Alchemy of the Planets Images by Philip Hughes and poems by Carmen Boullosa, inspired by space missions past and present autumn 2017 View one of the images that Hughes has created for the book My enthusiasm for all things space is shared by British artist Philip Hughes who contacted me in 2016 to ask if we would be interested in another collaboration with him and leading Mexican poet and novelist Carmen Boullosa. Our previous collaboration was the successful Jump of the Manta Ray (see below).

The Four Books on Architecture [Andrea Palladio, Richard Schofield, Robert Tavernor] on Amazon.com. *FREE* shipping on qualifying offers. The Renaissance architect Andrea Palladio was one of the most influential figures that the field of architecture has ever produced. For classical architects. Use this illustrated dictionary and chronological tour of photos to identify house styles and learn about influences on American home design.

Alchemy of the Planets has been inspired by the wealth of images from recent missions to planets and moons within our solar system. These include the New Horizons mission which in 2015 gave us our very first close-ups of Pluto, and in 2016 the Mars Reconnaissance Orbiter, the Cassini-Huygens mission to Saturn (soon to end), and the probe Dawn to the dwarf planet Ceres between the orbits of Mars and Jupiter.

Philip Hughes has created a total of thirty-two works relating to twelve planetary bodies, derived from images selected from those sent back by planetary missions, as well as from the Hubble Space Telescope and the International Space Station, images of distant landscapes that have provided the source inspiration for paintings, pastels, and digital collages. Boullosa and Hughes have collaborated before on two artist’s books in which Hughes illustrated Boullosa’s poems. This time it is Boullosa who has been inspired by Hughes’s images, producing two poetic responses, a set of short poems – Pies – and a further set of longer poems – Cantos. In order to develop more clearly the association between the pictures of the planets and their moons and the names attributed to various celestial bodies, she researched into mythology, beginning by re-reading Hesiod’s Theogony and studying the rituals attached to their worship as described in his Orphic Hymns. In turn Psiche Hughes has worked closely with these texts to create an intimate translation. The Spanish and English texts sit together on the page, facing Philip’s image.

Copies will be £1,900 each. Further details about the book and its construction will be announced in forthcoming newsletters. Do use the contact form at left to register your interest in this title. A paper prospectus is available on request.

Palladio's Homes Andrea Palladio on building a home, and what others have thought of those that he built, illustrated by Carlo Rapp, with an essay by Witold Rybczynski In print View the book from several aspects View a designer binding of Palladio's Homes by Jeff Clements 'a really lovely production'. 'a most impressive publication'.

'another splendid production'. 'magnificent - another highly original and well thought-out book from the Old School'. 'an absolutely beautiful work, and an absolute pleasure to read and handle' We have had a keenness for the domestic architecture of Andrea Palladio for some time - if one can refer to the villas he built for, say, the Venetian nobility as just 'domestic'. Anyway, we can say that he designed houses for people to live in as well as grand civic buildings. Palladio designed perhaps thirty domestic villas of which about nineteen survive (the exact numbers depending on how you count them). His influence on subsequent architecture in the UK and USA was considerable and remains to this day - 'Palladianism' entered the vocabulary of architects world-wide.

He left not only a legacy of fine buildings, but also a detailed exposition of his ideas in his I Quattro Libri dell'Architettura ('The Four Books of Architecture'), first published in 1570. Palladio prefaced his descriptions of his villa designs in I Quattro Libri with chapters laying out his general principles for the placing and design of villas. This new title, Palladio's Homes, reprints those chapters in the original Italian together with a parallel translation by the English architect Isaac Ware who in 1738 provided, unlike previous translators, a faithful translation as well as accurate reproductions of Palladio's numerous original plates. I Quattro Libri was considered so important by later architects that they would travel to Italy to see Palladio's work for themselves, scribbling their own views in the margins of their copies. This new title includes these and other reflections - not always complimentary - alongside Palladio's descriptions of his work. Amongst those quoted are architects Inigo Jones and Sir Edward Lovett Pearce, Goethe, sixteenth-century power-walker Thomas Coryat (of Coryat's Crudities fame), and a more recent visitor, Witold Rybczynski, Professor of Urbanism at the University of Pennsylvania, who recorded his own visits in the 1990s in The Perfect House. Professor Rybczynski has written a new essay on Palladio and his legacy for Palladio's Homes.

