For more information please get in touch with the general editors or the associate editor Sidney Shep (Sydney.Shep@vuw.ac.nz)
We are looking for contributors for entries on the following:
Proposed People/firms:
William Blades (1824-1890): printer, collector, and bibliographer; partner in London-based firm of Blades, East & Blades; researched, wrote and published Life and Typography of William Caxton, England's First Printer (1861-1863), Shakespeare and Typography (1872), The Enemies of Books (1880) and journalistic contributions; was well-connected with the London printing fraternity; library gifted to St Bride and catalogued by John Southward.
Joseph Gould ( ): author of The Letter-Press Printer (1876) who radically advocated designing type layouts before setting and locking up.
Thomas Hailing ( ): Cheltenham-based printer and proprietor of the Oxford Printing Works, whose quality design and printing epitomized by his house journal, Hailing’s Circular (1877-1889), caught the attention of the world; developed the concept of a Printers’ International Specimen Exchange which was subsequently realized by Andrew Tuer and Ye Leadenhall Press and later Raithby and Lawrence; as importer of types from Boston and St. Louis, as well as sole importer of American printing trade magazines such as The American Model Printer and The Superior Printer, Hailing was in the position of influencing contemporary British printing in many ways.
Oscar Harpel ( ): American printer based in
Robert Hilton ( ): career journalist and trade press editor; started and edited The British Printer; an astute critic of typography who initially worked with Andrew Tuer and the Leadenhall Press as the commentator on entries for the Printers’ International Specimen Exchange which were published in the Printing and Paper Trades Review; when Tuer withdrew from publication, Hilton took the PISE to Raithby and Lawrence, but after a question of legal ownership of the rights, relinquished his interest in the publication and focused on his brainchild British Printer.
Charles Thomas Jacobi (1853-1933): author of The Printers’ Handbook of Trade Recipes, Hints, & Suggestions relating to Letterpress and Lithographic Printing Bookbinding, Stationery Engraving, Etc. (London, 1887), plus The Printers’ Vocabulary , and Gesta Typographica (1897); manager of the Chiswick Press, London; writer and lecturer on printing.
John Johnson (1777-1848): printer; author of the influential Typographia; or, the printer’s instructor (
George W. Jones (1860-1942): printer, typographer and type designer; foreman at Raithby and Lawrence, Leicester and Darien Press, Edinburgh; involved with trade publications The British Printer and The Printing World; founder of the British Typographia (1887) whose aim was to consolidate employers and printers and focus on vocational, technical training.
Ye Olde Leadenhall Press: known as Ye Leadenhall Press, a London-based operation co-founded by Andrew Tuer and Field; publications were self-consciously antiquarian.
M.P. McCoy ( ): New York, then London-based printer and colleague of William James Kelly, American printer extraordinaire and founder of The American Model Printer; went to London in the mid-1880s to investigate the local printing scene, advertising Golding jobbing presses and other American printing materials; conducted trade journals The Modern Printer (1884-1888) and Typographic Chronicle.
Raithby & Lawrence: Leicester printing firm, noted for its printing of the widely disseminated and influential periodical, The British Printer; through the efforts and exacting standards of its foreman and chief typographic designer (a new profession for the time) George W. Jones, then Robert Grayson, the firm developed the so-called Leicester Free Style which was England’s answer to the artistic printing movement;
Talbot Baines Reed (1852-1893): managing director of Fann Street Typefoundry, London; bibliographer and collector, type historian and author of A History of Old English Letter Foundries (1887) as well as boys’ adventure/school stories published in Boys’ Own Paper as well as volume form; library gifted to St Bride and catalogued by John Southward.
