Monday, December 31, 2007

Common Screw Stick

Here's another very common model of stick from the 19th Century, although these sticks have many minor variations. This is called a Common Screw Stick, and consists of a body with several holes evenly spaced along the rail, a simple knee, and a screw and nut that attach the knee to the stick.
This particular stick was made by the Chandler and Price Company of Cleveland. It is 6 inches long, with a depth of 13 picas. It has one of the common variations - the part of the knee that runs parallel to the rail has a long slot rather than a series of holes. The brass nut into which the screw fits is machined to allow a portion of the nut to fit down into the slot, which allows the screw to be tightened very securely. The knee can slide the length of the stick to adjust to any chosen line measure. The screw can either be tightened with a screwdriver, or it can be turned by hand by grasping the fluted surface of the screw with the thumb and forefinger and turning.
Although very simple, this model of stick is quite practical and versatile. It can open to about 24 picas in length, yet is small enough to fit into the compositor's pocket. This is the kind of stick that many "tramp printers" would have owned and carried with them on their travels.

The First Contre Coup Press Hardbound Book - 1984

I thought that I'd do some postings showing the work of the Contre Coup Press from its beginning, at least as far as the hardbound books are concerned. So here's the first hardbound book produced at the Contre Coup Press. It is entitled Mrs. Ira Gale Tompkins' Journal and Record of Events Dec., 1874 - April, 1877. The book was printed when I lived in the section of St. Louis called University City - my house was just about two blocks outside the St. Louis city limit, and was near Washington University where I had attended graduate school.
I debated the title of the book. It was my great-grandmother's journal, and her name was Demaris Ide Tompkins. It seemed as though I should have used her name instead of calling it "Mrs. Tompkins'" journal. However, the actual journal had a hand-lettered title page that she had created, so I decided that it would be most faithful to the original to use the title that she had chosen, even though it wasn't politically correct. C'est la vie.
The book was printed using my first press, a Chandler and Price 8 by 12 platen press. I had removed the motor and belt and had obtained a treadle. I didn't get the treadle because I wanted to be more authentic or anything; I got the treadle because I didn't like racing with the motor. I could kick the treadle at a very slow speed, which is what I wanted to do because I liked going slow and also because I usually interleaved the printed sheets, having suffered some unfortunate offsetting problems previously.
I set the text in the Van Dijck typeface, which is still one of my very favorites. I think that I obtained the type from Harold Berliner, although it's possible that I got it from MacKenzie and Harris - I really don't remember.
The book is 7 inches tall by 5 inches wide, and has 56 pages. Included is a brief notation by my grandmother, and an afterword by my mother, describing a little bit about the lives of the people mentioned in the journal.
The original of the journal had quite a few photographs pasted into it. My great-grandfather, Ira Gale Tompkins, was a photographer in the 1860s and 1870s, so many of the photographs were taken by him. He was never able to make a go of photography, having been minimally successful with a studio in Grand Rapids, Michigan before moving to western Wisconsin. He had hoped that he would be able to market photographs of local sites and homes with little competition from other photographers, but the pioneers were too focused on putting food on the table to be spending money on photographs, so he had to try to make a living as a farmer, a profession for which he was ill suited. He finally gave up and moved to Chicago, where he lived the rest of his life.
My friend, Kay Michael Kramer, proprietor of The Printery, suggested that I have some of the photographs reproduced by the Hope Press in St. Louis, and they did a very nice job, using an ink that gave the photographs a sepia-tone look. The pictures that I've shown here are of Ira Gale Tompkins, Demaris Ide Tompkins, and Mabel (Birdy) Tompkins, my grandmother. Demaris Tompkins started the journal for the benefit of my grandmother, because she wanted to pass along a record of her childhood and some family history. My grandmother, in turn, did a great amount of journaling herself, filling at least three large volumes with as-yet unpublished writings.
I had the marbled paper for the binding made by Jim Reed, another St. Louisan who was heavily involved in marbling. A young man in St. Louis who was interested in bookbinding bound the book, but regrettably I can't remember his name. He wanted to make the binding have a period look, so he waxed and polished the marbled paper.
I printed the book in an edition of 100 copies, using Ragston paper, which was a really nice letterpress paper that is no longer being made. At the time, I didn't have any extra money to put into the production of a book, so I asked members of my family to front me $100 each in return for five copies each of the finished book. My brothers and parents kindly did so, which allowed me to complete the book.
My great-grandmother was a good writer, and the journal is very well-written, particularly in comparison with the typical journals and diaries of the time. Often they were little more than a recitation of the weather and the activities of the day. Ira Gale Tompkins also did some journaling, but his journal is quite uninteresting. Demaris Tompkins poured her heart out in her journal, and it is a wonderful view into the life of the time.
However, while she was a good writer, she was not a particularly good speller. So just for fun, I printed up a little sheet that I called "Non-Errata", being a take-off on errata sheets that printers sometimes add to point out typographical errors in a book. My Non-Errata sheet pointed out mis-spellings that were not typographical errors, but were mis-spellings in the original.
This book was actually reviewed (positively) in Fine Print and The Devil's Artisan.

Sunday, December 30, 2007

Golding Adjustable News Stick

Here is one of my very favorite sticks in my collection. This is a Golding and Company adjustable Newspaper Stick. The stick is similar to regular fixed measure News Sticks - it is five inches long and is quite deep, 15 picas. However, the stick is adjustable from a 12-pica to a 15-pica measure, so a compositor could take this stick to various newspaper shops and be able to adjust the measure to whatever column-width the newspaper used. The adjustments are accomplished by loosening a screw that is in a slot on the rail and another in a slot on the body. The screw on the body is necessary because the knee does not have the long brace that most knees have that are parallel to the rail and keep the knee rigid and the measure equal along the entire depth of the stick. The second screw on the body holds the knee in place.
This type of knee, with the adjustments requiring the use of a screwdriver to loosen and tighten the screws, is the most basic form of an adjustable stick - in this case, the screw fits directly into the knee, rather than fitting into a nut of some sort that is separate from the knee itself.
This stick has a wonderful feel to it - it's a joy just holding this one in your hand, being relatively hefty for its size and with a beautiful balance. It likely dates to the mid- to late-19th Century.