The texts present a wonderful opportunity to celebrate Italian printing as well as one of its greatest architects. We have printed the text on a Cartiera Amatruda paper hand-made in Amalfi using Giovanni Mardersteig's Dante typeface in the 14D size. Italian artist Signor Carlo Rapp has prepared illustrations for seven of the thirteen villas covered, using linocuts and pen and ink drawings. The book is 36.5cm tall by 26.5cm wide (14 3/8 in.

By 10 3/8 in.), has 112 pages, and is quarter-bound in dark grey cloth. The boards are covered with a splendid three-pulp paper by Cave Paper of Minneapolis called 'Cloudy Sky', and the book is presented in a robust wrap of board covered in the same cloth as the spine. Both book and wrap carry a spine label. The edition consists of 170 copies. The price per copy is £250.

(ISBN 978 1 899933 24 2). An Italian Dream Charles Dickens thinks he has been to Venice In print View the cover and an opening from the book 'stylish' Some years back I came across a wonderful description of the interior of St Mark's Basilica in Venice and discovered it had been written by Charles Dickens. It didn't take too much help from various search engines to discover that it was from his book Pictures of Italy and to find the text, in particular of chapter VII, online at Project Gutenberg. I squirrelled it away planning to print it when the opportunity arose, and finally that moment came. In this chapter, Dickens describes his visit to La Serenissima as if remembering a dream that happened between two other, more prosaic stops on his tour. 'In the luxurious wonder of so rare a dream, I took but little heed of time, and had but little understanding of its flight.

But there were days and nights in it; and when the sun was high, and when the rays of lamps were crooked in the running water, I was still afloat, I thought: plashing the slippery walls and houses with the cleavings of the tide, as my black boat, borne upon it, skimmed along the streets.' I had the text set automatically from the digital copy in 12pt Poliphilus by Harry McIntosh at Speedspools. Poliphilus is a type based closely on that cut by Francesco Griffo and used for Aldus Manutius's Hypnerotomachia Poliphili which was published in Venice in 1499. I printed the text on a dampened hand-made paper from Cartiera Amatruda in Amalfi, a stock of which I bought from Christopher Skelton's estate some years back. Complementing that are end-papers of a burgundy-coloured Magnani Firenze, another Italian hand-made. The book consists of a single section of 16pp sewn into boards. The front cover carries a photograph, digitally manipulated, that I took on a rather misty day from Dorsoduro, towards San Giorgio, though the latter was not to be seen through the mist.

The edition is 135 copies. The price is £36. (ISBN 978-1-899933-25-9). Tokonoma Twenty haiku and tanka by James Kirkup with wood cuts by Naoko Matsubara In print View one of the illustrations View the book as a display 'The result is brilliant and beautiful, deeply satisfying to the senses.' For something rather different, the Press collaborated with Canadian artist Naoko Matsubara in the making of an editioned piece that presents a collection of twenty haiku and tanka by James Kirkup, whose collection of poems we published in 1996. Each verse has been printed letterpress in large foundry Perpetua on a sheet of Japanese hand-made paper specially made by Masao Seki and accompanied by a striking woodcut by Naoko Matsubara.

The images have been printed in one, two, or five colours by fine art printer Alan Flint in Canada under Matsubara's supervision. In issue 5 of Parenthesis, Reiko Yamanouchi wrote 'The result is brilliant and beautiful, deeply satisfying to the senses. Martyn Ould is to be congratulated for having published... Such a sumptuous work, embodying the best of handwork and a perfect harmony of art and poetry, and also presenting a world in which European and Japanese cultures are subtly and happily merged.' The verses are complemented by a short essay on the writing of haiku and tanka by James Kirkup and on the concept of tokonoma itself. A tokonoma is an alcove in the home in which, for instance, a picture or scroll can be placed for meditation.

To achieve the desired effect, the sheets are housed in a box constructed to allow one verse at a time to be displayed, much as one might display a photograph or favourite picture. The twenty-five sheets (each about 33cm by 26cm) are held in a tray covered in black cloth with a perspex lid.

The back of the tray allows it to stand so that the top sheet is displayed. A slip case protects the whole. This hybrid of book and picture means that the poetry and pictures need never be fully hidden as they would be in the pages of a shelved book, but can be changed with time or whim. Every copy is signed by the four collaborators. There is an edition of 105 copies of which 85 are for sale.

