N T I N I G The Monthly Magazine of the British Printing Society R P ‡

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B ISSN 0037 7236 August 2017 Vol.53 No.8 Small Printer Issue No. 632 August 2017 Published by the British Printing Society founded in 1944 by William Brace

Executive Offi cers Non-Executive Offi cers President: Jean Watson Editor: Chris Green 19 Hillbrow Road, Bournemouth, BH6 5NT Noddyshall, Rockshaw Road, Merstham, 01202 429642 Redhill, RH1 3DB [email protected] 01737 644145 Vice President: Paul Hatcher [email protected] 256 Kingfi sher Drive, Woodley Reading, RG5 3LH SP Design: 01189 666124 [email protected] [email protected] Secretary: Peter Salisbury Membership: Margaret Rookes 4 Doran Drive, Redhill, RH1 6AX 57 Craiston Way, Chelmsford, CM2 8ED 01737 761861 01245 611484 [email protected] [email protected] Treasurer: Robin Munday Mailer: Tony Jewell Printer’s Patch,Dyke Hill,South Chard, TA20 2PY 51 Lynton Road South, Gravesend, DA11 7NE 01460 220819 01474 748532 [email protected] [email protected] Councillor: Libby Green Sales: Terry Shapland 01737 644145 Acorn Cottage, 28 Oak Street, Feltwell, [email protected] Thetford, IP26 4DD Councillor: Roderic Findlay [email protected] 01308 423720 Advertising: Ron Watson [email protected] 19 Hillbrow Road, Bournemouth, BH6 5NT Councillor: Ron Watson 01202 429642 [email protected] 01202 429642 [email protected] Web Master: Ron Rookes PG Councillor: Win Armand Smith 01245 611484 [email protected] 01258 830628 [email protected] Enquiries: John Easson 01828 628001 [email protected] Copy Deadline Librarian: Libby Green Copy must reach the Editor by 6.00pm on 01737 644145 the 13th of the previous month. [email protected] PG Chairman: Rachel Marsh Bundle Items 01409 281326 Members’ non commercial Bundle Items are [email protected] inserted free of charge. 320 copies should be sent to the Mailer by the 25th of the previous PG Mailer: Jean Watson month. Maximum size A5 or folded to same. 01202 429642 [email protected] www.bpsnet.org.uk

174 | From The Editor | | Chris Green (7614) |

he name of Vincent Figgins may would be willing to do, I should be happy strike a chord with some of our to answer any questions you have about the Tmembers. task. Figgins was a notable punch-cutter and Odhams Press is a familiar name to type-founder; he is credited with designing many – the company published, among the first Egyptian (slab serif) typeface, other titles, the Ideal Home and Horse and which he named simply ‘Antique’. He was Hound magazines before it was taken over born in 1766 in Peckham (south London) by Fleetway Publications Ltd in 1961 and and died in 1844. The cover of this month’s then becoming part of the IPC Group two magazine shows an ‘Epitome of Specimens’ years later. A name that may not be familiar from his catalogue, courtesy of Bob is Greycaine, one of the several printing Richardson. and book manufacturing companies used by Some find his typefaces attractive; some, Odhams. If – as I suspect – the name means I am sure, would call them ugly. Others little to you, then you will learn much more would classify many of them as ‘outrageous’ from Adrian Towler’s article on page 186. and this, indeed, was the topic for the Book production again comes to the fore 2016 Publishing Group’s Annual. Claire with the Branch report from Essex Branch Bolton, one of our former members, is well on page 191. Indeed, both this and the qualified to review such a publication and following two Branch reports give a good she does so on page 178. This is preceded flavour of what members up and down by an introduction by Rachel Marsh, the the country are getting up to. I clearly PG chairman. Following the publication remember, during my earlier spell as of these two articles, I should not be at all Editor, criticisms of Branch reports as being surprised to see a substantial increase in little more than an elaborate description sales of the 2016 PG Annual! of what the host had provided in the way You may remember that several issues of refreshments. We have come a long way of Small Printer this year have carried since then! official EC notices regarding vacancies to Two more very interesting articles be filled. Response has been slow but the complete this month’s offerings: a visit to a posts of Mailer and Membership Secretary collection of Private Press books (a subject have now both been filled. Still outstanding, dear to the heart of some of our members), though, is the need for an Editor. I cannot and a potted history of what I may call carry on with this task after the end of the ‘Printing on Ice’. year, especially with my new responsibility, So, enjoy what we have here – and please so I urge you to consider whether this is ask yourself whether you have it in you to something you could take on. There’s no apply for the Editor vacancy. need to get involved with intricate layout details, as this is all taken care of; it’s more Views expressed by individual authors are a case of receiving articles from members not necessarily the views of the Society. and a little bit of proof-reading. If you do All advertisements are accepted in feel that this is possibly something you good faith, the Society cannot take responsibility regarding the condition of Cover Image: Bob Richardson’s page the goods sold from the advertisements from the 2016 PG Annual. See articles on nor can it vouch for the accuracy of any pages 176 and 178. statements in any advertisement. 175 | OutrageousFonts: | | Rachel Marsh (10663) |

