John Cluer 1681 - 1728

Here is some of the info I have found that I will write up properly very soon.....

John Cluer (Biographical details)

John Cluer (publisher/printer; British; Male; c.1681 - 1728)

Also known as

Cluer, John

Address

Maidenhead, Bow Churchyard, off Cheapside, London

Biography

Print and music publisher. Apprenticed in 1695 and freed in 1702; trading at the printing office in Bow Churchyard from 1710; by 1713 had married Elizabeth, the sister of William Dicey of Northampton (qv). Enrolled seven apprentices between 1718 and 1726. On his death in 1728 the business passed to his widow, who traded alone for three years before in 1731 marrying Thomas Cobb, Cluer's foreman (q.v.). After her death, in 1736 Cobb transferred the business to Elizabeth's brother, William Dicey (q.v.) who had set up in the Aldemary Churchyard. 

In the Weekly Journal of 4 January 1718, advertised for perfumers and apothecaries his shop signs and labels 'either in gold, silver or other colours,done after an entire new method knwon to no other ... nicely cut or engraved on wood or copper'. Another advertisement in Mist's Weekly Journal for March 1718 reads: "At the Printing house in Bow Church Yard, London, by J. Cluer and Company, all dealers in black and white and coloured prints may now be furnished with most sorts extant; and in a short time they may be supplied with more sorts than the whole town can produce, better cut than others. And country chapmen are desired to take notice that as the aforesaid company are both the real cutters and printers of them, they may and shall be better served than by those who put out both the cutting and the printing. At the same place may be had the Tunbridge and all the other Hieroglyphical Love Letters. The History of old Senior John the Smoker, son of Crabtree Hughs; the Ephephephuphian, son of old boat of Wasle Anakite, the son of old Gover of the Egg Market, whose mother fed ducks with blubber gurgeons, and divers other diverting ffancies" (quoted from Dibdin's 'Bibliographical Decameron' III 1817, p.282 from the issue for 8 February 1718). In 1720s moved into music printing and publishing. 

Trade cards in the BM collection printed by Cluer include: Henry Atkins, chairmaker (Banks 28.50); G. Coxed and T. Woster, cabinet makers (two photographs of different versions, Heal 28.49, 50); Thomas Small, Hosier,with receipt date 26 March 1729 (Heal 70.141); George Wildey, Toyman, about 1720 (Banks 100.115). Other prints include: "An Hymn to be sung at St Clement Eastcheap", 1714 (1937,0424.2). Heal,59.39* is a sheet with three newspaper advertisments for publications by Cluer. Heal's annotations on mount: "In Hilton Price's 'Signs of Cheapside' p.51 is   quoted another advertisement from Cluer's Printing Office at the Maidenhead in Bow Church Yard dated 1724 advertising the sale of Daffy's Elixir etc., from the 'London Journal'."

Cluer, John

(b ?London, late 17th century; d London, Oct 1728). English music printer and publisher. As early as 1715 he was active in London as a general printer whose production included ballads, chapbooks, labels and shopkeepers� signs. He soon turned to music printing and issued some of the best engraved music of his period. A considerable innovator, he experimented with new methods of printing both from engraved plates and from music types. Beginning with the printing of the Suites de pi�ces pour le  clavecin in 1720, Cluer had business relations with Handel, publishing in score nine of his operas, the first being Giulio Cesare in 1724, which was issued in the unusual format of a large pocket-size volume. Both this and the later operas are remarkable for their finely engraved title-pages and frontispieces. Other notable publications include the two volumes of A Pocket Companion for Gentlemen and Ladies (1724�5). These small engraved songbooks were published by subscription, and about 1000 copies of each volume were sold, the most successful venture of its kind for many years. Imitators soon followed Cluer�s lead in this and other ideas such as issuing packs of playing-cards with a song printed on each card.

Cluer was associated with the bookseller Bezaleel Creake whose name appears in some of the imprints. Thomas Cobb was employed by Cluer as an engraver and, on his marriage to Cluer�s widow Elizabeth in 1731, succeeded to the business. In 1736 the concern was purchased by Cobb�s brother-in-law and associate, William Dicey of Northampton, for himself and for his son Cluer Dicey, who managed it until 1764.

BIBLIOGRAPHY

Humphries-SmithMP

KidsonBMP

W.C. Smith: Handel: a Descriptive Catalogue of the Early Editions (London, 1960, 2/1970)

H.R. Plomer, G.H. Bushnell and R.R. McC. Dix: A Dictionary of the Printers and Booksellers who were at Work in England, Scotland and Ireland from 1726 to 1775 (London, 1968)

D.C. Hunter: Opera and Song Books Published in England, 1703�1726: a Descriptive Bibliography (London, 1996)

FRANK KIDSON/WILLIAM C. SMITH/PETER WARD JONES, DAVID HUNTER

Extract from a history of British Music Publisher;

