Ploughshare & Hayrick
The life and work of Claughton Pellew and Kechie Tennent
by James Methuen-Campbell


This major study by James Methuen-Campbell is a book which I have hoped to make since I printed 5 large wood engravings by the extraordinary Claughton Pellew, back in 1987.
Claughton never established a single style in his printmaking; he began to make the first of his 70 wood engravings in 1923, and in the late 1920s made a number of etchings. A number of his prints are as important as any by his contemporaries, though he ceased printmaking by 1937. He also painted, mostly in watercolour, and in this medium perhaps established more of a recognizable style, with agricultural imagery often at the heart of his work. Features such as hayricks, horse-drawn ploughs and windmills are to be found in many works, particularly ploughmen following the horse but half-hidden by a feature of the land. A love of landscape is central to any understanding of Claughton.
A second layer of understanding comes from our knowledge of Claughton's incarceration, and at times his suffering, as a Conscientious Objector in World War One, one of the 16,000 men who posed a problem to the authorities. During his imprisonment he was friendly with Stanley Morison, who shared his Catholicism and deep feelings about the military ideal; James Methuen-Campbell gives us a thorough documentation of this period, a fascinating detail of British history.
The book comprises a full biography by James Methuen-Campbell, a revised checklist of prints (based on but developing Anne Stevens' pioneering work), all but two of Pellew's 70 wood engravings and most of his etchings, with many paintings by both Claughton and his wife Kechie (at times indistinguishable). It runs to 288 pages on a generous page size. The book is a full-length, first study of these artists, which is among the most important Fleece Press publications of its almost 40-year life to date.
There are 335 copies, and all copies include one tipped-in wood engraving printed from the original block. Of these,

280 copies bound in quarter cloth and patterned paper sides, price £235, postage £8.
50 special copies bound in quarter imitation vellum with three extra engravings printed from the blocks, housed in a drop-back box, price £455 (two copies available), postage £12.

A separate prospectus is available on request.



While Daddy's Away at the War
Poems for Prudence & Rosalind, compiled and embellished by Douglas Percy Bliss

Douglas Percy Bliss served in both World War One and World War Two; in the latter he put his artistic training to use by working in camouflage and deception, and in his spare time made two collections of favourite poems for his daughters, Prudence and Rosalind. In total there were 66 poems, each illustrated by a carefully made coloured drawing, and the girls treasured these gifts. Both are fully published here in facsimile form (much the same sort of feel as
Mr Kilburn's Calicos) with a letterpress introductory section printed at the Fleece Press. The book runs to 108 pages - of poems meant to be read aloud - and it is co-published with Liss Llewellyn in an edition of 500 copies, price £90 (postage £5).





Bliss binding

Gargoyles & Tattie-Bogles: the lives and work of Douglas Percy Bliss and Phyllis Dodd

by Malcolm Yorke

While Douglas Percy Bliss wrote kindly and perceptively several decades ago about his friend Edward Bawden (for a book published by the Pendomer Press), and earlier in his career took up the pen to write about Eric Ravilious and the emerging engravers of the 1920s, no-one has written comprehensively about Bliss himself, who was a notable engraver, teacher and – especially – landscape painter; the same applies to his wife Phyllis Dodd. Dr Malcolm Yorke has written several fine books for this Press and his study of Bliss, of Phyllis (a fine portrait painter) and the succeeding generation of artistic Blisses, is another important book. There are books about Bawden and Ravilious, but it is right and appropriate to make the same sort of book about their closest friend at the Royal College of Art.
It runs to 280 pages and will – please excuse my confidence – be classed among the really great Fleece Press books, 18 folding tip-ins and designed as well as I can make it. There are tipped-in prints made from four of Douglas' wood-engraved blocks, and one by Rosalind Bliss; price £272.
Prospectus available on request.
A custom-made slipcase can be purchased from Chris Shaw, 01280 848818, or e.mail
christopher-shaw1@hotmail.co.uk





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A Shy Bird. The US copyright edition of Seven Pillars of Wisdom
Charles Eilers

Seven Fleece Press books on T. E. Lawrence have been published since 1985. For bibliophiles, his interest in fine printing, and the story of the making of his magnum opus, Seven Pillars of Wisdom are fascinating. In the run-up to publication of Seven Pillars in Britain in 1926, when he hired a private printer to make his book, Lawrence felt the urgent need to avoid the book being pirated in the USA. He therefore arranged to have the text printed there in an edition of 22 copies in order to establish copyright protection.
Two books were sent to the Library of Congress to establish publication, and copies nominally offered for sale on the publisher's list – but to deter purchase however, they were priced at $20,000 each. In fact 28 copies were made – none of them sold – and the book tells the complex, intriguing story of the publication, while also tracing the history of each copy.
This is an impressive, well-written and beautifully researched book by Charles Eilers. His work is complemented by 42 illustrations, of books, typography, manuscripts and the people involved. There are 156 pages, 255 standard copies (225 for sale) bound in half imitation vellum and paper over boards, in acknowledgment of the original style of binding issued on some copies in the USA. The price is £152. A small number of special copies, which are housed in a drop-back box, included an original leaf from the second-state prospectus (1925) for the London
Seven Pillars of 1926, out of print.
Published in June 2018.




