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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Story Of A Motto And A Mark: Being A Brief Sketch Of A Few Printers' "marks" And Containing The Facts Concerning The Mark Of The Gilliss Press Walter Gilliss The Gilliss Press, 1902 Language Arts & Disciplines; Publishing; Language Arts & Disciplines / Publishing; Printers' marks
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Walter Gillis was born on May 17, 1855, in Lexington, Kentucky. He was the son of Thomas Handy and Catherine Isabella (Le Grand) Gilliss, of Scottish and French Huguenot stock.
During his boyhood, the family moved to New York City.
When Gilliss was fourteen, Walter, with an elder brother Thomas, set up a small hand-press in an upper room of their home, and began printing business cards for neighboring tradespeople.
Two years later, in 1871, Thomas having died, Walter and his eldest brother, Frank Le Grand, entered the printing business in earnest, under the firm-name of Gilliss Brothers.
The firm soon did a flourishing business, printing several important periodicals, including the Art Interchange and the first numbers of Life; and in 1884 to the partnership was added Arthur B. Turnure, editor and proprietor of the Art Age, one of the earliest trade papers devoted to the art of printing.
The early nineties saw the firm’s triumphs in overcoming difficulties presented in the printing for Harper & Brothers of Lew Wallace’s Ben Hur (1891) with numerous marginal illustrations, and of illustrated editions of G. W. Curtis’s Prue and I (1892) and Henry James’s Daisy Miller (1892), these books being among the first examples of successful half-tone printing on hand-made paper in this country.
In 1892, the firm issued the first number of Vogue, set in Caslon type, thus leading in the revival in the United States of that famous letter.
The device, first used in Part II of Transactions of the Grolier Club, appeared in nearly three hundred books, each bearing witness to Walter Gilliss’s scrupulous care and classic taste.
The books, printed for various publishing houses, private individuals, universities and institutions, include eighteen of William Loring Andrews’s beautiful volumes, some sixty for the Metropolitan Museum of Art, and several for the Grolier Club and the Society of Iconophiles.
The Gilliss Press ceased the actual manufacture of books in 1908, Walter Gilliss devoting himself thenceforth to designing the typography of works entrusted to him, and to supervise every detail of their making.
From 1911 until his death, he was also a typographical adviser to Doubleday, Page & Company.
During the time Gilliss was a typographical adviser to Doubleday, Page & Company, he produced his masterpiece, and one of the most difficult pieces of book-making undertaken in America, The Iconography of Manhattan Island, by I. N. P. Stokes, published by Robert Dodd, the first volume of which appeared in I9I8 - Walter Gilliss excelled chiefly in his ability to form a mental picture of his page and to give instructions for sizes and kinds of type, leading, and other details with a certainty of results, which seldom called for alteration; and in addition to the exercise of this faculty he took untiring pains in perfecting margins, spacing, impression, and registration, thus creating that excellence and beauty of detail for which his books are distinguished. He was a master in the design of title-pages and in his use of ornament, wherein he showed a marked French influence.
( This work has been selected by scholars as being cultur...)
(Leopold is delighted to publish this classic book as part...)
( About the Book Biographical books, or bios, are detaile...)
(This is a reproduction of a book published before 1923. T...)
Quotations: “Trifles make perfection, but perfection is no trifle. ”
Aside from Gilliss's work and his devotion to his brother Frank, his great interests were the Gro- lier Club, of which he was secretary for twenty years, and St. Thomas’s Church. He was sincerely religious and possessed a fine sensitiveness to beauty and simple, old-time dignity.
One of his most prized possessions was a cup presented by the staff of the Gilliss Press to his brother and himself “as a token of appreciation and gratitude from the Boys out of whom they made Men. ”
Quotes from others about the person
In his Introduction to Gilliss’s own Recollections, Henry W. Kent writes: “As sure a craftsman as De Vinne, though less a scholar, in his individuality of style, in his impeccable workmanship, in his correctness in what constitutes taste in printing, and above all in his elegance, which again is taste, Gilliss’s name is to be written with those of the few great printers we have produced. ”