John Smith ( ): author of The Printer’s Grammar (
John Southward (1840-1902): Liverpool-born writer and printer, educator and librarian; trained with father; co-editor of Liverpool Philosophical Magazine and Liverpool Observer; moved to London where was editor of Printers’ Register (1886-1890), then took over from Andrew Tuer the Paper and Printing Trades Journal (1891-1893); best known for Dictionary of Typography and its Accessory Arts (1872), Practical Printing (1882), Modern Printing (1898-1900). See http://www.oxforddnb.com/view/article/36200
(William) John Stonhill ( ): printer, publisher, editor of The British and Colonial Printer and Stationer and Newspaper Press Record; left Printers’ Register to open literary agency and continue work as independent journalist
Caleb Stower (1778-1816): author of The Printers’ Grammar (
Andrew White Tuer (1838-1900): co-founder of printing firm Field & Tuer (1862); proprietor of Ye Leadenhall Press,
Austin Wood’s Anglo-American Typographia (1884-1888):
The Bookbinder (1887-1889):
The Bookbinders’ and Machine Rulers’ Consolidated Union Trade Circular (1848-1890): London, Liverpool, Manchester, Glasgow; Monthly with publication rotating between union centres and taken on by different printers: W. Fearnall & Co., A. Patrick, North of England Cooperative Society, Lee & Nightingale, Aird & Coghill
Bookbinders’ Trade Circular (1850-1877):
The Book Finishers’ Friendly Circular (1845-1850):
>>>The Bookseller (1858-2005+)[done]
The Booksellers’ Record and Trade Register (1859):
The British and Colonial Printer and Stationer and Newspaper Press Record (1878-1890+):
The British Printer (1888-1889+): Leicester and
Caslon’s Circular (1875-1890+):
The Compositors’ Chronicle (1840-1843): Monthly journal printed and published by R. Thompson, subtitled “an epitome of events interesting to printers”; continued as The Printer
Effective Advertiser (1884-1890+):
English Stationer (1881-1886):
The Fancy Trades Register and Trade Circular for Stationers, Printers, Binders (1865):
Fleet-Street Gazette (1874):
Hailing’s Circular (1877-1889): Cheltenham; Quarterly from 1879; house journal of the printer Thomas Hailing who advocated for higher standards in the printing trade and proposed the concept of a Printers’ International Specimen Exchange which was subsequently undertaken by Andrew Tuer of The Leadenhall Press.
Hazell’s Magazine (1887-1890+): London; Monthly; edited by Henry Jowett; printed and published by Hazell, Watson, and Viney; subtitled “a monthly journal of literary effort, notes, news, and gossip, written entirely by, and for, the staff of Hazell, Watson, and Viney, limited”.
The Journal of the Typographic Arts (1860-1862):
The Library Circular of New and Second-hand Books (1862):
The Literary Mart and Book Exchange (1874-1876):
The Lithographer (1870-1874):
The
The
Macniven and Cameron’s Paper Trade Review (1862-1864):
The Modern Printer (1884-1888):
Music Publishers’ Circular and Monthly Trade List (1853):
The Newspaper Press (1866-1872):
Paper and Print (1879-1884):
>>>Paper and Printing Trades Journal (1872-1896):
The Paper Consumers’ Circular (1879-1882):
The Paper-makers’ Circular (1861-1863):
Paper Makers’ Circular and Rag Merchants’ and Wholesale Stationers’ Gazette and Prices Current (1874-1890+): London; Weekly then monthly from 1875; variant title [check] Paper Makers’ Circular and Wholesale Stationers’ Weekly Gazette and Price Current; title changes from v.5 The Paper Makers’ Circular; a monthly record”.
Paper Makers’ Monthly Journal (1863-1890+):
Paper Making and Selling (1881-1890?):
Paper Record (1886-1890+):
Paper-Trades News (1860-1861):
The Paper Trade Review (1883-1890+):
The Printer (1843-1845):
The Printer (1883-1888):
The Printers’ Friend (1880-1883):
Printers’ International Specimen Exchange (1880-1896):
The Printers’ Journal and Typographical Magazine (1865-1869):
The Printers’, Lithographers’, Bookbinders’, and Stationers’ Sales and Wants Advertiser (1887-1890+):
Printers’ Register (1863-1892): London; Monthly; from 1872 subtitled “with which is incorporated the Newspaper Press”; wrapper title from 1880-1883 “Printers’ Register & Bookbinders’ & Stationers’ Record”; a long-running and essential journal for the practicing printer, edited by such printer-journalist luminaries as Arthur Powell, Talbot Baines Reed, William Dorrington, John Southward, and others.
