DOCSLIB.ORG

Artists of the Golden Era There Was Magic in Their Names Papers of the Post-1918 Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artists of the Golden Era There Was Magic in Their Names Papers of the Post-1918 Period OCT. -DEC., 1943 No. 14. Vol. 1. Printed and published by Wm. H. Gander, P. 0. Box 60, Transcona, Manitoba, Canada . .........-. -..-�----..-..-..-..-.--.-..-.-........_.._ .. .......... ......,. -- In This Number -- Artists of the Golden Era There Was Magic In Their Names Papers of the Post-1918 Period---Part 2 ;,,........ ..................... -...,,... ••• w....... .-.... ..,,. .. ...._ ... ___ .... ..,. .... .........-. ��@@@@@@Q��a@@@@�@@@@ : : AN AMATEUR MAGAZINE : : 01' GJf Hb EVERY AGE has its gods during this decade: the Aldine and the sentimentalist, cherish­ and Henderson libraries, "Nug­ ing the memory of the books gets," "Boys' Champion Story which brought colour and Paper," "Big Budget," "Boys' romance to his own youth is Leader/' ''Jester," "Boys' Friend," naturally biased in their favour. "Marvel," "Union] ack,""Pluck," So at the risk of appearing pre­ "Boys' Herald," "Boys' Realm," judiced in favour of my own "Gem," 11Magnet1" etc., all fresh boyhood idols, I venture ro and vigorous, untouched in chose assert that the period from 1900 blissful days by the blight of the to 1910, so often referred ro as 1914/18 conflid which was des­ the Golden Age, is the out­ tined to end so many of them. standing period in the history Compared with these, the pres­ of modern boys' literature. No ent-day boys' papers published comparison is intended with prior ro the war, particularly the the older boys' journals and fantastic rubbish spewed from romances, misnamed Penny the house of Thomson, seem Dreadfuls by the bigoted who very poor stuff indeed. condemned the whole for the After the first thrill of seeing worst faults of the few. Indeed, his old favourites once again, comparison is impossible for the the sentimentalist usually finds old Dreadfuls were essentially chat the stories have lost their produds of a more leisurely age, grip and no longer stir his blood varying widely in conception as of old but the illustrations and merit, whereas the modern have become far more interest­ boys' papers bear the scamp of ing and the desire to know more mus produdion. Thus the early of the personalia behind them years of the present century may grows. Unfortunately, not a lot be regarded as the transition is known of the artists them­ period when the individuality selves but a brief survey of their of the old combined with com­ adivities may be of interest to mercial enterprise of the new to collectors. produce papers of range and quality unsurpassed by any since FIRST and foremost comes the produced. evergreen Robert Prowse who Consider the many finepapers started in the far off 'sixties which appeared or were running illustrating "Black Bess," "Char- PAGE 160 By JOHN G-ULDBN ERA MEDCRAFT ley Wag," "Blueskin" and many Turpin" and "Claude Duval" more and who was still active in Libraries. 1920. From 1895 to 1910 he was principal Aldine artist and his O F THE MA Y ARTISTS of cover illustrations of the Claude varying merit who devoted their Duval Library are works of art talents to boys' literature of the of their class, correct to the past hundred years, the greatest smallest detail of Cavalier cos­ were the grand Henderson tume. He illustrated many of artists John Proctor (Puck) and • the covers of "Dick Turpin," W. Boucher. Their fine work "Robin Hood," "Jack Sheppard," appeared in the "Boys' Cham­ "Red Rover," "Spring Heeled pion Story Paper," "Nuggets" Jack," "True Blue," and the later and the final "Giantland" re­ issues of "Tip Top" and "Detec­ prints of the period but all jllus­ tive Tales." Prowse's best work trations were reproduc1ions of was done between 1900 and 1910 woodcuts from "Young Folks" but he turned out some poor of an earlier day so with regret stuff in later years, probably we pass on. through necessity rather than Another notable Henderson choice, but reverted to his best artist was Fritz Braun, a natur­ in the coloured covers of the alized German who developed "BuffaloBill Novels" of post-war his latent ability in the "Young years. Although exclusively an Folks" Literary Tournament, a Aldine artist, Prowse illustrated training ground which produced a few numbers of "Pluck" for many talented men and women, the Amalgamated Press in 1909. and later became a staff artist. F. W. Boyington, who