started
life in 1971 in the Cotswold village of Whittington, the
result partly of an early enthusiasm for Caslon type, Albion presses and
hand-made paper, and partly the wish to escape from London publishing jobs
at the weekend.The Whittington Press (Open Day Click here for details )
started
life in 1971 in the Cotswold village of Whittington, the
result partly of an early enthusiasm for Caslon type, Albion presses and
hand-made paper, and partly the wish to escape from London publishing jobs
at the weekend.
At that time, in 1971, Richard Kennedy had just finished illustrating and writing (in that order) his A Boy at the Hogarth Press, which took us a year of weekends and holidays to print on an 1848 Columbian hand-press, and which we published to general acclaim in 1972.
In 1974, the Press took over
our lives as a full-time business, and has grown immeasurably as other
printers have discarded their outdated letterpress machinery, and as we
elongated our one-time gardener's cottage at Whittington to accommodate
those items which caught our eye, including a large collection of Monotype
casting equipment.
The Press has now published
some 150 titles, including belles lettres, collections of wood-engravings,
bibliographies of other presses, type specimens, and our internationally-acclaimed
review for printers and bibliophiles, Matrix, now in its twenty-first year. We have always kept our numbers small, so we can concentrate solely
on the end product. Rose Randle
does the administration, John Randle the
printing, Miriam Macgregor is compositor, and Peter
Sanderson the typecaster.
The Press holds an open day, usually in the afternoon of the first Saturday in each September, at which a few other presses also show off their latest wares. John Randle is president of the Fine Press Book Association, an international group of printers, collectors, librarians, booksellers and others interested in fine printing. For further details of the FPBA, click here.
Our home page contains details of the books we plan to publish. If you would like a copy of our latest Newsletter, please e-mail us or write to us at:
The Whittington Press
Lower Marston Farm
near Risbury
Leominster
Herefordshire HR6 0NJ
Great Britain
Tel: +44 (0) 1885 400250
Fax: +44 (0) 1885 400666
e-mail: rose@whittingtonpress.plus.com
For details of our books, click Catalogue index or just scroll on down.
For our address and contact points, click Co-ordinates
.
.
.
CATALOGUE INDEX ....Click on any title for details
BY JOHN O'CONNOR March 1999. Thirty-six wood-engravings by John O'Connor with an introduction by the artist, and with a foreword by John Randle.
Since 1992, John O'Connor has contributed a monthly wood-engraving to Richard Ingrams' Oldie magazine, illustrating essays on English life and the countryside by Germaine Greer and Candida Lycett Green. This selection of thirty-six of the engravings forms a portrait of English landscape, buildings and people that is engagingly observed and recorded by John O'Connor. His sympathy with the English countryside and his knowledge of its architecture are evocatively demonstrated in these engravings. John O'Connor learned to engrave under Eric Ravilious and John Nash at the Royal College of Art in 1933, and his images of the English landscape and people have appeared almost without interruption since then. The Press published The Wood Engravings of John O'Connor, with a commentary by his wife Jeannie, in 1989, and People and Places continues the story of John's wood-engraving into its sixth decade.
PEOPLE AND PLACES. 8.75 x 6 ins, 96pp, set in 14-point Van Dijck and printed on Zerkall Rosa mould-made paper in an edition of 375 copies. 335 copies are quarter-bound in buckram and decorated paper boards - £35. 40 copies are quarter-bound in Oasis leather and decorated paper boards, and are accompanied by six proofs hand-coloured by the artist in a slipcase [out of print].
The illustration shows one of the hand-coloured engravings from the special edition. <click>
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BY PETER ALLEN Summer 1999. With 40 pochoir illustrations by the author.
In Travels in the Cévennes, Peter
Allen has retraced over a period of years the route that Robert Louis Stevenson
described in his Travels with a Donkey a hundred years ago. Peter's
diary extracts, and forty vividly coloured pochoir illustrations, bring
to life the rugged character of this little-known département
of Southern France.
Most of the illustrations
consist of four or so colours stencilled by the artist on to a simple keyline
base, printed from a linocut. Others consist of superimposed stencils without
the keyline. Together they give a striking impression of the subtleties
of colour and mood of the Cévennes. The colours applied by pochoir
have an unrivalled quality because they consist of artists' watercolour
applied through stencils directly to the paper, in this case by the artist
himself. Each illustration is therefore in a sense an original, and no
two can be precisely the same.
