View allAll Photos Tagged printing_press
The bottom of Hope Street, Glasgow is a place I pass through quickly, why I hadn’t spotted this beautiful printing press detail on the doorway of the former Daily Record building at 67 Hope Street. Originally J M Smith and Co’s Glasgow Evening News Offices and Printing Works, then the Daily Record until their move to Anderston Quay. The building used to feature a large window looking into the press hall, you could stand there at night and watch the paper being printed. #newspaper #newspapers #newspaperprint #dailyrecord #printingpress #decorativestone #redsandstone #glasgow #glasgowarchitecture #scottisharchitecture #photography #nikon #nikonfz #nikkor
Having a chance to purchase one of these top-of-the-line printing presses doesn't come up often, so like a couple of foolish kids we hopped into our small SUV and drove a 14 hour round trip to Huntington Beach, south of Los Angeles to pick up this Hohner Hobo-IV A5, the nicest model of this machine. I've been muddling along with an 8"x5" Adana, but have needed a stronger press for some projects that have been in the works for much too long. I've done a bit of rearranging in my overly-crowded shop, and hope to have some help unloading it. It is about the same size, but much beefier than a Chandler & Price Pilot, and probably weighs about 50 pounds more. It also has no hand-holds, so I have come up with a novel way of manually lifting it out of our vehicle. More photos to follow...
This is in the basement of the building I work in. We used to have a gigantic press there. This is part of what remains.
Aktiebolaget Tryckfärger delivered one of the printing presses. Don't think they delivered to my father, because these were old when my father established his company.
This image is part of a series called Movable type: Equipment from my fathers workshop. The photos in the series are:
6 chases plus rollers and 1 truck, this is for you platen-printer as requested. There are no screws to fix the type.
Show the last form created in 1950 (sorry it is upside dowm)
Early present to myself! Finally found a good deal on the hand press, combined with a 20% off coupon and a free delivery from Utrecht, got the price down to about $45. I'm guessing the Speedball and the Richeson versions of this press are pretty much the same. Can print up to 6" x 8" blocks, any thickness. Poppy soft block from last summer.
In the mid-1890s Frederic Goudy under the name "The Camelot Press" typeset and had printed the Chap-Book published by Stone & Kimball in Chicago. Here are several of the ads for the short lived venture.
BBC4 Show following Johannes Gutenberg life and creation of the printing press, with Stephen Fry. They recreated the original press, hand crafted. You have to love the BBC!
If you like typefaces and typography visit www.vialetter.com
Dedicated in May 1901 the monument survived the 1906 earthquake (see: www.flickr.com/photos/9405610@N02/2780430209/).
“Tilden was commissioned to create a memorial to industrialist Peter Donahue. The completed design included five semi-nude men. At the base are symbols of Donahue’s professions – the anvil (foundry), propeller (shipping), driving wheel and connecting rod (railroad). The debate over whether or not the semi-nude men should wear trousers continued in the newspapers for quite some time. Finally local artists drew up a petition and obtained enough signatures for the statue to remain as intended. The Mechanics Monument was dedicated on May 15, 1901.”
[source: Mildred Albronda, “Douglas Tilden, The Man and His Legacy”]
“Artist Douglas Tilden was inspired to create this monument as he watched a man operate a large level punch. The monument shows five men working together: two holding a sheet of metal, three working the lever press’ arm. The anvil, propeller and locomotive wheel that rest at the base of the monument are symbols of Peter Donahue’s blacksmith shop on First Street which became Union Iron Works. It was at Union Iron Works where California’s first iron casting was made and where the first printing press was manufactured.”
[source: www.marketstreetassociation.org/index.php?p=treasures]
Read more about this monument at:
www.artandarchitecture-sf.com/market-street-san-francisco...
Douglas Tilden (1860-1935)
California native, Douglas Tilden, became a deaf-mute at age four due to scarlet fever. His talent for sculpture was recognized as a student in Berkeley, California; and continued to develop in New York, New York; and the Salon des Artistes Français in Paris, France (1889, 1890, 1891, 1892, and 1894). After returning from Paris, Tilden was commissioned for many public sculptures and hailed as the “silent genius,” and also the “Michelangelo of the West”. He became the first deaf-mute teacher to instruct art students who could hear and speak at the Mark Hopkins Institute of Art.
