Signature

Signature: A Quadrimestrial of Typography and the Graphic Arts was a British magazine of typography and the graphic arts. Published and edited by Oliver Simon, it was subsidised and printed by the Curwen Press, of which Simon was a director. It appeared in fifteen volumes from 1935 to 1940, and eighteen volumes from 1946 to 1954 as a new series. As a typographic magazine Signature has been regarded historically as primarily a typographic magazine, given Simon’s promise in the original prospectus to keep its readers informed of the main current typographic events. It has also been bracketed with other inter-war periodicals of typography, The Fleuron and Typography, as the subject of a book by Grant Shipcott which concentrates on the typographical aspects. Shipcott praised the quality of design and production, while faulting Signature for being weighted towards the historical rather than the contemporary. Forum for graphic artists However, Simon’s pronounced sympathy for contemporary art meant that along with essays by leading writers of typography and the book arts, such as Beatrice Warde (using the pseudonym Paul Beaujon) and Stanley Morison, Signature also included early original graphic work and writings on their art by both Graham Sutherland and John Piper. Art historian Andrew Causey observed that "no journal can make a greater claim to have stimulated the taste that became neo-romanticism", a term applied to the imaginative and often quite abstract landscape-based painting of Paul Nash, Graham Sutherland, John Piper, and others in the late 1930s and 1940s. Simon was a friend and early patron of both Sutherland and Piper, and a friend of Paul Nash since 1919. The lithographic work by Sutherland that Simon commissioned for the Curwen Press Newsletter cover in 1936 is a broad adaption of the design of his painting Mobile Mask shown at the International Surrealism Exhibition at the Burlington Galleries London in June and July 1936. Simon noted that it "evoked at the time a certain amount of hostility both inside and outside the Press". From Edward Bawden, it drew "congratulations on the new Newsletter and the first appearance of surrealism in the commercial field". In 1937 Sutherland's advertisement for zinc lithographic plates in Signature issue six and his menu design for the 56th Dinner of the Double Crown Club reproduced in issue five both use elements of surrealism.