was His early work appeared in responsible for most of the other "Nuggets" and the "Boys' Cham­ cover illustrations, had a similar pion" and is seen at its best in style to Prowse with whom he is the fine coloured covers of the S:)metimes confused but lacked "Wild West Library." Without the latter's individual touches, being quite so versatile or finished both good and bad. His work as Prowse he had a pleasing style is invariably signed, sometimes and l, for one, liked his work in full but more often initials better. Braun was afterwards on only and the best examples the editorial staff of the "South are to be found in the "Dick London Press" but had an un- PAGE 161 PAGE162 THE STORY PAPER COLLECT OR OCT.·DEc .. 1943 fortunate time during the last latter paper he created a humor­ war on account of his German ous character named Dreamy antecedents. He died around Daniel who regularly each week 1921-22. fell asleep in circumstances which induced a ridiculous Phil Ebbutt was responsible dream adventure with the awak­ for the exrra illustrations to the ening as an anti-climax. l recall final Henderson reprints of one such adventure which never '"Giantland" and similar stories. fails to raise a chuckle at the He copied Proctor's style very mere thought. At the srart of well and the youngsters liked Lloyd George's Old Age Pension them better until their immarure scheme Dreamy Daniel falls judgment grew more discerning. asleep reading about it and Ebbutt illustrated the covers of dreams that he visits countless the short-lived "Rob Roy Lib­ Post Offices in numberless dis­ rary" and many of the "Nugget" guises and amasses a huge pile and "Lion" Libraries, while his o of money only to be aroused to earlier work can be f und in stern reality by his landlady with " uggets" and the "Boys' Cham­ a bill for overdue room rent pion." Sound but lacking in in her hand. Nonsensical, of versatility, he was at his best course, but funny. Dreamy in school story illustrations. Daniel outlived Henderson's, Two other widely dissimilar and first Hearst and later the Henderson artists come to mind, Amalgamated Press tried to con­ one whose human subjects were tinue his somnolent adventures lean and angular, hungry look­ via another artist, but the ing individuals with prominent George Davey touch was lack­ Adam's apples, yet attractive in ing and Dreamy Daniel expired. their way; the other with a oMIC PAPERS of 1900-10 style reminiscent of the old faker C were things of joy and far more artists-short stocky characters, adult than their modern infan­ almost dwarfish, invariably clad tile prototypes which, to be quite in what appeared to be rough fair, are more suitable for chil­ tweeds. Who these two artists dren. What old boy can ever were l could never discover. forget Airy Alf and Bouncing Then George Davey, primarily Billy whose adventures ran a comic artist, whose work ap­ throughout the eleven year run peared frequently in "Scraps," of the "Big Budget," Happy Ike, "Pictorial Nuggets," "Comic Gloomy Gus and the Bunsey Life" and "Lot-o-fun." In the Boys in the "Jester," Happy OcT.-DEc .. 1943 THE STORY PAPER COLLECTOR PAGE 163 Harry and Neglecl:ed Jim in their novitiate on the staff of "Comic Cuts," Professor Radium comic papers. in "Puck" and, above all, the evergreen Weary Willie and THE Amalgamated Press pa­ Tired Tim in "Chips." The pers or, to be exact, the papers late Tom Browne created Willie afterwards controlled by this and Tim and was paid fourteen giant combine, introduced and pounds for each weekly front developed from crudity to com­ page of six pictures. After a petence many artists of varying few years his creations became ability. None reached the pin­ something of an obsession and nacle of their profession bur all Browne began to dream of them knew their job and did it well. -they got on his nerves-so he As boys we recked little of dropped them and another ar­ artistic technicalities, of line and tist carried on in his stead. Bur shade, depth and background­ the foundation laid by the arr we wanted thrilling, dramatic of Tom Browne lasted and ro­ and humorous illustrations de­ day, despite rigours and restric­ picting rhe characters and inci­ tions of wartime, Weary Willie dents with reasonable skill and and Tired Tim survive, purile accuracy. And this, brightened travesties of their former selves by the rosy glow of boyhood bur still running after 45 years. memories, is all that the senti­ To ascertain the identity