Saturday, December 29, 2007

Fixed Measure Newspaper Stick

Here's the most basic stick - the fixed measure newspaper composing stick. These sticks were extremely common before the invention of the Linotype machine, and were used in newspaper offices across the U.S. to set type in the standard column-width of thirteen or fourteen picas.
The stick pictured here is a typical 13-pica stick, with an overall length of 5 inches and a depth of 14 picas, which allowed the compositor to set more lines of type before dumping the stick - typical sticks of today have a depth of twelve picas. There is no manufacturer identification stamped on the stick, which is also typical - these sticks were made by many companies, and pretty indistinguishable from each other. This type of stick was used extensively during the 19th Century, but phased out fairly quickly when newspapers started using linecasting machines in the late 19th and early 20th Centuries. A few sticks may have been used for setting of headlines, but most were probably scrapped. I have several like this one, and also a wonderful adjustable newspaper stick that I will show in a future posting.
As usual, if you can provide additional information on this model of stick, please email the information to hawleybk@insightbb.com

Friday, December 28, 2007

Improved Standard Job Stick

As mentioned in a previous posting, here is a description of the so-called "Improved" Standard Job Stick. This model was made primarily by the H.B. Rouse Company of Chicago, but was also made by Golding and Company of Boston. They are sometimes stamped with the manufacturer's name, but are sometimes not stamped. I will note the way to tell them apart later. This particular stick is a Rouse stick, 7-3/4 inches long. I have no information as to when this type of stick was introduced. If anyone has additional historical information, I'd be happy to hear it at hawleybk@insightbb.com
Anyway, the Improved Standard Job Stick is very similar to the Standard Job Stick, with one major difference. Instead of having a row of tiny rectangular holes along the rail into which pegs in the knee fit, the Improved Stick has a row of small round holes along the rail. The clamp, which is not attached to the knee but is a separate piece, has a small round pin that fits through the hole in the rail and then into one of several holes in the knee - the clamp is then closed to hold the knee firmly in place. The knee has several holes into which the pin can be placed. Depending on which hole is used, the measure can be set to a full picas, half-picas, or smaller increments - apparently two additional increments are possible.
While the adjustment system works well and adjustments can be made fairly easily, the flaw in the system is that the pin on the clamp tends to be quite fragile, and the pins become loose or even detached - one of my Improved sticks has been welded, apparently due to the pin having broken loose from the clamp, thus requiring a repair.
Now, as to discriminating between the Rouse and Golding sticks, if you look at the last photograph, you will see the clamp from a Rouse stick on the left and the clamp from a Golding stick on the right. The bottom edge of the clamp on the Rouse stick is straight, while the bottom edge of the clamp on the Golding stick has a curved section.
One would be hard-pressed to explain how this stick is an "improvement" over the Standard Job Stick. The only advantage that I see to this stick is that there are a couple of additional fine adjustments that can be made to the line length, and perhaps it is easier to make line-length adjustments by taking off the clamp and placing the pin in a different hole in the knee than it is to turn that tiny lever on the knee of the Standard Job Stick (which is often pretty difficult, as the levers tend to get frozen). But I confess that I always set my line length to a full pica measure, so it doesn't do me any good to have the ability to make the finer adjustments.
Speckter notes that the Improved stick is commonly used on the West Coast of America, while the Standard Job Stick is used more commonly elsewhere in the U.S. He speculates that this is purely because the Improved stick had some wider acceptance on the West Coast, and since printers are notoriously resistant to change, people have continued to use them. It's much like computer software, I think. You learn how to use a particular word processing software, or spreadsheet software, and you then insist that it is the best, because you don't want to have to learn a different software. I still use the option in Microsoft Excel, for instance, that allows you to use the keystroke commands from Lotus 1-2-3, which I learned about thirty years ago. Let's face it - humans fear change! Don't make me learn something new when what I've been doing so far works just fine!
Update: Steve Saxe kindly sent me updated information regarding this stick. In fact, the Rouse Improved Standard Job Stick was copied from the Golding Standard Job Stick, which was designed by Henry L. Bullen in 1886. Steve sent along a scan of the Jan. 1886 issue of "Bulletin of Novelties", a trade publication of the Golding Co., and I am adding the scan to this post. Note that the original Golding stick had a knee that was not braced. All of my Rouse Improved sticks have braced knees, while the two Goldings that I own have knees that are not braced.

Thursday, December 27, 2007

An Older Contre Coup Press Book Still Available

I turned up a few copies of a book that I did several years ago. The book is entitled My Watch, and is an amusing little story written by Mark Twain, printed at the Contre Coup Press in 1999. The pamphlet is 6-1/2 by 5-1/4 inches and has 7 pages. It is bound in wrappers, and was printed in an edition of 50 copies (actually, I didn't bind that many - probably more like 40). Anyway, here are a few pictures of the book, which is available for $20.00 postpaid from Timothy Hawley Books, P.O. Box 5277, Louisville, KY 40255-0277.

Rouse Standard Job Stick

Some of you probably know that I have a keen interest in letterpress composing sticks. I'm going to post information on some of the sticks in my collection, giving the information that I have on the stick and hoping that anyone who has additional information will email me with it at hawleybk@insightbb.com There is very little information in the literature about the history of composing sticks and the companies that manufactured them. Probably the best book is Disquisition on the Composing Stick, by Martin K. Speckter, published by the Typophiles of New York in 1971 as their Chap Book No. 49. It gives a good broad overview of the history of composing sticks, but was not intended to present a lot of detailed information, much of which may be lost to history at this point. I have over 120 sticks, although many of these are simply different lengths of the same model - I have upwards of 60 different models and designs by various manufacturers.
So anyway, I'll start with the good old Rouse Standard Job Stick. The stick pictured is the one that I generally use when I'm setting type. This happens to be a twelve-inch stick (actually 11-3/4 inches in total length). It has gradations along the top edge of the bed to 58 picas, but in a pinch, you can actually set it to several more. This particular stick is made of stainless steel, but this model also comes in regular steel. You probably can't see it in the pictures, but there is a number stamped on the knee, under the clamp, and also a number stamped on the bed at the far end near the rail. It is very important that these numbers match. When fabricating these sticks, the little posts in the knee that fit into the rectangular holes along the rail are on a separate piece of metal, and are adjusted carefully so that when clamped the measure is set in exact picas. Different knees will have these posts in a slightly different position, so the measure will not be exact if a knee from one stick is used on a different body.
The picture of the knee shows the small lever under the clamp that can be rotated 180 degrees - this moves the piece of metal holding the tiny rectangular posts exactly one-half pica distance along the rail, which allows the stick to be set to half-picas instead of full picas. The H.B. Rouse Company of Chicago also made sticks that had finer adjustments, and I will show some of these sticks in another posting.
This model of stick is the most popular stick ever made in America (at least, the most popular of the modern era), and is the stick most commonly used by letterpress printers today. The so-called "Improved" stick is frequently used by printers on the U.S.A West Coast, however (I will show one of these sticks in a future posting as well). I do not know when the H.B. Rouse Company began manufacturing these sticks, and perhaps someone out there can give me a date.

