The Typographeum Bookshop

246 Bennington Road, Francestown, New Hampshire 03043, U.S.A.

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Typographeum Bibliography (Part 5)

Finally, below is everything related to my bookselling. Also included are the end of the year greetings I sent to friends.

111 ¶ Terry Risk: On My Print-Shop. 1977.

<Title-Page> On My Print-Shop | TERRY RISK | (line-block illustration) | Privately Printed | FRANCESTOWN | Christmas 1977

<Description> Christmas 1977. About 100 copies printed letterpress. 8 unnumbered leaves sewn into overlapping wrappers printed in sepia on the front. 6¼ x 4½ inches.

<Colophon> About 100 copies | hand-set & hand-printed | in twelve-point Bembo | by Terry Risk | for his friends | this Christmas 1977 | DEO GRATIAS | (line-block device)

Terry Risk: Han-printed publications112 ¶ Terry Risk: Hand-printed Publications. 1978.

<Description> Spring 1978. One sheet folded once, printed on 3 unnumbered pages.8½ x 5½ inches. Number of copies not stated.

<Title-page> Hand-printed publications available from : | [in blue] TYPOGRAPHEUM | (4 fleurons) | Typographeum was founded in 1976 | as the private press studio of R. T. Risk. | It is dedicated to the traditional art of hand-printing | with a splendid antique Chandler & Price | crown folio treadle platen press. | FLOREAT TYPOGRAPHIA MIRABILIS | The Stone Cottage | FRANCESTOWN | New Hampshire | Spring 1978

<Annotations> This is the first of three general announcements I sent out in my catalogues listing already published and forthcoming books. The others were issued in 1979 and 1994.

113 ¶ Terry Risk: [Christmas Greeting]. 1978.

<Description> December 1978. Card folded once. 6¼ x 4½ inches. Device on page 3 printed in green. Number of copies not stated.

<Colophon> Hand-set in Bembo types | and printed letter-press | by Terry Risk | for his friends this | December 1978 | WITH BEST WISHES | for | CHRISTMAS | and the | NEW YEAR | [in green] (device)

114 ¶ Terry Risk: [Christmas Greeting]. 1979.

<Description> December 1979. 60 copies printed on hand-made paper from J. Barcham Green. One sheet folded twice. 6¼ x 4½ inches.

<Colophon> Sixty copies hand-set in Bembo types | and printed letterpress on Charter Oak hand-made paper | by Terry Risk for his friends this December, 1979 | Deo Laus

115 ¶ Terry Risk: [Christmas Greeting]. 1980.

<Description> Christmas 1980. 50 copies printed letterpress. With a line-block on the front hand-colored by the printer. 5½ x 4 inches.

116 ¶ Terry Risk: [Christmas Greeting]. 1981.

<Description> Christmas 1981. 50 copies printed on hand-made paper. Folded twice. About 5½ x 4¼ inches.

Terry Risk: Christmas Greeting 1981<Annotations> The paper for this I made myself at the mill belonging to Dr. Gil Desmarais, then at Framingham, Massachusetts. We met after he set up his wife, Rebecca, as a bookseller by buying the entire stock and mailing list of a retiring colleague in southern Vermont. Eventually they came to visit me and while here expressed an interest in learning the practice of letterpress, so I invited them to spend a day setting type and printing. Evidently the experience was motivating enough that it set Gil off on a search for old presses. Before long he had filled up a large garage with them, including several like my own and an impressive Heidelberg. Once that was done, he decided the next project would be to establish a paper mill. Essential to that was a beater, a massive machine weighing tons. He saw one advertised for sale in New York State, so he rented a flat-bed truck and, together with a helper, drove over and loaded the machine, but on the motorway coming back it began to slide off which provoked a good deal of alarm. They only just managed to get it home. By way of contrast, two other essential pieces of equipment were the deckle and mould. They were very light and easy to hold between the hands. But the two things had to be specially commissioned from the renowned papermakers, J. Barcham Green of Kent, England. The watermark woven into the mould was designed by the artist, Barry Moser. Because Gil knew I was interested, he asked me to try my hand, although I had never having done anything like that before. I quickly picked up the knack of dipping into the vat, catching enough of the fibers, and shaking the mould so they were distributed evenly. However, the experience was not entirely pleasant. The noise from the beater was deafening, and water from it slopped over onto the floor. Soon my shoes were soaked. And since everything was in an annex to the garage, where there was no heat, that added to the discomfort. By the end of a day spent there, I had made about 100 sheets which was evidently a unique achievement, for it seems I was the only one actually to have made paper at the Desmarais mill. The long-term results were unsatisfactory too, because the cotton rag fibers were not properly de-acidified, and consequently the paper has become severely foxed over the years. Also, I heard nothing more about the mill, and Rebecca's bookselling ceased as well. Whatever became of all the machinery has remained a mystery.