TRAVELS IN THE CEVENNES. 11 x 8.75 ins, 150 copies set in 14-point Cochin and printed on Arches Crème mould-made paper, with 40 pochoir illustrations stencilled by the artist. 100 copies are bound in patterned paper, in a slipcase - £135 [out of print]. 50 copies are quarter-bound in Oasis leather and patterned papers and contain two additional pochoir illustrations, in a slipcase - £265 [one copy left].
The illustration shows two of the pochoir illustrations. <click>
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BY JOHN RANDLE
March 2000
This account of a printer's first adolescent experience with that addictive substance, type, was printed for the Oxford Guild of Printers' millennium project. These run-on copies are in a larger format than the OGP's version, and are soft-bound in Korean hand-made paper. Miriam Macgregor contributes a large decorative O to start it all off.
ONE RAINY DAY. 9 x 6 ins, 16pp, set in 22- and 18-point Caslon and printed on Rosa mould-made paper with a wood-engraving by Miriam Macgregor, in an edition of 150 copies. 115 copies are soft-bound in Korean hand-made paper - £20 [out of print]. 35 copies are similarly bound, with proofs of two wood-engravings, in a slipcase - £65 [out of print].
The illustration shows Miriam Macgregor's initial O. <click>
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BY SANDY CONNORS
Spring 2002. Recipes for the kitchen garden, with fifteen wood engravings by the author.
Two years ago the American printer and wood-engraver Sandy Connors moved to upstate New York, close to one of the oldest Shaker communities in the foothills of the Berkshire mountains. With a chicken coop full of hens and geese, and a barn full of type and presses, she began to offer wood-engraved jam labels to her industrious neighbours for their contributions to Church Suppers and Harvest Festivals. This book contains a selection of these labels, many hand-coloured, accompanied by the artist's recipes for making the jams, as well as her observations on running her kitchen garden. It begins with information on seed saving, and on the Shakers, who were the first to collect seeds and offer them for sale. This is Sandy Connors' second book of engravings, which have long been admired at Whittington. They have a charm and simplicity ideally suited to her subject.
BUSY AS A BEE. 7.75 x 5.5 ins, 40pp, printed in Caslon type on Zerkall Silurian paper in an edition of 200 copies. 150 copies are bound in patterned paper designed by the artist - £55 [£45 before publication]. 50 copies contain additional copies of the labels, similarly bound, in a slipcase - £145 [£125 before publication].
The illustration shows two of the hand-coloured wood-engravings. <click>
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Fine Papers at the Oxford University Press
BY JOHN BIDWELL
Autumn 1999. A descriptive catalogue, with sample pieces of each of the papers.
The basis of this unusual book is the collection
of hand- and mould-made papers that the Whittington Press bought from OUP
in 1986. These had lain forgotten and neglected in a separate storeroom
until OUP moved its paper warehouse out of Walton Street, and this Aladdin's
cave of some 20,000 sheets of sixty different papers came to light, left-overs
from books printed at the Press from about 1900 to 1970.
They represent an extraordinary
microcosm of the output of British (and some Continental) hand-made paper
mills between those dates. John Bidwell, who is Astor Curator of Printed
Books and Bindings at the Pierpoint Morgan Library, New York, and an acknowledged
expert on the history of hand-made papers, has over the past several years
examined the archives of OUP to find which book or books each paper was
used for, quoting correspondence between the Press and the mills concerned,
and sometimes between the Press and its customers. In addition, he gives
a detailed account of the history of each mill, and a full description
of each paper, including details and explanations of watermarks.
An important feature of the
book will be the generously sized samples of the forty papers so described,
tipped in opposite their descriptions. We have deliberately refrained from
using up these papers at Whittington over the last twelve years so that
this unique collection could one day be permanently recorded and preserved
between the covers of a book. In addition, the sixty five special copies
will contain about thirty additional whole sheets of the papers.
The book will also contain
contemporary halftone photographs of the interiors and exteriors of a selection
of the mills, as well as photographic reproductions of some of the more
exotic watermarks among the collection.
This will be the most comprehensive
account of British hand-papermaking to date, and never again will it be
possible to issue a book with such a wealth of tipped-in original samples.
The size of the edition is determined by the number of samples that are
available.
