150 copies, 20 x 15 ins, set in 22-point Caslon and printed on a heavyweight Zerkall mould-made paper, one poster tipped into each double-page spread, with accompanying commentary.
Matrix 30, which celebrates the fourth decade of the series, is in proof and will be published later in 2011. Its customary diverse range of topics includes Kenneth Tynan, the diaries of Tirzah Ravilious, letters from Edward Gordon Craig to his grandson, the Septentrio Press, wood type from the Hamilton Type Museum, printers’ obituaries, Brazilian favela printing, the Art and Technics series, Klingspor Typefoundry, engraving on the Mississippi, Rowley Atterbury and the Westerham Press, the wood-engravings of Geoffrey Miller, and much else besides, including a rich and varied mixture of broadsides, engravings and prints.
‘Matrix … a clear and spacious attic, whose dormer windows overlook fields and trees, and in which one comes across new or forgotten, sometimes exotic, treasures.
‘… that annual miracle.’ THE BOOK COLLECTOR
‘Matrix describes doings by people with great skill. But the real, and enduring strength and greatness is there is not a whisper of greed or commercialism.’ WILLIAM MASLAND, ARIZONA
Hello again Rosalind, … I woke up tonight and panicked – I thought Matrix 29 should have been out already and that I missed it!! What a nightmare … Anyway, I look forward to it, now that I have calmed down...
11 x 7½ ins, about 200 pp, 630 copies case-bound in light boards £135
70 copies quarter-bound in Oasis goatskin and marbled papers, with a separate portfolio of additional material, in a slipcase, £365
In February 2009 the north Cotswolds were covered by a brief but deep fall of snow. A fairytale landscape of changing shapes and patterns appeared overnight, and beside the predictable snowman on the village green a habitable igloo even appeared. Miriam Macgregor at once ventured out into this unfamiliar snowscape with sketchbook and camera, and these engravings, mostly full-page, are the ideal medium for their subject. This is the third book of Miriam’s engravings in which all the subjects are within walking distance of her cottage.
Miriam is also planning another pochoir title, Chimneys in the Sun which as with New Castle (1998) and A House by the Sea (2005), will largely be taken up by our regular subscribers because of the small size of the edition.
10 ½ x 7½ ins, 32 pp, hand-set in 16 point Centaur and printed on Zerkall mould-made paper, with 24 wood-engravings, in an edition of 255 copies.
200 copies are case-bound in wrap-around decorated papers, in a slipcase. £145 (£115 before publication)
40 copies half-bound in Oasis goatskin and decorated papers, with a portfolio of a selection of proofs of the engravings, in a slipcase. £235 (£185 before publication)
15 copies bound in full leather decorated with inlays to a design by the artist, with a separate portfolio of proofs of the engravings, and with one additional colour engraving, in a leather-backed solander box. £485 (£425 before publication)
13 x 8½ ins, about 112 pp, set in 12-point Van Dijck and printed on Somerset and Zerkall mould-made papers, with about many linocuts and wood-engravings, and about 50 colour facsimiles of pochoirs and coloured linocuts, in an edition of 350 copies.
250 copies full-bound in paper printed with a colour image of one of Vance’s watercolours, in a slipcase. £175 (£145 before publication)
50 copies will be half-bound in Oasis goatskin, with a separate portfolio of a selection of proofs of the wood-engravings and colour images, and 9 original items printed by Vance, in a slipcase. £325 (£275 before publication)
40 copies will be bound in full Oasis goatskin, with printed endpapers and with a portfolio of proofs of the engravings and linocuts and colour images, and a portfolio of 20 pieces of original printing by Vance, including several booklets, and original pochoirs, etchings and linocuts, all in a leather backed solander box. £850 (£750 before publication)
13 x 9½ ins, about 64pp, set in 13-point Bodoni and printed on Zerkall mould-made paper with about 35 wood-engravings, and some linocuts, in an edition of 300 copies.
185 copies half-bound in buckram and decorated paper sides, in a slipcase, £195 (£165 before publication)
40 copies half-bound in Oasis leather and decorated paper sides, with a portfolio of proofs of a selection of the engravings, in a slipcase, £295 (£245 before publication)
15 copies bound in inlays of Oasis leather by Lester Capon to a design by the artist, with a portfolio of engravings of the wood-engravings and linocuts, and an additional linocut, in a leather-backed solander box.
