4, No. 10


Chase P7C4, No. 11


Page frames P7F2


30 picas. Chicago: Rouse, 1923 P7F2, No. 1a-1d


20 Picas. Chicago: Rouse, 1923 P7F2, No. 2a-2d


Furniture, wood P7F3


Small font (i.e. 280 pieces) P7F3, No. 10.1-60.34


Furniture cabinet P7F31, No. 1


Furniture, metal P7F4


Cast iron P7F4, No. 1


Cast lead alloy P7F4, No. 2


[Platen bearers] P7F5


Platen bearers (17th C. replicas) P7F5, No. 1-2


[Wedges] P7F6


Wedges (17th C. replicas) P7F6, No. 1-8


Furnishings: tables, cabinets P7F8


Oak filing cabinet P7F8, No. 1


Oak broadside case: two-door front, inside storage P7F8, No. 2


Oak broadside case: 7 drawers (101 cm. ea.), 8 drawers (80 cm. ea.) P7F8, No. 3


Work table with 3 shelves P7F8, No. 4


Typing table with drawer P7F8, No. 5


[Galleys and Galley Cabinet] P7G2


Galleys P7G2, No. 1-60


Galley cabinet P7G21, No. 1


Ink and inking equipment P7I6


Roller for the Berkeley Albion Press P7I6, No. 1


Ink: Janecke-Schneeman, 1951 P7I6, No. 2


Catalog: Janecke-Schneeman, 1955 P7I6, No. 3


Ink block (17th C. Replica) P7I6, No. 4


Ink balls (17th C. replica) P7I6, No. 5-8


Presses P7P7


Bobcat press (17th C. replica) P7P7, No. 1


Berkeley Albion Press (Super-Royal Albion) P7P7, No. 2


Valenti Angelo Press (Royal Octavo Albion) P7P7, No. 3


Nolan Proof Press P7P7, No. 4


Chandler and Price Pilot Platen Job Press P7P7, No. 5


Kelsey "Excelsior" Platen Job Press P7P7, No. 6


Benjamin Franklin's press (wooden model) P7P7, No. 7


Beulah Mitchell Clute Platen Job Press P7P7, No. 8


James D. Hart's Reliance Press P7P7, No. 9


Engraver's and Etcher's Rolling Press P7P7, No. 10


Crown Broadside Albion Press P7P7, No. 11


General tools P73T6


[Miscellaneous printing tools] P73T6, No. 1-52

Additional Note

Awls, braces, bits, screw drivers bits, capenter's square, T-square, C clamp, cold chisel, compass, file, rasp, hammer, card cutter, etc.

Composing room tools P73T7


[Miscellaneous composing room tools] P73T7, No. 1-81


Printing types P73T9


[Over 100 Different Types Faces and Sizes of Fonts] P73T9


Office Equipment Q2


Internal Classification System

Scope and Content Note

The office equipment portion of the collection includes typewriters, word processors, and computing equipment such as a laptop and desktop computer.

Typewriters Q2B2


Remington manual Q2B2, No. 1


IBM Selectric Q2B2, No. 2


Computers Q2C3


Apple IIe Q2C3, No. 1


Macintosh Powerbook 180c


Computer software manuals Q2C34


[Miscellaneous software manuels] Q2C34


Mimeograph Machines Q2D1


Rotary Neostyle No. 8-F Mimoegraph Q2D1 No. 1

Creator/Collector: The Neostyle Company, New York, ca. 1910.
Physical Description: 15" square at the base, 16" tall and weighs 29 lbs.

Custodial History

Gift of John Brandi, November 2013 as an addition to the John Brandi papers (BANC MSS 2009/112). Identical to the model which Brandi used to print his early Nail / Tooth of Time books, copies of which are owned by the Bancroft Library.

Typography T8


Internal Classification System

Scope and Content Note

An historical figure sometimes credited with the invention of the movable type is Pi Sheng, a Chinese man who lived about 1041 A.D. and is said to have used characters carved in moistened clay. Recently a professional potter and amateur printer, Paul Quyle, set himself the task of producing a satisfactory clay type. He has given the library a piece of his experimental type and a printed copy of his summary of the problems involved. He concluded that not even the exquisite craftsmanship of the Chinese would have been equal to the challenge.
Historians of printing do not know the exact nature of typecasting equipment used by the first Western printers. Since the early 1700’s the standard hand-mold has been similar to the one used by William Caslon and given by his great grandson to John Henry Nash. It is constructed to hold a matrix struck with a punch carrying the design of the character to be cast.
The preparation of a punch can be explained with a display that shows each step from raw material to finished punches selected from the John Henry Nash Collection. The counterpunches, which produce the hollows in letterforms, were cut by R. Hunter Middleton to match the Nash punches. Related items that can be handled are a handcut punch from the 19th century France, a handcut counterpunch, and a matrix for a handmold.
Historical type specimens include three pieces of Korean movable type of the 15th century, the gift of Dr. and Mrs. John Barr Tompkins, and a specimen of type cast by the Oxford University type foundry from matrices given to Oxford in 1686 by John Fell.
A set of French punches acquired through Dawson’s in Los Angeles has been traced to the Fonderie Pettibon in Paris and Joseph Vibert, who worked there under supervision of Pierre Didot. The style closely resembles that of the typeface of Didot’s 1799 edition of Horace.