117 ¶ Terry Risk: [Christmas Greeting]. 1982.

<Description> Christmas 1982. 50 copies printed letterpress. Heavy paper folded twice. 5¼ x 4 inches.

118 ¶ Terry Risk: [Christmas Greeting]. 1983.

<Description> Christmas 1983. 60 copies printed letterpress. One sheet folded twice. 5½ x 4 inches. Illustrated: line-block on front.

119 ¶ Terry Risk: [Christmas Greeting]. 1984.

<Description> Christmas 1984. Card folded once. About 5½ x 4¼ inches. Number of copies not stated.

Terry Risk: Christmas Greeting 1985120 ¶ Terry Risk: [Christmas Greeting]. 1985.

<Description> Christmas 1985. Card folded once. Text printed in sepia and the border in red. 6 x 4½ inches. Number of copies not stated.

121 ¶ Terry Risk: [Christmas Greeting]. 1986.

<Description> Christmas 1986. Card folded once. 6¼ x 4½ inches. Border printed in purple. Paper: Fabriano. Type-face: Bembo. Number of copies not stated.

122 ¶ Terry Risk: [Christmas Greeting]. 1987.

<Description> December 1987. Card folded once. 6 x 4¼ inches. Number of copies not stated

Terry Risk: Christmas Greeting 1988123 Terry Risk: [Christmas Greeting]. 1988.

<Description> Christmas 1988. Single card printed on both sides. Initial letter printed in red. 4¼ x 6 inches. Number of copies not stated.

124 ¶ Terry Risk: [Christmas Greeting]. 1989.

<Description> Christmas 1989. Single card printed on both sides. 6 x 4 3/8 inches. Initial name and colophon printed in red. Number of copies not stated

125 ¶ Terry Risk: [Christmas Greeting]. 1990.

<Description> Christmas 1990. Single card printed in sepia ink on both sides. 6 x 4 3/8 inches. Number of copies not stated

126 ¶ Terry Risk: [Christmas Greeting]. 1991.

<Description> Christmas 1991. Single card printed on both sides. 6¼ x 4 3/8 inches. Number of copies not stated

127 ¶ Terry Risk: [Christmas Greeting]. 1992.

<Description> December 1992. Card folded once with a piece of marbled paper tipped to the front. 4¼ x 5½ inches. Number of copies not stated

<Annotations> The marbled paper was made by me. It was one of the experiments I tried at the time.

128 ¶ R. T. Risk: Self-Portrait at Fifty. 1993.

<Description> June 1993. 35 copies printed letterpress. 2 unnumbered leaves sewn into overlapping rose wrappers with a titling label on the front. 4½ x 4¾ inches. Text paper: Linweave with a deckle fore-edge; cover paper: Fabriano. Text type-face: 12-point Bembo italic.

<Colophon> (fleuron) | Thirty-five copies printed by Terry Risk | for my friends on becoming fifty. | Francestown: 25 June 1993

129 ¶ Terry Risk: [Christmas Greeting]. 1993.

<Description> December 1993. Single card, folded once. 4½ x 6 inches. Number of copies not stated

130 ¶ Terry Risk: [Christmas Greeting]. 1994.

<Description> December 1994. Single sheet of paper with deckle edge, printed in blue on both sides. Tipped to blue heavy stock. 4½ x 6¼ inches. Number of copies not stated.

131 ¶ Terry Risk: [Christmas Greeting]. 1995.

<Description> December 1995. Single tan card folded once. 6¼ x 4½ inches. Printed in sepia ink with a gold initial letter. Number of copies not stated.

132 ¶ Terry Risk: [Christmas Greeting]. 1996.