Sandy Connor’s exquisite wood-engravings have a style and scale all of their own. Living as she does in upstate New York, with a barnful of hens and geese and a garden full of flowers, fruit and vegetables, readers of her first Whittington Press book, BUSY AS A BEE, will know that she is happiest with the fruits of the earth as her subject matter. BORROWED SEEDS also takes some of its inspiration from the nearby Shaker Museum at Old Chatham. The Shakers were early garnishers of seeds which they sold in attractively decorated seed packets, and the theme of this book is the borrowed seeds from both private and public gardens which have found their way into Sandy’s garden. She has re-created four Shaker seed packets, decorated with her own hand-coloured engravings, examples of which are included with each copy of the edition.
7¾ x 5 ½ ins, 64 pp, printed in 14-point Caslon on Zerkall Silurian mould-made paper with 12 wood-engravings, some hand-coloured, in an edition of 185 copies.
150 copies half-bound in buckram with pattern paper sides, £95 (£75 before publication)
35 copies half-bound in Oasis leather with decorated paper sides, with a separate portfolio of proofs of the engravings, in a hinged and decorated wooden Shaker seed box, £215 (£175 before publication)
Sandy’s Connors’ work can be seen at www.sandyconnorshoneybeepress.com
One of the Press’ most ambitious and spectacular recent publications was David Butcher’s PAGES FROM PRESSES, published in 2006. Its notable feature was the of original leaves from the Kelmscott, Ashendene, Doves (including a vellum leaf in the special copies), Vale, Eragny and Essex House Presses. This second volume will take the story up to the Second World War and beyond, and include David’s accounts of the Golden Cockerel, Gregynog, Nonesuch, Shakespeare Head, Haslewood, Cresset and, interestingly, the Curwen Press. Once again it will be accompanied by original leaves from each Press, mounted on generously sized guards so that each side is readily accessible. These will demonstrate the varying typographical styles of the presses and show the typefaces, illustrations, decorative elements and papers they used. The original leaves chosen include some of the major works from the presses, such as the Golden Cockerel Canterbury Tales engraved by Eric Gill.
The book will be a handsome volume in its own right, printed on Czech Losin hand-made paper. The leather editions contain additional and more elaborate specimen leaves, and the full-leather edition has a separate portfolio of additional leaves. The buckram, Roma hand-made and marbled paper, and leather used for the bindings, will all be in green to complement the red used for the earlier volume, which was sold out on publication.
15 ½ x 11 ½ ins, about 112 pp, set in 14-point Walbaum and printed on Czech Losin hand-made paper in an edition of 185 copies.
95 copies contain 10 original leaves and are half-bound in buckram and Fabriano Roma hand-made paper, in a slipcase. £285 (£245 before publication)
40 copies contain 15 original leaves and are half-bound in Oasis leather and paper marbled by Christopher Rowlatt, in a slipcase. £675 (£550 before publication)
50 copies contain 20 original leaves, chosen to show the variety of illustration, ornament, typography and paper used by each Press, some as double-page spreads. Bound in full Oasis leather with endpapers marbled by Christopher Rowlatt, with a portfolio of additional leaves, all in a leather-backed solander box. £1350 (£1150 before publication)
Paul Kershaw is one of the most innovative and original wood-engravers of his generation. For twenty years he has lived on the Isle of Skye, walking and climbing throughout the seasons in the Cuillins, one of the most dramatic mountain ranges in the British Isles. His images of the mountains and the sea around them, many using the multi-block techniques he has pioneered, are a testament to his love and understanding of that challenging landscape. He has recently moved back to his native Yorkshire, and finally this long-planned book is beginning to take shape.
Readers of his ‘High Places and Extended Views’ in Matrix 20 will know how evocatively Paul describes the scene before him in words as well as in pictures. Surprisingly, this book will be the first time these two talents of Paul’s have come together between the same covers. They will combine to describe the inspiration he draws from the mountains. As he wrote in Matrix 20, ‘An integrated life, a personal harmony, that is what I thought I could achieve; a unity of purpose to put beside all those layers of mixed up notions, indecisive ambitions and constructed intents with which I was more usually dogged. No revelation, nothing pretentious, just a quiet assurance. By the time I reached the road only a residue of certainty remained, but it was enough.’
Paul will be closely involved with the design and printing of the book, and will do the printing of the multi-block engravings himself. It will be one of the most unusual recent items to come from the Press, and one we have been eagerly anticipating for some years.
13 x 9 ins, about 64 pp, set in Poliphilus type and printed on Zerkall (for the engravings) and Hahnemuhle (for the text) mould-made papers in an edition of 225 copies.
175 copies bound in half-buckram and decorated papers sides, in a slipcase. £225 (£175 before publication)
45 copies half-bound in Oasis goatskin and decorated paper sides, with a separate portfolio of plates of a selection of the engravings, with an additional coloured print printed by the artist, in a slipcase. £485 (£425 before publication)