Typesetting history T82


Display Folder


Historical example: Gowdy address label T82K4, No. 1


Historical examples: Portfolios and letterheads designed by Carl Puttington Rollins T82K4, No. 2


Historical examples: Portfolios and letterheads designed by G.H. Perry T82K4, No. 3


Historical examples: Portfolios and letterheads designed by H.G. McMennamin T82K4, No. 4


Type Design T83


Pattern making for matrix cutting by machine T83, No. 1


Handcast type T84


Clay-type, re-created T84C6


Historical specimans: Korean moveable type, ca. 15th C. T84K7, No. 1-2


Molds: Caslon hand type mold, 18th C. T84M7, No. 1


Punches: Punch Cutting Display T84P8, No. 1


Punches: Handcut punch, stepped for accent T84P8, No. 2


Punches: Punched matrix for hand mold T84P8, No. 3


Puches: Handcut counterpunch T84P8, No. 4


Punches: Vibert-Didot punches, 19th C. T84P8, No. 5


Punches: Roger Levenson Collection T84P8, No. 6


Modern Specimans: Teaching example handcast by Roger Levenson T84T8, No. 1


Modern specimens: Type cast from Fell matrix of 1686 T84T8, No. 2


Typesetting by hand T85


Type storage: cases: Type case, Chinese T85B8


Type storage: cases: Bellows T85B86, No. 1


Casting and setting by machine T86

Scope and Content Note

The principles of casting type by machine are illustrated by two permanent displays, "Patterns, Punches, and Matrices," and "Matrices and Type," both mounted with explanatory text by Roger Levenson. Finished electrotyped foundry matrices of Mountjoye (Bell) roman and italic and of accents for the Oxford type used for the John Carter Brown Library Catalog, Bibliotheca Americana (Providence: The Library, 1919-31), came from Daniel Berkeley Bianchi. The proprietary type designed for the Merrymount Press by Herbert P. Horne is shown in a 14-point display given by Wilbur L. Doctor.
A further Bianchi gift from the Merrymount Press is a very large collection of typecast ornaments: Caslon designs from Stephenson & Blake, examples from the Lanston Monotype Corporation, and from the American Type Founders Company, Naudin ornaments on Didot body, Bruce Pen Ornaments, Binny and Ronaldson ornaments, Norman Munder ornaments, proprietary printers flowers designed by Percy Smith of London exclusively for the Merrymount Press, and ornamental ships made from wood engravings (by an 18th century stereotyping process) at the Caslon foundry.
A second large collection type ornaments, from the shop of John Henry Nash, contains an Italian series from Societa Nebiolo in Turin, Italy, and several long German series, including many two- and three-color designs, from the two defunct Leipzig foundries of Bauer, and Schelter & Giseke. This collection is housed in a cabinet of a style once used by foundries for the storage of sorts. It is also from the Nash shop.
Since the latter part of the 19th century, type for fine commercial and book work has usually been cast and set mechanically on monotype machines, which produce lines of single types and spaces; for most work, especially newspapers, linotype machines cast single lines or slugs all in one piece. Assembled matrices and type from these machines may be contrasted with a slug from a Ludlow machine, which casts type after matrices have been set by hand.
The chief example of forms composed on monotype and linotype machines is also a memento of both a printers' tour de force and United Nations Conference in San Francisco. As the meeting was drawing close in 1945, the University of California Printing Despartment and five San Francisco firms combined forces, under the direction of the Government Prinitng Office, to produce within a single week the multi-lingual first edition of The United Nations Charter (San Francisco: 1945). The Russian and Chinese forms preserved in The Bancroft Library are from the Printing Department of the University of California.
Stereotyping, a 19th century process of casting whole pages in type metal from a matrix, or mold of plaster of Paris or papier-mâché, is illustrated by a flong for newspaper reproduction and by most of the plates for Robert Wolter's A Short and Truthful History of the Taking of California and Oregon by the Chinese in the Year A.D. 1899 (San Francisco: A.L. Bancroft, 1882)". They are the gift of Aylett Cotton. Half the plates are stored with contemporyary wedges in an original box. A form given by Robert Howell shows the method of mounting for reproduction.
Throughout the collection there are numerous examples of printing surfaces prepared by the other important 19th and 20th century process, electrotyping, or the depositing of metal coating on a wax impression or in an electrotype mold.

