Matrix is above all a good read, a visual treat, and a unique record of the renaissance of fine printing that was initiated by the foresight of William Morris, and that continues to this day. Edited, typeset, printed and distributed from its home at Whittington, there is nothing else quite like it, nor is there likely to be. From its premises in Gloucestershire (once described by one of our first American visitors as ‘a shack’, but who nevertheless seemed tempted to make us an offer for the whole thing) it has made great efforts over the years to see at first hand what the rest of the world is up to, and its coverage of the work of other presses around the globe has been unusual.
It seldom strays pre-1900, preferring to record what is in living memory for the researchers of the future. Recently, having in earlier numbers recorded the exploits of pre- and post-war presses, often in the words of those who were personally involved, it has included the activities of more recent printers who have grasped Gutenberg’s technology with both hands, realising, as Alan Kitching and Celia Stodhard wrote in Matrix 26, ‘though locked tight in metal, it is amazing how liberating letterpress can be.’
All of our books are bound at The Fine Book Bindery, Wellingborough.
Matrix 35 looks like being an unusually full and varied issue (even by its own standards, see over). We break our golden rule of ignoring the outpourings of the Whittington Press: there is a telling account of the . . .£90.00 Add to cart
Once upon a time it was possible to drive from England to India, in the days when there was a Shah in Persia and a King in Afghanistan, and the Khyber Pass was still negotiable. A succession of Land Rovers, VW Campervans, and in one case a Mercedes bus still advertising its destination in Berlin, made the journey in the sixties and early seventies until revolutions and invasions put an end . . .£235.00 Add to cart
Matrix 34 encompasses a wide variety of topics, united by its primary interest in printing by letterpress, from metal type. This preoccupation can take many forms, and includes this year . . .£90.00 Add to cart
Paul Wakeman was recruited in 1986 when the Oxford University Press was in the process of discarding its Monotype equipment and installing computers. With his help John Randle ferried car-loads of printing machinery . . .£12.50 Add to cart
Venice is at last back from the binders, having been on the press for most of 2015. The 80 wood-engravings, and some linocuts, some with colour, have made the book a printer’s challenge. John Craig’s use of white space has, as with Britten’s Aldeburgh (2000) and The Locks of the Oxford Canal (1985), been critical, and the asymmetric imposition of type and images is based upon his precise layouts.£235.00 Read More
Matrix 33 contain some 160 pages, including 8 pages of colour plates; type specimens printed in Sweden, Italy, America and the UK; and many other linocut, and line and colour illustrations. The contents includes: ‘A Hard Rain’s Gonna Fall’: Protest£90.00 Add to cart
The 32nd issue of Matrix, the annual ‘Review for Printers and Bibliophiles’, is now published. Printed by letterpress in a variety of Monotype faces from hot metal (‘as God intended’, as the Revd Bernard Roberts, an early and regular Matrix£90.00 Read More
Text by Rosalind Randle, linocuts by Judith Verity, this classic of kitchen literature and family life has gone through five editions.£25.00 Add to cart
Andrew Anderson’s linocuts on a monumental scale. Indescribable, but the inspiration probably includes mediaeval architecture, Eric Gill, the holy spirit, and the tradition of fine printing on an Albion press.£600.00 Read More
John Craig never met his grandfather Edward Gordon Craig, who lived then in the South of France, but these affectionate letters show that the old man appreciated and fostered his grandson’s emerging talents. George Ramsden tracked down the life of£90.00 Add to cart
1 of 28 special copies in full leather. This is the second, and so far the latest, volume of the Press’s bibliography. It was a decade in which the Press consolidated its activities to date and, taking advantage of having£1,850.00 Add to cart
In 2002 Brian Hanscomb’s studio was tragically destroyed by fire, everything went including many of the copper engravings, and the nineteenth-century paper we had sent him for our next book. The Phoenix is a celebration of the rebuilt studio, and includes those images which could be repaired, as well as new ones, accompanied by Brian’s haiku.£300.00 Add to cart