Books

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BIBLIOGRAPHICAL NOTES

Books, bagatelles and other thread sewn items printed by hand and published by Graham Williams at The Florin Press.

Printed on a Columbian or one of three Albion hand presses, texts handset at the Press unless otherwise stated. The number of pages includes blanks.

The Inhabitants of New South Wales. An extract from Bankes’s Universal Geography, c.1780. 1969. A handful of copies. (170 x 130mm) 8pp. One wood engraving by Graham Williams printed on tissue paper, tipped in. Text on Japanese handmade paper. Blue Ingres paper wraps. A bagatelle.

Song, by John Keats. 1970. Ed. 8. (Various sizes) 12pp. Brown card covers with tan endpapers. A bagatelle.

Two Poems, by John Keats and  Johann Gottfried Herder. 1970. Ed. 12. (Various sizes) 16pp. One copy hardbound in book canvas and the remainder in card covers at the press. A bagatelle.

 

 

Character of John Bull, by William Hazlitt. 1978. Ed. 200. (171 x 127mm) 20pp. Six drawings by Graham Williams. Printed in  black and terracotta on Barcham Green handmade Charles I paper. Bound in Barcham Green handmade Turner Grey paper over boards, with a printed design in terracotta and a terracotta canvas spine.

 

 

 

 

 

Seein’ Things, by Eugene Field. 1979. Standard ed. 165 (of which 35 destroyed). (301 x 212mm) 20pp. Seven drawings by Graham Williams. Printed in various single colours and black on Barcham Green handmade Turner Grey paper. Bound in full green canvas, with a label on the front board with an eighth drawing printed in green.

 

 

 

 

 

 

 

 

Seein’ Things, by Eugene Field. 1979. Special ed. 35. (293 x 203mm) 20pp. The standard edition text bound in full dark green leather titled in gold on the front board, in a green canvas slip case with the paper label on the front.

 

Tarragon Magic, by Graham Williams. 1979. Ed. 75. (163 x 123mm) 12pp. One drawing by Graham Williams. Printed in brown and black on mould-made paper, Brown handmade paper wrap with a printed titling label that repeats the drawing. (plus 7 copies,150 x 119mm, bound in 1988 by David Simaleavich in a paper binding of his design.) A bagatelle.

 

 

 

 

 

 

 

 

The Dreamer, by Graham Williams. 1980. Standard ed. 235. (212 x 115mm) 12pp. Printed on a Victoria Press in green, tan and black with Zlata Lipa type flower decorations from the Paul Hayden Duensing type foundry, on Arnold Grey mould-made paper. Mould-made green Tumba wraps over card stiffener, paper titling label. A bagatelle for St. Valentine’s Day.

 

 

 

 

 

 

 

The Dreamer, by Graham Williams, 1980. Special ed. 15. (222 x 125mm) 12pp. The standard edition text bound in full goatskin with an inlaid leather design and gold title on the front board. Watered silk end-papers surrounded with decorative gold blocking. Contained in an envelope of mould-made green Tumba, with a paper label. A bagatelle for St. Valentine’s Day.

 

 

Thomas Bewick’s Fables of Aesop and Others, 1980. Introduced by Iain Bain, with appendices – The Croxall Connection by Graham Williams and The Preliminary Drawings by Iain Bain. Standard ed. 50. (122 x 183mm) 40pp. Four Bewick wood engravings printed from the original woodblocks, plus eight reproductions of cuts in the text, printed by Graham Williams plus three drawings reproduced lithographically, on Barcham Green RWS watercolour paper. Bound in full cloth with a paper titling label on the front board and spine titled in gold over a foil panel.

 

 

 

 

Thomas Bewick’s Fables of Aesop and Others, 1980. Introduced by Iain Bain, with appendices – The Croxall Connection by Graham Williams and The Preliminary Drawings by Iain Bain. Special ed. 80. (122 x 182mm) 40pp. The standard edition text bound in quarter speckled calf with glazed canvas boards with a paper label, titled in gold on the spine. With a suite of 19 proofs printed by R. Hunter Middleton from the original Bewick woodblocks on Japanese style papers, at his Cherryburn Press in Chicago, individually mounted in green Ingres paper over card and titled (120 x 181mm). Contained in a cloth covered presentation box with a printed spine label (141 x 204mm).