The 2016 Publishing Group Annual he topic of the 2016 Publishing happy discovery at St Bride’s springs Group Annual was ‘Outrageous to mind), others described the woes of TFonts’ – a subject that has eBay (Alan Brignull and Paul Hatcher), the potential to raise the hackles then there are the Figgins Ornamented of typography purists. Fortunately, Initial Fragments, allowing Victorian Publishing Group members are a broad- printers to ‘create his own typographic minded and eclectic bunch and the horrors’ (I want some!) plus fascinating subject was interpreted in the broadest insights on Pouchée and other delights possible manner and with a certain from St Bride Library (Bob Richardson). mischievous relish. In what other Many contributions point out that publication would it be possible to fi nd outrageousness is in the eye of the various egregious typefaces, alongside beholder, and that tastes change over swastika borders and baptismal fonts? time (Ron Prosser and John Easson). In When my copy of the PG Annual fact I rather like Mike Perry’s ‘Ugly Face’ Outrageous Fonts arrived I read it from – the typeface he uses in his title, I cover to cover with a broad grin on my mean! I also covet the nine-line fat-face face. It wasn’t just the humour, (though much beloved of Peter Criddle’s Ericius Katherine Anteney’s Harold set me off Press, which he prints beautifully at an laughing on the very fi rst page, as did angle, bleeding off the page, but which Anke Ueberberg’s neon pink outrage various historical type afi cionados towards the end) but it was wonderful described as ‘truly disgusting’ and to see that the topic had inspired many ‘painfully bad to the eye’. members to print more long-form It was most enjoyable to see the text contributions than usual. Some outrageous digital fonts that some explained their choice of ‘Outrageous’ members managed to fi nd online. The font (Chris Brinson’s love letter to a silhouetted font Bizarro discovered

Front Cover - Alan Brignull Katherine Anteney Win Armand Smith 176 by Margaret Rookes is the stuff of by previous printers. But often it’s nightmares, and Ron Rookes displayed good to be outrageous, or daring, a list of outrages that pushed legibility dazzling, audacious and fl amboyant to the limit in a most satisfying way. I (Elizabeth Fraser and John Holmes)! wonder whether, like the Victorian fat- And sometimes this impact can be faces, these too will be resurrected with made by . . . just not being there. Owen glee in a hundred years’ time? Maybe Legg’s ghost font is as ingenious as it is not. John Miller found non-text fonts absent. of Banksy graffi ti and single-handed For baptismal font collectors, signing – there’s more than one way there are three in this annual: a most to communicate . . . Terry Shapland’s unchristian looking Luppitt font, an seemingly innocent and fl owery octagonal medieval font in Bag Enderby, ‘Sybarite’ font included a surprise moral and a stunning contemporary font in warning, with the take-home message Salisbury Cathedral (Paul Hatcher, John that you should not teach your horses Miller, Jean Watson). All are outrageous to dance to music. All the more horrifi c in different ways. for being typeset in Curlz MT. Ugh! So who had the audacity to include Rebus was a new one on me. It was the swastika border? Find out for wittily displayed by Win Armand Smith, yourself as the Annual is now available who showed its riddle-like quality for sale at just £7.50 at www.bpsnet. without in fact using any actual Rebus org.uk ! (which, she tells me, is a Victorian Claire Bolton, print historian and dingbat typeface) at all. I particularly former BPS and PG member, has kindly loved the fi sh-head eyes (I’s). written a review with a more detailed A font can be outrageous if it’s approach to the ins and outs of printing missing some characters (Peter a contribution to this kind of annual, White issues a plea for missing which is full of useful advice. sorts) or if it’s been horribly abused

Chris. Brinson Elizabeth Fraser Paul Hatcher 177 | The Publishing Group Annual 2016 | | Claire Bolton |

his is the annual production of the by name but have decided to comment members of the Publishing Group. more generally on the design of the TThis year 22 of the 31 members pages and the skills in getting ink on the contributed, all designing and printing page of the participants. My apologies if a page or more for this small book. The I am preaching to the converted. 2016 theme was Outrageous Fonts. Learn the rules fi rst and then, as The word ‘fonts’ may act like a red you continue to learn, break the rules rag to a bull to the more letterpress- joyfully. orientated of us, and indeed the Design collection brought us three images of The PG Annual alternates its A5 fonts (one from Salisbury Cathedral, one format from landscape to portrait each from Bag Enderby church, Lincolnshire year. 2016 is a Portrait year. Whichever and one from Luppitt church in Devon) the orientation, A5 is not the friendliest as well as another contribution which page size for design, especially when thoughtfully explained the difference allowing extra margin for a comb between fount and font. Readers take binding. The unprinted space left on note. Seven contributors provided digital the page is as important as the printed offerings, so were well within the terms text areas. Some contributors have of the title. The remainder (and the allowed generous margins to set off majority), I am delighted to say, ignored their printing, others have been more the digital implications of the title and miserly – I think to the detraction of showed off their most outrageous the printing – and one has splendidly, letterpress type. and very successfully, ignored margins The variety of approach and altogether. One contributor solved the interpretation of the theme is always A5 problem by happily expanding the one of the keys to the success of the PG page. Annual and this year is no exception. I The page layout is traditionally am not going to pick out contributors centred for over two-thirds of the

