Filippo Marinetti,  Les Mots en Liberté Futuristes , Edizionii Futuriste di Poesia, Milan, 1919, 25 x 19.3 cm
 P. Fleury, plate from  Nouvel Album de Lettres Peintes , Libraries-Imprimeries Réunies, Paris, 1903, 45 x 31 cm
 Ladislav Sutnar,  Essential Product Information,  Sweets Catalog Service, New York, circa 1955, 
  Rudy VanderLans, an uncut press sheet from  Emigre  magazine
 Paul Renner, example magazine cover included in the first specimen of  Futura , Bauersche Giesserei, Frankfurt, 1927, 15.2 x 19.7 cm
 Will Bradley, detail from  The American Chapbook , American Type Founders Co., Jersey City, November 1904, 7.5 x 12 cm
 Francisco Javier de Santiago y Palomares,  Arte de Escribir , Benito Cano, Madrid, 1789, 39 x 29.3 cm
 Edward Johnston, draft certificate on vellum, Ditchling, circa 1920, 30 x 20.8 cm
 A. M. Cassandre, poster for Foire de Paris, 1956
 P. Fleury, detail of plate from  Nouvel Album de Lettres Peintes , Libraries-Imprimeries Réunies, Paris, 1903, 38 x 25 cm
 Anonymous, cover design of De Gemeenschap, Utrecht, 1930, 18.6 x 25 cm
 Anonymous French Sign Painter’s Alphabet, Paris, nd, 27 x 40 cm
 Aldo Novarese, First specimen of  Estro , Nebiolo, Torino, 1961, 29.7 x 21 cm
 Russian Children’s Book, 1965, 19.6 x 25.6 cm
 John Heartfield,  Febrüar  by Tarassow-Rodionow, Neuer Deutscher Verlag, Berlin, 1930, 13.3 x 19.2 cm
 Carnerio da Silva, detail of plate from  Breve Tratado Theorico das Letras Typograficas , Lisbon, 1803, 19.6 x 15.4 cm
 A Kusche, cover of wood type catalog, Sachs & Co., Mannheim, circa 1900, 20 x 18 cm
 Maximilien Vox,  Les Divertissements Typographiques 3 , Deberny & Peignot, Paris, 1930, 21.3 x 27.6 cm
 Arnold Bank, Invitation to a lecture, The Society of Printers, Boston, 1948, 15.9 x 23.2 cm
 Munakata,  The Way of the Woodcut , Pratt Adlib Press, Brooklyn, 1961, 20.2 x 30.1 cm
 Lester Beall,  Scope  magazine, The Upjohn Company, Kalamazoo, 1948, 23 x 28.8 cm
 José Mendoza y Almeida, first specimen of  Pascal , Amsterdam, 1960, 21.8 x 29.1 cm
 Rudolph Koch,   Das Hildebrandlied , Wilhelm Gerstung, Offenbach, 1926, 16.5 x 19.3 cm
 Karel Teige,  Rinaldino  by Karel Konrád, Odeon, Prague, 1927, 14 x 20 cm
 A flong, or stereotype matrix, used as the cover of PM magazine, New York, 1935, 13.6 x 20 cm
 Walter Huxley, pen and ink sketch for logotype,    New York, circa 1935, 11.5 x 14 cm
 Manuscript book,  Capitola della Compagna di Sto Roccho , 1662, 328 x 223 cm
 P. Fleury, detail of plate from  Nouvel Album de Lettres Peintes , Libraries-Imprimeries Réunies, Paris, 1903, 38 x 25 cm
 Ismar David, detail of plate in  Our Calligraphic Heritage , Geyer Studio, New York, 1979, 20 x 15 cm
 Will Burtin,  Gunner’s Information File , United States Air Forces, 1944, 42 x 28 cm
 Joseph Binder, detail of poster in  Colour in Advertising , Studio, London, 1934, 13.5 x 19.5 cm
 Jan Tschichold,  Schriftschreiben für Setzer , Klimsch, Frankfurt, 1931, 21 x 14.8 cm
 Oldrich Menhart, a 1946 poster in  ABC of Lettering and Printing Types  by Erik Lindegren, Museum Books, New York, 1964
 Thomas Maitland Cleland, autograph letter, Danbury CT, 1955, 21.2 x 27.8 cm
 Ivan Andreyevich Litvishko, detail of plate in  The Lettering Art: Works by Moscow Book Designers  by Evgenia Butorina, Kniga, Moscow, 1977, 19.5 x 29.5 cm
 Dudley Vaill Talcott,  Noravind , Edwin Valentine Mitchell, Hartford, 1929, 19.5 x 25 cm
 Jac Jongert, coffee label for Van Nelle, 1930s, 7 x 25.5 cm
 Hap Grieshaber,  Poesia Typographica , Galerie der Spiegel, Cologne, 1962, 15.4 x 21.5 cm
 Beatrice Warde, autograph letter to Kenneth Hardacre, 1952, 12.6 x 20.4 cm
 Georges Hugnet,  Petite Anthologie Poétique du Surréalisme , Éditions Jeanne Bucher, Paris, 1934, 14.2 x 19.2 cm
 Dörffel, poster stamp for Königl Akademie, Leipzig, 1914, 5.5 x 5.5 cm
 Leo Wyatt, detail of wood engraved plate in  Little Book of Alphabet s, The Florin Press, Biddenden Kent, 1985, 8 x 11 cm
 James Callingham, detail of plate in  Sign Writing & Glass Embossing , Excelsior Publishing, New York, 1884, 15.2 x 8 cm
 Arthur Schraml, detail of plate in  Ziele des Schrift-Unterrichts  by Fritz Helmuth Ehmcke, Diederichs, Jena, 1929, 17 x 12.5 cm
 Louis Oppenheim, first specimen of  Lo-Type , Berthold, Berlin, 1914, 42 x 29.7 cm