 

 

 

 

 

The Florin Press, the first prospectus. 1980. (220 x 144mm) 12pp. Seven illustrations printed from line blocks. An introduction to The Florin Press and a description of Character of John Bull, Seein’ Things, The Dreamer and the forthcoming Thomas Bewick’s Fables of Aesop and Others. Printed on two old mould-made papers, the cover in black and yellow ochre. A prospectus

 

 

 

 

 

 

 

 

 

A Valediction Forbidding Mourning, by John Donne. 1981. Standard ed. 125. (227 x 179mm) 4pp french fold. Wood engraved initial letter by Graham Williams. Printed in black and burnt orange on Unbleached Arnold paper in a dark blue Fabriano Ingres wrap, with a paper titling label. A Keepsake on the 350^th anniversary of Donne’s death.

 

 

 

 

 

 

 

 

A Valediction Forbidding Mourning, by John Donne. 1981. Special ed. 25. (250 x 192mm) 8pp french fold. The standard edition text printed on handmade Whatman white laid with the addition of a wood engraved frontispiece by Graham Williams. Barcham Green handmade Turner Grey wrap, with a paper titling label. A keepsake on the 350^th anniversary of Donne’s death.

 

 

 

 

 

Pudding’s Lion, doggerel by Graham Williams. 1983. Ed. 75. (580 x 392mm, including a sewn text 165 x 260mm) 12pp. ‘Lionocut’ by Graham Williams and an old line block of a sleeping lion. Printed on various handmade papers from Barcham Green. A humorous bagatelle.

 

 

Bewick and Printers, by Graham Williams. 1983. Ed. 16. (96 x 83mm) 16pp. Four wood engravings by Thomas Bewick and one by John Bewick, printed from the original blocks in Iain Bain’s collection on Barcham Green handmade Chester. A demonstration to Iain Bain of a method of printing Bewick’s blocks using damp vellum tympans, the text was written and added later. Marbled paper by Alberto Valese in Venice over card stiffener, with a paper titling label.

 

 

 

 

 

 

 

Monica Poole Wood Engraver, by George Mackley, edited and with a biographical introduction by Graham Williams. 1984. Standard ed. 250. (363 x 251) 32pp. Twenty wood engravings printed from the original wood blocks on Basingwerk Parchment, one engraving in green and title page in tan and black. Bound in quarter brown cloth with Fabriano tan Ingres paper on boards, paper titling label with a further wood engraving on front board, titled in gold on the spine.

 

 

 

 

 

Monica Poole Wood Engraver, by George Mackley, edited and with a biographical introduction by Graham Williams. 1984. Special ed. 50. (369 x 258mm) 50pp. The standard edition text with an additional text by Graham Williams, Printing the Engravings, and an additional fourteen wood engravings printed from the original wood blocks on Basingwerk Parchment, three engravings printed in single colours. The title page printed in tan and black with the block of dry leaves printed in sepia and very dark brown. Bound in quarter leather, titled in gold with canvas boards, in a cloth covered slip case with the paper titling label, titled in gold on the spine.

 

 

 

Monica Poole Wood Engraver. 1985. (354 x 245mm) 4pp. An announcement printed on Basingwerk Parchment including one engraving printed from the original woodblock. A prospectus.

Printing Monica Poole’s Wood Engravings, by Graham Williams. 1985. Standard ed. 35. (362 x 250mm) 4pp text plus varying number of sheets. The additional text from Monica Poole Wood Engraver with sample leaves from the standard edition, in a Bugra Butten terracotta printed paper wrap.

Printing Monica Poole’s Wood Engravings, by Graham Williams. 1985. Special ed. 15. (362 x 250mm) 4pp text plus varying number of sheets. The additional text from Monica Poole Wood Engraver with sample leaves from the special edition, in a Bugra Butten terracotta printed paper wrap.