Collections: Patterns, punches and matrices display T86A1, No. 1


Collections: Matrices and type display T86A1, No. 2


Collections: Forms example: United Nations Charter, 1945 T86A1, No. 3


Collections: Electrotype: University of California Old Style (Goudy) T86A1, No. 4


Collections: Merrymount Press Montallegro type matrices T86A1, No. 5


Matrices: Accents and special characters, Oxford type, Merrymount Press (electrotyped) T86F61, No. 1


Matrices: Roman and italic, Mountjoye (Bell) type, Merrymount Press (electrotyped) T86F61, No. 2


Matrices: Japanes characters (electrotyped) T86F61, No. 3


Matrices: Japanese character (engraved) T86F61, No. 4


Molds: Body slide mold for automatic caster T86F612, No. 1


Types: Type cast in a pivotal caster T86F62, No. 1


Types: Typecast ligature T86F62, No. 2


Types: Typecast spacing material T86F62, No. 3


Exotic types: Chinese T86F623 C22


Exotic Types: Japanese T86F23 J24


Typecast ornaments T86F627


Typecast ornaments: Crown Zellerbach Collection T86F627 C4


Typecast ornaments: Ted Freedman Collection T86F627 F82


Typecast ornaments: Hart Collection T86F627 H37


Typecase ornaments: MacKellar, Smith and Jordan T86F627 M36


Typecast ornaments: Mackenzie-Harris Collection T86F627 M37


Typecast ornaments: The Merrymount Press Collection T86F627 M38


Typecast ornaments: John Henry Nash Collection T86F627 N27


Typecast ornaments: Frederick Folger Thomas Jr. Collection T86F627 T5


Linotype: Assembled linotype matrices T86L46, No. 1


Linotype: Linotype slugs T86L46, No. 2-3


Linotype: Original machine drawings for linotype model 2 T86L46, No. 4


Ludlow type casting: Ludlow slug T86L84, No. 1


Ludlow type casting: Engraved matrix T86L84, No. 2-3


Monotype: Display folder T86M66, No. 1


Monotype: Punch-cutting display T86M66, No. 2


Monotype: Composed line: University of California Old Style T86M66, No. 3


Monotype: Specimen alphabet: Univesity of California Old Style T86M66, No. 4


Monotype: Matrices, various styles and sizes, for text composition T86M66, No. 5


Monotype: Display types, various styles and sizes, for hand composition T86M66, No. 6


Monotype: Electro-matrices, San Serif Bold, for display composition T86M66, No. 7


Monotype: Engraved matrices, 72 pt. for display composition T86M66, No. 8


Monotype: Engraved matrices, 14 pt., for display composition T86M66, No. 9


Monotype: Rectangular matrix, 12pt. for text composition T86M66, No. 10


Monotype: Bembo matrices, 12 pt. for text composition T86M66, No. 11


Monotype, Computer-activated T86M667


Stereotype: Plates for book: Wolter, Robert. A Short and Truthful History...San Francisco, A. L. Bancroft, 1882 T86S84, No. 1-2


Stereotype: Published copy of book cited above T86S84, No. 3


Stereotype: Sample proofs for book cited above T86S84, No. 4


Stereotype: Matrix: China Times T86S84, No. 5


Stereotype: Stereotype Mounts T86S84, No. 6


Stereotypes: Matrices for newspaper from pages T86S84, No. 7-8


Electrotypes: United Nations Emblem T86S85, No. 1


Electrotypes: Electrotype made from handset type T86S85, No. 2


Flexographic printing: rubber stereotype T86S86, No. 1


Phototypsetting T91


Photographic negative T91, No. 1


Fotosetter matrix T91, No. 2


Second generation: linofilm: VIP T92


Font grid: Eurostyle Bold Extended typeface T92, No. 1


Font grid: Plantin typeface T92, No. 2


Music Engraving V2


Internal Classification System

Scope and Content Note

The music engraving collection belonged to one of the last music engravers in the United States, Richard B. Pettit, who practiced his trade in Ojai, California, until his death in 1981. Glossy photographs in the collection show him at work in his studio, various tools in hand. There is also a plate engraved by him, with proof (white on green), and a final, printed page (black on white).
In the early years of printing, music was often reproduced by means of woodblocks. Some printers used movable type, but setting music type is a process so complex that is was largely replaced during the 17th century by engraved plates. In the 18th century the introduction of punches reduced the amount of engraving; nevertheless, the combined process of punching and engraving was still called music engraving. It remained the chief means of reproducing music until the development of the music typewriter in the 20th century.
The music engraver begins by cutting staff lines into a plate with a staff-scorer; then he measures off proper spacing for the composition he is copying; next he taps note-heads, sharps, flats, clefs, and other signs into the plate with a hammer and punches; he cuts stem, ties, and slurs with gravers of different kinds; he adds lyrics, titles, tempo markings, etc., with punches that contain letterforms. He always works form right to left, exactly the opposite was the finished, printed music will read. A skilled engraver may take as many as three hours to produce one plate, or one page, of music.
Most of the punches in the collection were handmade of soft steel during the 19th century, a few during the 20th, in German, the center of the craft. Tool designations in the inventory of the collection are those of Oscar Herbert, the engraver’s mentor, friend, and co-worker for twenty-five years, who visited The Bancroft Library in 1981 to demonstrate the use of the equipment. The entire collection is the gift of Pettit’s daughters, Lisa Pettit and Elsie Pettit Wojnar of Champaign, Illinois.

