Printingprinting History history news 40 News 1 The Newsletter of the National Printing Heritage Trust,

Printing Historical Society and Friends of St Bride Library Number 40  Autumn 2013

NEW BOOKS were to follow. The author worked in and eclipsed by the reputation of his the industry while researching the book. sometime wife Beatrice, Monotype’s CHROMOLITHOGRAPHY His thesis has been consulted many charismatic publicity manager ... In times at St Bride, but is now available turns exasperating, entertaining, inspir- with extensively revised footnotes, a new ational and even occasionally offensive, A history of chromolithography: printed bibliography, prologue and epilogue. Warde proved to be an intriguing sub- colour for all by Michael Twyman is There is also a foreword by Nicolas ject. You won’t read a stranger design published this month, by the British Barker. Large octavo (240 × 170 mm), biography.’ Large octavo (228 × 145 Library and Oak Knoll, in association 304 pages with eighteen black-and- mm), 216 pages with numerous black- with the Printing Historical Society. A white illustrations. The book is available and-white illustrations, hardback bind- complete and comprehensive study of in cloth at £50.00 or in paperback at ing. Available from David Godine at the history and techniques of chromo- £30.00 (Friends may have a £5.00 $45.00 or from the St Bride Library at lithography, the book has some 800 discount on these prices). Copies may £30.00 (also available from Amazon illustrations and facsimiles, mostly in be bought directly from the Library and other online vendors). full colour, and is likely to remain the (see stbride.org/shop or telephone 020 Accompanying lecture. Simon Loxley standard reference work on the subject 7353 3331). Postal charges are £6.50 will give this year’s Beatrice Warde for many years. Small folio (305 × in the UK. Memorial Lecture, on ‘Frederic Warde: 225 mm), 728 pages, hardback with a the Gatsby of type’ at the St Bride dust-jacket, designed and typeset by Library on 22 October 2013. Admis- Rob Banham. Copies may be had from PRIVATE PRESS TYPES sion is £5.00. Further details may be the British Library (at £75.00) and Oak found at stbride.org. Knoll (price to be announced). The Printing Historical Society an- Special price for PHS members. nounces its re-publication of Thomas Current members of the Printing His- Balston’s The Cambridge University torical Society may have A history of Press collection of private press types: chromolithography for £40.00 (plus Kelmscott, Ashendene, Eragny, Cra- £7.50 postage in the U K, £24 in the nach. The original edition (published rest of Europe and £3o in the rest of in the series of Cambridge Christmas the world). To buy please send a Sterling books in 1951) has been very carefully cheque (made payable to the Printing reproduced by J. W. Northend, with a Historical Society) to Richard Law- new historical and discursive introduc- rence, 50 Hurst Street, Oxford ox4 tion by David McKitterick. Copies are 1hd (e-mail [email protected]). To being sent to all current P HS members pay by PayPal, debit or credit card, in lieu of an issue of the Society’s please contact the Treasurer (contact Journal. Members may buy further details on page 4). Priority will be copies at £15.00 (price to non-members given to orders from members in good £30.00) plus £5.00 for post and pack- standing prior to this notice. ing in the U K. Members of the Friends of St Bride and National Printing Her- THE COMPOSITOR IN itage Trust are invited to partake in A specimen of Frederic Warde’s original the same offer, and order copies at the Arrighi type (from Stanley Morison’s members’ price. Please state your mem- introduction to The calligraphic models bership when ordering copies (for St Bride Library is pleased to announce of Ludovico degli Arrighi published by ordering information see above, under the publication of The compositor in Warde in 1926, printed at the Officina Chromolithography). London: the rise and fall of a labour Bodoni) aristocracy by Isidore Cyril Cannon. Based on Dr Cannon’s PhD thesis, the FREDERIC WARDE book examines the history and place of ST BRIDE NEWS the compositor in London publishing, Printer’s devil: the life and work of AND EVENTS literature and society. In the 1950s, Frederic Warde by Simon Loxley has compositors formed the largest group just been published. The author writes: The St Bride Library remains open to of craftsmen in the printing industry, ‘A deliberately elusive figure even to the public on Wednesdays between but the occupation could not survive his friends, Warde was largely written 11:00 a.m. and 6:00 p.m. Access to the radical technological changes which out of design history, judged a failure the Library at other times is possible 2 printing history news 40

