Pleasures of Printing

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

