|
The ''Printers' International Specimen Exchange'' was an influential annual subscription publication for the "technical education of the working printer"〔Andrew Tuer in the ''Paper & Printing Trades Journal'', September 1879, reprinted in Volume I of the ''Specimen Exchange''.〕 that ran from 1880 to 1898. Conceived around the time of the Caxton Celebration of 1877,〔Field & Tuer sponsored an exhibit volume for the Caxton Celebration exhibition titled ''Specimens of American Letterpress Printing'', and in his introduction to Volume I Tuer cited the Caxton Celebration as the beginning of recent cooperation among printers that made such an experiment as the ''Specimen Exchange'' possible.〕 it was an ambitious expansion of a "Specimens" column then appearing in the ''Paper & Printing Trades Journal'', a widely read trade publication issued by London printers and publishers Field & Tuer and edited by Andrew White Tuer. The official proposal was made in a letter written in 1879 by Thomas Hailing of the Oxford Printing Works, Cheltenham, to Tuer, who replied that if 100 printers would participate, his firm would handle the arrangements.〔The proposal and reply were published in the''Paper & Printing Trades Journal'' in September 1879 and reprinted in Volume I of the ''Specimen Exchange''.〕 Printers, and their employees and apprentices, were invited to send in examples of their work in the number of anticipated subscribers for each year. In return, they received a bound, collated set of all specimens accepted. The cost was one shilling (three shillings for American subscribers). For an additional cost, the finished volume was bound in half vellum laced with catgut. Response to the call for specimens for the first issue exceeded all expectations, and publication, originally announced as biannual, was quickly changed to annual. John Ruskin praised the goals of the project in a letter quoted in the introduction to the first volume, and a copy of Volume VI was accepted by Queen Victoria.〔Noted in the introduction to Volume VII.〕 Initially most of the contributions came from Great Britain and the United States, but by the mid-1880s the ''Exchange'' included as many as 400 specimens from around the world.〔The high point was Volume X, with 406 specimens.〕 For the first three years, Tuer and his editorial assistant, Robert Hilton, commented frankly and often amusingly on each specimen, but with the increase in both number and international participation, detailed critiques became burdensome and, perhaps, politically sensitive.〔Young, ''The Rise and Fall of the Printers' International Specimen Exchange'' (Oak Knoll Press, 2012), 22.〕 Volumes I–VIII (1880–1887) were published by Field & Tuer at the Leadenhall Press, London, and the content represented both old-style and new "Artistic" printing. After Volume VIII, Tuer turned publication over to Hilton, who had moved on to become editor of a new journal, the ''British Printer'', published by the firm of Raithby & Lawrence. The ''Exchange'' began to decline under Hilton's editorship,〔The farewell introduction to Volume XVI (the final volume) stated, "The last five or six vols. represent an amount of whipping-up and persevering hammering away at subscribers that only those closely connected with the publication can form an idea of."〕 leaning heavily toward the new "Leicester Free Style" of typography developed by the firm's foreman Robert Grayson, and the venture ended a few years after Raithby & Lawrence sued Hilton for violating an agreement not to start a competing publication.〔''British Printer'', Sept.-Oct. 1895, 266.〕 The last two (much slimmer) volumes each covered two years, with the final one not issued until early 1898, containing only 123 specimens. At its best, the ''Printers' International Specimen Exchange'' taught a generation of printers how to examine learn from printed work, and it inspired similar ventures in Germany, France, and the United States. == References == * “Andrew W. Tuer.” ''British Printer'', Vol. IV, No. 34, July–August, 1893: 225–226. * Anon. (Brewer ). ''1776-1876 Raithby Lawrence 1876-1976'', Raithby, Lawrence & Co., Ltd., 1976. * Graham Hudson: ''The Design and Printing of Ephemera in Britain and America 1720-1920'', British Library and Oak Knoll Press, 2008. * Jennett, Sean. “Printers’ International Specimen Exchange,” ''Print IX'': 4, March–April, 1955: 17–18. * Johnson, A. F. “Old-Face Types in the Victorian Age,” ''Monotype Recorder'', Sept.-Dec. 1931: 5–14. * Johnston, Alastair. ''Alphabets to Order: The Literature of Nineteenth Century Typefounders' Specimens''. New Castle (DE): Oak Knoll Press, 2000. * Peltz, Lucy. “Tuer, Andrew White (1838–1900).” ''Oxford Dictionary of National Biography''. Oxford: Oxford University Press, 2004. (Also: ) * ''Printers' International Specimen Exchange'', Volumes I-XVI. London: Office of the ''Paper & Printing Trades Journal'', Field & Tuer, the Leadenhall Press (1880-1887); Office of the ''British Printer'', Raithby & Lawrence (1888-1898). * Young, Matthew McLennan. ''The Rise and Fall of the Printers' International Specimen Exchange'', Oak Knoll Press, 2012. * Young, Matthew McLennan. ''Field & Tuer, the Leadenhall Press. A Checklist with an Appreciation of Andrew White Tuer'', Oak Knoll Press and the British Library, 2010. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Printers' International Specimen Exchange」の詳細全文を読む スポンサード リンク
|