Cutting tools V22


Staff scorers V22C32, No. 1-6


Staff scoring machine V22C33


Machine heads V22C334, No. 3-7 (No. 1-2 not received)


Gravers V22G24, No. 1-17


Graver stand V22G241


Hooks V22H25, No. 1-6


Auxilliary tools V22T26, No. 1-19


Punches V23


Braces V23B32, No. 1-17


Circles V23C24, No. 1-20


Dynamic marks V23C25, No. 2.1-5.9


Dynamic signs V23D26, No. 1-11


Shaped notes V23N34, No. 5bl-5w7


Note stems and dots V23N35, No. 1-22


Numerals V23N66, No. 10.1-20.9


Symbols: No. 3 size, long font V23S33, No. 1-73


Symbols: No. 1 size, partial font V23S34, No. 1-20


Symbols: various partial fonts V23S38, No. 4.1-14.1


Slurs V23T26, No. 1-21


Logotypes V23W35, No. 10.1-17.4


Micellaneous V23Z44, No. 1-12


Punches: alphabets V24


Small octavo No. 7 V24A7, No. 1-73


Small italic No. 8 V24A8, No. 1-73


Medium italic No. 10 V24A10, No. 1-73


Text No. 11 V24A11, No. 1-73


Medium title No. 18 V24A18, No. 1-73


Large title No. 28 V24A28, No. 1-73


Additional equipment V26


Proofing Roller V26, No. 1


Supplies V27


Ink V27P24, No. 1-3


Metal plates V27P26


Plates and proofs (samples of work) V28


Plate for page of organ music V28, No. 1


Proof: white on green V28, No. 2


Printed page: black on white V28, No. 3


Illustrative photographs: Rich B. Pettit at work in his studio (Explanatory notes and biographical sketch laid in) V29


Using roller, BART V26 No. 1, to make a relief proof V29, No. 1


Portrait of Richard Pettit V29, No. 3


Using roller, BART V26 No. 1, to make relief proof V29, No. 4


Punching into a plate V29, No. 5


Using roller, BART V26 No. 1, to make a relief proof V29, No. 6


Portrait of Richard Pettit V29, No. 8


Portrait of Richard Pettit V29, No. 9


Richard Pettit at work, surrounced by punches, BART V23 B32, gravers, BART V22G24, BART V22 G241, hooks, BART V22 M25, and scorers BART V22 C32 V29, No. 11


Final intaglio proof and plate V29, No. 12


Richard Pettit punching an accent mark into a plate V29, No. 13


Richard Pettit using a tie-graver fron assortment BART V22 G24 and BART V22 G241 V29, No. 14


Close-up of Richard Pettit using a tie graver, BART V22 G24 V29, No. 15


Richard Pettit at his rolling press (not given to Bancroft) V29, No. 16


Gravers, BART V22 G24, hoooks, BART V22 M25, and scorers BART V22 C32, in rack BART V22 G241 V29, No. 17


Richard Pettit adding a tie from relief proof V29, No. 18


Richard Pettit pulling a relief proof from plate V29, No. 19


Richard Pettit surrounded by punches, BART V23, at his lithographic-stone work bench V29, No. 20


Richard Peti using staff scoring machine, V22 C334 V29, No. 21


Map Printing V3


Internal Classification System

Scope and Content Note

From the mid-19th century until well into the 20th, the leading map-making firms in the U.S. used a wax-engraving process sometimes called cerography. It consisted essentially in drawing or transferring an image on a plate covered with a wax composition in which letters and numerals could be engraved or stamped

[Miscellaneous Map Printing Tools] V3


Type-stamping stick V3, No. 1


Map-printing kit V3, No. 2


Specialty Printing W2


Internal Classification System

Scope and Content Note

Aside from the four-color process on tin (examples show color scales and register marks), the bulk of the collection consists of printing from the Panama-Pacific International Exposition: celluloid buttons and ribbons printed or foil stamped, bronzed ribbons and paper, metal pins, fobs, and lapel buttons. Usually these honored special visitors on special dasys, e.g. “Denmarks Dag” or “Siam P.P.I.E.,” although some were for winners in livestock and other competitions.