Cluer, J. Established a printing office in Bow Church Yard, off Cheapside, probably before 1720. It is possible that the premises, before Cluer came, may have been occupied by a ballad and broadside printer, and it is also likely that he may have printed ballads before he entered into the music trade. He, at any rate, appears to have printed music from moveable type before using engraved plates. A curious half sheet song in the British Museum, printed from type, seems to be an early specimen of his work. The song commences " I am a merry fiddler," and is titled:—"No. 13, The Pedigree of a Fiddler," with the following announcement " For the future all the songs printed by J. Cluer, in Bow Church Yard, will be set to musick, and as he hath invented a new and quick way of doing the same in letterpress for the enlargement of musick, songs will now be sold by him at a much cheaper rate than usual, and he will publish monthly four new sorts," etc., etc. (B.M. G. 315). This proves, not only that shortly before its issue, Cluer printed songs without music, but also that he had made some improvement in the setting up or otherwise of music type. Many old ballads without music bear the imprint "Printed and sold in Bow Church Yard." About 1720 all Cluer's publications are from very  neatly engraved plates, and in this style they continued till he ceased business. Some of his books are so beautifully and clearly engraved on copper as to excel all other works of the period. He became associated with a bookseller or a music dealer, B. Creake, at the Bible, in Jermyn Street, St. James', and many of his books bear this name in addition to his own. He seems to have made an attempt towards a collection of musical works, mostly the Italian Operas, in a small size, con- venient for the pocket, commencing with "A Pocket Companion for Ladies and Gentlemen." He says in the preface of the first volume " As all things of this nature that have appeared in the world have been generally of a size more adapted to a library than to accompany one abroad, we flatter ourselves with the hopes of a favourable reception for this collection, the manner of introducing it being entirely new." A beautifully engraved opera in large octavo is Handel's " Julius Caesar." Handel, in his early period, seems to have had periodical squabbles with Walsh, and to have taken his works to Cluer and Meares for publication. "Julius Caesar" is one of these. Cluer, in the "Pocket Companion" quoted above, mentions that "The Proprietors of this book will speedily publish, in a neat octavo size for the pocket, that celebrated opera of JuUus Caesar, they having a grant for the sole engraving, printing, and pubKshing the same. To which will be added the overtures of all Mr. Handel's Operas. And they further give notice that they will in a Uttle time publish in a neat octavo size, curiously engraved on copper plates, a monthly collection of new songs, with a thorough bass" Cluer printed other operas by Handel in folio. He, or his successor Dicey, planned a series of instruction books, octavo in size, edited by Peter Prelleur, and collected into one volume with the title, "The Modern Music Master." He published as late as 1729-30, when he was followed by W. Dicey, who in turn gave place to T. Cobb. 1718-30. The King's Health, set to Farinel's Grounds by Mr. D'Urfey (Joy to Great Caesar, etc.) ; A drinking song for two voices, by Mr. Carey (Here's to thee my boy) ; The Fair Olinda, and many other engraved half sheet songs, in the author's possession, bearing Cluer's imprint. C. 1720. A choice collection of Psalm Tunes, Hymns, and Anthems. . by William Anchors Engraved and printed at Cluer's Printing Office, in Bow Church Yard, Cheapside, London, where all manner of business is printed, and all sorts of copper plates curiously engraved Oblong 8vo. (With the date 1732 and owner's name stamped on binding). C. 1725. A Pocket Companion for Gentlemen and Ladies, being a collection of the finest opera songs and airs .... By Richard Neale. Small Svo. A second volume followed later. Medulla Musicse, being a choice collection of airs In

C. 1720. A choice collection of Psalm Tunes, Hymns, and Anthems. . by William Anchors Engraved and printed at Cluer's Printing Office, in Bow Church Yard, Cheapside, London, where all manner of business is printed, and all sorts of copper plates curiously engraved Oblong 8vo. (With the date 1732 and owner's name stamped on binding). C. 1725. A Pocket Companion for Gentlemen and Ladies, being a collection of the finest opera songs and airs .... By Richard Neale. Small Svo. A second volume followed later. Medulla Musicse, being a choice collection of airs In two volumes London, engraved and printed at Cluer's Printing Office, in Bow Church Yard, and sold there and by B. Creake, at the Bible in Jermyn Street, St. James'. 8vo., 2 volumes. (Taphouse). The First and Second Packs of Musical Playing Cards, each card containing a diverting song, and transposed for the flute. (These are advertised on one of Cluer's publications. A set, which has every appearance of being one of these packs, is among the playing cards in the British Museum). Operas:—^Julius Cassar, Tamerlane, Rodelinda, Scipio, Alexander, Richard the First, Arlmetus, Siroe, and Lotharius (in folio). Julius Caesar, Tamerlane, and Rodelinda, transposed for the flute in octavo.

Extract from a site about historic ballards;

We know from Henry Plomer’s dictionary of 18^th century printers that the Bow Churchyard shop was operated by a man called John Cluer from 1726 till 1728, which puts him in charge there when Stewart passed through London. Fowler suggests that Cluer may have frequented pubs like the Cock & Runner hoping to gather material for future ballads, and that Charles Stewart found him there one night on just such an expedition. 
That would certainly explain why Stewart is the only man given his real name in the song, why that name is spelt out in full, and why he’s described in such flattering terms (“a man of courage so bold”). Cluer would have been keen to keep such a useful source of material happy, either because he needed more than one interview to get the Gosport story down in full or because he hoped other lucrative yarns might follow. ⁽²¹⁾ 
Just how much of that is true, we’ll never know. Someone must have provided the bridge that transformed The Gosport Tragedy from a sailors’ oral tale to a printed ballad, though, and the details above make Stewart a very tempting candidate. “He is my choice as the mariner who held a London publisher with his glittering eye,” Fowler says, “telling an intriguing story of love, death and the supernatural, which was then turned into one of the most popular broadside ballads of the last 250 years”. ⁽²²

By J Cluer - A Country mans Looking Glass