Looking through my collection of typography today I came across these images, included in Portfolio Three by The Rampant Lions Press, Cambridge, England, dated 1982. I have written about Will and Sebastian Carter many times throughout the life of this blog so please hit the search key to find out more, or send me an email. Enjoy your weekend. (This was a regular feature of the blog – the last entry can be found here.)
Graham Greene (1904-1991) was a novelist, critic and Catholic. I read much of his work when I was younger, though not now.
I came across this volume The Lost Childhood and other essays (Eyre & Spottiswoode, London, 1951, 2nd impression) at a bookshop the other week. Pulling it from among its companions I flicked through quickly and was astonished to find an essay Greene had written on Gill. The essay is not dated or sourced (though I guess it may have first appeared in The Tablet as this is one of the periodicals noted in Acknowledgements).
You can read the entire essay (it covers but two and a bit pages) for yourself as I am reproducing it below.
Greene is dismissive of Gill, calling him ‘an artist not of the first rank’ and refers to his ‘fervent little articles on sex’. Greene may have had no idea of Gill’s perversities though he writes: ‘Eric Gill, with his beard and his biretta, his enormous outspokenness, his amorous gusto, trailing his family across the breadth of England with his chickens, cats, dogs, goats, ducks, and geese, belonged only distantly to this untraditional tradition [‘a carefully arranged disregard of conformity to national ways of thought and behaviour’]; he was an intruder – a disturbing intruder among the eccentrics’.
Maybe, after all, Greene had a whiff of the real Gill.
[This is my 401st post.]
Images from my week. These were taken in Brisbane, Australia. The first at a train station – a nice display of cast letters (heavily covered in paint – be great to see that taken away and the true letters revealed once more) representing Queensland Rail and used as a brace for a seat; the second a metal plate in the road covering services – lovely use of the cross bar in the capital A as a functional element for inserting the rod that will remove the cover for inspection; the third some quirky figures (‘biffo man’) at pedestrian crossing. Great to see such inventiveness.
Hello again. It has been a while since the last post for which I offer no explanation except for life getting in the way of blogging. (I have also launched another web site called Rocket Ship that satisfies my alternative creative side – sculpture and space travel.) I thank all readers, regular and irregular, for continuing to step by on their way through the swamp that is the internet.
Recently, while at a local cafe, I came across this record sleeve (undated) among bric-a-brac for sale in a back room. I think it terrific. See how many typefaces you can identify. (Note – I have yet to play the record on my new Sherwood PM-9805 turntable.)
A tradition of fine hand-cut memorials exists in the UK. I was once a small part of that heritage, being commissioned to create bespoke headstones and other memorials for clients. Over the last week as part of a effort to simplify my ever growing lettering collection and archives I came across these images of mine, all made in England and pre-dating 2004 which was when we moved to Australia. I would often use both sides of the stone with the client providing a piece of prose or poetry appropriate to the person being memorialised which I’d carve on the reverse. These three examples show this, the first and third in green slate, the middle one in Welsh black:
I also made this piece for the courtyard of a church in Essex, England. It is limestone and slate.
Alas, there is, as far as I can discern, such a tradition in this part of the world. Maybe I should start one…
Also see this post on Percy Smith. Also see my page on sculptural items.
A reader recently identified the typeface I commented upon in this post as being Ashley Crawford, and not Neuland as I had then speculated. Thank you Marvin.
The face was designed by Ashley Havinden, a noted designer of that period and produced by Monotype as Series 238 and 279 (the later for the plain font). Image from Encyclopaedia of Typefaces, Blandford Press, 1953 as in my copy of Specimens of the Type Faces, Borders, Ornaments, Rules and Other Material cast on ‘Monotype’ Type Composing and Casting Machines, The Monotype Corporation, n.d it is not included, although ‘single specimen sheets…may be obtained on application’.
To correct the earlier misinterpretation here is Neuland used in another ad (taken from The Typography of Newspaper Advertisements, Meynell, F, 1929).