Information for Researchers
Scope and Content
Collection Title: Fine Print Records
Date (inclusive): circa 1950-1992
Date (bulk): 1974-1990
Collection Number: BANC MSS 98/114 c
Fine Print (San Francisco, Calif.)
Number of containers: 34 cartons, 4 boxes, 3 v., 5 oversize boxes, and 13 oversize folders
Linear feet: 47.05
The Bancroft Library.
University of California, Berkeley
Berkeley, CA 94720-6000
Phone: (510) 642-6481
Fax: (510) 642-7589
Abstract: Consists of press files, editorial files, and production files that document the content of the publication, along with marketing
and promotion files, business and financial records, and files from Pro Arte Libri, that document the business side of publishing
a journal. Also includes the professional and personal papers of founder Sandra Kirshenbaum.
Languages Represented: Collection materials are in English
Physical Location: For current information on the location of these materials, please consult the Library's online catalog.
Information for Researchers
Collection is open for research.
Copyright has been assigned to The Bancroft Library. All requests for permission to publish or quote from manuscripts must
be submitted in writing to the Head of Public Services. Permission for publication is given on behalf of The Bancroft Library
as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must
also be obtained by the reader.
[Identification of item], Fine Print Records, BANC MSS 98/114 c, The Bancroft Library, University of California, Berkeley
Bound set of published issues of
Fine Print, fZ119.F55, v.1-16
Material Cataloged Separately
- Some printed materials have been transferred to the book collection and to the TYP Files of The Bancroft Library.
- Videotapes/sound recordings have been transferred to the Microforms Collection of The Bancroft Library.
Fine Print Records were purchased by The Bancroft Library from Pro Arte Libri in May 1995, with additions made in December
1996, April 1999, and August 2001.
The idea for
Fine Print: a Newsletter for the Arts of the Book was conceived by Sandra Kirshenbaum, independent bookseller, in 1974, in response to her observations on a lack of communication
and collaboration among practitioners of the "book arts" despite the renaissance underway among printers, typedesigners, papermakers,
calligraphers, binders, and collectors. With the enthusiasm of Steve Corey, and printers, George Ritchie and Linnea Gentry,
the four became an editorial team and set up shop in Sandra Kirshenbaum's home in San Francisco.
The first issue of
Fine Print was delivered to Andrew Hoyem's press on December 23rd, and in January 1975, final copy for Vol. 1, No. 1 was mailed to nearly
2,000 potential subscribers. By Vol. 2, the subtitle was changed from newsletter to: "The Review for the Arts of the Book,"
and coverage focused on press book reviews written by well-known, authoritative reviewers. At first, the type style and design
changed with each issue (an idea initiated by Andrew Hoyem), but by Vol. 6, No. 1, a design by Linnea Gentry using Spectrum
type was set as a standard, internal format, with a different designer for each cover.
Fine Print's Tenth Anniversary Issue, Vol. 11, No. 1, appeared in January 1985, and despite the journal's outstanding success in fostering
communication and collaboration among book artists, as well as making the world of type design, bookbinding, and printing
history accessible to all, the journal continued to experience financial difficulties. In 1987, Pro Arte Libri was formed
as a non-profit organization to advance the work of
Fine Print, through grants and dedicated leadership, but the effort failed. In 1990, the journal ceased publication and in 1992, Pro Arte
Libri was dissolved.
Scope and Content
The records of
Fine Print (San Francisco, Calif.) span the years from 1950 to 1992, but chiefly date from 1974, when the journal was conceived, to 1990,
when it ceased publication. The collection consists of press files, editorial files, and production files that document the
content of the publication, along with marketing and promotion files, business and financial records, and files from Pro Arte
Libri, that document the business-side of publishing a journal. Finally, the professional and personal papers of
Fine Print's founder, Sandra Kirshenbaum, provide insight into the creative force behind the journal.
Of particular significance is the vast quantity of correspondence and printed ephemera, press releases, reviews, and articles
relating to nearly 500 presses and printers in the U.S. and abroad. The collection documents not only the production of each
issue of the journal, but the artistic development of numerous well-known individual printers and presses, and the editor's
vision for collaboration among the community of book arts practitioners.