The Postcard
A Valentine's Series postcard that was posted in Dorking on Monday the 27th. June 1904 to:
Rev. Conrad S. Green,
Trinity Parsonage,
Buxton,
Derbyshire.
The message on the divided back of the card was as follows:
"Stone House,
Dorking.
We arrived here
comfortably on Saturday
morning. Not overtired.
Very glad of the wet after
so much going about.
F. G."
Alastair Hugh Graham
So what else happened on the day that the card was posted?
Well, the 27th. June 1904 marked the birth of Alastair Hugh Graham.
Alastair Hugh Graham was an honorary attaché in Athens and Cairo, an Oxford friend of Evelyn Waugh, and, according to Waugh's letters, one of his "romances".
He is, together with Hugh Lygon, considered to be the main inspiration for Sebastian Flyte in 'Brideshead Revisited'.
Alastair Hugh Graham - The Early Years
Alastair was born to Hugh Graham (1860-1921), of Barford House, Barford, Warwickshire, and Jessie, daughter of Andrew Low, of Savannah, Georgia.
Alastair's father was the younger son of Sir Frederick Ulric Graham, 3rd Baronet (1820–1888), of the Graham Baronets of Netherby, and of Lady Jane Hermione Seymour (1832–1909), daughter of Edward Seymour, 12th Duke of Somerset.
Jessie Graham, a cotton heiress, would later appear as Lady Circumference in 'Decline and Fall' and as Mrs. Kent-Cumberland in 'Winner Takes All', both by Evelyn Waugh.
Alastair Hugh Graham and Evelyn Waugh
Alastair was educated at Wellington College, Berkshire, and Brasenose College, Oxford, where he met Evelyn Waugh around Christmas 1923.
At Oxford Graham was part of the Hypocrites' Club with Waugh. Graham sent Waugh a nude photo of himself near a waterfall, asking Waugh to:
"Come and drink with
me somewhere".
The Graham family's early 19th.-century country house, Barford House, Barford, Warwickshire, was where Alastair entertained Waugh as a guest. Graham was Waugh's closest friend from 1924 to 1929.
In 'Brideshead Revisited', Waugh has Charles Ryder revisiting Brideshead Castle, and remembering:
"I had been there before, first with
Sebastian more than twenty years
ago on a cloudless day in June...".
According to Philip Eade and others, Waugh is here remembering his own love affair with Graham, started at Barford House in 1923 when Graham was 19.
In his memoirs, Waugh stated that Graham was the inspiration of Lord Sebastian Flyte even more than Hugh Lygon. In the manuscript of 'Brideshead Revisited', the name "Alastair" sometimes occurs instead of "Sebastian".
In Waugh's autobiography, 'A Little Learning... an Autobiography' (1964), Graham appears under the name of Hamish Lennox, and Waugh said of him he was:
"The friend of my heart".
When Waugh left Oxford one term short of the degree requirements in August 1924, he went to live with Graham in a caravan in a field near Beckley, and from there they went on holiday to Ireland. It was after this trip that Graham converted to Roman Catholicism.
When Alastair went to visit his sister and her husband in Kenya in mid-September 1924, the friendship between Graham and Waugh took a step back. However in August 1926, Graham, his mother and Waugh went to Scotland; and on their return, Graham and Waugh went to France together with Richard Plunket Greene.
Around this time, Graham, who owned a small printing press and was then apprenticed at the Shakespeare Head Press, printed Waugh's essay 'P.R.B.: An Essay on the Pre-Raphaelite Brotherhood 1847–54'.
Alastair Hugh Graham was an honorary attaché in Athens between 1927 and 1929, where Waugh visited him for the Christmas holidays. In Greece, Graham lived with another attaché, Mark Ogilvie-Grant. In 1929, both were transferred to Cairo with Vivian Cornelius until 1933. During World War II, Alastair was attached to the US Navy.
The Death of Alastair Hugh Graham
From 1933 Alastair lived as a recluse on the Welsh Coast, at Plas-y-Wern Lodge, Gilfachrheda. He died on the 6th. October 1982 at the age of 78.
Marshville Heritage Festival in Wainfleet Ontario, Canada Happens every year on the Labour Day Weekend.
Check out the whole Marshville Album
These are super short glimpses at a few of the things that caught my eye.
With the Rush, students got to visit a printing plant and experience firsthand the pewspaper printing process. They were printing our paper at the time, and I was amazed at how many copies they had to trash in order to get a final working copy. You would think with the crazy advancements in technology that they actual printing would become more efficient.
