The Victorian Printer

This is the story of printing between 1800 and the early 1900's, a period that brought great changes to the trade. The wooden hand press was replaced by the iron press, it in turn to be supplanted by platen and cylinder machines which afforded precise reigister and colouring working. The plain Roman types of the eighteenth century gave way to characterful fat faces and Egyptians, and with the art-printing movement of the 1880's tyography became ever more complex. In decorative printing the century began with the engraved copper plate supreme, but by mid-century engraving was in decline, supplanted by lithography, which was to facilitate colour printing of great quality through the chromolitho process. The printer of 1800 could be jack of several different trades, printer of everything from handbills to books and newspapers, and likely as not grocer and travel agent as well. But the new century brought increasing specialism, so that by c. 1860 book, newspaper and jobbing printing were virtually separate trades, and it is with the last - the printing of tradesman's cards and billheads, music covers, playbills, greeting cards and other ephemera - that this book is chiefly concerned.

Printing and Painting the News in Victorian London offers a fresh perspective on Social Realism by contextualizing it within the burgeoning new media environment of Victorian London. Paintings labelled as Social Realist by Luke Fildes, Frank Holl and Hubert Herkomer are frequently considered to typify the sentimental Victorian genre painting that quickly became outdated with the development of modernism. Yet this book argues that the paintings must be considered as the result of the new experiences of modernity-the urban poverty that the paintings represent and, most importantly, the advent of the mass-produced illustrated news. Fildes, Holl and Herkomer worked for The Graphic, a publication launched in 1869 as a rival to the dominant Illustrated London News. The artists? illustrations, which featured the growing problem of urban poverty, became the basis for large-scale paintings that provoked controversy among their contemporaries and later became known as Social Realism. This first in-depth study of The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of these works, showing that they engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so, this book proposes an alternative trajectory for the development of modernism that allows for a richer understanding of nineteenth-century visual culture.

Author and Printer in Victorian England demonstrates that printing technology shapes texts. The technology involved was a nineteenth-century revolution in printing methods; the texts were classic literary works by Victorian authors. What was at stake was textual control: who would decide how the text would read-author, compositor, printer's reader, or publisher? In a unique fusion of literary history and printing history, Allan C. Dooley explores the interactions between individual authors and their publishers and printers. He takes the reader through each stage of a work's development, illustrating how authors attempted to perfect and protect their writings from compositional manuscript through stereotyped reprints. His analysis includes details of a wide range of technical innovations and changes in practices in the printing of books between the development of printing machines in the 1830s and 1840s and the introduction of the Linotype in the 1890s. Drawing on the experiences of leading Victorian authors, he shows how nineteenth-century printing practices both enhanced and diminished writers' abilities to control texts. He reveals that much more was under their control than has commonly been believed and that many authors took advantage of printing technologies in order to gain and maintain control over the texts of their works. But new kinds of errors and new sources of inaccuracy were introduced by the technology as well.

This is a study of international print networks developed across the English-speaking world over a significant part of the long nineteenth century. The first study of its kind, it draws on unique sources from Australasia, North America, South Africa, the British Isles, and Ireland, to explore how printers interacted and shared trade and cultural identities across international boundaries during the period 1830-1914. Morality, mobility, mobilisation, and solidarity were central to how compositors and print trade workers defined themselves during this period. These themes are addressed in case studies on roving printers, striking printers, and creative printers. The case studies explore the cultural values and trade skills transmitted and embedded by such actors, the global networks that enabled print workers to travel across continents in search of work and experience, the trade actions reliant on mobilization and information-sharing across the printing world, and the creative ideas that printers shared through such means as memoirs, poetry, prose, and trade news contributions to print trade journals and other public outlets.

This book is a comprehensive history of printing and graphic arts in Victorian England. Author John Southward traces the evolution of printing technology, from hand-crafted woodcuts to the latest steam-powered presses. He also explores the impact of printing and graphic design on art, literature, and popular culture. This book is a fascinating look at a pivotal era in the history of the printed word. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"This edition of the Statutes is intended to contain, with some slight exceptions, all the Acts in force in Victoria by whatever authority up to and inclusive of the Consolidating Acts 1890. It consists of seven volumes. In the first five appear the general public Statutes and the more permanent Rules and Regulations made under powers therein contained. A sixth volume includes all the private Acts and Acts of a local or personal nature. In the seventh and last volume will be found the Acts of the Federal Council of Australasia and a number of Imperial enactments that appear to be applicable, either by direct enactment or by implication, to Victoria."--Preface.