Vivien Gribble: Twenty Wood Engravings
Ian Rogerson

Vivien Gribble (1888-1932) engraved in an idiosyncratic, black-line style which is easily recognized but hard to emulate. She was one of the earliest of the artist-engravers, trained by Noel Rooke, and she exhibited with the Society of Wood Engravers in their second exhibition in 1921. Printed here are 20 truly charming small engravings from the 1922 Sixe Idillia, and Keats' Odes (1923), printed from the blocks in a compact format, one to a page where they really sing. An introduction by Ian Rogerson sets the work in context. 64 pages printed letterpress, bound in quarter cloth and Claire Maziarczyk pastepaper over boards, 250 copies, June 2018, price £115.







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Dunbar Hay Ltd 1935-40, and the achievements of Cecilia Dunbar Kilburn
by Simon Lawrence

Founded in 1936 by Cecilia Dunbar Kilburn and Athole Hay, this London gallery (the term shop was actually their preferred term) was created as a marriage bureau for promising young designers (mostly Royal College of Art graduates) and industry. Within four years it had closed for the war, and its stock and records destroyed by bombing. There is virtually no paper record, nor any photographs of the shop, but a 1979 lecture given by Cecilia Dunbar Kilburn (by then Lady Sempill) serves as a starting point to recreate the goods and ethos of the shop, which has been immortalised by a flamboyant two-colour trade card engraved by Eric Ravilious.
Lady Sempill's lecture is reprinted in full, with a memoir by her daughter Gabriel Sempill, and an essay of about 26,000 words by myself on the artists involved with the shop and their wares, as well as the context in which the shop was conceived; it has been a fascinating effort. The book runs to 172 pages printed in colour by Northend Creative Print Solutions in Sheffield, bound in an unknown pattern taken from fabric sold in the shop.
Of the 270 copies there were 150 standard copies price £172 (now out of print). 120 specials contain an
original copy of the Ravilious trade card, with a piece of hand-printed organdie fabric from Enid Marx's earliest days as an outstanding textile artist. The special copies, in a solander box, are priced at £420 (trade discount ten per cent on these) for all new orders; if you subscribed you got it rather cheaper. Both versions look outstanding. Mug not included!
It was featured in World of Interiors - six pages in the July 2017 issue. Shortlisted for Best British Book at the British Book Design & Production Awards in November 2017.






Dilige Deum

Dilige Deum: Love God and do what you will, a Beer stone inscription by Eric Gill

Lucy Wertheim, who ran a London gallery during the 1930s and who saw magic in the work of Christopher Wood, bought a stone inscription from Eric Gill during 1934. The two developed a friendship, and Gill spontaneously cut a small stone as a present for her which he initialled himself, an unusual act for him. This short book tells the story of their association, and the stone itself is reproduced, along with the design (and its translation) in Gill's hand, and two photographs of him. This is a Fleece Press first, since it is printed from photopolymer plates, and bound at the Press in a Japanese stab binding using four different paste papers made by Sage Reynolds thirty years ago:- about 50 copies bound in each of the varied designs. 185 copies, price £82.






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Richard Bawden, His Life & Work
by Malcolm Yorke

Richard Bawden (son of Edward) is now 80, and during April-May the Fry Gallery of Saffron Walden are mounting an exhibition to celebrate Richard's supreme work in many media: watercolours, etchings, linocuts, cast iron, murals, glass engraving, mosaics and book illustration. Richard is extraordinarily adept at multicoloured lino prints, in particular, and it is a privilege to publish this, the first book on his work. Malcolm Yorke's biography traces Richard's life in Great Bardfield, through attendance at the Royal College of Art, and since then as a hard-working and dedicated artist working in whatever medium next presents itself. The book runs to 200 full-colour pages in a handsome square format, bound in quarter cloth with a patterned paper based on Richard's design; he has also drawn the frontispiece and title pages.
There are 55 special copies (50 for sale), housed in a slipcase and accompanied by a signed, single colour etching of Richard's own workshop made for the book. ALL SOLD.
While all new Fleece Press books garner lovely comments on publication, this one has brought out more, and stronger approval than is usual, which is pleasing.
280 standard copies are bound in quarter cloth and patterned paper, price £242. Postage is £10 (reduced). A letterpress prospectus is available on application.
Published in April 2016. A custom-made slipcase can be purchased from Chris Shaw, 01280 848818, or e.mail christopher-shaw1@hotmail.co.uk
Runner-ip in the Best British Book category at the British Book Design & Production Awards, 2016.





