sebastian carter printer (2 resultados)

Condición: Good. Letterpress on rag paper watermarkd A. Millboard.Signed presenation copy to Raymond Gid."Statement of Editorial Policy"The Pennsylvania Gazette, 24 July 1740: It is a Principle among Printers that when Truth has fair Play, it will always prevail over Falsehood.Therefore, though they have an undoubted Property in their own Press, yet they willingly allow that anyone is entitled to the Use of it who thinks it necessary to offer his Sentiments on disputable Points to thePublick, and will be at the Expense of it. If what is thus publish'd be good, Mankind has the Benefit of it.If it be bad (I speak now in general without any design'd Application to any particular Piece whatever)the more 'tis made publick, the more its Weakness is expos'd, and the greater Disgrace falls upon theAuthor, whoever he be, who is at the same Time depriv'd of an Advantage he would otherwise withoutfail make use of, viz. [namely] of Complaining that Truth is suppress'd, and that he could say MIGHTYMATTERS, had he but the Opportunity of being heard.Sebastian Carter was born in 1941 in Cambridge, England. He was educated at Christ's Hospital, and King's College, Cambridge, reading English and Architecture and Fine Arts. He then worked as a designer with the London publisher John Murray, followed by two years in Paris with the Trianon Press. Back in London he worked for the Stellar Press and Ruari McLean Associates, as well as working freelance. In 1966 he married Penelope Kerr and moved back to Cambridge to join his father Will Carter at the Rampant Lions Press. He became a partner in 1971 and took over the business in 1991, retiring in 2008.Alongside his work at the Rampant Lions Press, Sebastian Carter has written extensively on typographical and other subjects, beginning with editing the Christ's Hospital literary magazine The Outlook, and continuing with contributions to Granta at Cambridge. He has contributed to 25 out of the 29 numbers of the Whittington Press's journal Matrix so far, and in 2008 took over the European editorship of Parenthesis, the journal of the Fine Press Book Association, from Dennis Hall. He writes occasional reviews for The Times Literary Supplement, and The Book Collector.In 1982 he produced the first catalogue of the Rampant Lions Press's output for the exhibition of the Press's work at the Fitzwilliam Museum in Cambridge, and he is currently working on a full catalogue of all the books printed at the Press, to be published to coincide with another Fitzwilliam exhibition planned for 2015.In 1984 he wrote The Book Becomes, an account of the printing at the Rampant Lions Press of William Morris and Burne-Jones's Story of Cupid and Psyche (1974), with a discussion of broader issues of fine printing.The first edition of his Twentieth Century Type Designers was published by Trefoil (and Taplinger in the USA) in 1987, and it has been continuously in print since then, becoming the standard work. A second edition was published by Lund Humphries (Norton in the USA) in 1995, and a paperback edition in 2002.Provenance: from the estate of Raymond Gid who died Sunday November 12, 2000 in Paris. Born on November 25, 1905, Raymond Gid became first known through his posters, after having studied at les Beaux-Arts. As a film enthusiast, he designed many movie posters, for example Vampyr de Dreyer (photomontage, 1932), Le Silence de la mer by Melville (1949), Les Diaboliques by Clouzot (1955). But a meeting with Guy Levis Mano (editions GLM), editor and typographer, soon directed Gid towards the book. In 1935, he publishes, together with the photographer Pierre Jahan Devot Christ de Perpignan and Chats, Chiens by Ylla. It is an intensive period of his life period: he meets Dufy, Corbusier, Hake, Lurcat and receives the gold medal for a poster at the International exhibition of Paris (1937). He reacts to the Civil War in Spain with a poster " Help to the civil populations ". Together With Father Carre, « bete-a-bon-Dieu » of the Resistance, Raymond Gid began to design liturgical texts. Apocalypse Six (an extract of the biblical text of Saint John) appeard after the war. It is one of his major works, composed in the Peignot typeface, which was designed by Cassandre in 1937. He designs several post-war period posters, for example Week of absent, a simple Lorraine cross surrounded by barbed wire on a dark background. Right from the beginning of the symposiums in Lure (Provence) in 1954, Raymond Gid participates in discussions on typography, particularly with Maximilen Vox, Charles Peignot, Roger Excoffon. Raymond Gid puts on page and illustrates the Dialogues of the Carmelite nuns by Bernanos (1954), then some pages in Caractere Noel 1955, dedicated to his friend Jan van Krimpen, the creator of dutch type faces. He plays with the breathing of the text, in the manner of Mallarme, as in his Book of hours (1959) or his Apocalypse (1964), adapting medieval text to present day tastes. He also designs posters like those for the Club Mediterranee (1961), Bally (1976) or, heavier fare, like that of Amnesty International (1973). During his whole life, Raymond Gid remained attached to the typographical arts. He liked to try out new characters in his compositions, mixing them with his very free drawings, as for example in Messidor published by the Imprimerie nationale (1989). Jean-Francois Porchez, type designer; translated from french by Babelfish and cleaned up a bit. Links Art and Poster Bally posters Chicago Center for the Print Bally posters Poster Auctions International, New York Catalogue from the personal exhibition at the Bibliotheque Forney, Paris, in 1992.

LETTER: One page, quarto. Somewhat aged and creased. An attractive item in Carter's disciplined calligraphic hand. A damning assessment of Craig's son Edward Anthony Craig ('Edward Carrick', 1905-98). '[.] If you know him, you presumably also know what you are taking on! We had some dealings with Teddy over possibly printing old EGC's engravings of Robinson Crusoe, but Teddy sold them, [.] My impression is that the old rogue manufactured archives in order to sell them to someone - preferably twice. There seem to be a lot of people who think they have 'The Craig papers.' | Having spent quite a lot of time and energy on the Crusoe project to no avail, we feel we'd prefer to give Craig a rest. [.]' Together with: ONE: photocopies of two two-page manuscript letters from Edward Gordon Craig to the German author Helene Nostitz (8 June 1906 and 12 February 1919). TWO: two one-page typewritten transcriptions of notes from Craig to Helene Nostitz ([1907] and 27 June 1944). THREE: two two-page manuscript transcriptions of letters from Helene Nostitz to Craig (8 January 1907 and 9 February 1909). FOUR: photocopy of one-page manuscript declaration made by Craig at the British Embassy in Paris, regarding Oswald Nostitz's 'way of thinking' ('Essentially aristocratic he can hardly have had anything but a superficial connection with the Nazi Party.'). FIVE: photocopy of two-page manuscript letter from Craig to Oswald Nostitz. SIX: thirteen A4 pages of photocopies of set and costume designs, stage directions, etc, by Craig, reproduced from a copy of Hamlet in the Bibliotheque Nationale, and accompanied by SEVEN, a Typewritten Letter Signed in French from Cecile Giteau of the Bibliotheque Nationale's Departement des Arts du Spectacle to Junge (23 November 1983, Paris, one page, quarto).