https://fleecepress.com/about daily 0.75 2024-12-17 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598648060897-66GOPEALZWU5AHPS6I14/firstworkshop.jpg About I wrote on the home page that I have been making books since 1980. In the picture to the right, you can see two photos currently pinned to my noticeboard that were taken in my first dedicated press workshop, acquired in January 1984. Later that year, Patrick Roe delivered an Autovic platen press, and I moved my Albion, along with a large FAG proof press. Early on in my career, I printed mainly on handpresses, with binding being done elsewhere. My first book was for my irascible grandfather, Stanley Lawrence who ran T. N. Lawrence & Son in Bleeding Heart Yard in London (and for whom I worked for a short time in 1981). Following this, during the 1980s and 1990s, wood engravings and engravers were steadily celebrated in letterpress books from the Press:- the text being printed dry on mouldmade or handmade paper before being dampened to print the engravings by hand on an Albion Press dated 1853, at the rate of about 30 an hour. Books of this sort are still made here, using an Autovic, an Albion, and a Vandercook Press. Because of my occasional desire to design and publish substantial books illustrated profusely in colour, around 2000 I also began to make some books edited, typeset and designed by me but printed out-of-house using four or five-colour offset lithography; these books are equivalent to any handmade ones in both care and attention to detail, as well as their physical feel. The two kinds of book coexist happily in my hands, many of them a mixture of the two printing processes. Colour plates are vital for many books I make, but I cannot print them, not least because I’m wildly colour blind. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598648085596-7D4Y101U9DCBP8D8GVGX/Rav.jpg About An example of this newer style of book is Ravilious at War, which was published in October 2002. This hugely successful publication displayed all of Eric Ravilious’ 110 wartime watercolours (ships, coastal defences, planes, and so on) made as an Official War Artist, and included most of his highly engaging correspondence from the last three years of his life. It also showed just about every other painting, engraving, cotton, and ceramic design he made during this time. His daughter Anne Ullmann edited the text, and there was a perceptive Foreword by the characterful Evening Standard Art Critic, Brian Sewell. Running to nearly 300 pages, with over 200 illustrations (mostly in colour), and a text of 80,000 words, this was a substantial, important book which immediately went out of print; copies now fetch around £500, and while not all private press books rise in value in this way, it is gratifying when everyone wants a particular book now and again. A massive amount of work went into the preparation for the subsequent publication of Ravilious’ selected pre-war correspondence, which Christopher Whittick, Anne Ullmann and myself brought to publication during 2008; Eric Ravilious: Landscape, Letters & Design runs to 528 pages in two volumes housed in a slipcase, with 180,000 words of text and 300 images, all in the same format as Ravilious at War. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598647556404-UOTZYV6M29HXSCRNG6AF/IMG_7288.jpg About About ninety carefully-made books have emerged since 1980, almost none of them poetry, and many go out of print soon after publication. I firmly believe in making worthwhile new books, with high editorial standards, for the educated reader. Catalogues or single prospectuses are usually issued for each book, and for those books still in print, shortened forms of their prospectuses are included about each book on subsequent pages here. Generally two or three books each year are published. The hand-printed ones are mostly set in metal type, the illustrations printed from the original engraved boxwood blocks to the highest standards, by hand, on dampened fine papers; indeed, the printing of wood engravings has become the Press’ absolute speciality. The colour books are printed by Northend nearby in Sheffield, to similarly careful, high standards. Binding is executed out-of-house at the Fine Book Bindery, while Chris Shaw (see available now page) supplies beautiful after-market slipcases to order. As of 2020 I have been making books for 40 years, and I hope to contract the scale of the work a little, if I can find a smaller, cheaper, and much warmer workshop. Several very substantial books are still planned (in fact 14 at the last count) but I want to move away a little from the eternal pressure of having to find money to pay rent, and intend soon to create slightly more modest publications in a gentle drift towards retirement. The 1990s photos to the right (courtesy Ski Harrison) are a younger version of me diligently inking an engraved block before printing on the Albion; in fact very little has changed. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598648889701-CZFYOG8B35BY41S89SBU/DSC_6692.JPG About Books that are available to purchase from the Fleece Press can be found on the available now page. These include two new books available to order now on the history of the Society of Wood Engravers, 1920 to 1946 (Spitsticks & Multiples) and early woodcuts used in children’s books (Woodcuts for Good Boys & Girls). The page also details other recent publications on Tirzah Garwood (Hornet & Wild Rose), Claughton Pellew (Ploughshare & Hayrick), Douglas Percy Bliss & Phyllis Dodd (Gargoyles & Tattie-Bogles) – running to a massive 801 pages combined. Douglas also wrote and illustrated poetry albums for his daughters while he was absent in World War Two, these recently co-published with Liss Llewelyn as While Daddy’s Away at the War. The most recent T. E. Lawrence book is A Shy Bird, while Vivien Gribble is a short monograph on this early engraver: proud publications, large and small, but all very carefully made. https://fleecepress.com/home daily 1.0 2025-07-31 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1603314088230-P0BQFVY0SGAAJKRL80Z1/DSC_6562.jpg Home Fine books from the hands and brain of Simon Lawrence ‘The highest quality private publishing firm in the country’ - Paul Johnson for The Spectator https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1597077730900-SIWGC7AK0QTT0HOG0D1H/182.jpg Home The Fleece Press has been the one-man enterprise of Simon Lawrence, with support from my late wife Chris and my son Ben. I started to print in 1980, having visited John and Rose Randle at the Whittington Press. By April 2024 the Press had published 106 books and made around 250 pieces of ephemera. It has been my life’s work – waking and sleeping – for approaching 44 years, and I am immensely grateful for the widespread support which has allowed me to do this for so long. In July 2024 I closed the workshop. During the past 18 months I was also extremely busy producing my own Bibliography, titled All Around the Block. In addition I published a highly exciting group of new books on the wood engraver Yvonne Skargon, two books of Edward Bawden correspondence, a letterpress book on David Gentleman’s stamp designs, and Janet Stone’s photos relating to her husband Reynold’s work. The monumental Spitsticks & Multiples, and My Brush is My Sword (Anthony Gross’ work as a war artist), both previously advertised, are now available; separate prospectuses are available for these. In my retirement, I plan to print simply for fun under a new press imprint on an Albion at home. It sounds a little bit final, but the Fleece Press can then be celebrated perhaps, and remembered with pleasure by us all. A backlist of Fleece Press books in print is of course available now. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1597077818967-7Q361K6VNSN12FTOICA5/image-asset.jpeg Home My books are usually illustrated by or are about wood engravers and printmakers, though with healthy interests in the official war artists, collections of letters, miniature books, and T. E. Lawrence. There is a decided and almost complete absence of poetry – simply because it’s published expertly by many other presses and I like to forge new directions. I publish what I am interested in, and, by extension, what many of my customers will want to read and see, but always new subjects. I always run away from a bandwagon. Customers buying Fleece Press books are part of a self-selecting happy club of which I am merely the secretary, treasurer, and speaker-finder. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598642388830-Z1UBE7C3Y7UPX7AYHM45/DSC_75971.JPG Home Throughout my career I have deliberately focused on publishing my own books, with only very occasional work done on commission, the latter generally being the editioning of wood engravings. The books have developed in sophistication and complexity over the years but I hope that most have made a contribution to the world. I have always tried to make new books which are good to read and are useful (for example the image here is an adapted illustration by Barnett Freedman, whose work I have tried to bring back to public favour). My reasons for choosing a subject are twofold: it interests me, and is worth publishing. I know that if this is the case, my customers will agree. https://fleecepress.com/contact daily 0.75 2024-12-17 https://fleecepress.com/available-now daily 0.75 2026-01-15 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/c06cc0c1-6e99-41af-8c85-5f5917f560f1/image0.