FINE PAPERS AT THE OXFORD UNIVERSITY PRESS. 15 x 10.5 ins, 120pp, printed in 14-point Centaur type on Zerkall mould-made paper in an edition of 300 copies. 235 copies half-bound in buckram and decorated papers, in a slipcase - £275. 65 copies half-bound in Oasis leather and decorated paper sides, with a portfolio of about thirty whole sheets, in a solander box - £650 [one copy left].
The illustration shows the book's title-page, set in 72-point Garamond. <click>
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BY HELLMUTH WEISSENBORN
Summer 2000. Twelve wood-engravings, with an introduction by John Randle.
Hellmuth Weissenborn came to England as a refugee in 1939. London in the blitz made an unforgettable impression upon him, and these engravings, made during or shortly after the war, give a powerful impression of London as it was in the immediate post-war years - a city of smoking chimneys, shored-up buildings, tram lines and barrow boys - and now so much changed.
LONDON SCENES. 8.25 x 6.75 ins, 40pp, set in Goudy Modern and printed on Sunome Senaka Japanese mould-made paper in an edition of 140 copies. 100 copies are French folded and laced into soft covers - £35. 40 are similarly bound, and contain one of a set of signed proofs by Hellmuth Weissenborn, engraved at about the same time as the London scenes, in a slipcase - £85 [out of print].
The illustration shows one of Hellmuth Weissenborn's wood-engravings. <click>
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APRIL
2001
|
Wood-engravings by HELLMUTH WEISSENBORN While looking through the drawers of Hellmuth's engravings for London Scenes, we found two other small sets of engravings. The twelve engravings in each set are a month by month record of the countryside scene, and were probably engraved during or shortly after the war. |
|
5.5 x 4.5 ins., 32pp in each volume, soft bound in Canson Ingres papers, the two volumes in a slipcase, £35; 50 special copies with a separate portfolio of prints, £85.
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British Private Press Prospectuses, 1890-1990
BY DAVID BUTCHER Summer 2001
The catalogues and prospectuses issued by private
presses are not only often beautiful examples of printing in themselves,
but they can also offer fascinating clues to the development of the titles
they are promoting. Many are printed on hand-made paper and from the original
engravings, and can encapsulate the germ of the idea that later (sometimes
much later, occasionally never), and after much labour, becomes the book
itself.
Such prospectuses have become
popular with collectors partly because of the insight they offer into the
activities of the presses concerned, and partly because they can be satisfying
substitutes when the book is rarely available, or only at a price that
puts it out of reach of most. They will usually have been printed at the
Press concerned, with all the thought and care that is lavished on an object
which is designed to sell the book.
In this survey of private
press prospectuses of the last hundred years, David Butcher summarises
the output of the main presses and reveals some of the fascinating stories
behind the books. Prospectuses give a unique insight into the printers'
attitudes and aspirations, and provide tantalising glimpses of the books
which might-have-been.
During the last fifteen years
the Whittington Press has been collecting prospectuses and catalogues,
from Doves and Golden Cockerel to those issued by contemporary presses,
as they are still genuinely ephemeral. We have been fortunate in being
able to acquire two large collections which will allow us to include original
prospectuses and catalogues in portfolios accompanying the seventy-five
special copies. In addition the book will contain illustrations of some
of the most interesting prospectuses.
The increasing price of prospectuses
and catalogues in booksellers' catalogues are evidence of the steady popularity
of such items, and this will be the first time that they will have been
described and evaluated as separate and important adjuncts of the private
press movement.
BRITISH PRIVATE PRESS PROSPECTUSES, 1890-1990. 11 x 8 ins, 160pp, printed in Poliphilus on Zerkall mould-made laid paper, with line illustrations, in an edition of 350 copies. Edition A, 40 copies bound in full leather with marbled endpapers, with portfolio of some thirty-five original prospectuses and catalogues from both earlier and contemporary presses, in a solander box - £1,250. Edition B, 50 copies bound in quarter- leather with decorated paper boards, with a portfolio of some twenty original prospectuses and catalogues, in a solander box - £575. Edition C, 250 copies bound in quarter-buckram with decorated paper sides, in a slipcase - £165.
The illustration shows one of the prospectuses reproduced in the book. <click>
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BY MIRIAM MACGREGOR
Summer 2000. Illustrated with fourteen hand-coloured wood-engravings by the author.