 Pierre Simon Fournier,  Modéles des Caracteres de l’Imprimerie , Paris, 1742 (collotype facsimile, Eugrammia Press, London, 1965), 28.5 x 22.2 cm
 Sjoerd Hendrik de Roos, first specimen of  Egmont , Lettergieterij Amsterdam, 1933, 44 x 30 cm
 Gustave Boussenot,  Chiffres & Monogrammes et Suite de Compositions Decoratives de Styles et de Fantaisies , Paris, circa 1880, 31 x 44.5 cm
 Detail of plate, Gustave Boussenot,  Chiffres & Monogrammes et Suite de Compositions Decoratives de Styles et de Fantaisies , Paris, circa 1880, 22 x 30 cm
 Detail of roman hand after Nicolas in:  Penmanship In it’s Utmost Beauty and Extent  by George Bickham, Overton & Hoole, London, 1731, 26 x 6 cm
 Family tree in Kanji manuscript, Korea, circa 1880, 23 x 17 cm
 Emil Ruder,  Typographische Monatsblätter November 1961 , Zollikofer & Co., St. Gallen, 23 x 31 cm
 Paul Rand,  El Producto Cigar Album  (box), circa 1952, 29 x 21.3
 Detail of manuscript leaf in late Carolingian minuscule, unidentified latin devotional text, Northern Italy, circa 1120, 16 x 18 cm
 Joseph Stanyer, manuscript copybook, England, 1858, 36.5 x 31 cm
 Emil Rudolf Weiss,  Der Gefesselte Columbus  by Oskar Kokoschka, Fritz Gurlitt Verlag, Berlin, 1921, 48 x 28.5 cm
 Bradbury Thompson,  Westvaco Inspirations for Printers 204 , West Virginia Pulp & Paper Co., 1956, 23 x 30.5 cm
 Hermann Hoffmann, specimen of  Block  series, Berthold, Berlin, 1921, 22.8 x 29.2 cm
 Giambattista Bodoni,  Pastor Fido  by Giambatista Guarini, Parma, 1793, 21 x29 cm
 Doyald Young, detail of engraved lettering for the Los Angeles Philharmonic in  The Art of the Letter , Smart Papers, Hamilton OH, 2003, 10 x 11 cm
 Henry Dean,  Dean’s Analytical Guide to the Art of Penmanship , Joshua Cushing, Salem MA, 1804, 21 x 27 cm
 Will Weber,  Das Hohe Lied Salomonis , manuscript book, 1923, 34.8 x 25.6 cm
 Jan van den Velde,  Spieghel der Schrijfkonste , Rotterdam, 1605, 32 x 23 cm
 Ben Shahn,  November Twenty Six Nineteen Hundred Sixty Three  by Wendell Berry, George Braziller, New York, 1964, 23.5 x 18.3 cm
 Man Ray,  Facile  by Paul Eluard, Editions GLM, Paris 1935, 18.3 x 24.5
 Eric Gill,  Typography , Sheed & Ward, London, 1931, 13 x 20.2 cm
 Kasimir Malevich,  Pervyi tsikl lektsii  by Nikolai Punin, Narkompros Department of Performing Arts, St. Petersburg, 1920, 14.2 x 21.5 cm
 Victor Hammer,  Three Fragments  by Conrad Fiedler, Stamperia del Santuccio, Lexington KY, 1951, 29 x 21 cm
 Henry Caslon,  Specimen of Printing Types , London, 1844, 24.3 x 15 cm
 Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 8.5 x 6.4 cm
 Anthon Beeke,  Alphabet , Kwadraat-Blad, de Jong, Hilversum, 1970, 25 x 25 cm
 Hendrik Nicolaas Werkman,  Priere pour nous autres charnels  by Charles Peguy, De Blauwe Schuit, Heereveen, 1941, 15 x 20 cm
 Cassandre, Nicolas wine catalog, Paris, 1936, 19 x 24 cm
 Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 7.8 x 10 cm
 Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 9 x 6.4 cm
 Pierre Didot,  Publius Virgilius Maro , Paris, 1798, 20 x 16 cm
 Rudo Spemann,  Sermon an die Mädchen  by Matthias Claudius, Wilhelm Langewiesche, Ebenhausen, 1936, 26 x 21.5 cm
 Paul Renner, example handbill included in the first specimen of  Futura , Bauersche Giesserei, Frankfurt, 1927, 11.8 x 9.5 cm
 Piet Zwart, calendar blotter for Bruynzeel’s Deurenfabriek, Zaandam, 1938, 9.5 x 21.8 cm
 Eric Gill,  Keepsake on the occasion of introducing Beatrice Warde to friends of Print , signed by Warde, Bethany CT, 1942, 16.5 x 24.3 cm
 Cassandre, first American specimen of  Bifur , Deberny & Peignot, Paris, 1929, 17.4 x 26.4 cm
 Walter Huxley, sketch for logotype, New York, circa 1935, 22 x 28.5 cm
 Wes Wilson, Fillmore Auditorium handbill, Bill Graham, San Francisco, August 26-27, 1966, 12.5 x 21.6 cm
 Jack Stauffacher, wood type print, San Francisco, no date, 25.4 x 35.5 cm
 Rudolf Koch,  Das Gesicht des Jesaia , blockbook, Rudolfinischer Druck, Offenbach, 1919, 31 x 22.2 cm
 Giovanni Antonio Tagliente,  Lo presente libro insegna la vera arte de lo excellēte scriuere da diuerse varie sorti de litere , Venice, a late 16th century but unknown edition (lacks title page), 13.7 x 18.5 cm
 Oswald Cooper,  A Calendar for 1930 , Bertsch & Cooper, Chicago, 16.5 x 21.5 cm
 Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 11.6 x 8.1 cm