by prior appointment (to book please (10:00–17:00). More than eighty fine 23 June to 26 July 2014, it will be based e-mail [email protected]). Access is and private presses, as well as specialist at St Edmund Hall, Oxford, with visits open to all, on acquisition of a Reader booksellers, suppliers of paper, type, to Antwerp and London. Places are Card (costing £5.00 for one year, but binding materials and printing sundries, available to U.S. citizens, and anyone free to Friends of St Bride). The on-line and a range of societies will be exhibit- who has taught in the U.S.A. for at catalogue of the library is accessible at ing. The Fair will also serve as a market least three years, and a stipend will be prism.talis.com/cityoflondon/. Further for second-hand printing supplies. As provided by the National Endowment details are at www.stbride.org. usual, there will also be a programme for the Humanities. Further details at of lectures on the Sunday. Stalls will be sites.jmu.edu/NEHtudorbooks2014. Beatrice Warde Memorial Lecture, 22 held by the Friends of St Bride and by October 2013. See page [1]. the Distillers Press (see PHN 39, p. 2) among many others. Admission is by Resurrecting the book ‘Making faces: metal type in the 21st catalogue (price £5.00), valid for both century’, a documentary film, will be days. For further details please see Booking is now open for ‘Resurrecting shown on Tuesday 5 November 2013 www.fpba.com/fairs/oxford.html. the book’, a conference to be held at from 6:30 to 8:30 p.m. (screening the Library of Birmingham on 15–17 from 7:15) in the Bridewell Hall. The November 2013. The organisers write film is presented by Richard Kegler and Book History Research that ‘with e-book downloads outstrip- describes the creation of the late Jim Network ping the purchase of hard copies, with Rimmer’s RTF Stern, the first known libraries closing and discarding books simultaneous release of a typeface as The Book History Research Network and the value of the book as physical both digital and metal type. There will holds a series of twice-yearly events. object being increasingly questioned, be live discussion and demonstrations Information about these and a register this interdisciplinary conference brings of the processes, and the chance for of interests can be found on their web- together academics, librarians, artists, those present to try some stages them- site at www.bookhistory.org.uk. The creators, designers and users of books selves. Admission £10.00 (£8 for Friends next event will be: to explore ... the construction, creation, and those over sixty, £6 for students). design, use, reuse, preservation, loss and Copies of the DVD will be available at The art of books, a Book History Re- recovery of the material book, electronic £20.00 (ten percent of the income will search Network study day will be held and digitized books, and of collections go to St Bride). at the Victoria and Albert Museum on and libraries.’ For further details see 6 December 2013. Proposals for papers www.resurrectingthebook.org. ‘Ghost signs’, a lecture by Sam Roberts, are invited relating to the theme ‘the will be held on Wednesday 20 Novem- art of books’, from any period or geo- ber at 7:00 p.m. in the Bridewell Hall. graphical location. Possible topics may Roberts will speak about the History of include, but are not limited to: Advertising Trust Ghostsigns Archive, ✯ a national photographic record of fad- Material nature of books: books ing advertising painted on walls. He as objects ✯ has collected examples from across the Prints and illustrations in books country and will show a selection and and in print culture more broadly ✯ describe the project and his enthusiasm Books as art: artists’ books, for preserving disappearing examples of graphic design, books as part of commercial design. Admission £15.00 installations ✯ (£12.50 for Friends, £10.00 for students). Cover art and promotional materials ✯ Printing workshops Art and typography The study day will include the chance A new series of printing courses, one-off to view the collections of the National classes and workshops has now been Art Library at the Victoria and Albert fixed. For further details and booking Museum. Especially welcome are paper ruling machines see www.printworkshop.stbride.org. proposals from early career academics, Alternatively you can book by credit postgraduates and independent scholars. Following the piece in PHN39 about card, by telephone on 0207 353 4660. Please send proposals of no more than the acquisition of ruling pens by the Concessions are available for members 300 words to Catherine Armstrong University of Reading’s Department of of the Friends of St Bride. at [email protected] by Typography & Graphic Communica- 1 November 2013. tion, a note was received from Gareth OTHER EVENTS Richards, who was a Trainee Manager the tudor book at Whittington’s at Neath, South Wales in the 1970s. Here two ruling machines, Fine Press Book Fair Advance notice is given of a summer made by John Shaw and Sons of Hud- seminar for college and university dersfield were then in operation. The The 2013 Fine Press Book Fair will be teachers on the construction and dis- photograph reproduced above shows held at Oxford Brookes University, semination of books, and the nature of the operator, Cyril Watkins, at one of Gipsy Lane, Oxford, on Saturday 2 reading, during the era of the Tudor the machines. Both machines were (11:00–18:00) and Sunday 3 November monarchs (1485–1603). Running from later acquired by Swansea Museum. printing history news 40 3

An excellent short video, showing a Shaw pen-ruling machine in operation (and covering a little of the history of the process and of the practice of ledger-binding) has been made by the National Print Museum, Dublin, and can be seen, with other videos, on their website (at nationalprintmuseum.ie) and on YouTube.

