113:), and invited others to contribute to each issue. There were 3 issues in an edition of 100 each. In 1996 the Artists Book Studio was separated from the Graphic Investigation Workshop to make an independent studio space. Herel chose to stay with the Graphic Investigation Workshop. The ABS was renamed the Edition and Artist Book Studio (E+ABS) and was headed by Dianne Fogwell. The E+ABS employed Day as its first printer and binder. Hansen was also employed as a printer for some titles. By late 1996 Hansen and Day had started gathering equipment to found a press. By 1997 they had printed their first title
47:
101:(1995), printed in the Graphic Investigation Workshop's Artists Book Studio (ABS) established by Herel (1994). Hansen supplied a prose poem while Day supplied eight etchings. Earlier books by Hansen were often experimental, unique copies using her own writing, some including textiles for pages, and mostly letterpress printed onto cheap coloured papers. Day's earlier books were more typical fine book productions utilizing tradition printmaking and letterpress techniques printed onto art papers. In 1996 Hansen and Day collaborated on a
137:
764:
39:
162:, which ran to two hundred copies). These early books were experimental in binding and layout, but were always true to the traditional notions of a book. Conscious of contemporary changes in paper, inks, bindings and printing techniques, Hansen and Day continued to find a way to a house style suitable for editions of over one hundred that was affordable on both money and time.
89:, starting as an apprentice compositor, then working professionally as a printer, as a teacher of all aspects of book production in numerous technical colleges, and assisting other private press printers including Alec Bolton in the early days of Brindabella Press – a role in private press productions that Hansen and Day thought would otherwise be overlooked.
150:
cost of paper, nothing else. Once the edition was completed Finlay Press retained half the edition and the remainder were divided equally among the contributors. Hansen and Day closed Yabber Yabber
Publications to gain complete control over all aspects of each title knowing that this would allow them to create a house style and print larger runs.
216:
the idea of independent publishing they founded Finlay Lloyd. The name Finlay, again, came from Peter Finlay and was retained from Finlay Press, and Lloyd was the name of Davies's father, a man who had little interest in books. The first title, a collection of essays loosely discussing the fate of the book and literature titled
149:
Yabber Yabber was the publishing arm of Finlay Press. The publishing arrangements were simple: Finlay Press supplied half the money for the edition, and the remaining contributors supplied the other half, making all contributors publishers of the title. The finances were used solely for covering the
215:
was the only possibility, but this didn't solve the problem of binding approximately 500 copies. The solution was to create a new publishing arm. Hansen and Day discussed these ideas with Julian Davies and Robin
Wallace-Crabbe (two author/artists they had already collaborated with) and enthused by
181:
Later titles, editions between 25 and 150 copies, were printed and bound with a firm house style. Each publication used
Magnani paper folded on the fore-edge, stitched with a Japanese binding and bound with a French false cover, then inserted into a slip case made from cardboard (usually a kraft
174:
77:, Head lecturer of the Graphic Investigation Workshop, and founder of the Artist Book Studio, and Finlay, a compositor and printer by trade, both inspired Hansen and Day to continue making books after their graduation.
206:
By 2005 Hansen and Day wanted to print lengthy prose, particularly fiction, in higher editions, but the practicalities of doing this with hand-set type was simply not possible due to time, and limited type stock.
182:
stock). Some titles employed a concertina fold. Almost all titles were printed letterpress using hand-set
Baskerville (with the exception of titling). The first title printed in the house style was
125:
Finlay Press set out to work with authors and artists domiciled in
Australia. The press wanted to establish a close working relationship with its contributors. Some authors, such as
994:
Robin
Wallace Crabbe, A Shy Genre... the Artist's Book (Canberra: National Library of Australia newsletter, November 1999. www.nla.gov.au/pub/nlanews/1999/.../Supplement_Story-06.pdf
575:
Robin
Wallace Crabbe, A Shy Genre... the Artist's Book (Canberra: National Library of Australia newsletter, November 1999. www.nla.gov.au/pub/nlanews/1999/.../Supplement_Story-06.pdf
1003:
Hay, John; Arnold, John; Kilner, Kerry: The
Bibliography of Australian Literature, volume 2 (St Lucia: University of Qld Press, 2004), p. 341-2, entry on Bernard Hardy.
