Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest
an Honors Thesis by AnlY Duncan Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest
an Honors Thesis (HONRS 499) by Amy Duncan
Thesis Advisor Dr. Frank Felsenstein
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Ball State University Muncie, Indiana
April 2008
Expected Graduation Date: May 3,2008 Abstract
The Private Press Movement sought to revitalize printing as an art form, focusing on typography, design, and print quality rather than profits. William Morris, who was inspired by the illuminated manuscripts of the Middle Ages, was the father of the movement in England. The beautiful works of his Kelmscott Press influenced those in the United States as well. Midwest-born printers and typographers Frederic Goudy, Bruce Rogers, Edwin Grabhorn, and Robert Grabhorn made the private press their life's work. They followed the lead of Morris to become four of the most influential figures in the Private Press Movement in the United States. Although all four moved out of the Midwest to pursue printing and typography, they learned a great deal of their skill in Illinois and Indiana, showing the value of the Midwest in the Private Press Movement. Using the Frederic W. Goudy Collection and other materials available in Archives and Special Collections at Bracken Library, I curated an exhibit of 41 items called "Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest." The exhibit is on display in two portions from April 15 to July 16, 2008. I also wrote an introduction and detailed catalog for the exhibit and created a Web site. The Web site can be viewed at acdllncan2.iweb.bsu.cdll/exhibit/goudy.htm!' It will soon be hosted on the Archives and Special Collections Web site. The introduction and catalog that I designed and had bound for the exhibit are printed on the following pages. The name of this exhibit comes from a lighthearted poem titled "A Howdy to Goudy," which was written by a friend in honor of Goudy's 80th birthday. This poem will be displayed during the second portion of this exhibit, June 2 to July 16.
Ackllowledgements
I would like to thank Dr. Frank Felsenstein for advising me on this thesis. He helped me define and narrow my goals for the project and understand how an exhibit catalog should be written. If it were not for his History of the Book colloquium, I would not have been introduced to Frederic W. Goudy.
I would also like to thank Phil Deloria and John Straw from Archives and Special Collections. They helped me understand the details and technicalities that come with researching, selecting, mounting, and displaying items for an exhibit. An exhibit researched and prepared by Amy Duncan Sponsored by BSU's Honors College and by Archives and Special Collections, Bracken Library Howdy Goudy: Frederic W. Goudy and the Private Press in the Midwest
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April 15 to July 16, 2008 Archives and Special Collections, Bracken Library Room 210 Introduction All else flexible, but one promise we have made to ourselves that shall remain constant with the years: We print solely for the pleasure derived from printing, " "aid a Stone Table Press book caused him to admire the i1Iuminated in a national magazine were set in printed in 1931 (Barnes 3). manuscripts of the European Middle Goudy type" (Beilenson 3). Goudy is This sentence captures the Ages. "1 remember as a boy going to considered one of the most prolific philosophy and spirit of Canterbury cathedral and thinking type designers of the 20th century, and the Private Press Movement that the gates of heaven had been his work was greatly influenced by thatS influenced Frederic Goudy and opened to me, also when 1 first saw Morris and the Kelmscott Press. fellow Midwest-born printers and an i1Iuminated manuscript. TIlese Goudy first learned about Morris typographers Bruce Rogers, Edwin first pleasures which I discovered for and book design when he worked as a Grabhorn, and Robert Grabhom to myself were stronger than anything bookkeeper at a secondhand bookstore make the private press their life's work. else I have had in life," Morris said in Chicago. Type design and printing TI,e Private Press Movement (Needham 48). TI,e press' most were at a low point in America, but started as an offshoot of the Arts famous and impressive book was in England, Morris and others were and Crafts Movement, which began an edition of Th.e W01'ks of Geoffrey working to bring back the art of good in England during the last years of Chaucer, which was published in type and good printing. Goudy wanted the 19th century. TIle Arts and Crafts 1896 and some consider it the most to do the same in America. At the Movement started as a reaction to beautiful book ever printed. Morris time, Chicago was the place to be when the Industrial Revolution, which also designed three typefaces for the it came to do with design. Morris' ideas caused machines to separate people press: Golden, Chaucer, and Troy. and the Arts and Crafts Movement from their work. 11,e movement Morris died at his home on October first took hold in this city. TIlToughout sought for people to take pride in 3, 1896, but his legacy continued on his career, Goudy continued to look at their crafts-architecture, decorative (Burdick 111-117). the work of Morris and his Kelmscott arts, cabinet making, and others-as Press for inspiration in the tradition of artwork instead of seeing their work making printing an art (Bruckner 44). as the result of a machine ("Arts and Although Goudy is known to Crafts Movement"). be a disciple of Morris, he did not William Morris was a poet, artist, start his printing and typographical manufacturer, socialist, printer, and career until later in his life. typographer who is viewed as the Goudy was born on March 8, father of the Private Press Movement. 