Reid’s Leaves; | A bibliography of the books from the private press of Robert R. Reid, published in Vancouver from 1949 to 1962. With commentaries by him and sample sheets from three of his books. Preface by Takao Tanabe.
Vancouver: Heavenly Monkey, 2001. Folio, 38.6 x 29.2 cm. Sewn on four vellum slips and laced into limp covers of cream paper handmade by Reg Lissel. Matching paper label to the spine, printed with the title in red. Housed in a later black paper covered slipcase, made at HM and decorated with subtle dark blue and metallic accents; there is a paper label to the slipcase spine, with lettering printed by inkjet. pp. [ll. 3: blank self-ends; pp. 4] 5 - 37 [pp. 1; ll. 4: blank self-ends; plus sample leaves and barrier sheets]. A fine copy. The text was handset in Perpetua and printed on Arches mouldmade paper (“not damp, alas”). Both the presswork and binding were done by Rollin Milroy. The frontispiece is by George Kuthan and was printed directly from the original lino-block, which was loaned specially for this production by the University of British Columbia’s Special Collections Library. Line drawings, linocuts, facsimile pages, and press devices from Reid’s work further embellish the text. Notably, the following were reproduced in the present volume: the drawing of Alfred Waddington by George Swinton used as the frontispiece for The Fraser Mines Vindicated (1949); a drawing by Harry Webb of the Miller Master Speed Jobber used by Reid to print Gold (1958); an illustration from The Journal of Norman Lee (1959); an initial letter by George Kuthan from the title-page of Kuthan’s Menagerie, along with a linocut illustration of three ants used originally on the colophon page of the same title (1960); and sample text from Grave Sirs (1962). Three sample sheets, one each from Gold, The Journal of Norman Lee, and Kuthan’s Menagerie, are mounted on tabs or sewn into the text-block; each sample is enclosed in a bifolium barrier sheet; the barriers are sewn into the text-block and printed with the title in red on the first recto. From an edition of 40 copies. The present copy is an out of series proof and is numbered ‘proof no. 1’. Signed in ink by Robert Reid on the colophon page. (This Monkey’s Gone to Heaven, 1.2)
Loosely inserted is a collection of additional sample sheets. The samples include:
(1) A facsimile of an advertisement page from an 1871 issue of the Mainland Guardian newspaper. Produced as a sample for Reid’s production of Gold (1958). Among the listings is an ad for the 1871 first edition of Gold. Single trimmed sheet of beige [Michallet?] laid paper, once-folded (29.7 x 24.2 cm open). The facsimile text is printed in brown on the recto. Fine.
(2) A facsimile map of “The Western Part of the Dominion of Canada shewing Various Routes to the Yukon Dist. | 1898…” Produced as a tip-in for The Journal of Norman Lee (1959). Single cut sheet of white Superfine Linen Record paper, twice-folded (43.2 x 14 cm open). Printed in red and black on the recto only. Fine.
(3) A facsimile of an invoice produced as a tip-in for The Journal of Norman Lee (1959). Single cut sheet of white Superfine Linen Record paper, once-folded (17.9 x 21.5 cm open). Printed on both sides. Fine.
(4) A facsimile of a letter produced as a tip-in for The Journal of Norman Lee (1959). Single cut sheet of [Holland?] Antique Linen laid paper. 21.6 x 14.5 cm. Printed in black on both sides. Fine.
(5) A facsimile of an ocean liner ticket produced as a tip-in for The Journal of Norman Lee (1959). 5.6 x 7.6 cm. Printed in black on the recto. Fine.
(6) An original copy of the title-page of Kuthan’s Menagerie (1960). Single sheet, printed on one side only and once-folded (23.7 x 32.1 cm closed). The text was printed in black and red and embellished with a linocut initial capital by Kuthan, printed in grey and green. The page is oriented landscape: “The paper is Golden Hind, a laid sheet, printed on one side only and folded. Reid explains this both helped solve a problem with see-through and bulk up the book (which consists of 13 sheets forming 26 pages, from half title to colophon). The pages were printed landscape, and the sheets bound along the open edge.” (From the leaflet prospectus for Kuthan’s Menagerie Completed.) Minor rubbing along the edges. Noticeable patches of offsetting to all sides, but most prominently to the printed recto.