Owen Legg Mike Perry Margaret Rookes 178 contributions, but it is good to see some Paper producing some alternative, off-centred Some of the under-inking problems may approaches. be down to trying to print letterpress on Text type sizes and line lengths vary, unsympathetic paper stock. Generally not unexpectedly with the number of papers designed for the inkjet or contributors. Some have kept to the laser printer will not perform well for general rule of thumb of not more than letterpress printing. Choice of stock 11-13 words to a line, beyond which is as important as typeface and ink to the reader gives up as it is too diffi cult produce a printed page that you can to follow the line, especially when be proud of. Grain direction should run the type is of small point size. Others down the page. I know this is tricky if it is have balanced their text type size and already running down the A4 sheet you line length and some have pushed are cutting from, but please try to get boundaries as to what size of type the grain direction correct as it makes works as a text type. for such a different feel when turning the Inking book pages. Getting ink on the page evenly and The content made for some fascinating cleanly is always a challenge. One can reading: I am now much more blame the paper, the temperature on knowledgeable about font architecture the day, the age of the ink, the age of in far-fl ung churches, and it was good the type . . . We have both ends of the to see some of these outrageous letters spectrum (sorry!) here with some skilled emerge for a quick frolic, and especially inking of a large areas of black to some good to have representation from our rather poorly under-inked offerings (at National Treasure the St Bride Library. least in my copy). Great to see such a This is a ‘show off ‘ publication for PG range of coloured inks – typography members, so use it to show off what does not have to be black, and I loved you can do to delight other printing the grey and navy combination. afi cionados.

Ron Rookes Jean Watson Back Cover - Chris. Brinson 179 | A Touch of Frost | | Bob Richardson (9718) |

ou may be reading this on one of froze at regular intervals. The geography the hottest days of 2017. Record- of the river and particularly the nineteen Ybreaking summer temperatures very narrow arches of the ancient crossing have been forecast for the months of July encouraged freezing by restricting the fl ow and August, so what better way to cool of the waters. down than a trawl through the icy waters Among the Frost Fair keepsakes at St of the wintry River Thames? Bride is a ticket, printed on the Thames by G. Croom on 31st January 1684, during one of the coldest British winters ever recorded. The river was frozen for 10 weeks, and the bitter weather gave birth to Britain’s greatest Frost Fair. The surviving keepsake lists some of the off spring of King Charles II including James (Duke of Monmouth), George Fitzroy (Duke of Northumberland) and Anne Tudor (later Queen Anne), cheekily adding “Hans, In Kelder”—a mildly off ensive slang term for an unborn child. ‘A bun in the Frost Fair 1814 oven’ is the nearest modern Frost Fairs on the capital’s main artery equivalent. Charles was known to have date back to 1608, the fi rst recorded use a string of mistresses (the most famous of the frozen river surface as a trading and being the actress Eleanor ‘Nell’ Gwyn) and entertainment space, although records numerous illegitimate children. relating to the freezing of the Thames date Mr Croom, the printer, would have back to 250AD, when it was frozen for been aware of the King’s sense of nine weeks. Since the 17th century printers humour—he acknowledged his aff airs have taken advantage of these natural and ever-expanding family—and the events to produce and sell keepsakes to ticket was reputedly printed especially those visiting the fairs, and many pieces for him; he is known to have visited the of ephemera have survived the centuries. fair just before the thaw. The piece was A number of these are held at St Bride probably pulled from a copper plate as the Library in Fleet Street. variable letterforms suggest it wasn’t set Between 1209 and 1831, while the old from conventional moveable types. The London Bridge was standing, the Thames border elements also show many minor 180 variations, excluding the possibility of lead engraved prints and letterpress keepsakes types being used. Croom’s letter-spacing for sale. St Bride’s 1814 print clearly and general layout are rather sloppy, and shows a star-wheel copperplate press and the job may have been executed in a hurry a wooden common press. The famous after hearing that the King was to visit the ‘wedding-cake’ spire of St Bride’s—the Fair that day. Printers’ Church— is clearly visible on Author and diarist John Evelyn the engraving. Despite the bitterly cold wrote on 24th January 1684: “The frost weather, blue-fi ngered compositors would continuing more and more severe, the set your name for 6d, as they did at every Thames before London was still planted fair, and print a souvenir for you to take with boothes in formal streetes, as in a away. One printed verse, published during Citty.” He added “All sorts of Trades and the Great Frost Fair of 1683-84 (and oft- shops furnished . . . even to a Printing repeated in subsequent freezes) goes: presse where the people and ladyes tooke a fancy to have their names printed, and To the Print-house go the day and year set down when printed Where men the Art of Printing seem on the Thames”. Evelyn continued, “This to know humour tooke so universally, that ‘twas Where for a Teaster, you may have estimated the printer gained £5 a day—for your name printing a line onely at sixpence a name, Printed hereafter for to shew the besides what he got by ballads (song same; sheets)”. Allowing for infl ation, £5 in 1684 And sure in former ages ne’er was would be worth almost £1,000 today. found A lucrative novelty indeed. The printer A Press to Print where men se oft described may have been Mr Croom were drown’d. himself, a gentleman of means, thanks to his benefactor, Mr Jack Frost. By the end of January 1814, In February 1814 the Thames froze temperatures had remained well below to a depth of 12 inches or more for its freezing for over a fortnight and ice-fl oes entire width throughout the Square Mile bobbed around in the river between and Londoners took to the ice in their Blackfriars and London bridges. The thousands. A crudely coloured print, presence of these mini-icebergs impeded published a few weeks after the thaw, the fl ow of the Thames even more than illustrates the range of goods and services London Bridge, making it easier for the available to those who were brave enough water between them to freeze, which it to venture onto the ice. A copy survives at rapidly did, forming a solid sheet from St Bride. There were ten printing presses bank to bank. As the temperatures on the ice that year, turning out copper remained low, the water froze to an even