of mentalist seeks today. the majority of the old comic As a purely personal expres- paper artists is sion of opinion, difficulr,forrheir 1 rare Arthur work was rarely This article, written in Eng­ Clarke and J. signed - r hat land at about the same time Abney Cum­ stage of compar­ "Writers and Illustrators" mings as the out­ ative affluence in our last issue was being standing Harms­ had nor yet been printed in Canada, is along worrh artists of reached, and somewhat similar lines to Mr. the period. only the style H. A. Puckrin's contribution. Clarke illustra­ affords c 1 u es However, as Mr. Medcraft ted widely dif­ ro the identity. writes of artists only and ferent types of But it is certain covers more territory, it has stories in the that many well been thought desirable to "Boys' Friend," known b 1 ack print it in this issue, rather "Boys' Realm" and white artists than hold it over until later.
Load more

Recommended publications
  • THE STOR Y Rarjer
    THE STORy rArJER JAl\.LARY 1954 COLLECTOR No. 51 :: Vol. 3 6th Chri,tma' J,,ue, The Magner, i'o. 305, December 13, 191 "l From the Editor's NOTEBOOK HAVE Volume I, the first 26 name pictured in The Srory Paper issues, of the early Harms­ Collet!or No. 48, but the same I worth weekly paper for publisher, Rrett), a "large num· women, Forger-Me-Nor, which ber" of S11rpris�s, Plucks, Union was founded, I judge - for the Jacks, Marwls, and True Blues cover-pages are missing-late in were offereJ at one shilling for 1891. In No. 12, issued probably 48, post free to any address. Un­ in January 1892, there is mention like Forgec-Me-Nors in 1892, these of a letter from a member of papers must have been consi­ The Forget-Me-Not Club. ln the dered of little value in 1901. words of the Editress (as she What a difference today! calls herself): IF The Amalgamated Press A member of the Clul> tt•rites IO had issued our favorite papers inform me rha1 she inserted an ad­ in volumes, after the manner of vertisement in E x change and Mart, Chums in its earlier years, there offering Rider Haggard's "Jess" and would doubtless he a more Longfellow's poems for a copy of plentiful supply of Magnets and No. 1 of Forget-Me-Not, l>ut she Gems and the rest today. They did not receive an offer. This speaks did not even make any great 1'0lumes for 1he value of the earl: prndicc of providing covers for numbers of Forger-Me-Not.
    [Show full text]
  • The Reception and Commemoration of William Speirs Bruce Are, I Suggest, Part
    The University of Edinburgh School of Geosciences Institute of Geography A SCOT OF THE ANTARCTIC: THE RECEPTION AND COMMEMORATION OF WILLIAM SPEIRS BRUCE M.Sc. by Research in Geography Innes M. Keighren 12 September 2003 Declaration of originality I hereby declare that this dissertation has been composed by me and is based on my own work. 12 September 2003 ii Abstract 2002–2004 marks the centenary of the Scottish National Antarctic Expedition. Led by the Scots naturalist and oceanographer William Speirs Bruce (1867–1921), the Expedition, a two-year exploration of the Weddell Sea, was an exercise in scientific accumulation, rather than territorial acquisition. Distinct in its focus from that of other expeditions undertaken during the ‘Heroic Age’ of polar exploration, the Scottish National Antarctic Expedition, and Bruce in particular, were subject to a distinct press interpretation. From an examination of contemporary newspaper reports, this thesis traces the popular reception of Bruce—revealing how geographies of reporting and of reading engendered locally particular understandings of him. Inspired, too, by recent work in the history of science outlining the constitutive significance of place, this study considers the influence of certain important spaces—venues of collection, analysis, and display—on the conception, communication, and reception of Bruce’s polar knowledge. Finally, from the perspective afforded by the centenary of his Scottish National Antarctic Expedition, this paper illustrates how space and place have conspired, also, to direct Bruce’s ‘commemorative trajectory’—to define the ways in which, and by whom, Bruce has been remembered since his death. iii Acknowledgements For their advice, assistance, and encouragement during the research and writing of this thesis I should like to thank Michael Bolik (University of Dundee); Margaret Deacon (Southampton Oceanography Centre); Graham Durant (Hunterian Museum); Narve Fulsås (University of Tromsø); Stanley K.