Tin: four-color process printing W2S31


"MJB Coffee Regular:" four-color process printing W23S31, No. 1


"MJB Coffee Automatic Drip:" four color process printing W2S31, No. 2


"MJB Premium Flake Ground Coffee:" four-color process printing W2S31, No. 3


Celluloid buttons (Panama Pacific International Exposition, 1915) W2S32


"Panama-Pacific International Exposition, San Francisco, California 1915 W2S32, No. 1


Matching cuff link W2S32, No. 2


Matching cuff link W2S32, No. 3


"Edison Day Oct. 21" W2S32, No. 4


"Memorial Duilding, G. Washington," verso "This button means a brick for the George Washing Memorial Hall" W2S32, No. 5


"Apple annual Pajaro Valley 1910, Oct. 10-15, Walsonville, Cal." W2S32, No. 6


"Panama-California Exposition San Diego 1915" W2S32, No. 7


"Spokane Day, P.P.I.E. May 25, 1915 W2S32, No. 8


Italian emblem W2S32, No. 9


"Danmarks Dag P.P.I.E., 5 Juni 1915" W2S32, No. 10


"Gem of the Mountains" W2S32, No. 11


"The Netherlands Building of P.P.I.E. 1915" W2S32, No. 12


"Ua Mau Ke Ea O Ka Aina I Ka Pono Aloha" W2S32, No. 13


"Los Angeles County Day Panama-Pacific Internation Exposition April 15, 1915" W2S32, No. 14


"Judge" W2S32, No. 15


"San Francisco '1915' Modesto Butter 'All-the-time'" W2S32, No. 16


"Mississippi Day P.P.I.E. Sept 4, 1915" W2S32, No. 17


"P.P.I.E. 'See America First' Great Northern Railway Glacier National Park 1915" W2S32, No. 18


"Pacific Gas and Electric Company Pacific Courteous Continuous Service W2S32, No. 19


"Panama-Pacific International Exposition, Admit One, Opening Day, Feb. 20, 1915, Charles C. Moore, President" W2S32, No. 20


"How'dy Pap, San Francisco, Cal., Loyal Order of the Moose, Moose Day P.P.I.E. July 25, 1915" W2S32, No. 21


"Denmark Building" W2S32, No. 22


4th July Official Committee 1915" W2S32, No. 23


"Official Souvenir" W2S32, No. 24


"Panama-Pacific International Exposition, San Francisco, California, 1915" W2S32, No. 25


"Panama-Pacific International Exposition, San Francisco, California, 1915" W2S32, No. 26


"Philadelphia 1776 San Francisco 1915" W2S32, No. 27


"Oro y plata" W2S32, No. 28


"P.P.I.E., April 5, 1915, Siskiyou, The Head of California" W2S32, No. 29


Cloth ribbons (Panama Pacific International Exposition, 1915) W2S34


"Notice" [to miners] W2S34, No. 1


"Butte County, March 31, 1915" W2S34, No. 2


"Calaveras County, P.P.I.E. 1915" W2S34, No. 3


"California Orange Day Citrus Protective League, March 20, 1915" W2S34, No. 4


"California Ripe Olive Day Committee Butte County Division March 31, 1915" W2S34, No. 5


Southern Pacific, San Francisco, March 10, 1915, Panama-Pacific Internation Exposition" W2S34, No. 6


"Glenn County, Why?, Irrigation, P.P.I.E., March 30, 1915" W2S34, No. 7


"Idaho" W2S34, No. 8


"Santa Cruz County Day, P.P.I.E., San Francisco, March 2, 1915" W2S34, No. 9


"Dedication Day, April 3, 1915, Press Club of San Francisco, P.P.I.E. 1915" W2S34, No. 10


"The Living Flag of the Grand Army of the Republic for the 1915 International Exposition of San Francisco" W2S34, No. 11


"Massachusetts July 19, 1915 P.P.I.E." W2S34, No. 12


"Meet Us Here Again October First Modoc County April 7, 15" W2S34, No. 13


"Missouri Day Panama-Pacific International Exposition May 3, 1915" W2S34, No. 14


"1915 American Press Humorists 13th Annual Convention P.P.I.E. San Francisco" W2S34, No. 15


"Offficial Badge Modoc County Day P.P.I.E. April 7" W2S34, No. 16


"New England Association, Massachusets, San Francisco" W2S34, No. 17


Women's Pacific Coast Good Roads Association Convention, P.P.I.E. May 6-7-8 1915" W2S34, No. 18


"Non-smokers' Protective League of America San Francisco, Cal. 1915" W2S34, No. 19


"Vanderbilt Grand Prix" W2S34, No. 20


"Panama-Pacific International Exposition, Monterey County" W2S34, No. 21


"Placer The Gateway County Reception Committee" W2S34, No. 22


Panama-Pacific International Exposition Reception Committee, Insurance Day, April 18th, 1914" W2S34, No. 23


"San Francisco Day, San Francisco Commerical Club, Tuesday, April 18th, 1916" W2S34, No. 24