Filippo Marinetti, Les Mots en Liberté Futuristes, Edizionii Futuriste di Poesia, Milan, 1919, 25 x 19.3 cm

P. Fleury, plate from Nouvel Album de Lettres Peintes, Libraries-Imprimeries Réunies, Paris, 1903, 45 x 31 cm

Ladislav Sutnar, Essential Product Information, Sweets Catalog Service, New York, circa 1955, 

Rudy VanderLans, an uncut press sheet from Emigre magazine

Paul Renner, example magazine cover included in the first specimen of Futura, Bauersche Giesserei, Frankfurt, 1927, 15.2 x 19.7 cm

Will Bradley, detail from The American Chapbook, American Type Founders Co., Jersey City, November 1904, 7.5 x 12 cm

Francisco Javier de Santiago y Palomares, Arte de Escribir, Benito Cano, Madrid, 1789, 39 x 29.3 cm

Edward Johnston, draft certificate on vellum, Ditchling, circa 1920, 30 x 20.8 cm

A. M. Cassandre, poster for Foire de Paris, 1956

P. Fleury, detail of plate from Nouvel Album de Lettres Peintes, Libraries-Imprimeries Réunies, Paris, 1903, 38 x 25 cm

Anonymous, cover design of De Gemeenschap, Utrecht, 1930, 18.6 x 25 cm

Anonymous French Sign Painter’s Alphabet, Paris, nd, 27 x 40 cm

Aldo Novarese, First specimen of Estro, Nebiolo, Torino, 1961, 29.7 x 21 cm

Russian Children’s Book, 1965, 19.6 x 25.6 cm

John Heartfield, Febrüar by Tarassow-Rodionow, Neuer Deutscher Verlag, Berlin, 1930, 13.3 x 19.2 cm

Carnerio da Silva, detail of plate from Breve Tratado Theorico das Letras Typograficas, Lisbon, 1803, 19.6 x 15.4 cm

A Kusche, cover of wood type catalog, Sachs & Co., Mannheim, circa 1900, 20 x 18 cm

Maximilien Vox, Les Divertissements Typographiques 3, Deberny & Peignot, Paris, 1930, 21.3 x 27.6 cm

