Women in Print 1

Figures

Figure 1.1. Digestum vetus cum glossa ordinaria (handwritten), c. thirteenth century © Universitätsbibliothek, Basel, C I 1, f. 9v, <www.e-codices.ch>, accessed 14 April 2020.

Figure 1.2. Digestum vetus cum glossa ordinaria (printed), 1468 © Bayerische Staatsbibliothek, Munich, <https://daten.digitale-sammlungen.de/>, accessed 19 April 2020.

Figure 2.1. The New Game of Human Life, with Rules for Playing: Being the Most Agreeable & Rational Recreation Ever Invented for Youth of Both Sexes, John Wallis, 1790 © Victoria and Albert Museum, London.

Figure 2.2. James Cook and John Rickman, eds, Journal of Captain Cook’s Last Voyage to the Pacific Ocean, on Discovery (London: E. Newbury, 1781). Image courtesy of the University of British Columbia Library Digitization Centre.

Figure 3.1. Plympton, Letitia Byrne (etcher) and Joseph Farington (painter), Memoirs of the Life of Sir Joshua Reynolds: With Some Observations on His Talents and Character, Joseph Farington, 1819, London: T. Cadell and W. Davies, frontispiece. Image courtesy of the Victoria and Albert Museum, London.

Figure 3.2. Donnington Castle Taken from a Field Adjoining the Road to East Ilsley from Newbury, William and Letitia Byrne (etchers) and J.M.W Turner (painter), 1805. Image courtesy of Yale Center for British Art.

Figure 3.3. Roche Rocks (graphite on thin paper), Joseph Farington [n.d.]. Image courtesy of Yale Center for British Art.

Figure 3.4. Roche Rocks (etching), Letitia Byrne, 1818. Image courtesy of the Victoria and Albert Museum, London.

Figure 4.1. Olive Branch, 12 November 1836, frontmatter. Image courtesy of the American Antiquarian Society Collection.

Figure 4.2. Clara, ‘The Model Husband’, Olive Branch, 28 June 1851. Courtesy of the American Antiquarian Society.

Figure 5.1. a. Advertising poster for Tippet of Pydar Street, Heard and Sons, 1847; b. Catalogue front cover for Mr Tippet of Pydar Street, Heard and Sons, 1847. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

Figure 5.2. Advertisement for Heard and Sons, Heard and Sons [n.d.]. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

Figure 5.3. a. Advertisement for L. I. Pouchée; b. Advertisement using Pouchée types, The West Briton and Cornwall Advertiser, 13 February 1824 (details). Images used with the permission of the Royal Institution of Cornwall, Courtney Library.

Figure 5.4. a. Advertising poster for T. Gerrans, Auctioneer &c, Heard and Sons, 1847; b. Advertising poster for W. Salter, Heard and Sons, 1839. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

Figure 5.5. a. Advertising flyer for E. Heard, printer, bookbinder, bookseller, stationer, &c, Heard and Sons 1842; b. A Sketch of the Interior of the Shop of Mrs Heard and Sons Truro, c.1847. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

Figure 6.1. Negative No. 9088 (collodion on glass plate), Isabel Agnes Cowper © Victoria and Albert Museum, London.

Figure 6.2. The Treasure of Petrossa and Other Goldsmith’s Work from Roumania: A Series of Twenty Photographs, London: The Arundel Society for Promoting the Knowledge of Art and Bell & Daldy, 1869, title page © Victoria and Albert Museum, London.

Figure 6.3. Plate No. 6, Twelve-sided Vessel (albumen print), Isabel Agnes Cowper, in The Treasure of Petrossa and Other Goldsmith’s Work from Roumania: A Series of Twenty Photographs, London: The Arundel Society for Promoting the Knowledge of Art and Bell & Daldy, 1869 © Victoria and Albert Museum, London.

Figure 7.1. (Left to right) a. Women’s Penny Paper, 27 October 1888, frontmatter; b. The British Women’s Temperance Journal, October 1888, frontmatter © British Library Board, Gale, Nineteenth-Century UK Periodicals.

