By Ruth Artmonsky
Thomas Griffits at Vincent Brooks, Day & Sons and The Baynard Press
Jack Beddington, a footnote man, 2006 The School Prints, 2006 Art for Everyone, 2007 A Snapper up of Unconsidered Trifles, 2008 Bringers of Good Tidings, 2009 Shipboard Style, 2010 ‘Do you want it good or do you want it Tuesday?’ 2011 Designing Women, 2012
Vincent Brooks, Day & Sons and the Baynard Press were two of London’s best known lithographic printers, and Thomas Griffits, who worked for both companies, was the most respected master-lithographer of his generation. The list of artists and designers whose work was printed by the two companies, overseen by the genius of Griffits, reads as a roll call of the time and includes ‘Spy’, Willy Pogany, Edmund Dulac, Barnett Freedman, John Piper and Edward Bawden. Amongst the many clients of the companies were London Transport, major railway companies, publishers such as Faber & Faber and Penguin, and shipping companies, including P&O and the Orient Line.
The Design series published by the Antique Collectors’ Club Design, Lewitt-Him, 2008 Design, FHK Henrion, 2011
RUTH ART MONSKY
P&O, a history, Shire Publications, 2012 P&O, across the oceans, across the years, Antique Collectors’ Club, 2012
THE PLEASURES OF PRINTING Thomas Griffits at Vincent Brooks, Day & Sons and The Baynard Press Ruth Artmonsky
THE
PLEASURES
OF
PRINTING
RUTH ART MONSKY
THE PLEASURES OF PRINTING
THE PLEASURES OF PRINTING
OTHER BOOKS
Introduction
his business of printing: which I am heartily tired of and repent I ever attempted. It is surely a particular hardship that I should not get my Bread in my own country (and it is too late to go abroad) after having acquired the Reputation of excelling in the most useful Art known to Mankind; while everyone who excels as a Player, Fiddler, Dancer etc. not only lives in Affluence but has it in their power to save a Fortune. joh n ba s k e rv i l l e
(18 t h
c e n t u ry b r i t i s h p r i n t e r)
In 1910, a paper was presented to the Royal Society of Arts by one of the most distinguished London printers of the time – Vincent Brooks. Amongst other bees in his bonnet he complained about printer anonymity – that a good deal of the output from the presses omitted the printer’s name; he felt that this was particularly bad when it came to posters and Christmas cards. Left, Double cylinder gripper perfecting machine, William Mackenzie, London, late 19th century. There are many varieties of gripper machines; the most popular are the Wharfedale, a single, and the double gripper
Introduction
his business of printing: which I am heartily tired of and repent I ever attempted. It is surely a particular hardship that I should not get my Bread in my own country (and it is too late to go abroad) after having acquired the Reputation of excelling in the most useful Art known to Mankind; while everyone who excels as a Player, Fiddler, Dancer etc. not only lives in Affluence but has it in their power to save a Fortune. joh n ba s k e rv i l l e
(18 t h
c e n t u ry b r i t i s h p r i n t e r)
In 1910, a paper was presented to the Royal Society of Arts by one of the most distinguished London printers of the time – Vincent Brooks. Amongst other bees in his bonnet he complained about printer anonymity – that a good deal of the output from the presses omitted the printer’s name; he felt that this was particularly bad when it came to posters and Christmas cards. Left, Double cylinder gripper perfecting machine, William Mackenzie, London, late 19th century. There are many varieties of gripper machines; the most popular are the Wharfedale, a single, and the double gripper
t h e pl e a su r es of pr i n t i ng
Some one hundred years later, when researching for this
book and looking for work produced by Vincent Brooks, Day
i n t ro d u c t i o n
the finished piece. This was particularly so when it came to
own The Rudiments of Lithography, is his attempt to take the
a separate stone or plate involving the delicate task of exact
illustrated work, much of which was produced by lithography.
reader through the process:
alignment to produce the required result.