Saturday, December 15, 2007

New Book by Robert Schumann

Here is the latest from the Contre Coup Press. The book is entitled Musical Rules At Home and In Life. It was written by Robert Schumann to accompany his collection of short piano compositions entitled Album for the Young. The book is 12-1/2 inches tall by 7-3/4 inches wide and consists of fourteen leaves printed on rectos only. The book is beautifully bound in cloth-covered boards in a Japanese-style binding, the binding being carried out by the Campbell-Logan Bindery. A total of 32 copies were printed, and as of the present time, there are still a few copies available for $40.00 plus $5.00 for shipping.
Our previous book, Eleven Voices, is now out-of-print.

Wednesday, October 3, 2007

New Contre Coup Press Book - Eleven Voices

We've just finished up the latest book from the Contre Coup Press. It's entitled Eleven Voices, by the author Theophile Homard. The book is a collection of poems with dark, disturbing content. The book is 12-1/2 inches tall by 6-3/4 inches wide and has 21 pages. The book is bound in wrappers in a Japanese-style binding. A total of 18 copies were printed, all numbered and initialled by the author. The book sells for $20 per copy, plus shipping. Here are a few photos of the book (unfortunately not very good, as we aren't very adept at photographing books, and the tight binding makes this one particularly difficult to photograph.
P.S. This book is now out of print.

