Biographical Information
Valentine Simmes (also Sims, Symmes) was a printer and bookseller in [London](mol:LOND5) who lived from approximately 1561-1623 ([Ferguson](mol:FERG1)). He was trained as a compositor under Henry Bynneman ([Ferguson 5](mol:FERG2)), during his apprenticeship with printer and bookseller Henry Sutton between 1576-1585 ([Ferguson](mol:FERG1)). Johane Sutton, Henry’s widow, presented Simmes to the Stationers’ Company for freedom in 1585 ([Ferguson](mol:FERG1)). In 1594, the first books bearing Simmes’ imprint appear, indicating that he formally began his business in that year ([Ferguson 6](mol:FERG2)).
Simmes was embroiled in several scandals. In 1589, he began working with John Hodgkins to print the controversial Martin Marprelate tracts.There is no evidence to suggest that Simmes was involved in this project for any reason other than a wage ([Ferguson 15](mol:FERG2)). He was apprehended later that year when some type fell on the ground and an explanation was requested for his ownership of it. He was freed after 5 months in prison ([Ferguson](mol:FERG1)). In 1595, Simmes faced an issue related to the violation of patent rules. As a result, his press and printing equipment were confiscated. His type was melted down and returned to him with the rest of his, presumably intact, equipment ([Ferguson](mol:FERG1)). Over the next few years, he was repeatedly given written warnings for unlicensed or disorderly printing, and in 1603, he was commanded not to meddle with printing or selling any of the same bookes or ballades hereafter
([Ferguson 8](mol:FERG2)). An unsigned, undated letter addressed to the King’s most Excellent Majesty
informed that Simmes was printing seditious books
, had done so seven times before this
, and recommended that Simmes be imprisoned ([Ferguson 9](mol:FERG2)). Likely in response to these many controversies, Simmes was replaced as a master printer in February 1606 ([Jackson 24](mol:JACK15)). Simmes continued to work sporadically between 1606 and 1622, when he formally petitioned to the Company to be reinstated ([Ferguson](mol:FERG1)). The appeal was denied; however, his pension was increased because he was a very poore man and a member of the Companie
([Jackson 152, 380-381](mol:JACK15)). It can be inferred that Simmes died in 1623 because he is listed as a pensioner up until only that year ([Ferguson](mol:FERG1)).
Print Output
As a new business owner in 1594, Simmes printed a compendium of Psalms as the assignee of William How ([STC 3011.5](mol:STC1)). This seems to have started a long line of tradition for Simmes. He printed many religious texts, including parts of the Bible, sermons, and prayers.Examples: [STC 2nd ed. 14605, 15281, 17269](mol:STC1). He also printed texts on the history of [England](mol:ENGL2) and government policies.Examples: [STC 2nd ed. 22860, 5347, 5348, 6071, 6798](mol:STC1). However, Simmes was better-known for printing drama. He is considered a printer of importance, issuing a large number of dramatic texts ([Craven 161](mol:CRAV2)). His printing credits include editions of William Shakespeare’s
Richard II,
Richard III, and
Much Ado About Nothing,
Thomas Dekker’s
The Shoemaker’s Holiday, and
Christopher Marlowe’s
Doctor Faustus (
[Craven 161](mol:CRAV2)).
In April 1610, Simmes signed over the printing rights for
The Shoemaker’s Holiday to
John Wright, with the stipulation that
Simmes would maintain the right to print it if he were to obtain his own printing house in the future (
[Ferguson 9](mol:FERG2)). This is meaningful within the context of
Simmes’ activities between
1606 and 1610.
Simmes was replaced as a master printer in
1606, made an unusually small number of imprints between
1607-1609, and in
1610 had no printing house of his own (
[Ferguson 9](mol:FERG2)). These facts suggest that
Simmes may have lost his printing house completely when he was replaced as a master printer.
Simmes is often credited with the printing of a 1611 quarto of
Hamlet because the imprint matches one that
Simmes had used before. However, there is evidence against this connection. The text on the title page and throughout is in a typeface that
Simmes never used, and the treatment of stage directions is inconsistent with
Simmes’ very regularized style (
[Ferguson 90](mol:FERG2)). Also, it is reasonable that by
1611,
Simmes’ type may have been acquired by other printers (
[Ferguson 90](mol:FERG2)). These factors indicate that the
1611 quarto of
Hamlet was probably not printed by
Simmes.
Most of Simmes’ publishers were new to the business, and had only one volume printed by him ([Ferguson 25-26](mol:FERG2)).
Simmes primarily worked with black-letter pica type, and generally used three different insignias, two with naked children on them and one with a large leaf design ([Ferguson](mol:FERG1)).
Networks
Simmes worked with publisher Andrew Wise on
Richard II,
Richard III,
Henry IV, and
Much Ado about Nothing (
[Rasmussen](mol:RASM2)).
Simmes regularly worked with
Nicholas Ling, printing twenty-seven books for him. This makes up about 1/3 of
Ling’s publishing credit.
Ling had a large number of addresses (
[Pantzer 107](mol:PANT2)), none of which are particularly close to either of
Simmes’ locations, so it is unlikely that the two were geographically connected. Rather, their connection seems to have sprung from a long-term professional relationship.
Ling was apprenticed to
Henry Bynneman from
1570-1579, crossing over with the time that
Simmes trained with
Bynneman. It is very likely that the two met each other at
Bynneman’s shop (
[Ferguson](mol:FERG2)).
At some point, Simmes acquired equipment from William How, as evidenced by the identifying details of How’s printing equipment ([Ferguson](mol:FERG1)).