Figure 7.2. (Top to bottom) a. Women’s Penny Paper, 20 March 1890, frontmatter; b. Women’s Penny Paper, 19 July 1890, frontmatter; c. Women’s Penny Paper, 3 January 1891, frontmatter; d. Women’s Penny Paper, 21 February 1891, frontmatter © British Library Board, Gale, Nineteenth-Century UK Periodicals.

Figure 7.3. (Top left) a. Florence Fenwick Miller, Women’s Penny Paper, 23 February 1889, frontmatter; (top right) b. Florence Fenwick Miller (detail), Woman’s Signal, 3 October 1895 © British Library Board, Gale, Nineteenth-Century UK Periodicals; (bottom left) c. Florence Fenwick Miller, 1893 © Herbert Rose Barraud; (bottom right) d. Florence Fenwick Miller, c.1910–2 © George Deney.←ix | x→

Figure 7.4. (Top left) a. Lady Florence Dixie, Woman’s Herald, 12 April 1890, frontmatter © British Library Board, Gale, Nineteenth-Century UK Periodicals; (top right) b. Lady Florence Dixie, 1880; (bottom left) c. Lady Florence Dixie, 1883; (bottom right) d. Lady Florence Dixie, Gloriana; or, The Revolution of 1900, London: Henry and Company, 1890, frontispiece. Public domain.

Figure 7.5. (Top left) a. Women’s Penny Paper, 16 March 1889, p. 8; (top right) b. Women’s Penny Paper, 13 July 1889, p. 12; (bottom left) c. Women’s Penny Paper, 13 December 1890, p. 127; (bottom right) d. Woman’s Herald, 30 May 1891, p. 512 © British Library Board, Gale, Nineteenth-Century UK Periodicals.

Figure 8.1. Specimen of ‘A Broad Sheet’, Elkin Mathews, London (Cuala Press Archive) © Estate of Jack B. Yeats, DACS London/IVARO Dublin, 2020. Image courtesy of the Board of Trinity College, Dublin.

Figure 8.2. Design for an Irish-themed Greeting Card, Elizabeth C. Yeats (Cuala Press Archive). Image courtesy of the Board of Trinity College, Dublin.

Figure 8.3. Specimen of ‘A Broadside’, Cuala Press, Dublin (Cuala Press Archive) © Estate of Jack B. Yeats, DACS London / IVARO Dublin, 2020. Image courtesy of the Board of Trinity College, Dublin.

Figure 9.1. Advertisement for Votes for Women. Image courtesy of Schlesinger Library, Radcliffe Institute, Harvard University.

Figure 9.2. The Suffragette, 31 July 1914, frontmatter. Public domain. Image courtesy of LSE Library.

Figure 9.3. Front headline used as shock advertising, Votes for Women, 10 March 1911, frontmatter. Image courtesy of LSE Library.

Figure 10.1. Untitled (lithograph), Lene Schneider-Kainer, Hetärengespräche [The Dialogues of the Courtesans], Lucian of Samosata and Christoph Martin Wieland (trans), Berlin: Verlag Julius Bard, 1920. Image reproduced with the permission of Gesche Kainer.

Figure 10.2. Untitled (lithograph), Lene Schneider-Kainer, Hetärengespräche [The Dialogues of the Courtesans], Lucian of Samosata and Christoph Martin Wieland (trans), Berlin: Verlag Julius Bard, 1920. Image reproduced with the permission of Gesche Kainer.

Figure 10.3. Untitled (lithograph), Lene Schneider-Kainer, Hetärengespräche [The Dialogues of the Courtesans], Lucian of Samosata and Christoph Martin Wieland (trans), Berlin: Verlag Julius Bard, 1920. Image reproduced with the permission of Gesche Kainer.

Figure 11.1. Photograph of ‘Books Across the Sea’ scrapbooks, Outpost, April 1944, p. 4. Image courtesy of the Cadbury Research Library, University of Birmingham.

