In 1894, the collaboration of Hacon & Ricketts as a firm involved not only the foundation of a publishing house, for which new typefaces were designed and created, but also a small shop to sell books, wood-engravings and lithographs of Ricketts, Shannon and their circle, and to organise exhibitions of their art and works by admired masters and predecessors. The shop at 52 Warwick Street was opened in March 1896.
On the inside, in front of the storefront window, hung a nameplate 'HACON & | RICKETTS'. There is a photograph showing this signboard, but it is too vague to see how the name was painted and who painted it. Since Ricketts was the firm's typographer it seems obvious that he did it, but not necessarily.
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| Charles Shannon, details of recto of signboard for The Sign of the Dial (1896) [Aberdeen Archives, Gallery and Museums] |
A double-sided painted signboard hung from the facade. This was the work of Charles Shannon and it also contained the name of the firm, supplemented by that of the store on the recto side, below the names was a painting of two female figures. The woman on the left is leaning with an arm on a pedestal while reading a booklet; to her right, a woman kneels, turning her face away as she raises what appears to be a sprig of spring bluebell (a symbol of hope), to the reading woman; both are within a wicker hedge against a blue background.
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| Charles Shannon, details of recto of signboard for The Sign of the Dial (1896) [Aberdeen Archives, Gallery and Museums] |
The verso depicts a sun dial above the image of a grazing Pegasus near a half naked woman, both against the same background of hedge and sky.
The signboard is painted in oil on panel, 85,5 x 48,8 cm, and was purchased by the Aberdeen Art Gallery & Museums in 1949.
The text on the signboard reads:
HACON·&[The characters 'O' and 'F' are intertwined]
Within each line, words are separated by a period (placed at half height), except in the third line where the last word is a ligature of the letters O and F. Each character is drawn separately, which is clearly demonstrated in lines 3 and 4 that both begin with the word THE, but the width of these words are different. In line four, the individual letters of the word THE are connected. Each line is aligned with both margins.
The lettering is totally different from that of The Dial magazine of which Shannon drew the first cover and Ricketts that of the other four issues. Ricketts would not have respected the rigorous separation between the lines and, for example, would have allowed the tail of the character R to continue with a graceful arc in the space below.
Looking again closely at the blurred photo of the store (Bookselling, 1896), it can be seen that the lines of the other signboard are filled out differently, although it is not clear where the ampersand is. Its authorship cannot be ascertained, but it may be that this sign was put up there right at the opening and Shannon's sign was a slightly later addition.