Arnold Bank, Invitation to a lecture, The Society of Printers, Boston, 1948, 15.9 x 23.2 cm

Munakata, The Way of the Woodcut, Pratt Adlib Press, Brooklyn, 1961, 20.2 x 30.1 cm

Lester Beall, Scope magazine, The Upjohn Company, Kalamazoo, 1948, 23 x 28.8 cm

José Mendoza y Almeida, first specimen of Pascal, Amsterdam, 1960, 21.8 x 29.1 cm

Rudolph Koch,  Das Hildebrandlied, Wilhelm Gerstung, Offenbach, 1926, 16.5 x 19.3 cm

Karel Teige, Rinaldino by Karel Konrád, Odeon, Prague, 1927, 14 x 20 cm

A flong, or stereotype matrix, used as the cover of PM magazine, New York, 1935, 13.6 x 20 cm

Walter Huxley, pen and ink sketch for logotype,  New York, circa 1935, 11.5 x 14 cm

Manuscript book, Capitola della Compagna di Sto Roccho, 1662, 328 x 223 cm

P. Fleury, detail of plate from Nouvel Album de Lettres Peintes, Libraries-Imprimeries Réunies, Paris, 1903, 38 x 25 cm

Ismar David, detail of plate in Our Calligraphic Heritage, Geyer Studio, New York, 1979, 20 x 15 cm

Will Burtin, Gunner’s Information File, United States Air Forces, 1944, 42 x 28 cm

Joseph Binder, detail of poster in Colour in Advertising, Studio, London, 1934, 13.5 x 19.5 cm

Jan Tschichold, Schriftschreiben für Setzer, Klimsch, Frankfurt, 1931, 21 x 14.8 cm

Oldrich Menhart, a 1946 poster in ABC of Lettering and Printing Types by Erik Lindegren, Museum Books, New York, 1964

Thomas Maitland Cleland, autograph letter, Danbury CT, 1955, 21.2 x 27.8 cm

Ivan Andreyevich Litvishko, detail of plate in The Lettering Art: Works by Moscow Book Designers by Evgenia Butorina, Kniga, Moscow, 1977, 19.5 x 29.5 cm

Dudley Vaill Talcott, Noravind, Edwin Valentine Mitchell, Hartford, 1929, 19.5 x 25 cm

Jac Jongert, coffee label for Van Nelle, 1930s, 7 x 25.5 cm

Hap Grieshaber, Poesia Typographica, Galerie der Spiegel, Cologne, 1962, 15.4 x 21.5 cm

Beatrice Warde, autograph letter to Kenneth Hardacre, 1952, 12.6 x 20.4 cm

Georges Hugnet, Petite Anthologie Poétique du Surréalisme, Éditions Jeanne Bucher, Paris, 1934, 14.2 x 19.2 cm

Dörffel, poster stamp for Königl Akademie, Leipzig, 1914, 5.5 x 5.5 cm

Leo Wyatt, detail of wood engraved plate in Little Book of Alphabets, The Florin Press, Biddenden Kent, 1985, 8 x 11 cm

James Callingham, detail of plate in Sign Writing & Glass Embossing, Excelsior Publishing, New York, 1884, 15.2 x 8 cm

Arthur Schraml, detail of plate in Ziele des Schrift-Unterrichts by Fritz Helmuth Ehmcke, Diederichs, Jena, 1929, 17 x 12.5 cm

Louis Oppenheim, first specimen of Lo-Type, Berthold, Berlin, 1914, 42 x 29.7 cm

Pierre Simon Fournier, Modéles des Caracteres de l’Imprimerie, Paris, 1742 (collotype facsimile, Eugrammia Press, London, 1965), 28.5 x 22.2 cm

Sjoerd Hendrik de Roos, first specimen of Egmont, Lettergieterij Amsterdam, 1933, 44 x 30 cm

Gustave Boussenot, Chiffres & Monogrammes et Suite de Compositions Decoratives de Styles et de Fantaisies, Paris, circa 1880, 31 x 44.5 cm

Detail of plate, Gustave Boussenot, Chiffres & Monogrammes et Suite de Compositions Decoratives de Styles et de Fantaisies, Paris, circa 1880, 22 x 30 cm

Detail of roman hand after Nicolas in: Penmanship In it’s Utmost Beauty and Extent by George Bickham, Overton & Hoole, London, 1731, 26 x 6 cm

Family tree in Kanji manuscript, Korea, circa 1880, 23 x 17 cm

Emil Ruder, Typographische Monatsblätter November 1961, Zollikofer & Co., St. Gallen, 23 x 31 cm