Monday, September 17, 2007

Contre Coup Press Bibliography

Here's a bibliography of the Contre Coup Press, for those who might be interested. A Bibliography of The Contre Coup Press The Contre Coup Press was founded in 1980 by Timothy Hawley in St. Louis, Missouri. The press was originally named The Cerberus Press, an imprint that was used for the first few items printed. However, when the proprietor discovered that a Cerberus Head Press already existed, the name was changed to Contre Coup. Height precedes width in descriptions of the dimensions of the printed pages in the following descriptions. Reference to “PPB” refers to the listing of the item in the Private Libraries Association’s annual bibliography, Private Press Books. ----- The first items were printed using a Chandler and Price 8 by 12 New Series platen press. ----- 1) Anonymous (Theophile Homard), Broughton’s Rules, Being the Text of 1743 with an Introduction, St. Louis, The Cerberus Press, 1980. 7 by 4-1/2 inches, 12 pp. Set in Deepdene and printed in black and red on Warren’s Olde Style Wove paper with wrapper of Fabriano Ingres Heavy. 58 copies. PPB85-6.66. ----- 2) Curry, Tim, I Do The Rock, St. Louis, The Cerberus Press, 1980. 3-1/2 by 3-1/2 inches, 15 pp. Set in Kennerley and printed in black and red on Warren’s Olde Style Wove paper with wrapper of Fabriano Ingres Heavy. The lyrics to a song. 43 copies. PPB85-6.65. ----- 3) Anonymous (Theophile Homard), Pardon Me, Roy, and Other Amazing Puns, St. Louis, The Cerberus Press, 1980. 6 by 6-1/4 inches, 29 pp. Set in Deepdene with display in Engravers Shaded and printed in black and red on Warren’s Olde Style Wove paper, sewn into Fabriano Ingres Heavy and enclosed in a wrapper of Canson Mi Tientes paper. 83 copies. PPB80.51. ----- 4) Taylor, James, Millworker, St. Louis, The Cerberus Press, 1980. Single sheet of Dresden Ingres folded into fourths to 6 by 4 inches. Set in Kennerley and printed in black and red. The lyrics to a song, printed as a Labor Day greeting card. 59 copies. ----- 5) Anonymous (Theophile Homard), A Brief Treatise on the History and Technique of the Bagel, St. Louis, The Cerberus Press, 1981. 8 by 4 inches, 9 pp. Set in Kennerley with display in Goudy Handtooled and printed in black and brown on Basingwerk Parchment paper sewn into cover of Fabriano Pompeii and with a wrapper of Fabriano Ingres Heavy. Title label printed on Nideggen. 35 copies. PPB81-4.186. PPB81-4.208. ----- 6) Keepsake for Jordan’s Class, St. Louis, The Cerberus Press, 1981. Single sheet 9-1/2 by 6 inches. Set in Deepdene and printed in black and brown on Warren’s Olde Style Wove paper. 20 copies. ----- 7) Lake, Greg, Karn Evil 9, St. Louis, The Contre Coup Press, 1981. 5 by 8 inches, 12 pp. Set in Kennerley and printed in black and blue on Arches Text Wove with wrapper of Fabriano Ingres Heavy. Partial lyrics from a song. 25 copies. PPB81-4.207. ----- 8) Mitchell, Joni, Scarlet, Old Furry and the Dry Cleaner, St. Louis, The Contre Coup Press, 1981. 10 by 7 inches, 11 pp. Set in Kennerley with display in Forum and printed in black and blue on Warren’s Olde Style Wove and sewn into a cover of Fabriano Pompeii and with a wrapper of Fabriano Ingres Heavy. Title label printed on Nideggen paper. 50 copies. PPB81-4.205. ----- 9) Homard, Theophile, Bruce Rogers’ “Favorite Thirty”, St. Louis, The Contre Coup Press, 1981. 8-1/2 by 5-3/4 inches, 12 pp. Set in Deepdene with Forum initials and printed in black and red on Dresden Ingres and sewn into cover of Fabriano Rosaspina and with a wrapper of Fabriano Ingres Heavy. Title label printed on Curtis Tweedweave paper. 60 copies. PPB81-4.206. ----- 10) Prop. Card, St. Louis, The Contre Coup press, 1981. Single sheet 3 by 5 inches. Set in Kennerley and printed in black and red on damped Fabriano Ingres Heavy. 160 copies for the Amalgamated Printers Association. ----- 11) Letter to Twinrocker, St. Louis, The Contre Coup Press, 1981. Single sheet 11-1/2 by 7-1/2 inches. Set in Deepdene with display in Goudy Handtooled and printed in black and brown on damped Iyo Glazed paper. 5 copies. ----- 12) Homard, Theophile, An Introduction to Contre Coup, St. Louis, The Contre Coup Press, 1981. Single sheet folded once to 4-1/2 by 6 inches. Set in Kennerley and printed in black and brown on Curtis Tweedweave paper. 160 copies for the Amalgamated Printers Association. ----- 13) Goudy, F.W., On the Profession of Type Designing, St. Louis, Contre Coup Press, 1981. Single sheet folded into fourths to 2 by 3 inches. Set in Caslon and Van Dijck and printed in black and red on Ragston paper. 175 copies for the Amalgamated Printers Association. ----- 14) Lines Writ in St. Louis upon the Occasion of a Friend Passing His Prime: November 10, 1981, St. Louis, Contre Coup Press (1981). 6 by 4-1/2 inches, 4 leaves printed on rectos only. Set in Kennerley and printed in black and red on Antique Parchment and sewn into cover of Fabriano Pompeii. 25 copies. ----- 15) Ireland, William Henry, William Shakespeare’s Profession of Faith, St. Louis, Contre Coup Press, Christmas, 1981. Single sheet 5-1/2 by 4-1/2 inches. Set in Van Dijck with Forum initial and printed in black and red on damped J. Barcham Green Hayle handmade paper. Tipped into cover of Fabriano Ingres Heavy. 45 copies issued as a Holiday greeting. ----- 16) Rowland, Beryl, Goats and Monkeys: A Guide to Beastly Invective, St. Louis, The Contre Coup Press, 1982. 8-1/2 by 5-1/2 inches, 16 pp. Set in Van Dijck and Caslon and printed in black and blue on Ragston paper with wrapper of Fabriano Ingres Heavy. Reprinted from Maledicta, The Journal of Verbal Aggression. 140 copies. PPB85-6.87. ----- 17) True Narrative of the Early Life and Cruel Abduction of M. Jean-Nepomucene-August Pichauld, Comte de Fortsas, with an Expose of the Supposed Fortsas Hoax, St. Louis, Contre Coup Press (1982). Printed in English and French, with translation by Veronique Vuilly. 6-1/4 by 3-7/8 inches, 24 pp. Set in Van Dijck with Caslon and Cochin Open display. Printed in black on Arches Text Laid paper, sewn without wrapper. 150 copies, of which 125 copies were for the Fifth Exchange of the Society of Private Printers. ----- 18) Homard, Theophile, The Haunted Platen Press, St. Louis, Contre Coup Press (1982). Single sheet 7 by 5 inches. Set in Kennerley and printed in black and brown on Ragston paper. 