(7) An original spoil sheet from Kuthan’s Menagerie (1960). Single sheet, once-folded (23.8 x 32.3 cm closed). On Golden Hind paper. The recto is printed with text (“Penguin is a bird that doesn’t fly…”) and a linocut scene and initial capital by Kuthan, printed in grey and black. The sheet is also printed on the same side above the fold (the second verso when closed) with a linocut of two flamingos by Kuthan, in pink, purple, and black. Mildly creased and rubbed. Darkened edges make for less than desirable condition; but the provenance and story make up for it: “you’ll notice a bit of singeing on the Kuthans. These came from [the printer] Ib Kristensen & survived a fire at his Yukon cabin.”
(8) A broadside reproducing three initial capitals (‘P’, ‘T’, ‘W’) cut by Kuthan for Kuthan’s Menagerie. The broadside was printed by David Clifford at his Black Stone Press for members of the Alcuin Society (Vancouver: Black Stone Press, 2000). The linocuts were printed from the original blocks with permission from Kuthan’s children. Each of the capitals was printed in two-colours. The broadside is once-folded and measures 37.8 x 20 cm open. Very mild rubbing along the top edge. Fine.
(9) A broadside reproducing four initial capitals (‘M’, a variant ‘W’, ‘K’, ‘S') cut by Kuthan for Kuthan’s Menagerie. The broadside was printed by David Clifford at his Black Stone Press for members of the Alcuin Society (Vancouver: Black Stone Press, 2000). The linocuts were printed from the original blocks with permission from Kuthan’s children. Each of the capitals was printed in two colours. The broadside is once-folded and measures 37.8 x 20 cm open. Faint stain to the recto along the top edge. Minor nick along the same edge and crease to the top left corner. Near fine.
(10) A prospectus for Heavenly Monkey’s Kuthan’s Menagerie Completed (2003). The prospectus is a bifolium printed letterpress on all sides. The first recto is printed with the title, the first verso and second recto with Robert Reid’s Preface to the Completed issue, and the final verso reproduces the colophon. 22.9 x 16.5 cm closed. Fine.
(11) A leaflet prospectus for the Heavenly Monkey’s Kuthan’s Menagerie Completed (2003). The prospectus is twice-folded and was printed digitally. One side is printed with a history of Kuthan’s Menagerie and details of the Completed state. The other side is printed with a reproduction one of Kuthan’s linocut scenes. 21.7 x 9.3 cm closed. Fine.
(12) A trial of the title-page for Reid’s Leaves. Single trimmed sheet. There is a note from Rollin Milroy in pencil to the verso: “one of my first attempts printing on paper made by Reg Lissel.” 22.7 x 16.7 cm. Fine. Item #376
“Lester Bangs once commented that while lots of people listened to the Beatles, the few who bought Velvet Underground records all started bands; that’s the effect Robert’s books had on me. I benefited from the guidance, generosity of experience and overall enthusiasm that made him a great teacher to so many.” — Rollin Milroy
“Bob Reid’s enthusiasm for fine printing was evident in the early 1950s, when I first met him in Vancouver at his print shop on Pender Street. He was printing ephemera then — letterheads for architects, exhibition announcements for artists, things like that— all with an eye to good design. In his type cases I particularly remember Perpetua and Futura, beautiful then and now. I was fascinated with type on paper & he was kind enough to take me on as an apprentice. Under his guidance the practice of letterpress printing became a passion and means of making a living for me for a long time.
Since designing and printing ‘Fraser Mines’ in 1949, Bob was interested in fine book printing. In 1958, when he asked me to participate in ‘Gold’, I jumped at the chance to learn more about the process of making a book. It was an exciting project, in particular because we decided to learn the binding process and do it all ourselves. Some of the details of the project are still vivid & sharp: Sherry learning to make marbled paper that dried and curled on the lawn, the supple feel of the Niger leather which Felicity and I had to learn to skive. It was all quite magical when we held in our hands the first copy, printed and bound in Burnaby. A proud moment for all of us.
Bob was an important influence on a group of young students at the Vancouver School of Art. Although he was at the school for only a short time, he nurtured a remarkable group of young designers who went on to successful careers, among them Chris Bergthorsen, Reinhardt Derreth, Keith Branscombe & Hugh Michaelson.
Bob left Vancouver shortly after we printed ‘Grave Sirs’ in 1962, and had a busy and happy career in Montreal and New York. But I have to believe that the early books he printed in Vancouver were the most fun to design & make.” — Takao Tanabe, from the Preface.
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