Wine from my Garden follows in the same
miniature format as Miriam Macgregor's Weeds in my Garden (1986)
and Predators in my Garden (1993). Like them, each of the fourteen
wood-engravings will be hand-coloured by the artist.
Now that the weeds have in
part been tamed by the predators, the time has come to celebrate, though
since wine can be made from virtually anything, even a garden heaving with
weeds and insects can be a potential source of intoxication.
Despite its homely associations,
home-made wine can be lethal to the palate, and many are the bottles which
the artist has emptied into the sink. However, the recipes included here
are some of the more successful, and worth a try. Once, anyway.
Once again we shall co-publish
with Lorson's Books and Prints, from whom the book will be available in
the USA at 116 West Wilshire Avenue, Fullerton, California 92632.
WINE FROM MY GARDEN. 2.25 x 1.75 ins, 30pp, set in 6-point Garamond and printed on Zerkall mould-made paper in an edition of 200 hand-coloured copies. 150 copies are bound in decorated papers, in a slipcase - £55. 50 copies are bound in leather, with a separate portfolio of prints, in a silk-covered solander box - £165 [out of print].
The illustration shows one of the hand-coloured wood-engravings used in the book. <click>
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BY RODERICK CAVE
Spring 2002
Roderick Cave has described his quest for Chinese
ceremonial papers over three issues of Matrix (12, 13 and
18).
For the past twenty years he has been collecting the mock money, prayer
sheets, new year prints and other forms of paper which have been used in
Chinese religion since time immemorial. When he started to collect them,
it seemed that the Cultural Revolution would finally put an end to them.
But while collecting them in China and among the various Chinese communities
of South-east Asia, he had found that their use continues to evolve vigorously,
and that they are now keenly studied by Chinese scholars.
This book will contain about
forty samples of such papers, for which there were not enough samples to
tip in with the three Matrix articles. They tend to be larger and
more exotic than those that went into Matrix , and are accompanied
by an essay discussing contemporary Chinese religious papers and their
manufacture, and a comprehensive bibliography of the subject. The edition
is limited to the number of samples available, and is now fully subscribed.
CHINESE CEREMONIAL PAPERS. 15 x 11 ins, about 72pp, printed on Zerkall mould-made paper, the samples tipped on to tinted paper, in an edition of 95 copies. 80 copies quarter-bound in buckram and decorated paper sides, in a slipcase - £155 [£135 before publication]. 15 copies quarter-bound in Oasis leather and decorated sides, with a portfolio of additional samples, in a slipcase - £265 [£235 before publication].
The illustration shows one of the papers tipped into the book. <click>
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Summer 2002. Photographs of the Cotswolds by Edwin Smith, with an introduction by Olive Cook.
These photographs of the Cotswolds, taken by Edwin
Smith some forty years ago, are not only stunning images by one of the
century's foremost landscape and architectural photographers, but also
a fascinating visual record of one of the most beautiful parts of rural
England as it then was.
The stone-built churches,
cottages, manor houses and market towns set among the limestone Cotswold
hills (home also to the Whittington Press) are brilliantly and sympathetically
recorded by Edwin Smith. Few of these photographs have been reproduced
before. They are here printed by CTD Printers as tritones (that is, in
two blacks and a sepia) to give a uniquely rich and faithful reproduction
that has become familiar to readers of our annual Matrix, and which
can only be compared to the collotype and gravure reproductions of photographs
of earlier years.
Olive Cook, Edwin's wife,
is an artist and authority on English domestic architecture, and collaborator
on many books with Edwin before his death in 1971.
COTSWOLD IMAGES. 12 x 8 ins, about 64pp, including 32pp of whole-page tritone reproductions, the text set in Poliphilus and printed on Hahnemuhle mould-made paper in an edition of 245 copies. 200 copies are quarter-bound in buckram and printed papers, in a slipcase - £135 [£115 before publication]. 45 copies are quarter-bound in Oasis leather and printed papers, and include an original photographic print, in a slipcase - £265 [£235 before publication].
The illustration shows one of Edwin Smith's photographs. <click>
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The Diary of Gwenda Morgan, 1939-1946
Summer 2002. With twenty wood-engravings by the author. Edited and with an introduction by John Randle.