London Bridge 1209-1831 181 | A Touch of Frost | | Continued | greater depth and by the beginning of Richardson or Cruickshank’ according to February, Londoners were on the frozen Edward Walford, author of Frost Fairs on river in their thousands. the Thames (1886). Marquees and booths were quickly The 1814 thaw brought chaos to the erected, selling ‘Good Gin’, souvenirs City. An estimated £20,000 (£1.5m today) and slices of cooked lamb (advertised as damage was caused by the shifting ice, ‘Lapland Mutton’) spit-roasted in a metal which smashed the hulls of boats and tray suspended above the ice. One tent even pulled one property into the river. In had a haunch of venison hanging outside, addition, a major fi re destroyed Custom with a notice reading ‘Stag to be roast’, House and that blaze is depicted in a so we know that a number of fi res were contemporary engraving showing the river incautiously lit on the frozen river. thick with small icebergs.

The year 1814 saw the printing of an The Frost Fair of 1814 was the last of entire book on the icy Thames, rather than the big events on the frozen Thames; none the usual cards, ballads and broadsides. would be seen on that scale again, but Frostiana, or the History of the River even that could not rival the Frost Great Thames in a Frozen State, was at least Fair of 1683-84. partly printed and published on the ice on Printers were always at the heart of the 5th February 1814. Sections of the book London Frost Fairs. It was relatively easy include instructions on the building of to move a press onto the ice, but securing an ice-house and on resuscitating poor it must have been a challenge. The bitter unfortunates who had fallen through cold may explain some of the shaky the ice, and The Art of Skating. The composition work. One printed verse publisher’s offi ce was supposedly at Snow which has survived states: Hill, but that should be taken with a pinch of salt. Frostiana is an exceptionally You that walk here, and do desyn to rare book, with copies fetching £400 tell - £500, but a good PDF reading copy Your children’s children what this may be found at http://tinyurl.com/ year befell, y9b4ay8k by those with internet access. Go print your names and take a A copy of Frostiana is held at the British dram within Library, but not at St Bride. The book is For such a year as this, has seldom illustrated, with pictures ‘worthy of Gilray, been seen. 182 In 1715, a later frost fair tried to emulate The last great freeze, comparable the success of the great 1684 freeze, with the frost fairs of the 17th and 18th when an ox was roasted on the Thames centuries, was in 1963, the coldest winter at Hungerford Stairs. Unfortunately the since 1740. Many Small Printer readers ice was not so thick as it had been in 1684 will remember it well. As a nine-year-old I and an unfortunate apple-seller, Doll the helped my father dig away the snow from Pippin woman, crashed through the ice our front door, which was buried under a and was drowned. She is immortalised in snowdrift. Despite the bitter weather and John Gay’s The Art of Walking the Streets record-breaking snow-falls, there is no of London (also known as Gay’s Trivia): record of a printing press on the Thames that year, even though it froze in places. As The cracking crystal yields; she a new ice-age approaches—although none sinks, she dies, of us will be alive to see it—I wonder if our Her head chopt off from her lost descendants might be printing keepsakes shoulders fl ies; on the capital’s frozen river? It would have Pippins she cried, but death her to be letterpress of course, perhaps printed voice confounds, on an Albion. Doing the job with modern And pip, pip, pip, along the ice technology just wouldn’t seem right. A resounds. solar-powered laser printer doesn’t have quite the same quirky charm about it.

N T I N N T I N I G I G R R P ‡ Wanted - a new Editor P ‡

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As you know, the magazine is a monthly publication. The main task of the Editor is to gather the material together, and check it for obvious errors like typos, spelling mistakes, grammatical inconsistencies (positioning of apostrophes is a particular bugbear). He or she then simply has to pass it on to the Design Editor, so no special computer skills beyond word processing are involved. The position is for a period of three years. This gives time for the person to establish their own style, bearing in mind it is for a society who enjoy the art of printing and its allied crafts. Any enquiry for further information regarding what is involved should be directed towards the current Editor, Chris Green. Your application should be sent to the BPS Secretary, Peter Salisbury, at 4 Doran Drive, Redhill, Surrey, RH1 6AX, or emailed to [email protected].

