Richard Price Rummonds (also known as Richard-Gabriel Price Rummonds), one of the foremost handpress printers of the late twentieth century, [1] is also an author, publisher, typographer, and historian of printing. His two books on nineteenth-century printing, Printing on the Iron Handpress [2] and Nineteenth-Century Printing Practices and the Iron Handpress, [3] comprehensively describe the history, operation and merits of the iron handpress.
Born on April 26, 1931, in Long Beach, California, Rummonds was raised in Sacramento, California. He attended Syracuse University in 1949–1950, in the School of Fine Arts, with the intention of majoring in set and costume design and the University of California at Berkeley intermittently between 1950 and 1954, where he majored in English and Creative Writing. During this period he was on the staff of Occident, the student literary magazine, of which he became the editor for the Spring 1954 issue.
Rummonds began printing in Quito, Ecuador in 1966, using the Plain Wrapper Press imprint. His first book was a selection of his own poems. [4] The following year in Buenos Aires, Argentina, he printed a book of his short stories. [5]
At a lecture in New York in November 1968, given by the Veronese printer Giovanni Mardersteig operator of the private press Officina Bodoni, Rummonds met Mardersteig’s son, Martino, who introduced Rummonds to the iron handpress. From 1969 on Rummonds printed all of his books on iron handpresses. The following year Rummonds moved his publishing venture and printing equipment to Verona, Italy, where he remained until 1982. Alessandro Zanella joined Rummonds at the Plain Wrapper Press in 1976, eventually becoming a partner in 1978. [6]
During this period in Verona he printed one of the great treasures of twentieth-century fine-press publications: Siete Poemas Sajones / Seven Saxon Poems [7] by Jorge Luis Borges with impressions by Arnaldo Pomodoro. Anthony Rota, the London antiquarian bookseller, was referring to this book when he wrote “It is seldom that editorial, typographical, and practical printing skills are as evenly matched and as successfully combined as they are in the fortunate case of Mr. Richard-Gabriel Rummonds.” [8]
Among his other publications [9] are Three Poems of Passion [10] by C. P. Cavafy with intaglio prints by Ger van Dijck; Will and Testament: A Fragment of Biography [11] by Anthony Burgess with screenprints by Joe Tilson; Prima Che Tu Dica “Pronto”/Before You Say “Hello” [12] by Italo Calvino with woodcuts by Antonio Frasconi; Atlantic Crossing [13] by John Cheever; and Journeys in Sunlight [14] by Dana Gioia with etchings by Fulvio Testa.
Between 1977 and 1996, Rummonds taught in the Graduate School of Library Service at the University of Alabama in Tuscaloosa, Alabama. He was the founding director of the MFA in the Book Arts Program. [15] Subsequently, he offered workshops on printing on iron handpresses throughout the world as well as giving numerous lectures on fine printing.
There were two major retrospective exhibitions of his work: the first in 1981 at the New York Public Library, about which Edwin McDowell in The New York Times, wrote “[NYPL] is featuring what is considered to be one of its most beautiful exhibitions ever.” [16] The second was in 1999 at the Biblioteca di Via Senato in Milan, Italy. [17]
Printing is a process for mass reproducing text and images using a master form or template. The earliest non-paper products involving printing include cylinder seals and objects such as the Cyrus Cylinder and the Cylinders of Nabonidus. The earliest known form of printing as applied to paper was woodblock printing, which appeared in China before 220 AD for cloth printing. However, it would not be applied to paper until the seventh century. Later developments in printing technology include the movable type invented by Bi Sheng around 1040 AD and the printing press invented by Johannes Gutenberg in the 15th century. The technology of printing played a key role in the development of the Renaissance and the Scientific Revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.
George E. Clymer, printing press inventor and manufacturer, from Philadelphia, Pennsylvania was an American engineer and all around inventor Clymer in his earlier vocational years was something of a civil engineer and as an inventor became noted for his improvements and developments in early nineteenth century printing presses, and ultimately developed his own distinctive printing press, which soon became widely known as the Columbian Printing Press, which were often favorably received by printers in America, England and parts of Europe. After relocating to England because of better market conditions, Clymer subsequently became one of the principal developers and suppliers of printing presses in Europe in the early nineteenth century. The innovative designs he incorporated into his printing presses were put to use in the manufacturing of other printing presses years after his death.
The dust jacket of a book is the detachable outer cover, usually made of paper and printed with text and illustrations. This outer cover has folded flaps that hold it to the front and back book covers.
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John Waynflete Carter was an English writer, diplomat, bibliographer, book-collector, antiquarian bookseller and vice-president of the Bibliographical Society of London. He was the great-grandson of Canon T. T. Carter.
The Columbian press is a type of hand-operated printing press invented in the United States by George Clymer, around 1813. Made from cast iron, it was a very successful design and many thousands were made by him and by others during the 19th century. Columbians continued to be made as late as the early-20th century, 90 years after their introduction. Despite their age, many are still used for printing, especially by traditional printmaker artists.
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Robert Granjon was a French punchcutter, a designer and creator of metal type, and printer. He worked in Paris, Lyon, Antwerp, and Rome. He is best known for having introduced the typeface style Civilité, for his many italic types and his fleuron designs, although he worked across all genres of typeface and alphabet across his long career.
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