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Women in Print 1: Design and Identities: 2 (Printing History and Culture)

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Charlotte Guillard is the first woman printer with a widely recognised career. She worked at the famous Soleil d’Or printing house in Paris from 1502 until her death in 1557. From 1537 onwards, after the passing of her second husband, Guillard ran her printing business on her own. This was unusual for the time, as women were not allowed to own a business. They were, however, allowed to take over the business of their husband after their death. I am supportive of Women’s Day, and recognise its importance in celebrating the achievements of women, however I personally have been exceptionally fortunate to be in an industry, and worked for two key players in that industry, St Ives and CPI, who have not made gender an issue, in any way. I won’t pretend it hasn’t been challenging balancing working and bringing up my daughter, however the support I got made it possible for me to succeed. 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.

Summaries by Emily Watkins The Comedy Women in Print Prize 2021 longlist for Unpublished Comic Novel Working patterns have changed during the pandemic. As people have juggled home education and work, employers have learnt to be much more flexible about the hours people work and have learnt to trust staff to work conscientiously from home. It hugely accelerated the take up of online meetings and this convenient, time- and travel cost-saving option could be retained alongside face to face meetings in future. 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. ←vii | viii→

Biographical notes

Female Agency in the Social Network of the Early Modern English Print Trade, c.1623–41 (Joseph Saunders) 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. Emmeline Pankhurst stands proudly in St Peter’s Square, but she stands for so many more… From the women who marched to St Peter’s Fields flying the flag for reform to the first entrepreneurs, the women of Greater Manchester have long stood shoulder to shoulder in the fight for equality and social change. We were thrilled that our work was able to have an impact beyond our local creative network, gaining national recognition and interest from various sectors and organisations outside of the design industry. 100% of profits raised from the sale of prints went to Manchester Women’s Aid. We also supported the local grassroots campaign The Monthly Gift through donations of sanitary care products at our exhibition and events.

I think a lot of the changes will affect everyone, not just women but we do have a great opportunity to use the changes to try and get more women into the industry! Caroline Archer-Parré is Professor of Typography, Co-director of the Centre for Printing History and Culture at Birmingham City University, and Chairman of the Baskerville Society. With an interest in typographic history from the eighteenth to twentieth centuries, Caroline has published widely. She is the author of three books, contributes to numerous journals and writes regularly for the trade and academic press. Marian Keyes, Chair of Judges for the CWIP Published Novels Prize, says: “I am absolutely delighted with our longlist. The range is glorious – everything from lighthearted commercial fiction to literary fiction – it’s a demonstration of all the different ways in which women can be funny in print. It was a pleasure and very exciting to read all ninety submissions, and this is a list that I’m very proud of.” Figure 4.2. Clara, ‘The Model Husband’, Olive Branch, 28 June 1851. Courtesy of the American Antiquarian Society. Are you a budding Director? Producer? Screenwriter? Are you collaborating with friends to make a funny video? Then we are looking for YOU!

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At a time when funny books are needed more than ever, writers longlisted in the Published Comic Novel category are: Figure 1.1. Fragment of a broadside on the Popish and Meal-Tub Plots and other events of the time; with eight of twelve scenes: Popish Damnable Plot against Our Religious and Liberties, Lively Delineated in Several of Its Branches, With an Account of the Manner of the Execution of William Viscount Stafford on Tower-Hill. London, 1680. Reproduced by permission from the British Museum. 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. In broadsheet newspapers, new books by men received 12 per cent more review coverage than those by women. And comparable books published at the same time by Neil Gaiman and Joanne Harris, and Matt Haig and Rowan Coleman, proved the men had widespread coverage when launched, while the women had much less.

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