1865 in Bloomington, Illinois to a He was born in a rural community schoolteacher father, John, who was outside of London on March 24, also the superintendent of city schools 1834 (Burdick). As mentioned in and mother, Amanda (Keith 44). the opening quote, the philosophy Goudy dedicated one of his books, of the movement was that printing, Typologia, to the memory of his father. especially books, should be viewed He credited his father's library for first making him "a lover of books," as a skilled art form rather than a Frederic Goudy commercially based enterprise. TIwse (Goudy). following the movement used high FREDERIC GOUDY His love of lettering was also quality, often expensive paper, and hile some type designers have apparent from an early age. At the gave great consideration to design and W a few typefaces to their name, age of 16, he was wall-papering a typography as well as the quality of the Goudy designed more than 120 Sunday school room and thought the print, often done with a hand press. typefaces, many of which are still top of the room looked empty. He Private press books were often printed used today (Beilenson 4). His life is proceeded to sketch letters on Manila in a single edition in limited numbers beautifully summarized in this quote paper and created letter patterns to ("Arts and Crafts Movement"). from an editorial that was printed paste to the wall to form the Ten TIle beginning of the Private two days after his death: "He was a Commandments. Goudy eventually Press Movement is often linked to designer and a philosopher, a writer cut 3,000 characters for Bible verses to Morris' opening of his Kelmscott and a craftsman, a printer who be placed on the walls (Bruckner 42). Press in 1891. It operated until 1898, preached of beauty and utility. In his Goudy's father urged him go to school producing 53 volumes. Morris' rime he won vast acclaim and once it for engineering, but Goudy took no love of good design and calligraphy was said that half of the display lines formal training. It was not until 1894, after years the Louvre in Paris the following year, A year later he designed the typeface working as a bookkeeper and ad where he made a rubbing of a stone Bertham in her honor (Bruckner 68). designer, that Goudy decided to make tablet with a Roman inscription on it. Tragedy struck again on January printing his work and convinced Bertha was his lookout to make sure 26, 1939, when the foundry and a school teacher who he met years the guards did not catch him. After print shop were destroyed in a fire before, C. Lauron Hooper, to back returning to the United States, he along with more than 75 original type him financially. TIley originally designed a typeface called Hadriano, designs and 107 typeface matrices. named their press the Booklet Press, which was almost a replication of Soon Goudy converted his library which was later changed to the the type from the rubbing (Bruckner into his new workspace and began Camelot Press. In 1896, at the age of 54-55). casting matrices for the University 31, he sold a set of capital letters for In 1911, he was receiving attention of California Old Style, which he $10 to the Dickinson Type Foundry from commercial publishers and made exclusively for the University of in Boston, who named the typeface was commissioned to design a type California Press. Goudy also kept busy Camelot. Goudy only asked the for an H.G. Wells book. He named during the final years of his life with foundry for $5, so he was pleased with the type Kennerley, which became speaking engagements, dinners with the result of his first experience in the first type to be sold overseas and friends, and serving as typographic professional type design. However, the earned $25,000 in sales and royalties counsel for the Lanston Monotype press failed in late 1896 and Goudy (Boone 116). TIlat year, at the age of Machine Company from 1939 until his went back to bookkeeping and some 46, is when Goudy said "he stopped death (Boone 118). free lance design work in typography being an amateur and took up type After living a full life, Goudy died of and book covers (Boone 115). designing as a profession," which he a heart attack at Deepdene on May 11, Goudy's life changed forever when credited greatly to his visits to Europe 1947 at age 82. Tributes to his life and he married Bertha Sprinks in 1897. (Bruckner 55). work soon followed (Bruckner 72). TIle two had been a couple for several After several more visits abroad, years and were called best friends by Goudy and Bertha founded their many who knew them. Bertha became estate, Deepdene, on the Hudson Goudy's typesetter for the press and River in Marlboro, New York around after several years of working at it, she 1923. Here they set up the Village became quite skilled with the job. In Press and Village Letter Foundry in an 1898, she gave birth to the couple's old mill (Cave 130). son, Frederic T. (Bruckner 45, 48). In 1920, Goudy became the art In 1903, Goudy and a young director for the Lanston Monotype associate, Will Ransom, founded Machine Company, which kept him the Village Press in Goudy's barn busy sketching many different types. in Park Ridge, Illinois. All they had However, his friend, Robert Weibking, at the time was one hand press and cut the matrices that would later be some type. Their goal was to design used to cast his type. Even so, Goudy books that were beautiful as a whole, had always thought that when his and, not surprisingly, the first book type was cut it did not have the same they printed was an essay by William qualities and feeling with which he had BRUCE ROGERS Morris called Printing. Goudy also originally drawn it. In 1925, he was ne of those who wrote designed the Village Press typeface commissioned by the Woman's Home tributes to Goudy was his as the official typeface of the press. Companion to design a new typeface. O contemporary and good Over the next 35 years, the Village However, his matrix cutter, Robert friend Bruce Rogers, an Indiana Press went on to produce more than Weibking, died. Goudy decided to do it native. Born on May 14, 1870 in 160 books of various sizes and more all himself and started a true foundry at Lafayette, Rogers was one of the most than 75 other pieces (Bruckner 66). the Village Press, teaching himself how well-known book designers of his Ransom withdrew from the business to make patterns, grind cutting tools, time, as