250 copies printed for inclusion in the 1982 edition of It’s a Small World, Press of the Haywoods. ----- 19) Mann, Barry, Who Put the Bomp?, St. Louis, Contre Coup Press (1982). Single sheet folded into fourths to 4-1/2 by 7 inches. Set in Deepdene and Goudy Handtooled and printed in black on Warren’s Olde Style Wove. 151 copies printed for the Amalgamated Printers Association. ----- 20) Simon, Paul, Punky’s Dilemma, St. Louis, Contre Coup Press, 1982. Single sheet 7 by 3-1/4 inches. Set in Kennerley and printed in black and brown on damped Iyo Glazed handmade paper. 175 copies, of which 151 were for the Amalgamated Printers Association. ----- 21) Anonymous, Printing Periodicals, St. Louis, Contre Coup Press (1982). Single sheet folded once to 8 by 5 inches. Set in Kennerley and printed in black and blue on Ragston paper. 100 copies printed (but not distributed) as a keepsake for the annual Wayzgoose of the Amalgamated Printers Association, Gurnee, Illinois, August 14, 1982. ----- 22) Elkin, Stanley, Why I Live Where I Live, St. Louis, Contre Coup Press, 1983. 9 by 6 inches, 14 pp. Set in Van Dijck and Janson and printed in black, brown and blue on German Ingres paper with wrapper of Fabriano Ingres. Reprinted from Esquire magazine. 30 copies; 25 copies bound in dark grey wrappers and 5 copies bound in brown wrappers and reserved for the author. PPB81-4.209. ----- 23) Anonymous, Accusatio/Apologia, St. Louis, Contre Coup Press (1983). Single sheet 7 by 5 inches. set in Van Dijck with display in Cochin Open and Kennerley and printed in black, red and blue on Ragston paper. 250 copies for the 1983 edition of It’s a Small World, Press of the Haywoods. ----- 24) Retharp, Leon (pseudonym for Noel Hawley, age 5), For My Daddy, St. Louis, Contre Coup Press (1983). Single sheet 8-1/4 by 5 inches. Set in Van Dijck with display in Cochin Open and printed in black and brown on Okawara Student Grade paper. 175 copies, of which 151 were for the Amalgamated Printers Association. ----- 25) Invitation to the Dedication of the Richard l. Admussen Memorial Lounge, St. Louis, Washington University Department of Romance Languages, April 29, 1983. Single sheet folded horizontally to 4-1/8 by 5-1/2 inches. Set in Van Dijck and printed in black and brown on Ragston paper. 60 copies. ----- 26) In Honor of the marriage of Merrie Virginia Wood and Kay Michael Kramer…, St. Louis, Contre Coup Press (1983). Single sheet 7-1/2 by 9-3/4 inches. Set in Kennerley and printed in black, red and blue on Arches paper. 3 copies. ----- 27) Tompkins, Demaris Ide, Mrs. Ira Gale Tompkins’ Journal and Record of Events, Dec., 1874 – April, 1877, St. Louis, Contre Coup Press, 1984. 7 by 5 inches, v, 48 pp. Set in Van Dijck and Cochin Open and printed in black, brown and blue on Ragston paper. With 7 reproductions of photographs printed at the Hope Press tipped in. Bound by Bradley Gale in cloth-backed marbled paper-covered boards; paper marbled by James R. Reed. The first hard-bound book of the press. 100 copies issued at $25.00. PPB81-4.210. ----- 28) Prospectus for Mrs. Ira Gale Tompkins’ Journal…, St. Louis, Contre Coup Press, 1984. Single sheet folded once to 7 by 5 inches. Set in Van Dijck with an initial in Cochin Open and printed in black and brown on Ragston paper. Includes a specimen illustration tipped in. 100 copies. ----- 29) Anonymous, More Periodicals, Being a Brief Compendium of Current Periodicals Related to Printing and the Book Arts, St. Louis, Contre Coup Press, 1984. Single sheet folded once to 9 by 6 inches. Set in Van Dijck and printed in black, brown and blue on Nideggen paper. 70 copies for distribution at the Annual Meeting of the Typocrafters, Washington, D.C., October 12, 1984. ----- 30) Hieb, Andy and Jordan Hawley, People, St. Louis, Contre Coup Press, 1985. Single sheet 7 by 4-1/2 inches. Set in Kennerley with display in Cloister Black and printed in red and black on Hahnemuhle Ingres paper. 36 copies. ----- 31) Greetings from Contre Coup Press…Apropos of Nothing, St. Louis, Contre Coup Press, April, 1985. Single sheet folded once to 8 by 4 inches. Set in Cloister Text and Kennerley and printed in black, red and green on damped Charles I handmade paper. 25 copies. ----- 32) Invitation to a reception for Herve DuFresne, Washington University Department of Romance Languages, May, 1985. Single sheet 4-1/2 by 6 inches. Set in Van Dijck and printed in black and blue on Fabriano Ingres Heavy paper. 80 copies. ----- In August, 1985, the Contre Coup Press moved to Louisville, Kentucky. The Chandler and Price platen press was sold, and a Vandercook Universal I Reproduction Proof Press was acquired, which was used to print the following items. ----- 33) A Brief (and Very Private) Letter from the Proprietor of the Contre Coup Press to the Proprietors of the Twinrocker Paper Mill, Louisville, Contre Coup Press, January 28, 1986. Single sheet folded into fourths to 9-1/2 by 6 inches. Set in Kennerley and Cloister Black and printed in black, red and blue on damped Fabriano Roma paper. 4 copies. ----- 34) Little Known Facts About Printing, Louisville, Contre Coup Press, 1986. Single sheet 11-1/2 by 7 inches. Set in Perpetua and Van Dijck with display in Fry’s Ornamented and printed in black and brown on Nideggen, Frankfurt Cream and Arches Text papers. 100 copies printed for distribution at the Annual Meeting of the Typocrafters in Atlanta, Georgia, October 11, 1986. ----- 35) Fern Creek High School Class of ’66 Recognition Certificate, Louisville, Contre Coup Press, 1986. Single sheet 10-1/2 by 8 inches. Set in various display typefaces and printed on Frankfurt Cream paper. 10 copies. ----- 36) Elkin, Stanley, The Coffee Room, Louisville, Contre Coup Press, 1987. 9 by 6-1/2 inches, 51 pp. Set in Van Dijck and printed in black, brown and blue on Frankfurt Cream paper. With title calligraphy by Steven Skaggs. Four wood engravings by Michael McCurdy, printed directly from the blocks. Paste-paper for the binding made by Carol Blinn. Sewn by hand onto tapes by the printer and bound by the Campbell-Logan Bindery in cloth-backed paste-paper covered boards. All copies signed by Stanley Elkin and Michael McCurdy. 