& Son and Sanders Phillips/The
Baynard Press, both printers for whom
printers besported T-shirts with the
It is told that an American firm of
With auto-lithography, the artist draws
Lithography is a process whereby a
drawing is made with liquid lithographic
on the stone or plate directly, without any
Thomas Griffits, the main subject
slogan ‘Damn you Senefelder’, the name
ink or lithographic crayon on stone, though
intervention of a copier or lithographic
of this book, worked, I felt a fellow
associated with the early development of
nowadays zinc or aluminium plates are
printer, and the prints resulting can
feeling with Vincent Brooks. Talking
lithography, presumably referring to the
frequently used. The drawn plate or stone is
be claimed to be originals. Where the
to book and ephemera dealers it seems
difficulties and pitfalls of working with
then given a coating of gum etch. This has
artists are helped by the printer or where
nowadays that it is sufficient to know
the process, but, just as likely, the trials
the effect of making the surface of the plate
the printer takes over the reproduction
the title of a book and its author, or
and tribulations of working with artists
or stone grease repellent, but it is sensitive
of a work of art, a considerable rapport
the subject matter of some piece of
and designers who were experimenting
to water and does not interfere with the
between artist and printer is essential.
ephemera. When asked for the name
with auto-lithography or having their
drawn ink portions. Gum etch does not
Paul Nash wrote caustically in the Penrose
of a book’s publisher or illustrator
work reproduced by the printers.
bring the drawn portions into relief: it acts
Annual for 1936 of the printer’s contribution:
there seemed to be some resistance
as a desensitizer only. Printing is done by
In a mood of pessimism, I once
Alois Senefelder ‘discovered’
to bother turning the pages, and
lithography in the late eighteenth
damping the surface of the stone or plate,
propounded a theory to the director of a vast
absolute astonishment when the name
century, and came to London in 1800
and passing an inked roller over the stone
print selling organization that all colour
of the printer was requested. On
to exploit his invention, and to secure
or plate. Only the greasy portions take up
engravers were colour-blind.
much printed material one needs good
a patent for it. His process was taken
the ink from the roller – the damp portions
He was complaining that most printers
eyesight and a magnifying glass to
up by a number of London printers
refuse the ink. A sheet of paper is then laid
worked by rote, trying to reproduce exactly
discern the printer’s name, if it is given
including Day & Son (later to be
on the stone or plate and pulled through
the image they had received, but thereby
at all, and not, as Vincent experienced,
taken over by Vincent Brooks’ firm),
the press. On lifting the paper the inked
failing to catch the spirit of the piece, the
merely declared as ‘printed in England’,
who practised it under licence from
portions are found to have adhered to the
artist’s intent being lost in translation.
or wherever.
1823 onwards.
paper and show as a clear print – proof that
Harold Curwen was to put the printer’s
under these conditions ‘grease and water do
viewpoint in the Penrose Annual (1938):
Yet, well into the twentieth century,
when the profession of graphic designer was only in its infancy, it would have
Vincent Brooks, Day & Son Ltd advert, 1925
Thomas Griffits, one of the most
illustrious practitioners of the process,
not mix.’
said that as a lithographic printer he
This description does not cover the
The Baynard Press advertisement, 1942
…it is doubtful whether any large proportion of designers, working specifically
been the master printer who, frequently, would have to take the
always found difficulty in explaining to people what lithography
additional challenges of colour lithography – the decision as to
for reproduction, have even an approximate idea of the process involved
roughest idea of a layout or image and work it up to produce
was, and much preferred demonstrating it. Here, from Griffits’
which colours to use and in which order, each colour requiring
in the carrying out of their designs… for the most part, the designs are
t h e pl e a su r es of pr i n t i ng
Some one hundred years later, when researching for this
book and looking for work produced by Vincent Brooks, Day
i n t ro d u c t i o n
the finished piece. This was particularly so when it came to
own The Rudiments of Lithography, is his attempt to take the
a separate stone or plate involving the delicate task of exact
illustrated work, much of which was produced by lithography.
reader through the process:
alignment to produce the required result.
& Son and Sanders Phillips/The
Baynard Press, both printers for whom
printers besported T-shirts with the
It is told that an American firm of
With auto-lithography, the artist draws
Lithography is a process whereby a
drawing is made with liquid lithographic
on the stone or plate directly, without any
Thomas Griffits, the main subject
slogan ‘Damn you Senefelder’, the name
ink or lithographic crayon on stone, though
intervention of a copier or lithographic
of this book, worked, I felt a fellow
associated with the early development of
nowadays zinc or aluminium plates are
printer, and the prints resulting can
feeling with Vincent Brooks. Talking
lithography, presumably referring to the
frequently used. The drawn plate or stone is
be claimed to be originals. Where the
to book and ephemera dealers it seems
difficulties and pitfalls of working with
then given a coating of gum etch. This has
artists are helped by the printer or where
nowadays that it is sufficient to know
the process, but, just as likely, the trials
the effect of making the surface of the plate
the printer takes over the reproduction
the title of a book and its author, or
and tribulations of working with artists
or stone grease repellent, but it is sensitive
of a work of art, a considerable rapport
the subject matter of some piece of
and designers who were experimenting
to water and does not interfere with the
between artist and printer is essential.
