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Dr Caroline Archer (CPHC), Michel Bouchaud (1902-65): Ritz: trente typogrammes

The Paris type-foundry, Deberny et Peignot was a twentieth-century trailblazer of both typeface creation and galvano stock-block production. Anxious to promote modernist aesthetics in all applications of design and to break away from the styles that had survived World War I, Deberny et Peignot allied itself with the artistic movements of the day and made connections with key exponents of the Deco and Modernist groups. It employed the talents of A. M. Cassandre and Marcel Jacno to produce free-spirited typefaces such as Acier and Bifur, Film and Scribe; and the foundry was equally liberated when it came to its galvano design. Amongst a consolation of designers commissioned to produced galavnos for the foundry was Michel Bouchaud (1902-65), an illustrator and commercial artist best known for his work for Studio, Monsieur and Vogue. This talk looks at his lesser-known designs: the galvanos he created for Deberny et Peignot in 1931. CAROLINE ARCHER is co-director of the Centre for Printing History & Culture, Chairman of the Baskerville Society, and Professor of Typography at Birmingham City University.

Dr John Hinks (Visiting Reader, CPHC), Sir Francis Seymour Haden (1818-1910): and the British etching revival

Despite his ‘amateur’ status (he was an eminent surgeon), Haden was celebrated in his lifetime as a leading maker of original (not copying other artists’ work) etchings, drypoints and mezzotints. He was at the heart of the Etching Revival in Britain, and collected etchings by Rembrandt, which influenced his own style. He was Whistler’s brother-in-law and they sometimes worked together until a spectacular falling-out. Haden wrote books about Rembrandt and about printmaking techniques, greatly encouraging other printmakers. He was the founder and first president of the Society of Painter-Etchers, which continues as the Royal Society of Painter-Printmakers. Now largely overlooked, Haden should be recognised as a pioneer of original printmaking. JOHN HINKS is Visiting Reader in Printing History and Culture at Birmingham City University, Co-ordinator of the History of the Printed Image Network (HoPIN), and Chair of the National Printing Heritage Committee. He has tried his hand at most printmaking methods over the years at Leicester Print Workshop – though didn’t enjoy etching!

Thanks to the University of Wolverhampton for hosting this event.