Paul Rand, El Producto Cigar Album (box), circa 1952, 29 x 21.3

Detail of manuscript leaf in late Carolingian minuscule, unidentified latin devotional text, Northern Italy, circa 1120, 16 x 18 cm

Joseph Stanyer, manuscript copybook, England, 1858, 36.5 x 31 cm

Emil Rudolf Weiss, Der Gefesselte Columbus by Oskar Kokoschka, Fritz Gurlitt Verlag, Berlin, 1921, 48 x 28.5 cm

Bradbury Thompson, Westvaco Inspirations for Printers 204, West Virginia Pulp & Paper Co., 1956, 23 x 30.5 cm

Hermann Hoffmann, specimen of Block series, Berthold, Berlin, 1921, 22.8 x 29.2 cm

Giambattista Bodoni, Pastor Fido by Giambatista Guarini, Parma, 1793, 21 x29 cm

Doyald Young, detail of engraved lettering for the Los Angeles Philharmonic in The Art of the Letter, Smart Papers, Hamilton OH, 2003, 10 x 11 cm

Henry Dean, Dean’s Analytical Guide to the Art of Penmanship, Joshua Cushing, Salem MA, 1804, 21 x 27 cm

Will Weber, Das Hohe Lied Salomonis, manuscript book, 1923, 34.8 x 25.6 cm

Jan van den Velde, Spieghel der Schrijfkonste, Rotterdam, 1605, 32 x 23 cm

Ben Shahn, November Twenty Six Nineteen Hundred Sixty Three by Wendell Berry, George Braziller, New York, 1964, 23.5 x 18.3 cm

Man Ray, Facile by Paul Eluard, Editions GLM, Paris 1935, 18.3 x 24.5

Eric Gill, Typography, Sheed & Ward, London, 1931, 13 x 20.2 cm

Kasimir Malevich, Pervyi tsikl lektsii by Nikolai Punin, Narkompros Department of Performing Arts, St. Petersburg, 1920, 14.2 x 21.5 cm

Victor Hammer, Three Fragments by Conrad Fiedler, Stamperia del Santuccio, Lexington KY, 1951, 29 x 21 cm

Henry Caslon, Specimen of Printing Types, London, 1844, 24.3 x 15 cm

Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 8.5 x 6.4 cm

Anthon Beeke, Alphabet, Kwadraat-Blad, de Jong, Hilversum, 1970, 25 x 25 cm

Hendrik Nicolaas Werkman, Priere pour nous autres charnels by Charles Peguy, De Blauwe Schuit, Heereveen, 1941, 15 x 20 cm

Cassandre, Nicolas wine catalog, Paris, 1936, 19 x 24 cm

Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 7.8 x 10 cm

Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 9 x 6.4 cm

Pierre Didot, Publius Virgilius Maro, Paris, 1798, 20 x 16 cm

Rudo Spemann, Sermon an die Mädchen by Matthias Claudius, Wilhelm Langewiesche, Ebenhausen, 1936, 26 x 21.5 cm

Paul Renner, example handbill included in the first specimen of Futura, Bauersche Giesserei, Frankfurt, 1927, 11.8 x 9.5 cm

Piet Zwart, calendar blotter for Bruynzeel’s Deurenfabriek, Zaandam, 1938, 9.5 x 21.8 cm

Eric Gill, Keepsake on the occasion of introducing Beatrice Warde to friends of Print, signed by Warde, Bethany CT, 1942, 16.5 x 24.3 cm

Cassandre, first American specimen of Bifur, Deberny & Peignot, Paris, 1929, 17.4 x 26.4 cm

Walter Huxley, sketch for logotype, New York, circa 1935, 22 x 28.5 cm

Wes Wilson, Fillmore Auditorium handbill, Bill Graham, San Francisco, August 26-27, 1966, 12.5 x 21.6 cm

Jack Stauffacher, wood type print, San Francisco, no date, 25.4 x 35.5 cm

Rudolf Koch, Das Gesicht des Jesaia, blockbook, Rudolfinischer Druck, Offenbach, 1919, 31 x 22.2 cm

Giovanni Antonio Tagliente, Lo presente libro insegna la vera arte de lo excellēte scriuere da diuerse varie sorti de litere, Venice, a late 16th century but unknown edition (lacks title page), 13.7 x 18.5 cm

Oswald Cooper, A Calendar for 1930, Bertsch & Cooper, Chicago, 16.5 x 21.5 cm

Hand painted label sketch, Lehmann Printing, San Francisco, circa 1930, 11.6 x 8.1 cm