Price is £490. Postage, packing & insurance are included. Trade discount is a quarter.

(ISBN 978 1 899933 05 1) A four-page prospectus with colour reproductions of two of the sheets is available on request: just fill in our contact form using the 'contact' button on the left. Aubrey's Villa The poignant story of John Aubrey's beloved childhood home, his hopes for it, and its loss, told through his own watercolours publication planned for 12 March 2018 View a leaf from the original manuscript John Aubrey (1626–1697) was born in a house built by his grandfather, Isaac Lyte, at Lower Easton Pierse in Wiltshire, a house he always knew he would inherit. When it came to him after his father’s death, while he was still in his twenties, he began signing himself ‘John Aubrey of Easton Pierse, Esq.’, a connection with his land in Wiltshire that became essential to his identity. But inherited debts and bad luck eventually caught up with him in his forties, and he found himself having to sell not just the lands and house but nearly everything he owned including some of his books. It was at this time that he prepared a collection of drawings, half of them a record of what he was leaving behind at Easton Pierse, but the other half, more spectacular, drawings of an Easton Pierse that had never existed. As he completed the final drawings in 1669–70, he went into hiding from the bailiffs, concealed his identity, and gave out rumours that he had gone abroad. His drawings now form a manuscript in the Bodleian Library: Aubrey 17.

From being a country gentleman with a very public sense of place he became a completely displaced figure taking his identity from the newly-founded Royal Society. His drawings are a record of the emotional cost of that shift, a farewell in pencil, ink, and watercolour to a place and a way of life that had defined him until that point. Yet the drawings are more than a simple record. For whatever reason, at the moment of losing it entirely Aubrey decided to show what he had wanted his estate to become: a neo-classical villa set amongst Italianate gardens and terraces. He was in the first generation of theorists and architects who developed the concept of a neo-classical country house, and his plans record debts to and conversations with John Evelyn, Roger Pratt, and Christopher Wren. Aubrey’s drawings of Easton Pierse—as it was and as it might have been—now rest in that bound volume in the Bodleian, and we have been given permission to reproduce it in its entirety for the first time.

To bring alive both the personal and the architectural story alluded to above, Dr Kelsey Jackson Williams has written an extended essay to accompany the reproductions of Aubrey’s drawings, and Professor Peter Davidson and Dr Kate Bennett have contributed introductory essays and commentary on the drawings. Oxford Fellow Dr Bennett is the leading authority on Aubrey and in 2015 published the first annotated critical edition of his best-known work, Brief Lives and in 2017 was awarded the Rose Mary Crawshay prize by the British Academy; Dr Williams is the author of The Antiquary: John Aubrey’s Historical Scholarship. It is hard to imagine a more knowledgeable team of experts for this book. This new title continues The Old School Press’s interest in matters architectural and our aim to publish new and authoritative texts. Interest in Aubrey has been much revived in both academic and general readership circles following two major publications in the last two years: Dr Bennett’s own edition of Aubrey’s Brief Lives, and a fictional autobiography of Aubrey, John Aubrey: My Own Life by Cambridge Fellow Dr Ruth Scurr. Aubrey’s manuscript volume is landscape in format and we will be retaining that. Our book will be bound between boards covered with a paper specially hand-marbled to replicate that chosen by Aubrey for his own binding of his manuscript.

The book will be slightly larger than A3 (about 17in wide and 12in deep) and run to 68pp, so it will make a handsome volume. We are planning an edition of 120 copies of which just 100 will be for sale. Each copy will be signed by the three authors.

We will be announcing a price in the near future. There is one important difference with this title: it will be printed entirely digitally, rather than letterpress. Much as we would have loved to do it letterpress our calculations suggested it would not work financially.

However, our customers need have no fear that this is the thin end of a wedge between us and letterpress! Printing at the University Press, Oxford, 1660-1780 The first definitive narrative on work at one of the greatest of English presses, in three volumes Volume I in print. Volumes II and III to follow. Stanley Morison & 'John Fell' The writing and printing of Stanley Morison's book John Fell, the University Press and the 'Fell' types Only unbound sheets remaining View one of the photographs from the book 'A wonderful production.' 'Delightful - beautifully produced and very interesting and informative too.' 'Handsome and well done.' WINNER of a 'Judges Choice Award' at the 2003 Oxford Fine Press Book Fair While researching, Martyn Thomas and I found ourselves following threads just off the main theme but equally interesting.