Gwenda Morgan is one of England's foremost pastoral
engravers. Her wood-engravings of the Sussex countryside where she was
born and lived all her life are brilliantly conceived and executed. She
had a sureness of line and an understanding of pattern that are reminiscent
of two of her own strong influences, Eric Ravilious and Douglas Percy Bliss.
Her work is not as well known
as it deserves to be because much of it was used by the Samson Press for
cards and ephemera, and she illustrated relatively few books. Notable among
these however is her Gray's Elegy , commissioned by Christopher
Sandford for the Golden Cockerel Press in 1946, and which he acknowledged
to be among his favourites from the Cockerel output.
A constant theme in Gwenda's
work is the Sussex countryside, and a key influence was the time she spent
in the Women's Land Army from 1939-46. Many jobs were still then done by
hand, and her scenes of milking, ploughing, haymaking, harvesting and harrowing
are largely based on her experiences of working on the South Downs, often
with horse in place of tractor.
Only after Gwenda's death
in 1991 did the diary that she kept every day throughout the war come to
light. It records with a complete sincerity and simplicity that bring to
mind E. M. Delafield's The Diary of a Provincial Lady her everyday
life on the farm, her fondness for the animals, her occasional puzzlement
over the behaviour of the Sussex farmers she worked for, and her dislike
for Hitler whose bombers passed overhead on their way to London during
the blitz.
It is an engrossing first-hand
account of the hardships (even in the Sussex countryside) of wartime Britain.
Her entries often include references to the subjects of the engravings
she made when the war was over (e.g. Dimple the cow), and the book will
be illustrated throughout with her engravings of Sussex countryside and
farming.
Gwenda Morgan was the most
modest and self-effacing of people. She lived all her life at Petworth,
first with her family and then with her adored step-mother. The diary shows
another side to her that is witty, determined, keenly observant, and above
all deeply caring of other people - and animals.
The Press published The wood-engravings of Gwenda Morgan in 1985.
THE DIARY OF GWENDA MORGAN, 1939-1946. 10.5 x 7.5 ins, 152pp, set in Walbaum and printed on Zerkall mould-made paper, with about twenty wood-engravings, in an edition of 300 copies. 260 copies are quarter-bound in buckram and decorated paper boards, in a slipcase - £135 [£115 before publication]. 40 copies are quarter-bound in Oasis leather and decorated paper boards, with a separate portfolio of proofs of the engravings, in a slipcase - £325 [£295 before publication].
The illustration shows one of Gwenda Morgan's wood-engravings. <click>
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BY JOHN AND JEANNIE O'CONNOR
Wood-engravings
In 1989 the press published The Wood Engravings of John O'Connor, with a commentary by Jeannie O'Connor, perhaps one of our most attractive productions. Since then, we have always had it in mind to follow it up with a book of more of John's earlier work, the blocks for which we knew were stored in a barn by John's studio in Scotland. Last autumn we finally had a chance to look through all his blocks, and to our delight found many which were not only new to us, but until now had only existed in small editions of prints made by the artist. There is for example a series of large, quite impressionist images made of the Yorkshire Dales shortly after the war, and others of London, smaller country scenes so typical of his other work, and figure studies. John and Jeannie are now working together on writing commentaries for the images. This will be an exciting showing of the early work of an artist who studied under John Nash and Eric Ravilious at the Royal College of Art in 1933, and who is still engraving today, as readers of our People and Places, published in 1999, will know. We can take reservations for this book now (please do not send any payment), and we plan to publish in 2002 or 2003.
13.5 x 9.75 ins, about 120pp, printed in Bell type on Zerkall paper, some of the fifty or so engravings in two colours, in an edition of 250 copies. 200 copies half-bound in buckram and decorated paper sides, in a slipcase, about £155 [£135 before publication]. 50 copies half-bound in Oasis leather and decorated paper sides, with a separate portfolio of proofs, some hand-coloured by the artist. About £360 [£335 before publication].
The illustration shows a hand-coloured wood-engraving <click>
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BY HOWARD PHIPPS
Autumn 2003. A portrait of a Wiltshire valley, with thirty wood-engravings and coloured linocuts by the author.
This evocative book takes the reader on a journey
along the course of the Ebble River in south-west Wiltshire. Howard Phipps'
wood-engravings bring vividly to life the wide stretches of chalk downland
and the more intimate coombes and woodland that make up this little known
part of England, south of Salisbury.