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/0b588b3a-5983-46ca-95a4-4bba4687656f/Screenshot+2023-01-29+at+16.50.32.png Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/7eb48376-5382-4d8d-8d2e-835fea011db2/Screenshot+2023-01-29+at+16.49.01.png Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/ed26ebbb-b4d6-4023-829e-16b9e59a309f/Screenshot+2023-01-29+at+16.09.48.png Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/b55077fc-f9a3-422c-b855-ca3b226d9a6a/Screenshot+2023-01-29+at+16.08.36.png Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/604221fb-ede8-43c5-90aa-c5149dfe84ff/_DSC5471.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/4389bebe-5597-4fda-9213-2e32762a989a/Screenshot+2023-01-29+at+16.12.29.png Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/0486b0ed-f268-48c2-b342-682a76df3d5e/_DSC5512.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/e1f27107-1264-4605-b42c-0dc49b65be61/_DSC5515.jpeg Available now - 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Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/4832e56c-8765-416e-93b2-41222d907c52/bc53e0ff-210a-491a-bfd0-868239e8c630.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1c201fef-4b41-4ad5-8ea3-ecf4743c020b/86329840-cb16-4a69-bc75-52ea97225fdc.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/c06f5fd5-3b77-4183-8ad3-132690dd2235/37115c9c-f331-4fdd-9f9f-a9391ac35ea3.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/58698ee9-123e-4983-840a-ef060cefcae0/image0.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/bd5c0b54-4419-4cca-b5e2-693363d6553f/617F8BBC-F1D9-4725-8894-F303BEFC42AE.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/14b12791-7233-496f-9cac-fdbb257948ee/4B0AD139-7689-4B9B-A19F-62A2BFFCFDBE.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/c66bd7fe-21e4-4fa9-bd95-131a4cb2d12b/020F1FE4-EF11-41B9-813E-6E2FED76C76F.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/82777871-a82f-4060-9320-d38ea992031f/a6cc33dd-1e21-45a2-a906-211a19afd81c.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/3ef5f3a2-b0b8-4bf0-a36c-a32f6fb9be44/0A82280E-CC52-48AB-BB63-40F12F970E6A.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/571667ba-5a03-43a0-a2c6-f84e26cf6399/Spitsticks+1.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/7cfc9799-0503-4e39-8f35-91706de98f38/Spitsticks+2.jpg Available now - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617045148828-XV4SV2B2F8Q9RP2OXJ8E/IMG_0054.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617045207505-9J9FTAL2S6G9R02M2E1I/IMG_0058.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617045268225-XOC0YJO7WSGDF282UPUM/IMG_0053.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617045475771-KBHGH79DWF7FEMJH722O/IMG_0035.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617045532174-9J15SKCXU3GX172NGQ0R/IMG_0042.jpg Available now https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598220322171-0ZBEI38E0CUJJB22J8V8/Pellew.jpg Available now - 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 five 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 recognisable 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 (the painting opposite is shown by courtesy of a private collection). 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, 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 intriguing and deeply private artists. 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 £245, postage £10. 50 special copies are bound in quarter imitation vellum with four extra engravings printed from the blocks, housed in a drop-back box. Price £455, all sold. A separate prospectus is available on request. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598194539876-UCN80RG4E5G04T1ZQGF8/WhileDaddy.jpg Available now - 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, almost all of them illustrated by a carefully made coloured drawing, and the little 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 and several tipped-in illustrations Shown at lower left is the illustration for The Elfin People Fill the Tubes, a fairy poem by Winifred Mary Letts, one almost unknown even to her descendants. It was printed in Punch in 1920, and then disappeared from public familiarity, though Douglas or Phyllis remembered it, and Douglas’ illustration captures some fairy magic. The poem begins I know a solemn secret to keep between ourselves, I heard it from a sparrow, who heard it from the elves: like the rest of the poems, these are meant for reading aloud, to children or even just to ourselves. The book runs to 108 pages and is co-published with Liss Llewellyn in an edition of 500 copies. Price £90, postage free. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598194524487-URCJDQUQB5CTAY299A0O/gargoyles.jpg Available now - 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 old 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 of 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, and highly talented, friend at the Royal College of Art. It runs to 280 pages and there is an enormous amount of work shown, by both these great artists, with 18 folding tip-ins. There are also tipped-in prints made from four of Douglas’ pre-war wood-engraved blocks, and one by Rosalind Bliss. Douglas’ blocks were almost completely lost after his house was bombed in the war, the suspicion being that they were looted, since some turned up at auction many years later. It was fortunate that a few remained in family hands which could be included here. Now available at a reduced price of £120 (net) including inland postage (was £282, postage £10). https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598218891278-RWZ7S3T7JTG0X8CUN3V2/shybird.jpg Available now - A Shy Bird The US copyright edition of T. E. Lawrence’s Seven Pillars of Wisdom by 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. Preceding the 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 were 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 this book tells the complex, quite 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, across the 156 pages. Published in June 2018, 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, postage £6. 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. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598195013761-SHP52QLC6Y50UMTMV9QS/gribble.jpg Available now - Vivien Gribble Twenty Wood Engravings by 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 £95, postage free. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598195563570-B1VVQZK8YFFCHY9APAVV/dilige-deum.jpeg Available now - 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, postage free. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598212388139-S8363C6KCQPUW68SNNXZ/Walters.jpg Available now - 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 College 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 Fr. 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). Price is £192, postage £6. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598212846267-YGD0WL8X5LP7G4PFBRIA/sensuous.jpg Available now - Sensuous Lines A Catalogue Raisonné of the intaglio prints of John Buckland Wright by Christopher Buckland Wright 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 Press’ 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 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. Beneath the image of the book itself (right), the print shown is the tipped-in frontispiece in both B and C editions, printed there from the original copper plate by Anthony Dyson. The book runs to 284 pages, in three editions: A: 100 standard copies, full-bound in cloth with a paper label: Price £224, and £8 postage (available; five copies recently found). B: 220 copies which include an original tipped-in copper engraving printed by Anthony Dyson at his Black Star Press, used as frontispiece. Quarter cloth and beautiful marbled sides (in a false Suminagashi pattern) made in Madrid by Antonio Velez Celemin, housed in a slipcase: Price £292, and £8 postage (no longer available). 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 £825 (no longer available). Published in May 2014. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1598219918656-HASQ6065IF3BKK9WS9PC/Ardizzone.jpg Available now - 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). It was a second collaboration with Malcolm Yorke, whose earlier book on Edward Bawden for this Press was a great success. 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 during his travels. To War with Paper and Brush traces and assesses this 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 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. For a perceptive review of the book and assessment of the Press’ books, see the Spectator review by Paul Johnson here: https://www.spectator.co.uk/article/and-another-thing-21-march-2009. 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.’ A detailed prospectus has been made for this book and will be sent on request. https://fleecepress.com/offers daily 0.75 2026-02-15 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604747971809-005FWK9B24FMIJJD9X1Z/gargoyles+copy.jpg Offers - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://fleecepress.com/hornet-wild-rose daily 0.75 2025-04-20 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604182349548-O65B2E5WW4SEB9DZ1U0F/Cover+of+Hornet+and+Wild+Rose%2C+Tirzah+Garwood+book Hornet & Wild Rose: The Art of Tirzah Garwood https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604182369802-MUBM7UYGILK4YE3FZ323/Detail+from+Hornet+and+Wild+Rose%2C+Tirzah+Garwood+book Hornet & Wild Rose: The Art 