the following quote explains. when the Goudys moved to Hingham, and cast type. He did all of this, whicll is "But I have been talking over your Massachusetts in 1904. TIle press was very precise work, without the use of his shoulder to the man or woman who moved again to New York in 1908 right eye, which had been blinded some will some day pick up this book idly (Cave 130). years earlier. Goudy served as the art on a friend's table and ask, What Goudy's first trip to Europe in 1909 director for Lanston Monotype Maclline is all this about typography, Who is is one that he credited with making Company until 1939 (Boone 118). Bruce Rogers, What is he, that so him fall even more in love with type Although Goudy was gaining fame many intelligent people in so many letrering (Beilenson 33). In England, and producing new typefaces on a countries should have to know so he met Morris' associate, Emery regular basis, the next few years were much about him? Those questions Walker, who introduced him to many filled with tragedy. His wife and can be answered not by any of the printers in London. Goudy also visited work partner, Bertha, died in 1935. monographs or articles about you; but by looking at what you have done," Riverside Press." Rogers died in 1957 in New Fairfield, Beatrice Warde wrote to Bruce Rogers He also commented on their Connecticut. in a letter on why a bibliography of his Midwestern upbringings, saying, work should be completed (Haas 6-7). "Though the setting of your life and Rogers attended Purdue University labors at that period was very New where he drew initials and drawings Englandish you brought with you for the student newspaper, The from the West something of the Exponent, and the yearbook, Debris. energy and of the spaciousness of the In 1890 he received his bachelor's Midwestern towns and prairies that degree and moved to Indianapolis we both had known." to work as an illustrator, in the time In the same letter Rogers also made before photographs were used, for the references to the influence of Morris lrulianapolis News. However, Rogers on both Rogers and Goudy, although did not stay long at the newspaper and he noted Goudy was a much more took jobs as a landscape painter, as a devout follower: "You have kept closer press worker for a railroad office, and to the spirit of his example than most as a draughtsman (Bennett 15-19). of us have done; yet so far as I can Edwin Grabhorn In 1893, Rogers began working recall, without having copied anything for his friend J.M. Bowles' quarterly that Morris did." Modem Art, and Rogers moved Goudy and Rogers remained close to Boston in 1895 to join Bowles friends, writing leners when they designing pages, decorations, and could not visit each other all the initials. Bowles was the first person to way until Goudy's death. Numerous introduce Rogers to Morris' work, and books, tributes, and letters exist in Bowles bought Kelmscott volumes which they share their admiration for directly from Morris and sent copies one another's work and friendship. As of his work to Morris for critique. another example of their friendship, While still working for Modem Art Rogers signed the 1938 letter "your until 1897, Rogers took a job with everlasting friend and admirer" (Pi, Houghton Mifflin designing books 94-97). from 1896 to 1912. Rogers married In 1916, Rogers and his wife moved to Anna E. Baker in 1900, and also London where he worked for the Mall Robert Grabhorn worked at the Riverside Press from Press and later worked as a printing 1900 to 1912. For the next four advisor to the Cambridge University EDWIN AND ROBERT years he worked as a free-lance book Press, the Harvard University Press, and GRABHORN designer associated with Montague the Oxford University Press, for which wo brothers, Edwin and Robert Press and the Metropolitan Museum he designed the Oxford Lectern Bible Grabhom, just a generation of Art Press, for which he created the in 1935. T younger than Goudy and Centaur typeface (Bennett 21-30). When designing the Bible he tried Rogers, saw these men as two of their 11le exact date that Goudy and Goudy's Newstyle, which Goudy greatest mentors. Edwin was born Rogers first met is unclear, but had given to him with the approval on October 30, 1889 in Cincinnati, in a 1938 letter from Rogers to to make whatever changes he felt Ohio, and in 1900 Robert was born. Goudy, Rogers described their first necessary. However, after making 11le brothers grew up in Indianapolis meetings and said they first became some modifications, Rogers decided (Magee). acquaintances about 30 years earlier. Newstyle was "too striking in effect" Edwin was the first to learn Around that time Goudy was living for his purpose of creating a Bible. printing, working in his uncle's music in Hingham, Massachusetts operating Goudy also engraved the letters H, 0, printing shop starting at age 14. He the Village Press, and Rogers was L,Y, B, I, and E from Rogers' drawings moved to Seattle in 1909 to pursue working in Boston at the Riverside in German silver and stamped the this career but instead fell in love Press. In the letter Rogers said, title of the leather-bound copies of with letterpress printing after meeting "Neither of us had a motorcar at that Rogers' Oxford Lectern Bible (An Henry A. Anger, the local art printer. date and it was something of a journey Account of the Making of the Oxford Anger introduced Edwin to two to go from East Lexington across Lectern Bible). fonts designed by Goudy, Forum and Boston to Hingham, or vice versa; In 1939, the American Institute Kennerley. Edwin noted the moment but the trips to the Hingham that we of Graphic Arts put on a major he saw these fonts: "TIley were not made to visit you and Bertha always exhibition of Rogers' work. In 1943, for the hands of a novice, I was told; stood out in my life at that time, as a Rogers wrote his first book, Paragraphs and it was then that I felt the urge to welcome relief from the monotonous on Printing, and lO years later he become a good enough craftsman to routine I had got myself into at the published his second book, Pi. be able to use them."