Pen, paper & a box of paints: Albert Rutherston's work in theatre design and book illustration
by Ian Rogerson

Albert Rutherston is well known as a distinctive book illustrator whose work benefited from the pochoir process employed by the Curwen Press. He illustrated many books and for a short period before the First World War had a profound influence on theatre and stage costume design, though he chose not to pursue this. There has been no book on his work until now. Ian Rogerson has made a special study of Albert's work, whose grandchildren have also been able to provide reference material which makes the book especially interesting. The book runs to 196 pages and displays 115 illustrations, in an edition of 250 copies; price £184.
As a personal note the design and production of this book give me as much pleasure as any I have made. It is also refreshing to return to public notice a major artist whose work has been forgotten.
A prospectus is available, and the book was published in September 2015. A custom-made slipcase can be purchased from Chris Shaw, 01280 848818, or e.mail christopher-shaw1@hotmail.co.uk
WINNER of the Limited Editions and Fine Binding category at the British Book Design & Production Awards, 2016.







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Edward Walters, printer-engraver
by Richard Russell, with a revised bibliography by John Gray and a biographical note by Tom Walters

Edward Walters, wood engraver and publisher who ran his own private press in the 1930s, also taught at Marlborough School and had links to St Dominic’s Press, along with various presses operated by religious orders. His work has been shown in several issues of
Matrix, but it is high time his work is recorded in book form.
Tom Walters has written a short biographical note on his father, and has been able to provide photographs which handsomely augment the mere three previously known. Richard Russell was taught to print while at Marlborough by Walters, 70 years ago, and here writes of his debt to this unassuming and modest man. John Gray has produced a revised bibliography of the printed work, including Walters’ ephemera, enlarging Brocard Sewell's previous checklist. A whopping 120 letterpress pages, 50 blocks (and 40 inserted colour illustrations), yes,
printed letterpress and now available.
There are 225 copies (200 for sale), and the price is £192. A prospectus has been sent to regular customers - please ask if you would like one.
A custom-made slipcase can be purchased from Chris Shaw, 01280 848818, or e.mail christopher-shaw1@hotmail.co.uk



Sensuous Lines
A Catalogue Raisonne of the intaglio prints of John Buckland Wright
by Christopher Buckland Wright

News, 20.11.14. At the British Book Design and Production Awards dinner in London, the Press was awarded the Book of the Year award for Sensuous Lines
see
http://www.printweek.com/print-week/news/1148356/fleece-press-wins-british-book-bpif-book-awards

Collectors of the Press' books will know that five books relating to the work of John Buckland Wright have appeared under this imprint, and have been among the most successful publications. Christopher Buckland Wright, the artist's son, has gathered together surviving copper plates left in the artist's studio at the time of his death, and has compiled a full catalogue of all the engravings which JBW made, both for book illustrations and as autonomous prints; some of the artist’s work in metal is considered to be at the pinnacle of his achievements.
A detailed prospectus was sent out in November 2013 (copies available on request). Over 400 prints are listed in this lovely book, and all those originally intended for publication (including rejected plates) are shown. These are the extra plates (ie prints made from these plates accompany the special C copies, but are shown in all versions of the book in reproduced form; the second print in the first row below is the tipped-in frontispiece in both B and C editions):

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The book runs to 284 pages, in three editions:
A: 100 standard copies, full-bound in cloth with a paper label (£212)
B: 220 copies which include an original tipped-in copper engraving printed by Anthony Dyson at his Black Star Press, used as frontispiece (the second one in the top row above). Quarter cloth and beautiful marbled sides (in a false Suminagashi pattern) made in Madrid by Antonio Velez Celemin, housed in a slipcase (price £292)
C: 40 special copies which include an extra four original prints (ie five in all), housed in a separate folder. Quarter bound in vellum and enclosed in a clamshell box (price £712)
Published in May 2014, all C copies fully subscribed.