    [Show full text]
  • Bibliography
    BIbLIOGRAPHY Arnold, Bruce. “The Yeats Family and Modernism in Ireland.” In The Moderns: The Arts in Ireland from the 1900s to the 1970s, edited by Enrique Juncosa and Christina Kennedy, 24–25. Dublin: Irish Museum of Modern Art, 2010. ———. Jack Yeats. New Haven, Connecticut: Yale University Press, 1998. ———. “An Old Dog for a Hard Road: Synge and Yeats in the Congested Districts.” Times Literary Supplement, December 16, 1994, 12. ———. A Concise History of Irish Art. London: Thames and Hudson, 1969. Arrighi, Gillian. “The circus and modernity: a commitment to the ‘newer’ and ‘the newest’.” Early Popular Visual Culture 10, No. 2 (2012): 169–185. Arscott, Caroline. “Convict Labour: Masking and Interchangeability in Victorian Prison Scenes.” Oxford Art Journal 23, No. 2 (2000): 123–142. Bailey, Peter. Popular Culture and Performance in the Victorian City. Cambridge: Cambridge University Press, 1998. ———. “Introduction: Making Sense of Music Hall.” In Music Hall: The Business of Pleasure, edited by Peter Bailey, vii–xxi. Milton Keynes: Open University Press, 1986. Barber, Fionna. Art in Ireland since 1910. London: Reaktion, 2013. Barrett, Cyril. “Irish Nationalism and Art II, 1900–1970.” Studies: An Irish Quarterly Review 91, No. 363 (2002): 223–238. ———. “Irish Nationalism and Art, 1800–1921.” Studies: An Irish Quarterly Review 64, No. 256 (1975): 393–409. Beaty, Bart. Comics Versus Art. Toronto: University of Toronto Press, 2012. Berger, John. About Looking. London: Bloomsbury, 2015. Blackbeard, Bill. Sherlock Holmes in America. New York: Harry N. Abrams, 1981. © The Author(s), under exclusive license to Springer Nature 263 Switzerland AG 2021 M. Connerty, The Comic Strip Art of Jack B.
    [Show full text]
  • Glasgow Cinema Programmes 1908-1914
    Dougan, Andy (2018) The development of the audience for early film in Glasgow before 1914. PhD thesis. https://theses.gla.ac.uk/9088/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The development of the audience for early film in Glasgow before 1914 Andy Dougan Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow May 2018 ©Andy Dougan, May 2018 2 In memory of my father, Andrew Dougan. He encouraged my lifelong love of cinema and many of the happiest hours of my childhood were spent with him at many of the venues written about in this thesis. 3 Abstract This thesis investigates the development of the audience for early cinema in Glasgow. It takes a social-historical approach considering the established scholarship from Allen, Low, Hansen, Kuhn et al, on the development of early cinema audiences, and overlays this with original archival research to provide examples which are specific to Glasgow.