3 Four years later, Edwin moved back his work because he claimed there OTHER COLLECTIONS to Indianapolis to improve his skills was nothing special about it. A tribute he libraries at the University as a printer, and in 1915, he opened after his death said this about him: of Delaware, Columbia his own press shop, TIle Studio "Indeed, no matter how long he T University, and the Claremont Press, with his brother Robert. TIle lived here nor how much he gave to Colleges are a few places that have Grabhorns became the art printers of the City, Ed always kept something extensive Goudy collections. 11le Indianapolis. After gaining enough of the Midwesterner about him, Library of Congress Rare Book confidence in his printing skills, that Midwest which represents the and Special Collections Division Edwin began sending print samples to heartland of America. TIlere was includes both Goudy and Rogers Goudy and Rogers in 1918. A year later something of the Hoosier way of materials. Vassar College has the he received a letter from Goudy that speech in his voice and there was third largest Village Press collection said, "your work ... shows a degree of something too of the simple Midwest and also includes books designed by original thought that is commendable, in his style" (Hart 2). Rogers. Rogers and his wife donated only marred by inadequate execution." TIle atmosphere of the Grabhom a large collection of his books and Over the years Goudy became a friend Press was said to be very laid back, manuscripts to Purdue University, and advisor to Edwin. visitors were always welcomed, and and the Beinecke Rare Book and In 1919, Edwin sold the Studio Edwin disliked firing people. He Manuscript Library at Yale University Press to his best client and with would tell someone who he was firing has a collection of many of Rogers' Robert and a limited amount of type, that tlle press was closing and only papers. TIle University of Maryland's moved to San Francisco (Wentz). tllat person would not return to work Private Press Collection includes In 1920, the brothers printed their the next Monday. A good friend said Grabhom Press and Village Press first "book," Diogenes in London by of the brotllers, "When Ed was away, materials, including the Village Press' Robert Louis Stevenson, which was the shop went to pieces. When Bob 1903 printing of Morris' essay Printing. only 14 pages long although it was hard was away, Ed went to pieces. TIley TIle University of Rochester and cover. Over the next years the brothers made a good team." Ed was a master the University of Missouri also have continued printing books in limited pressman and Robert was a good private press collections featuring editions and other publications such as compositor (Hart 20). the Grabhorn and Village presses. travel journals. Edwin retired from printing in A great deal of press equipment and Edwin and Robert were original 1966 to concentrate on finishing type from the Grabhorn Press is still members of the Roxburghe Club of a collection of Japanese prints, his located in San Francisco at the Arion San Francisco, which was a "happy other love. Edwin died in December Press and Grabhorn Institute. band of book lovers" that began in 1968 (Magee). TIlis was the end of the Most itenls in the Frederic W. 1928. TIle Grabhom Press printed original Grabhom Press and that year Goudy Collection in Archives and Walt Whitman's Leaves of Grass in Robert joined with a younger man, Special Collections at Ball State's 1930 using Goudy's Newstyle type, Andrew Hoyem, who had worked Bracken Library corne from the and this work is considered their at the Grabhom Press to form the personal collection of Bently Raak, a masterpiece. Goudy's typefaces were Press of Grabhom Hoyem. Robert friend of Goudy. some of their favorites to work with Grabhom and Hoyem used Grabhom (Arion Press). Press printing equipment and type BIBLIOGRAPHY TIle Grabhom Press became one in their venture. Robert died in June "TIle Arts and Crafts Movement." of the most well-known and highly 1973, and Hoyem bought the rest of Arts and Crafts Collection. praised presses in Califonlia, some the Grabhorn equipment continuing Cheltenham Art Gallery and saying it helped make San Francisco on under the name Arion Press, Museum. 31 Mar 2008
4 1946.