PRINTING THE WIPERS TIMES Tim Honnor

In the spring I was contacted by the BBC, asking if I had a pre-First World War printing press, and if so how much I might charge to transport it to Belfast and hire it out for five weeks. It trans- pired that the BBC had been looking for a ‘Liberty’ Press for several weeks. Printing The Wipers times from the recent BBC2 documentary (copyright They had contacted the NPHT and Trademark Productions Limited 2013. Photographer: Helen Sloan). museums throughout the UK, to no avail. Their trail had led them to John was highly irreverent, laughing in the by the actors (one of whom would be Easson who suggested that an Arab face of death and very rude about ) who were to re-enact Press would be just as appropriate. senior officers, the home front and the the printing of the newspaper. I spent Knowing that I had one, he gave the organisation of the war, but the paper some days putting the necessary mater- BBC my number. was also a spontaneous record of life ials together, and a large suitcase of British forces entered the Belgian in the trenches, portraying the cheer- printing artifacts – and my Model 3 city of in October 1914. The fulness and camaraderie that prevailed press – were ultimately dispatched name baffled them. The Tommies did in spite of the horror. with the Arab to Belfast. I also man- not know how to pronounce it, and Hislop writes: ‘This extraordinary aged to get three zinco blocks of repro- ultimately decided on ‘Wipers’, which magazine was written, printed, distrib- ductions of pages of The Wipers times, caught on both at the front and at home. uted and read by British soldiers serving so that we would have some way of In 1916 a treadle press was found ab- in the trenches. It ... was an immediate printing a page or two of the news- andoned in a barn, behind the lines, success, continued to appear throughout paper after the press had been set up along with some battered type, and the war and was subsequently re-issued in the Ypres farmhouse (actually a thus The Wipers times was born. in the following years of peace. Its disused linen-mill near Belfast which The first edition, dated Saturday extraordinary mix of jokes, sarcasm, was converted for the set). 12 February 1916, notes that: ‘Having black humour and sentimental poetry The mill-owner led me through the managed to pick up a printing outfit make it a unique record of the period. I sad-looking factory and showed me (slightly soiled) at a reasonable price, think that The Wipers times has often where bomb craters would be made we have decided to produce a paper. been unjustly ignored and that it is and where dead horses would be There is much that we would like to firmly in the great tradition of British strewn around to add atmosphere say in it, but the shadow of censorship comic literature. The authors would (coming at the time of the horse meat enveloping us causes us to refer to the probably have laughed at that idea too.’ scandal, he joked that they had so far war, which we hear is taking place in This was the story behind the plan- failed to source any dead horses). The Europe, in a cautious manner. We must ned documentary, commissioned by site seemed perfect, and we offloaded apologise to our subscribers for the BBC2 from a production company in the presses and positioned them to the delay in going to press. This has been Belfast. It transpired that it was only producers’ satisfaction. The next day due to the fact that we have had many surmise that The Wipers times had been I demonstrated the presses to the direc- unwelcome visitors near our printing printed on a Liberty Press, so substit- tor and production team. It amazed works during the last few days. Any uting an Arab was entirely appropriate. me just how intrigued they were by little shortcomings in production must My Arab was made in 1900 and has the mechanics of the Arab and how be excused on the grounds of inexperi- the original open design of flywheel. It they marvelled at all the moving parts ence and the fact that pieces of metal is also marked with ‘WD’ (War Depart- working in harmony. The press was of various sizes have punctured our ment) so is authentically of the correct filmed from every angle. I had three press. Should our effort come to an era. I suggested that the script of the days to instruct a young man called untimely end by adverse criticism or documentary be altered to describe the Ryan on how to be a letterpress printer attentions by our local rival, Messrs press as an Arab, just in case some and compositor. He was very enthu- Hun & Co, we shall consider it an pedant should spot that the press being siastic and a fast learner. The produc- unfriendly act, and act accordingly.’ used was not a Liberty. tion team was keen that everything The writer and humorist The BBC seemed not to understand should be authentic. I had taken over had become very interested in the story that composing sticks, type cases, quoins, some Cornerstone quoins, but when I of the newspaper. The tone of the text galleys, chases etc. would all be needed mentioned that these were a post-1916 4 printing history news 40

