The Caxton Club brings together archivists, authors, binders, book artists, collectors, conservators, booksellers, designers, editors, librarians, publishers, scholars, and others. Members from these diverse backgrounds form a community that shares a love of printed, handwritten, and digital books and related textual objects, such as pamphlets, broadsides, and ephemera. The club provides a forum to learn about the arts, history, and technologies of these materials, as well as a space to share the joys of appreciating and collecting them.


Upcoming Caxton events

    • 03/02/2021
    • 4:00 PM (CST)
    • 3/2/2021 4:00 PM CST/5:00 PM EST Via Zoom. Advance registration required via Newberry website.

    The Newberry presents

    This program is sponsored by the Caxton Club

    To download/print the flyer for this program, click here.


     Matthew Carter


    Snell Roundhand is one of the most popular typefaces around, but few are acquainted with its fascinating history. In this program, Snell Roundhand designer Matthew Carter will discuss the origins of this gorgeous typeface in a seventeenth-century script, his work transforming this script into a modern-day font, and the ways type design has changed since the mid-twentieth century.

    Snell Roundhand is based on the penmanship of the English writing-master Charles Snell (1667–1733), who advocated a simple style of writing in contrast to his “brother quills,” the competing writing-masters of his day, whose excessively elaborate and flourished hands he deplored.

    In this discussion with the Newberry’s Jill Gage, Carter will discuss the exciting evolution of Snell’s seventeenth-century script into a twentieth-century typeface.

    For more information and to register click here.

    • 03/17/2021
    • 6:30 PM (CDT)
    • 3/17/2021 | 6:30 PM CT/7:30 PM ET via Zoom. Advance registration required via website.

    March Evening Program


     Silvia Beltrametti


    The graphic satire of Georgian London has been much explored in recent scholarship. Almost entirely neglected, however, is its provincial counterpart. This talk addresses the implications of the absence of copyright law in nineteenth-century Ireland, by discussing examples of caricatures produced by Dublin publisher William McCleary. Until now commentators have been quick to argue that the absence of a vigilant copyright regime enabled rampant piracy, and that most engravers and publishers in Georgian Dublin, including McCleary, were doing little more than pirating the work of famous London satirists such as James Gillray, Thomas Rowlandson and George Cruickshank. This was both for internal consumption in Ireland and for export back to Britain to undercut the mainland market. Despite the fact that many such prints owe their compositions to pre-existing models, McCleary produced work that was is in several ways distinctive, and that he used his position on the periphery to dynamic and innovative effect. His work reflects the paradox at the core of much Irish art which Toby Barnard characterizes as “distinctive and derivative” whereby metropolitan models were given an Irish twist, or flavor.

Daytime Programs

Evening Programs


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