Printing Times (1873-1890+):
The Retail Booksellers’ and Bookbuyers’ Advocate (1836-1837):
Salmon’s Printing Trades Circular (1886-1890):
Scottish Typographical Circular (1857-1908):
The Stationer and Fancy Trades’ Register (1865-1890+):
The Stationer; and Papermakers’, Printers’ and Bookbinders’ Circular (1859-1865):
The Stationers’, Printers’ and Bookbinders’ Monthly Journal (1861):
Stationery and Bookselling (1888-1890+):
Stationery Trades Journal (1880-1890):
The Stationery Trade Review (1881-1891):
Typographical Circular (1854-1858): London; Monthly, subtitled “a journal devoted to the interests of the printing profession”; not to be confused with Manchester publication of same name two decades later; continues as The London Press Journal & General Trades Advocate.
Typographic Chronicle (1887-1888):
The Typographical Gazette (1846-1847):
Typographical Protection Circular (1849-1853):
Typographical Societies’ Monthly Circular (1852-1874):
Vigilance Gazette (1888-1890): London; Monthly; published by the Vigilance Association; subtitled “a monthly journal devoted to the interests of the London Society of Compositors”; variant title from 1889 The London Printers’ Circular and Vigilance Gazette.
Proposed Topics:
[a very preliminary list of topics with a few draft remarks to flesh out those in the current DNCJ]
Artistic Printing: a typographic aesthetic developed in the 1880s as a reaction to the perceived backwardness and low production values of British printing; influenced by technical innovations and mastery by American and continental European, particularly German, printers; characterized by florid use of display types, ornament, and colour; epitomized by contributions to the Printers’ International Specimen Exchange; title of influential book compiled by John Southward (1891); by late 1890s, style was deemed excessive as printers adopted emergent art nouveau aesthetic.
Co-operative Printing Societies: see <Co-operative Press> but could do with an entry on its own.
Fancy Goods: a category of ephemeral printing and stationery including cards, diaries, scrapbooks, postcards, etc., sold by printers, stationers, booksellers.
Jobbing Printing: see <Printing Presses>: jobbing printing was the bread-and-butter of printing houses, particularly those devoted to newspaper, magazine, and journal printing as opposed to book printing; jobbing presses were relatively inexpensive and portable, required only one operator, and facilitated the equivalent of print-on-demand jobs that kept healthy cash flows; jobbing presses were the mainstay of many smaller printing firms; much of the typographical experimentation feeding into the artistic printing movement from the 1880s, particularly for the Printers’ International Specimen Exchange which led to the development of specialist printing materials and attention to higher production values, was executed on jobbing platen presses.
Printers’ and suppliers’ house journals: comparable to <House Magazines and Publishers> in that they provided an opportunity for the advertising and promotion of equipment, technical tips, and innovations or were dedicated in-house publications but circulated and known more widely. They prided themselves on high production values. See Caslon’s Circular; Hailing’s Circular; Hazell’s Magazine.
Trade manuals: differ from <Trade Press> in that they break the traditional code of silence and discuss trade practices. These “how-to” manuals are, in effect, textbooks that bridge the earlier trade guilds’ tacit knowledge with their individual master-apprentice relationships and the later trade unions’ focus on organized and institutionally-based technical education.
Typographical journals: often the organ of specific printing unions, associations, or societies; expansive content with technical tips, domestic and international trade news, correspondence, advertising, literary works including poetry, reports of social events, particularly the annual printing house wayzgoose; part of a global cut-and-paste network; includes Scottish Typographical Circular, Leeds Typographical Circular, Australasian Typographical Circular, South African Typographical Journal, Typo (NZ), etc.