 

Leo Wyatt’s Little Book of Alphabets, Introduction by Michael Taylor. 1985. Ed. 150 (plus 6 ex-edition copies). (197 x 149mm) 44pp. Twelve alphabets plus a title page printed from the original woodblocks, each in a different colour, using inks largely ground by hand from dry pigment and prepared varnish. The paper made by hand for the Florin Press by Barcham Green. Bound in quarter red leather with parchment boards and a leather label on the front board, in a slip case covered with handmade Barcham Green badger paper.

 

 

 

 

 

 

 

In Memoriam,1986. (155 x 105mm) 12pp. A verse by W. E. Henley and Edwardian type flower decorations printed in colours on two handmade papers from the Sea Pen Press and Papermill. In memory of Hilda Lilian Williams. A keepsake.

 

 

 

 

 

 

 

 

 

Comfort Me With Apples, by Elizabeth Bewick. Introduction by Kevin Crossley-Holland. 1987. Ed. 135. (303 x 169mm) 44pp. Eight wood engravings and the Press device by Graham Williams. Printed on an old mould-made paper, bound in Laura Ashley cloth by David Simaleavich in Amsterdam. Titled on a leather spine label. In a green Tumba card slip case.

 

 

 

 

 

 

 

Dukes Village, a suite of wood engravings by John O’Connor. Introduced by Graham Williams with more than a little help from John O’Connor, and an additional note on Artists’ Rights by Graham Williams. 1988. Standard ed. 45. (250 x 169mm) 24pp. Printed on Arnold Grey Laid paper, the ten wood engravings plus a Press device by John O’Connor printed in a variety of single colours from inks partly ground at the Press, bound in handmade paper from Bhutan, titled on the spine in gold, by David Simaleavich in Amsterdam.

 

 

 

 

 

Dukes Village, a suite of wood engravings by John O’Connor. 1988. Special ed. 25. (250 x 169mm) 24pp. The standard edition text, with a signed print of one of the engravings printed in black on white Japanese paper, held in a pocket inside the back board, bound in handmade paper from Bhutan with a leather spine titled in gold, by David Simaleavich in Amsterdam.

 

 

 

 

 

 

 

A Suite of Little Alphabets, engraved in wood by Leo Wyatt. 1988. A second edition of fifty sets of the twelve alphabets, printed from the original woodblocks on Barcham Green handmade paper made for the Press, with some colour changes from the first edition. Mounted individually in acid free card mounts. (216 x 165mm) 35 sets with an introductory leaf printed on Arnold Grey Laid, in a two-sided black and clear Perspex display box. (230 x 179mm)  The remainder of the mounted prints available individually.

 

 

 

 

 

 

 

 

Supercastings. A Celebration of a Small Event, a type specimen by Graham Williams celebrating the first casting of a few 24pt characters by Michael Passmore and the printer on a Monotype Supercaster. 1988. Ed. 22. (315 x 200mm) 8 leaves. Seven sheets of an old mould-made paper printed in black and colours. These include a Bewick engraving of the Mona Monkey, the first publication of a poem by Elizabeth Bewick, A Question of Carelessness, and a flurry of printings from a typecast leaf decoration in various colours using a circular chase. Notes ‘fine-keyboarded’ and ‘fine-photocopied’ on Barcham Green handmade Chester. Held in a portfolio made by Clare Skelton with a canvas spine and corners, boards covered in Hahnemule laid paper, decorated by the printer with a riot of rubber stamps.

 

 

 

 

 

The Wish, by Abraham Cowley. 2016. Ed. 125. (233 x 159mm) 12pp. A five verse poem by Cowley introduced by Graham Williams. Two press devices and a wood engraving of a house, Weavers Cot, by Graham Williams. Text printed on handmade Barcham Green paper made for the Press. A computer printed portrait frontispiece of Cowley tipped in on Barcham Green handmade Charles I. Text setting by The Hell Box Letter Foundry. Bound in card covered with handmade paper from the Moulin de Larroque, France, printed with the title and wood engraving.