One of them related to the writing and printing of Stanley Morison's great work, a book which was first suggested to Morison in 1925 but which was not published until 1967, on the very day after his death. In the words of Vivian Ridler, who was Printer to the University when the book was finally printed, 'Morison had a very strong journalistic streak in him, he wasn't an innate scholar, he was rather of the 'publish and be damned' school. He reckoned his job was to do some pioneering work. He used to say 'get it all down and published and let other people come along and go over it.' The scholarship was Morison's but Harry Carter did a lot of quiet putting right.' The topic was vast, and others were enlisted to assist in various aspects: John Simmons as Printer's Librarian, Mr.

Bill from the Bodleian Library, Dr. Voet at the Plantin-Moretus Museum in Antwerp, and Miss Margaret Crum, also from the Bodleian. Work on John Fell had to fit in with all of Morison's other activities and was interrupted by his bouts of illness, so the work proceeded with agonising slowness. At one point Ridler was prompted to write to Morison 'Do you think that... Some way might be found of moving the Fell opus again?... Even if I am spared, I have only another nineteen years to go.' Printing this vast work - itself all hand-set in the Fell types - became a major project for the Printing House, requiring sets of pages to be type-set, proofed, corrected, and printed, before the type could be dissed ready for the next set.

This new monograph tells the story principally through the archives at Oxford University Press, and the Stanley Morison Room papers in Cambridge University Library, but also through interviews with some of those directly involved: John Simmons, Vivian Ridler, Richard Russell, and John Bowley. (If you would like to listen to recordings of our interviews with Vivian Ridler, please.) It gives a fascinating insight into Morison and his dealings with colleagues, and of the workings of OUP over the period. The chapters are The book described, The 1900 Hart catalogue, The 1925 Chapman folio, The 1930s Johnson specimens, The 1950 Batey keepsake, The 1953 Morison fascicules, The 1967 Morison book, End-game, Production, Publication, and The type-faces in 'John Fell'. Click the 'excerpt' button above for a 12pp extract from the book. There are four tipped-in leaves of books set in the Fell types, plus a dozen splendid photographs of those involved over the four decades. A two-page announcement is available on request: just send your name and a postal address via our contact form using the 'contact' button on the left - if you would like to be sent some sample pages as well, just let us know.

This is the contents list: List of photographs and tip-ins Preface The book described The 1900 Hart catalogue The 1925 Chapman folio The 1930s Johnson specimens The 1950 Batey keepsake The 1953 Morison fascicules The 1967 Morison book End-game Production Publication The type-faces in ‘John Fell’ Notes Index In January 2004 I presented a paper to the Printing Historical Society conference Printing and the World of Learning in Cambridge. Why not read a of my paper (157K PDF) - it will give you a feeling for the scope of the book itself. 240 copies have been printed letterpress in 12/14pt Monotype Van Dijck on a demy quarto page of Mohawk Superfine, to match in size. ALL SOLD Fifty de luxe copies are bound in quarter burgundy leather, with a marbled paper by Ann Muir on the boards. They are signed by Vivian Ridler, and Morison's collaborator John Simmons. Like the de luxe of The Fell Revival, these copies come with an additional portfolio of material, some printed in Fell; you can to download a PDF of the portfolio's contents.

The book and portfolio are presented in a slipcase. The price was £160 (€270, US$270). (Trade terms on de luxe copies are one quarter.) (ISBN 978 1 899933 17 4) BINDING B. There were 170 copies case-bound in burgundy cloth with a dust-jacket carrying a drawing of Morison, but these have all been sold. Twenty copies were reserved in sheets for binders and a few sets are still available.

Bound copies were £80 (€135, US$135), sheets are £50 per set. (ISBN 978 1 899933 10 5) If you are interested generally in the recent history of Oxford University Press, I recommend On the Press, an excellent book about the people on the shop floor at OUP, written by one of its former employees, Mick Belson. (Mick had been Head Reader. He died in 2008.). Printing at the Daniel Press An analysis of some rare proof sheets from the Daniel Press In print View our two books on the Daniel Press 'Absolutely fascinating!' Authors' drafts are prized for the insights they offer scholars into the workings of the writer: the development and refinement of a text, the way that corrections and changes were made, and the degree of change made before the final version was reached.