183 | Private Press Books | | Richard Farmer (10262) | – The Cardiff Collection

lthough I have been a member Poisonous Plants; Deadly, Dangerous for 15 years, Newport was my and Suspect (1927) and Flowers and Afi rst Convention; a very enjoyable Faces (1935). You need to see these weekend. One of the talks prompted images and these books in the original me to make a follow-up visit in Cardiff : to appreciate the work of the craftsmen a talk given by Professor Judi Loach of who created them, which was one of the Cardiff University about a collection intentions behind the creation of this of Private Press Books, which she collection. described as Cardiff ’s ‘best kept secret’. The private press movement fl ourished It’s certainly that – the best collection of at the turn of the 19th and 20th ‘Golden Age’ private press books in the centuries, beginning with the founding UK, in Cardiff University Library. of the Kelmscott Press by William A couple of weeks after the Convention, Morris in 1890. Morris advocated fi ne my work – entirely non-print related craftsmanship and high quality materials – took me down to Cardiff from North to produce books that he deemed Wales and so I emailed the University ‘beautiful’. The private presses produced Library and booked a later train books using traditional printing and back. The response from Cardiff was binding methods, with an emphasis on immediate and welcoming and when the book as a work of art. I walked into the Special Collections The collection that is now in Cardiff Reading Room the books were waiting University was put together by for me. I had asked for three books the Cardiff Free Library, spending illustrated by John Nash (1893-1977). considerable sums of Cardiff ’s money John, the brother of Paul Nash, was on assembling the collection in the an artist of rural scenes and plants early years of the twentieth century, at (apart from his work as a war artist in a time when Cardiff was booming with both World Wars), working in oils and the export of coal from the Valleys. watercolour and as a wood engraver. Judi Loach is researching the history of His wood engravings are easily found the collection and has found that one on the internet where you can see his of its purposes was for it to be used by ability to make lively and dynamic apprentices in relevant trades such as illustrations particularly of plants – he printing, who were encouraged to use was a keen gardener. Coming face to face the collection as part of their studies. with the originals in these books allows The books remained in Cardiff Public you to appreciate the way in which Library, the property of the City Council, he is using deep velvety black areas and slipped from the cataloguing system contrasting with the bright whites of the and from public awareness until in the paper to produce an arresting image, and early years of this millennium the City you can see the vigour and confi dence Councillors recognised their fi nancial in the way that he has cut the block. potential and planned to sell them by Two of the books I was looking at are auction, which would have dispersed the amongst the best demonstrations of his collection. A group including Professor accomplishments as a wood engraver: Loach campaigned to save the collection 184 and it was purchased by the university Britain’s ‘Golden Age’ of private presses in 2010. from the 1890s to the Second World There are books by all the major War. presses of the Arts and Crafts movement, They were studied by apprentices in including publications from William the fi rst half of the twentieth century Morris’s Kelmscott Press, Golden and are worth studying by printers Cockerel Press, Doves Press, Cuala Press today, especially those like myself who and St Dominic’s Press. The collection aspire to combine letterpress and hand- excels, both in terms of quantity (there cut illustrations in the tradition of the are around two thousand items), and Golden Age. quality, holding the best of the work of

An Important Message from your Membership Secretary

I will be stepping down from this position at the end of August after more than 5 very busy and interesting years. I have enjoyed relieving you of your hard earned cash by way of Membership Subscriptions and would like to thank the many members who have expressed their appreciation by sending me cards, letters, emails, and posh chocolates. I look forward to meeting or corresponding with many of you in the future, all existing conversations will be continued! All payments made by post should be sent to me as usual until 28th August. Here is the Important Part: NEW MEMBERSHIP SECRETARY From 1st September please welcome Chris Green as your new Membership Secretary. All payments sent by post on or after 29th August should be sent to:

CHRIS GREEN BPS MEMBERSHIP SECRETARY NODDYSHALL ROCKSHAW ROAD MERSTHAM, REDHILL RH1 3DB All other details remain unchanged, please see Membership News on page 190. Margaret Rookes