 

 

 

 

 

 

 

A Collection of Printing from Woodblocks, on a diversity of papers. Total edition 75 copies. five special copies, numbered 1-5. 2021. A box (330 x 243 x 50mm) made by the Abrams Bindery, covered in green cloth with a titling label including a Florin Press device by Monica Poole. A limitation label, with a Florin Press design by Simon Brett, inside the front board is signed and numbered by Graham Williams. The box contains Notes to a Collection of Printing from Woodblocks (details below) and a minimum of ninety-six leaves printed with nine formes on a minimum of forty papers. Additional leaves also added. The formes include nine Bewick engravings and six other wood engravings, together with texts set in a variety of typefaces.

 

 

 

A Collection of Printing from Woodblocks, on a diversity of papers. Total edition 75 copies. ten special copies, numbered 6-15. 2021. A box (330 x 243 x 42mm) made by the Abrams Bindery, covered in green cloth with a titling label including a Florin Press device by Monica Poole. A limitation label, with a Florin Press design by Simon Brett, inside the front board is signed and numbered by Graham Williams. The box contains Notes to a Collection of Printing from Woodblocks (details below) and a minimum of seventy-eight leaves printed with nine formes on a minimum of thirty-one papers. Additional leaves may also be added. The formes include nine Bewick engravings and six other wood engravings, together with texts set in a variety of typefaces.

 

 

 

A Collection of Printing from Woodblocks, on a diversity of papers. Total edition 75 copies. twenty-five standard copies, numbered 16-40. 2021. A box (316 x 237 x 32mm) made by the Wayte Bindery, covered in brown cloth with a titling label including a Florin Press device by Monica Poole. A limitation label, with a Florin Press design by Simon Brett, inside the front board is signed and numbered by Graham Williams. The box contains Notes to a Collection of Printing from Woodblocks (details below) and a minimum of sixty-one leaves printed with nine formes on a minimum of forty papers. Additional leaves also added. The formes include nine Bewick engravings and six other wood engravings, together with texts set in a variety of typefaces.

 

 

A Collection of Printing from Woodblocks, on a diversity of papers. Total edition 75 copies. thirty-five standard copies, numbered 41-75. 2021. A box (316 x 237 x 32mm) made by the Wayte Bindery, covered in brown cloth with a titling label including a Florin Press device by Monica Poole. A limitation label, with a Florin Press design by Simon Brett, inside the front board is signed and numbered by Graham Williams. The box contains Notes to a Collection of Printing from Woodblocks (details below) and a minimum of thirty-five leaves printed with nine formes on a minimum of twenty papers. Additional leaves may also be added. The formes include nine Bewick engravings and six other wood engravings, together with texts set in a variety of typefaces.

 

 

Notes to a Collection of Printing from Woodblocks, on a diversity of papers. 2021. Ed. 75, plus about 35 ex edition. 304 x 217mm. Four page cover of Arnold Grey Laid handmade paper. Eight pages of text surrounded by a four page blank, text paper Modigliani Neve machine made. The text includes an introduction to the collection, details of the woodblocks used on the leaves and those in this publication that include five by Thomas Bewick, one from Bewick Gleanings and five Florin Press devices engraved by Graham Williams, Peter Forster, Simon Brett and John O’Connor.

 

Printed by hand by Graham Williams at The Florin Press for other publishers.

Five Decades for Harry and Frances Adaskin, by Crispin Elsted. 1977. Edition 12 copies. (444 x 290mm) A repeated decoration from a drawing by Graham Williams.  Printed in blue, tan and black on Barcham Green handmade Hayle paper by Graham Williams at the Florin Press. Bound in Barcham Green handmade papers marbled by Graham Clarke, Jan and Crispin Elsted. The first book published by the Barbarian Press.

 

The Hayle Mill Papermakers Song, by Graham Clarke. 1977. (235 x 122mm, fold out text 520 x 202mm) Line drawing of a papermaker and 8 drawings of musical notation by Graham Clarke. Printed on Barcham Green handmade Hayle for the text and Bodlak for the cover printed in brown and black. Published by Simon Green at Hayle Mill.

