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Canadian Trends:The History of Private Press Printing in Canada, |
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| Press mark of the Golden Dog Press Copyright/Source |
PRIVATE PRESS PRINTING IN CANADA is a relatively recent occurrence. In 1933 J. Kemp Waldi established his Golden Dog Press in Toronto. While, strictly speaking, the Golden Dog wasn't a true private press because the typesetting and printing were done by professionals, it is significant in the history of Canadian private press printing. Golden Dog books were seen as the first in Canada to reflect the spirit of the English private press movement as originated by William Morris in the 1890s. The Golden Dog operated until 1939, producing eight titles.
The private press of Robert R. Reid (1946-1962) is the earliest example of true private press printing in Canada. Founded in Vancouver in 1946, the press's first publication, a reprint of 1858's The Fraser Mines Vindicated, was issued in an edition of 110 copies in 1949. This book is a wonderful example of the care and interest taken by its creator. In the book's introductory printer's note, Reid describes his excitement about the challenge of private printing:
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"Fine books have literary value, and they have commercial value, but it is their value as works of art which distinguishes them from other books. This intangible, aesthetic quality is not easily obtained. The designer's use of binding materials, of type, of paper and of inks, all contribute to the feeling of luxuriousness and of fineness. There is another element, personality, without which a book is lost. It results form the designer imparting something of himself -- his love for fine books, his consequent sincerity of purpose, his grasp of the elementals of the printing craft -- into books." 1 |
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| Robert Reid's colophon from The Fraser Mines Vindicated Copyright/Source |
Reid's descriptive colophon sums the project up (see full text):
Reid also collaborated with a number of other printers and artists, the most notable being Takao Tanabe, who joined Reid to produce Gold: Its Properties, Modes of Extraction, value & c . in 1958, and John Newlove's Grave Sirs in 1962. Tanabe went on to establish his own Periwinkle Press(1962-1965), publishing eight items over three years.
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| Covers and centre signature of Grave Sirs Copyright/Source |
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| Covers of three titles published by the Periwinkle Press Copyright/Source |
In 1960 Reid worked with George Kuthan to produce Kuthan's Menagerie of Interesting Zoo Animals, under the imprint of the Nevermore Press. It is considered to be a masterpiece in Canadian private press printing. Only 70 copies of a planned edition of 130 were ever issued. Reid moved to Montreal, where he worked as a designer at McGill University, and later to the United States, where he is still printing under the Sign of the Gryphon.
Title page of Kuthan's Menagerie of Interesting Zoo Animals, Nevermore Press |
 Centre pages of Kuthan's Menagerie |
 Colophon of Kuthan's Menagerie |
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| Press mark of Purple Partridge Press Copyright/Source |
The next surge of private printing occurred in Ontario in the mid 1960s. An influx of skilled craftsmen from Europe to the Canadian graphic arts industry after the Second World War brought with it an emphasis on technical training and strong design standards.
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| Press mark of Hawkshead Press Copyright/Source |
It was in this context that Harold Kurschenska's Purple Partridge Press, and Gus Rueter's Village Press appeared, in 1956 and 1957 respectively. These two presses, along with Carl Dair's Orchard Press, E. J. Mulrooney's Clipper Press, and John Robert Colombo's Hawkshead Press (1958-1961) were the five founding members of The Guild of Hand Printers. The Guild provided a forum for members' experimental work. Together, they produced the anthology, Wrongfount.
In the introduction to Wrongfount 1, John Robert Colombo writes:
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"The printing industry is a highly competitive business and little opportunity is provided for experimentation. As a result, typographers and designers see in the acquisition of a private press the chance to have one job -- at least -- go through according to specifications. By keeping their finger on all stages of the operation, they can secure maximum results from their meagre supply of type, ink and stock." 2 |
Nine issues of Wrongfount were produced between 1960 and 1976. The first edition had nine contributors, the fifth had twenty-two. Probably the most ambitious undertaking was Wrongfount 6, in 1968, subtitled Carl Dair in Quotes. Dair, Canada's foremost typographic designer, and charter member of the Guild, had died suddenly the year before.
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| Cover and title page of Manipulations on Greek Themes Copyright/Source |
As a result of the enthusiasm generated by the Guild, presses like Will Rueter's Aliquando Press (1962), Peter Dorn's Heinrich Heine Press (1963), and Stan Bevington's Coach House Press (1965-1996) were established.
Also appearing around this time were the Gauntlet Press in 1959, operated by Richard and Barbara Outram, who wanted to publish his poetry and her wood engravings; George MacDonagh's Roger Ascham Press in 1964, the aim of which was to produce books of "outstanding material in a form that can only be achieved by the care for detail that hand work allows" 3; and the Branstead Press in 1967, operated by Gerard Brender à Brandis, who's initial intention was to produce books of his own wood engravings.
1. Robert Ried. "Printer's Note" in Alferd Waddington, The Fraser Mines Vindicated. The Private Press of Robert R. Ried, 1949. Page V
2. John Robert Colombo. "A Word of Explanation." Wrongfount 1. 1960
3. The Brazen Tower. Prospectus. Roger Ascham Press, 1975