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https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/7ad1d9ae-f909-4102-ae6e-c541b188ec36/1ee3c695-516a-4e9e-9cac-b63d79b725e4.jpg Henry Morris & his paste papers - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/7f9a7216-de60-40d3-8260-8b570f17f2bf/deb9f7e4-490d-4a68-8d66-df1b01a701ce.jpg Henry Morris & his paste papers - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://fleecepress.com/bibliography daily 0.75 2023-08-06 https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1603790214484-NWPZXBNZBPO90KI0APNX/IMG_9080.jpg Bibliography From S.T.E. Lawrence: Boxwood Blockmaker (FP1), an engraving by Leo Wyatt made especially for the book https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952946650-T32FC5GT1GS7Y5HTAIYX/IMG_9275.jpg Bibliography Cover of The Press, that villainous engine (FP6) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952979220-QBKH0LWZ56476YV7323I/IMG_9279.jpg Bibliography Thomas Turner’s Diary (FP15) Title Page https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952118900-TV1G90IQW1JPL4L6W7S6/4EAB1929-6395-44BE-8438-E104EB23DEB7.jpg Bibliography Yan, Tyan, Tethera (FP16), the Press’s first accordion fold https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1615924806082-XX9U126D9DG7WJI62P5A/IMG_1705.jpg Bibliography - Make it stand out A page from Stanley Morison, Man of Letters (FP17) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952480877-KIWHA2G8EKCTE6KJSDUQ/image-asset.jpeg Bibliography The miniature A Guide to the Hand Press (FP24) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952898813-5LIR6F01P6QA7AE6M7IW/IMG_9430.jpg Bibliography The Auto-biography of Luke Hansard (FP28) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952867432-RVJG7HP8TUVK2KMLDH4R/IMG_9445.jpg Bibliography Title page of Of Gardens, by Francis Bacon (FP35) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604952822420-N99WX0J00QBU2HE2HNYA/IMG_9435.jpg Bibliography Contents page of John Nash: twenty one wood engravings (FP37) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604953313919-KFZT4PD5E6I8BXGNDCT0/IMG_9437.jpg Bibliography A Pretty Mysterious Art (FP43) in its pretty mysterious box https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604953328370-B8EW86R2IDZXAB7P5EM8/IMG_9420.jpg Bibliography Colophon from Mr Derrick Harris, 1919-1960 (FP48) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604953785369-8S37D227LRNZYMOND32P/IMG_9440.jpg Bibliography The Whole Benefits that Paper Brings (FP54) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604697697212-06BMVZKPJUNT32DYQV4Q/IMG_8247.jpg Bibliography Title page spread, Precious Caskets (FP56) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604953915213-WGW9C2IELOQ3W5J83WJJ/IMG_9447.jpg Bibliography Endeavours & Experiments (FP57) and its slip case https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604697224212-0WDJHIEZ7DLEMG3NKQ57/IMG_7720.jpg Bibliography Title page spread of Barnett Freedman: The Graphic Art (FP62) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1606076986344-GJGN7UIEZSF5H13YS478/IMG_9720.jpg Bibliography Eric Ravilious: Landscape, Letters & Design (FP65), Volume One https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604954079529-YTVTEFC37P2N6KFVQ7BN/DSC_6571.JPG Bibliography John Swarbrick: List of Wharfedale Flies (FP67) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604697165700-YFRXBJBK1QH8JUIBCOWL/image-asset.jpeg Bibliography Tone, Texture, Light and Shade (FP71) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604696939620-0P3A01D6BM9WACKB20ZQ/D07FD477-1A93-483D-9D7C-27B356F5FD50.jpg Bibliography Long Live Great Bardfield (FP72) and Hornet & Wild Rose (FP93) side by side https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1604697480786-YTH7UTQIM80J8LOB7IJU/image.jpg Bibliography Mr Kilburn’s Calicos (FP76) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1606076835425-ZE9TCWJY815W8ZTT8CKO/IMG_9647.jpg Bibliography Ravilious for Curwen (FP82) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1606076809384-L1Z39KEY517D5ZQAACUK/IMG_9637.jpg Bibliography When I was a Lad at the Bodley Head (FP86) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1606077220954-6UW9V9DNDPUDF9SAYB4A/B3229A86-52FA-4C36-B270-29A81B26C38B.jpg Bibliography The Man who was called by his own self by Tirzah Garwood from the prospectus for Hornet & Wild Rose (FP93) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1617039935235-LLE3M1TGP4HWSV5DKUKH/image-asset.jpeg Bibliography Part of an alphabet print from Woodcuts for Good Boys & Girls (FP94) https://images.squarespace-cdn.com/content/v1/5f2b27429f49933441546276/1c201fef-4b41-4ad5-8ea3-ecf4743c020b/86329840-cb16-4a69-bc75-52ea97225fdc.jpg Bibliography - Make it stand out My Brush is My Sword (FP100)