<Description> Christmas 1996. One sheet of paper, folded once. 6¼ x 4½ inches. With a piece of Thai Unryu paper tipped inside. Number of copies not stated

Terry Risk: Christmas Greeting 1997133 ¶ Terry Risk: [Christmas Greeting]. 1997.

<Description> December 1997. Single sheet folded once. 4½ x 6¼ inches. Front printed in black and red. Number of copies not stated

134 ¶ Terry Risk: [Christmas Greeting]. 1998.

<Description> Christmas 1998. Single card, printed in black and red on one side. 4½ x 6 inches. Number of copies not stated

135 ¶ Terry Risk: A 15th Century Astronomical Table. 1999.

<Description> December 1999. Single sheet printed on both sides laid in brown wrappers with a titling label on the front. 5½ x 4½ inches. Illustrated: astronomical table. Number of copies not stated.

136 ¶ Terry Risk: [Christmas Greeting]. 2000.

<Description> December 2000. Card folded once, with an illustration tipped to the front. Number of copies not stated

<Annotations> The illustration is of a Dutch tapestry from the 15th Century, “Figures in a Rose Garden.” It was found on my new computer and marked a change in my life, although I continued letterpress printing for some years still.

137 ¶ Terry Risk: [Christmas Greeting]. 2001.

<Description> December 2001. Card folded once. 6¼ x 4½ inches. Illustration done on a laser printer tipped to the front. Number of copies not stated.

Terry Risk: Definite Purposes138 ¶ Terry Risk: Definite Purposes. 2004.

<Description> December 2004. 50 copies printed letterpress. Two unnumbered leaves tipped into light grey wrappers with a black & white illustration pasted to the front. 6 x 4½ inches.

139 ¶ Terry Risk: Patience. 2005.

<Description> Year end greeting: 2005. 45 copies. 2 leaves plus decorative end-papers sewn into overlapping wrappers printed on the front. 6 x 4½ inches.

Terry Risk: Bookselling Catalogues140 ¶ Terry Risk: [Bookselling Catalogues]. 1976-99.

<Description> 89 catalogues printed letterpress. About 16 to 20 pages, initially sewn into wrappers, then eventually they were stapled. 8½ x 5½ inches. The titles on the covers were usually printed in color. Illustrations were sometimes added.

<Annotations> I issued my first catalogue in June 1976 and continued for about 25 years, printing four a year. For the first 18 I put brief quotations from some of the books I was offering on the covers, but this was a great deal of extra work, and beginning with catalogue 19, I simply printed a title and number. After 2000, when I had a computer, I set a few catalogues on that. The computer changed other things as well, because selling online became possible. Eventually I gave up issuing catalogues altogether.

141 ¶ Terry Risk: Occasional List Number One. 1976.

<Description> December 1976. Four unnumbered pages printed letterpress. 11½ x 7½ inches. Number of copies not stated.

<Annotations> This occasional list had a different format and included only 50 items. I don't believe I ever repeated such a solicitation.

142 ¶ Terry Risk: [Solicitations]. Undated.

<Description> Issued at various times. Two versions. Single sheet printed letterpress on one side. 8½ x 5½ inches. Number of copies not stated.

<Annotations> Occasionally I printed these general solicitations which I laid in my current bookselling catalogue.

143 ¶ Terry Risk: [Movie Leaflets]. Undated.

<Description> Issued at various times. 10 leaflets listing various movies for sale. Mostly printed two sides on one sheet. 8½ x 5½ inches. Number of copies not stated.

144 ¶ Terry Risk: [Mailing Label]. Undated.

<Description> Mailing label printed in sepia on one side of gummed paper stock. 4¼ x 5½ inches. Printed as needed.

145 ¶ Terry Risk: [Bookmark]. Quotation from Edmund Gosse. Undated.

<Description> Bookmark printed in sepia on single side. 6¼ x 1¾ inches, with bottom cut at angles. Number of copies not stated.

146 ¶ Terry Risk: [Compliments Card]. Undated.

<Description> Several cards printed in black or blue. 3½ x 5¾ inches. Number of copies not stated.

147 ¶ Terry Risk: [Telephone Number]. Undated.

<Description> Single card printed in sepia on one side. 3 x 4¼ inches. Number of copies not stated.

Part 5 of 5. Go back to: Part 1, Part 2, Part 3, Part 4.

