Tragically John Peters took his life aged 72 in 1989. Dreyfus writes: “For such a creative person to be driven to a self-destructive end was a great tragedy,” which I think an under-statement of magnitude.

Vitis Vera was chosen by his friends and family for the cover as it was also the first book published by the Vine Press. The blocks are those used by the Vine Press which were kept by Foster. The blocks are now held in the University Library, Cambridge. 

The Vine Press were due to collaborate with the celebrated poet but made the decision to close the press before this happened. 

The two men met in the 1950s when Peters began work at the Pitt Building for Cambridge University Press. After Dreyfus left to work for Monotype, Peters took over his role and the pair continued to collaborate on type and design. After Peters death, Dreyfus wrote several articles on Peters' work, notably in Fine Print and kept in contact with the family. 

John Peters has marked up these papers to show the results of printing on damp paper, a process that he and Foster developed on the Cope and Sherwin press. Until 1960, they were still searching for the perfect ink. 

Examples of this typeface, designed by Peters, in use. Both Peters and Dreyfus collected examples, writing to each in delight when it was used by Oxford University Press. 

This publication is attributed to Stanley Morison and appears as part of the Cambridge University Press Christmas books. These books  were limited edition titles that were gifted to notable clients, the tradition ceased when the position of University Printer was retired. Many staff worked on these including Peters who contributed to this publication. 

John Peters designed this typeface for Monotype in 1967. It was developed as an extension to Ehrhardt.  

John Peters designed this typeface for British Rail in 1964. 

Peters was commissioned several times in his career to provide designs for Monotype, here is a selection of his work.

Printers flowers and borders were used extensively in presentation work in hot metal printing. Peters was commissioned several times in his career to provide designs for Monotype. 

Correspondence between John Dreyfus and Peter Foster after Peters' death, discussing an article that Dreyfus was compiling for Fine Print, published in Spring 1991.

The lots were bought by Loughborough Technica College. The archives for Peters held at the University Library in Cambridge contain many pages of correspondence between Peters and students at the college in which he explains the Vine Press printing process in great detail.  Loughborough sold the lots and it's not been possible to trace them so far.

A prospectus for The Cave, published in 1957, written by Marjorie Sisson with engravings on wood by Frank Martin (then a teacher at a local school). This was a print run of 200 copies.

A test print by the Vine Press for the prospectus for Design and tradition : the Design Oration (1961) of the Society of Industrial Artists, written by Sir Herbert Read. 

The Vine Press closed in 1963 when Peters wrote in his notes that he and Foster were concerned about the rising cost of print and the prospect of a recession. Foster notes in private correspondence to John Dreyfus (who wrote a tribute to the Vine Press) that Peters' health was a cause for concern. Peters was shot down as a pilot in the Second World War and his injuries caused him life long pain. 

Peter Foster and John Peters set up the printing press in Foster's house. The printing press was a Cope and Sherwin press which Peters' found abandoned at the Pitt Building. He gained permission from works manager, Arthur Gray to restore it. The printing press was returned to CUP after the Vine Press closed and is on display outside the museum at the University Printing House.