"S.F. Real Estate Board Day P.P.I.E., March 27, 1915" W2S34, No. 25


"San Francisco Retail Bakers Association P.P.I.E. June 9th 1915" W2S34, No. 26


"China Day P.P.I.E. Sept. 23 1915" W2S34, No. 27


"Sonoma County Day 1915" W2S34, No. 28


"P.P.I.E. 1915 'Year Before Opening' Celebration Committee 1914" W2S34, No. 29


"Panama-Pacific Internation Exposition, Transportation Club of San Francisco" W2S34, No. 30


"Panama-Pacific International Exposition, Southern California Editorial Asssociation, December 4-5-6 1913" W2S34, No. 31


"Panama-Pacific International Exposition, Yolo County, California" W2S34, No. 32


"Dedication, Tuolumne County, April 14, 1915 P.P.I.E. San Francisco, Cal. W2S34, No. 33


"Contra Cost County Day April 3, 1915, Agricultural and Industrial Center P.P.I.E." W2S34, No. 34


"Vallejo" W2S34, No. 35


"Wells Fargo Day June 15th, 1915 Wells Fargo & Co. Express Panama Pacific International Exposition" W2S34, No. 36


"United Artisans 1915 Convention Panama-Pacific Fair" W2S34, No. 37


"Dedication Indiana Building P.P.I.E. Hon. Chas. Fairbanks Presiding, March 8, 1915" W2S34, No. 38


"Flying Legion San Francisco 1915" W2S34, No. 39


"Dedication Day Republic of Guatemala March 15 1915" W2S34, No. 40


"Amador" W2S34, No. 41


Foil stamping on cloth ribbon (Panama Pacific International Exposition, 1915) W2S351


"The Business Men's League of St. Louis" W28351, No. 1


"Nevada Day July 7 B.P.O.E. Nevada T.P.A." W28351, No. 2


"Chicago Day July 27th" W28351, No. 3


"From Phila., Pa. to San Francisco, Cal. 1915" W28351, No. 4


"Guest Sixth Annual Convention I.A.R.C. July 1915" W28351, No. 5


"Guest" W28351, No. 6


"Grand Council of California U.C.T." W28351, No. 7


"New Jersey Commission P.P.I.E. 1915" W28351, No. 8


"Portola Day Oct. 23, 1915" W28351, No. 9


"San Francisco, The Pacific Telephone and Telegraph Co., New York, January 25, 1915" W28351, No. 10


"Ireland's Day at P.P.I.E., March 17, 1915, San Francisco" W28351, No. 11


"Solano County 1915" W28351, No. 12


"Panama-Pacific International Exposition San Francisco 1915...Dorset Fat Pen" W28351, No. 13


"Duroc-Jersey Boar Eighteen and under Twenty Four Months" W28351, No. 14


"Hampshire Fat Wether Champion, Any Age" W28351, No. 15


"Morgan Stallion Reserve Grand Champion, Any Age" W28351, No. 16


"Morgan Stallion Senior Champion Three Years Old and over" W28351, No. 17


"Oxford Fat Pen" W28351, No. 18


"Poland-China Herd Boar and Three Sows over One Year" W28351, No. 19


"Southdown Ram One Year and under Two" W28351, No. 20


"Standard Trotter Filly Foal" W28351, No. 21


"Standard Trotter Filly Foal" W28351, No. 22


"Large Yorkshire Get of Sire Four Animals" W28351, No. 23


"Large Yorkshire Get of Sire Four Animals" W28351, No. 24


"International Grand Prix Race, President Exposition, February 27, 10 A.M. 1915" W28351, No. 25


"Floor P.P.I.E. 1915" W28351, No. 26


"Vanderbilt Cup Race, President Exposition, February 22, 10 A.M. 1915" W28351, No. 27


Bronzing on cloth (Panama-Pacific International Exposition, 1915) W2S352


"Examiner Day Committee" W2S352, No. 1


"Committee Ireland's Day P.P.I.E. March 17, 1915" W2S352, No. 2


"New Yorkers" W2S352, No. 3


"1915 Panama Pacific Internation Exposition Indiana Building Site Dedicated Oct. 23, 1912 San Francisco" W2S352, No. 4


"San Joaquin County" W2S352, No. 5


"Tracy" W2S352, No. 6


Bronzing on paper (Panama Pacific International Exposition, 1915) W2S353


"Pioneer and Old Settler's Day 'The Days of Old, the Days of Gold, the Days of '49' Oct. 16, 1915 Panama Pacific Exposition" W2S353, No. 1


"Pioneer and Old Settler's Day 'The Days of Old, the Days of Gold, the Days of '49' Oct. 16, 1915 Panama Pacific Exposition" (Same as No. 1) W2S353, No. 2


Metal pins, watch fobs, lapel buttons, reated objects (Panama Pacific International Exposition, 1915) and other items W2S36


Metal enamel pin:"Siam P.P.I.E." W2S36, No. 1


Metal enamel pin: "Idaho Panama-Pacific International Exposition San Francisco 1915" W2S36, No. 2