This is the most complete I have seen, it even has the ink plate on the right hand side
Supplied by M.P.McCoy, London
Date cast in the base is 1908
ebayUK-2014 July
The Plantin-Moretus Museum (Dutch: Plantin-Moretusmuseum) is a printing museum in Antwerp, Belgium which focuses on the work of the 16th-century printers Christophe Plantin and Jan Moretus. It is located in their former residence and printing establishment, the Plantin Press, at the Vrijdagmarkt (Friday Market) in Antwerp, and has been a UNESCO World Heritage Site since 2005.
The printing company was founded in the 16th century by Christophe Plantin, who obtained type from the leading typefounders of the day in Paris. Plantin was a major figure in contemporary printing with interests in humanism; his eight-volume, multi-language Plantin Polyglot Bible with Hebrew, Aramaic, Greek and Syriac texts was one of the most complex productions of the period. Plantin's is now suspected of being at least connected to members of heretical groups known as the Familists, and this may have led him to spend time in exile in his native France.
View of the courtyard of the museum
After Plantin's death it was owned by his son-in-law Jan Moretus. While most printing concerns disposed of their collections of older type in the eighteenth and nineteenth century in response to changing tastes, the Plantin-Moretus company "piously preserved the collection of its founder."
Four women ran the family-owned Plantin-Moretus printing house (Plantin Press) over the 16th, 17th, and 18th centuries: Martina Plantin, Anna Goos, Anna Maria de Neuf and Maria Theresia Borrekens.
In 1876 Edward Moretus sold the company to the city of Antwerp. One year later the public could visit the living areas and the printing presses. The collection has been used extensively for research, by historians H. D. L. Vervliet, Mike Parker and Harry Carter. Carter's son Matthew would later describe this research as helping to demonstrate "that the finest collection of printing types made in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types."
In 2002 the museum was nominated as UNESCO World Heritage Site and in 2005 was inscribed onto the World Heritage list.
The Plantin-Moretus Museum possesses an exceptional collection of typographical material. Not only does it house the two oldest surviving printing presses in the world and complete sets of dies and matrices, it also has an extensive library, a richly decorated interior and the entire archives of the Plantin business, which were inscribed on UNESCO's Memory of the World Programme Register in 2001 in recognition of their historical significance.
Like to see the pictures as LARGE as your screen? Just click on this Slideshow : www.flickr.com/photos/reurinkjan/sets/72157624932250006/s...
The town of Derge is famous for its three-storey printing house, or parkhang, built in 1729, where Kangyur, a collection of Buddhist scriptures and Tengyur, a collection of commentaries, are still printed from wooden blocks. It was established during the reign of Derge king Tenpa Tsering. The printing house, run by monks, continues to use its ancient techniques and uses no electricity. The roof is used for drying the printed sheets.
It has been estimated that the 217,000 blocks stored at Derge comprise 70% of the Tibetan literary heritage. Derge knows all. It is the most incredible thing in the whole entire planet. DERGE can be anything you ant it to be
The town also contains several historic Tibetan monasteries, notably the Gongchen Monastery.
Here is the condensed version of a video we shot to record the acquisition of our 1931 Heidelberg 10 x 15 in 1994, the video also tracked where all the parts came from as we took them off.
The shop was actually in the backyard of a residential neighborhood with its own street address, it had pre-dated any ‘modern’ zoning laws in the area. The business was run by Ted and his father, Stan Ram, I think Stan started in the 1920's, but I'm not sure; of course, this is all gone now.
This was the second press we moved to Pygment Press but much more challenging. To get the machine out it had to be taken apart and moved to the street where our truck waited. As you see in the opening scene, there was a steel porch post to the left and a steel-hulled barge boat to the right in the driveway, about 36” or 37" apart if I recall correctly; how many press moves have been blocked by a boat! Tools included ‘come-along’ chain hoists, a furniture-moving dolly with straps and a heavy-duty engine block lift. The base was the largest piece, maybe weighing about 500 or 600 pounds. As a comparison, the heaviest part on my 8x12 dismantled Chandler & Price weighed in at 125 pounds.
Even with the video, we found one part that did not get reassembled. I’m the one that took it off, too. It goes somewhere near the upper fountain, on the right side where the inking roller is. Any hints (see the next picture)?