Now that you've gotten this far, I thought I'd add one more thing. It is an article I wrote long ago for my friend and colleague, Roger Burford Mason, who for a while published a magazine, Albion, from his home at 26 West Hill, Hitchin, Hertfordshire, England. The magazine was styled “A Journal for Private Press Printers,” although actually it was a mimeographed, stapled production, certainly unworthy of the subject (later, with a new format, it improved a bit). I tried to be supportive by writing for it occasionally, and once I sent out an announcement to my bookselling customers (see item number 93 above) in an effort to find new readers. So for the second number of volume 2, August 1978, I submitted this story about visiting two private press printers.

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Several months back, during April and May, I did quite a bit of unaccustomed travelling. My trips took me to several places in New England, and to Old England as well. The first journey was westward to Vermont and New York. Now, I hasten to add New York is not properly in New England, and the real native would be aghast at any suggestion that it is. Still, I like to think I took some New Englander's chivalry with me when I went there, and so I will stretch a point. In any event, among the people I visited, there were two remarkable, but very different, printers, Leonard Seastone and Claude Fredericks. That I had the opportunity to meet them was a great treat for me.

Leonard Seastone and his Tideline Press is in Tannersville, New York. To get there I had to drive along the Hudson River heading south towards New York City, but then turning off into the Catskill Mountains which are certainly a great change from the dull river valley. Suddenly I was running up steep grades, rounding tortuous hair-pin bends, and staring down precipitous cliffs at cascades of water far below. Tannersville turned out to be a rather nondescript village deep in the Catskills; very much the Rip Van Winkle place if ever there were one. Leonard's home had nothing proclaiming it as a bastion of find printing, but then, if we weren't mostly backroom or basement printers, we wouldn't be printers at all. In this case, everything was in the basement. The printing office was in a small room divided from the larger area, and there pleasantly installed were the single Washington hand press, a large humidor, some cases, and a small work bench. Leonard, I soon discovered, is an artist, and that in combination with real skill in handling his marvellous old press, enabled him to produce some superb designs. One lovely woodcut of an abstract design, for example, was inked with a single perfect stroke of the roller using a shading of blues and greys to wonderful effect. He naturally chooses the finest hand-made paper, which he damps and leaves unpressed. His printed impressions are perhaps too deep for some tastes, but one is happy to grant him this technique in his art, Beside being an excellent artist and printer, Leonard is a good person and I enjoyed my long chat with him. He is in his early twenties, and we can look forward to much fine work from him in the future.

Claude Fredericks in Pawlett, Vermont, is in a very different world altogether. This is the real New England, and one can feel the difference after leaving New York. Here the mountains are gentle and rolling with valleys that seem to enjoy their ample sweep. Things are tidier and there is a respectable distance between villages and farms. I found Claude Fredericks at the end of a long dirt road that wound up a hillside covered with trees. I particularly remember the sight of his beautiful colonial home which sits apart from the trees in a field that tilts gradually uphill. I had not seen the house from the main road in the valley below, but then one usually has one's sights fixed on the lowly things anyway.

The house seemed deserted and at first I despaired of meeting my second printer. However, after some heavy knocks on the back door, something inside stirred and soon I was conducted into what I can only a Nirvana. The interior austere and spare; there was nothing but a few large, very green and luxuriant plants, a low divan and a simple white rug. There was no sign of electric lights, no printer's mess, no telephone, nothing. I sat on the rug with Claude Fredericks to consume with him small sandwiches and tea which he had miraculously fetched from some obscure place in the house. We talked about printing and look at some of his stunning books. The story of Claude Fredericks hints of great interest, but one does not come to know too much too quickly. As eager as I was, for example, to see the press-room that came only after tea and sandwiches had leisurely been disposed of. The printing office actually adjoins the main entrance hall of the house. It was similarly well-organised with an obvious aspiration to asceticism. The press was a standing treadle platen, a Golding 10 x 15 inch, if my memory is correct. I was surprised to see it attached to a motor. Claude Fredericks does not dampen his papers, but his impressions seemed as fine as Leonard Seastone's, and as fine as any I've seen. Like Seastone's—and the comparison is inevitable for me—the right-hand margins were not justified. Fredericks is not an artist, but he uses his printing with an extraordinary artistic sense. What he prints is, like himself, temperate and simple, although being such they achieve a stylishness and grace.

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