Posters

Matrix, a 35-volume typographical romance


Matrix; a typographical romance.

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The Puffin by Peter Allen


The Puffin

by Peter Allen

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Venice by John Craig


Venice typeface display,

By John Craig

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Whittington Summer Show, 2018


Whittignton Summer Show poster, 2017.

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Apple Girl


Apple Girl by Andrew Anderson

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Garden Birds Gather


Gardens Birds Gather was originally intended for production at the Whittington Press Open Day on 3 September where Peter is usually able to work under bright skies. Sadly rain intervened in 2016 and until now the poster, like the birds, has been kept

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It’s Hard to Tell a Lie


This quotation appeared on James Mosley’s blog, and it appealed to us as Caslon (used here) is our favourite face. 60 copies were printed for the 2009 open day, and for the Caslon Club, an esoteric group whose membership is

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Centaur


“Centaur is among the most elegant and legible of the twentieth-century romans. Designed by Brtuce Rogers and hand-cut in 1915 for casting into case, it was redrawn for Monotype and reissued in 1929, and used by Rogers for his Oxford

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When Caxton Discovered


Hilary Pepler is among the most colourful exponents of twentieth-century letterpress printing. Here he allows his gaze to fall (inaccurately, see footnote) on the origins and socio-religious history (a few references missing here) of the printed word. But his sheer

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The Master Printer


“The master craftsman is here at work, demonstrating elegant use of movable type . . . ” Enlarged from a  poster cut-out from Rudolf Koch’s Die Schriftgiesserie im Schattenbild, 1936, this poster was printed for the special copies of Matrix

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China 1953


Geoffrey Miller, for a while the printing partner of Edward Walters (see Matrix 00, pp. 00-00), was something of a mystery. Immensely talented as an engraver, but with a tiny output, nobody seemed to know anything about him until Sean

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Reynolds Stone’s Janet


When in Matrix 28 we printed Michael Harvey’s account of the digitising of Reynolds Stone’s Janet fount, we included a print from the original wood-engraving on which Reynolds had engraved each character, except for some reason the figure 5. He

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