95 copies, of which 20 copies were press-numbered for those contributing to the book (Elkin, McCurdy, Scaggs, Blinn, Campbell and the printer). Issued at $85.00. PPB87.48. ----- 37) Prospectus for The Coffee Room, Louisville, Contre Coup Press, 1987. Single sheet folded once to 9 by 6-1/2 inches. Set in Van Dijck with calligraphy by Steven Skaggs and printed in black and brown on Frankfurt Cream paper. With a wood engraving by Michael McCurdy printed directly from the block. 100 copies. ----- 38) Periodically…, Louisville, Contre Coup Press, 1987. Single sheet 7 by 5 inches. Set in Van Dijck with display in Kennerley and Chisel and printed in black and brown on Warren’s Olde Style paper. 250 copies for inclusion in the 1987 edition of It’s a Small World, Press of the Haywoods. ----- 39) Invitation to Living Supports Second Anniversary Celebration, October 11, 1987. Single sheet folded into fourths to 5-1/2 by 4-1/4 inches. Set in Kennerley and Goudy Handtooled and printed in black, brown and blue on Warren’s Olde Style paper. 100 copies. ----- 40) Homard, Theophile, Thomas Halsey, Louisville, Contre Coup Press, 1988. 7 by 4-1/2 inches, 17 pp. Set in Kennerley and various display typefaces and printed in black, red, green, blue and brown on Warren’s Olde Style paper. Printed for distribution to the Typocrafters at their meeting in Toronto, October 7-9, 1988. 75 copies. PPB88.34. ----- 41) Letter to Twinrocker, Louisville, Contre Coup Press, June 26, 1988. Single sheet 19-1/4 by 6-1/2 inches. Set in Goudy Thirty and printed in black and red on Warren’s Antique No. 66 paper. 9 copies. ----- 42) Letter to Carol Blinn, Louisville, Contre Coup Press, December 30, 1988. Single sheet 12 by 6-1/2 inches. Set in Goudy Thirty and printed in black and red on Warren’s Antique No. 66 paper. 9 copies. ----- 43) Typocrafters 1989, Louisville, Contre Coup Press, 1989. Single sheet 11 by 8-1/2 inches. Set in Perpetua with display in Craw Modern and printed in black on Warren’s Antique No. 66 paper. Issued as an invitation to potential new members of The Typocrafters. 150 copies. ----- 44) Mark Your Calendar, Louisville, Contre Coup Press, 1989. Single sheet folded once to 3-1/2 by 6-1/4 inches. Set in Bembo and Caslon Old Face with display in Chisel and printed in black and blue on Warren’s Antique No. 66 paper. Issued as a notice for the Typocrafters 1989 meeting. 250 copies. ----- The Contre Coup Press was suspended and all equipment was sold circa 1990. The press was revived in 1994. The following items were printed on a Vandercook SP20 Proof Press. ----- 45) L.F.B. to P.H.D. re: C. & V. H., Being the Text of a Letter from Leonard F. Bahr to Paul H. Duensing Concerning a Visit with Carolyn and Victor Hammer in 1966, Louisville, Contre Coup Press, 1994. 10 by 6-1/2 inches, 6 pp. Set in Cochin with display in Legend and Goudy Text and printed in black, brown and green on Antique Ingres paper, with wrapper of Fabriano Ingres Heavy. 40 copies issued at $12.50. PPB94-8.146. ----- 46) Channing, William Ellery, God Be Thanked for Books, Louisville, Contre Coup Press, N.D. Single sheet 5 by 8 inches. Set in Post Medieval and printed in black and brown on Fabriano paper. 40 copies. ----- 47) To Ellen on Our First Valentine’s Day as Wife and Husband, Louisville, Contre Coup Press, February 14, 1994. Single sheet folded into fourths to 6-1/4 by 4-3/4 inches. Set in Legend and Post Bold and printed on a commercial laid paper. 4 copies. ----- 48) Sibs, Louisville, Contre Coup Press (1994). 10 by 7 inches, (28) pp. Set in Cochin and printed on Basingwerk Heavy in black and brown. Illustrated with 14 original color photographs tipped in. Bound by Fritz Eberhard in silk-covered boards with gilt-stamped leather labels on the spine and front cover. One copy. ----- 49) Invitation to a Holiday Gathering for the Center for Rehabilitation and Recovery and the Jean Marlatt Center for Supported Living, Louisville, Contre Coup Press, 1994. Single sheet folded into fourths to 8-1/2 by 5-1/2 inches. Set in various display typefaces and printed on commercial machine made paper. 100 copies. ----- 50) Green, Ecton, You Got To Have A Milkshake, Louisville, Contre Coup Press, 1994. Single sheet 8-1/2 by 10 inches. Set in Liberty, Civilite and Fournier and printed in black and brown on Basingwerk Parchment paper. About 4 copies. ----- 51) Two?, Louisville, Contre Coup Press, 1995. Single sheet folded into fourths to 6-1/4 by 4-3/4 inches. Set in various display typefaces and printed in black on commercial laid paper. 4 copies. ----- 52) But What of the Centaur Press?, Louisville, Contre Coup Press, 1995. Single sheet folded once to 11 by 8-1/2 inches. Set in Cochin and printed in black and brown on Basingwerk Parchment paper. Printed for inclusion in the Dwight Agner tribute portfolio. 40 copies. ----- 53) Mark Twain, 1601: Conversation as it was by the Social Fireside in the Time of the Tudors, Louisville, Contre Coup Press, 1996. 9-3/4 by 6-1/2 inches, 17 pp. Set in Goudy Thirty, Civilite, Solemnis, Goudy Text Shaded and Weiss Initials and printed in black, brown and blue on Fabriano Roma handmade paper. Bound at the Campbell-Logan Bindery in marbled paper-covered boards, cloth spine, paper spine label. 4 copies. PPB 94-8.147. ----- 54) Mitchell, Joni, Between the Forceps and the Stone: Selected Lyrics from Twenty-Five Years, Louisville, Contre Coup Press, 1996. 9-1/2 by 6-1/2 inches, (50) pp. Set in Cochin and Perpetua and printed on Nideggen paper in black, brown and blue. Illustrated with original photographs by Noel Hawley. Title page lettering by Jerry Kelly. Bound by the Campbell-Logan Bindery in decorated paper-covered boards with cloth spine and paper spine label. 10 copies. PPB94-8.148. ----- 55) Typographs, Louisville, Contre Coup Press, 1998. Single sheet 10 by 8 inches. Set in Lutetia and printed in black and blue on Basingwerk Parchment paper. Printed as a brief introduction to the Typographs printed by Leonard Bahr, and distributed to the Typocrafters at their annual meeting in 1998. ----- 56) Phelan, James, “For the Good of the Bleeding Land”, Being the Text of a Letter from James Phelan to Confederate President Jefferson Davis Dated January 21, 1865, in the Collection of The Filson Club Historical Society, Louisville, Contre Coup Press, 1999. 