His engravings of landscape
and buildings have appeared in the three volumes of Roland Gant's poetry
which began with Stubble Burning in 1982, and his Interiors
(1985) and Further Interiors (1992) were atmospheric images of a
wide variety of interiors that had caught his eye. Ebble Valley is
a new departure for Howard Phipps, both in that the images combine to make
a sequence as he follows the course of the river valley, and in that he
here mixes wood-engravings with coloured linocuts in an exciting series
of double page spreads.
Howard Phipps knows the area
well, and has drawn and painted the Ebble Valley, close to where he lives,
for the past two decades. Ebble Valley will be a record, visual
and textual, of a piece of landscape with which he has formed an unusual
empathy.
EBBLE VALLEY. 13 x 9 ins, 56pp, printed on Zerkall mould-made paper with about thirty wood-engravings and coloured linocuts in an edition of 250 copies. 215 copies are quarter-bound in buckram and decorated paper boards, in a slipcase - about £135 [£115 before publication]. 35 copies are quarter-bound in Oasis leather, with a separate portfolio of a selection of the prints, in a slipcase - about £275 [£245 before publication].
The illustration shows one of Howard Phipps' coloured linocuts. <click>
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The twenty-first number of Matrix, our legendary annual journal for printers and bibliophiles, was published in 2001. If you would like to join the subscription list, please let us know. The subscribers' pre-publication price is £90. A cumulative Index and List of Contents of the first twenty issues is being prepared by David Butcher, who will also contribute a foreword about the series, and this should be available during 2001 at about £25, with eighty copies bound in marbled boards at about £45. A three-colour poster on Korean-made paper celebrates the entry of Matrix into the new millenium [£17.50 including postage].
Back issues: we have copies of 20, and a few of 17.
Matrix is published each December, so Matrix 22 is due in 2002, 23 in 2003, and so on. The extent is usually around 200 pages, and the edition is limited to 850 copies, including 80 copies quarter-bound in Oasis leather and marbled boards, and accompanied by a separate portfolio of extra illustrative material.
The illustration shows the cover of Matrix 21. <click>
Some projects are too far off to include. One such is John Craig's engravings of Venice, which will follow his successes with The Locks of the Oxford Canal (1984) and Britten's Aldeburgh (1997), both now out of print. We can, however, take reservations for this book.
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BY MIRIAM MACGREGOR
These scintillating pochoir interpretations of the eighteenth-century city of New Castle on the banks of the Delaware River between New York and Washington are exquisitely stencilled in up to eight colours. Because of its complexity, and the fact that only the artist can carry out the stencilling, the edition was limited to only a hundred copies, and was over-subscribed before publication.
The illustration shows an opening from the book. <click>
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BY ROSALIND RANDLE
Now in its fifth edition. Illustrated with six linocuts by Judith Verity.
Rose's Aga Recipes has been one of the
Press's major successes since it was published in 1984. Its simplicity
of approach and variety of recipes give it a universal appeal for all those
with Agas - or without.
Bound in American tablecloth. £15.
The illustration shows the book's title-page. <click>
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A visual and textual record of eight of Britain's most productive private presses. The combination of the printers' commentaries, the examples of their printing, and Ski Harrison's photographs superbly reproduced in 80pp of tritone plates, make this an outstanding record of the presses as they were when the book was published in 1997. £165.
The illustration shows one of Ski Harrison's photographs. <click>
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BY MIRIAM MACGREGOR
Miriam Macgregor's thirteen wood-engravings of an aged apple tree as it weathers each month of the year. She acutely observes the life that goes on both above and below the tree as the seasons progress. 1997, £65.
The illustration shows one of Miriam Macgregor's wood-engravings. <click>
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The Whittington Press, a Bibliography
BY DAVID BUTCHER
This bibliography, compiled by David Butcher, is a lavishly illustrated record of the Press's second decade of activity, with a commentary on the production and design of each book by John Randle. 1996, £135.
The illustration shows the book's title-page. <click>
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CO-ORDINATES of The Whittington Press:
The Whittington Press
Lower Marston Farm
near Risbury
Leominster
Herefordshire HR6 0NJ
Great Britain
Tel:
+44 [0] 1885 400250
Fax: +44 [0] 1885 400666
e-mail: rose@whittingtonpress.plus.com
E-mail your orders or comments by clicking on HERE AND NOW!
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The Whittington Press is a member
of the Fine Press Book
Association