997:
Robin
Wallace Crabbe, 'Making Artists Books', paper at National Library of Australia conference, 'An Inventive Magic: Donald Friend and his Diaries' (23–24 February 2001).
541:
Robin
Wallace Crabbe, 'Making Artists Books', paper at National Library of Australia conference, 'An Inventive Magic: Donald Friend and his Diaries' (23–24 February 2001).
697:
654:
Hay, John; Arnold, John; Kilner, Kerry: The Bibliography of Australian Literature, volume 2 (St Lucia: University of Qld Press, 2004), p. 341-2, entry on Bernard Hardy.
1150:
133:
had more than one title published; Wallace-Crabbe also contributed as a visual artist to three book titles, one folio, and a broadsheet (see Bibliography, below).
1089:
270:(1998) - Robin Wallace-Crabbe (play) - Ingeborg Hansen (typography) - Virginia Wallace-Crabbe (bichromate photographs) - Phil Day (lino cut paper masks)
392:- Ingeborg Hansen (lino cut) - Robin Wallace-Crabbe (photo etching) - Robert Jones (lino cut) - Julian Davies (monotype) - Phil Day (copper engraving)
554:
498:
955:
1022:
923:
591:
826:
1135:
713:
347:(2005) - Gina Dow (poetry) - Robin Wallace-Crabbe (etchings) - Phil Day (copper engravings and linocut) - Ingeborg Hansen (wood engravings)
372:
208:
449:
Caren Florance, 'The Survival of Letterpress in Australia', in The Blue Notebook: Journal for artists' books, Volume 6, No. 2, April 2012
46:
778:
1007:
974:
Michael Agostino, The Australian National University School of Art: A history of the first 65 Years (Canberra, ANU, 2009), p. 243.
423:
939:
499:"Australian National University (ANU) Library - Graphic Investigation Workshop - Graphic Investigation Workshop Collection Checklist"
158:
Early titles from Finlay Press were printed in small runs ranging between twelve and thirty copies (with the exception of one title:
979:
664:
1130:
437:
Michael Agostino, The Australian National University School of Art: A history of the first 65 Years (Canberra, ANU, 2009), p. 243)
1155:
1125:
729:
58:
1115:
1061:
Harrison, Jennifer, 'Every night I know I have seen the best corot', Island, no. 93-94, Winter-Spring 2003, p. 175-182 (
883:
867:
810:
693:
611:
66:
794:
639:
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841:
Harrison, Jennifer, 'Every night I know I have seen the best corot', Island, no. 93-94, Winter-Spring 2003, p.175-182 (
748:
136:
32:
1086:
302:(poems, lino cuts) - Robin Wallace-Crabbe (lino cuts) - Ingeborg Hansen (lino cuts) - Phil Day (lino cuts)
1136:
http://www.theage.com.au/entertainment/books/originality-lore-and-the-eloquent-reveal-20121102-28nk3.html
562:
502:
998:
984:
Catalogue: Artists' Books and Limited Editions, 3 (Canberra: GIW, National Institute of the Arts, 2001).
542:
173:
1081:
1019:
1008:
http://www.braidwoodtimes.com.au/news/local/news/columns/finlay-lloyd-publishers-launched/662010.aspx
588:
424:
http://www.braidwoodtimes.com.au/news/local/news/columns/finlay-lloyd-publishers-launched/662010.aspx
130:
86:
242:(1997) - Bernard Hardy (poetry) - Ingeborg Hansen (lino cut, wood engraving) - Phil Day (etchings)
110:
85:
Peter Finlay's name was chosen for their press name largely because of his lifelong involvement in
525:
Catalogue: Artists' Books and Limited Editions, 3 (Canberra: National Institute of the Arts, 2001.
341:(2003) - Julian Davies (short story) - John Pratt (etchings and woodcuts) - Phil Day (Monotypes)
1066:
1048:
1040:
846:
555:"The Australian National University (ANU) Library - Graphic Investigation Workshop - Collection"
462:
454:
1131:
http://www.abc.net.au/radionational/programs/bookshow/rooftops-mandy-ords-graphic-novel/3256290
276:(2000) - Robin Wallace-Crabbe (poem) - Ingeborg Hansen (typography) - Katie Clemson (lino cut)
186:(2002). Some of the later titles deviated from the house style to varying degrees. Two titles,
38:
1062:
1044:
1036:
975:
889:
842:
458:
450:
24:
177:
Slipcase with linocut by Robin Wallace-Crabbe for 'Light and Water' by Gary Catalano. (2002).