185 | The Greycaine Book Company | | Adrian Towler (10068) |

n a recent visit to Broadstairs I Greycaine Industrial Estate in visited Charles Dickens’ Bleak North Watford takes its name from OHouse, a curious privately-owned the Greycaine Book Manufacturing museum-cum-guest house. Company, which moved there in 1926. When I returned home I dug out our Despite the fact that Greycaine was one copy of the book and noticed it was of the pioneers in the mass production a Greycaine product, although it had of good quality books sold at prices been published by Odhams. Yes, it’s one accessible to all, little has been written of those brown leatherette sets with about it. Greycaine derived its name from its Directors, Frank Grey and (Gordon) Ralph Hall Caine. Frank Grey was born Francis John Christian Gruneisen in 1869 in Camberwell, son of a book binder, John Gruneisen. But Frank abandoned his apprenticeship as a bookbinder, and at the age of 19 spent seven years in America. On his return he worked in his father’s business for a while, then started his own in Islington. By about 1909 Frank had been joined in the business by Ralph Hall Greycaine books Caine, and the company Dickens’ face embossed on the front. name was subsequently changed And we have another set in the house, from Gruneisen to Greycaine. Perhaps of ‘great classics’ that belonged to my Germanic names were not particularly grandparents. You might have some too; popular then! there must be thousands still around. Ralph Hall Caine was born in Greycaine were in Watford – and Hampstead, the son of Thomas Henry since we’d been to the Frogmore Hall Caine who was a successful and paper mill on a Branch visit, and John well-known novelist of his time, selling Dickinson were down the valley, and around 10 million copies of his 15 the Sun Engraving Company was novels. Unsurprisingly, he later became somewhere near, I thought I’d do some a major investor in the Greycaine Book research on print and paper in the area. Company. Son Ralph went into the Where to look ?– why, the internet of paper and printing trade, and during the course. fi rst world war he was chief technical 186 adviser on paper to the Ministry of engineers for maintenance. Facilities Munitions, later being made Deputy for staff included mess rooms Controller of Paper in 1918. By 1922 he with meals provided at net cost, a was a Conservative MP. dance and concert room, football Move to Watford ground, tennis courts, rest room and The Company moved from Islington accident department. Greycaine Book to Bushey Mill Lane, Watford, in 1926. Manufacturing achieved an impressive The main reason given was the need output, producing books both for its for larger premises but Frank Grey also own publishing company – the Readers’ pointed to Union issues. After the move Library Publishing Company – and for he wrote: “I shall continue to run this other well-known publishers, such as factory (in Watford) as an open shop, Odhams. open to both Union and non-Union The Readers’ Library workers. I closed the factory at Laycock The aim of the Readers’ Library was Street because the workers did not play stated as being “to bring the best- the game.” known novels of the world within the The 20-acre site near Watford North reach of the millions, by presenting at Railway Station had its own railway the lowest possible price per copy, in sidings, connecting with the main line from Euston, thus enabling fast and easy deliveries to and from the works. The site had been used as a munitions factory during the First World War, and already contained some large wooden buildings, although these were replaced with stronger and less fl ammable structures as quickly as possible. The works were rapidly equipped with all the machinery necessary for carrying out the many processes involved in the mass Greycaine Trinity Mirror production of books, and everything, from setting to the delivery convenient size, on excellent paper, with of completed books, was done on the beautiful and durable binding, a long premises. series of the stories, copyright and non- Greycaine also had its own staff copyright, which everyone has heard of of builders and carpenters, and and could desire to read”. 187 | The Greycaine Book Company | | Continued |

The titles of the Readers’ Library the edition went ahead in leaps and were said to be selected by ‘one of bounds until it nearly reached the half the most distinguished of living men of million mark”. letters’, and very likely this was Ralph Two months later the Alliance noted Caine’s father, (Thomas) Hall Caine – the that Greycaine had a workforce of 1,200, novelist! The Readers’ Library was also and had recently handled an order for the fi rst to produce ‘the book of the fi lm’. ‘six million large books (500,000 each of Greycaine put up most of the capital 12 vols.) printed and fully bound’. This and had a controlling share with Ralph would have been the Encyclopaedia Caine’s brother, Derwent, as Managing called The Wonderland of Knowledge, Director and Frank Grey a Director. which was published by Odhams Press, The books sold for sixpence in printed and bound by Greycaine. Volume Woolworths and newsagents shops – 3 contains a section showing how very popular, well-produced, hardback the book was produced, with several books, and regardless of some disdain, photographs taken inside the Greycaine made some good novels accessible to a works. wide audience. Penguin Books were also However, by 1935-6 the Company later sold for sixpence, but Sir Allen Lane, was in trouble. The Readers’ Library had their founder, recalled that when he fi rst succumbed, resulting in an enormous approached Woolworths, their buyer said loss of work. Also, in 1936, Odhams he thought “Readers’ Library is better Press, which had provided Greycaine value”. with a lot of work, moved to Watford and Changing fortunes – Odhams starts started printing its own books. You might printing ask why Odhams did not just buy up or Although Readers’ Library had its go into partnership with the Greycaine heyday, it eventually succumbed to stiff works, but I don’t have the answer to competition from rivals such as Penguin that. paperbacks, and the Queensway Press’s Frank Grey was not a man to give up. Chevron books with card covers. In 1937 he decided to embark on colour Nevertheless, Greycaine, in a 1934 article printing, and bought some expensive in the journal of the Home Counties equipment from abroad. This tipped the Master Printers’ Alliance, was portrayed Company over the edge, and in 1938, as a fl ourishing company. the Court made a Winding-Up Order “Probably the most astounding placing the Company in the hands of development associated with the plant the Receiver and the Liquidator. Printing installed originally for the manufacture continued but by 1941 Greycaine was of Readers’ Library has been the Firm’s put up for sale as a going concern and association with the Odhams Press in Taylor, Garnett & Evans moved in, initially launching the sixteen volumes edition keeping ‘Greycaine’ in the title; but by of Charles Dickens’ Works. The placing 1956 it had disappeared. And the last of this work in the hands of the masses ‘Kelly’s Directory’ entry at that site for at a price they were able to pay was Taylor Garnett Evans & Co is 1972. It is probably the greatest thing ever done now a mixed-use industrial estate and in the world of books. The demand from Greycaine survives only as a name in the fi rst was enormous and orders for history. 188 Diary of Events