Medal: "Panama-Pacific International Exposition Commission" W2S36, No. 3


Medal "Maryland at Panama Pacific International Exposition 1915" W2S36, No. 4


Medal: "West Virginia" W2S36, No. 5


Medal: "Deutsch Amerikanisher Nat'l Bund August 2-8-1915" W2S36, No. 6


Pendant in shape of Liberty Bell: "Philadelphia 1915 San Francisco" W2S36, No. 7


Watch fob: "California State Legislator's Day H.I.J.M's Commission P.P.I.E. March 20 1915" W2S36, No. 8


Watch fob: "Panama Pacific International Exposition San Francisco 1915" W2S36, No. 9


"IX Universala Kongreso de Esperanto 1915" W2S36, No. 10


Medal: "International Gas Congress San Francisco 1915" W2S36, No. 11


Medal: "Panama-Pacific Internation Exposition San Francisco 1915" W2S36, No. 12


Metal pin, shape of Liberty Bell W2S36, No. 13


Lapel button: "GAA P.P.I.E." W2S36, No. 14


Lapel button: "Panama-Pacific Internation Exposition 'You Helped' May 10, 1915" W2S36, No. 15


Lapel button: "Exposition Builders Panama-Pacific International Exposition" W2S36, No. 16


Lapel button: "Panama-Pacific International Exposition Presented April 10 1915 in recognition of services" W2S36, No. 17


Lapel button: "Panama-Pacific International Exposition Presented to the Crew of the U.S.N. Auxillary Jason for bringing foreign exhibits to the Exposition 1915" W2S36, No. 18


Sterling silver miniature of spade used by William Howard Taft, President of the United States, at Ground-Breaking, Panama-Pacific International Exposition, October 14, 1911 W2S36, No. 19


Display relating to the Congressional resolution authorizing the President to invite foreign countries to participate in the Panama-Pacific International Exposition, San Francisco, 1915 W2S36, No. 20


Pop-up mailing card: Victor Exhibition Palace of Liberal Arts, Panama-Pacific International Exposition, San Francisco, 1915 W2S36, No. 21


Pop-up mailing car: Victor Exhibition Palace of Liberal Arts, Panama-Pacific International Exposition, San Francisco, 1915 W2S36, No. 22


[Brass plate for cylinder press: label] W2S37


Brass plate for cylinder press: fruit box label W2S37, No. 1


[Examples of tinting] W2S38


Examples of tinting encased in plastic W2S38, No. 1-4


Supplementary Collections Z0-Z6


Internal Classification System

Scope and Content Note

Historical Artifacts (Z0)
This collection includes miscellaneous historical artifacts, including a stencil set and plate with brush, gift of Sarah Randall Clifford.
Beulah Mitchell Clute Collection (Z1)
Original art and printed examples of the work of Beulah Mitchell Clute, artist-printer active in Berkeley form 1915 to the mid-1950s, are in the Bancroft Pictorial Collection. Linocut blocks and zinc photoengravings in line for her broadsides, note cards, Christmas cards, and table linens have been placed in the BART Collection. All are the gift of Mrs. Herbert Blasdale.
Seals (Wax Impressions) (Z2)
These wax impressions, chiefly of English royal seals, are of varying degrees of clarity. The earliest seal is that of William the Conqueror, the most recent, that of Elizabeth I.
Seals (Z3)
Some dies are badly worn; many readings are conjectural.
Book Arts Medals (Z4)
Medals collected by John Henry Nash commemorate persons, places, or events prominent in the history of book arts. More than thirty honor Gutenberg, either also or with Fust, Schöffer, or Seneferlder; Benjamin Franklin is generously represented; Coster, Dürer, the Didots, Daniel Eaton (“Three Times Accused of Sedition”), James Lackington (“Cheapest Booksellers in the World”), Pfister, the cities of Haarlem, Nuremberg, Ratisbon, and various book-related organizations figure in others. In addition there are several handsome Bodoni medals, the gift of Gleb A. Popoff.
Printing the Guide (Z5)
This section preserves, as a record of technological development, computer, and camera-ready copy from the 1985 printing of the first edition of The Guide to the Book Artifacts Collection. Included also are photographs taken for the Guide by Harry Summerfield.
Commemorative Postage Stamps (Z6)
Postage stamps and first-day covers relating to printing are from the estate of Roger Levenson.

