A Bibliography of the St Dominic’s Press, 1995


The comprehensive bibliography of one of the most inspirational small presses of the twentieth century, assembled by Michael Taylor, carrying on from where Fr Brocard Sewell (who had been apprenticed at St Dominic’s, and contributes an introduction) left off.

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Edward Gordon Craig: the Last Eight Years 1958-1966, 1983


These letters from Ellen Craig, Edward Gorgon Craig’s sister, were written to her brother from France, where she was looking after her increasingly demanding and eccentric father. ‘Papa really is as strong as a horse – when he goes out

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Lost and Found, 2010


1 of 55 special copies in half-leather. When Rachel Reckitt was commissioned by Paul Elek to illustrate The Mill on the Floss just after the war, she decided, owing to the scarcity of boxwood, to cut in half a series

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Mattioli’s Herbal, 2003


1 of 50 copies in half leather. John Bidwell’s commentary on the remarkable woodblock of Asarum from Mattioli’s Herbal of 1562 in the collection of the Morgan Library in New York. A proof from the block is included with each

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Private Press Prospectuses, 2001


David Butcher sums up the history of British private presses from Kelmscott to the end of the twentieth century through the prospectuses and catalogues designed to tempt the collector to subscribe.

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Portraits of Presses, 1997


Ski Harrison’s photographic portraits of the eight most productive fine presses of the day: Fleece, Rampant Lions, Gregynog, Old Stile, Tern, I. M. Imprimit, Rocket and Whittington.

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Caslon 72pt Titling


‘Why are William Caslon’s types so excellent and so famous? To explain this & make it really clear . . .

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Caslon 12pt roman


‘Why are William Caslon’s types so excellent and so famous? To explain this & make it really clear . . .

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Caslon 12pt italic


‘Why are William Caslon’s types so excellent and so famous? To explain this & make it really clear . . .

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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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