 |
 |
The Origins of Private Press Printing
"Certainly eccentricity and willfulness have contributed not a little to the private press scene at times. But so many individuals have 'set up their peculiar and private presses' 1 throughout the period of printing that it becomes clear that they form a distinct undercurrent, of continued, though varying, significance for the past 500 years."
(Roderick Cave 2) |
T IS GENERALLY AGREED that the contemporary private press movement began in England with William Morris and the Kelmscott Press. (1891-1898). A respected designer, Morris was a master in various media: textiles, stained glass, furniture and architecture. He was also a founder of the arts and crafts movement, which reacted against the changes in design brought about by the Industrial Revolution in England.
 |
 |
"Troilus and Cresyde" wood engraving from The Works of Geoffrey Chaucer"
Copyright/Source |
The Industrial Revolution in 19th century England changed the way in which goods were manufactured. Machines of mass production in many cases replaced the skill of the craftsman. William Morris was deeply troubled by what he saw as the resulting lack of regard for quality and craftsmanship in typography, printing and books. He responded by establishing his Kelmscott Press and endeavouring to produce books as works of art. He designed special typefaces, sought the best and most permanent inks, searched for beautiful papers to print on, and promoted his design advice for the layout and printing of books. Through his work William Morris laid the foundation for later developments in fine printing.
|
|
Frontispiece and title page of The Works of Geoffrey Chaucer, Kelmscott Press
Copyright/Source |
The tradition that began with the Kelmscott Press was continued in England by the Ashendene (1894-1935), Eragny (1896-1914), Doves (1900-1916), Golden Cockerell (1920-1930s), and Gregynog (1923) presses. William Morris's influence was also felt in the United States. Early American private presses such as the Cranbrook (1900-1902), Elston (1900-1904), Mountain House (1915), Oriole (1920s) and Overbrook (1930s) grew from his work.
1 Cave is quoting Bernard von Mallinckrodt, from De Ortu ac Progressu Artis Typographicae, Dissertiatio Historica, 1639.
2 Roderick Cave. The Private Press. New York: R. R. Bowker, 1983. Page 4
|