1126:
http://www.theage.com.au/news/in-depth/general/animal-passions/2008/10/02/1222651260502.html
282:- Craig Charlton (musical composition) - Kirsten Wolf (handmade paper) - Phil Day (etching)
212:
74:
1116:
http://www.theaustralian.com.au/news/when-books-die-15-essays/story-e6frg8no-1111112410151
1093:
1026:
701:
612:
http://www.theaustralian.com.au/news/when-books-die-15-essays/story-e6frg8no-1111112410151
595:
328:
62:
264:(1998) - James Pollock (short story) - Ingeborg Hansen (lino cuts) - Phil Day (etchings)
42:
Two pages from 'Burly Gryphon' by Ingeborg Hansen with illustrations by Phil Day. (2007).
1121:
http://clairescobie.com/published-writing/post/from-the-clever-bee-to-the-vexatious-rat/
359:(2008) - Julian Davies (short story) - Phil Day (copper plate engravings and monotype)
1076:
1013:
117:, dedicated to ‘Peter and Petr’ (Finlay and Herel) under the press name Finlay Press.
1144:
1111:
http://www.theage.com.au/news/books/explicit-sex-anyone/2006/09/08/1157222309206.html
1098:
854:
332:
299:
126:
20:
680:
55:
50:
Woodcut by John Pratt for the cover of 'A Pile of Hair' by Julian Davies. (2003).
1087:
http://www.library.unimelb.edu.au/art/exhibitions/past/artbound/artboundartists
289:
70:
907:
893:
623:
255:
211:
approached Finlay Press with the possibility of printing a novel; using a
28:
375:(translations of Pierre Albert Birot poems) - Phil Day (potato prints)
999:
http://www.nla.gov.au/events/donaldfriend/papers/rwallace_crabbe.html
543:
http://www.nla.gov.au/events/donaldfriend/papers/rwallace_crabbe.html
220:
could be seen as a loose-fitting manifesto; it was released in 2006.
1006:
Braidwood Times, 21 Sept 2006: 'Finlay Lloyd Publishers Launched'.
485:, 1998. Volume 33, No 4. Article. Print Council of Australia. p. 14
422:
Braidwood Times, 21 Sept 2006: 'Finlay Lloyd Publishers Launched'.
353:(2005) - Phil Day (essay, lithography – some copies hand coloured)
1082:
http://goliath.ecnext.com/coms2/gi_0199-2952228/Gary-Catalano.html
1020:
http://ampersandduck.com/art/2012/03/20/finlay-press-finlay-lloyd/
589:
http://ampersandduck.com/art/2012/03/20/finlay-press-finlay-lloyd/
172:
135:
45:
37:
102:
1031:
Caren Florance, 'The Survival of Letterpress in Australia', in
35:, Australia, where it printed its final publication in 2009.
403:- Hartmann Wallis (poem) - Robin Wallace-Crabbe (etchings)
365:(2008) - Hartmann Wallis (poetry) - Phil Day (lithography)
320:(2006) - Phil Day (poetry, copper engraving, collograph)
194:
show the beginning of an abandonment of the house style.
335:(poetry) - Robin Wallace-Crabbe (etchings and lino cut)
743:
741:
236:(1997) - Ingeborg Hansen (prose) - Phil Day (etchings)
109:(taking its name from the initials of the French poet
750:
Formingle: Musical composition for solo bass clarinet
31:, NSW, Australia in 1997. In 2001 the press moved to
715:
The last lost doughnut: A morality play in four acts
481:
Hardy, 'Limited Editions, Unlimited Possibilities',
198:
was to be the last title published by Finlay Press.
1077:
http://www.poetrylibrary.edu.au/poets/catalano-gary
1014:
http://trove.nla.gov.au/result?q=%22Finlay+press%22
493:
491:
386:- Phil Day (lino cut, copper engraving, monotype)
1018:Caren Florance, 'Finlay Press and Finlay Lloyd':
734:. Finlay Press, Yabber Yabber publications. 2000.