Bruckner, D.J.R.. Frederic Goudy. New - York: Harry N. Abrams, Inc., 1990. Burdick, John. WiUiam Morris: Redesigning the World. New York: New line Books, 2006.
Cave, Roderick. The Private Press. 2nd. New York: R. R. Bowker Company, 1983.
Goudy, Frederic W. Typologia. Berkeley, CA: University of California Press, 1940.
Haas, Irvin. Bruce Rogers: A Bibliography. Mount Vernon, NY: Peter Pauper Press, 1936.
Hart, James D. A Tribute to Edwin Grabhorn and the Grabhorn Press. San Francisco: The Friends of the San Francisco Public library, 1969.
"History of the Arion Press." Arion Press. Arion Press. 31 Mar 2008
Keith, Judy. "Goudy: Man of Letters." The Graphic Arts Monthly. Nov. 1965: 44-47.
Magee, David. In Memoriam, Edwin Grabhorn 1889-1968. San Francisco: Roxburghe Club of San Francisco, 1969.
Needham, Paul. WiUiam MOTTis and the Art of the Book. New York: Pierpont Morgan Library, 1976.
Rogers, Bruce. An Account of the Making of the Oxford Lectern Bible. Philadelphia: Lanston Monotype Machine Company, 1935.
Rogers, Bruce. The Centaur Types. West Lafayette, IN: Purdue University Press, 1996.
Rogers, Bruce. Pi. New York: World Publishing Company, 1953.
Wentz, Roby. The Grabhorn Press: A Biography. San Francisco: Book Club of California, 1981.
5 Catalog Apri115 to June 1 CASE #1 7. Goudy, Frederic W. Evening at • • Deepdene: An essay by Frederic W. FRU )F!)J(' \V. l ;l )t TN Goudy, A wood-engraving by John I'll( lTl)S AN!) \1Ftv1( m.ARIIIA DePoL lanston Monotype Machine Company. 1. Goudy, Frederic W. "The Type In this essay, Goudy writes about his Speaks." New York: 1933. love of his home at Deepdene and TIlis sheet was printed for an the nature surrounding it. TIlis essay exhibition at the Museum was set in Goudy's Californian type. of Science and Industry that honored the Village Press, and 8. Photo of Deepdene in 1927 the American Institute of Graphic Arts sponsored it. TIle keepsake 9. Photo of rubble after tile 1939 fire was set in Deepdene Italics and at Deepdene that destroyed Goudy's Goudy designed and composed it. Village Press workshop and foundry It was printed by hand on Arnold along with more than 75 original unbleached paper from the Japan type designs Paper Company. 10. Photo of Goudy receiving Printing 2. Photo of Goudy sitting next to Industry of America Certificate of working pattern Honor Goudy received a certificate of ).500 years 0/ printing, 1440·1940: Case # 1, 5. Village Press Printer', Mark a waterTTUlrk portrait 0/ Frederic W. honorary life membership in the Goudy. 1940. privately for his friends. TIlis copy is Printing Industry of America from 97 of the 200 printed privately. the association's president, James TIlis watermark portrait of Goudy Newcomb. It was presented to was printed on handmade paper Goudy on December 18, 1946. from the Worthy Paper Company s. Village Press Printer's Mark of West Springfield, Massachusetts Goudy drew this original drawing 11. Printing Industry of America to celebrate 500 years of printing. as the printer's mark for the Village Certificate of Honor. September 11, It was printed in Goudy Light Press in 1903. 1946. Italic for the 1940 Northampton Book Festival and presented by 6. Goudy, Frederic W. Bertha M. Goudy received countless awards the Hampshire Bookshop and the Goudy, recollections by one who knew for his work in the fields of printing Worthy Paper Company. her best. Marlboro, New York: TIle and type design, including dle gold Village Press, 1939. medal of the American Institute of 4. Goudy, Frederic W. The Story 0/ the Graphic Arts, the medal of honor of When Goudy's wife, Bertha, died dle Ulster·Irish Society of New York, Village Type. New York: 11le Press of in 1935 it was difficult for Goudy to the Woolly Whale, 1933. and dlis one given by the Printing continue with his work. A year later Industry of America. In this book, Goudy tells the story he designed the typeface Bertham of designing the Village type and in her honor, in which this book lists all his type, what year they were was set. TIle border around Bertha's CASE #2 designed and for what they were portrait and the border on the title designed. TIle book was printed in page were drawn by Bertha in 1898. Goudy's Village, Village No.2, and Howard Coggeshall reprinted the 1. Proofs of Goudy's typefaces Goudy Antique typefaces. Also, 450 book at his press in Utica, N.Y., and Newstyle and Lining Gotilic copies of this book were printed for 300 copies were made for friends members of the American Institute with none for sale. TIlis copy was Goudy's philosophy was that a of Graphic Arts, and Melbert B. autographed by Goudy for Bently typeface would be good not because Cary printed 200 more copies Raak. individual letters were perfect, but because there was harnlony
