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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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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Le Tourbillon


This Matisse head appeared in the first issue of Verve, that feast of inspiration first published by Teriade in Paris in 1937. Le Tourbillon is from Truffaut’s film Jules et Jim of 1962. They first came together by chance in

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