587:Caren Florance, 'Finlay Press and Finlay Lloyd':
314:(2000) - Bernard Hardy (poems, wood engravings)
765:"Household : Eleven poems / Gary Catalano"
248:(1997) - Emma Veal (poem) - Phil Day (etching)
1012:National Library of Australia Trove database:
957:Day by day: A selection from Poèmes quotidiens
97:Hansen and Day's first collaborative book was
1033:The Blue Notebook: Journal for artists' books
828:Light and water: Forty prose poems: 1980-1999
8:
583:
581:
184:Light and Water: Forty Prose Poems 1980-1999
73:and Peter Finlay. Herel, an advocate of the
418:
416:
681:"National Gallery - Search the Collection"
606:Karen Lamb, "When Books Die: 15 Essays",
537:
535:
533:
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1151:Book publishing companies of Australia
445:
443:
390:Four Men and Their Ideas on the Erotic
521:
519:
433:
431:
188:I’ll Build You a Stairway to Paradise
54:Hansen and Day were graduates of the
7:
99:Imaginary Thoughts and Their Beings
384:Top Ten Twentieth Century Monsters
14:
941:I'll build a stairway to paradise
363:I’ll Build A Stairway To Paradise
23:founded by Ingeborg Hansen and
1056:Gary Catalano and Finlay Press
1035:, Volume 6, No. 2, April 2012
169:Establishment of a house style
140:G. W. Bot. 'Offerings' (1997).
67:Australian National University
56:Graphic Investigation Workshop
19:is the name of an independent
1:
869:A pile of hair: A short story
69:, where they studied under
1172:
145:Yabber Yabber Publications
33:Braidwood, New South Wales
27:. It began production in
296:Household: Eleven Poems
1156:Private press movement
969:Canberra School of Art
888:. Finlay Press. 2004.
268:The Last Lost Doughnut
178:
141:
51:
43:
960:. Finlay Press. 2009.
944:. Finlay Press. 2008.
928:. Finlay Press. 2008.
912:. Finlay Press. 2005.
872:. Finlay Press. 2003.
831:. Finlay Press. 2002.
815:. Finlay Press. 2006.
799:. Finlay Press. 2000.
783:. Finlay Press. 1998.
753:. Finlay Press. 1998.
718:. Finlay Press. 1998.
669:. Finlay Press. 1997.
644:. Finlay Press. 1997.
628:. Finlay Press. 1997.
176:
139:
129:, Julian Davies, and
49:
41:
324:House style editions
286:I, I Am, A Blind Man
131:Robin Wallace-Crabbe
87:letterpress printing
610:, 28 October 2006;
229:Individual editions
111:Pierre Albert-Birot
1092:2012-03-18 at the
1025:2012-03-20 at the
700:2016-03-04 at the
594:2012-03-20 at the
258:(poem, lino cuts)
179:
142:
121:Press Contributors
61:2012-03-24 at the
52:
44:
1073:by Gary Catalano)
1071:Light & Water
851:Light & Water
559:anulib.anu.edu.au
308:- Julian McLucas
25:Phil Day (artist)
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245:
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238:
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232:
224:Bibliography
217:
209:James Grieve
205:
202:Finlay Lloyd
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154:Early titles
148:
124:
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53:
17:Finlay Press
16:
15:
780:Jabberwocky
696:nsw.gov.au
401:An Egyptian
306:Jabberwocky
292:(etchings)
1145:Categories
509:2013-01-30
407:References
396:Broadsheet
369:Day By Day
290:Petr Herel
196:Day by Day
192:Day by Day
81:Press name
71:Petr Herel
1067:1035-3127
1049:1751-1720
1043:(Print),
1041:1751-1712
925:Cat's eye
894:224553745
847:1035-3127
463:1751-1720
457:(Print),
455:1751-1712
371:(2009) -
357:Cat’s Eye
331:(2002) -
298:(1998) -
288:(1999) -
280:Formingle
256:G. W. Bot
254:(1997) -
252:Offerings
1090:Archived
1051:(Online)
1023:Archived
698:Archived
592:Archived
465:(Online)
59:Archived
29:Goulburn
483:Imprint
105:titled
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1039:
978:
892:
845:
666:Bomber
461:
453:
246:Bomber
1063:ISSN
1045:ISSN
1037:ISSN
976:ISBN
890:OCLC
843:ISSN
459:ISSN
451:ISSN
190:and
103:zine
853:by
262:Fth
107:PAB
1147::
740:^
580:^
557:.
530:^
518:^
490:^
470:^
442:^
430:^
415:^
65:,
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857:)
767:.
683:.
512:.
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