 

 

 

 

 

 

 

 

Sir Charles Grandison or The Happy Man, a comedy in 5 Acts by Jane Austen, together with notes by Lord David Cecil. With a facsimile of the original manuscript printed by The Scholar Press, Ilkley. (all 3 volumes previously unpublished.) 1981. Ed. 250. (214  x 135mm) Text and Notes printed by Graham Williams on Barcham Green handmade Chester, from machine set type. The Facsimile hardbound in full green cloth. Notes bound in card covered with marbled paper. The text hardbound with marbled paper and a paper label. In a solander box covered in marbled paper with a paper label. (242 x 155mm) Published by David Astor at Jubilee Books, Burford.

 

 

 

 

 

 

 

 

Notes for a portfolio of twelve monoprinted wood engravings by Naum Gabo, text by Michael Mazur. 1981. (500 x 400mm) Printed on Barcham Green handmade Penshurst paper in black and two colours. Published by Miriam Gabo.

Telling Tales, by Anthony Thwaite. 1983. Ed. 230. (250 x 150mm) Frontispiece wood engraving by Simon Brett. Printed in black and brown on Zerkall mould-made paper, text set by The Whittington Press. Bound at the Florin Press in card covered with brown handmade Kozo with a beige Kozo paper label. Published by The Gruffyground Press.

 

 

Notte Todaye, by Graham Clarke. 1984, Edition c. 450. (241 x 165mm) Three drawings by Graham Clarke. Text set by the Whittington Press. Printed on Barcham Green handmade papers, Canterbury for the text and various coloured cover papers. Published as Notes for the Interested to accompany a large hand coloured etching of the same title, by Graham Clarke.

 

 

 

 

 

 

 

The Wood Engravings of John Farleigh, by Monica Poole. 1985. Book designed by Graham Williams. Special ed.110. (369 x 260mm) A print from the original wood block of Milk Thistle by John Farleigh, printed by Graham Williams, included in a pocket inside the back board. Quarter leather with cloth boards, in a cloth covered slip case. There was also a standard edition, both books commercially printed and published by Gresham Books.

 

A Bewick from Barcham Green, by Graham Williams. 1985. (150 x 106mm) An original woodblock from Thomas Bewick’s Fables of Aesop and Others, 1818, the text and block printed on Barcham Green handmade Chester, in a plain Renaissance II paper wrap. Published by Barcham Green.

 

 

 

 

 

Five Maxims of the Duc de la Rochefoucauld 1630-1680, portfolio of 5 trompe l’oeil wood engravings by Edwina Ellis. 1986. Ed. 75. (Mounts 451 x 394mm) The blocks printed by Graham Williams on Basingwerk Parchment and individually mounted. Notes printed by Peter Moore at the Gryphon Press. In a solander box covered in green cloth titled on a paper spine label. (475 x 413mm) Published by Edwina Ellis.

 

Double Crown Club Dinner 286 menu, 1980s. (258 x 145mm) Ward Ritchie on A Medley of Printers Past. A new abstracted device for the DCC and Press device engraved on wood by Graham Williams. Nine famous press devices reproduced from line blocks. Printed in red and black on Basingwerk Parchment, in a Barcham Green handmade cover printed in black. With an erratum slip with a wood engraved printer’s devil by Graham Williams. For the Double Crown Club.

 

 

 

 

 

 

Double Crown Club Dinner 313 menu, 1992. (188 x 124mm) Michael Renton on The Last Trade Wood Engravers. With three prints from original woodblocks – An initial ‘D’ from the Ashendene Press, an outboard motor from the Sander Wood Engraving Company, Chicago and Figures Fighting probably by John Bewick for Robin Hood (but not used) published in Bewick’s Memoir, 1862. Printed in black, blue and green on an old wove mould-made paper with a printed card cover. For the Double Crown Club.

 

 

 

 

Commercially Printed and Published by The Florin Press or Bain & Williams.

Bain & Williams Ltd published three  books and was then incorporated into the Florin Press.

The Call of the Veldt, Memoirs of Chas. A. K. Beaton. Edited from his letters by Winifred E. Beaton. 1975. (150 x 105mm) 24pp. Published by The Florin Press on behalf of the editor.

 

Naum Gabo, An Appreciation, by Andrew Forge, foreword by Sir Norman Reid. 1985. Ed. 500. (262 x 164mm) 52pp. Five colour and six black & white illustrations tipped in. Printed by the Stockwell Press and bound in red cloth by Smith Settle. The Florin Press.