    [Show full text]
  • Read Ebook {PDF EPUB} the Ultimate Book of British Comics by Jon Howells British Comics: a Cultural History
    Read Ebook {PDF EPUB} The Ultimate Book of British Comics by Jon Howells British Comics: A Cultural History. The specifically British contribution to the history of comics and cartoons remains under-researched and underappreciated. While there is a growing critical literature on such high-profile figures as Alan Moore, Neil Gaiman, and Grant Morrison, huge swathes of British cartooning history have been neglected by critics, historians, and fans. As James Chapman points out in his informative new study, the “work of Martin Barker and Roger Sabin represents the only sustained academic engagement with comics in Britain… the British comic has never achieved the cultural cachet of the bande dessinee , but nor has it found a popular mythology equivalent to the American superhero tradition.” While Chapman might also have pointed to Paul Gravett and Peter Stanbury’s 2006 book on Great British Comics: Ripping Yarns and Wizard Wheezes , his larger point is a valid one. Not only has “scholarly attention” been “thin on the ground,” fan culture in Britain often evinces a greater interest in second-tier Marvel characters than indigenous creators and titles. The so-called “British invasion” of the 1980s and 1990s is the conspicuous exception precisely because it left its mark on the American mainstream. Both the scope and the scale of British cartooning are worth emphasizing. The medium’s early development was profoundly influenced by the work of satirical print artists such as William Hogarth (1697-1764), James Gillray (1757-1815), and George Cruikshank (1792-1878), as well as by various London-based illustrated magazines of the nineteenth century, such as Punch , the Illustrated London News , and Pictorial Times .
    [Show full text]
  • Look and Learn a History of the Classic Children's Magazine By
    Look and Learn A History of the Classic Children's Magazine By Steve Holland Text © Look and Learn Magazine Ltd 2006 First published 2006 in PDF form on www.lookandlearn.com by Look and Learn Magazine Ltd 54 Upper Montagu Street, London W1H 1SL 1 Acknowledgments Compiling the history of Look and Learn would have be an impossible task had it not been for the considerable help and assistance of many people, some directly involved in the magazine itself, some lifetime fans of the magazine and its creators. I am extremely grateful to them all for allowing me to draw on their memories to piece together the complex and entertaining story of the various papers covered in this book. First and foremost I must thank the former staff members of Look and Learn and Fleetway Publications (later IPC Magazines) for making themselves available for long and often rambling interviews, including Bob Bartholomew, Keith Chapman, Doug Church, Philip Gorton, Sue Lamb, Stan Macdonald, Leonard Matthews, Roy MacAdorey, Maggie Meade-King, John Melhuish, Mike Moorcock, Gil Page, Colin Parker, Jack Parker, Frank S. Pepper, Noreen Pleavin, John Sanders and Jim Storrie. My thanks also to Oliver Frey, Wilf Hardy, Wendy Meadway, Roger Payne and Clive Uptton, for detailing their artistic exploits on the magazine. Jenny Marlowe, Ronan Morgan, June Vincent and Beryl Vuolo also deserve thanks for their help filling in details that would otherwise have escaped me. David Abbott and Paul Philips, both of IPC Media, Susan Gardner of the Guild of Aviation Artists and Morva White of The Bible Society were all helpful in locating information and contacts.
    [Show full text]
  • Comics and Graphic Novels Cambridge History of The
    Comics and Graphic Novels Cambridge History of the Book in Britain, Volume 7: the Twentieth Century and Beyond Mark Nixon Comics – the telling of stories by means of a sequence of pictures and, usually, words – were born in Britain in the late nineteenth century, with Ally Sloper’s Half-Holiday (Gilbert Dalziel, 1884) and subsequent imitators. These publications were a few pages long, unbound, and cheap – and intended for working-class adult readers. During the twentieth century, bound books of picture stories developed in Europe and North America, and by the end of the century had become a significant factor in British publishing and popular culture. However, British comics scholarship has been slow to develop, at least relative to continental European and North American comics scholarship, although specialist magazines such as The Comics Journal, Comics International and Book & Magazine Collector have featured articles on British comics, their publishers and creators. Towards the end of the twentieth century, the work of Martin Barker and Roger Sabin began to shed new light on certain aspects of the history of British comics, a baton now being taken up by a few scholars of British popular culture1, alongside a growing popular literature on British comics2. 1 For a recent overview, see Chapman, James British comics: a cultural history (London, 2011). 2 Perhaps the best example of this is Gravett, Paul and Stanbury, Peter Great British comics (London, 2006). By the beginning of the twentieth century, Harmsworth dominated the comics market they had entered in 1890 with Comic Cuts and Illustrated Chips. Their comics provided the template for the industry, of eight-page, tabloid-sized publications with a mixture of one-panel cartoons, picture strips and text stories, selling at 1/2d.