7-3/4 by 6-1/4 inches, 23 pp. Set in Lutetia and printed in black, blue and grey on Frankfurt paper. Bound by the Campbell-Logan Bindery in cloth-backed decorated paper-covered boards. 60 copies. PPB99.50. ----- 57) Jasper, Matt, Schizophrenomania, Louisville, Contre Coup Press, 1997. 8-1/4 by 5 inches, (31) pp. Set in Cochin and Post Medieval and printed on Basingwerk Parchment paper. Bound by the Campbell-Logan Bindery in cloth-backed paste-paper covered boards. The paste paper was made by Carol Blinn. 16 copies. PPB94-8.150. ----- 58) Waller, Henry, Narrative of a Journey Through Kentucky and Tennessee in 1835, Louisville, Contre Coup Press, 1997. 10-1/2 by 6-1/2 inches, (vii), 38, (iii) pp. Set in Lutetia and printed in black and red on Mohawk Letterpress paper. Bound at the Campbell-Logan Bindery in cloth-backed marbled paper-covered boards. 100 copies. PPB94-8.149. ----- 59) Prospectus for Narrative of a Journey Through Kentucky and Tennessee in 1835, Louisville, Contre Coup Press, 1997. Single sheet folded once to 10-1/2 by 6-1/2 inches. Set in Cochin and Post Medieval and printed in black on Mohawk Letterpress paper. 100 copies. ----- 60) Mark Twain, My Watch, An Instructive Little Tale, Louisville, Contre Coup Press, 1999. 6-1/2 by 5-1/4 inches, 7 pp. Set in Cochin and printed in black and purple on Mohawk Superfine paper. Bound in decorated paper wrappers. 50 copies. PPB99.49. ----- 61) Be My Valentine, a Limerick Valentine, Louisville, Contre Coup Press, February 14, 1999. 6 by 4-1/2 inches, (2) pp. Set in Lutetia and printed in black on Frankfurt paper. Bound in decorated paper wrapper. 4 copies. ----- 62) Mark Twain, The Canvasser’s Tale, Louisville, Contre Coup Press, 2000. 7-3/4 by 5-1/4 inches, 15 pp. Set in Cochin and printed in black and blue on Frankfurt paper. Bound by the Campbell-Logan Bindery in cloth-backed marbled paper-covered boards. 20 press-numbered copies. PPB2000.36. ----- 63) Newman, Randy, Shame, Louisville, Contre Coup Press, 2000. 7-3/4 by 6-1/4 inches, (9) leaves printed on rectos only. Set in Bembo with display in Huxley Vertical and printed in black and brown on Frankfurt paper. Bound in decorated paper wrapper. The lyrics of a song. 15 copies. PPB2000.37. ----- 64) Invitation to a Christmas celebration, Louisville, Contre Coup Press, 2000. Single sheet 4-1/4 by 5-1/2 inches. Set in Bembo Italic and printed in black and green on Frankfurt paper. 50 copies. ----- 65) The Dalai Lama, A Prayer, Louisville, Contre Coup Press, 2000. Single sheet 10 by 8 inches. Set in Perpetua and printed in black on a laid paper. Set by hand and printed by Ellen Garrison (Green). 20 copies. ----- 66) Invitation to a Christmas Celebration, Louisville, Contre Coup Press (2001). Single sheet 5 by 6-1/2 inches. Set in Goudy Thirty and printed in black and red on commercial machine-made paper. 50 copies. ----- 67) Invitation to a bridal shower for Erin Wiese, Louisville, Contre Coup Press, March 4, 2001. Single sheet 4-1/2 by 6-1/4 inches. Set in Post Medieval and printed in black and blue on a commercial machine-made paper. 50 copies. ----- 68) Invitation to a wedding and reception for Erin Wiese and Jordan Hawley, Louisville, Contre Coup Press, March 24, 2001. Single sheet folded once to 4-1/2 by 6-1/4 inches. Set in Post Medieval and printed in black and blue on commercial machine made paper. Included is a 4-1/4 by 6 inch insert set in Caslon Open and printed in black on Frankfurt paper. 100 copies. ----- 69) Leonard F. Bahr Salutes Paul H. Duensing’s Four Ideals, Louisville, Contre Coup Press, 2001. Single sheet folded once to 12-1/2 by 9-1/2 inches. Set in Post Medieval and printed in black and brown on Arches Text Wove paper. Enclosed in the folder is an original broadside printed by Leonard F. Bahr. Printed for inclusion in the Duensing tribute portfolio. 75 copies. ----- 70) Bradbury, Ray, How Not to Burn a Book, or, 1984 Will Not Arrive, Louisville, Contre Coup Press, 2002. 7-3/4 by 6-1/4 inches, 60 pp. Set in Bembo, Lilith and Lutetia and printed in black, red and gold on Frankfurt paper. Bound by the Campbell-Logan Bindery in cloth-backed decorated paper-covered boards. 27 copies. Published at $45.00. ----- 71) Saint Theresa of Avila, There are more tears shed…, Louisville, Contre Coup Press, July, 2002. Single sheet 12 by 9-1/2 inches. Set in American Text and printed in red and black on Iyo Glazed paper. 20 copies. ----- 72) Whitman, Walt, And this is what you shall do…, Louisville, Contre Coup Press, 2002. Single sheet 19-1/2 by 12-3/4 inches. Set in Lutetia and printed in black, red and brown on Canson Mi Tientes paper. 40 copies. ----- 73) Attachment, A Printer’s Sand Mandala: Teachings of the Buddha Regarding Attachment, Louisville, Contre Coup Press, 2004. 12-1/2m by 7-3/4 inches. 18 leaves printed on rectos only. Set in Lutetia and Post Medieval and printed in black and brown on Frankfurt paper. Japanese style binding in wrapper of Canson Mi Tientes paper. 10 copies printed, all copies of which were destroyed by the printer as an exercise in avoiding attachment. ----- 74) A Wonderful Announcement, Louisville, Contre Coup Press, 2004. Single sheet folded once to 5-1/4 by 7-1/4 inches. Set in Post Medieval and printed in black and red on commercial announcement paper. Announcing the adoption of Samantha Wiese Hawley. 100 copies. ----- 75) Letter to David Godine, Louisville, Contre Coup Press, 2004. Single sheet 23-3/4 by 12 inches. Set in Perpetua and printed in black and brown on Canson Mi Tientes paper. 