But we rarely have a chance to see that process in operation in the work of printers of the past. So it was with some excitement that in 2008, during our researches for The Daniel Press in Frome, David Chambers and I were presented with a paper bag full of pieces of mostly aged newsprint that turned out to be fifty-two proofs and rejected sheets from the Daniel Press that had come down through the family.

On inspection they proved to date from between 1883 and 1897, complete with the Reverend Henry Daniel's pencil corrections. How this gathering of wastepaper-bin contents came to survive is a mystery, but I have not been able to resist examining them in detail and making some observations about the printing practices of that authentic and original amateur private press printer. Comparison of the proof sheets with the books as finally issued tells us quite a lot about what he spotted and what he did not! Through these items we see Henry Daniel, working at his Albion at Worcester House in Oxford, setting up perhaps four or eight pages in his forme, pulling a proof, and marking the necessary corrections; in some cases we have a sequence of proofs of the same page showing us the changes he made. In one instance we also have a sequence of proofs for a title page, revealing the changes he made to the design, wording, and typography. Daniel was not a great technical printer but his work is now much collected for its charm, and, in particular, for his use of the ‘Fell types’ and early printing ornaments which he had acquired from Horace Hart at Oxford University Press. As well as listing all the sheets, this monograph contains twelve pages of photographs of them, illustrating aspects of Daniel’s working practices.

It also reprints a fine obituary of Daniel by the writer Edmund Gosse. The 32pp of text are set in 12pt Caslon Old Face, printed on a ream of antique Turkey Mill wove paper. It is case-bound to a size and style that matches Falconer Madan's bibliography of the Daniel Press and our title The Daniel Press in Frome (see above). The edition is just 95 copies. The price is £84 per copy.

Tonge's Travels The diary of an Oxford undergraduate: the Mediterranean by cargo steamer in 1857 In print View one of John Watts's watercolours 'a perfectly delightful book' I have always enjoyed travel writing, especially when it shows travel in its true light: general awfulness punctuated by moments of great pleasure. Some years ago I acquired a manuscript diary which, a recent handwritten slip inside suggests, was written by George Tonge who went up to Lincoln College, Oxford in 1856, and subsequently entered the Church. According to his diary, George Tonge (if indeed it was he) had decided that the Long Vacation at the end of his first year would be spent on some form of voyage, and, in the event, on 15 July 1857 he boarded the screw steamer Avon which was headed for the Mediterranean in search of a cargo of currants. The 282 manuscript pages of his diary take us on a ten-week journey to Gibraltar, Genoa, Pisa, Naples, Vesuvius (avoiding falling debris), Pompeii, a detour on foot and horse to Corinth, Athens (which clearly made a deep impression on him), Vastitza ('began loading early and shipped about 80 tons of currants', 'had a bathe close to the vessel with a man looking out for sharks'), and back via Algiers. Stowaways are put back on land, the rigging breaks, the engineer blows himself up, and bandits are avoided.

For a flavour of the diarist's writing, click on the 'excerpt' button to the left. There is a single edition of 290 bound copies plus forty sets of sheets reserved for binders. The book is in a generous landscape format (230mm high by 300mm wide) to allow the text to run in double columns and provide the right shape for twenty-four watercolours and sketches by John Watts, much as a traveller of the day might have committed sights and thoughts to paper where today we would use video and digital images. John's illustrations have been reproduced by off-set litho. Printing a diary also gives us another excuse for using the written as well as the printed word in the book: snippets of Tonge's account have been hand-written by calligrapher Patricia Gidney and printed letterpress.

The text has been printed letterpress in 12/14pt Monotype Centaur on Mohawk Superfine eggshell finish paper, and copies are bound in full cloth with a dust-jacket bearing one of John Watts's line drawings. A four-page announcement, with two of the watercolours and a sample text page, is available on request: just send your name and postal address via our contact form using the 'contact' button on the left.