design, they said, ‘Oh dear, the phone has been offered some items on loan, the National Trust), and it is hoped to will never stop ringing when we show and Jeremy Winkworth has also given re-equip a small printing office there. these to all those know-all printers out his valued support for the project. But Type has been supplied, but donations there’. John Easson came to my rescue if anyone can offer equipment (includ- of further equipment (composing sticks, by sending over some earlier Hempel ing presses), materials or donations, it furniture, leads, rules, a stone, chases quoins. After four days Ryan was con- will help towards creating this exciting and any other printing sundries) would fident enough to be left with my press new letterpress studio for Liverpool. be very gratefully received. Volunteers and to show the cast how to use it for Particularly needed is type – both metal to help with the occasional demonstra- the filming, and I returned home, happy and wood-letter. Anyone who may be tion would also be very welcome. If that my Arab would be the star of the able to help in any way – or who is you can help, please contact Richard film. interested to learn more – should get Lawrence on [email protected] I am glad to say the press has now in touch with Ken, Sue and Elizabeth (or telephone 0781 2094781). been returned to me unharmed. At the at [email protected]. time of writing, I have still not seen All offers will be gratefully received. Proofing press wanted. Tim Honnor the documentary. But by the time of writes: ‘I am setting up a letterpress reading, I hope some of you will. It print workshop at home here in Inver- was scheduled to be shown on BBC2 Ireland’s Print Museum ness and am looking for a proofing at 9:00 p.m. on 11 September. Anne Brady press – Vandercook, Stephenson Blake or similar’. If you can help, please con- The National Print Museum is the only tact Tim Honnor, Westhill House, JUNIPER PRESS museum in Ireland dedicated to the Westhill, Inverness iv2 5bp. E-mail: A letterpress facility for Liverpool preservation of the history of letter- [email protected]. Phone: 01463 Ken Burnley press printing. One of the Museum's 793225. most valued resources is its panel of Liverpool was an important centre for active retired printers and compositors, printing throughout its busiest indus- referred to by members of the industry trial period, with large companies such as the Museum’s Chapel. These volun- as Bemrose, Tinling’s, Tillotson’s, teers, ranging in age from sixty-five to USEFUL CONTACTS Birchall’s and Metal Box, and a host eighty-five, maintain and demonstrate National Printing Heritage Trust of smaller printers scattered through- the Museum’s printing equipment on a regular basis, thus keeping the Museum www.npht.org.uk out the city. Little remains today of Hon. Correspondent: Paul W. Nash and the craft alive. Liverpool’s printing past, but a small [email protected] group of passionate and dedicated The Museum strives to preserve the Treasurer: E. C. James, The Pinfold, Church printmakers are in the midst of estab- craft through demonstration days, film- Road, Dodleston, Chester, Cheshire ch4 9ng lishing in the heart of the city a letter- ing and oral history projects, but there [email protected] press studio which will not only be a is a need for practical training and a reminder of its printing heritage but transfer of skills to younger generations. Printing Historical Society The Museum’s first Letterpress Train- c/o St Bride Library, Bride Lane, Fleet Street, will be a working printmaking facility. ec4y 8ee ing Seminar was held in October 2012, London Juniper Press Liverpool is being set www.printinghistoricalsociety.org.uk and consisted of introductory talks, up in the city’s ancient Bluecoat School [email protected] practical demonstrations by members by three local enthusiasts who have Chair: John Hinks, [email protected] been involved in printing in one form of the Chapel, and a series of hands- on workshops. The Museum also holds Treasurer: Andrew Dolinski, 34 Martineau or another throughout their lives. Ken rg10 0sf regular exhibitions, many of which Lane, Hurst, Berkshire Burnley was a compositor at Tinling’s [email protected] of Liverpool and taught for twenty- travel to other institutions after they Journal Editor: Sandro Jung, Department five years at Liverpool College of Print- have closed at the Museum. Recent (now travelling) exhibitions include of Literary Studies (English Studies), Ghent ing; Sue McLaren is a practising print- University, Blandijnberg 2B-9000, Ghent maker and arts educator; and Elizabeth ‘Albert Ernest and the Titanic’ (based [email protected] Willow is a fine artist specialising in on an artist’s book by Jamie Murphy book arts and also teaches letterpress about printing aboard the Titanic), St Bride Library, Bride Lane, Fleet Street, printing. They share an ambition to ‘From Colum Cille to Colmcille: the London ec4y 8ee. www.stbride.org development of the Monotype Irish offer the people of Liverpool and the Librarian: post vacant surrounding area an opportunity to printing type series 121’ and ‘Linotype: [email protected] learn about letterpress by providing the film’. For further information please demonstrations, workshops and short contact [email protected]. Friends of St Bride Library courses. The Press will give people the [email protected] opportunity to acquire the skills and Printing History News techniques of letterpress before they SMALL ADS Editor: Paul W. Nash, 19 Fosseway Drive, are lost. Equally important will be the Moreton-in-Marsh, Glos. gl56 0du provision of a facility to provide a home Equipment needed for Woolfs’ press. [email protected] for printing equipment which otherwise The Minerva treadle press used by might be lost or left in obscurity. Leonard and Virginia Woolf to found Published by the NPHT, PHS and the Juniper Press is a voluntary, non- the Hogarth Press is being restored by Friends of St Bride Library, September profitmaking venture and will rely for Richard Lawrence and Ben Weiner. 2013. Printed by Wayzgoose Ltd, its success on outside help. The Press The press is at Sissinghurst (owned by Birmingham.

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