 

 

 

 

 

 

 

Naum Gabo: Monoprints from engraved woodblocks, edited by Graham Williams, contributions by Sir Norman Reid, Martin Hammer, Christina Lodder, and Graham Williams. 1987. (200 x 216mm) 72pp. Printed by Dunnsprint Limited. An illustrated paperback catalogue to accompany exhibitions in England, Scotland and the USA. The Florin Press.

 

 

 

 

 

 

 

A Typographical Masterpiece, Eric Gill’s collaboration with Robert Gibbings to produce the Golden Cockerel Press edition of ‘The Four Gospels’, by John Dreyfus. 1991. Ed. 250. (340 x 241mm) 120pp. Illustrated. Bound in full red cloth blocked with a design in gold. First published by the Book Club of California in 1990. Bain & Williams.

 

 

 

 

 

 

 

 

A Typographical Masterpiece, Eric Gill’s collaboration with Robert Gibbings to produce the Golden Cockerel Press edition of ‘The Four Gospels’, by John Dreyfus. 1993. Special ed. 40. (352 x 246mm) 120pp. Illustrated. The standard edition text bound with a red leather spine, red cloth covered boards with a panel of two Thai silks, blue and green, inserted into each board. Binding by Clare Skelton to a design by Graham Williams. The colophon for the special edition printed on a fold of handmade laid paper bearing the Golden Cockerel Press watermark, held in a pocket inside the back board, with a proof of one of the original woodblocks by Eric Gill for The Four Gospels on Japanese Gampi. Fold and proof printed by Graham Williams. In a leather and cloth covered slip case made by the Fine Bindery. Bain & Williams.

 

 

Eric Gill for Father Desmond, by John Dreyfus and Graham Williams, 1993. Ed.1000. (221 x 141mm) 56pp. Illustrated. Printed jacket over card cover. Bain & Williams.

 

 

 

 

 

 

 

 

 

 

 

Eric Gill for Father Desmond, by John Dreyfus and Graham Williams, 1993. Special ed. 70. (221 x 141mm) 56pp. The standard edition text bound in quarter leather with cloth covered boards and  a printed paper label on the front board, spine titled in gold. A separate untitled folder matching the book binding holds a proof from a wood block by Eric Gill printed conventionally on Japanese paper by Graham Williams, and an intaglio proof on Barcham Green handmade paper taken from a cold electro made directly from the wood block. Both items held in a cloth covered slipcase. Bain & Williams.

 

 

 

 

William Bulmer, the Fine Printer in Context 1757-1830, by Peter Isaac. 1993. (288 x 128mm) 200pp. Expanded from the Sandars Lectures, Cambridge, 1984. Illustrated. Bound in full blue cloth titled on the spine. Bain & Williams.

Weavers Cot, Memories of the Garden, with a Sparse History of the House, by Graham Williams. 2015. Ed 200. (252 x 196mm) 176pp. Illustrated with photographs, an account of the author’s home for over thirty years with his wife Nina; also the home of both his printing presses and welder. This is largely a description of the creation of a six-acre garden around a Tudor house. Bound in full orange bookcloth titled on the spine, with a printed dust jacket. The Florin Press.

 

 

 

Thomas Bewick Engraver & the performance of woodblocks, by Graham Williams. 2021. Standard edition (first 400 copies) 286 pages with 437 illustrations, 297 x 215mm. Designed and typeset at the Libanus Press. Printed in colour throughout by Hampton Printing (Bristol) Ltd. Bound in Brillianta Fawn book cloth with a titling label on the front board

 

 

 

 

 

 

Thomas Bewick Engraver & the performance of woodblocks, by Graham Williams. 2021. 25 special copies. The standard edition text with additional leaves tipped in, including a print of the Snow Bunting printed from the original block. Half bound by hand by the Abrams Bindery in brown morocco with paper marbled by Alberto Valese in Venice, and hand sewn headbands.