6 throughout the whole design. Goudy would then trace this metal Goudy's overall goal was to move block in the vertical pantograph as away from the grotesque type of he first did with dIe cardboard. TIle the time and return to simplicity pantograph was adjusted so dlat the and beauty in type that was also brass matrix that was cut would be readable. He concentrated on dIe point size of the type that was improving upon classic typefaces desired. The matrix is the mold like Garamond, Bodoni, Didot, from which dIe final type is cast. and Caslon to create a modern Roman typeface. Goudy designed W. "Riano" Case #2, 2. "5 t,petac", drawn to til< same scak" only a handful of gothic and sans Goudy visited the Louvre in Paris serif typefaces. 111is proof of Goudy in 1910, where he made a rubbing Newstyle is labeled No. 44, and the of a stone tablet with a Roman proof of Goudy's lining Gothic, inscription on it. After returning one of his few sans serif typefaces, is to the United States, he designed a labeled No. 41 from 1924. typeface called Hadriano, which was almost a replication of the type from 2. "5 typefaces drawn to the same dIe rubbing. TIlis paper shows an scale" inked drawing of the typeface. TIl is proof of Goudy's typefaces Case #2, 6. No. 106 master pattern Deepdene Italic, Mediaeval, Village 1 L "Aqua Vitae" #2, Text, and Goethe shows how letter was cut out of dIe cardboard Goudy also proclaimed dlt' idea types drawn to the same scale have widl a sharp, thin knife that was that a new typeface should not be differences in "letter body" height held perpendicular to the cardboard readily noticeable to readers. If it is a but the same "type body height." to produce a clean cut. TIlis cut out good typeface, readers will enjoy the "E" would be ready to be glued to beauty of dIe book, but not be drawn 3. Goudy's original 7 Yz inch drawings another piece of cardboard. to dIe novelty of a new typeface. Goudy drew his typefaces freehand, He said dlat original designs were which caused irregularities. 6. No. 106, No. 111 master patterns never actual original. TIley had to However, Goudy did not see these Once dIe letters were removed, he have been taken from somewhere. as imperfections, but planned glued dIe cut out cardboard to a However, typefaces should have additions to dIe character of the heavier piece of cardboard. TIlis a "quality of distinction." He was typeface. Before sketching, Goudy sunken pattern of letters became dIe sometimes criticized for this belief, as laid out five lines of boundaries for master pattern for creating matrices. some said all of his designs were too the letters, which determined their Goudy finished dIe pattern for dIe similar or stole the designs of odler height, mickness, and variation. All University of California accents at people's works. This printing was set of his original drawings were seven dIe end of August 1941 and dIe No. by Berdla Goudy in Village Text and and a half inches tall. Type dlat 111 patterns in early May 1944. Franciscan. Goudy sketched never ended up exacdy like the final product, and 7. Photo of Goudy in his workshop 12. "Deepdene Italic: A new type Goudy would get rid of typefaces using a magnifying glass to cut out drawn and cut by the designer if he did not like the preliminary patterns February 21, 1929" proofs. Goudy would also label Goudy began numbering his these sketches widl dates and check 8. Photo of Goudy engraving the typefaces in 1926 when he starting off letters after he was satisfied with working pattern from dIe master cutting and casting his own type. their appearances. 111is sketch is pattern He cut his own letters because he labeled No. 91. The dates indicate A machine called a pantograph was sometimes displeased widl the that he finished working on these at reproduced and reduced the size of way dIe foundry men cut them. the beginning of August 1939. the letters to two and a half inches. As Aldlough most designers of the Goudy carefully followed the recessed time did not cut dleir own matrices 4. Photo of Goudy drawing a typeface pattern of me letters wim a thin because of the precision it took, tracing point widl steady pressure, a Goudy believed that people with ';. No. 110 cut out pattern revolving cutrer cut dIe letters into design training should use machines TIle completed design was metal. TIlis metal block of type is as well. TIl is proof is a trial of traced onto cardboard, and any known as dIe "working pattern." Deepdene Italic. In September irregularities were smoodled out at 1927, Deepdene became the first this point. Goudy used a magnifying 9. Photo of Goudy in front of vertical type that Goudy himself cut in a lens to make his cuts precise. Each pantograph machine variety of sizes. June 2 to July 16 CASE #1 mentor. TIlis tribute was printed a A Howdy to Goudy year after Goudy died for private distribution on Hamilton Andora paper. 1. Goudy Gaudeamus: in celebration of \.£1.'.4" all you rounders, stL'P lip and !:lay ~lowdy the dinner given Frederic W Goudy on To the one and the only F. Double-you Goudy; 5. Frederic William Goudy: An hi.l 74th birthday, March eighth, 1939. Tis: a good time indeed for his friends to be matcy, For this is the day when Fred Coudy is eighty. appreciation. Philadelphia: Lanston New York: Distaff Side, 1939. Ye