ephemera. When asked for the name
with auto-lithography or having their
drawn ink portions. Gum etch does not
Paul Nash wrote caustically in the Penrose
of a book’s publisher or illustrator
work reproduced by the printers.
bring the drawn portions into relief: it acts
Annual for 1936 of the printer’s contribution:
there seemed to be some resistance
as a desensitizer only. Printing is done by
In a mood of pessimism, I once
Alois Senefelder ‘discovered’
to bother turning the pages, and
lithography in the late eighteenth
damping the surface of the stone or plate,
propounded a theory to the director of a vast
absolute astonishment when the name
century, and came to London in 1800
and passing an inked roller over the stone
print selling organization that all colour
of the printer was requested. On
to exploit his invention, and to secure
or plate. Only the greasy portions take up
engravers were colour-blind.
much printed material one needs good
a patent for it. His process was taken
the ink from the roller – the damp portions
He was complaining that most printers
eyesight and a magnifying glass to
up by a number of London printers
refuse the ink. A sheet of paper is then laid
worked by rote, trying to reproduce exactly
discern the printer’s name, if it is given
including Day & Son (later to be
on the stone or plate and pulled through
the image they had received, but thereby
at all, and not, as Vincent experienced,
taken over by Vincent Brooks’ firm),
the press. On lifting the paper the inked
failing to catch the spirit of the piece, the
merely declared as ‘printed in England’,
who practised it under licence from
portions are found to have adhered to the
artist’s intent being lost in translation.
or wherever.
1823 onwards.
paper and show as a clear print – proof that
Harold Curwen was to put the printer’s
under these conditions ‘grease and water do
viewpoint in the Penrose Annual (1938):
Yet, well into the twentieth century,
when the profession of graphic designer was only in its infancy, it would have
Vincent Brooks, Day & Son Ltd advert, 1925
Thomas Griffits, one of the most
illustrious practitioners of the process,
not mix.’
said that as a lithographic printer he
This description does not cover the
The Baynard Press advertisement, 1942
…it is doubtful whether any large proportion of designers, working specifically
been the master printer who, frequently, would have to take the
always found difficulty in explaining to people what lithography
additional challenges of colour lithography – the decision as to
for reproduction, have even an approximate idea of the process involved
roughest idea of a layout or image and work it up to produce
was, and much preferred demonstrating it. Here, from Griffits’
which colours to use and in which order, each colour requiring
in the carrying out of their designs… for the most part, the designs are
t h e pl e a su r es of pr i n t i ng
just painted or drawn on a piece of paper… Thereafter, the printer ‘gets on with the job’.
Curwen argued that lithography generally, and auto-lithography
in particular, brought the artist to grips with the printing process and with workshop practice.
Aldo Crommelynck, who printed some of Picasso’s work,
defined the most effective relationship between artist and printer:
A good collaboration ensues when a printer understands completely
the intention of an artist and proposes the technical means which enable him to express it.
Thomas Griffits was one such printer. Barnett Freedman,
one of the greatest exponents of auto-lithography in the twentieth century, who learnt his skills from Griffits, wrote of him:
Mr. Thos. Griffits of the Baynard Press has a just and sympathetic
understanding of the artist’s aim, and such a profound knowledge of the workings of lithography, that a lithographic copy done by his hand, or under his supervision, invariably retains the vitality of the original work, and indeed in many cases improves and clarifies it.
Griffits referred to his inputs as ‘playing about’, and certainly all
the evidence suggests he found printing fun. This book is dedicated to the handful of printers in Britain today who find pleasure in what they do – who, whilst geared to the latest technology, work with a romantic nostalgia for the Thomas Griffitses of the past, and with a sense of the history of their industry. Covers from The Baynard Press The Pleasures of Printing numbers One (1955), illustrated by P. Roberson, and Two (c1956), illustrated by Leonard Applebee, promoting services and showcasing work
t h e pl e a su r es of pr i n t i ng
just painted or drawn on a piece of paper… Thereafter, the printer ‘gets on with the job’.
Curwen argued that lithography generally, and auto-lithography
in particular, brought the artist to grips with the printing process and with workshop practice.
Aldo Crommelynck, who printed some of Picasso’s work,
defined the most effective relationship between artist and printer:
A good collaboration ensues when a printer understands completely
the intention of an artist and proposes the technical means which enable him to express it.
