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PHOTOGRAPHIC VIEWS OF CENTRAL PLANT AMERICAN TYPE FOUNDERS COMPANY
Largest Type Foundry in the World
This is a facsimile edition prepared as a Keepsake for the 2002 American Typecasting Fellowship Conference in Provo Utah and for the Typophiles for their September 2002 meeting. There is no date for the original, but it was likely published around 1912 because the pictures are very similar to those found in the introductory pages of the 1912 ATF Specimen Book. Theo Rehak, proprietor of the Dale Guild Type Foundry, discovered the original copy of the extremely rare booklet, carelessly discarded, while he was working as an employee of the foundry.
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More On This Subject - -
> AMERICAN TYPE FOUNDERS COMPANY
> TYPE SPECIMENS
> PHOTOGRAPHY
> UNITED STATES, NEW JERSEY
> TYPOPHILES
> TYPOGRAPHY, TWENTIETH CENTURY
> GRAPHIC DESIGN
Books of related interests - -
> Lawson, Alexander, AN OLDER TYPOPHILE IN THE NINETIES.
> Currie, Kit, et al., ABE LERNER 1908-2002
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GREEN BLADES FROM HER MOUND
by Hardy, Thomas
One of 200 bound thus as the main edition. Signed by Mark Cazalet who chose the poems and created the images. Thomas Hardy's wife Emma died in November 1912, in the attic room of their house where she had lived estranged from him. Their marriage had hardened into an empty shell and Hardy had long been in love with Florence Dugdale, whom he married the following year.
However, on reading Emma's secret memoirs detailing his cruelty and the breakdown of their marriage, Hardy was hit by an avalanche of grief. He returned to the north Cornish coast of their courtship and spent the rest of 1912 and 1913 producing his most lyrical and abiding collection of poetry.
Mark Cazalet has created images to act as visual equivalents for the extraordinary insights Hardy found in the depths of his experience, rather than attempting his topography or historical period. He arranged the sequence to suggest his gradual reconciliation to guilt and grief, resolving into a dawning sense of acceptance. It was a long and painstaking task to cut wood and linoleum for the twenty-two large images. Each page opening involves three colours on characterful Italian white paper, and the inks were specially mixed by Canfield Colours from natural pigments.
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