The Ptolemaic Press is a letterpress print establishment, producing works from vintage equipment and metal type.
The main printing press used is an "Arab" (produced by Wades of Halifax) Foolscap Folio model, serial number #3803 dated 1926. Foolscap Folio refers to the size of the chase (the printable area), which in this instance is 9" x 13". The machine weighs a little over 10cwt (or 550kg).
Serial Number 3803 spent its working life with Taylor’s of Wombwell, who started out as a small local jobbing printer in the 1890s in the mining town of Wombwell in Southern Yorkshire.
By the mid-1920s Taylors were one of the leading printers of entertainment industry advertising in the United Kingdom with music hall, fairground and circus showmen among their national client base. The firm became a limited company in the 1920s, around the time this machine was purchased new. The Ptolemaic Press bought the machine from professional restorer Patrick Roe in 2018, who had obtained the press from Charles Taylor earlier the same year.
Our primary business is creating the Terrascopædia, a magazine dedicated to underground rock, folk and psychedelic music. It's a direct descendant of a commercially printed magazine called the Ptolemaic Terrascope which was published between 1989 and 2004, but it's also very much a standalone publication. As far as we know it's the only magazine of its kind in the world.
The primary type used throughout the Terrascopædia is 12pt Caslon Old Face (series 128), introduced in 1916 by the Monototype Corporation Ltd at Salfords near Redhill in Surrey. The type was cast for us on an original Monotype Composition Caster owned by the Paekakariki Press in Walthamstow, London - quite literally around the corner from where the original Ptolemaic Terrascope magazine was printed.
We also make extensive use of 16pt Poliphilus (Monotype series 170). Launched in 1923. Poliphilus was an exact copy of the text of the 'Hypnerotomachia Poliphili' which was printed in Venice by publisher Aldus Manitus in 1499. Although during its short life Poliphilus was much admired by members of the Arts and Crafts movement in England, it was superseded in 1929 by the completely redrawn Monotype Bembo (series 270) which went on to become hugely successful, thanks in no small part to its adoption in 1935 as the text used throughout Penguin books. Monotype Blado (series 119, 1923) is the italic companion. Both Blado and Poliphilus are used side by side throughout the Terrascopædia.
The paper used is 120gsm Zerkall White Smooth, mould-made acid-free paper made from part cotton rag with 4 deckle edges. It is unsized so it accepts and enhances the ink, and the smooth surface gives good reproduction of fine detail.
In addition to publishing the Terrascopædia, we often undertake small jobs for customers including, for example,
- Printing postcards
- Printing paper bags
- Printing price tags
- Printing ephemera - poetry a speciality
- Printing inserts for record releases
In addition to an ever growing collection of vintage images and printing plates, we also have a large selection of both composition and display founts, including:
16pt Poliphilus #170 (1923)
16pt, 24pt Blado #119 (Italic 1923)
12pt Caslon Old Face #128
12pt Caslon Old Face #128 SMALL CAPS
10pt, 12pt, 18pt Caslon Old Style #2
16pt Caslon Italic
18pt Caslon Bold
12pt, 18pt Baskerville Italic
24pt, 36pt Dorchester Script
12pt Garamond Roman
6pt, 8pt, 12pt, 14pt Gill Sans
8pt, 10pt Gill Italic
6pt, 8pt, 10pt, 12pt, 14pt, 18pt Gill Bold
14pt Gill Title
24pt Gill Cameo
18pt Gill Shadow
18pt Borghese (founders type by JG Schelter & Giesecke of Leipzig, 1904)
24pt Haddon Condensed (founders type)
18pt Imprint Shadow Italic
18pt Perpetua Title
8pt, 12pt, 18pt Plantin
8pt, 12pt Plantin Bold Italic
8pt Rockwell Bold
18pt Rockwell Shadow
8pt, 10pt, 12pt, 18pt Times Bold
8pt, 10pt, 18pt Times Italic
"Why are William Caslon’s types so excellent and so famous? To explain this & make it really clear is difficult. While he modelled his letters on Dutch types, they were much better; for he introduced in to his founts a quality of interest, a variety of design and a delicacy of modelling which few Dutch types possessed. Dutch founts were monotonous, but Caslon’s founts were not so. His letters analysed are not perfect individually; but in mass their effect is agreeable. That is, i think, their secret – a perfection of the whole, derived from harmonious but not necessarily perfect individual letter-forms. To say precisely how Caslon arrived at his effects is not simple; but he did so because he was an artist. He knew how to make types, if ever a man did, that were ‘friendly to the eye’, or comfortable – to use Dibdin’s happy term.
Furthermore, his types are thoroughly English. There are other letters more elegant; for the Caslon characters do not compare in that respect with the letters of Garamond or Grandjean. But in their defects and qualities they are also the result of a taste typically Anglo-Saxon, and so represent to us the flowering of a sturdy English tradition in typography. Caslon types are, too, so beautiful in mass, and above all so legible and ‘common sense’, that they can never be disregarded, & I doubt if they will ever be displaced."
D. B. Updike, Printing Types, their History, Forms and Use