The price is £80 for bound copies, and £50 for sheets. (ISBN 978 1 899933 08 2) American binder Nancy Bloch of the Lemon Tree Press has done a fine binding of Tonge's Travels which featured in a major exhibition - Women in Letters - at the Clark Library at UCLA in 2007. De Sitv Dvnelmi – On Durham The last poem in Old English, translated and introduced by David Crane, with a nineteenth century wood-engraving In print View the illustration from the ordinary edition The last extant poem in the Anglo-Saxon poetic tradition is The Old English Durham Poem. It tells of the site in the North of England on which the city has been built and the relics of the saints assembled there. David Crane has provided an introduction to his new translation of the poem, a translation that matches the metrical structure and alliteration of the original. It is printed in hand-set Stephenson Blake Caslon Old Face (including the 10, 12, 14, 18, 22 and 30pt) on Zerkall mould-made paper, and sewn into a wrapper of heavy, hammered Zerkall. The trade edition of about 250 copies (ISBN 978 1 899933 02 0) has 12pp and is available at £6 each.

A nineteenth century wood-engraving, found in the stock of a Durham printer, has been printed from the wood. (An ordinary edition of about 50 copies (ISBN 978 1 899933 03 7) (all sold) also contained an additional line drawing by Wendy Batt of an interior from Durham Cathedral and an additional wrapper of kozo handmade paper, £18 each.

Sheets of the trade edition in a slightly different collation of two gatherings of three sheets each are available for binders for £10 each. Six Contemporary British Poets A series of collections of new work by British poets The series so far features the work of Desmond Post David Burnett James Kirkup Adrian Henri Andrew Motion To provide a focus for its work in printing poetry, The Old School Press is publishing a series of six books, each consisting of new work by a contemporary British poet, accompanied by illustrations by British artists. The first five are now ready. If you would like to take all six titles please let me know. The series is to a uniform external design: quarter bound in yellow cloth with boards covered with a hand-made paper from the Larroque mill.

The Larroque paper comes in a range of six delicate colours, and a different one is used for each title in the series. Each book bears its title embossed in gold on the front board. The text paper is either 145gsm Zerkall or 170gsm Magnani mould-made paper, and the end papers black Canson Mi Teintes. Each book is about 265mm high and 175mm wide.

If you buy a copy of the entire series, I will send a slipcase for the set with my compliments when the final item is published. Antigone A narrative poem by Desmond Post, with wood cuts by Inger Lawrance Three copies left View a page from Antigone View a designer binding of Antigone by Rachel Ward-Sale The daughter of Oedipus and Jocasta, Antigone was sealed in a cave by her uncle Creon after she had, against his command, tended the body of her brother who had died fighting to succeed Oedipus.

Desmond Post's poem is an imagined soliloquy as she awaits death in her tomb. Writing of his work, Desmond Post says 'Antigone, of all the royal house of Thebes, is the most deserving of recall.

There was a need that I should cast her within the character that Sophocles made noble, so her words are spare and acute, and her spirit, questioning and defiant, does not succumb to the creeping despair. Her death is an affirmation of her self against the pitiless Fates.'

In asking Inger Lawrance to provide five of her striking wood cuts (cut on cherry wood), I think I found a complementary visual voice about which the words 'spare' and 'acute' can also be used. I first came across her work in illustrations for and she published in her own right at The Windmill Hole Studio. The text is hand-set in the 14pt version of Stephenson Blake's casting of Eric Gill's Perpetua. The edition consists of 112 copies, signed by poet and artist, of which twelve sets of sheets were reserved for binders but are now out of print. (ISBN 978 0 9522335 8 9). Figures in a Setting A collection of six poems by James Kirkup, with line drawings by John Watts In print View an illustration from Figures in a Setting James Kirkup is well known as a poet and translator, and he also published three novels, six volumes of autobiography, plays, and essays.

He has been published in particular by the Sceptre Press, Rockingham Press, Hub Editions, and the University of Salzburg Press. His work appeared in various magazines in Britain, Japan, France and the USA, and he was a frequent obituarist for The Independent newspaper in the UK.

We collaborated with James on two other books: and. Unfortunately we never met (he died in 2009) but correspondence with him was always a pleasure and one would receive a haiku or two occasionally in the post. In this collection, I have printed previously unpublished poems on the theme of the figure, giving an opportunity of combining each with a full-page line drawing, commissioned from John Watts and reproduced by line block. The text is set in 14pt Centaur italic. The edition is 185 copies signed by poet and artist, priced at £42 per copy.