Historical artifacts Z0


Stencil set, 189? Z0, No. 1


Beulah Mitchell Clute Collection Z1


Prints, Proofs, Drawings Z1I55, No. 1-44


Linocut blocks Z1L48, No. 1-143


Zinc photoengravings in line Z1Z4, No. 1-106


Seals (wax impressions) Z2


Elizabeth I, 1586-1603 Z2, No. 200


Henry VIII, 1532-1541 Z2, No. 201


Mary I, 1554-1556 Z2, No. 202


Henry IV, 1411 Z2, No. 203


Edward IV, 1470? Z2, No. 204


Richard II, 1377-1399 Z2, No. 205


Henry VIII, 1532-1547 Z2, No. 206


Great Britain, Great Seal, 1651 Z2, No. 207


Anne of Brittany, 1499 Z2, No. 208


Henry VIII, 1542-1547 Z2, No. 209


Edward V, 1483 Z2, No. 210


Edward IV, 1469-1483? Z2, No. 211


Edward III, 1340-1372 Z2, No. 212


Elizabeth I, 1586-1603 Z2, No. 213


Edward I, 1272-1307? Z2, No. 214


Edward III, 1340-1372 Z2, No. 215


WIlliam I, 1066-1087 Z2, No. 216


Coventry Z2, No. 217


Robert de Ferrer, 8th Earl of Derby, ca. 1265 Z2, No. 218


Not received Z2, No. 219


Duchy of Cornwall Custom House, ca. 1400-1413 Z2, No. 220


Seals Z3

Scope and Content Note

From Alan Nelson, Department of English, UCB - "The follwing are my readings, ranging from fairly certain to ignorant and highly conjectural, of seals in The Bancroft Librar. The letters which are underlined are particularly uncertain and conjectural. Further help needed!!" (Cannot underline in Webgen DB so refer to image from register)

Additional Note

Not on shelf







Can't read Z3B3255 (7)




Can't read (POSITIVE SEAL) Z3B3427 (7)








Books arts medals Z4


Bodoni, Giovanni Battista, 1740-1813 Z4B61, No. 1-6


Book Club of California Z4B64, No. 1


Colt, Samuel, 1814-1862 Z4C52, No. 1


Coster, Laurens, 1370-1440 Z4C56, No. 1


Borsenverein der Deutschen Buchhandler, 1836 Z4D36, No. 1-2


Didot, Pierre, 1761-1853 Z4D52, No. 1-2


Didot, Firmin, 1764-1836 Z4D53, No. 1-3


Dürer, Albecht, 1471-1528 Z4D86, No. 1-2


Eaton, Daniel Isaac, d. 1814 Z4E17, No. 1


Francis Joseph I, 1830-1896 (Antonelli Press) Z4F63, No. 1-2


Franklin, Benjamin, 1706-1790 Z4F64, No. 1-6


Franklin, Benjamin, Boston Latin School Medal Z4F64B, No 1-6


Franklin, Benjamin and DeVinne, T.L Z4F64D, No. 1-2


Franklin, Benjamin and Montyon, A.J.P.R.A. Z4F64M, No. 1-2


Franklin, Benjamin, National Export Exposition Z4F64N, No. 1


Franklin, Benjamin and Washington, George Z4F64W, No. 1


Gutenberg, Johann Z4G76, No. 1-47


Gutenberg, Johann and Fust, Johann Z4G76F, No. 1-5


Gutenberg, Johann and Fust, Johann, and Schoffer, Peter Z4G76FS, No. 1


Gutenberg, Johann and Senefelder, Aloysius Z4G76Se, No. 1-2


Haarlam Z4H25, No. 1-5


Hawthorn, Nathaniel 1804-1864 Z4H28, No. 1


Lackington, James 1746-1815 Z4L13, No. 1-2


Longfellow, Henry Wadsworth 1807-1882 Z4L72, No. 1


Bibliopolae et Typographi, Lyons, 1723? Z4L89, No. 1-2


Newton, Alfred Edward 1864-1940 Z4N52, No. 1


Nuremberg, 1740 Z4N76, No. 1


Paris, Impremerie Nationale, 1848 Z4P12, No. 1


Bibliopilae et Typographi, Paris, 1723 Z4P122, No. 1


Cercle de la Librairie de L'Imprimerie et de la Papeterie, Paris 1847 Z4P123, No. 1


Congres des Bibliothecaires et des Bibliophiles, Paris 1923 Z4P127, No. 1


Paterson Parchment Paper Company, 1935 Z4P16, No. 1


Pfister, Albrecht, fl. 1459-1464 and Sensenschmidt, Johann Z4P28S, No. 1-2


Ratisbon Z4R28, No. 1


Materials for printing the 1985 Guide Z5


Typed Copy of the Guide to the BART Collection Z5A3, No. 1


#4 Rider, Robin, Basf Enfora "800-6250 BPI" Tape Z5B5, No. 1


Camera Ready Copy of the Guide to the BART Collection Z5B6, No. 1


Groups of Ornaments Z5C5, No. 1-50


Preliminary Paystub Z5D6, No. 1


Negatives of the Guide's pages Z5E2, No. 1-15


Materials Related to the Printing of the 1985 Guide Z5E8, No. 1-2


Leaves from the 1985 Guide Z5G7, No. 1-6


1st Edition of the 1985 Guide Z5H2, No. 1


Commemorative postage stamps Z6


Collection of 14 Postage Stamps Z6, No. 1-14


The Merrymount Press Artifacts Collection 1986 E13.B23 R44 1986