Tables

Table 1.1. List of women involved in the Bologna book trade. The women highlighted in semi-bold are discussed in the text. Data © Rosa Smurra, 2020; Design © Artemis Alexiou, 2022.

Table 3.1. A diagram of the Byrne family tree, 2020 © Hannah Lyons.

Acknowledgements

The series editors of Women in Print 1 are indebted to several individuals and organizations for both contributing to and supporting the book. The chapters were originally a set of papers delivered at the University of Birmingham on 13 and 14 September 2018. Organized by the Centre for Printing History & Culture, the conference, ‘Women in Print’, was designed to review and reassess the contribution made by women to printing and print culture from its origins to the present day. We were convinced that the contributors deserved a wider audience and were pleased that Peter Lang was keen to publish an edited book in two volumes on the subject as part of its ‘Printing History and Culture’ series. Our main thanks are due to the volume editors, Dr Artemis Alexiou and Dr Rose Roberto, who oversaw this complex project from inception to completion, and all the individual contributors who were actively involved throughout this journey.

Lucy Melville, Global Publishing Director and Head of Editorial at Peter Lang, has been an enthusiastic, helpful and responsive guide and her team have efficiently and effectively guided the project through from manuscript to final product.

Dr Maureen Bell afforded valuable and detailed feedback on all the chapters during the peer-reviewing process.

Other individuals have assisted in the process. Dr Connie Wan, Dr Kate Croft and Rebecca Howson were responsible for the on-the-ground organization of the 2018 conference, without whose dedication to the project the event would not have happened. The Bibliographical Society kindly supported the conference to allow the participation of postgraduate students as both speakers and audience, and Birmingham City University generously supported the production of the book.

Women in Print 1 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and provides not only a reflection of the importance of women in print but also offers opportunities for future studies of women in the printing trade.

Caroline Archer-Parré, Malcolm Dick, John Hinks

Series Editors

Introduction

Patriarchy is defined as ‘a system of relationships, beliefs, and values embedded in political, social, and economic systems that structure gender inequality between men and women’.¹ Therefore, in order to understand the patriarchal societies we are born into, and have to endure throughout our lives, first we ought to understand why dichotomising society between its male and female members is unconstructive. Leslie Kaine Weisman explains: ‘classifying people into opposing groups of rich/poor, white/black, young/old, straight/gay, and male/female creates a social system that justifies and supports human exploitation and white male supremacy’; this happens because ‘one group is afforded power and status and the other rendered powerless and inferior’.² Inevitably, by default the majority of human beings on this planet are brought up in a manner that is essentially discriminatory towards anyone who may be considered as the ‘Other’.³ In historiography, this inherent bias has led to innumerable history books, including art and design history books, that have consistently excluded the achievements of anyone other than the White male heterosexual hero.⁴

←1 | 2→To address this problem, in 1971 Linda Nochlin openly called art historians, in Griselda Pollock’s words, ‘to reshape the processes, theories and methods through which [they] confront the historical and ideological complexity of the histories of artistic and cultural practices’.⁵ In 1986, Cheryl Buckley concurred a similar problem in design history: ‘women have been involved with design in a variety of ways […]. Yet a survey of the literature of design history, theory and practice would lead one to believe otherwise. […] These silences are not accidental […]; rather, they are the direct consequence of specific historiographic methods’.⁶ Buckley proposed that, as historians, we ought to investigate the material and ideological function of patriarchy in relation to women and design, while we critically assess why design history has habitually excluded women, so we can then write about design history in a manner that is inclusive.⁷ In 1994, Martha Scotford argued that in order to write about the past in a manner that respects the diversity of voices that have existed throughout history, we ought to move beyond the hero-centred approach that has traditionally directed historiography.⁸ Scotford proposed that we apply an inclusive approach to history, by investigating design activity, design roles, and response to design; writing about the ‘messy history’ instead of the ‘neat history’.⁹