A further thirty sets of sheets were available for binders but are now all sold. (ISBN 978 1 899933 01 3). There is now a devoted to Kirkup's work.

Chesil Beach A poem by David Burnett, with a wood-engraving by Christopher Wormell In print View the binding and title page of Chesil Beach Number three in the Poetry Series contains a single poem by David Burnett, whose collection Twelve Poems the press published in 1994. The poem is accompanied by a fine wood engraving of Chesil Beach commissioned by David Burnett from Christopher Wormell. The text is set in hand-set Stephenson Blake's Caslon Old Face in a variety of sizes, with the poem in 18pt.

The edition is of 215 copies, all signed by poet and artist. (Sets of sheets have all been sold.) (ISBN 978 1 899933 00 6) As part of a collaboration with binder Owen Bradford, six students at Newcastle University were each given two sets of sheets of Chesil Beach to bind, one set for themselves and one set for The Old School Press. This is the second time the Press has had this arrangement and the results have been splendid. Lowlands Away An oratorio in ten parts by Adrian Henri with pastel images by Adrian Henri In print View one of Adrian Henri's images Adrian Henri wrote ten poems as texts for an oratorio by Richard Gordon-Smith for soloists, chorus and orchestra, which has recently been recorded on CD by the Royal Liverpool Philharmonic Orchestra. It tells the story of the loss at sea of the Thames and Medway barge Cynthia, commanded by the composer's great-grandfather, a century before in 1896, and of his last words to his wife, cast into the sea in a bottle and subsequently forwarded to her. Tonelab St Patches Download.

In 2000, at the Six Chapel Row contemporary art gallery in Bath, I discovered that Adrian was also an artist and indeed had trained as one, and it seemed an ideal opportunity to have a poet's work in two forms in the same book. To that end there are eight images, reproduced by four-colour litho at the Senecio Press from Adrian's vibrant pastels. These drawings were the last that Adrian made, in hospital, before his death at the beginning of 2001 - sadly, he never saw the book in its final form, and indeed a couple of the images were unfinished. Yet they are full of life and vigour.

The book follows the binding style of the series: quarter-bound with yellow cloth on the spine, with a hand-made paper from the Larroque mill covering the boards, this time a mottled celadon colour, black Canson end-papers, and the title embossed in gold on the front cover. The text has been printed in 14pt Monotype Gill Sans on Rivoli paper. There are 410 copies and forty sets of sheets reserved for binders in three sections. £64 each for bound copies, £45 for a set of sheets.

(ISBN 978 1 899933 12 9) Each of the eight illustrations from the book is also available in the form of editioned prints. There will be no more than fifty copies of each, printed using archival inks on 330gsm Somerset paper. Copies are available unframed at £90 each, plus P&P at cost. The sheet size is 500mm by 400mm. There is now a dedicated to Adrian Henri's work.

A Long Story A four-part poem by Andrew Motion, with wood-engravings by Simon Brett In print View one of Simon Brett's wood engravings View a designer binding of A Long Story by Rachel Ward-Sale View a designer binding of A Long Story by Kate Holland For the fifth title in our series of the work of contemporary British poets, we were fortunate to have the opportunity of printing an extended four-part poem by Poet Laureate emeritus Andrew Motion. Writing of his work, Motion says ' A Long Story assembled itself over several years into a loose sequence of four sections, none of them rhymed, and all are written in a very loose, rambling rhythm. I began with the wish to identify certain memories in my childhood which I've always considered to be 'spots of time' - ie, moments which have a self-contained interest and drama - and ended up with scenes which anticipate (even predict) certain moods and attitudes I have as an adult.' To complement Motion's narrative style, we turned once more to leading wood-engraver Simon Brett, whose ability to tell a story in a single sinewy image we greatly admire, and who cut four wood-engravings for the book. The text was hand-set in 14pt Fournier italic and printed on 170gsm Magnani mould-made paper.

The book follows the series binding style: quarter-bound with yellow cloth on the spine, this time with a rich dark green hand-made paper from the Larroque mill covering the boards, black Canson end-papers, and the title embossed in gold on the front cover. 210 bound copies. Twenty sets of sheets were reserved for binders (all sold). All copies are signed by poet and artist.

The price is £72 each for bound copies. (Unbound sheets were £45 (€80, US$70)). (ISBN 978 1 899933 14 3).