8 occasions with Goudy. TIle Goudy friends, and Goudy said in 1940 but endUring tradition of artist Society took a "pilgrimage" to that he and Rogers had been friend printers, from William Morris Deepdene in 1972. TIlis keepsake for more than 36 years. to Leonard Baskin, who have for the Goudy Society includes Goudy's friend found this persisted with little encouragement photos of the Goudy home in 1947, 12- page letter in a pile of debris from the market-place, who have the old mill at Deepdene, Goudy's almost unscathed a few weeks after created books that incorporate with workshop, and the Village Letter a fire destroyed his Village Press. textual message a strong feeling Foundry. Goudy gave the original letter to for appropriate style and tasteful the manager of the University of embellishment. TIle most obvious ') . Twenty Years of the Frederic W Goudy Califomia Press, Sam Farquhar. of book embellishments, printer's Award. Rochester, NY: Press of Farquhar wrote to Rogers asking his omament, also seems to have the Good Mountain, Rochester pemlission to reproduce the letter provoked a personal nostalgia in Institute of Technology, School of and publish it for organizations the work of several of these creative Printing Management and Sciences, to which both Goudy and Rogers designers of books. For Morris the 1988. belonged: TIle T ypophiles, N .Y.; need for onlament was obsessive, TIle Rochester Institute of TIle Folio Club of the University; for Francis Meynell characteristic, Technology began giving the 11le Roxburghe Club of San and for Bruce Rogers one of the Frederic W. Goudy Award to Francisco, and others. most recognizable aspects of his deserving members in the graphic Rogers gave permission but typographic style." TIlis book is copy arts community in 1969. TIlis book thought no one would be interested 193 of 250 copies printed. was put together to celebrate the in the letter. However, Goudy 20th anniversary of the first award disagreed. He said, "What craftsman 3. Photo of Bruce Rogers and includes biographies of all of wouldn't be interested when the the winners. Herman Zapf, creator opportunity for such an intimate 4. Rogers, Bruce. An Account of the of the typefaces Palatino and association with the world's greatest Making of the Oxford Lectern Bible. Optima, won the first award, and living typographer was presented?" Philadelphia: Lanston Monotype Goudy's friend Edna Beilenson won Machine Company, 1935. in 1980. TIlis book was printed in a l. Floscu/i Sententiarum: Flowers TIle Lanston Monotype Machine edition of 5,000 copies. Moralised. Northampton, MA: Company asked Bruce Rogers to Gehanna Press, 1967 write a first-person account of the Besides being a talented book making of the Oxford Lectem Bible, CASE #2 designer, Bruce Rogers was which he designed and did the RRn T R(X;ERS, EDWlN known for his drawings and use of typographical work for, because the (;RAJH1( lRN, AND ROnERT onlamentation. TIle printing office company thought it was historically CR.'\p,j I( )RN at Yale University Library received sign ifican t. a large collection of original type A few years earlier, the librarian 1. Goudy, Frederic and Bruce Rogers. ornaments that Bruce Rogers at Windsor Castle was looking for BR to FWG. Berkeley, CA: owned and used in his design before a Bible that would make a good gift University of Califomia Press, 1940. his death in 1957. TIle collection from King George to the Memorial includes a group of traditional Church at Ypres. However, he found Rogers wrote this letter to Goudy printer's flowers, which have no folio Bible "handsome enough on January 19, 1919 when Rogers been used in design since the 16th for that purpose." TIle Oxford was an advisor to the Cambridge century. Leonard Baskin arranged University Press decided it should University Press in England upon these flowers to his own style, create such a Bible that could be the receipt of Goudy's recently creating mottos printed in various used as a pulpit book and was also publi~hed book, The Alphabet. In languages. TIle decorations, initial work of art. At this time, Rogers the letter, which was written during caps and lettering were printed was living in England and the press the end of WWI, Rogers thanked with beautiful color, including red, consulted him about type and Goudy for sending him his new yellow, and green. 11le typeface used design of the pages. book and said he thought of Goudy for the lettering is Rogers' Centaur. Rogers first began work on and Bertha's meals as the rations Dale R. Roylance, who was the the Bible six years before it went down. curator of graphic arts at Yale was published and started He went on to complain about University Library at the time experimenting with type in January his work, saying he was doing work wrote a description of why the 1929. Rogers first experimented that any good composing room book was made: "TIle graphic arts with his own typeface, Centaur, foreman could do, and the quality are fortunate that alongside this which he had created in 1915. of the presswork was not as high modem Colossus of artistically However, he thought the pages were as it should have been. The banter indifferent publishing and too airy with Centaur and stopped is what you would expect of old printing there has been a small experimenting with it.