Thomas Griffits was one such printer. Barnett Freedman,
one of the greatest exponents of auto-lithography in the twentieth century, who learnt his skills from Griffits, wrote of him:
Mr. Thos. Griffits of the Baynard Press has a just and sympathetic
understanding of the artist’s aim, and such a profound knowledge of the workings of lithography, that a lithographic copy done by his hand, or under his supervision, invariably retains the vitality of the original work, and indeed in many cases improves and clarifies it.
Griffits referred to his inputs as ‘playing about’, and certainly all
the evidence suggests he found printing fun. This book is dedicated to the handful of printers in Britain today who find pleasure in what they do – who, whilst geared to the latest technology, work with a romantic nostalgia for the Thomas Griffitses of the past, and with a sense of the history of their industry. Covers from The Baynard Press The Pleasures of Printing numbers One (1955), illustrated by P. Roberson, and Two (c1956), illustrated by Leonard Applebee, promoting services and showcasing work
t h e pl e a su r es of pr i n t i ng
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
‘The Gateway to the World’ poster by ‘Shep’ (Charles Shepherd) from Art &Industry, 1937
Posters for London Transport by Charles Paine: left, Trooping the Colour, 1922, right, The Boat Race, 1921
t h e pl e a su r es of pr i n t i ng
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
‘The Gateway to the World’ poster by ‘Shep’ (Charles Shepherd) from Art &Industry, 1937
Posters for London Transport by Charles Paine: left, Trooping the Colour, 1922, right, The Boat Race, 1921
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
Cover and pages by Jack Townend for Puffin, no. 64, The Clothes We Wear, 1947
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
Cover and pages by Jack Townend for Puffin, no. 64, The Clothes We Wear, 1947
t h e pl e a su r es of pr i n t i ng
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
To Young Weavers, a promotional leaflet published by Morton Sundour
The Castles on the Ground, written by J.M.Richards, illustrated by John Piper,
with illustrations by Charles Paine, 1927
published by The Architectual Press, 1945
t h e pl e a su r es of pr i n t i ng
f r e d p h i l l i p s o f s a n d e r s p h i l l i p s / t h e b ay n a r d p r e s s
To Young Weavers, a promotional leaflet published by Morton Sundour
The Castles on the Ground, written by J.M.Richards, illustrated by John Piper,
with illustrations by Charles Paine, 1927
published by The Architectual Press, 1945
t h e pl e a su r es of pr i n t i ng
BAYNARD’S CASTLE This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses
shakespeare
There is no castle in Chryssell Road, SW9 – there never was. In Shakepeare’s time, and up to the beginning of the nineteenth century, there were green fields where the Baynard Press now has its home.¶ Many years ago, when we were in Upper Thames Street, our building was near the site of the original Baynard Castle, built by Ralph de Baynard, a Norman who came over with the Conqueror. And so the name of the Press was therefore a natural choice. ¶ Although there is nothing in Chryssell Road, SW9, to commend itself to an antiquarian, printing of a very high standard is done there – at The Baynard Press. Printing for industry and commerce, for institutions and learned bodies; printing by letterpress and lithography, done in good black ink or in many colours. ¶ There are larger firms (although we are not small), and there are cheaper ones. But Baynard Press ‘quality’, which is traditional, and the informed and intelligent approach to the problems of creative printing displayed by the Press have made many good friends for us during the past six decades.
t h e bay na r d pr ess
Plaque that originally hung in the offices of the Baynard Press in Chryssell Road
t h e pl e a su r es of pr i n t i ng
BAYNARD’S CASTLE This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses
shakespeare
There is no castle in Chryssell Road, SW9 – there never was. In Shakepeare’s time, and up to the beginning of the nineteenth century, there were green fields where the Baynard Press now has its home.¶ Many years ago, when we were in Upper Thames Street, our building was near the site of the original Baynard Castle, built by Ralph de Baynard, a Norman who came over with the Conqueror. And so the name of the Press was therefore a natural choice. ¶ Although there is nothing in Chryssell Road, SW9, to commend itself to an antiquarian, printing of a very high standard is done there – at The Baynard Press. Printing for industry and commerce, for institutions and learned bodies; printing by letterpress and lithography, done in good black ink or in many colours. ¶ There are larger firms (although we are not small), and there are cheaper ones. But Baynard Press ‘quality’, which is traditional, and the informed and intelligent approach to the problems of creative printing displayed by the Press have made many good friends for us during the past six decades.
t h e bay na r d pr ess
Plaque that originally hung in the offices of the Baynard Press in Chryssell Road