How to Distinguish Print

How to Distinguish Prints   Hesketh Hubbard Alfred de Sauty Binding

Written and illustrated by members of The Print Society, edited by Hesketh Hubbard (founder of the Print Society).

Published 1926 (first and deluxe edition) by The Print Society Woodgreen Common, Salisbury, Wiltshire, England. Page size 10 x 11-1/2 inches, 127 pages, printed at the Pelican Press, 2 Carmelite Street, London. The editor mentions in the forward that the numbers of copies are low and the quantity is unstated. On one of the prints in the artist’s signature line there is a pencil note of “35/100.”

Custom fine binding with original fitted, felt-lined case by Lakeside Press, R. R. Donnelley, Chicago. Included on a rear blank endpaper is a label, hand printed in ink, noting that this book

  • Was sewn by E. Dvorak
  • Was forwarded by B. J. Cronk
  • Was finished by W. H. Anson
  • Was designed by A. de Sauty

The label is dated IV-IV-MCMXXX (April 4, 1930) and signed “A. de Sauty.”

The book contains 16 original prints that demonstrate the types of printmaking listed. Each print has a titled tissue protective sheet and an accompanying descriptive text written by the Print Society member artist of the print. Each print is signed in pencil by the artist (with the exception of the print by Alfred Palmer). For comparative study, following the prints are tipped-in microphotographic prints that detail the effect of the printing method.

The artists in the index are

  1. John F. Greenwood (2 prints)
  2. Hesketh Hubbard
  3. Thomas Todd Blaylock
  4. E. Marsdsen Wilson (2 prints)
  5. Edward W. Charlton
  6. Leslie M. Ward (2 prints)
  7. Iain MacNab (2 prints)
  8. Alfred Palmer
  9. Cecil Leslie
  10. Hugh Patton (3 prints)

Condition: Very Fine with the following notes.

Binding covers and printed decorative endpapers have no condition issues. Also, the print images have no condition issues.

The case has wear, some splitting to edges, and one short corner is split.

On one of the blank endpapers at the front of the book there is a ghost image of a loose printed portrait that was placed inside and subsequently removed. See picture.

Page 17 has a small light pencil mark at the left margin. See picture.

The page numbers listed in the index of prints are actually the page numbers following each print (e.g., page 64, print page 65, page 65).

Print page 65 has staining to the left of the image and one touched-up mark to the right of the image. See picture.

There are a few light spots of foxing on several pages. The most notable foxing is on the reverse of the print page 65 (see picture) and lightly transferred to the following page.

On illustrated page 84, detailing color aquatint process, there is a 1/4-inch tear at the bottom edge of the page. See picture.

One of the rear endpapers, with printer noted at the bottom otherwise blank, has lightly penciled initials in the upper left hand corner (see picture), and the following blank endpaper has a 1/4-inch tear at the right edge.

Several tissue protective sheets have fold creases at the corners, and one sheet has a diagonal 2-inch tear at the top edge next to the binding.

Note: The page numbers and images sizes shown in the pictures of the prints are in the photographs only and do not appear in the book. Any parallelogram appearance of the prints in the pictures is an effect of the photography, the actual prints are rectangular.

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