9 Next he tried Goudy's Newstyle, like pansies, lilacs and valentines; which Goudy had given to him printing that came from the soil and with the approval to make whatever was not refined in the class-room. n changes he felt necessary. After 11lis excerpt was printed for Goudy making some modifications, Rogers Day June 17, 1972. decided Newstyle was "too striking in effect" for his purpose of creating 8. Montale, Eugenio. Mottetti: The a Bible. Rogers soon returned to Motets of Eugenio Montale in Italian Centaur at the pushing of those with Facing English Translation by at Oxford University Press. Rogers Lawrence Kart. San Francisco: Press shortened stems and compressed of Grabhorn Hoyem, 1973. rounded loops, resulting in the new With the retirement of Edwin typeface, Bible Centaur. Grabhorn in 1966 and later his Completed material was sent to death in 1968, the era of dle Oxford in November 1929, and the Grabhorn Press ended. Robert first proofs of Genesis carne out in Grabhorn then joined with Andrew Case #2, 5. "In Memoriam" December. It took nearly four years to Hoyem to create the Press of complete the work. Rogers said, "So 1 from various books printed at dle Grabhorn Hoyem. TIlis book of venture to say that I believe this Bible Grabhorn Press. These include: poems was Robert's final project to from beginning to end, to be the ' -TIle Red Badge of Courage be typographically involved widl. finest and most consistent example by Stephen Crane/Random He died on June 14, 1973, and dle of composition and make-up that has House/1931 book was to come out in September. been produced in our day." -Carrie Van Wie/Book Club A printed notice of Robert's death 11le Oxford Lectern Bible is of California! 1963 (painting of was included with this book. Hoyem 1,238 pages widl a type page that Alcatraz) had this to say of his partner: is 9 by 13 inches, printed on a leaf -Grab horn Press Bibliography/ "His presence these past 7 years 13 by 18 Y1 inches. Each copy was David Magee/1956 as teacher, colleague, and friend, made up of two volumes weighing -TIle Hundredth Book by inspired and enabled a second 16 pounds each. Rogers took 40 David Magee/TIle Book Club of generation to continue the tradition copes to distribute in America California/1958 of fine printing in San Francisco." and 180 copies were sold for $265. -Phaedra translated by Agnes The 21 poems in this book were One Bible was printed on special Tobin/John Howell/1958 written between 1933 and 1939 and handmade fiber paper and leather -Anthony and Cleopatra! were addressed to a woman who bound for the Library of Congress, lllustrated by Mary Grabhorn/1960 fled Italy to escape political and which cost $1,200, and was paid for -TIle Tragedie of King Lear/ religious persecution. TIle book by voluntary contributions. Goudy lllustrated by Mary Grabhorn/1959 was printed and bound in Oriental engraved the letters H, 0, L,Y, B, -Oedipus/Illustrated by Mary fashion with 300 copies printed, I, and E from Rogers' drawings in Grabhorn/ 1962 (includes selling for $25 each. It was also Gennan silver and stamped dle title illustration on leaf) signed by the author and translator. of the leather bound copies.
6. Photo of Edwin Grabhorn 9. Photo of Robert Grabhorn 5. Magee, David. In Memoriam, Edwin Grabhorn 1889·1968. San Francisco 1969. ' 7. Grabhorn, Edwin. Fwg: An Excerpt concerning Frederick W Goudy from an Amy Duncan researched and wrote the Upon Edwin's deadl in December address by Edwin Grabhom befare the introduction and catalog for this exhibit 1968, the Roxburghe Club put Roxburghe Club of San Francisco May 15 for her spring 2008 undergraduate honors together dlis tribute to his life with 1933. TIle Weadler Bird Pr~, 1972. ' thesis. She also designed these pages using an introduction by fellow member the Goudy Old Style typeface. She was This excerpt is from a speech Edwin David Magee. Magee wrote, "And advised by Dr. Frank Felsenstein and Grabhorn gave to the Roxburghe now that Edwin has gone, the world assisted by Phil Delaria and lohn Straw. Club of San Francisco about will mourn the loss of a master All items listed in this catalog are from printing his most famous book craftsman, but the Roxburghe Archives and Special Collections, Ball Leaves of Grass by Walt Whitm:n. Club will mourn, as well, the loss State University Libraries, located in He said he could not figure out of a friend indeed." TIlis tribute Bracken Library Room 210. what type to use, but then he saw includes pictures of Edwin at work an old case of Goudy type. When and his daughter Mary and at work he used it "He saw strong, vigorous, on his press. Marjorie Farquhar, simple printing-printing like wife of Sam Farquhar, took dlese mountains, rocks and trees, but not photos. It also includes eight leaves
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