    [Show full text]
  • Prosthetic Body Parts in Literature and Culture, 1832 to 1908
    Prosthetic Body Parts in Literature and Culture, 1832 to 1908 Submitted by Ryan Craig Sweet to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, March 2016. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Ryan Sweet 1 [This page is intentionally left blank.] Ryan Sweet 2 Acknowledgements This thesis was generously funded by the Arts and Humanities Research Council. I am eternally grateful for their support. I also appreciate the support of the other funding bodies, including the British Society for Literature and Science, the Social Sciences and Humanities Research Council of Canada, the Wellcome Trust, and the College of Humanities at the University of Exeter, whose funding has enabled me to discuss work from this project in a variety of stimulating venues. I would like to offer sincere thanks to my supervisors Dr Jason Hall and Dr Richard Noakes, whose astute comments and attention to detail have shaped this thesis into the piece that it is today. Perhaps more so than anyone else, I owe Dr Hall a lot of gratitude for his support. If it was not for his encouragement, interest in my ideas, and commitment to my professional development, I would not have pursued a postgraduate degree in the first place.
    [Show full text]
  • Journal of Stevenson Studies Volume 8
    Journal of Stevenson Studies Volume 8 Stevenson8.indb 1 01/10/2011 16:04 ii Journal of Stevenson Studies Stevenson8.indb 2 01/10/2011 16:04 Journal of Stevenson Studies iii Editors Professor Linda Dryden Professor Emeritus Centre for Literature and Roderick Watson Writing English Studies School of Arts and Creative University of Stirling Industries Stirling Napier University FK9 4LA Craighouse Scotland Edinburgh Tel: 01786 467500 EH10 5LG Email: [email protected] Scotland Tel: 0131 455 6128 Email: [email protected] Contributions to volume 10 are warmly invited and should be sent to either of the editors listed above. The text should be submitted in MS WORD files in MHRA format. All contributions are subject to review by members of the Editorial Board. Published by The Centre for Scottish Studies University of Stirling © The contributors 2011 ISSN: 1744-3857 Printed and bound in the UK by Antony Rowe Ltd. Chippenhan, Wiltshire. Stevenson8.indb 3 01/10/2011 16:04 iv Journal of Stevenson Studies Editorial Board Professor Richard Ambrosini Professor Gordon Hirsch Universita’ di Roma Tre Department of English Rome University of Minnesota Professor Stephen Arata Professor Katherine Linehan School of English Department of English University of Virginia Oberlin College Dr Hilary Beattie Ohio Department of Psychiatry Professor Barry Menikoff Columbia University Department of English Professor Oliver Buckton University of Hawaii at School of English Manoa Florida Atlantic University Professor Glenda Norquay Dr Jenni Calder Department of
    [Show full text]
  • Design Of, and the Identification of Factors Involved in the Digitisation of the Comic Book
    Dissertation submitted in partial fulfillment of the requirements for the degree of M.A. in Digital Culture and Technology, King’s College London, 2005. Design of, and the Identification of factors involved in the digitisation of the Comic Book Ross Howard Spencer Kings College London Supervisor: Willard McCarty The total length of the dissertation (text and footnotes) is .9,839 words. Candidate’s signature: 1 Abstract This study looks at the relevance of the comic book to culture. It attempts to show that beyond the significance and the meaning conveyed in the medium, is the material form of the comic that is just as relevant as cultural and historical evidence. This project goes some way to highlighting the considerations that need to be made in looking at the digitisation of comic books and related forms for preservation and further and enhanced access for academic study. A number of exploratory prototypes have been created to illustrate the difficulties involved and to provide a platform for further research and development in this area. 2 Contents: Chapter 1: Introduction Chapter 2: The Comic Book Chapter 3: Prototype Chapter 4: Discussion Chapter 5: Conclusion Tables: Table 1: A Selection of Scanlation sites on the Internet Table 2: Tools used to develop Gameboy Prototype Table 3: GBA Prototypes Figures: Figure 1: James Gillray: The Death of Admiral Lord Nelson – in the moment of Victory! Figure 2: The Temporal Map Figure 3: Spatially Juxtaposed Figure 4: GBA Book Reader Screenshot Figure 5: Focusing the Frame Figure 6: 8 x 8 Pixel Grid Figure 7: Maplin Catalogue by ActivePoint 3 Acknowledgements Sarah E.