Saturday 19th August Tuesday 10th October Essex Branch Surrey & Sussex Branch Visit to the Haven Press, Holland-on-Sea. Meeting at Peter Scarratt’s, Crawley.

Wednesday 23rd August 11th to 13th October Dorset Branch The Print Show Meeting at Whitcombe Stables, Dorchester. The International Centre, Telford. http://www.theprintshow.co.uk/ Saturday 2nd September Prestival Saturday 14th October The Whittington Press, nr Cheltenham, Executive Council Meeting Gloucestershire, GH54 4HF The Raven Hotel, Hook, RG27 9HS.

Sunday 3rd September Wednesday 18th October Essex Branch Roadshow Dorset Branch Stow Maries Great War Aerodrome, Maldon. Meeting at Whitcombe Stables, Dorchester.

Tuesday 12th September Thursday 26th October Surrey & Sussex Branch South Wales Branch Meeting at Mark Mitchell’s, Dorking. Visit to Rare Books collection, Cardiff Uni.

Thursday 14th September 31st October to 3rd November South Wales Branch IPEX Visit to letterpress print-shop, Pontrilas. NEC, Birmingham. http://www.ipex.org/ 15th to 24th September Brighton Print Fair Saturday 11th November 10-14 Waterloo Place, Brighton, BN2 9NB. Sheffi eld Print Fair St Mary’s Church & Community Monday 18th September Centre, Bramall Lane, Sheffi eld. Maidenhead Branch http://printmakingcentral.tumblr.com/ Meeting at Anke Ueberberg’s, Reading. Tuesday 14th November Wednesday 20th September Surrey & Sussex Branch Dorset Branch AGM at Libby & Chris’s, Merstham. Meeting at Whitcombe Stables, Dorchester. Wednesday 22nd November Monday 2nd October Dorset Branch Maidenhead Branch Meeting at Whitcombe Stables, Dorchester. AGM at Dorothy Sydenham’s, Thame.

Branch meetings are open to all Society members. Anyone who plans to attend a meeting who is not a member of the Branch concerned should check with the Branch Secretary in case details have changed.

189 Branch Secretaries MEMBERSHIP Bristol NEWS & UPDATES Ian Knight 01179 854944 NEW MEMBERS: [email protected] Dorset 10865 Ms Sue McLaren 7 Winhill, Liverpool, L25 6JR Win Armand Smith [email protected] 01258 830628 [email protected] 10866 Mr Peter Fraser Essex Sunnyview, Sharpham, Street, BA16 9SF [email protected] Chris. Brinson 01255 813630 10867 Mr Mark Birds [email protected] 38 Counthill Road, Watersheddings, Lincolnshire & District Oldham, OL4 2PB Michael Edwards CHANGE OF EMAIL ADDRESS: 01733 562867 [email protected] 10786 Ms Karen Edwards [email protected] London Matt McKenzie DONATION: 07836 785505 [email protected] 9458 Mr Geordie Hayward Maidenhead Paul Hatcher IMPORTANT UPDATE: 01189 666124 Please note that from 1st SEPTEMBER [email protected] your NEW MEMBERSHIP SECRETARY will Overseas be CHRIS GREEN. All payments sent by Kevin Thorp post on or after 29th AUGUST should be 00 353 1 8438346 sent to him at: [email protected] NODDYSHALL, ROCKSHAW ROAD, Scotland MERSTHAM, REDHILL, RH1 3DB John Easson 01828 628001 ALL MEMBERSHIP RENEWALS [email protected] currently £27 for UK, £42 for Overseas, Shropshire or £27 Overseas Online only, Peter Criddle and notifi cations of change of any 01743 350208 personal or contact details should be [email protected] sent to the South Wales Membership Secretary: Dominic Hartley MARGARET ROOKES, 57 CRAISTON WAY, 07970 722029 GREAT BADDOW, CHELMSFORD, [email protected] CM2 8ED Please make any cheques payable to the Surrey & Sussex ‘British Printing Society’. Libby Green 01737 644145 [email protected]