3 copies. ----- 76) Types of the Contre Coup Press, Louisville, Contre Coup Press, various dates. Single sheets of various sizes and printed on various papers (mostly Basingwerk Parchment). Various limitations, but many 3 or 4 copies. Each sheet shows the complete character set of a typeface in a particular size, including: ----- a) Lutetia, 10 point Didot on 11 point American body ----- b) Lutetia Italic, 10 point Didot on 11 point American body ----- c) Lutetia Small Caps, 10 point Didot on 11 point American body ----- d) Solemnis, 10 point ----- e) Cochin, 12 point ----- f) Crayonette, 12 point ----- g) Perpetua, 12 point ----- h) Satanick, 12 point ----- i) Van Dijck, 13 point on 14 point body ----- j) Bembo, 14 point ----- k) Bembo Italic, 14 point ----- l) Bembo Small Caps, 14 point ----- m) Cochin, 14 point ----- n) Lutetia, 14 point Didot on 14 point American body ----- o) Lutetia Italic, 14 point Didot on 14 point American body ----- p) Lutetia Small Caps, 14 point Didot on 14 point American body ----- q) Caslon Open, 18 point ----- r) Civilite, 18 point ----- s) Cochin Open, 18 point ----- t) Fournier, 18 point ----- u) Gallia, 18 point ----- v) Goudy Thirty, 18 point ----- w) Homewood, 18 point ----- x) Perpetua, 18 point ----- y) Post Medieval Light, 18 point ----- z) Post Medieval Light Italic, 18 point ----- aa) Prisma, 18 point ----- bb) Solemnis, 18 point ----- cc) Bembo, 24 point ----- dd) Bulmer, 24 point ----- ee) Bulmer Italic, 24 point ----- ff) Caslon Old Face, 24 Point ----- gg) Civilite, 24 point ----- hh) Cochin Open, 24 point ----- ii) Comstock, 24 point ----- jj) Delphian, 24 point ----- kk) Gallia, 24 point ----- ll) Gold Rush, 24 point ----- mm) Jim Crow, 24 point ----- nn) Legend, 24 point ----- oo) Perpetua, 24 point ----- pp) Post Bold Titling, 24 point ----- qq) Post Medieval Light, 24 point ----- rr) Post Medieval Light Italic, 24 point ----- ss) Post Medieval Medium, 24 point ----- tt) Post Roman Bold, 24 point ----- uu) Romantique, 24 point ----- vv) Showboat, 24 point ----- ww) Solemnis, 24 point ----- xx) Weiss Initials, 24 point on 30 point body ----- yy) Fournier, 30 point ----- zz) Goudy Cursive, 30 point ----- aaa) Garamond Open, 30 point ----- bbb) Homewood, 30 point ----- ccc) Legend, 30 point ----- ddd) Lilith, 30 point ----- eee) Perpetua, 30 point ----- fff) Post Bold Titling, 30 point ----- ggg) Post Medieval Light, 30 point ----- hhh) Post Roman Bold, 30 point ----- iii) Weiss Initials I, 30 point ----- jjj) Weiss Initials II, 30 point ----- kkk) Caslon Openface, 36 point ----- lll) Chisel, 36 point ----- mmm) Civilite, 36 point ----- nnn) Cloister Text, 36 point ----- ooo) Cochin Open, 36 point ----- ppp) Delphian, 36 point ----- qqq) Egmont Initials, 36 point ----- rrr) Garamond Open, 36 point ----- sss) Goudy Text Shaded, 36 point ----- ttt) Hidalgo, 36 point ----- uuu) Homewood, 36 point ----- vvv) Lombardic Caps, 36 point ----- www) Nova Augustea, 36 point ----- xxx) Perpetua, 36 point ----- yyy) Prisma, 36 point ----- zzz) Scotch (Inland Type Foundry), 36 point ----- aaaa) Solemnis, 36 point ----- bbbb) Nova Augustea, 38 point (perhaps this is 36 Didot?) ----- cccc) Open Shadow, 42 pint ----- dddd) Post Medieval Light, 42 point ----- eeee) Post Medieval Medium, 42 point ----- ffff) Post Roman Bold, 42 point ----- gggg) American Text, 48 point ----- hhhh) Chisel, 38 point ----- iiii) Goudy Text 48 point ----- jjjj) Homewood, 48 point ----- kkkk) Lydian Italic, 48 point ----- llll) Onyx, 48 point ----- mmmm) P.T. Barnum, 48 point ----- nnnn) Post Bold, 48 point ----- oooo) Post Medieval Light, 48 point ----- pppp) Repro Script, 48 point ----- qqqq) Lombardic Caps, 72 point ----- rrrr) Weiss Initials, 66 point (60 point Didot?) ----- ssss) Castellar, 72 point ----- tttt) Huxley Vertical, 84 point ----- uuuu) Huxley Vertical, 120 point ----- vvvv) Various ornaments and borders ----- 77) Homard, Theophile, Grand Collaboration: The Production of John James Audubon’s The Birds of America and The Viviparous Quadrupeds of North America, Louisville, Contre Coup Press, 2005. 13 by 10 inches, 29 pp. Cloth-backed paste-paper covered boards. One of 27 numbered copies. Initialled by the author. Each copy includes one original hand-colored lithograph from the octavo edition of The Birds of America and one original hand-colored lithograph from the octavo edition of The Quadrupeds of North America. The paste-paper for the binding was decorated by hand especially for this edition by Carol Blinn at the Warwick Press, and the binding was completed at the Campbell-Logan Bindery. Published at $185.00. Out of print. ----- 78) Mark Twain, The Invalid’s Story, Louisville, Contre Coup Press, 2006. 10 by 6-1/2 inches, 19 pp. Cloth-backed marbled paper-covered boards. Set in Bembo type and printed in black, brown and blue on Arches Text Laid paper. Limited to 18 copies. Bound at the Campbell-Logan Bindery. Includes an Afterword by Theophile Homard. ----- 79) Walker, Frank X, The River Speaks, Louisville, Contre Coup Press, 2006. Broadside 27 by 15 inches. Set in Bulmer and printed in black and brown on Johannot heavyweight paper. Limited to 100 numbered copies. Signed by the author. Printed for the Filson Historical Society. ----- 80) Walker, Frank X, Irreconcilable Differences, Louisville, Contre Coup Press, 2006. Broadside 20 by 7-1/2 inches. Set in Perpetua and printed in black and red on Johannot heavyweight paper. Limited to 100 numbered copies. Signed by the author. Printed for the Falls of the Ohio Lewis and Clark Bicentennaial Committee. ----- 81) Tompkins, Hawley T., Church Man, Louisville, Contre Coup Press, 2007. 7-3/4 by 6-1/4 inches. 39 pages. Set in Bembo and printed in black and brown on Frankfurt paper. With original photographs by Noel Hawley tipped in. Bound by the Campbell-Logan Bindery in cloth-backed decorated paper-covered boards, with the paper decorated specially for this book by Carol Blinn. Signed by David C. Churchman and Charlene Churchman. Limited to 23 copies. -----

First Posting

Well, here's my first posting - my official entry into blogdom. I will be periodically posting information about the activities of Timothy Hawley Books, the Contre Coup Press, and who knows what else. I've been issuing catalogues of books for sale since 1984, and have been operating my private press since 1979. I've been selling books on the internet at various websites for a good long time, with my books currently being listed only on Abebooks.com. I've been selling stuff - mostly type specimens and related materials - on Ebay for a year or so. My Contre Coup Press books typically sell out immediately, which sounds like quite an accomplishment until you realize that I usually print 30 or fewer copies, and give quite a few of those away, so it only takes a few purchasers to drive the books out of print pretty quickly. A number of out-of-print Contre Coup Press books are being offered by various booksellers at Abebooks.com and other bookselling sites. We are awaiting receipt of the latest book from our bookbinder, and will note its availability here as soon as it arrives. I guess that's all for now.