    [Show full text]
  • Printing History News 23
    Printingprinting History history news 23 News 1 The Newsletter of the National Printing Heritage Trust, Printing Historical Society and Friends of St Bride Library Number 23 Summer 2009 ST BRIDE LIBRARY Glyn Farrow, clerk to the governors Pierre Delsaerdt: The typographic and director of St Bride Foundation design of C. Plantin’s dictionaries DONATION said ‘We are deeply appreciative of the compared with the layout of Robert Klaiber family for this generous dona- Estienne’s lexicographic work. Work- The St Bride Library has received a tion. It is indicative of the strong sense ing with Cornelis Kiliaan, the compiler generous donation of £15,300 from of community among the staff, volun- of the Dictionarium Teutonico-Latin- departing assistant librarian, Elizabeth teers and visitors to St Bride Founda- um, Plantin had a wider array of type- Klaiber and her family (including her tion’. faces to draw upon to manipulate the parents Isabelle and Bruce Klaiber). It The new mobile shelving follows macro- and micro-structures of his will be used to fund the St Bride Foun- recent renovation work to the library dictionaries than did Robert Estienne. dation’s continuing redevelopment including the construction and opening This work will compare the two in programme, which aims to improve of the new reading room in 2007. A terms of their relative ‘retrieval’ access to the 50,000 books, 3,500 second phase is also planned, to create qualities. periodicals, catalogues and directories even more storage space to house the and numerous artefacts including more historic printing collections. Fiona Ross: Linotype’s letter-drawings than 1,500,000 pieces of historical for hot-metal Tamil characters (1936): type which the Library holds.
    [Show full text]
  • Early British Comics and the Investigation of Popular Culture, C.1890 - C .1902
    DUBLIN CITY UNIVERSITY School of Communications 'ONE HUNDRED LAUGHS FOR ONE HALFPENNY': Early British Comics and the Investigation of Popular Culture, c.1890 - c .1902 A Thesis submitted to Dublin City University in candidacy for the degree of Doctor of Philosophy Marcus Free January 1990 DECLARATION I, Marcus Free, being a candidate for the degree of Doctor of Philosophy as awarded by Dublin City University, declare that while registered as a candidate for the above degree I have not been a registered candidate for an award of another University. Secondly, that none of the material contained in this thesis has been used in any other submission for any other award. Further, that the contents of this thesis are the sole work of the author except where an acknowledgement has been made for assistance received. Signed Date Marcus Free Signed Date Professor Farrel Corcoran Head - School of Communications Dublin City University Signed Date Professor James Curran Goldsmith's College University of London ACKNOWLEDGEMENTS I would like to thank the following people, without whose advice, encouragement, patience and practical assistance this work would have been impossible. My supervisors, Dr. Desmond Bell and Professor Farrel Corcoran. Fellow postgraduates Niall Meehan, Tanya Kiang, Pat Campion, Raymond Boyle, Jean O' Halloran, Celia Keenaghan, Meldy Pelejo and Enda Scott for a combination of critical feedback, typing, proof­ reading, empathy and lunchtime company through the smog-bound winters. John Fleming for his typing and punctuational corrections. The staff of the School of Communications and the library staff at Dublin City University, especially Ann Rafter for the inter-library loan service.
    [Show full text]