190 Branch Reports

Essex Branch bit of a gamble when it comes to sales achieved. Prices in excess of £500 per A visit to the Fox Ash Press copy were mentioned, and considering the amount of work which has gone y kind invitation of the owner, into the edition this price is actually very David Jury, we were invited to visit modest. Bthe press and enjoy a talk on high- The actual press in current use at Fox quality book production and letterpress Ash is a Vandercook proofi ng press, and limited editions by the vastly experienced the simple interior of the work shop proprietor. belies the complexities of the fi nished For most of his working life David product. has been a graphic designer and art We also had an added bonus in publisher of world acclaim. Thanks to our the form of Ed Gold, a world-class Chairman Len Friend we were invited to photographer who is currently enjoying get a glimpse into the exclusive world a season at Colchester’s First Site of limited edition letterpress publishing. Gallery. Ed is an inveterate globe trotter and has been used by the BBC for his photographs of Afghanistan. He is currently ‘homeless’, as he needs to be able to go anywhere in the world at a moment’s notice. A true adventurer in the old style, but with a very modern outlook and technique, which results in some wonderful images. A fascinating man to talk to as well. Try Googling ‘Ed Gold’ to see a sample of his work. Our little group of four members was The Fox Ash Vandercook Press smaller than usual due to the impact of the holiday season, but it was a real The book as ‘Art Object’ is a way of privilege to see the press and learn from looking at this pinnacle of Art Publishing. its owner and his experiences, in the To command the high prices of extreme upper echelons of fi ne art publishing. limited editions necessitates an intimate Thank you, David, for your time and knowledge of the way in which the patience. great American seats of learning acquire their material for the superb libraries in Alan Brignull (4800) America. The fi nal product of the book is designed to be the very best in graphical Maidenhead Branch excellence, combined with an impressive and exclusive binding. David explained July Meeting the secrets of the papers and inks used, and the amount of work required for the n all honesty, I was not looking fi nished book. This sort of publishing is forward to our meeting on 1 July not for the faint-hearted, and is often a Ithat was being held at the home of 191 | Branch Reports | | Continued | newly elected BPS Vice President, Dr planing and locking up the forme. Paul Hatcher, just outside Reading. However, despite exercising great When it was suggested that we care, I had over tightened the quoins, should have it on a Saturday it had and the chase no longer fi tted the seemed a good idea to actually press! This was quickly corrected and have a go at printing something for the three of us set about printing the the bundle. However, as the date necessary 300+ copies for the bundle, of the meeting approached, so did which only seemed to take us a few the heatwave, and the thought of minutes. sweating away over an Adana 8x5 in Getting perfect even pressure and the middle of the day in a steaming inking requires much dexterity, but I hot garage, seemed less than managed to convince Paul that if any attractive. A few Branch members had copies fell short of his high standards sent their apologies for absence. I will gladly admit that they were the So it was down to the three of us ones that I had printed. Even though I who remained to roll up our sleeves had worn old clothes for this event, I and tackle this onerous task . . . left his printshop without even a spot In the event, some high cloud and a of misplaced ink! gentle breeze changed the ambiance Afterwards we sat in the shade completely! If you haven’t seen Paul resting, with some lovely salad at work, he is very fastidious, and both dinners and fruit cocktails, and Helen and myself learned a lot that Helen told us that it had been one of day about what is required if you wish the nicest afternoons that she had to join the ranks of the Sussex Cup experienced this year. winners. Paul has won four out of the last fi ve of these! Chris Daniells (5734) It was back to basics for me, with a plan being initially sketched to South Wales Branch show the size, content and layout, something I all too often overlook. June Meeting Then on to select a font or two from Paul’s ever increasing stock of ur June meeting, courtesy of Dom typefaces. You don’t actually need to Hartley, consisted of a visit to the have this much type, but text setting OHQ of Lexon Group, at Crumlin is Paul’s forte. Now on to composition: near Pontypool. we all had a go at this, setting a Nine members had a fascinating tour line or two each, with me using a of this progressive company, which with composing stick for the fi rst time in 80 staff specialises in the printing and years! Setting-sticks, pre-determined production of packaging, display and column width and nice clean alloy point-of-sale material for a wide range furniture. Not being content with this of industries. Lexon is remarkable for its meticulous work, Paul introduced ability to bring innovation and creativity dynamic letter spacing as well. to a wide range of challenges, using After it was all set, he elevated the latest technology and with a strong me to the position of ‘stonehand’ for emphasis on self-reliance by keeping 192 almost all aspects of production in- founder of the company (Malcolm Davis) house. The plant includes lithographic, had begun many years ago printing large and small format digital print, the on key fobs and tax disc holders in his latest inkjet technology and screenprint, garage. together with extensive in-house Thanks to Dom for facilitating the fi nishing equipment. Some of the more visit and leading the tour and for the unusual products included scratch-cards ‘goody bags’ with reminders of a hugely and fl oor graphics – promotional aids informative and enjoyable visit. such as those footprints that lead to whatever we are being enticed to buy at Richard Paterson (9575) the supermarket. Use can also be made of thermochromic and luminous inks. For a group of (mostly) middle-aged letterpress enthusiasts, the visit was a mind-boggling demonstration of how printing, paper converting and packaging has changed and continues to respond to demand by evolving ever more rapidly. What we saw was made all the more impressive because the

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