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Tom Chadwick and the Grosvenor School of Modern Art
by Julian Francis

One of my treasured prints is
The Introduction, a wood engraving of two Balinese men introducing fighting cocks to each other, by Tom Chadwick. Tom died at an early age – just 30 – while fighting at El Alamein in the Second World War, but in his short life had managed to engrave images of the highest quality. Taught at Iain Macnab’s Grosvenor School of Modern Art, Chadwick was also a talented painter, and more besides. Julian Francis has made a special study of Chadwick’s life and work, and it forms the first monograph on this important artist. Few such monographs are as carefully researched as this one.
With such a short life and relatively limited body of work, Chadwick’s prints are rarely seen, so it is delightful that most of his best blocks survive in printable condition and are included here in the special copies, tipped-onto the page. One of them is
Derby Day, of which a rough print is shown above; it is an astonishing piece of work as are the other surviving blocks.
The text and colour illustrations of this bold book were printed at J. W. Northend in Sheffield; it is a square format (give or take 2 mm) and this was chosen carefully to display Chadwick's work to best advantage. There are 210 special copies of the book, containing 16 tipped-in engravings printed from the wood (2 available in September 2019, price £365; a slipcase is included). All copies contain one of Chadwick's very best engravings –
Wayside Laundry – printed from the block, as a frontispiece; and the 160 standard copies (four remaining) contain reproductions of all the same engravings shown in the special copies, tipped-in in the same way (price £192, no slipcase).
This is one of my finest books, and everything has come together in what seems to me
exactly the right way.








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Today I worked well – the picture fell off the brush. The artistry of Leslie Cole
by Malcolm Yorke

Leslie Cole, who trained under Bawden and Ravilious at the Royal College of Art in the 1930s, produced some of the finest paintings when appointed an Official War Artist, and his watercolours are especially fine, many in a Ravilious mould. Cole travelled through Germany (recording the scenes of horrific trauma at Belsen a week after its liberation), France, Malta and the Far East, where he recorded the action in Borneo and Singapore, a theatre of the war largely forgotten by Europeans today. Cole’s work was the equal of any other war artist, and yet he was unable, for personal or other reasons, to maintain the momentum after the war, when he seems to have slid very slowly downhill, and his early promise was unfulfilled.
Cole’s wife Brenda had a very colourful teenage history, being the chief prosecution witness for the Church of England when they prosecuted the Rector of Stiffkey for importuning young girls. She disguised this past very ably through her life and may not even have told her husband. Her identity – kept secret even when the BBC tried to find her in the 1980s – was revealed to friends before she died, and for the unconvinced, a meticulous genealogical investigation by Christopher Whittick and Julian Moore ties up the details very neatly. It is a lovely book, capturing the great work of an artist who should be celebrated.
200 pages with over 130 colour illustrations, the book is quarter bound in cloth and beautiful blue marbled paper made by Louise Brockman. There are 500 copies, price £212, plus £6 postage. A prospectus is available on request.



To War with Paper and Brush: Captain Edward Ardizzone,
Official War Artist

by Malcolm Yorke

Published in October 2007, this is another of the major four-colour books printed out-of-house but entirely conceived, organised, designed and typeset by one person (as all my books are); together with the author Malcolm Yorke, whose earlier book for the Press on Edward Bawden was so successful, this is an important new book, and its design is perhaps the one which gives me most satisfaction. Ardizzone's
Diary of a War Artist has hitherto been the only book relating to his wartime experiences in many British locations as well as on the front line in France, Belgium, Italy, North Africa, Sicily, Denmark and Germany; it consists of the edited diaries which the artist kept. To War with Paper and Brush traces and assesses his extraordinary wartime path, and is illustrated with a great many original watercolours, line-drawings and photographs.
The book runs to 162 pages, and in true Fleece Press style is very heavily illustrated. Printed in Sheffield by J. W. Northend on the uncoated but smooth and classy Monadnock Dulcet paper in an edition of 600 copies (the colophon mistakenly reads 700), all copies are bound in full Record Leinen cloth with an accompanying slipcase. The book is £212 (slipcase included), with postage £6.
Copies of the book block, sewn but without boards or endpapers, can be supplied for binding; see the
Special Offers page.
A detailed prospectus has been made for this book and will be sent on request. For a perceptive review of the book and assessment of the Press' books, see the
Spectator review by Paul Johnson here: http://www.spectator.co.uk/the-magazine/columnists/3454556/and-another-thing.thtml His final sentence reads 'Lawrence is a public benefactor in making the work of such artists as Ravilious and Ardizzone more generally available, and I salute his achievement.'









Simon Lawrence, The Fleece Press, 95 Denby Lane, Upper Denby, Huddersfield HD8 8TZ
Telephone 01226 792200