 

 

 

 

 

 

 

 

 

Understanding Paper, by Graham Williams. 2021. Standard ed. (234 x 159mm) 134pp. Printed by Gomer Press Ltd, Wales. Typeset and designed by Libanus Press, cover design by the author. Bound in a card cover printed in colour.

 

 

 

 

 

 

 

 

 

Understanding Paper, by Graham Williams. 2021. Hardbound ed. (241 x 162mm) 134pp. Printed by Gomer Press Ltd., Wales. Typeset and designed by Libanus Press, dust jacket and endpaper design by the author. Bound in Brillianta Fawn book cloth.

 

 

 

 

 

 

 

 

Bewick Bookplates – a Late Harvest. A Supplement of Drawings, Additions & Amendments to Bookplates by Beilby & Bewick by Nigel Tattersfield. 2024. Hardbound edition (240 x 170mm), 64pp. Printed by Gomer Press Ltd., Wales. Typeset and designed by Libanus Press.

 

 

 

 

 

 

 

Bewick Bookplates – a Late Harvest. A Supplement of Drawings, Additions & Amendments to Bookplates by Beilby & Bewick by Nigel Tattersfield. 2024. 30 special copies. The standard edition text with two hand printed proofs tipped in. Robert Southey printed by Iain Bain and Rev. Henry Cotes printed by Graham Williams, the latter impression taken from the block in its last state as revised for Bewick’s History of Water Birds. Hardbound edition (240 x 170mm), 64pp. Printed by Gomer Press Ltd., Wales. Typeset and designed by Libanus Press.

 

 

 

 

 

 

Make-ready – an essential skill for wood engravers and letterpress printers by Graham Williams. 2024. Standard edition, 297 x 210mm, 88pp, 102 illustrations. Printed by Gomer Press Ltd. Type set and designed by Mark Askam.

 

 

 

 

 

 

 

 

Make-ready – an essential skill for wood engravers and letterpress printers by Graham Williams. 2024. Hardbound edition, 297 x 210mm, 88pp, 102 illustrations. Printed by Gomer Press Ltd. Type set and designed by Mark Askam.

 

 

 

 

 

 

 

 

Publications including Graham Williams’ books or wood engraving.

Kentish Kitchen. 1981. Recipes from Kent, illustrated with wood engravings by George Mackley, Monica Poole and Graham Williams. The Mental Health Foundation.

45 Wood Engravers. 1982. Introduced by John Lawrence. Ed. 350. A selection made and published by Simon Lawrence, Wakefield.

Forty Nudes. 1988. Wood engravings selected by Simon Brett. Silent Books.

Heartsease, Elizabeth Bewick. 1991. One wood engraving by Graham Williams. Peterloo Poets

Engravers Two. 1992.  A Handbook compiled for the Society of Wood Engravers, edited by Simon Brett. Silent Books.

Kentish Kitchen II. 1992. A new selection of recipes from Kent, illustrated with wood engravings by Sue Scullard, Michael Renton and Graham Williams. The Mental Health Foundation.

British Book Design and Production. 1994, London and Frankfurt, exhibition of the best of British books published in 1993 (No. 20: Eric Gill for Father Desmond)

Strokes in Season, by Christopher Driver. 1996. (247 x 180mm) Ed 500. Frontispiece wood engraving by Graham Williams. Libanus Press.

The Seasons – Spring. 2018. A boxed set of wood engravings by twenty engravers including one by Graham Williams. The Society of Wood Engravers.

 

Writings by Graham Williams about printing wood engravings.

Not published by The Florin Press

The Printing of Wood-engravings, 1985. Matrix , The Whittington Press.

Dampening Paper. 1986. The Society of Wood Engravers Newsletter, Multiples No. 3 pp.28-31.

Iain Bain. 2013-4. A celebration issue for Iain Bain’s eightieth birthday, a number of contributors including Graham Williams who also printed a single sheet of handmade paper with two original Bewick blocks and a greeting from the members of The Bewick Society. The Cherryburn Times.

Bewick’s Coloured Quadrupeds, by Graham Williams. 2017. The Cherryburn Times.

Naum Gabo, various texts mostly catalogue essays about Gabo’s work including his prints from woodblocks.