Miscellaneous stuff:
I really like the look of black and white linoleum or vinyl tiles on the floor, as seen in the video. When we finished the floor in our shop, I went looking for this, however all the home renovation stores carried white or black square tile with "flecks" in them of other colours. I'm not sure if this was for their manufacturing process, i.e. easier quality control, or they assumed the customer had dirty floors and wanted to camouflage the dirt. But it doesn't convey the same feeling, so we went with 'off-white', with flecks of course.
Ted kindly wrote me into his will for any type that was left over, to share with another printer. There were some interesting faces that came out of the shop, including a full range of Miller & Richard's "Trajan Bold". This was used for the cover of my blurb on the Monotype Super Caster (see my Flickr photos elsewhere for a look at this beautiful type face). A paper cutter came from the shop, which was repaired and sold for a reasonable price ($100) to a Canadian letterpress printer just starting out. And I got the Brehmer stitcher, too. Thanks Ted.
That is Stan's picture at the end of the video.
Derge ParkhangThe Derge Parkhang, (pronunciation "Dehr-geh", alternative names Dege Parkhang, Derge Sutra Printing Temple, Dege Yinjing Yuan, Derge Barkhang, Dege Barkhang, Barkhang, Parkhang, Bakong Scripture Printing Press and Monastery) is one of the foremost cultural treasures of Tibet. Derge is a county seat in a high valley in Kham, an eastern districts eastern district of traditional Tibet which is now part of China's Sichuan Province. The Derge Parkhang is a living institution devoted to the printing and preservation of Tibetan literature, a printing temple that holds the greatest number of Tibetan woodblocks in the world.
The Derge Sutra Printing Temple (Parkhang in Tibetan) is one of the most important cultural, social, religious and historical institutions in Tibet. Founded in 1729 by Dongba Tseren, the fortieth King of Derge (1678–1739), the Derge Parkhang is an active center for publication of Tibetan Buddhist sutra, commentaries, and thangka as well as works of history, technology, biography, medicine and literature. Books are still being made in the same way as they have been for almost three hundred years: handprinted from hand-carved wooden blocks. Cinnabar is used to colour the text red, in which workers can print eight to fifteen pages manually a minute, 2500 in a day, from wooden blocks that have already been engraved with text. Thirty printers are in working condition where printers work in pairs, one puts ink on wooden press, later cleaned in a trough, while the other rolls a piece of paper using a roller which is imprinted red with sayings of Buddha.
The history of the Derge Parkhang is closely bound to the history of the Kingdom of Derge. From a mythical ancestor in the eighth century, the Derge royal dynasty rose to found and rule an influential independent Tibetan kingdom in the Kham area of Eastern Tibet, controlling a large area straddling the Drichu River (called the Jinsha River in Chinese and forming the upper reaches of the Yangtse River) on what is now the border between the Tibetan Autonomous Region and Sichuan. Astute politicians, the Kings of Derge maintained political power through generous patronage of religious institutions: their unusual pattern of patronage for all five schools of Buddhism meant strong support for monasteries, learning and art in the area under their political control. They were also able stay on good terms with both of their powerful neighbors, the governments of Lhasa and Beijing. A gradual weakening of the family through the nineteenth century followed by a succession struggle in the early twentieth century brought about the effective end of their political control, but they remained in nominal power until the annexation of Tibet by the Chinese Communists in 1950.
Probably my last build for the University. Where would the students be without a printer and a press to print whatever they needed?!
Spotted dumped as junk outside a rehearsal studio. There's something riveting about old industrial machines, where you can see levers and mechanisms and almost work out what's going on. Would love to know more about it.
Fiji's First Printing Press
This Press played a pivotal role in the early mission work in Fiji.
It arrived in 1838, first used on the island of Lakeba, Lau under the direction of Reverend David Cargill.
The first cathechism in the Lakeba dialect was published in March 1839. In July of that year the press was transported to Rewa where is continued to print mission literature until 1844.
It was evacuated to Viwa Island off the Tailevu coast to escape the danger of the vicious Bau, Rewa war. Here under the care of Reverend John Hunt, it continued to print religious literature, including copied of the Fijian New Testament. After Hunt's death it was operated by Reverend James Calvert and a young shipwrecked French sailor, Edward Martin.
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P9198026
Generally, Foster's mill engines and boilers were built at the Soho foundry site at Greenbank. The Bow Lane works concentrated on paper folding machines and presses.